Archive for the ‘Wellington’ category


There goes the neighbourhood

05.03.2021

Demolition has commenced on 1–4 Māmari Street, across the road from where I lived for over three decades.
   I’m not against change and my feelings toward the development have already been recorded here.
   It was with a tinge of sadness that I saw the demolition crews there and the only wall left standing was part of the north side to no. 4.
   Right now the sections, littered with debris, is letting in plenty of summer sunlight.
   But not for long.
   I’ll remember Gus and Lyna Bourke’s place at no. 2 which I understand they bought after the war. Lyna was widowed by the time we met her in 1983, and she had an incredibly low-mileage silver Hillman Hunter in the garage. As her eyesight failed, the car stayed in there, and it was in incredibly good nick by the time she passed in the 1990s. We always had good chats and Lyna was our “neighbourhood watch” as she kept an eye on the street from her living room.
   Frank and Carol Reading and their family at no. 3 were probably there for a decent half-century, and they were incredibly good neighbours. Frank passed only a few years ago but they had wisely bought the Bourke residence as well in the 1990s, plus no. 4 decades before, so I imagine that made life easy for the developers who only had to purchase from two sellers to build on the site.
   We visited the Reading house many times over the years to help each other out, and that was the great community we had in the cul-de-sac back then. On our side of the street there were frequent chats over the fences with nos. 12 and 14.
   The old street changed a lot when both nos. 10 and 11 went on the market in 2018, then it was our turn in 2019. And now it has had its biggest change in probably a century as those old weatherboard bungalows from the early 20th century were demolished.
   I realize same-again McHouses aren’t everyone’s cup of tea but as one famous architect recently told me: it’s hard to get creativity consented. And the demand is there, so this was inevitable. I already felt that the old street was a memory, but one that could be refreshed on a revisit; but now it really is a memory. Contrast this with the other neighbourhoods I’ve lived in Wellington, which have remained largely the same, or were subject to far slower developments after our departure.
   Just as well I got the neighbours together in 2011 to stop the council taking away the right turn into the street. With 24 dwellings there in the near future, they’re going to need it more than ever.

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A post shared by Jack Yan 甄爵恩 (@jack.yan)

And yes, the above video was on Instagram, which is going the way of Myspace and Facebook, I believe. I haven’t been on there for nearly a fortnight and the feed held little interest to me. Near-daily ’Gramming from 2012 to 2019 was enough.

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Helvetica in metal, 1985

03.03.2021

This was the back of Mum’s 1985 tax assessment slip from the IRD. Helvetica, in metal. The bold looks a bit narrow: a condensed cut, or just a compromised version because of the machinery used?
   Not often seen, since by this time phototypesetting was the norm, though one reason Car magazine was a good read was its use of metal typesetting until very late in the game. I know there are many reasons the more modern forms of typesetting are superior, least of all fidelity to the designed forms, but there’s a literal depth to this that makes me nostalgic.

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Posted in design, New Zealand, typography, Wellington | No Comments »


The colourless world

14.02.2021

This is a development proposed for my old street in Rongotai. Since I’ve moved away I haven’t a say in what happens there. I can only make some general remarks. And this post is not written from the Luddite position.
   It’s the price of progress that as cities grow, we need more housing, and if it means bowling for old bungalows from the first decades of the 20th century in favour of 14 townhouses, then that is the reality we must face, no matter our feelings of nostalgia. What a shame the green space will be reduced dramatically.
   But why, oh why, must there be another development devoid of colour with a planned uniformity that smacks of communism? Don’t people deserve to live in colour and in dwellings that have some imagination and individuality from their neighbours’? Come to think of it, people deserve to have cars in shades beyond black, white and grey, but I’m not sure if all dealers have that memorandum.
   I also hope these aren’t airtight mould-traps that harm their future residents.
   The obvious bright side is more people will have homes in a pretty handy part of Wellington. Another bright side I see here is that with the increase of dwellings on the street from 14 to 24, there might be more neighbourhood children enjoying living in a cul-de-sac.
   It’ll be a shock when these developers discover there are more paint colours available than the ones they have chosen. And when certain architects discover there are multiple ways to skin a cat. They might also get a shock to find that bread can come pre-sliced these days. Vive la révolution!

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Posted in design, New Zealand, Wellington | 1 Comment »


When fashion magazine websites begin looking the same

08.02.2021


Above: Vogue Korea’s website follows the æsthetic of a big lead image and smaller subsidiary ones.

This started as a blog entry but took a tangent about 500 words in, and it was better as an op–ed in Lucire. Some of the themes will be familiar to regular readers, especially about Big Tech, but here I discuss its influence on web design trends and standardization. The headline says it all: ‘Where have the fun fashion magazine websites gone?’. Browsing in the 1990s was fun, discovering how people coded to overcome the limitations of the medium, and, in my case, bringing in lessons from print that worked. Maybe it’s an age thing, or the fact I don’t surf as much for leisure, but in 2021 the sites I come across tend to look the same, especially the ones that were in Lucire’s ‘Newsstand’ section.
   I do know of great sites—my friend and colleague Charlie Ward has his one, which does everything you would expect from a great designer’s web presence. So many others look like they’ve bought a template. As to those of us in magazines—I’d love to see something that really inspired me again.

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February 2021 gallery

08.02.2021

Finally, let’s begin the February 2021 gallery!

 
   All galleries can be seen through the ‘Gallery’ link in the header, or click here (especially if you’re on a mobile device). I append to this entry through the month.

Sources
Katharina Mazepa for Guess, more information here.
   Financial Times clipping from Twitter.
   Year of the Ox wallpaper from Meizu.
   American English cartoon via Twitter.
   Doctor Who–Life on Mars cartoon, from Pinterest.
   Dr Ashley Bloomfield briefing with closed captioning, found on Twitter.
   South African version of the Opel Commodore C: more at Autocade.
   Chrysler–Simca 1307 and 1308 illustrations: more on the car at Autocade.

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Branding ourselves in the 2020s: a revamp for JY&A Consulting’s website, jya.co

05.02.2021

Last night, I uploaded a revised website for JY&A Consulting (jya.co), which I wrote and coded. Amanda came up with a lot of the good ideas for it—it was important to get her feedback precisely because she isn’t in the industry, and I could then include people who might be looking to start a new venture while working from home among potential clients.
   Publishing and fonts aside, it was branding that I’m formally trained in, other than law, and since we started, I’ve worked with a number of wonderful colleagues from around the world as my “A team” in this sector. When I started redoing the site, and getting a few logos for the home page, I remembered a few of the old clients whose brands I had worked on. There are a select few, too, that I’m never allowed to mention, or even hint at. C’est la vie.
   There are still areas to play with (such as mobile optimization)—no new website is a fait accompli on day one—and things I need to check with colleagues, but by and large what appears there is the look I want for 2021. And here’s the most compelling reason for doing the update: the old site dated from 2012.
   It was just one of those things: if work’s ticking along, then do you need to redo the site? But as we started a new decade, the old site looked like a relic. Twenty twelve was a long time ago: it was the year we were worried that the Mayans were right and their calendar ran out (the biggest doomsday prediction since Y2K?); that some Americans thought that Mitt Romney would be too right-wing for their country as he went up against Barack Obama—who said same-sex marriage should be legal that year—in their presidential election; and Prince Harry, the party animal version, was stripping in Las Vegas.
   It was designed when we still didn’t want to scroll down a web page, when cellphones weren’t the main tool to browse web pages with, and we filled it up with smart information, because we figured the people who’d hire us wanted as much depth as we could reasonably show off on a site. We even had a Javascript slider animation on the home page, images fading into others, showing the work we had done.
   Times have changed. A lot of what we can offer, we could express more succinctly. People seem to want greater simplicity on websites. We can have taller pages because scrolling is normal. As a trend, websites seem to have bigger type to accommodate browsing on smaller devices (having said that, every time we look at doing mobile versions of sites, as we did in the early 2000s, new technology came along to render them obsolete)—all while print magazines seem to have shrunk their body type! And we may as well show off, like so many others, that we’ve appeared in The New York Times and CNN—places where I’ve been quoted as a brand guy and not the publisher of Lucire.
   But, most importantly, we took a market orientation to the website: it wasn’t developed to show off what we thought was important, but what a customer might think is important.
   The old headings—‘Humanistic branding and CSR’, ‘Branding and the law’ (the pages are still there, but unlinked from the main site)—might show why we’re different, but they’re not necessarily the reasons people might come to hire us. They still can—but we do heaps of other stuff, too.
   I might love that photo of me with the Medinge Group at la Sorbonne–CELSA, but I’m betting the majority of customers will ask, ‘Who cares?’ or ‘How does this impact on my work?’
   As consumer requirements change, I’m sure we’ll have pages from today that seem irrelevant, in which case we’ll have to get on to changing them as soon as possible, rather than wait nine years.
   Looking back over the years, the brand consulting site has had quite a few iterations on the web. While I still have all these files offline, it was quicker to look at the Internet Archive, discovering an early incarnation in 1997 that was, looking back now, lacking. But some of our lessons in print were adopted—people once thought our ability to bring in a print æsthetic was one of our skills—and that helped it look reasonably smart in a late 1990s context, especially with some of the limited software we had.

   The next version of the site is from the early 2000s, and at this point, the website’s design was based around our offline collateral, including our customer report documents, which used big blocks of colour. The Archive.org example I took was from 2003, but the look may have débuted in 2001. Note that the screen wouldn’t have been as wide as a modern computer’s, so the text wouldn’t have been in columns as wide as the ones in the illustration. Browsers also had margins built in.

   We really did keep this till 2012, with updates to the news items, as far as I can make out—it looks like 2021 wasn’t the first time I left things untouched for so long. But it got us work. In 2012, I thought I was so smart doing the table in the top menu, and you didn’t need to scroll. And this incarnation probably got us less work.

   There’s still a lot of satisfaction knowing that you’ve coded your own site, and not relied on Wordpress or Wix. Being your own client has its advantages in terms of evolving the site and figuring out where everything goes. It’s not perfect but there’s little errant code here; everything’s used to get that page appearing on the site, and hopefully you all enjoy the browsing experience. At least it’s no longer stuck in the early 2010s and hopefully makes it clearer about what we do. Your feedback, especially around the suitability of our offerings, is very welcome.

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Posted in business, design, internet, marketing, New Zealand, technology, Wellington | 1 Comment »


A refreshing piece on diversity in our mainstream media

31.01.2021

Two fantastic items in my Tweetstream today, the first from journalist Jehan Casinader, a New Zealander of Sri Lankan heritage, in Stuff.
   Some highlights:

   As an ethnic person, you can only enter (and stay in) a predominantly white space – like the media, politics or corporate leadership – if you play by the rules. And really, there’s only one rule: blend in. You’re expected to assimilate into the dominant way of thinking, acting and being …
   I sound like you. I make myself relatable to you. I communicate in a way that makes sense to you. I don’t threaten you. I don’t make you uncomfortable. And I keep my most controversial opinions to myself.

And:

   Kiwis love stories about ethnic people who achieve highly: winning university scholarships, trying to cure diseases, inventing new technology or entering the political arena. These people are lauded for generating economic and social value for the country …
   We do not hear stories about ethnic people who work in thankless, low-skilled jobs – the refugees and migrants who stock our supermarket shelves, drive our taxis, pick our fruit, milk our cows, fill our petrol tanks, staff our hospitals and care for our elderly in rest homes.

   Jehan says that now he is in a position of influence, he’s prepared to bring his Sri Lankan identity to the places he gets to visit, and hopes that everyone in Aotearoa is given respect ‘not because of their ability to assimilate’.
   He was born here to new immigrants who had fled Sri Lanka, and I think there is a slight difference to those of us who came as children. Chief among this, at least for me, was my resistance to assimilation. Sure I enjoyed some of the same things other kids my age did: the Kentucky Fried Chicken rugby book, episodes of CHiPs, and playing tag, but because of various circumstances, as well as parents who calmly explained to me the importance of retaining spoken Cantonese at home, I constantly wore my Chineseness. I hadn’t chosen to leave my birthplace—this was the decision of my parents—so I hung on to whatever I could that connected me back to it.
   I could contrast this to other Chinese New Zealanders I went to school with, many of whom had lost their native language because their parents had encouraged assimilation to get ahead. I can’t fault them—many of them are my dearest friends—but I was exposed to what Jehan wrote about from a young age.
   It saddened me a lot because here were people who looked like me who I couldn’t speak to in my mother tongue, and the only other student of Chinese extraction in my primary class who did speak her native language spoke Mandarin—which to many of my generation, certainly to those who did so little schooling before we left, find unintelligible.
   At St Mark’s, I had no issue. This was a school that celebrated differences, and scholastic achievement. (I am happy to say that sports and cultural activity are very much on the cards these days, too.) But after that, at one college, I observed what Jehan said: the Chinese New Zealanders who didn’t rock the boat were safe buddies to have; those who were tall poppies were the target of the weak-minded, the future failures of our society. You just have to rise above it, and, if anything, it made me double-down on my character—so much so that when I was awarded a half-scholarship to Scots, I found myself in familiar surroundings again, where differences were championed.
   But you do indeed have to play the game. Want your company recognized? Then get yourself into the media. Issue releases just like the firms that were sending them to you as a member of the media. Don’t bring your Chineseness into that, because you won’t get coverage. Jack Yan & Associates, and Lucire for that matter, always had a very occidental outlook, with my work taking me mostly to the US and Europe, with India only coming in at the end of the 2000s—but then we were bound by the lingua franca of the old colonial power.
   Despite my insistence on my own reo at home, and chatting every day to my Dad, I played the game that Jehan did when it came to work. I didn’t as much when I ran for mayor, admittedly—I didn’t want voters to get a single-sided politician, but one who was his authentic self—but that also might explain why Stuff’s predecessor, which was at that stage owned by a foreign company, gave me next to no coverage the first time out. They weren’t prepared to back someone who didn’t fit their reader profile. The second time out, it still remained shockingly biased. Ironically the same publishing group would give me reasonably good coverage in Australia when I wasn’t doing politics. That’s the price to pay for authenticity sometimes.
   Jehan finishes his piece on a positive note and I feel he is right to. We still have issues as a nation, no doubt, but I think we embrace our differences more than we used to. There have been many instances where I have seen all New Zealanders rise up to condemn racism, regardless of their political bents. (What is interesting was I do recall one National MP still in denial, residing in fantasy-land, when I recalled a racist incident—and this was after March 15, 2019!) People from all walks of life donated to my fund-raising when a friend’s car had a swastika painted on it. We have a Race Relations’ Commissioner who bridges so many cultures effectively—a New Zealander of Taishanese extraction who speaks te reo Māori and English—who is visible, and has earned his mana among so many here. The fact that Jehan’s piece was even published, whereas in 2013 it would have been anathema to the local arm of Fairfax, is further reason to give me hope.

The second item? Have a watch of this. It’s largely in accord with my earlier post.

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Posted in business, culture, media, New Zealand, politics, Wellington | 1 Comment »


From my desk, 1986

24.01.2021

Before this gets recycled, I thought I’d scan it as a memento: a 1986 printout off our Riteman dot matrix printer (which I still have, with spare cartridges), hooked up to a Commodore 64. I forget the printer interface. The image isn’t mine: I only imagine that 14-year-old me was claiming copyright over the layout and text. To me this was all amazing. Dad bought a box of the line-flow paper from the computer store, I believe, a place called Einstein, run by a really nice guy called Raju Badiani (who also sold the computer system). Anything seemed possible, and by the summer of 1986–7 I was hacking the bits and bytes and creating my own bitmap fonts on the 64, trying to make it all look like Eurostile. Nothing as sophisticated as Emigre. The 5¼-inch floppies are still around somewhere!

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From one émigré to the Lais, leaving Hong Kong for Scotland

31.12.2020

This final podcast of 2020 is an unusual one. First, it’s really directed a family I’ve never met: the Lais, who are leaving Hong Kong for Glasgow after the passing of the national security law in the Chinese city, as reported by Reuter. They may never even hear it. But it’s a from-the-heart piece recounting my experiences as a émigré myself, whose parents wanted to get out of Hong Kong because they feared what the communists would do after 1997. Imagine heading to a country with more COVID-19 infections and lockdowns and feeling that represented more freedom than what the Chinese Communist Party bestows on your home town.
   Secondly, it’s in Cantonese. The intro is in English but if you’re doing something from the heart to people from your own home town, it’s in your mother tongue. It seemed more genuine that way. Therefore, I don’t expect this podcast episode to have many listeners since I suspect the majority of you won’t know what I’m saying. They are themes I’ve tackled before, so you could probably guess and have a good chance of getting it right.
   If you know the Lais, feel free to share this link with them.

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The Grundig parts’ cache time capsule

27.12.2020

When Dad was made redundant from Cory-Wright & Salmon, which had purchased his workplace, Turnbull & Jones, he bought all the Grundig equipment and accessories, thinking that he would find it useful. And for a while he did. The odd one he cannibalized, while the parts were used and adapted. Cory-Wright wound up contracting him for all the servicing of Grundig office equipment—principally dictating machines—and actually wound up hiring three people after they realized all the things Dad actually did there.
   He was quite happy to go to work for himself, as he picked up contracts with other firms as well. Some were companies who had gone to him at Turnbull & Jones anyway, and upon being told he had been let go, sought him out. But in the long run Grundig proved to be a fraction of what he wound up fixing, and it was the Japanese brands that I usually saw at home in his workshop, along with Philips (and no, the Japanese brands were not more reliable). Like many hard workers with a customer base, he did far better in self-employment than he did as an employee.
   Which brings me to this post. You could say this cache of Grundig parts is part of my inheritance, but what to do with it? The trouble with being in New Zealand is that there’s no Ebay—we’re told to use the Australian one if we wished to sell, except none of the postal options apply—and outside these shores no one’s heard of Trade Me.
   I’d like to sell the bits though I haven’t done an inventory yet. That was one of my favourite things when I visited Dad at Turnbull & Jones: he kept an inventory of all the items in his room and I used to make new ones as a fun activity. I marvelled at the new packaging that Grundig introduced, and this probably got me in to German graphic design.
   Here’s one item for starters: the wall box (die Wanddose) for the central dictation system (Central-Diktat-Anlage), Typ 593. I have at least five of them, boxed. This was opened for the first time when I took the photo, between 40 and 50 years after it was packaged. That’s the original rubber band as it left the factory in Germany. Some have already been opened. I’ve microphones, foot controls, complete machines. Suggestions are welcome, especially if someone might find it all useful. Those mics are going for €12 on Ebay in Germany, and mine are new. If anyone out there ever wondered, ‘Is there a lost cache of Grundig parts out there?’ then I have your answer.


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