Isn’t Twitter itself a news delivery platform though? Not really. Twitter is an information delivery platform, of which news is a small but extremely important subset. In other words, when you read a joke on Twitter, that’s not news. When you ask someone a question about a restaurant on Twitter, that’s not news. When you receive a response from an expertly crafted bot on Twitter, that’s not news. In short, the great majority of what Twitter traffics is non-news information.

It’s long been a complaint of Twitter users, however, that when they do want to use Twitter as a news source — perhaps even their only news source — it’s a less than ideal experience. People keep their excellent Twitter clients open all day hoping they’ll stay abreast on what’s going on in the world, but often they miss important events because the firehose of chatter drowns out critical links.

What Summify does is essentially stand in front of your firehose, collect the drops of water that are news-related, and then fill up a nice, tidy cup for you containing only (or mostly) news. You can tell Summify you want a tall, a grande, or a venti and the platform delivers the right sized cup to you at whatever interval you choose.

And oh by the way, Summify can analyze your Facebook account and your Google Reader account as well as your Twitter account if you’d like.

And oh by the way, your news summary is available via web, via RSS, via tablet, and via phone.

And oh by the way, Summify was created by a team of about under 10 people. Mircea, Cristian, and crew are extremely smart and very nice people, but still, what a great product from such a small team.

So why is this such a smart acquisition for Twitter? In my mind, there are two reasons.

First, although the Twitter design staff has gone to great pains to craft the interface and sign-up process such that people know how to use Twitter immediately, I feel like they’ve now solved that problem. Do a Twitter search for a trending hashtag and you’ll see all sorts of people of “various knowledge levels” getting around just fine.

I feel like the new problem to solve is not “how do I use Twitter” but “why should I use Twitter”. This problem doesn’t apply to everyone that is currently using it, obviously, but it applies to my mom, my fiance, and all of the other millions of the people in the world who just don’t see a value proposition yet. Basically the “I don’t have anything to say to strangers” crowd, the “I don’t care what celebrities are saying” crowd, and the “I already have Facebook” crowd.

With Summify folded into Twitter, there will now be one activity that almost everyone in the world can get obvious value from: a simple summary of what news stories you should know about every day, based on who influences you.

The second reason this is a great acquisition is that it helps hedge against a phenomenon that I think is coming over the next few years: information overload followed by consumption retreat. It’s only a matter of time before people look at all of the distractions they expose themselves to every day and realize it is keeping them from living productive lives. Twitter, Facebook, and RSS before them have hastened this effect, and while it’s still only a problem at the edges, it will get more pronounced each year.

Summify offers a simple antidote; one that Twitter can weave into their UI such that users can dial up or dial down their desired consumption level as they see fit. Right now there is actually a disincentive to follow people on Twitter, in many cases. Summify potentially eliminates that problem entirely by promising to send you better stories, not more stories for each new account you follow.

As a closing thought, I’ve had this idea in my head for the last few years of what a perfect news site looks like, and it’s quite simple: a white screen with a list of 5 or 10 links that changes once a day. That’s it. Here’s the tricky part though: the 5 or 10 links need to be THE 5 or 10 links that are most useful to me on any given day. In other words, let’s say there are 10,000 new stories every day. This site needs to be smart enough to pick the top 5 or 10 for me with almost 100% certainty. You will know it works when it’s creepy. I liken it to Barack Obama’s daily briefing he gets from his advisors. He doesn’t have time to scour news sites all day so his advisors tell him what he absolutely needs to see every morning and then, here’s the key part: he gets on with his life.

I want that.

I feel like Twitter — with Summify in tow — can eventually provide that.

Sign me up!

When someone dies, the phrase “there will never be another” gets used quite frequently. It’s one of those phrases that is both always true and yet almost always not true. It’s true that, yes, no other person will ever be exactly like any other person, but it’s usually false in the compliment it’s actually trying to pay.

In almost every case, when a public figure dies, there are plenty of his or her contemporaries ready to fill the void. A great guitarist died? Well we at least have hundreds of other world class guitarists to listen to. A basketball star died? Luckily we have plenty of those too.

The truth of the matter is that even best of the best in most fields, at any given time, is only a little better than the rest.

Counterexamples to this seem to happen only a handful of times per century. The number of times we lose someone whose impact was so dramatic and whose substitute seems so unfathomable is vanishingly small.

We lost that person yesterday in Steve Jobs, and we are only beginning to feel the impact of his absence.

What gets lost in all of these Steve Jobs tributes you read online is just how dark things were for personal technology only ten years ago. People forget that until the iPhone came out, “The Apple Way” was still largely on the sidelines. Windows PCs were unavoidable. Cell phones were unapproachable. There were even a few years around the turn of the century when many websites didn’t even work on Macs because developers only coded to PC Internet Explorer “standards” (airiest of air quotes there, of course).

It was just dark as hell out there; especially for those of us who wanted so badly for the story to end differently. The lesson that idealism and attention to detail could lose out to “good enough and a little cheaper” was not something we wanted to learn.

The long, but impeccably planned, turnaround that Steve Jobs has led over the last 14 years is impressive for thousands of reasons. None is more astounding to me than this one though: he was quite literally the one person on the face of the earth capable of pulling it off.

One. Out of 6,800,000,000 people.

He wasn’t just the best choice. He was the only choice. And that’s why we’ll miss him so much.

When people die after suffering from prolonged illness or pain, my thoughts are almost always positive. Death is not something I fear, and when it’s ultimately the relief method for someone’s pain and suffering, I feel happy for their newfound peace. I felt this way when Kurt Cobain died, for instance.

With Steve Jobs, however, I don’t get the feeling death was any sort of relief at all. Yes he was obviously at peace with the concept, as he expressed beautifully in his Stanford commencement speech, but SJ put the pedal to the metal until his final breath.

What would you do if you knew you had a short time to live? Most of us would quit our jobs. Many of us would travel. Some of us would relax and keep our stress levels down. What did Steve do? He hit the gas. He released the iPhone, unveiled the iPad, and led Apple to its current and still unfathomable status as the most valuable company in the world.

Just as incredibly, he was able to lift his body out of Apple without also removing his soul; on a day when many once feared AAPL stock would dive precipitously, it’s comfortably unchanged from the day before.

He had his flaws and he may not be the greatest person to ever live, but no one has ever left this world more on top than Steve Jobs has just left it.

Thanks for everything.

Favorite quote:

“We spend so much time in fantasy and ways that people aren’t actually living but how they picture that they would like to be living… and so, reality is interesting to us. What is physically and naturally occurring is better than any fictional, fantasy based thing that could be occurring.”

Incidentally, I find myself picturing Kevin and Andrew doing this video in white tank tops and plaid golf shorts and coming away with another impression entirely. Dressing the part is key. Well played, fellas.

That strategy is understandable to me, and I certainly don’t think they’ve made the product worse than the last revision, but there are several features I’d like to see added which would make the native Twitter app better than its competitors, which it currently isn’t.

Let me also say that I’ve always watched everything Doug Bowman designs or directs with great interest and admiration. Doug is probably the second best interactive designer in the world, behind only me, so I always study his work very closely. He has no real weaknesses that I know of, and he has a great team working at Twitter. Doug’s great with interfaces, great with typography, great at expressing his thoughts, great at maintaining a product-centric view with everything he creates, and just a great guy in general. In short, Twitter could not have hired a better person to lead the Photoshop department.

That said, here are my suggestions for the Twitter team (feel free to pay me in Twitter stock, @dickc and @ev):

1. Inline retweet, fave, and follow notifications

This is easily Echofon’s best feature, and I can’t believe they are still the only ones offering it. Essentially, when someone faves a tweet of yours or starts following you, Echofon inserts a small notification for you inside your tweet stream. It’s a powerful piece of positive feedback that has increased my enjoyment of Twitter at least 10x. I’m not one of those “I tweet for me, not for you” people. Everything I tweet, however intelligent, is aimed at people, and when people like a tweet enough to fave it, that’s great feedback. It’s one thing to tweet something you think is good, but another thing to get 20 faves within a minute telling you your suspicion was correct. I call this a fave parade. Echofon doesn’t do this with retweets yet, but they should. And so should Twitter. This should be the first feature addition they work on.

2. Visible, persistent tweeting area

The lack of a text field in which to tweet is, according to Doug, a deliberate decision. Doug told me the rationale behind this is that the focus of the app is on “consumption over production” and since people spend so much more time reading than writing on Twitter, the element should remain hidden until needed. I respectfully disagree with this rationale. Optimizing for consumption is not necessarily helped by de-optimizing the production process. Here is the production process on Twitter vs. Echofon:

With keystrokes (power users):

Twitter:

1. Control-Tab to app (2 keystrokes)
2. Control-N (2 keystrokes)

Total: 4 keystrokes

Echofon:

1. Control-Tab to app (2 keystrokes)

Total: 2 keystrokes

With mouse (most users):

Twitter:

1. Click on app
2. Click on lower left icon
3. Move mouse to “New Tweet”
4. Click on “New Tweet”

Total: Three clicks and a mouse move

Echofon:

1. Click on tweet field.

Total: One click

Twitter loses handily in both situations.

It is possible that Twitter is actually trying to get people to tweet less. Doug seemed to hint as much in our conversation about this. If this is a goal of Twitter — which I think is fine — I’d rather see it done via more creative means than obfuscating the interface though.

3. Better content suggestions

Building on the previous suggestion, if Twitter really wants more people to think of it as an information consumption service rather than a microblogging service, how about making it easier for (especially new) people to tune their streams? The “who to follow” feature is really well done, and I like it, but what about a Clippy-like presence in my tweet stream using a bit of artificial intelligence to suggest more people to follow? You could easily unfollow Clippy if you found him annoying, but for new users, an initial message like “Hey Mike, have you seen the new @live_from_egypt account? Live reporting from a news crew in Cairo. Follow it for updates.”

This AI-bot idea needs some further thinking, but the main point is, improve the consumption experience by improving the consumption experience… not by degrading the production experience.

4. Syncing

Echofon syncs your unread counts between multiple desktop clients and the phone client. Twitter does not. In fact, the Twitter iPhone client doesn’t even sync properly with itself sometimes. I get direct messages showing up as unread for days in a row sometimes, even after laboriously going through and “re-reading” them all. With more and more people using Twitter from multiple locations, syncing will become more and more of a necessity.

5. A configurable links-only view

This is a huge one. I actually wanted to build a company around this, but it seems like something Twitter or someone else should do. Here’s the concept: shield me from all information except links that have been tweeted/faved/retweeted by X or more of the people I follow. This builds on a concept I am using in my life more and more these days: I don’t want to hear about anything unless and until at least 2 people I know think it’s important. There’s just too much out there.

With a client that allows me to filter for links that have been tweeted at least twice, I might follow 1000 people instead of 100… or I might finally make use of lists. Imagine using this filter on a “list of tech CEOs”. I couldn’t care less what 2000 tech CEOs have to say, but I would like to know if at least 10 of them referenced the same link one day. It’s a very powerful concept, and one that encourages people to add more inputs instead of removing them.

General design notes

As with everything Doug designs or directs, the Twitter client is a beautiful work of art. From an esthetic standpoint, it’s really pretty to look at. I wish it had bigger edges to grab onto, followed the HIG more closely, and a few other minor things, but overall, I’m happy enough with the way it looks. I just don’t love the way it works. Hopefully if the excellent design team at Twitter agrees with some of the points above, we’ll see a more useful client released with the next revision. For now, however, I’m sticking with the client that makes up for its looks with its great personality: Echofon.

In a nutshell, I want to build some sort of structure that will encourage eagles to land on it. I know very little about eagles, but I do know that before the top of a giant dead tree in my neighbor’s yard snapped off last year, we had eagles landing on it almost every week. Now, they just occasionally fly by and never seem to hang out. So the thought is, if I can build some sort of structure that has similar perching qualities to that dead tree, eagles should theoretically start landing on it.

Here is what I think I know about those qualities:

• The structure must be one of the tallest things in the immediate vicinity, although not necessarily the tallest
• It should have some sort of horizontal bar of a particular gauge on top of it for the eagles to wrap their claws around
• The perching area should be sparse. Eagles like having an unobstructed view of the territory below them.
• It does not seem necessary for the structure to actually look like a tree, as eagles perch on inorganic structures like street lights all the time.
• Should there be a good areas to build a nest near the top? I don’t know.

So far, I’ve thought of four different types of structures to build/commission/procure: a wooden totem pole, a rustic weathervane looking thing, a vertical rusty iron sculpture, and a temped-up PVC pole.

The totem pole

Installing an unpainted totem pole would work well because it eliminates the “what the fuck is that thing in your yard” factor. Everyone knows what totem poles are and it would fit well with the Native American culture that pervades the Pacific Northwest. The downside, however, is that I certainly couldn’t make it myself and it may be hard to find the right one. It would need to be maybe 50 feet tall, would be extremely heavy, and would be very permanent once installed. If eagles decided they didn’t like it, I’d be stuck removing it, which seems like a chore and a half.

Weathervane

For the weathervane, I’m envisioning as skinny of a metal pole as possible (maybe something like rebar) and then some sort of sculpture at the top of it that looks like a weathervane. It’s not even essential that it’s operational… just that it answers the question “what the fuck is that thing in your yard”. I like this idea because it’s potentially very adjustable after it goes up. If birds aren’t landing on it, I might be able to take it down and change what the top of it looks like.

Vertical rusty iron sculpture

There are some really good metal artists around, and it might be cool to just tell one of them my goals and have them propose something. The upside here is I’d get a nice, professional piece of art out of it, but the downside is that it’s likely people wouldn’t really know what it was… which isn’t a dealkiller. Also, depending on the design of the sculpture, it may or may not be adjustable after the fact.

The temped-up PVC jobbie

With one trip to Home Depot, I could probably get 50 feet of PVC pipe which I could anchor into the ground and just see what happens for a little while. It’s still a bit of a project as I don’t want the thing falling onto my house, but it’s doable for less than $100. It would no doubt look hideous, but it might be a good proof-of-concept before doing something more permanent and expensive.

Other ideas?

If anyone has any other ideas, I’d love to hear them.

It’s interesting to me that Happy Cog is trying to eliminate the negative things associated with commenting by encouraging brevity, while for several years, the secret sauce I’ve cooked up to prevent comment spam has involved just the opposite: measuring the amount of time you spend typing and only entering your comment into the database if you spend more than a few seconds on it. It works like a charm and eliminates 99.9% of comment spam before it even gets in the front door.

In my opinion, what Happy Cog has created is useful. Let’s just not confuse it with a commenting system for a blog.

It doesn’t encourage community, it doesn’t encourage conversation, and for the most part, it’s not accretive in any way. What it does do is create a lot of linkbacks to your blog on Twitter. Is this valuable? Sure. But is it as valuable as free-flowing, insightful, conversations which elevate ordinary posts into conversation pieces?

Not for me it’s not.

For all the great things about Twitter — and there are many — one of the worst things about it is that it’s making us lazy ambassadors of our thoughts. Why spend an hour on a blog post when we can tweet out our main thesis in ten seconds? Why allow conversations on our blogs when we can just hear the first 140 characters of our readers’ opinions?

We know short attention spans are bad for our intellectual development. We should be creating solutions that fight against this threat… not feed into it.

We’ve gotten so many poor applications for this position that it really makes me wonder if designers today are aware of how art directors actually hire people.

If you’re a designer and you’ll ever be looking for a new job in your life, you should read this.

First, let’s start with what matters and what doesn’t. There are exactly three things that matter to me when I evaluate you as an applicant:

• Is the stuff in your portfolio well designed and in keeping with the creative style I’m looking for? Note, “stuff” could be your blog, your personal site, or even fake clients you’ve done fake work for. It does not mean how big your clients are or how many projects you’ve worked on. As far as evaluating your design work itself, all that matters is how your stuff looks and feels.
• Are you a cool person to work with? This sort of thing can come out in a personal interview but it can also come through blog entries, tweets, or anything else that shows your personality off. It generally does not come from a cover letter though as I know you’re specifically crafting those words with the intent of landing a certain position.
• Do I know anyone personally or professionally who can vouch for you being a cool person to work with? The answer to this question does not need to be yes, but it of course always helps to know someone who knows someone. This is why.

Everything else? Doesn’t matter.

Résumé? Doesn’t matter. Where you went to school? Doesn’t matter. What societies you are a part of? Doesn’t matter. None of this sort of stuff matters unless and until you make it past the big three tests above… or at least the first two. Does that mean you shouldn’t spend time on your résumé? Of course you should, because if you get past the first stage, someone will probably look at it. Just don’t think it’s going to be your ticket towards getting noticed or getting in the door. I’ve seen résumés of design instructors with 10 years teaching experience and masters degrees in design who have the portfolios of junior high school kids. This is why we pay little attention to résumés.

How should I apply then?

The following, in my mind, is the perfect job application:

Dear ______,

I’m very interested in the ______ position at ______. I’ve used/admired the service for _____ and would love an opportunity to be part of its design team (you can substitute this sentence with anything that makes you sound uncommonly qualified or excited for this position). My stuff can be viewed here:

Blog/Personal Site: http://____
Portfolio with samples: http://____
Twitter account: http://____
Favorite thing I’ve done recently: http://____

I’ve attached my résumé as well if you’re interested in my background or who I’ve worked with. Look forward to hearing from you.

Thanks,

________

That’s it. No long preamble. No links buried in a PDF or Word document. No hoops for the art director or HR person to jump through in order to see your stuff. If you want to add some more flavor towards the end, go ahead, but that’s the general recipe.

Almost none of the applications I have received follow anything close to this form, so I can only assume most people simply don’t know how they are being judged. Other professions are undoubtedly different, but in design, it’s simply a question of how sick your stuff is and how easy you are to work with. Give a hiring manager a good impression immediately on both of those fronts and you’re going to get an interview.

P.S. If you’ve already applied for the position mentioned above and haven’t heard back, it’s likely your style might not fit with what we’re looking for. It doesn’t mean we don’t admire your design skills.

P.P.S. If you haven’t applied for the position above and would like to, please do! We’re looking to hire the right person immediately.

P.P.P.S. On a related subject, besides Authentic Jobs and 37signals, are there any other great places to post design-related job listings these days? If you know of any, please let me know.

For many years, I’ve railed against tricks like pagination and “jump pages” as a means to goose pageviews. Honest people in the industry will tell you these are simply acceptable tricks to bump revenue a bit, while disingenuous or uninformed people will use “readability” as an excuse to make users click ten times to read ten parts of a single story. For this latest redesign, msnbc.com has decided to de-emphasize page views entirely and present stories in a manner that maximizes enjoyment and as a result, total time on site.

What do I mean by this?

Think of how a typical user session works on most news sites these days. A user loads an article (1 pageview), pops open a slideshow (1 pageview), flips through 30 slides of an HTML-based slideshow (30 pageviews). That’s 32 pageviews and a lot of extraneous downloading and page refreshing.

On new msnbc.com story pages, the above sequence would register one pageview: the initial one. The rest of the interactions occur within the page itself. Can msnbc.com serve ad impressions against in-page interactions? Sure, and that’s key to the strategy, but as a user, your experience is much smoother, and as an advertiser, the impressions you purchase are almost guaranteed to come across human eyes since your ads are only loaded upon user interaction.

This is the first time (to my knowledge) this sort of model has been deployed on a major media site with over a billion pageviews a month, and it has the potential to change the entire industry if it works. It’s also a big risk, as most advertisers are not used to thinking of inventory this way. We like big risks with big payoffs though and we feel that when you take care of the user and the advertiser at the same time, you’re probably onto something.

Ad model aside, there are also tons of other interesting things about the new msnbc.com story pages:

• Every form of storytelling (text, video, audio, slideshows, discussion, voting, and more) is now available right within each story page itself.
• The top navigation (nicknamed “the upscroll”) contains all basic elements when a page loads but if you scroll the page upward past its initial position, you get more interesting stories to read. It’s a great way of presenting a content-packed header without sacrificing screen real estate.
• A social bar at the bottom of the screen, powered by Newsvine, which lets you easier share content via Newsvine, Facebook, Twitter, and other services.
• An “annotated scrollbar” down the right side of the screen capable of teleporting you to any section of the page you desire.
• Bigger, easier to read text. Goodbye Arial, once and for all!

To be clear, the msnbc.com team is very proud of what’s been launched so far, but is under no illusions that things are perfect yet. Everyone involved in creating these new story pages is monitoring reaction closely and ready to modify anything that needs improvement. Since we have plenty of thoughtful design and development voices here on Mike Industries, I’d love to open this thread up for some reactions. What is working for you, and what, if anything, would you change? The team is listening.

Scott’s a great designer, obviously, but hearing about the care that’s going into just the production of the book is going to make this piece of art a must-have. I may even order two and keep one suspended in formaldehyde.

While ordering the book, one part of the process stuck out to me as something I’d never seen before, even having ordered probably a thousand items online in the past: when I typed in my credit card number, a green checkmark showed up immediately after the last digit was entered. My immediate suspicion was that they were counting digits and gave me a check to indicate I had typed in enough of them, but again, having never seen that before, my interest was piqued. I tried deleting the last digit and replacing it with a 1, then a 2, then a 3, and so on. Only when I typed the actual digit from the credit card did I get the green checkmark again.

Further investigation revealed that no server calls were being made, which means this was some sort client-side algorithm that verified credit card patterns. Iiiiiiiiiinteresting!. Even more investigation revealed that this was the work of something I’d never heard of: The Luhn Algorithm.

The Luhn Algorithm is a formula which can be run in javascript, PHP, and most other programming languages that uses some mathematical rules to determine if a credit card number is likely to be valid. Apparently, credit card companies issue numbers according to this algorithm, and if a number doesn’t fit it, it’s definitely not valid. Before you say to yourself “wow, that’s some neat, new technology I can use!”, note that the Luhn Algorithm has been around since 1954!

Although using this algorithm in your own projects is clearly not a necessity, I see a couple of potential advantages and a couple of potential disadvantages:

Advantages

• Instant UI feedback is a great tool to help users correct errors
• The checkmark is a nice bit of instant emotional validation to make sure users complete the process

Disadvantages

• Is there a guarantee that every card will always follow this pattern? What happens if one or many stop following it?
• Since it’s an unusual experience, does it add a bit of suspicion in some users? Would a less technical user assume their number was being broadcast across the internet more times than necessary?

I’m curious to see if this catches on as a trend.

The official way to apply is by sending an email to msnbcjobs@msnbc.com (which you should do if you’re interested), but if you’re a Mike Industries patron, feel free to contact me as well.

The Library of Congress has a spectacular collection of photos by Russian photographer Sergei Mikhailovich Prokudin-Gorskii that you must see. What makes them so amazing? Well, they are color photos taken about 100 years ago.

The process used to create and develop the photos is revolutionary yet simple. Essentially, three separate shots are taken, each with a different color filter over the lens: one red, one blue, and one green. The shots are then composited to form incredibly lifelike color portraits. It’s actually quite similar to color compositing in modern applications like Photoshop, but to see it applied to photos taken 100 years ago is mindblowing.

When I first saw this photo collection, my initial reaction was that it was fake, because these shots look like they could have been taken a few years ago. When you grow up in the modern color photography era, you’re subconsciously conditioned to actually think of the world as black and white around the turn of the 19th century because those are the only photos you ever see from that period. To see real-life scenes from back then in full color is surreal.

Prokudin-Gorskii’s collection is one of the most amazing I can ever remember seeing, and I’ve only gone through a few hundred photos so far. Here’s where to start:

• The exhibit home
• The making of the images
• A listing of some of the best pieces from the collection
• A browsable gallery of the entire collection

Note: Kottke, as usual, is about 8 years ahead of me on this.

Before: A charm-free 1953 house that’s never been updated, on a great plot of land.

After: A rendering of what the new Northwest Modern house will look like.

It’s been a long but fun road getting to this point, and both my design/build firm — Build LLC — and I are extremely happy to be breaking ground. Throughout the design and construction process, I’ve kept Mike Industries mostly free of updates, instead opting to chronicle everything on A House by the Park. After all, I don’t want to stray from this blog’s laser focus on web design, remixed infomercials, and tasty beverages. So far, it seems that decision has been a good one, as Mike Industries averages about 10,000 RSS subscribers while HBP has only 547. It is not surprising that most people are uninterested the ins and outs of homebuilding.

That said, the design and construction process — and the in-situ documenting of it — has been extremely educational to me and I want to share a little of what I’ve learned so far:

The site itself: A House by the Park

I am not building the best home in the world and I am not the greatest writer in the world, but I honestly believe that HBP is the most complete and useful first-hand journal of custom homebuilding online today. There are updates on every aspect of the process, from finding the property, to negotiating, to choosing an architect, to homing in on a design, to the difference between a G.C. and a C.M. Every step of the process is in there, with costs attached. The cost thing is a bit controversial and several people have asked me why I’m exposing how much I pay for everything. The answer is simple: costs are the murkiest aspect of design and construction and if I’m going to demystify the process of building a home, it is essential to expose them. There is no sense in detailing interesting things for other perspective home builders only to leave them in the dark about what something similar might cost them. This blog is about transparency, and everything I can reveal, I will reveal.

HBP is also a great marketing tool for people and businesses involved in my project who do a great job. I plug Build all the time because they deserve it, and I also mention and/or link to contractors, consultants, and others who help along the way.

The economy

When the economy dropped off a cliff last October — right in the middle of design stage — I wavered as to whether or not I wanted to go through with construction. While mostly (but not completely) out of the market at the time, a sinking feeling that the U.S. financial system was about to implode got me briefly curled up in a ball like the rest of the country. I contemplated delaying the project until the economy recovered (if it ever recovered) both for my own mental well-being and because with real estate values plummeting, it seemed like a bad time to be investing more in real estate.

I jumped back and forth between wanting to build and wanting to delay, but in the end, what got me over the hump were a few things:

1. This is the house I want to die in. I never want to sell it, so its paper value means less to me than its intrinsic value. This fact lessens my interest in turning any sort of profit and heightens my interest in getting it done as quickly as possible so my girlfriend and I can enjoy it before we are old and decrepit.
2. The best time to build is when everyone’s business is slowing dramatically. If you build on the upswing, contractors’ bids and availability reflect the fact that they are in high demand. If you build at the bottom, many contractors and subs have already gone out of business so the labor pool has shrunk to match demand. But if you build on the downswing, the available pool of contractors is gigantic and the rates are lower as a result. So far, we are getting extremely competitive bids… a rarity in recent times, I hear.
3. I feel a certain patriotic pride that I am helping put people to work at a time when our economy needs it most. My architects told me I’m one of the few who have “gotten out from under the covers” and I feel good about that. I feel we overspend quite a bit as a nation, and I don’t think people should just go out there and spend willy-nilly to stimulate the economy, but if you have the means to make a purchase right now, whether house, car, education, or other things, there’s never been a better time to do it.

The people

The number one thing that will determine whether or not a home building project is a success is what group of people you choose to work with. You can hire the greatest architect in the world, but if you aren’t on the same wavelength as him or her, your project will turn out horribly. Similarly, even if you make it through design stage with flying colors, the wrong contractor can bring the project in well above your budget level. When I interviewed two general contractors before moving forward with Build as my construction manager, one of them provided me with a “low estimate” and a “high estimate” to account for if things went well or poorly. Their low estimate was almost twice the total cost of the project when going the design/build route, and the high estimate was almost three times! An uninformed client would be out several hundred thousand dollars or more with the wrong decision there.

So far I have not hired a single person on this project that I regret hiring. Everyone’s been great and that has contributed to an ultra-low stress level for me.

Cost structures

I am procuring flat fee bids for every service I possibly can. Build charged me a flat fee for design and a flat fee for construction management. The electrical, plumbing, framing, and other bids are all flat bids as well. As a client, I love the flat fee system because I know exactly what I’m getting and I know exactly how much I’m paying for it. I don’t care if it takes someone longer or shorter than they estimated. I just want the work done and I want to pay a certain amount. As a designer, I also prefer this system. If someone wants a logo designed, I’d rather charge $5000 up front and agree to spend as much time as it takes to get the job done. If I kick ass and produce a great logo in a few hours, woohoo for me. If it takes me longer than expected, my effective hourly rate just decreases a bit. Not a big deal.

Anyone who agrees to pay an architect 15% of the cost of construction should think twice about how their interests are aligned. If the architect makes an extra 15% if he or she convinces you to use a material that is more expensive but not that much better than another material, how is that good for you? I’m not implying any sort of dishonesty here… just misalignment of interests. If I charged that way, I would also naturally gravitate towards the most expensive items my clients could afford.

I have a huge amount of respect for the fields of architecture and construction. I just want to be charged in a way that aligns my interests with my providers’.

Being green

The easiest way to “be green” is to live in a windowless, heavily-insulated, unlit, underground bunker. You’ll barely suck any energy from the grid and you can brag to your friends at parties that you have less of an impact on global warming than Ed Begley Jr. Of course if you do this, you will eventually complete your transformation into the Unabomber and not be allowed at parties — let alone in society — anymore.

The best way to think about building green is to figure out how to have as little of a negative impact on the earth as possible, whilst maintaining the reasonable level of comfort that an atmospheric parasite such as yourself is accustomed to. Does this mean giving up your beautiful west facing view for the sake of completely eliminating solar gain? No. But it means making other smart decisions along the way.

For me personally, it meant donating nearly 55 tons of material such as sandstone and teak to The Re-Store so it can be re-sold instead of shoved into a landfill. It also meant building a smaller, better insulated house than what is currently on the property. And finally, it meant not blowing $100k on environmentally questionable photovoltaic panels or drilling into my hillside for geo-thermal energy, but pre-wiring my roof for 5 or 10 years from now when we can unroll solar panels like beach blankets.

Tumbling as window shopping

I created a Tumblr at tumblelog.ahousebythepark.com to clip all of the interesting things I see on the web which may work well in the house. From appliances, to siding materials, to furniture, it’s a great place to store stuff you want to remember later. No more “where did I see that cool lamp?”. It’s all on the Tumblr. My architects can also monitor the Tumblr to get a feel for what sorts of things interest me and what they may have to design for along the way.

Onward…

Almost a year after beginning phase one, we now move onto phase two: construction. Phase one may be the make or break phase for curb appeal, but phase two is where bank accounts go to die. I don’t expect more than a small percentage of Mike Industries visitors to follow along, but if you’re interested, head on over to HBP and help shape decisions along the way.

We now return you to your regularly scheduled programming.

As a co-inventor of sIFR, I’ve been getting a lot of emails this week asking what I think of this new effort. In evaluating its promise, it’s important to examine the following characteristics, in order of importance: compatibility, functionality, legality, ease of use, and hackiness.

Compatibility

Compatibility is the most important aspect of any new web technology. If your shiny new method only works in 10% of web browsers, it’s nothing more than a proof-of-concept. It is this reality check that keeps me from getting excited about W3C meetings, Internet Explorer extensions, or anything else that doesn’t apply all browsers in the here and now… or at least the right around the corner.

Compatibility was also what pushed sIFR over the top in terms of popularity, working in over 90% of all systems and falling back gracefully in most others. It also came out at a time, 2004, when there wasn’t a whole lot of tolerance for leaving certain browsers behind or having things look ideal in a few browsers and not so ideal in others.

Typekit appears to be doing ok on the compatibility front, targeting current versions of Safari, Chrome, and Opera natively, the next version of Firefox (3.1) natively, and all versions of Internet Explorer via a “backup” EOT solution. Here’s what the browser share landscape looks like today:

• Works in:
  • Internet Explorer: 66.1%
  • Safari: 8.21%
  • Chrome: 1.42%
  • Opera: 0.68%
  • Firefox 3.1 or greater: 0.18%
• Doesn’t work in:
  • Firefox 3.0 or lower: 22.3%
  • Miscellaneous other browsers: 1.11%

So you can see right off the bat that Typekit will work in just over 76% of browsers. Not quite as high as some of the methods that came before it, but it’s extremely important to recognize that the one group that’s keeping Typekit from almost universal compatibility is Firefox. I have no evidence to support this, but I imagine that Firefox users are among the quickest to upgrade, which would seem to suggest that this compatibility gap could be closed relatively quickly. Data shows that Firefox 3 is already used by 11 times more people than Firefox 2, and considering it was released just short of a year ago, this sort of upgrade pattern is encouraging.

Given the above data, combined with how often Firefox seems to annoy me these days with upgrade notices, I expect Firefox 3.1 or greater to be the dominant Firefox version in use one year from now, thus pushing Typekit’s compatibility percentage into the upper 90s fairly soon.

It’s also important to praise what Small Batch has done here on the compatibility front: their killer concept was involving type foundries in web-only licensing and propagating the font files through the standards-complaint @font-face CSS declaration, but they realized their solution would be academic if it didn’t work in Internet Explorer, so they made sure their backup implementation using EOT files took care of all IE users. The lack of this sort of practical thinking is what keeps a lot of great ideas from gaining traction on the web.

I also think that designers these days, self included, are a lot more amenable to things looking great on “most systems” as long as they at least work reasonably on other systems (as long as they look great on the particular system the designer uses). This is a bit of designer bias, of course, but it also represents an increasing desire in the design and development community to leave the old web behind. I still remember how much crap I took at ESPN from validatorians when we decided to leave Netscape 4 — with its 1% marketshare — behind. Now it’s all the rage… and I love it!

Functionality

By all accounts, Typekit will be more functional than any method that came before it. This is quite obviously because it uses a browser’s native font rendering technology. There are some concerns about reliability gaps stemming from downloading fonts off third-party servers, but I believe this fear will prove unfounded. Additionally, I imagine both the @font-face and EOT versions of fonts will come in larger files than sIFR font files (because usually you only embed a subset of characters in a sIFR font file) but with broadband penetration being what it is today, this too will prove immaterial. Additionally, even though sIFR font files may be smaller, the noticeable delay in rendering them probably more than makes up the difference.

Legality

I put legality in the middle of the pack and not at the top because, to my knowledge, there haven’t been any serious legal dust-ups over the use of technologies like sIFR and Cufon. So far, the burden has been on designers to buy the fonts they use before embedding them using sIFR or Cufon, but at the same time, there’s been no clear blessing or condemnation of this practice by foundries or type designers.

The nice thing about Typekit is that it specifically involves foundries and type designers in the process of licensing their fonts for use on the web. When you use Typekit, you know with certainty that what you’re doing has the direct blessing of the people who created and/or marketed the typeface you’re using. This is a nice piece-of-mind upgrade as well as a way of further compensating type designers for giving us the building blocks of web design.

Ease of use

Typekit promises to be easier to implement than either sIFR, Cufon, or any other font replacement technology. I guess we won’t know until we start using it, but it would shock me if it took more than a few minutes to implement, including licensing the font you want to use. sIFR’s second most common complaint other than “it uses Flash and Flash kills puppies” is that it’s a bit difficult to implement. Typekit’s improvement on this front will be more than welcome.

Hackiness

First let me say something I’ve said many times before: the entire world wide web is a hack. Get over it. Secondly, however, any technologies or methods — that work — which serve to dehackify it a bit are welcome. Typekit certainly dehackifies custom typography on the web by leaps and bounds. It was the solution we all knew would come eventually when we created sIFR as a stopgap five years ago. Just about the only things hacky about it are that it falls back to EOT (which, as discussed earlier, is great) and that it uses Javascript to handle the licensing nuts and bolts (meh, big deal).

Conclusion

Typekit is likely the best thing to happen to web design since the re-emergence of browser competitiveness. It will be embraced quickly and fervently when it is released this summer, and its creators should be loudly applauded for doing it instead of just talking about it. There are too many talkers in the world and not enough doers. The team at Small Batch has done an excellent job of taking a problem that a lot of people like to talk about and solving it in a practical, equitable way. It’s a welcome solution to a real issue and a significant step towards a leaner, Veener web.

No matter what your political leanings are, today is a special day. Above is my favorite poster from the presidential campaign. It was beautifully illustrated and silkscreened by The Date Farmers to help get out the vote in Texas… complete with authentic Mexican Revolution motif. I believe this is the only known depiction of Barack Obama where he looks reasonably badass.

Really, really beautiful.