Who likes climbing the stairs to a fifth-floor walkup? By the time you get there, youвЂ™re out of breath. In keeping with the building design metaphor, here are 5 reasons that you may find your digital creative home remarkably uncomfortable. Especially not if you are a visual-centric thinker, like an interior designer, fashion stylist, creative director or graphic designer, the reality is that organising still sucks. Wide walls: Is it flexible to meet different creative needs?Д«ut nailing those three criteria doesnвЂ™t mean that the tool is great? Not quite.Parlaying that metaphor provides us with a framework with which to evaluate the visual organisational options, and how that fits with the creative workflow.

Satisfying the trifecta of low floors-high ceilings-wide walls would allow for an easy entry point, the potential for increased sophistication, and expansive possibilities to support different needs and styles. Like Papert before him, ResnickвЂ™s goal was to make programming accessible. He is also a founder of Scratch, a programming language for all. Resnick is Professor of Learning Research at the MIT Media Lab, and a director of the Lifelong Kindergarten research group. Resnick added an extra dimension of вЂwide wallsвЂ™ to capture the concept of вЂleewayвЂ™-which is essential to exploration. PapertвЂ™s mentee, Mitchel Resnick, expanded on the concept in recent times. Thus, Papert advocated for Logo to be designed with low floors, to be easily accessible to young children, and simultaneously with high ceilings, to cater for more complexity as they advanced. Papert and others at the Massachusetts Institute of Technology used Logo to teach mathematical thinking to children.

This metaphor was first conceived by Seymour Papert in the 1970s as a design principle for the Logo programming language.

Devonthink to go sucks