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    Bill Atkinson, Who Made Computers Easier to Use, Is Dead at 74

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    A designer for Apple, he created software that made it possible to display shapes, images and text on the screen and present a simulated “desktop.”Bill Atkinson, the Apple Computer designer who created the software that enabled the transformative visual approach pioneered by the company’s Lisa and Macintosh computers, making the machines accessible to millions of users without specialized skills, died on Thursday night at his home in Portola Valley, Calif., in the San Francisco Bay Area. He was 74.In a Facebook post, his family said the cause was pancreatic cancer.It was Mr. Atkinson who programmed QuickDraw, a foundational software layer used for both the Lisa and Macintosh computers; composed of a library of small programs, it made it possible to display shapes, text and images on the screen efficiently.The QuickDraw programs were embedded in the computers’ hardware, providing a distinctive graphical user interface that presented a simulated “desktop,” displaying icons of folders, files and application programs.Mr. Atkinson is credited with inventing many of the key aspects of graphical computing, such as “pull down” menus and the “double-click” gesture, which allows users to open files, folders and applications by clicking a mouse button twice in succession.Before the Macintosh was introduced in January 1984, most personal computers were text-oriented; graphics were not yet an integrated function of the machines. And computer mice pointing devices were not widely available; software programs were instead controlled by typing arcane commands.The QuickDraw library had originally been designed for Apple’s Lisa computer, which was introduced in January 1983. Intended for business users, the Lisa predated many of the Macintosh’s easy-to-use features, but priced at $10,000 (almost $33,000 in today’s money), it was a commercial failure.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Love, hope, community and resistance’: ACLU to unveil 9,000 sq ft quilt for trans rights

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      “It would be a lie if I said I wasn’t anxious,” Abdool Corlette said while discussing his latest project with the American Civil Liberties Union, Freedom to Be. An award-winning film-maker and head of brand at the ACLU, Corlette has been working for nearly two years with hundreds of trans people across the country to create a 9,000 sq ft quilt, composed of 258 panels that are packed with responses to the question: what does freedom mean to you?Corlette is anxious because Freedom to Be is all about trans joy and trans freedom, and it will make a defiant stand for both on 17 May in Washington DC in spite of the war that Donald Trump has waged against the trans community since his inauguration.“We have been doing everything we can to create contingency plans to make sure we have every scenario accounted for,” Corlette said. “This is what keeps me up at night, making sure our guests are safe.”This was not the celebration that Corlette had hoped for. When Freedom to Be kicked off in September 2023, it was focused more around combating the tsunami of anti-trans legislation that has taken over statehouses since 2020, as well as the related wave of anti-trans rhetoric that has seeded the ground for such legislation. The first two prongs of the campaign have already occurred: with the first, Corlette helped tell the stories of trans kids whose lives had been transformed by gender-affirming medical care, and with the second he spearheaded a rally on the steps of the supreme court on 4 December 2024, in conjunction with oral arguments in the case of United States v Skrmetti. The eventual ruling on that case will decide on the legality of bans against gender-affirming care for trans minors.The third prong of Freedom to Be happens this weekend as part of WorldPride, an annual global celebration of the LGBTQ+ community that just happens to occur in DC this year. The festivities will play out during the upswing of one of the most virulently anti-queer governments in US history, and, already, attenders from all over the world have pulled out, as have many of the event’s corporate sponsors.View image in fullscreenIn spite of the potentially dangerous situation, Corlette is hoping that the trans community will be able to find joy as he publicly displays the completed quilt. “I want someone who is feeling heavy to walk into that space and see that across the United States there’s 9,000 sq ft of messages of love, hope, community and resistance,” Corlette said. “Joy is what I want to blanket that day.”Lee Blinder, founding executive director of Trans Maryland, took part in helping create some of those messages that Corlette hopes trans people and their allies will see in DC. On 9 February this year, less than three weeks into the Trump administration, Blinder walked into a local queer bar to host more than 100 members of the trans community in creating squares for the quilt. According to Blinder, coming together to make the quilt instilled hope amid the onslaught against trans people that filled Trump’s first weeks in office. “People walked into that room feeling extraordinarily grateful to be there,” Blinder said. “There were these gorgeous multicolored sewing machines; there was so much thought and intention that went into the event. Multiple people came up to me and said, ‘We’re so grateful that y’all had this event. This is what I needed.’ It was really nice to be there and take time out of that impossible week.”Blinder’s comments speak to the power of being in community, even when confronted by the profound threats to basic human rights and bodily autonomy posed by the Trump administration and Republican-led state governments. It is a power Blinder is quite familiar with, as for years they have led Trans Maryland in hosting weekly trans support groups and organizing a program in which trans people help each other with name and gender marker changes. “It’s trans people who have been through the process helping other community members,” they told me.View image in fullscreenBlinder plans to be in DC for the unveiling of the Freedom to Be quilt, and they are extremely thrilled to be participating. “I’m really excited to see it all stitched together in person,” they said. “I saw all the quilt squares stacked there [in the bar] after everyone had made them – there’s this pool table in the space, and they’d lay them out there where we could see a little bit of the vision of how they would all come together.”Blinder echoed many who have posed art as an important element in fighting back against the Trump administration and other anti-LGBTQ+ governments. In particular, they see the way that art can bring together communities, while also opening minds and hearts, as integral to pushing back against authoritarian political movements. “The process of creating art has been a longstanding element of resistance for the trans and queer community,” they said. “It’s a key component with the resistance against fascism – it’s played a key role in the past, and I think it will continue to play a significant role in the resistance as it is right now.”According to Corlette, working with trans people at a particularly dangerous time for the community has been a powerful and often painful experience, as he has built personal relationships with individuals who have been harmed by repressive governmental policies. “Individuals who were storytellers in the first part of this campaign have had to pick up and leave their home states for fear of safety for their own bodies,” he said. “That’s what makes it so personal.”View image in fullscreenCorlette hopes that Freedom to Be will not just reach trans people and their allies but also connect with anyone who is feeling demoralized amid the authoritarian ambitions of the Trump administration. “No matter how daunting this fight is, hope has not been lost,” he said. “If the most marginalized community in the country is remaining in the fight, everyone else should be as well.”Ultimately, Corlette sees Freedom to Be as continuing a legacy of transformative community action taken by the queer community in support of itself. For him, spreading stories and joy while giving the community ways to be together is what’s most important. “This monument is a direct descendant of the Aids memorial quilt,” he said. “We wanted to really be in the legacy of those who came before us, to use art and advocacy to not only memorialize but to create pockets of joy for communities to tell their stories and come together to celebrate their existence.” More

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      in Elections

      William L. Porter, Designer of Classic American Cars, Dies at 93

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      As a senior designer at G.M., he helped create the exuberant, elongated shape of 1960s and ’70s cars like the Pontiac GTO, the Bonneville and the Trans Am.William L. Porter, a car designer who helped create the shapes of some of the most celebrated American vehicles of the late 1960s and early ’70s, died on April 25 at his home in Whitmore Lake, Mich. He was 93.His death was confirmed by his son, Adam, who did not specify a cause.As a senior designer at General Motors for more than three decades, Mr. Porter was intimately involved in determining the appearance of numerous cars that were uniquely American in their exuberant, elongated design and curvaceous forms. These were big, sleek cars for long, empty American roads, and for cities filled with the parking lots that could accommodate them, light years from the compact boxes made for Europe’s narrow streets.Mr. Porter made this sketch of the Pontiac GTO body in 1962, when he was just beginning to conceive of the car that would become the 1968 GTO.via Porter familyA 1969 iteration of the Pontiac GTO design.iStock Editorial/Getty Images PlusThe Pontiac GTO model produced in 1968 and 1969, with its endless hood and smooth, tapering back — its “monocoque shell form with elliptical pressure bulges over the wheels,” as Mr. Porter put it in an interview in 2000 — was one of his signature creations.G.M. made him chief designer at what it called the Pontiac 1 Studio in 1968, and he held that position until 1972, before going on to other senior design positions. In the early 1970s, he directed the design of the company’s LeMans, Catalina and Bonneville cars, which had tapering forms with jutting trunks, in keeping with his aesthetic.“I was taken with a plainer, curvaceous look featuring long, muscular shapes based on elliptical vocabulary,” Mr. Porter, a connoisseur and collector of American design, including Tiffany glass and Arts and Crafts furniture, said in an interview with Hot Rod magazine in 2007.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Guide to New, and Creatively Designed, Restaurants in New York City

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      Visitors should at least peek into some of these spots, including a sushi restaurant with a 2D interior and a Baz Luhrmann-owned joint with major medieval vibes.May brings thousands of visitors to New York City for art and design fairs and related events. The largest and most established include two major art fairs, Frieze New York (Thursday through Sunday), and TEFAF New York (Friday through Tuesday), the NYCxDesign Festival (May 15-21), the International Contemporary Furniture Fair (May 18-20) and a new design fair, Shelter by Afternoon Light (May 17-19).But fairs and galleries aren’t the only places to see remarkable design in the city. Restaurants, for example, have become as serious about design as they are about the food (and sometimes even more so). Hundreds of dining establishments opened last year in New York City, many of them featuring impressive art, flattering lighting, high-end finishes and furnishings and, of course, at least a few Instagram-worthy backdrops.The ones highlighted below have opened in the past year. They were not chosen for their culinary or cocktail offerings but for their standout design, with interiors that are intriguing and engaging. Some were designed by professionals, others by industry veterans taking matters into their own hands, and one by a film industry power couple. Scoring a coveted reservation during a time when leagues of art and design types flood the city will probably not be easy, but a curious visitor might be allowed to pop in for a peek.Clemente BarThe interior of Clemente Bar, a new bar above Eleven Madison Park, was inspired by Kronenhalle, a wood-paneled restaurant in Zurich.Jason VarneyThis intimate bar above Daniel Humm’s Eleven Madison Park has garnered buzz for its original art, created by the man for whom it was named, Francesco Clemente. But it was Brad Cloepfil of Allied Works, the architect responsible for the 2017 redesign of the three-Michelin-starred restaurant, and Rachel Massey, his associate principal, director of interior design, who created the interiors.When Humm approached Cloepfil about designing a bar for Clemente’s works, he cited Kronenhalle, an elegant, old soul of an establishment in Zurich, as potential inspiration. Kronenhalle’s restaurant has wood-paneled walls clad with pieces by the likes of Marc Chagall and Joan Miró.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Elections

      Designers Do a Double Take at the Lettering on Pope Francis’ Tombstone

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      Irregularly spaced letters spelling “F R A NCISC VS” have caused a stir among typography nerds who specialize in spacing and fonts. One called them “an abomination unto design.”The arrangements for the funeral of Pope Francis were meticulous, and the ceremony drew a global audience. But it is the arrangement of the letters on his tombstone that are now attracting outsize attention.The simple slab has only 10 letters, but the spacing between them can make it read like “F R A NCISC VS.”Of course, the lettering is meant to be read as Franciscus, the derivative of the pope’s name in Latin. (V stood for both u and v in Latin.)Pope Francis’ marble tomb reflects his simple style and fulfills his desire for an unadorned final resting place. In that sense, the tombstone lettering in Times Roman, a workmanlike font that is widely used in the English language, could be considered appropriate.But for those who obsess about kerning, the space between letters, the view from above the tomb is not exactly an aesthetically pleasing one.“Woe be unto the person who decided to do it the way that they did it, just because it’s a bad decision that will last for a long time, unless they change it,” said Charles Nix, the senior executive creative director at Monotype, one of the world’s largest typeface and technology companies.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Elections

      Yrjo Kukkapuro, Who Made the Easiest of Easy Chairs, Dies at 91

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      A celebrated Finnish modernist, he designed a variety of furnishings but was best known for his seating — which, his company said, “almost every Finn has sat on.”Yrjo Kukkapuro, a Finnish furniture designer who devoted his restless creative energies to sedentary comfort, creating dozens of chairs that coddled sitters and lent a zesty flair to their surroundings, died on Feb. 8 at his home in Kauniainen, Finland. He was 91.His death was confirmed by his daughter, Isa Kukkapuro-Enbom.In his seven-decade career, Mr. Kukkapuro designed a variety of furnishings for homes, offices and public institutions. But he was best known for his seating.“Almost every Finn has sat on a chair he designed — at a metro station, in a bank, at a school or in a library,” his company, Studio Kukkapuro, said in a news release.An experimental modernist who was invigorated by the availability of lightweight synthetic materials after World War II, Mr. Kukkapuro made abundant use of fiberglass and other plastics, which could be sculpted to the human form. He also favored organic materials like steam-bent plywood and leather.Referring to Mr. Kukkapuro’s relentless pursuit of ergonomics, Jukka Savolainen, a former director of the Design Museum in Helsinki who now heads the Alvar Aalto Museum in Finland, described him as “playful with form and color, but always thinking about the user at the center.”Among Mr. Kukkapuro’s most celebrated designs was Karuselli, a slick fiberglass lounge chair with exuberant leather upholstery rolling over the edges. He attached the bulbous bucket seat to the flowerlike base with a steel bracket that permitted the chair — whose name means “carousel” in Finnish — to both swivel and rock.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Elections

      Mary McFadden, Celebrated Designer of Shimmering Dresses, Dies at 85

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      She took symbols from ancient cultures and translated them into intricate embroideries, beadings and paintings on clothes worn by the likes of Jacqueline Onassis.Mary McFadden, a fashion designer who was famous not just for her shimmering, pleated dresses, which cascaded freely to the floor, but also for her visage — stark white Kabuki-style makeup and bluntly cut ebony hair — died on Friday at her home in Southampton, N.Y. She was 85.Her brother John McFadden said the cause was myeloma dysplasia.Ms. McFadden took symbols from ancient cultures — the phoenix from China, shadow puppets from Indonesia — and translated them into intricate embroideries, beadings and paintings on her clothes.At Mary McFadden Inc., the company she ran from 1976 to 2002, she designed pleated dresses that she said she wanted to fall “like liquid gold” down a woman’s body. They were similar to those made by Mariano Fortuny and Henriette Negrin early in the 20th century, but they were made from a synthetic charmeuse that she sourced in Australia, dyed in Japan and machine-pressed in the United States — a fabric she patented in 1975 and called Marii.She designed dresses that resembled those worn by the women sculpted on the caryatids at the Acropolis in Greece, and her models imitated their poses for fashion shoots under the pediment of the New York Public Library. Jacqueline Onassis was among those who wore McFadden gowns.Ms. McFadden was the first female president of the Council of Fashion Designers of America. She served in that position from 1982 to 1983.The author, pianist and composer Christopher Mason said that he often ran into Ms. McFadden in the late 1980s and ’90s, and that he once found himself seated next to her at a dinner hosted by the Irish model Maxime de la Falaise for her daughter, Loulou.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Luca Guadagnino Has a Film at the Venice Film Festival and Curates Homo Faber

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      The film director and designer did double duty in Venice, Italy, debuting a film at the Venice Film Festival along with his curation of Homo Faber, the craftsmanship exhibition.Luca Guadagnino has added creative director to his list of jobs.As a filmmaker, his credits include “Challengers,” the Oscar-nominated movie “Call Me by Your Name” and the upcoming “Queer,” an adaptation of William S. Burroughs’s semi-autobiographical novella starring Daniel Craig, which recently premiered at the Venice Film Festival. He is also the founder of Studio Luca Guadagnino, an award-winning interiors firm in Milan that has designed several homes, boutiques and, most recently, the Palazzo Talia hotel in Rome.Now, Mr. Guadagnino has marshaled the staging and curation of Homo Faber, a monthlong, biennial craftsmanship exhibition that opened on Sunday at the Giorgio Cini Foundation, a cultural center on San Giorgio Maggiore island in Venice. Homo Faber, which means “man the maker” in Latin, is put on by the Michelangelo Foundation for Creativity and Craftsmanship, a Geneva-based non-profit established by Italian author Franco Cologni and luxury industry billionaire Johann Rupert, chairman of Richemont, which owns the brands Cartier, Van Cleef & Arpels and Alaïa. Mr. Guadagnino partnered with his design studio project manager, Nicolò Rosmarini, to conceive this third edition as a “holistic experience — like a narrative,” he said.To achieve this, Mr. Guadagnino and Mr. Rosmarini created an immersive journey throughout the island’s 16th-century Palladio-designed monastery and assorted buildings that carries visitors through 10 multisensory set pieces, each dedicated to an aspect of the human experience like Childhood, Courtship and Dreams. They designed everything (“the lighting system, the uniforms, the tote bag, the tables, the cover of the cable on the floor,” Mr. Guadagnino said) then filled the rooms with 800 objects by 400 artisans from 70 countries.Reef by Josh Gluckstein, a piece in the exhibition.Matteo de Mayda for The New York TimesJust My Cup of Tea(r)s by Irene Cattaneo.Matteo de Mayda for The New York TimesTanagra’s Metamorphosis 2 by Claire Lindner.Matteo de Mayda for The New York Timesribbon imagined by Studio Luca Guadagnino.Matteo de Mayda for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Antique Wall Tapestries Are Back. Here’s Where to Buy.

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      Leafy antique wall hangings are having a resurgence in the design world, showing up in even the most modern rooms.Picture a tapestry hanging on a wall and the setting is likely a rambling manor house. Lately, however, ornate European examples have been appearing in less expected places, including contemporary Manhattan apartments. “Just as they did in castles in Belgium in the 15th century, tapestries provide an enormous amount of visual impact, warmth and artistry,” says the New York-based interior designer Billy Cotton, 42, who recently installed one as a stand-in for a headboard in an eclectic apartment on the Upper East Side. “They bring something unique that art or wallpaper just doesn’t.”European tapestry, as an art form, dates back at least as far as the Middle Ages, when intricate, outsize weavings depicting everything from wildlife scenes to biblical stories were woven by hand on looms using wool, silk and even gold and silver thread. During their first surge in desirability, between the 15th and 18th centuries, they were found exclusively in the grand abodes of royals and aristocrats — not only because of their prohibitive prices but because of the vast wall space required. Thick and dense, they also acted as insulation, making them ideal for drafty castles. (Henry VIII was a fan.)According to Jim Ffrench, 60, a director at the gallery Beauvais Carpets in Manhattan, antique wall hangings remained as expensive as important oil paintings and other fine art until around the time of the Great Depression, when they fell out of fashion and lost value. “The concept of them being a decorative or secondary art form is very much a mid-20th-century conceit,” he says. “But the upside is that, today, even the best tapestries in the world are still cheaper than a Basquiat.” While that’s a high bar — and figurative woven scenes are relatively rare and priced accordingly — simple verdure tapestries, which depict lush landscape scenes, and fragments of larger pieces can often be found for less than $1,000.In the New York City bedroom of the interior designer Billy Cotton, a verdure tapestry that he found at a Paris flea market acts as a headboard.Blaine DavisA rare wool-and-silk panel woven in Brussels in the early 1500s and depicting a betrothal scene hangs on the wall at the Manhattan showroom of the textile dealer Vojtech Blau.John Bigelow Taylor“The palette and scale of tapestries can lend a room a beautiful openness because, oftentimes, they have an interesting sense of depth in their compositions,” says Adam Charlap Hyman, 34, a co-founder of the New York- and Los Angeles-based architecture and design firm Charlap Hyman & Herrero. In the living room of his New York City apartment, an early 18th-century verdure tapestry — inherited from his grandmother and made in Aubusson, a French town famed for its weaving — takes up almost an entire wall, framing a curved 1970s sofa by the German designer Klaus Uredat.The Manhattan-based architect and designer Giancarlo Valle, 42, often incorporates tapestries with nature scenes — known as cartoons — into his projects because, he says, “they’re like lenses into another world.” Recently he hung a 14-foot-high 17th-century Flemish piece above a midcentury chest of drawers in a client’s otherwise minimalist New York apartment. The piece, which he acquired from an estate, is part of a four-panel set, other panels of which hang in the palatial English manor houses Holkham Hall in Norfolk and Mamhead in Devonshire. “I think their rise in popularity fits in with the larger trends we’re seeing in the art world now for figurative paintings, real life scenes and historical-looking works,” he says, adding that “tapestries are great for rooms that need a big storytelling element or have a very large wall.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More