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Posted by hipstomp / Rain Noe  |  19 Sep 2014  |  Comments (0)


While food trucks are all over NYC, and the cocktail trend continues to spread across the city, we've never seen anyone combine the two and create a Booze Truck. But a select amount of tipplers in the UK just may spot one. It isn't any regular booze truck, and as far as we can tell they ain't charging for the drinks. Which should remain affordable for the proprietors as it can only seat two folks at a time.


With Grey Goose for a client, London-based branding agency Ragged Edge created The World's Most Intimate Martini Bar, as they've nicknamed it, by restoring an old Citröen Type H. In addition to the exterior restoration, they've kitted it out with an interior of leather, marble, bronze, brushed metal, and etched glass to create a "fully functioning luxury bar."



If you're wondering why there are photos of bread on the side for a company hawking vodka, the project is officially called the Boulangerie Francois Camionnette ("French bakery van") as a nod to another branding event RE held last year: In London's Soho they launched a pop-up artisanal bakery, where guests could "sample fresh Grey Goose bread, made using the finest soft winter wheat from the Picardie region in France." (That's the same type of grain Grey Goose is made from.)


Posted by hipstomp / Rain Noe  |  19 Sep 2014  |  Comments (3)


As the Nazis occupied France and commandeered production at the Citröen factory, Citröen's design team was still secretly working on their own projects. One of those was the iconic 2CV economy car. Another was an equally quirky-looking but very different sort of vehicle called the Type H. And interestingly enough, one of its key design elements was inspired by the aircraft used by the Germans occupying France.

Like the 2CV, the Type H was meant to do more with less. But whereas the 2CV was meant to haul people and their farm goods, The Type H would be its urban counterpart, a proper delivery van. It would be a direct successor to their TUB and TUC delivery vehicles, whose production had been killed for want of raw materials during the war. Here's what that pre-war TUB looked like, by the way:


As you can see, a van requires a lot more surface area than the 2CV. This raised the problem of how to stiffen the van's structure while using materials as economically as possible. The answer was flying above Citröen's heads and landing at airfields in occupied France:



Posted by Carly Ayres  |  19 Sep 2014  |  Comments (1)


While studying abroad in Denmark during the fall of 2013, Meg Czaja toured Lego Headquarters and was disappointed with what she saw. For a class at the Kolding School of Design focused on the topic of play, the designer explored the toymaker's facilities, becoming increasingly disillusioned with the company's outlook on children in the United States. "One of the speakers, whom I believe worked in marketing, said that children in the U.S. don't know how to use Legos without instructions, which is why they are now sold in sets," Czaja says. "Rather than trying to challenge the notion, this mentality was driving their current designs—in lieu of a child's capacity to create. I found it to be incredibly troublesome."

That experience stuck with the Pratt MID candidate when she came back to the States, as she actively sought out opportunities to design for children's unrestricted, self-prompted play. The perfect opportunity came last spring in a soft-goods class taught by Rebbecah Pailes-Freedman. Given the task to design a backpack that incorporated an inherent social message, Czaja naturally gravitated to the topic of free play. The result is the PlayPack, which incorporates toys in its construction and can even become a toy itself.

Czaja kicked off the 14-week project with a comprehensive competitive analysis of existing backpacks. Making trips across New York and New Jersey, Czaja visited Target and REI stores to take photos and gather information about the bags they sold. Focusing on the bag construction, she looked at materials and the way zippers and other fasteners were handled, along with other features. "I think I examined over a hundred backpacks," she says. Czaja sketched out potential designs, honing those down to a final ten to present to her class.



In an effort to make the experience similar to that of a client/designer relationship, the professor picked the final direction for PlayPack, and then Czaja had to execute it. Designing and prototyping happened concurrently as the designer spent a few days mocking up the paper backpack from craft paper and masking tape on a child-sized mannequin, while simultaneously figuring out how the pack could be played with as individual pieces. "What if the bag itself became a toy that could be used in conjunction with the objects it held?" Czaja asked herself. "The form came from there. I never wanted the bag to be a toy in typical terms. I wasn't aiming to make a backpack that looked like a rocket ship or an octopus because, overall, that's limiting."


Posted by core jr  |  19 Sep 2014  |  Comments (0)


Right now the buzz term in education is STEM, which is composed of Science, Technology, Engineering and Math. Despite the momentum building around STEM careers, students continue to be widely uninterested in these growing fields. Intimidation, fear, real-world disconnect and unequal representation for girls and minorities are all contributing to an overall lack of interest. With STEM related jobs projected to grow by 17% over the next ten years, it is imperative to find a solution that re-inspires and reengages young generations to pursue these STEM disciplines.

Really, STEM has a branding problem.

Two Bit Circus is leading the movement to re-inspire the inventors and designers of the future through STEAM (STEM + Art).

This means harnessing a person's passion for music by exploring how to build a musical robot, or tapping into kids' excitement around fashion and applying that knowledge to designing and constructing wearable technology fashion pieces. By offering these young inventors the opportunity to create their own combinations of interest in STEAM, Two Bit Circus provides the spark needed to ignite not just their curiosity in these disciplines, but most importantly their enthusiastic pursuit of STEAM careers in the future.

To kick off this STEAM movement, Two Bit Circus have created the STEAM Carnival, a unique, high-energy event that will feature tech-infused game attractions and carnival-inspired entertainment to thrill, amuse, and reimagine the way we learn and play through STEAM.

The Los Angeles STEAM Carnival debuts October 25–26, 2014 at CRAFTED at the Port of Los Angeles. Engage in 90,000 square feet of fun, featuring high-tech games, mad science demos, circus performers and fun foods.

Use Promo Code CORE77 for a $5 discount on each ticket!

Posted by hipstomp / Rain Noe  |  19 Sep 2014  |  Comments (1)


The iPhone 6 and 6 Plus roll out today, and uptake will be massive. In addition to the insane sidewalk lines you'll shortly see on the news, Apple has racked up a staggering 4 million pre-orders. iOS app developers who upgrade their offerings will have a ready market, but they "can't just treat screens in the 5.5-inch range simply as a scaled-up version of a smaller phone," writes mobile products developer Scott Hurff, citing basic ergonomics. "[With the larger sizes] grips completely change, and with that, your interface might need to do so, as well."

To help app developers who haven't already made their bones on already-large Android devices, Hurff has released "Thumb Zone" maps on his blog. Research from Steven Hoober, author of Designing Mobile Interfaces, concluded that the majority of users prefer to use smartphones one-handedly, and Hurff used Hoober's data to create visual representations of where your thumb can, can't, and can kind of reach on various models of iPhone:


Then he puts Thumb Zones for the 6 and 6 Plus side-by-side:


This is where you start to see a sharp difference brought about by a much larger screen size. The sheer width of the 6 Plus means the thumb can no longer naturally reach all the way to the left edge, while the different grip required to support the larger device also changes the shape of the "Natural" area.


Posted by core jr  |  19 Sep 2014  |  Comments (2)
Advertorial content sponsored by Dassault Systemes

"The MP3 player wasn't a new thing when the iPod came out, nor was the iPhone the first smart phone," observes John Maeda, Design Partner at Kleiner Perkins Caufield & Byers and former president of the Rhode Island School of Design. "But they were the ones that made you give a damn."

What Maeda describes in that 2011 Huffington Post article is the First Moment of Truth (FMOT)—that moment when a consumer walks into a store, faced with several comparable products and has to make a decision. They pick up MP3 player one, MP3 player two, hold them in their hands and, in that FMOT, decide which one they will purchase. In a world where many products are relatively similar in terms of technology, price, performance and features, design is that differentiator.

That differentiator is what companies like Karten Design try to create. "How do you get mindshare? How do you stand out? How do you create "sticky" stuff? We use design research," says Stuart Karten, Principal and Founder of Karten Design, a product innovation firm made up of scientists, sociologists, anthropologists, and designers who go out and spend time with the people for whom they are designing products.


"We are trying to understand their habits and ceremonies, so that we can create products that fit in with the way people live their lives, making them easier to adopt," explains Karten. "Most importantly, we are trying to find unmet needs—common needs that are persistent in people's lives, but aren't being satisfied through the current products, or even the product categories that are available on the market. We use unmet needs to drive new ideas."


Posted by Sam Dunne  |  18 Sep 2014  |  Comments (3)


When it comes to week long festivals of design, it is often off the beaten track and around the fringes—at a safe distance from the frantic hype and clamouring furniture brands—that you find the most interesting things going on.

North from the thriving creative district of Shoreditch, photographer Dan Tobin Smith—famous for his work with everyday objects, perhaps most recognizably as the cover artwork of Jay-Z's Blueprint 3—has opened up his studio in Haggerston (a recently established haunt for the creative classes, with a few notable IDers amongst them) exhibiting a spectacular installation that is perhaps the most critical contemplation of consumer culture we're likely to see all week.

"No one can win against kipple, he said, except temporarily and maybe in one spot."

Entitled 'The First Law of Kipple' in reference to Phillip K Dick's 1968 novel 'Do Androids Dream of Electric Sheep'—that later went on to inspire Blade Runner—the installation features thousands upon thousands of objects swamping the studio on every flat surface, arranged (with great appeal to the OCD-inclined) in a stunning spectrum of colours. Much like the fictional post-apocalyptic world that is haunted by plastic 'kipple,' the objects swarm all throughout the exhibition space—following viewers up stairs and into the toilet cubicle.

Apparently the accumulation of months upon months of collecting in thrift shops and carboot sales, the objects collected were first used for a series of photographps of spectral seas of objects. Tobin Smith and his team report then spending around a month to lay out the objects perfectly for this week's incredible installation.






Posted by Jeri Dansky  |  18 Sep 2014  |  Comments (1)


Design students face the same challenge as many other students and professionals: how to best carry the materials and tools needed on a day-to-day basis. Two students have created designs to meet that need.

Nitesh Baviskar decided to design a bag specifically for industrial designers.


While some of the bags Baviskar looked at during his research were backpacks, his design is a shoulder bag.



The bag is designed to hold the things designers need: a laptop, a sketchbook, drawing implements and a few tools.


Posted by hipstomp / Rain Noe  |  18 Sep 2014  |  Comments (1)


We previously covered industrial designer Robb Godshaw's work here and here, and now the self-described "interactive artist, tinkerer and designer" has created something blogworthy yet again. Masquerading as a health-promoting piece of work furniture, Godshaw's latest creation is a commentary on our working lives: It's a standing-desk treadmill—except the treadmill has been turned inside out to place the user on the inside. Like a hamster wheel.

Godshaw created it as part of his artist-in-residence term over at Autodesk's Pier 9 fabrication facility, teaming up with a fellow tinkerer going by the handle wrdwise. With assistance from Vanessa Sigurdson, Gabe Patin, Oliver Kreitman, and Bilal Ghalib, the duo designed and built the thing and posted an Instructable on it for like-minded hamsterfolk.

Rise up, sedentary sentients, and unleash that untapped potential within by marching endlessly towards a brilliant future of focused work. Step forward into a world of infinite potential, bounded only by the smooth arcs of a wheel. Step forward into the Hamster Wheel Standing Desk that will usher in a new era of unprecedented productivity.

Here it is in action:


Posted by erika rae  |  18 Sep 2014  |  Comments (0)


It's always interesting to revisit past Core77 Design Awards honorees and learn what they've been up to since then—while we'd certainly be flattered if a C77DA honor was a designer's greatest accomplishment, we hope that they continue to grow and explore. Leyla Acaroglu took home a trophy in 2013 for her hand in the Design Play Cards: Designing for Sustainability, and has since made her mark as a disruptive designer, sustainability provocateur and educator. The jury team recognized the project as an award-worthy attempt to teach a much-debated skill: design thinking. Now, her latest project takes a less obvious—yet just as intriguing—stab at doing the same thing, in a more social atmosphere.

Acaroglu has launched the Un-School of Disruptive Design with social entrepreneur Heidi Sloane and artist Yvette King. While the actual space won't open its doors until 2015, the school is off the ground and running with a series of events to take place this fall in New York City.


The Un-school recently hosted a launch party at the AIGA National Design Center where they introduced teasers to their fall activities. The school seems to have launched very recently, making their event planning and party success quite impressive; here's the group's mission statement, to give you a better idea of what they're all about:

Design is the silent social influencer that shapes and scripts the way we live in the world—at the Un-School, we are disrupting the way in which design is viewed and used. We work with designers, artists and innovators on provocative and fun activations and events for positive social and environmental change. We invite you to come un-learn and un-do at the un-school.




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