Well, here's a rather fun self-proclaimed "stupid pet project"—a literal brief if there ever was one—by SVA IXD student Max Kessler. As a kind of analog random number generator, "Coin Flip" is rather more purposeful than this brilliant gizmo, and the drinking-bird-meets-desktop-trebuchet invariably offers a more delightful user experience than, say, a web app. "The programming and robotics were build with an Arduino One, photocell, and Jameco 12V DC Motor," Kessler writes. "All the prototyping was built with MDF."
Meanwhile, as a tangible example of interaction design, the project is about as straightforward as it gets when it comes to learning by doing:
In my project, a few challenges I faced were the physics of the spring vs. motor strength and the material strength in relation to that determined motor power. A personal success in the project was my commitment and effort in prototyping and iteration.
Sure, it's a lot of custom-cut acrylic for an admittedly frivolous diversion, but what else were you going to use it for?
Last time we checked in with Case Studyo, the Belgian limited-edition art purveyor, we took note of Grotesk's "6FT - 6IN" lamp. Now, just in time for the holidays, sometime Core-llaborator Andy Rementer is pleased to present "People Blocks 2," his second artist sculpture series comprising four winsome characters. From cyclopic Jaques (cardsharks might pick up on the pun) to bow-legged beagle Pierre, there's no denying that these modular sculptures have a broad appeal amongst art and design collectors alike.
The limited series features four new wooden characters entirely made and painted by hand. The individual pieces are interchangeable, allowing them to be re-assembled and stacked to create custom characters or abstract sculptures.
This new series continues in the spirit of the first edition with bold new shapes, colors and striking patterns. While their feet are planted firmly on the ground, the cast of characters also share a share a sense of unease and mystery, distinguishing features of Rementer's work.
L: The Fluidigm Juno, designed by fuseproject; R: Quirky+GE's "Tripper" sensor
As an editor at Core77, I often find myself attempting to explain what industrial design is, and I'm sure those of you who are actually practicing designers often find yourselves in find yourselves in the same position. It's regrettable that ID is a widely unsung (if not outright overlooked) force in the world, to the effect that it falls on a precious few star designers such as Karim Rashid and Jony Ive to speak for the profession. The latter made a rare public appearance at the Design Museum this week in a conversation with museum director Deyan Sudjic, making a strong case for design-led business model (perhaps RE: suggestions to the contrary), hands-on education, and maintained that failure is part of the design process.
If Apple represents the paragon of industrial design in the post-industrial age—hardware that is as much a vessel/vehicle for digital UX (i.e. a screen) as it is a beautiful artifact—so too are we always curious to see new developments in other the frontiers of design. A colleague mentioned offhand that insofar as space exploration is constrained by the logistics of astrophysics itself, there isn't exactly a 'design angle' to the Philae lander that, um, rocketed into headlines this week. (That said, we have reported on design at NASA, where problem-solving is paramount... whether you call it design thinking or not.)
Which brings us to fuseproject's recent work for fellow SFers Fluidigm, a B2B life sciences company that called on Yves Béhar—a star designer in his own right—for a complete design overhaul in a traditionally un-(or at least under-)designed category. From the now-dynamic logo to the genre-busting form factor, the entrepreneurial design firm has risen to the challenge of expressing the genuine technological innovation behind the Juno "single-cell genomic testing machine" with equally revolutionary design.
The shape is sculptural and practical; a delicate balance between a futuristic piece of machinery and something more familiar. The aluminum enclosure is machined at high speed and the rough cuts visible and used as finished surfaces, which is a cost saving. The resultant ridges run along the exterior in a fluid, yet pronounced way, and resemble the miniature functional traces on the cell sample cartridge that enable single cell manipulations.
This thing is making rounds and we'd normally be too embarrassed to post what by all means must be a hoax, but for the fact that this souped-up bike helmet is a compelling example of design fiction. As Bike Snob pointed out, Toby King's "Smart Hat" essentially turns a cyclist—specifically, a cyclist's head—into a car. It's a patently absurd concept that, as far as this bike nerd can tell, is intended to insinuate that cyclists and motorists are very different classes of road user indeed, and that urban planning and policy ought to reflect that simple fact.
Photos courtesy of the Metropolitan Museum of Art (via Hyperallergic)
As a website and resource for industrial designers, we're always curious to learn about new materials and methods that may be of interest to our audience; it so happens that a lot of those same techniques can be applied to art conservation as well.
Sculpted by Tullio Lombardo in 1490–5 as a canonical classical nude, a life-size sculpture of Adam spent the subsequent four and a half centuries in Venice before it was acquired by the Metropolitan Museum of Art in 1936. Immortalized in marble, the biblical progenitor stoically occupied the Velez Blanco Patio for decades before a tragic turn of events following a 2000 renovation of the space, when its pedestal was replaced. Just two years later, the 770-pound, 6’3” Adam shattered upon falling from his four-foot-high, medium-density plywood pedestal—reportedly constructed in layers but hollow—when it gave way on the evening of October 6, 2002.
The allegorical irony of Adam's precipitous descent is duly noted, though the proverbial rib was not among the 28 large fragments as the torso remained largely intact. The damage, of course, was done, and after nearly twelve years, the conservation team at the Met has successfully restored the masterpiece and (better yet) documented the entire process: