Posted by Kat Bauman
| 11 Apr 2014
Yep, it's Friday, get ready to waste some time and feel fine doing it. Skip your next Facebook break and try out the addictive game Super Planet Crash—build planetary systems, watch as they destroy themselves, collect points and think about gravitational relationships for fun! Super Planet Crash was made by Stefano Meschiari, whose real job involves real planets. As a postdoc astronomer at UT Austin and a big contributor to Seismic 2—software to aid "exploring and analyzing exoplanetary data"—Meschiari knows what's up with interplanetary intrigue.
The goal: Build the most complex star system that can last for 500 years. Simple, right? It is simple to play, but dang if it isn't hard to gather planets in a stable way. Choose up to 12 planets, ranging in size from Earth-sized to Dwarf Star. Choose their proximity to the central star and their rotating speed, and try to anticipate their orbits. If you've done good, your collection will stay within the 2.00 AU range, won't crash into one another and will be complex enough to rack up points until you pass the five century mark. Extra points for incorporating denser fellows in the pack and sacrificing orbital simplicity. The current high-scorer clocked over 320,000,000 points, which after a few runs might seem impossible, but remember that you're competing against actual astrophysicists. As Meschiari told Motherboard, "People are berating me because it's making them waste valuable time when they should be writing proposals for the Hubble telescope." So don't feel bad if you're not quite able to predict your planets complex relationships over time. But do try it—nothing says mindless fun like playing God.
Posted by Kat Bauman
| 4 Apr 2014
"Shape" is a fun animated exploration of what design can mean and how it shapes our experiences. It's the heart of a project by PIVOT Dublin that has grown over the last few years to include an informative website, educational program and outreach campaign. All of the elements aim to educate the youths (and the public at large) about creative work and history around design. Gently soundtracked and wordless—the better to communicate universally—it invites you to think about what you'd change to make your world work better. And, of course, it's beautifully executed.
Happy Friday, you're almost there. Let this adorable short ring in the weekend.
Posted by core jr
| 1 Apr 2014
The new app that consolidates the cards and information in one convenient, color-coded resource, taking the mystery out of unknown terminology with straightforward appeal to all levels and genres of design, making it easy for for teams to work together cohesively. Check out the video overview of the app and its features:
Posted by Moa Dickmark
| 24 Mar 2014
When I look at schools, I walk into schools, when I interact with schools, I feel like they belong to a different universe. As soon as I set my foot in a school, it feels like I've stepped out of the real world and into a something alien and unnatural.
Most people call it an institution, in the same way that we call a hospital or a prison "an institution."
Institution—this says it all. A public or private place for the care or confinement of inmates, especially mental patients or other disabled or handicapped persons.
Throughout history, it seems like we've been dead set on designing educations and education facilities as to make the students feel locked-in, both body as well as soul.
It doesn't sound very inviting or inspiring, it normally doesn't look very inviting or inspring, and still we want students of all ages to spend a lot of time in these place, we want them to want to learn, to get inspired, to grow as human beings and to become the next generation when building our society. Yet hardly anything about the ordinary education facilities can be called inspiring, or showcase which direction we want our society to go.
For many years, one of of the questions roaming around in my mind on a daily basis has been, 'How can we create an good education that builds the sort of minds we want and need in our society, when we don't even seem to know which sort of society we want?' Which leads to: How can we go about re-arranging our education over and over and over again, without seemingly taking into account that education and society are undeniably intertwined?
This leads back to what I wrote in the very beginning: How come we have been designing institutions that separates, and in some cases, alienates, rather than intertwines education and education facilities with society? And how can we integrate education in such a way that it becomes a more natural, and less alien, base pillar of the society we want to create?
Is it just me, or is this something that we need to start a serious discussion about that crosses national, social and occupational borders...?
Posted by core jr
| 10 Mar 2014
This is the third article in an ongoing series about working with kids by Copenhagen-based architect/designer/educator Moa Dickmark. Her last article was on the Future of Learning Environments.
There are a few things that one should think about when it comes to working on a project using co-creative processes. There are the basics, such as how you develop and structure them, and then there's the small things that make the process go more smoothly. Sometimes these small things end up making a big difference, so I'm going to let you in on some of the ones that my colleague and I use more or less every time we are out working. Most (but not all) of them are applicable also when working with teachers, leaders, politicians etc.
Start the process with a few meetings with the headmaster and school leadership, where you can decide on a common goal and make sure that you are on the same page. A goal for a process can be something along the lines of:
Develop spaces that students and teachers feel comfortable in and that can be used in various ways depending on subject and the individual students needs.
Decide on a timeline, a budget, how many hours you will spend with the students per workshop and ask them to find a class with teachers that are open-minded and up for the project. No point in hitting your head against the wall with teachers who don't want you to be there; the students will probably take on the sentiment of teacher and the process to reach the set goals will not be enjoyable for anyone.
1.) Make sure that everyone involved in the project feels like they are truly a part of the project, and that they have an important role in the process and outcome.
When working with students, invite their parents for a meeting where you tell them about the project, tell them a bit about the basics of co-creative processes and what sort of things their kids are going to come home and ramble about. It's really good to let them try what you are talking about, so let them do one of the exercise—i.e. a quick and dirty model-making session always bring out a lot of laughter—in order to provide a greater understanding of how fun it can be, and so they have something to talk about when their kid comes home from school.
This is also a good way to get them more involved—maybe one of the parents works at a warehouse and can arrange some sponsorship deal with the boss or something of the sort, or that some of them want to spend some of their free time helping out at one of the workshops. The more support you get from the parents, the better.
2.) Also make sure that people who are not directly involved of the project feel welcome.
For example, shortly after starting working with a 6 grade class in a small school in the middle of Jylland, Denmark, the biggest ambassadors for the project and for what the students were working on turned out to be the librarian and one of the cleaning ladies. They showed parents what their children were up to, and talked about the vision developed for the various areas.
Click image to view full version [PDF]
One of our first assignments as industrial design students should have been to design and build our own carrying cases. But no, we students were too busy being taught crap like theory, so we all coughed up twenty bucks for a plastic ArtBin. Which is a shame. A simple modular toolbox would have been relatively straightforward to design and build, while providing us with the perfect, individualized product to field test and tweak the design of over the course of a semester.
From Germany comes what they're calling the Toptainer, seen here. Once loaded up with tools, it's meant to fit into an older plastic Systainer design.
Posted by core jr
| 26 Feb 2014
What purpose does a library serve in a contemporary middle school? Beyond its broad definition as a place to read, relax, explore and discover, we also feel that educational spaces should be designed with the input and ideas from the users—the students themselves. Now, with the help of Studio H and Ms. Nini (Hallie Chen), a cohort of 108 eighth graders at Berkeley's REALM Charter School have done exactly that, and they need your help to make the library of their dreams into a reality.
Besides the bookmarks, stamps and bags, the students have also designed an X-shaped unit of modular shelving, STAX, which is made of low-cost plywood and fabricated with CNC technology, courtesy of Autodesk's Carl Bass. "You can do anything with STAX: you can make your new favorite shelf," reads the project page on Kickstarter. "You can make supports for a table or legs for a bench. You can make a mile long wall if you want. Whatever you do with them, they'll definitely be the coolest piece of furniture you own."
Is it a commercial for SCAD's ID department, or a commercial for Wacom? We don't care; anytime you take us inside a school's industrial design department, we're all eyes and ears. (Advertisers please take note.) Here we get inside SCAD's Gulfstream Center for Industrial and Furniture Design, where the current generation of students has been graced with Cintiqs aplenty.
To you SCAD ID kids: As someone who clawed my way through an ID program carrying an ArtBin full of markers, pens, pencils, rulers, French curves and geometric templates, I officially hate you. Do you realize that if we wanted to do a rendering in, say, orange, we had to run out and buy markers in a half-dozen shades of orange? And that when you or the store ran out of orange, you were screwed? Enjoy your digital color pickers, you little...
Posted by core jr
| 10 Feb 2014
Following her first article on her experiences as an architect/designer working with kids, Moa Dickmark offers her insights into the future of pedagogy and learning environments, an issue that raises various questions around the world. Here, she shares her vision for learning spaces in the future, how to go about developing them, and why she believes that students and teachers should have a say and be a part of the development and implementation process.
What do I believe will be the future for education and education facilities?
Einstein, who said something to the effect of "If you can't explain the problem simply, you don't understand it well enough," would not be happy with my answer.
The question seems so simple, but the answer, as most of you probably have noticed, is oh-so complex.
More and more, we see that newly designed schools around the globe is that the majority of architects rely on the teachers and the school administrators' feedback regarding their work environment as the basis of their designs. Like most of you, I agree that this is an important part of developing a more multi-faceted school then what we have seen in the past.
And it is without a doubt important, as an architect, to listen to and truly understand the needs of the people who use the school spaces on a day to day basis. It is also vital that the architects read between the lines and interpret what the users can't put into words themselves. We are fluent in the language of space, but we have to remember that not everyone is. This is also important when it comes to developing an environment that not only works better than the ones they had before, but becomes a way to develop and challenge existing ways of teaching and learning.
One thing I have noticed when studying various projects and architecture studios around the globe is that very few of them consult the students on a serious level. Don't get me wrong, there are some really good projects where they are doing just this (and i will write about them, i can promise you that), but they are few and far between.
There are many reasons for this: the students (kids, tweens, teens) ideas can seem unserious, far fetched and unrealistic. They can also be hard to comprehend, and hard to implement into the design because of a lack of understanding of why the students are asking for whatever they are asking for. And then there is of course the problems that all kids have with adults: that the adults believe that they know best and know what the kids truly need.
Once more we have to keep in mind that not everyone speaks the language of space, but most people, no matter what age, have an opinion about it, and kids are no different. It can be hard for anyone to understand and pinpoint why they think, work, concentrate or come up with better ideas in one area of a learning space, and not in others.
There are various ways to get around this little hurdle—by guiding them through various small workshops where they explore and question everything from existing spaces at the school and the surrounding areas, as well as where they hang out after school and in their homes.
In the beginning, you (as an architect, designer or teacher seeking more insight to the students minds) will probably find it rather tricky—I know I did. But in this way, both you and the students will get a greater understanding of which areas are best suited for which sort of work, what areas work best for them and why, which areas do not work and why, and how you together can develop the areas that don't work so that the students start using them.
Your final, graduating presentation at ID school is an intense experience. Unlike academic majors, with industrial design everything you've learned in the past few years is embodied in physical objects sitting on pedestals and in drawings pinned to the wall; it is out for all to see, not hidden away in your brain. You likely feel an overwhelming combination of exhaustion and relief from completion. So imagine all of this—and then in strolls Dieter Rams.
That was the lucky experience of last year's Product Design and Graphic Design grads at Art Center, as the school got design legend Rams not only to make an appearance, but to walk the halls to interact with students and give on-the-fly critiques. Imagine, as one student recounts, that Rams is studying one of your projects and you hear the words "I really like this" come out of his mouth!
Rams also sat down on stage for an hour-long chat on design.
Posted by Jeremy Faludi
| 28 Jan 2014
Halfway through its second year, Minneapolis College of Art & Design (MCAD)'s Master of Arts in Sustainable Design program continues to represent the leading edge of advanced design studies. This year, four companies—Cascade Designs, Hamilton Beach, Anthro and Rayne Longboards—all had their products analyzed and brainstormed for sustainable redesign.
MCAD's entirely online program gives students from around the world two years of training in analysis and creativity for sustainable design, from packaging and graphics to products. This past semester, I once again taught collaborative product design, which brings groups of students together across different industries and time zones to redesign consumer products. They start by video-chatting their product tear-down, to perform life-cycle assessment and determine top priorities for sustainability. Groups redesign their products using the Whole Systems and Life-Cycle design method created for the Autodesk Sustainability Workshop. This structures and unifies their ideation over the weeks, which spans energy effectiveness, design for lifetime, materials choices, biomimicry, and persuasive design.
The students did a fantastic job, deftly showing the companies which aspects of their products were the biggest concerns and which needn't be bothered with, based on both LCA and green certification systems, showing companies a larger context around their products and generating a plethora of great ideas, from subtle tweaks to radical re-envisionings. Below are some samples of their work (click to enlarge in new window/tab).
Posted by core jr
| 13 Jan 2014
Text & photos by Moa Dickmark
Let me start off by saying that this is solemnly based on personal experiences and opinions! Sure, there's some facts to back it up seeing that we have done our research, but the sources are long forgotten. Not because they weren't relevant, but i've mixed them up in my mental blender...
To the point: Working with kids has many sides. It can be hard, it can be challenging, you have to plan the day down to the minute, and make sure that you can rearrange your plans depending on the day play out, but most of all it's good fun, inspiring and amazingly awesome to be let into their world.
As an architect by training, I have worked with my lovely colleague Heidi Lyng to develop various methods when working together with kids, teachers and leaders on developing educational spaces using co-creative design processes. We've been doing this for over two years now, and have been working on everything between concrete projects such as developing more active playgrounds to more fluffy projects such as developing a common vision for a gymnasium. We see everyone involved—from the 7-year-old student to the 62-year-old principal—as experts in their field. No one is as good at being a 7-year-old girl as a 7-year- old girl...
As I've already written, working with kids have many facets—it can be hard, it can be tricky, it can be hilarious, it can be oh-so-many things, but most of all it's fun, it is inspiring and it is vital if you want to reach the optimal result with the project.
First, the Good
No matter what their age, kids have an insight into, and a view of, how it is to be a kid of their own age that no one, no matter how good you are at putting yourself into the shoes of others, can do to the same extent. Figuring out why a certain space works, and why another one doesn't is something only the kids you work with can tell you. It's their field of expertise. They know, instinctively, where they prefer to work, where they get inspired and where they feel safe etc. What we, the architects, do is help them define and understand theses spaces by playing games and asking questions.
Posted by erika rae
| 8 Jan 2014
The finished farmer's market at dusk
As every designer and design educator knows, the hands-on experience of bringing an idea from paper to product goes far beyond a letter grade. Yet primary and secondary school curriculums rarely inspire the depth of dedication required to these kinds of potentially transformative workshops. Designer/activists Emily Pilloton and Matthew Miller are among the exceptions: following their "design revolution roadshow," they've since brought design thinking to underprivileged areas like Bertie County, North Carolina—the poorest in the state—through Studio H, the education arm of their larger Project H initiative. Even more, they did it with a mid-project salary cut, forcing them to depend on grant money and credit.
Studio H students Kerron Hayes (left) and Cameron Perry (right)
Directed by Patrick Creadon (the man behind Wordplay, a documentary about New York Times puzzle editor Will Shortz), If You Build It is a documentary about their experience teaching ten students the power of design and what a community-focused effort can do to the moral of the area. Over the course of the year-long curriculum, Pilloton, Miller and a few volunteers worked with the students created a farmer's market pavilion from the ground up. The class turned out to be much more than a mere —check out the trailer:
Posted by core jr
| 23 Dec 2013
You might want to use the holiday break as a great opportunity to polish up your portfolio and apply to the MFA in Products of Design program at SVA in New York City. You could be part of the class of 2016, studying with such design luminaries as Paola Antonelli, Helen Walters, Sigi Moeslinger and Masamichi Udagawa, Jason Severs, Emilie Baltz, Ayse Birsel, Steven Dean, Carla Diana, and dozens more. Classes take place in spacious and sun-drenched Chelsea studio, as well as in the New York City-based offices of IDEO, TED, Material ConneXion, SYPartners, and Aruliden. Here's a bit more about the program:
"The MFA in Products of Design is an immersive, two-year graduate program that creates exceptional practitioners for leadership in the shifting terrain of design. We educate heads, hearts and hands to reinvent systems and catalyze positive change.
Students gain fluency in the three fields crucial to the future of design: Making, from the handmade to digital fabrication; Structures: business, research, systems, strategy, user experience and interaction; and Narratives: video storytelling, history and point of view. Through work that engages emerging science and materials, social cooperation and public life, students develop the skills to address contemporary problems in contemporary ways.
Graduates emerge with confidence, methods, experience and strong professional networks. They gain the skills necessary to excel in senior positions at top design firms and progressive organizations, create ingenious enterprises of their own, and become lifelong advocates for the power of design."
Department website: LINK
Blog and projects: LINK
Apply page: LINK
Posted by core jr
| 17 Dec 2013
Hilversum, the Netherlands, where interaction14 will take place
Arguably for any discipline to advance in its practice it needs to have a solid means for educating its future practitioners. This is doubly true when the demand for that discipline is at a pace that is far exceedingly the rate at which practitioners can be "created" otherwise. In 2009, Jared Spool saw this reality coming. He led an amazing panel at the Interaction Design Association's (IxDA) annual conference, Interaction09, in Vancouver, British Columbia. The panel was called "Hiring the Next Generation of Designers," in which Jared asked, "Where are the next 10,000 interaction designers going to come from?" While in most academic terms four and a half years is not very long, in the digital design world it is a very long time ago.
For me, the Interaction09 conference was on the heels of a major moment in my own life. I moved away from practice and into Education because, like Jared, I felt the pressure that was and continues to be on interaction design education. And for over four years, I led the interaction design program at a prestigious Art & Design college, the Savannah College of Art and Design. During that time, I felt the pressures on interaction design education. I was trying my best to make students that were better than what industry needed and at every turn my successes felt limited to only a small selection of outstanding students. Students who brought the soft skills they needed to me and whom I just curated a collection of knowledge and tools to make them better prepared and those that came ready left ready getting hired into positions directly out of school at organizations like frog, Adaptive Path, Philips, Siemens, Smart Design and IBM.
But through all this success, it was still clear to me that there was a growing disparity between what I was offering and a what a large number of employers were looking for in their Junior employees. We have entered an industry that is increasingly unforgiving compared to design careers in the past. I felt at odds with much of my peers who were still 100% in industry. I started to look for ways to engage industry through my connection with the IxDA. Right after the 2009 conference, I started a conversation with people both in education and in industry interested in helping me start a competition geared towards highlighting how awesome both students and design education institutions were. We called it the International Interaction Design Student Competition. We had about 15 judges, of whom eight made it to the main conference and of whom five were part of a panel of "mentors" for the finalists, who were all given a free trip to Savannah, GA, for Interaction10. They were given a challenge to design something in a short time and find ways to present their skills and mindset to the community of attendees as a whole. The event was a success in so far as it got a new conversation happening among industry and design educators.
Posted by An Xiao Mina
| 13 Dec 2013
"Good artists borrow. Great artists steal."
These words have been attributed multiple times to Pablo Piccaso, though the source itself is dubious. But as with every myth, there's a kernel of truth: we learn best by learning from the best. That's the theory behind the age-old practice of going to museums to sketch and draw.
Mobile designers have their own version of a museum through a large and extensive collection of apps for both iOS and Android.Â But how do we sift through everything? How can we contextualize the workflow? UX Archive, which I learned about recently, is one such museum. A collection of UIs and workflows from popular mobile apps for iOS, documented by actions and tasks like "Getting directions" and "Onboarding."
"UX Archive aims at helping designers in this process," notes the site's About page." We lay out the most interesting user flows so you can compare them, build your point of view and be inspired." Right now, it's very iOS heavy, focusing on the iPhone 4S and the iPhone 5, though they point to other popular workflow sites like pttrns (including Android Patterns) and the always popular UI Parade. Each app contains detailed imagery, and it's easy to sift and click through. There's even a section that compares iOS 6 and 7, so you can school yourself on the differences.
UX Archive documents and displays the differences between iOS 6 and 7 for different actions.
Not that this is a substitute for good, solid interaction design research. "Before comparing any user flow," the site's founders note, "start by trying them out! Once you have been through them on the actual apps, use UX Archive to compare them!" Good advice indeed.
This is the second part of Hipstomp's reporting from the inaugural Autodesk CAVE Conference, which took place in conjunction with their annual Autodesk University event last week in Las Vegas. See Part One here.
Following Tibbits' talk, the entirety of the CAVE conference attendees filed into a ballroom at The Venetian to see a rare presentation from the legendary Syd Mead. (Mead will typically not travel in December to give presentations, but he relented for CAVE, a testament to the conference's attractiveness.) At 80 years of age, Mead has the killer combination of a lifetime's worth of experience and an irreverent, devil-may-care veteran status that allows him to say whatever the hell he wants; I won't name the Hollywood stars or clients he skewered in passing asides, but I will say his stories were funny.
More importantly, we were treated to a narrated slideshow of Syd Mead images projected onto a gi-normous screen so that we could see every detail, every dot of gouache. And of course there was Mead himself to explain the thinking behind the vehicles and sets of Blade Runner, how he's managed to "future-proof" his concepts—making futuristic sketches from the 1960s still appear futuristic today—and showing us the sketches (and exact drawing) that got him the job on Elysium.
Syd Mead artwork, courtesy of BravinLee Gallery
It was during Mead's presentation that CAVE started to come full circle for me, and I began to see the light. Mead was discussing one of his more technical renderings for Honda, and as he went in-depth, explaining the drawing's composition, content and framing, it echoed what Louis Gonzales was discussing that morning. Gonzales is a storyboard artist and Mead an industrial designer, so the terminology and context was a little different; but the principles they were discussing were precisely the same. Whether you are Gonzales, Robertson, Gaiman, Tibbits or Mead, you are creating something and attempting to convey ideas to others. The brilliance of CAVE is to get all of these creative bodies into the same space, and to allow us attendees to connect those dots.
As we reported back in August, at this year's Autodesk University they decided to try something different, kicking the conference off with a sort of pre-conference focused on "creative talent from multie disciplines." The idea behind this new Autodesk CAVE Conference was to assemble some of the finest artists, designers and storytellers around and throw them into the same event in the hopes of yielding an entertaining and informative cross pollination.
With such a nebulous description, I didn't know what to expect. But now, having attended, I'm here to tell you the event was a rousing success—everything it was billed to be and more—and that you must check it out next year!
The speaker list was an embarrassment of riches, and the packed schedule meant I'd only get to attend three sessions. Unable to decide which to attend first, my mind was quickly made up for me: I walked past an open door and heard the distinctly rapid-fire Bronx patter—of someone passionately discussing the movie Dumbo. Before I knew it my legs had brought me into the packed room where not a single seat was available.
The man presenting was Louis Gonzales, an animator and storyboard artist for Pixar. (If you don't know his name, you know his work: Monsters Inc., Finding Nemo, The Incredibles, et cetera.) Gonzales is both a gifted artist and a student of story, and his childlike enthusiasm for Dumbo's tale was coupled with a trenchant, technical analysis of how certain scenes were framed, and why they create particular kinds of emotional punch. Just as it began dawning on the audience that there was way more packed into Dumbo than the story of an elephant with big ears, Gonzales took us through a comprehensive slideshow of movies both classic and contemporary—his knowledge of film and film visuals is encyclopedic—showing us the insane level of construction and forethought that the creators had put into every frame. Before a single word is spoken by any of the characters, information is conveyed via lines, triangles, squares, circles, lighting, color.
After seeing script pages for Brave that Gonzales had covered in his red-ink notes, and him explaining what visual elements he knew he had to inject into particular scenes and why, I don't think I'll ever look at film or animation the same way again. I've been watching movies my entire life, and in the mere 55 minutes I saw Gonzales speak, he completely changed my perspective on visual presentation. And these were lessons anyone creating industrial design renderings could have drawn from.
Next came the keynote presentation, where we were treated to both Angelo Sotira's story of how he started up DeviantArt followed by a chat from the wonderfully weird Neil Gaiman. Gaiman began his talk by explaining how the Chinese government had traditionally frowned upon science fiction, as that genre is often used to obliquely criticize institutional flaws, then recounted how they eventually relented and invited him to speak at their first-ever sci-fi convention. Intensely curious as to how this had happened, Gaiman tracked down the party official in charge of this action and asked him why sci-fi had suddenly been given the green light. "We [the Chinese] make everything," the Chinese official explained, referring to his country's manufacturing base, "but we don't invent anything." Science fiction, it had been decided by the party bosses, would be an effective way to stimulate the imaginations of Chinese youth, whom they hoped would subsequently provide original thought for the next generation of manufacturing.
Posted by core jr
| 6 Dec 2013
In May of this year, 12 Master of Industrial Design (MID) candidates from the Pratt Institute led by Professor Rebecca Welz, had the opportunity to spend two weeks in the town of Malinalco, Mexico, where they collaborated with 13 local artisans to design and fabricate their projects. Each artisan/student pair spent full working days brainstorming, conceptualizing, designing, sourcing and finally fabricating a variety of products, from tabletop to furniture pieces.
Challenging in many ways, it became an incredibly enriching and educational experience for everyone involved. It was a simultaneous exchange of thoughts, knowledge and interests and a walk through the creative process, with two points of view, hand in hand. It was a human experience, which situates the designer in a very humbling and real place—one that is long way, both geographically and figuratively, from a Brooklyn classroom.
Text by Etty Beke
Malinalco is a small town located two hours southwest of Mexico City. It is a charming tourist destination, which features the only monolithic Pre-Columbian structure in Central America, the Cuauhtinchan sanctuary complex. As you enter the archaeological site on a typical bustling weekend (weekdays are incredibly quiet in this town), you will run into dozens of little stands selling local crafts. This is how the artisans make a living: Selling leather bracelets, small woodcarvings of mushrooms and humming birds, and handmade books, among various other things. Many of the artisans also join the annual local wood carving competition, where they make larger scale sculptures and sculpted traditional musical instruments. They are incredibly talented and love their craft, even if it often means barely making a living.
Most of the artisans who participated in the Malinalco Project are master woodcarvers, but the locals also included carpenters, weavers and jewelers. The wealth of knowledge and respect towards their craft, marked with a deep sense of humility, was evident from the very moment we met. The particular wisdom and sensibility, a rich inheritance from their Aztec traditions, was also present in their interests and thought process. Through their work, the artisans represent and interpret the natural world surrounding them, with layers of meanings and a system of symbols that has been passed down through generations. As we, designers and artisans, brainstormed on product ideas, we looked for new applications, in form and function, of each artisan's craft. Our path involved working with both abstraction and representation, with surface treatments and variation in scale, as well as new uses of materials and techniques.
Posted by erika rae
| 25 Nov 2013
Free Arts NYC —a non-profit organization fighting the good fight for educational arts funding—has recreated an age-old learning block with help from the creative community. Their undertaking, The A to Z Project, is a designer version of the alphabet that also gives insight into the lives and childhoods of the designers involved in the project.
Forty-five artists, illustrators and designers each picked a letter, number or symbol to redesign. The finished product is the beginning of a branding effort between Free Arts NYC and Red Peak Branding. The groups asked the designers to create free art to help promote their mission and share the way art and design has impacted their own lives as successful creators. The video below tells more about the project and the Free Arts NYC mission:
Looks like Art Center will be getting a little SoCal competition. Two hours south of Pasadena is San Diego's NewSchool of Architecture & Design, a.k.a. NSAD, and they're launching a Product Design program in collaboration with non other than Milan's Domus Academy.
Students at the Domus Academy School of Design at NSAD will be able to major in either Product or Interior Design, and both programs will reportedly incorporate "the Italian design approach and Domus tradition." Students will also get to study abroad at the Domus mothership in Italy at no additional tuition cost.
"Italy has become the epicenter of design-driven brands and culture, developing a products industry that exports design all over the world," said Domus Academy School of Design at NSAD Director Elena Pacenti. "We challenge our students to apply this foundation to projects here in San Diego and anywhere in the world."
The Bachelor of Arts in Product Design program will be open for enrollment in 2014, but Domus/NSAD will officially present it next month on December 12th, at a joint exhibition and faculty meet-'n-greet called "Innovation by Design." Here's the official course description, and some encouraging Department of Labor stats:
The product design program incorporates an updated and comprehensive definition of product that includes complex and interactive objects as well as product-service systems and experiences. It emphasizes a humanistic approach to design, sensitive to sustainable and socially responsible development, and provides students with not only the tools for "how to do" but the reasons "why to do."
Career paths and employment for graduates of product and industrial design programs demonstrate a growing need for individuals trained in these fields. Product/Industrial designers held about 40,800 jobs in 2010, and employment of industrial designers is expected to increase by 10 percent by 2020, according to U.S. Department of Labor statistics.
If this video was just about a guy who makes things using only pre-1949 shop tools, it would be awesome (check out the wicked picket-cutting machine at 1:47). If it was just about a guy who can turn 1,200 cornerblocks by hand with machine-like accuracy, it would be awesome. And if it was just about a guy who teaches kids who have been thrown out of multiple reform schools how to make things, it would also be awesome. But it's all of those things and a fourth, much more important thing. Like inventor Ralph Baer, craftsman Eric Hollenbeck explains with brutal honesty why he continues to do what he's done for so long, and while his reason is wholly different from Baer's, it touches on a truth a portion of us will well recognize. It's no surprise this video is a Vimeo Staff Pick:
The beautifully-shot video was done by filmmaker Ben Proudfoot (who at 23, is perhaps too tender to immediately grasp why Hollenbeck didn't want to go to town for supplies). As for Hollenbeck, he runs Blue Ox Millworks and Blue Ox Community High School out of Eureka, California. For those of you living in the region, on the 29th and 30th of this month they'll be hosting their biannual Craftsman's Days local showcase event.
Posted by core jr
| 21 Nov 2013
Photos by Sarah Rottenberg, Yilin Lu, Yoshi Araki and Anna Couturier
By Mathieu Turpault, Director of Design, Bresslergroup
Last summer, we got to live vicariously through a group of Integrated Product Design students at the University of Pennsylvania who traveled to Ghana.
They were conducting ethnographic research at the Yonso Project, a Ghanaian rural organization that provides educational and economic resources to help people in the region break the cycle of poverty. In 2009, Yonso added a bamboo bicycle workshop to their roster of empowerment programs. The workshop builds skills by training locals to make beautiful bamboo bike frames that are sold internationally. It creates jobs, leverages local production from the bamboo plantation, and helps fund Yonso's educational initiatives.
Strategy and Research
While the folks at Yonso are incredibly knowledgeable about their core initiatives, they're not as experienced in product development. They approached UPenn for help in 2012 when they wanted to expand their bamboo product line. In turn, Sarah Rottenberg, Associate Director at the Integrated Product Design program, asked Bresslergroup to help mentor the students who were going.
Sarah and the team of IPD students, Yoshi Araki, Yilin Lu and Anna Couturier, visited our offices last spring for a couple of strategy and ideation sessions with our designers and engineers. We guided them through brainstorming and ideation exercises, talked about how we prepare for conducting ethnographic research and brand language development, and suggested strategies for narrowing and choosing product categories that could be pursued most successfully. We've gone through this process many times before, for many different types of products, so we've run into walls and we know how to avoid pitfalls.
Read more in our blog post about brainstorming about how we structure this phase of the design process.
Posted by core jr
| 11 Nov 2013
Last month, hundreds of design students gathered at Rochester Institute of Technology for the second consecutive Thought at Work design conference. Organized by an ambitious team of design students, the weekend of October 18–20 not only held more events but doubled the attendance of the previous year. This student organization exemplifies the power of ambition and reaching past the typical student experience.
Reporting by John Leavitt
Last year, Thought at Work hosted 205 students from eight universities. Kyle Sheth, one of the lead coordinators said, "I was pleased with the attendance in 2012, as a start-up event, but I'd like to double our reach this year." This is exactly what they did. Students from schools including Syracuse University, Columbus College of Art and Design, Ohio State, and University of the Arts and coming together to make over 400 participants from 16 Universities attending nearly 60 events in a single weekend! Katie Young from Columbus College of Art and Design said, "The lecturers were very inspiring. This event opened my eyes to the expansive world of design."
Throughout the conference, there were presentations by professionals from a wide range of design fields and inspirational talks by great keynote speakers. "I had a great experience and was inspired by many of the design professionals who came in to present, commented Zach Stringham from Syracuse University. Bradley G. Munkowitz, a.k.a. GMUNK, gave an exciting and inspirational talk about his incredible work and finding happiness in life, packing Ingle Auditorium to its capacity of 507 people. GMUNK's energy was grounded by the grace of Pattie Moore's lecture on human centered design for all ages. Students and instructors alike were excited to see Spencer Nugent host a sketching workshop. Lynnsey Oberg from Columbus College of Art and Design wrote and told us, "Each and every workshop I attended was a learning experience even if it didn't pertain to my major or interests. I've already applied things I've learned to the work I'm currently working on." Other workshops were hosted by designers from companies such as Microsoft, Autodesk, B-Reel, Smart Design, Storyline, and the Raymond Corporation.
Posted by An Xiao Mina
| 11 Nov 2013
Kuho Jung's Second Skin garment at News from Nowhere: Chicago Laboratory, 2013. Installation view, Sullivan Galleries, The School of the Art Institute of Chicago. Except where noted, all images by the author for Core77.
The premise of Desert Island Discs, one of the BBC's most popular radio programs, is a simple one: if you were sent away to live on a desert island, what would you bring with you? Guests are allowed to take a selection of music (which plays during the program), one book, and one luxury item with them. What makes the show delightful is not the mundane realities of its premise—after all, how would you play the music after the batteries run out?—but the thought process that comes with the assumption of lack.
News From Nowhere<, an ongoing exhibition at the Sullivan Galleries at the School of the Art Institute Chicago, takes this basic premise of lack and sets it in the context of design. Developed by Korean artists Moon Kyungwon and Jeon Joonho, News takes the form of a collaborative project in which designers, artists, poets, philosophers and others are invited to imagine a post-apocalyptic world, where humanity almost goes extinct and we must start over from the beginning. The title of the exhibition comes from the eponymous 1890 novel by William Morris, a British designer who imagined a future society in which all property is shared.
A screen still from Moon and Jeong's El Fin del Mundo. Image by James Prinz.
Upon entering the exhibition, we are greeted by El Fin del Mundo, a two-channel installation developed by Moon and Jeon, depicting parallel narratives of a young woman in a totalitarian society and an artist developing work on the side. The woman is dressed with plain severity, as many apocalyptic scenarios like 1984 and The Matrix have imagined we will one day dress. She examines a set of Christmas lights without context, while on the lefthand panel we watch the artist install the lights.
takram design engineering's hydrolemic system imagines organs that maximize our bodys efficiency in a world where water is scarce.
Toyo Ito's Home-for All: Kamaishi Revival Project.
This focus on an object and the narrative behind it sets the stage for much of the exhibition. Moon and Jeon invited leading design thinkers like Toyo Ito, MVRDV and Yu Jin Gyu, amongst others, to participate in the exhibition. Toyo Ito imagined a reconstruction of a Japanese village devastated by the recent tsunami, with a recreation of village life and structures. Takram design engineering's team assembled a series of metallic implants that would make the body more efficient in the face of rapidly-decreasing water availability.
Posted by erika rae
| 22 Oct 2013
The age-old expression "measure twice, cut once" used by carpenters—and the inspiration behind a new project from materious, a.k.a. husband/wife design duo Bruce and Stephanie Tharp (Bruce has contributed to these very pages). Introducing "Cut Once," the designer-friendly ruler that's catered to making measurements quick, multi-functional and easy on the eyes. But what's as interesting as the product and design is how they're using Kickstarter not only to raise money but also to explore crowdfunding as a phenomenon in itself.
Not only does the measuring stick double as a holder for your favorite writing pen or pencil, but it also serves as an educational tool. Bruce is integrating this Kickstarter endeavor into the syllabus of an entrepreneurial industrial design course he is teaching—with help from Kickstarter rockstars like Scott Wilson & MNML of TikTok/Lunatik fame—at the University of Illinois at Chicago. Each student is required to submit a project to the crowdfunding site and have it approved. Thus, "Cut Once" serves as a case study for the course, one in which the teacher is learning right alongside the students. Bruce tells us more about the class and the creative process behind Cut Once:
Core77: Tell me more about Cut Once's form. How does the molded shape play into the design's story?
Bruce Tharp: We began with the idea of molding—if not actual wooden material, but at least the aesthetic. We wanted to make sure and reference that while it spoke to the idea of molding, it needed to function. In spending a lot of time reviewing molding profiles in books and online, it became clear that Chair Rail moldings (the kind that attach to walls to prevent chairs' backs from damaging the walls) were the right general form. So we modeled our profile on those, but allowed the right width, enough room for the pen/pencil, and allowed it to be used to mark lines effectively. The fact that it forms a recessed edge so that ink is not pulled under the ruler by the capillary action, was a happy accident.