"Face Bra" sleeping mask

This funny "face bra", launched by German company Beate Uhse, is the first sleeping mask w..(Read…)

Publish Collaborations

Four limited-run caps inspired by the Good Moods collection from NYC’s Reed Space and Hawaii’s KICKS/HI
Publish-Collabs-group.jpg

Making a case for the value of a good collaboration is LA-based fashion brand Publish. After dropping their well-recieved “Good Moods” collection just two weeks ago the label teamed up with NYC’s premiere lifestyle boutique Reed Space and Hawaii’s world-renowned sneaker shop KICKS/HI for two limited-run joint projects for your head. Officially launching tomorrow, 13 July, the line will feature a snapback and a five-panel inspired by the retailers’s respective digs.

Publish-Collabs-ReedSpace.jpg

As an ode to the controlled chaos and artisanal history of New York City, Reed Space’s snapback features muted floral prints conjuring what might grow in the dark alleys if given the chance. The five-panel, on the other hand, features a bright, flowery pattern vaguely reminiscent of a cheetah, in homage to the concrete jungle.

Publish-x-KICKSHI.jpg

While Reed Space finds inspiration in the dark city of cynics, KICKS/HI’s prints inspire with vivid colors and an unmistakably laid-back attitude. The five-panel seems like it was crafted from a swatch of Victorian-era wallpaper, rather than palm trees and hibiscuses. The snapback’s vibe seems more like digi-camo upholstery, marking a welcome departure from more traditional motifs.

Publish-x-KICKSHI-snapback.jpg

All in all the four collaboration hats stay very much on-brand for the three influential companies. Find the American-made caps in store only at Reed Space and KICKS/HI tomorrow, 13 July. For a closer look see the slideshow.

Images by Graham Hiemstra


USB Waterproof Temperature Data Logger

The USB Waterproof Temperature Data Logger lets you get easy to record the temperature anywhere and ..(Read…)

Sneak Peek of Ghostly International Interviewing John Sundermeyer, ID’er behind Audyssey’s Audio Dock Air

0Audio_Dock_Air_4.jpg

We’ve got a sneak peek here of Ghostly International’s Brian Fichtner interviewing John Sundermeyer, the industrial designer, Coroflotter, co-founder of the Pull Experience creative agency and ex-RKS designer behind the KOR One water bottle. Fichtner asks Sundermeyer about the design process behind Audyssey’s Audio Dock Air, the diminutive, desktop wireless-streaming speaker with the monolithic design.

GI: What was your starting point and how did the form factor emerge?
JS: There are two main components here:

1. The Configuration

Audyssey already had a very unique form factor with their original wireless Audio Dock, which is narrow and deep, unlike the majority of docks on the market that generally have a very traditional “landscape” aspect ratio. We had a lot of positive feedback from end-users about this form-factor because its footprint is very efficient, especially in a space sensitive environments like a desktop or nightstand. This form factor also has some performance advantages, most notably the side-firing drivers which provide better stereo separation than traditional dock configurations.

2. The Form

I had the general idea for this design before creating any sketches. It was originally based on two pure intersecting forms, an elevated cloth cube and a frame. One of the thoughts was to keep these elements and different materials separate, to have a very strong break between the form and the materials, as opposed to a singular form with incidental material breaks.

How many iterations did the design go through en route to the final production version?
There were really only two main iterations, the first being the original concept sketch direction, the second being its refinement and subsequent 3D development. I consider everything else to be refinement/implementation. As with any product, details had to be honed and finessed as the design was being implemented by the engineering team and manufacturer, however, these iterations were very small and did not impact the essence of the device.

Are there any aspects to the design that you’re particularly proud of?
The final design is true to its intent. Actualizing a minimal design like the Audio Dock Air’s requires a lot of attention to detail and shared vision by the entire team. Audyssey understood this innately and having everyone aligned on this vision was crucial to ensuring that superfluous details didn’t creep in along the way.

The full interview will be up on Ghostly’s blog next week, so be sure to check it out. Our thanks to Fichtner and co. for letting us get the drop.

(For those of you unawares, cultural curator Ghostly International is a design house, technology innovator, record label and online store all rolled into one.)

(more…)


CHAIR / CHAIR

"CHAIR / CHAIR" is a chair that is made up of five components that resemble the letters C,..(Read…)

Monkey Orchids

These amazing monkey orchids, which scientific name is Dracula simia, are usually secretively hidden..(Read…)

A Canary for a Modern Scenario

MatthewCrowley-Canary-1.jpg

We’ve seen several graduation projects from Europe lately, so we were glad to receive this project from Matthew Crowley, a product design major at Stanford’s D-School, in the inbox. The “Canary” is the capstone project of Crowley and his two partners, Matt Blum and Laren Meleney.

Canary is a modern carbon monoxide detector created with young families in mind. Using multiple sensor technologies, this friendly device provides a delightful interaction that gives users the piece of mind that their loved ones are safe. Canary also doubles as a nightlight, only turning on when a room becomes dark. This feature is not only useful, but also encourages proper placement of the carbon monoxide detector in hallways outside of bedrooms and inside of bedrooms themselves.

MatthewCrowley-Canary-2.jpg

The real innovation, of course, is that it puts the notorious CO detector within arms’ reach, and an outlet is a small price to pay for the safety and convenience of a wall-powered device. To this end, the “Canary” has several additional features beyond the friendly form factor and backlight:

To prevent child tampering, it also has the option of installing securely to a standard wall outlet with a unique twist-to-lock mechanism, and rather than using a noisy “test” button, Canary’s functionality can be silently tested with the wave of a hand. Our goal with Canary was to bring simplicity and comfort to something that so far has only been sold through fear and mandate. Canary takes on a responsibility. It crosses a task off your list; it protects the ones you love. Canary looks after your nest.

MatthewCrowley-Canary-3.jpg

While it’s ostensibly less ambitious than, say, the “Nest” learning thermostat, the “Canary” certainly provides a vital service for any household, and like the “Nest,” it marks an innovation in a niche that is sorely lacking. (No word on whether there is a full lineup of avian-inspired household devices in the works.)

MatthewCrowley-Canary-4.jpg

Lots more process on Crowley’s project page.

MatthewCrowley-Canary-5.jpg

(more…)


messages printed on edge of business cards

1

Here’s a look at Miller Creative’s brand-spanking-new business card design. They are printed on bend-proof 98pt gray coverboard recycled paper, printed letterpress in 2 colors and then rubber-stamping of tiny messages on the card's edges. See more.

1

Apple, EPEAT and Design for the 21st Century by Marc Alt

[Update, 7/13: Well, that was quick—Apple has just announced that they are re-adopting EPEAT, huzzah!]

greenapple.jpg

Apple recently decided to completely withdraw all current and future products from the globally accepted green electronics registry and rating program EPEAT because the standards involved no longer fit their “design direction.” The message that this sends to the design community is profound. That the decision was made in the name of design is disingenuous and a disservice to all designers and engineers. But was it, in fact, a necessary step for Apple to take in order to keep running as fast as they are, year after year?

EPEAT is one of the most open, stakeholder-driven, equitable and sophisticated multi-variate eco-labels in the world, covering everything from lifecycle, energy, materials, packaging, recycling and social equity issues. It is a model eco-label that has transformed the industry towards cleaner, greener and more sound practices. Its existence benefits a wide-ranging and global value chain touching hundreds of related industries and markets. The standard has helped environmental and social NGOs working to help solve e-waste and promote effective recycling globally, and the innovations in materials and energy efficiency standards that have evolved from the adoption of the standard have had positive consequences on energy use and the flow of toxic chemicals and compounds in the mining, production and recycling phases of the life of electronics globally.

As one of the companies intimately involved in building the EPEAT standard, it’s a remarkable shift for Apple, who have, up until this decision, used their product track record of being rewarded the highest EPEAT Gold ratings as a badge of honor in talking about their environmental commitments. Steve Jobs mentioned the rating by name several times from the podium in product announcements. Apple’s continued commitment to reducing packaging, improving the energy efficiency performance of their products, reducing the impact of toxic materials, support of recycling and recent efforts towards improving social equity and manufacturing standards are all in line with the mission and guidelines of the EPEAT rating system.

On the surface, the decision, combined with a lack of communication about it by Apple, effectively sends a message of disregard for the combined work of dozens of organizations, NGOs and even entire countries who have collaborated for years to build a multi-billion dollar, stakeholder-driven, transparent, sustainable market for green electronics. The specification of EPEAT rated products in purchasing and procurement policies has been adopted by institutions, municipalities and is now recognized and required by many countries for their government purchasing. Can you imagine how pleased EPEAT member companies like Samsung, HP and Dell are now with the idea that the U.S. Government and many others can no longer purchase Apple laptops, computers, and monitors?

Owing to the lack of official announcement by Apple, one theory is that this is a symbolic case of technology outpacing the eco-labelling organization’s ability to keep up with the constantly shifting manifestations of consumer electronics. In a world in which the distance between cinematic, futuristic visions and real-world applications of holographic, touch-based, virtual surfaces and devices is narrowing rapidly, the ability to re-define and update standards that keep pace with these platforms is incredibly challenging. The unrelenting push of Moore’s Law towards higher computing power in more ever more compact, miniature forms exceeds the ability of standards setting organizations to keep pace, and EPEAT—as of this writing—only covers desktops, notebooks and displays. Imaging equipment, including TVs, printers, copiers and scanners are on the near horizon to be included in the standard.

There are equivalents of technology outpacing standards in other sustainability-based design rating systems. The U.S. Green Building Council’s LEED standard has for years been criticized on a number of fronts, including its lack of teeth and ability to evolve quickly. Alternate, innovative and holistic standards like the Living Building Challenge have risen to fill the need for more forward-looking architects and builders. But for all of its glacial pace, LEED has without question transformed the entire building industry globally, and has transformed entire markets, while raising worldwide awareness about sustainability in the built environment. It’s not perfect, but it serves a purpose and moves a very large needle forward through a coalition of the willing.

The EPEAT process is known to be very slow due to its stakeholder driven, peer-reviewed decision-making process. It can take years for new standards and product categories to be included in the program, and for updates to filter their way through the organization’s vetting process and make it into the published standard. The iPad, for instance, is currently not covered by the “PC” standard of EPA’s Energy Star, which is one of the base requirements to participate in the EPEAT rating program. The “Slate” category that the iPad falls in is currently in the process of being approved by Energy Star, and in so doing, would open the iPad up for scrutiny by the EPEAT rating process, which it would have very likely failed on the ease of disassembly requirement, despite being very energy efficient. This could very well have been one of the factors that triggered this decision by Apple, along with the most recent MacBoook Pro which has been found to be exceedingly difficult to disassemble.

There is an implicit conceit that in order to continue to design things on their own terms, Apple needs to run free, unconstrained, to innovate and produce objects of desire and profound beauty and performance. These products define their brand and have re-defined an entire industry, making them the most valuable company in the world. Year after year they pioneer new and often environmentally friendly technologies in their products. But did they have to abandon EPEAT in the name of design?

(more…)


The 25th Biennial of Graphic Design Brno

The Czech design competition revamps its approach in an anniversary year

by Adam Štěch

biennial-1.jpg

In its 25th edition, the Biennial of Graphic Design in Brno, Czech Republic, takes a radical turn in its new organizational team, exhibition concept, and a more curated approach to the selection of artworks and accompanying exhibitions.

The Biennial of Graphic Design in Brno is one of the oldest events of its kind in the world. Biennials of art, sculpture, architecture or product design aren’t new, but few know that this particular exhibition has hosted some of the best international graphic designers for more than 50 years. Traditionally organized by the Moravian Gallery in Brno, the biennal is comprised of its main competition exhibition and accompanying shows, presenting old masters as well as new experimental work from burgeoning talents.

biennial-2.jpg biennial-3.jpg

This year, the gallery asked
Adam Macháček,
Radim Pešk, and
Tomáš Celizna, acclaimed Czech graphic designers living in the US and the Netherlands, to be part of the organizational and curatorial committees. All three designers work mainly in experimental graphic design and typography—as well as education—and have proposed a new, “more curated” concept for the exhibition. In the past, material selected from hundreds of international designers dictated the content of the main competition.

biennial-4.jpg

For the 25th anniversary the curators asked designers to participate in the biennial for a smaller, more compact collection of work, with the main competition exhibit focusing primarily on younger and non-commercial trends in contemporary graphic design. The main prize was awarded to the Mevis & Van Deursen studio for its visual style in the
Stedelijk Temporary Museum in Amsterdam. Other prizes were awarded to
Manuel Raeder,
Linked by Air and the Czech graphic design master Zdeněk Ziegler, who received the prize for Outstanding Contribution to Graphic Design. The international jury included Andrew Blauvelt,
Zak Kyes,
Robert V. Novák and
Sulki & Min Choi.

biennial-5.jpg
biennial-6.jpg

The main exhibit contains work by Swiss, Dutch, American, Czech and Japanese designers, while the accompanying shows include
Two or Three Things I know about Provo ” by Dutch designers Experimental Jetset, “Work from California” showcasing contemporary graphic design from the Sunshine state, “Květa Pacovská – Ad Infinitum” celebrating the work of the legendary illustrator, and
Khhhhhhh by the Slavs and Tatars studio.

biennial-7.jpg

Accompanying the main exhibit is an installation created in collaboration with designers Jerry Koza and Anička Kozová of
Atelier SAD. They used raw wooden materials originally designed for producing chairs in the
Ton factory where the wood had to be dried for long periods of time to attain the perfect malleability to craft a chair. Thus, the installation pieces are currently drying in the gallery in geometric frames to support posters, books and other exhibits. After the exhibition, the pieces will return to fulfill their purpose in the production of chairs at the factory once again.

biennial-8.jpg

The visual style of the exhibition is the work of graphic designers
Adéla Svobodová, Tereza Hejmová and Pauline Kerleroux. The pictures for the catalogue were shot by artist and photographer
Jiří Thýn.

The 25th Biennial of Graphic Design Brno will be open until 28 October 2012 at the Moravian Gallery, Brno, Czech Republic.