Hasta La Ideas

Dezeen Wire: architects OMA are developing a modular display system for the stores of American accessories brand Coach.

Inspired by the categorised storage systems of the stores that first opened in the 1940s, the units will create both shelving and space dividers that can be adapted to suit different locations.

The first two systems are planned for flagship stores in New York and Tokyo, with the former due to open in September and the latter to follow in 2013.

OMA have recently been nominated for the Stirling Prize with their Maggie’s Centre, Gartnavel in Glasgow and their Rothschild Bank headquarters in London. See all the nominations here »

See more projects by OMA, including a series of interviews we filmed with Rem Koolhaas »

Here’s some information from OMA:

OMA to reimagine retail for Coach’s new stores

American retailer Coach has commissioned OMA to develop a new merchandizing system that accommodates Coach’s wide diversity of products while returning to the clarity of Coach’s heritage stores. The collaboration, led by OMA partner Shohei Shigematsu, will be inaugurated in upcoming flagship stores in New York and Tokyo.

Since establishing its first workshop in 1941, Coach has diversified its product range and styles, while simultaneously broadening the spectrum of its retail environment: from factory stores to outlets, shop-in-shops, boutiques and flagships. Although this expansion transformed Coach from a specialist leather atelier to a global distributor of “democratized luxury goods”, it also clouded the clarity of the brand’s original, library-like stores which used a rigorous organizational system, categorically sorting products inside minimal wooden shelving at assisted counters.

Shigematsu commented: “We wanted a system that could tell the story of any of Coach’s wide repertoire of products, whilst projecting the legibility of its original stores. We created a system of modular display units that can be assembled to respond to the specific needs of each locale. In typical instances they are used for display; in others, they come together as an interior fixture. These units can also enclose spaces for program or curation, and by creating enclosures, they can also act as façades. OMA’s intention is to use combinations of this logical system to create magical spatial possibilities for Coach, in line with Coach’s motto of ‘logic and magic.“

Set to open in September 2012, Coach’s 1,930 square foot flagship shop-in-shop in New York’s newly renovated, Macy’s Herald Square will mark the first manifestation of OMA’s concept for Coach stores. OMA will also implement its concepts in the brand’s upcoming new multi-level flagship in Omotesando, Tokyo, with expected completion in 2013.

Both projects for Coach were designed by OMA’s New York office, led by partner-in-charge Shohei Shigematsu with project architect Rami Abou-Khalil.

The post Merchandising System
by OMA for Coach appeared first on Dezeen.

The latest Orange cinema spot from Fallon features Ray Winstone and Ben Drew, stars of the forthcoming movie remake of 70s cop drama The Sweeney, who find out just what happens if you let a mobile phone company get involved in a movie…

The spot sees Winstone and Drew burst into a pub, as only fictional policemen can, only to be confronted by some very strange behaviour from the punters. They quickly realise that the film has been infiltrated by the phone brand, and the familiar ‘Don’t let a mobile phone ruin your movie’ tagline then appears. The ad will appear in UK cinemas from Friday.

Credits:
Agency: Fallon
ECD: Sanitago Lucero
Creatives: Sam Hibbard, Dan Watts, Avril Furness, Milo Carter
Director: Guy Shelmerdine
Production company: Smuggler

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here

CR in Print
The August Olympic Special issue of Creative Review contains a series of features that explore the past and present of the Games to mark the opening of London 2012: Adrian Shaughnessy reappraises Wolff Olins’ 2012 logo, Patrick Burgoyne talks to LOCOG’s Greg Nugent about how Wolff Olins’ original brand identity has been transformed into one consistent look for 2012, Eliza Williams investigates the role of sponsorship by global brands of the Games, Mark Sinclair asks Ian McLaren what it was like working with Otl Aicher as a member of his 1972 Munich Olympics design studio, Swiss designer Markus Osterwalder shows off some of his prize Olympic items from his vast archive, and much more. Plus, Rick Poynor’s assessment of this year’s Recontres d’Arles photography festival, and Michael Evamy on the genius of Yusaku Kamekura’s emblem for the 1964 Tokyo Olympics.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

Over the next few weeks we will be highlighting award-winning projects and ideas from this year’s Core77 Design Awards 2012! For full details on the project, jury commenting and more information about the awards program, go to Core77DesignAwards.com

The Service Design Programme provides comprehensive support for the manufacturing industry through activities that include promotional seminars, intensive workshops with teams from individual companies and on-line resources. In parallel, design businesses are being introduced to new tools and techniques to build both their capacity for and confidence in the delivery of service design. The programme is funded by the Welsh Government through the department of Economy and Transport and reflects the most recent policy documents from the European and UK governments that have both identified service innovation as a priority for the future competitiveness of the sector. Notes from our Service Design Jury based in New York City:

This is a well-structured program for raising awareness of service design and advocating for it to both industry and the design field. The blend of (and interaction between) the program’s online and offline elements seems well thought-out. The program appears to be more government-driven than demand/user-driven; thus, the jury would have liked to see the designers place heavier emphasis on employing the design processes they are promoting. The jury applauds the impact the program has achieved since launch, and looks forward to following its progress.

How did you learn that you had been recognized by the jury?

I was actually on my summer holidays at the time so I was sitting on a beach in Ibiza. I kept refreshing my twitter account to check for news on the day. Then when it came through that we had won I went for a ride on a banana boat to celebrate.

What’s the latest news or development with your project?

Welsh Government support for the Service Design Programme will continue until May 2013, by this point we will have worked with over 90 companies and aim to have created 35 new jobs in Wales through our work. Alongside the funded support programme for designers and manufacturing businesses we have developed a commercial offering for other regions seeking to establish a similar programme or provide support establishing service design expertise. So far this has led us to large projects in Eastern Europe and in particular Poland where we have worked with Design Silesia to establish a model for service design in public services. We aim to grow this area of our programme and share the knowledge we gain from this programme. I’m also working on a new innovation school called The Greenhouse. It’s aimed at people working in design centres, public authorities and third sector organisations that want to quickly build their knowledge and expertise in design-led service innovation. You can find out more about this here.

What is one quick anecdote about your project?

I remember when the project started back in 2010 and we were visiting design agencies, our aim was to encourage them to start exploring service design as a means to grow and win new clients. My job was to encourage and support them to do this however some companies often commented that ‘our clients won’t buy this’ or ‘there’s no market for this work here’. Then a small branding agency came along to a workshop we were running about service design and followed up with an email to say how they had been inspired to get into the practice, joining the programme shortly after. Soon after they started running service design workshops with their clients and expanding their knowledge and portfolio in service design. So, when a large UK bank with a significant budget wanted to develop its business in Wales they contacted 20 local agencies to explore proposals for how this could work. The agency that came along to the workshop before got in touch with the programme and we advised them on their proposal and how they could offer the client an alternative service design project. They won the project and when the bank gave feedback about the proposals the client explained they commissioned the agencies proposal because they had offered the bank a service design project. When word got around many of the agencies this was the reason they lost out on this contract we started to get a lot of enquires about our programme!

What was an “a-ha” moment from this project?

The first A-Ha moment for me was when we started to work with a small group of SME manufacturing companies. The directors all attended a seminar about service design and were keen to start work on their specific projects, to help them do this we gave them some tools at the end to take home and start to use with their teams. After a few weeks of not hearing too much back I decided to visit one of those companies and was shown around the factory. On all the walls were the tools I had given them to work on and they had applied everything we had run through in the workshop. This really taught me the importance of designing the service we provided in a way that supports people to used design but doesn’t only rely on experts delivering the work. That company didn’t have a budget to spend on service design consultants but had some time and insight into what their customers to innovate their service offer; the tools we gave them unlocked this. This SME based innovation is a long way from the R&D labs and innovation centre’s of big business and ensured we designed the programme accordingly. In response to this, we focused on creating workshops, practical tools and material that companies can come and use, so they adopt, apply and implement service design in their own way – with support from us of course.

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Detroit was a tough act to follow, but the last couple stops on his five-week road trip offered a few more vignettes into the breadth of American design in 2012. Dave shares the stories of his new friends in Greater Indianapolis and Pittsburgh in this final chapter of the travelogue.

Day 34

Although I was pretty much exhausted coming out of Detroit, I decided to make a detour to Indiana to check out Carbon Motors. The automotive company’s prototype police car is a thing of sheer beauty. Given my background in law enforcement, I completely support a company putting the officer first in the design process. However, in everything I’ve read about Carbon Motors, I’ve yet to hear the origin story. So I went straight to the source: co-founder and Chief Brand Officer Stacy Dean Stephens.

Carbon Motors co-founder Stacy Dean Stephens

Stephens actually went to school for aerospace engineering before spending nine years working in finance. A friend in the Dallas, TX, Police Department once offered Stephens the chance to do a ride-along, which he thoroughly enjoyed. Soon after, Stephens quit his job and headed to the police academy, graduated valedictorian, and joined the Coppell, TX, Police Department. Stephens’s previous experience in business and marketing proved to be a benefit and allowed him to “speak to people on a different level.”

Around the same time Stephens started working, the leading cause in police officer deaths in the United States was car-related fatalities. Allegedly a rear impact to the Crown Victoria caused the fuel tank to explode. The International Association of Chiefs of Police met with three of the largest auto manufacturers to discuss the issue but were met with the party line, “We don’t build purpose-built. You add on other stuff, it’s not our fault.”

Suicide doors? I’m sold!

This did not sit well with Stephens and spawned the initial idea for Carbon Motors. “When Chevy shut down the Caprice factory in Arlington, TX,” thought Stephens, “why not convert it to a police car factory?” Stephens joined forces with Bill Santana Li (now CEO of Carbon Motors), who had spent nearly a decade with Ford. “If you talk to anyone on the automotive side, they’ll say building a car is easy,” said Stephens. “If you ask me, the cop—yeah, it’s a big undertaking!”

Stephens described Carbon Motors as “more closely resembling a defense contractor than an automaker” in terms of the technology the company brings to the police department market. In some cases, the options for the E7 (the current prototype) include military-grade technology. “We’re a platform upon which technology companies can place their wares and get into these agencies,” said Stephens. With a market size of more than 19,000 police departments, 500,000 cruisers on the street, and “no single point of contact,” Carbon Motors gives police officers the chance to help shape the law enforcement technology industry by giving them a manufacturer that builds products based on real, not just perceived, needs. Stephens formed the Carbon Council as a user group to guide the design of the E7 and intends to expand the group to better inform further iterations.

The interior is molded to fit the gear of the modern-day police officer

Moreover, Carbon Motors is designing their police cruiser to reduce the amount of actual assembly that will eventually need to be done. Stephens described “four major buckets” in the assembly line that his company is seeking to do almost entirely away with. The metal shop is not needed because the body of the cruiser is made from molded plastic; the complex body shop is not needed because the body of the cruiser is made from tens of parts, not hundreds; and the paint shop is not needed because a film is mixed in with the plastic, producing colored parts. Only the final assembly and trim area is required, thus greatly reducing the amount of space needed to manufacture the E7.

Air scoops on the rear of the E7 passively suck in air and test it with radiological devices

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Furniture brand DFS has a long-established track record for making shouty ads featuring perky families bouncing on its products, so this 90-second spot for the company comes as something of a surprise. Shot by Outsider’s Owen Harris, it tells the story of an arduous but ordinary day in the life of a small boy…

The spot was created by Krow, which was awarded the DFS account in November last year. It aims to promote the brand’s handmade-to-order products, and marks a clear new direction in its advertising style. Let’s hope it’s one it sticks with.

Credits:
Agency: Krow
Creatives: Nick Hastings, Jon Mitchell
Director: Owen Harris
Production company: Outsider
Post-production: The Mill

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here

CR in Print
The August Olympic Special issue of Creative Review contains a series of features that explore the past and present of the Games to mark the opening of London 2012: Adrian Shaughnessy reappraises Wolff Olins’ 2012 logo, Patrick Burgoyne talks to LOCOG’s Greg Nugent about how Wolff Olins’ original brand identity has been transformed into one consistent look for 2012, Eliza Williams investigates the role of sponsorship by global brands of the Games, Mark Sinclair asks Ian McLaren what it was like working with Otl Aicher as a member of his 1972 Munich Olympics design studio, Swiss designer Markus Osterwalder shows off some of his prize Olympic items from his vast archive, and much more. Plus, Rick Poynor’s assessment of this year’s Recontres d’Arles photography festival, and Michael Evamy on the genius of Yusaku Kamekura’s emblem for the 1964 Tokyo Olympics.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.