Ask Unclutterer: Teaching children organizing skills

Reader Ines asked the following question in the comments’ section of a post:

I would love love love for you share your thoughts about time management, organization, etc. for young kids. I have struggled with toy clean up for years.

One example, despite modeling over a hundred times how we put away a board game (count the pieces, make sure they are in the right spot, put game back on shelf in closet) before moving on to next item. If I am not there to micro manage, it just doesn’t get done.

Ines, you ask a very good question. It is a question we have been struggling with in our home, as we are trying to teach our son — who recently turned four — how to care for his things. Each child is certainly different, and no single method will work for each kid, but that doesn’t mean children can’t learn how to take care of their possessions. The following are some things we do in our house to get toys back in place:

  • Have fewer toys. Our house is not overflowing with toys, and our son does not seem to notice. Like most children, he has an active imagination, and his knights can do battle on the couch or bookshelf as easily as in a castle. He isn’t deprived by any standard, but in comparison to most of his friends, he doesn’t have a great deal. The fewer toys he has, the fewer that can mess up the house.
  • Regular pruning. He has fewer toys than most of his friends because we regularly get rid of toys. Once a quarter we go through his things with him and we all decide what can stay and what can go. Hard toys (not stuffed animals) and books are easy to donate to charity or pass down to a friend or younger relative. Small doodads he got as party favors go straight to the trash. On the same day, we go through the rest of the house and find items to donate so our son can see he’s not the only one expected to clear clutter.
  • Request experience gifts. If someone asks us what to get our son for his birthday or at the holidays, we usually request experiences (movie passes, museum and/or zoo memberships, etc.) or practical goods (clothes, shoes, school supplies). People still give him toys, but his grandparents often give experiences now.
  • Use small containers for small items. My son has a Playmobil police officer set that came with miniature handcuffs and flashlights and such. The pieces are all less than an inch in size. I made the mistake of putting them in a basket with the motorcycles and police cars and … this was awful. He would dump out the entire container onto the floor to look for the itty bitty flashlight. Now he has pillbox containers for his small items and those pillboxes live inside bigger bins. It’s easy to spot and doesn’t require dumping out the whole box to get to it. We also do this with game pieces — we have small storage containers with compartments for pieces so they aren’t just sitting in the box. If you use these, make sure they’re clear so kids can see inside them without having to open the container.
  • Label everything and have a place for everything. My son is just learning to read, so all of his toy storage has pictures on it and words describing what is to be stored there. We label bins as well as the location in the room where the bin is stored. We attach the labels using velcro so we can move them around to different containers/shelves. You can laminate the labels at Kinkos to make them sturdy. Older children probably don’t need images with the words and you can get by with just a standard label maker printout.
  • Instruct and guide. Modeling behavior is very important, but not all children are learners through observation. In addition to modeling, instruct them on how to put things away, ask them questions at each step of the process, and guide them through the behavior. Be clear from the beginning that you are instructing them: “Now we are going to put away the game and return it to the shelf properly. What is the first step to putting away the game?” These lessons may take weeks or months, depending on the age of the child (obviously, more time is required for younger children). Once they can reliably complete the actions and answer all questions correctly, then you know they are able to do the task on their own. If they don’t complete the task after this lesson, you should repeat the lesson the next time the opportunity arises. Don’t assume your child knows what “clean up your room” or “put away your toys” means to you.
  • Remember they’re kids. A reader shared this gem with me — Children are perfectly capable of doing organizing activities, but they’re not yet necessarily capable of doing those activities perfectly. The hope is that by the time they graduate from high school they will do things perfectly … until then, you instruct and guide them so that each day is a little better. My standards for my four year old are much lower than the standards I have for myself. I still expect him to pick up his toys after he plays with them, but I don’t expect him to do it exactly as I do it.
  • Leave time for cleanup. The hardest part of teaching organizing skills — at least for me — is to pad time into the schedule for cleaning up. If we need to be out the door at 10:00 for swim lessons, at 9:45 all playing must stop and the activity has to be put away. That means as a parent, I have to be ready to leave by 9:45. I can’t supervise and instruct my child while I’m running around the house doing other things. We also have 10 minutes before bath time each night where we walk around the house and pick up errant items and review the family chore chart (more on that below).
  • Heavily rely on clocks and/or the Time Timer. First, we have clocks all over the house, which helps with time management. Second, we also regularly use a Time Timer to give our son an idea of how long things take. I’ll set the Time Timer and say, “all the toys have to be put away before the timer sounds in 15 minutes,” and then we work on cleaning up for 15 minutes together. We also use it when there will be a limited time for playing before heading out of the house and for music practice. I love that thing.
  • Get rid of external distractions while cleaning up. When cleaning up with your child, attentions should be on cleaning up. Turn off the tv, iPad, etc. and focus on returning the room to its preferred state. The only exception to this might be to play a “clean up playlist.” I don’t love Barney, but his “Clean Up Song” is pretty catchy and effective with younger kids. Older kids might benefit from music with a fast beat to help motivate them to move around. I recommend using the exact same playlist for six months or more to reinforce that when they hear the song they know it’s time to clean up.
  • Don’t yell or nag, instead participate. Yelling at your children has been found to be as harmful as hitting a child and nagging creates resentment for you and your kids. Instead, work together when motivations are low. My son won’t yet clean his room unless I’m sitting on his bed talking to him while he does it. He can do it, he just doesn’t want to do it. He’s like many adults who prefer to have accountability partners when they clean and organize. I can’t begrudge him this since I like having company when I’m cleaning.
  • Have clear expectations written or charted for your child. We have a chore chart that outlines what everyone in the house is responsible for each day (dirty clothes in hamper, clearing dishes after meals, taking out trash, putting away toys/activities after using them, etc.). Before bedtime, we review the chart together and discuss what was done and what wasn’t. We don’t have consequences for undone chores, we just usually go with him to do the chore if it wasn’t completed or we let it go and make sure it gets done as part of the next day’s chores.
  • Create incentives. Incentives don’t work for everyone, but our son is currently motivated by them. For example, if he practices his violin every day for 30 minutes for a month, he gets a reward — it might be a trip to the zoo or a toy or a pizza party with his best mate. He decides the reward at the beginning of the month and dad and I discuss it before agreeing to it. We then print out a picture of the reward and hang it next to his practice checklist.

Looking back over this advice, I think a theme is to be involved until your kids have shown they can consistently complete the tasks independently. Until that time, you either have to be involved to instruct and guide or accept that chores won’t get done the way you want them to. A second theme is to work as a team in your home, not as individuals taking up the same living space. But, if all goes well, our children will leave home with the skills to take responsibility for their things.

Thank you, Ines, for submitting your question for our Ask Unclutterer column. Please check the comments for even more advice from our readers.

Do you have a question relating to organizing, cleaning, home and office projects, productivity, or any problems you think the Unclutterer team could help you solve? To submit your questions to Ask Unclutterer, go to our contact page and type your question in the content field. Please list the subject of your e-mail as “Ask Unclutterer.” If you feel comfortable sharing images of the spaces that trouble you, let us know about them. The more information we have about your specific issue, the better.

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Core77 Design Awards 2013 Honorees: Food Design, Part One

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Over the next few weeks we will be highlighting award-winning projects and ideas from this year’s Core77 Design Awards 2013. We will be featuring these projects by category, so stay tuned for your favorite categories of design! For full details on the project, jury commenting and more information about the awards program, go to Core77DesignAwards.com.


Student Notable

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  • Project Name: COMPETITIONANDRELIC
  • Designer: Wei He
  • Cranbrook Academy of Art


The title of the project is: Competition and Relic, which is a fossil-like clay utensil. Users could put their dishes and fruit into the holes of utensil. This work is comprised of the clay and various fruits and vegetables.

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

When I heard the news via email in Beijing, I had just got up in the morning. I felt super excited and then rushed out of my room to tell my families this wonderful news that I won an award. After hearing my words, my aunt told me seriously: “Calm down, my kid. I always receive email blackmailing me that I won some prize with 100,000 Yuan. Never trust them!!!”

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

After finishing COMPETITIONANDRELIC, I keep on playing with clay and design a new piece – Alice in Wonderland – which is a series of colorful clay tiles molded by the various vegetables. And all these tiles could be assembled together as a long tabletop.

– What is one quick anecdote about your project?

I got the design idea when Martino Gamper as the visiting artist held the workshop in my department, Cranbrook Academy of Art. But I was not a good student at the workshop, for I didn’t go to Mr. Gamper’s Lecture in the academy, however, I went to down town Detroit to see Jennifer Rubell’s food lecture. Finally, I didn’t make a chair but the prototype of COMPETITIONANDRELIC.

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

When I made it in Naishu Hu’s studio. I suddenly knew I was on the way, since she inspired and encouraged me a lot.

View the full project here.

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Point Resolution Bridge by Warren & Mahoney

Curving steel columns morph into angular arches around the etched concrete body of this bridge by New Zealand architects Warren and Mahoney over a road, railway and waterway in Auckland (+ slideshow).

Point Resolution Bridge by Warren & Mahoney

Named Point Resolution, the pedestrian bridge connects the coastline with a stretch of headland on the opposite side of the bay. Warren & Mahoney designed the structure to replace an existing 1930s bridge, which had become structurally unsound.

Point Resolution Bridge by Warren & Mahoney

The body of the bridge is framed by three sinuous arcs, which branch out from the steel columns that elevate the structure. “The steel supporting the deck was designed to pay homage to the original bridge by echoing its three arches,” explained the architects.

Point Resolution Bridge by Warren & Mahoney

A curved concrete deck was modelled on the hull of a ship and features a series of etched patterns by artist Henriata Nicholas, designed to look like delicate water ripples.

Point Resolution Bridge by Warren & Mahoney

These patterns continue across the angular glass balustrades that line the edges of the walkway, supporting handrails on both sides.

Point Resolution Bridge by Warren & Mahoney

The architects compare the delicate patterns and curving forms with the nearby Parnell Baths – a 1950s structure that features a decorative mosaic mural. “[The baths] offered a clear language of angular lines meeting sinuous form and became a key motivator of the language and geometry of the design,” they added.

Point Resolution Bridge by Warren & Mahoney

Warren & Mahoney were also the architects for the newest terminal at Wellington International Airport, which topped the transport category at the 2011 Inside awards. Watch an interview we filmed with the architects »

Point Resolution Bridge by Warren & Mahoney

Other bridges completed recently include a Corten steel river crossing in Norway and a pivoting apostrophe-shaped bridge in the UK.

Point Resolution Bridge by Warren & Mahoney

See more bridges on Dezeen »
See more architecture in New Zealand »

Point Resolution Bridge by Warren & Mahoney

Photography is by Patrick Reynolds.

Here’s a project description from Warren & Mahoney:


Point Resolution Bridge

Auckland Council invited Warren and Mahoney to provide conceptual ideas for a replacement pedestrian bridge connecting Auckland’s waterfront to a prominent headland. The existing bridge, built in the 1930s was suffering severe structural fatigue and with the imminent electrification of Auckland’s rail network, the bridge needed to be raised.

Point Resolution Bridge by Warren & Mahoney
Site plan – click for larger image

The council, recognising the importance of the location, both in terms of its prominence along the waterfront and its proximity to the historic salt water Parnell Baths, wanted something sculptural, elegant and iconic. The baths, designed in the early 1950s in the International Modern style of lido bathing pools with a mosaic mural by artist James Turkington, with its fluid and abstracted swimmers, offered a clear language of angular lines meeting sinuous form and became a key motivator of the language and geometry of the design.

The location of the bridge at the edge of the harbour also provided obvious nautical allusions, both historic and contemporary – the waka and the super yacht.

Point Resolution Bridge by Warren & Mahoney
Structural concept – click for larger image

It was determined that the bridge would be formed using three primary elements:

» A simple but sculpted and hull-like concrete deck would extend from the headland and protrude out into the harbour. This would in turn be cradled by a highly expressive steel armature or exoskeleton which sinuously referenced the language of the baths beyond. A simple cantilevered glass balustrade, co-planar with the concrete deck would provide barrier protection.

» The steel supporting the deck was designed to pay homage to the original bridge by echoing its three arches. The arches begin under the deck as diamond shaped columns which bifurcate to form the arches.

» The deck is formed with three separate twin-celled post tensioned precast concrete sections joined with in-situ stitches. The deck is supported by the steel armature through discrete pin connections.

Artist Henriata Nicholas developed a pungarungaru(water ripple) pattern over the concrete and glass surfaces. It was important that the patterning was delicately completed in a contemporary manner to ensure it would not be read as a patronising cultural reference. To ensure consistency of the concrete colour, a pigmented stain was applied.

To create the fluid and sinuous forms, along with the geometric precision required the bridge was designed and modelled in Rhinoceros with the associated parametric plug-in Grasshopper. The parametric capability allowed for design iterations to be produced quickly and tested against architectural and structural requirements.

Point Resolution Bridge by Warren & Mahoney
Column and arch details – click for larger image

Architect: Warren & Mahoney (Dean Mackenzie, Simon Dodd, Sebastian Hamilton, Chris Brown)
Artist: Henriata Nicholas
Structures: Peters & Cheung (Duncan Peters, Brent Deets, David Brody, Joe Gutierrez)
Lighting: LDP (Mike Grunsell)
Main Contractor: Hawkins Infrastructure (Nick Denham)
Client: Auckland City (Greg Hannah)

The post Point Resolution Bridge
by Warren & Mahoney
appeared first on Dezeen.

Meow Brow by Casey Weldon: The artist’s latest exhibition explores the creepy cuteness of four-eyed felines, on show at SF’s Spoke Art

Meow Brow by Casey Weldon


Spoke Art’s freshly opened space at 804 Sutter Street in San Francisco is set to be christened this weekend by artist Casey Weldon. “); return…

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Rainbow of Thread in Williamsburg Bridge

C’est sur le pont de Williamsburg qu’a investi le street artist originaire de Minneapolis, Hot Tea en installant plus de 2000 fils colorés au dessus de la voie piétonne créant ainsi un arc-en-ciel artificiel 3 mètres au dessus du sol. Une très belle installation éphémère à découvrir en images dans la suite de l’article.

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Chrome Cardiel ORP by T19 : Skateboard legend John Cardiel’s roll-top backpack gets a limited edition makeover with the help of Japan’s notorious skate crew

Chrome Cardiel ORP by T19


When Chrome introduced the the Cardiel bag collection—designed by skateboarding legend, and now fixed-gear savant John Cardiel—early this past winter CH took notice. And so did everyone else. Now that the buzz has quieted, Chrome collaborated…

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2013 World Architecture Festival

L’édition 2013 du festival mondial d’architecture se tiendra du 2 au 4 octobre à Singapour. On y retrouve des pontes de l’architecture comme Zaha Hadid, Aedas Ltd ou Leigh & Orange dont les créations se situent aux quatre coins du monde. Ci-dessous le Halley VI Research Station by Hugh Broughton (Antartique).

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Al Bahar Towers by Aedas Ltd (Abu Dhabi)

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Emporia by Wingardh Arkitktkontor AB (Malmo, Sweden)

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Kontum Indochine Cafe by Vo Trong Nghia Architects (Kontum City, Vietnam)

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Heydar Aliyev Center by Zaha Hadid Architects (Baku, Azerbaijan)

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L’Avenue Shanghai by Leigh & Orange (Shanghai, China)

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The Blue Planet by 3XN (Copenhagen, Denmark)

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Inventables Presents ‘Launch Day,’ a 3D-Printed Pinewood Derby, at the IDSA International Conference 2013

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Text & images courtesy of Zach Kaplan / Inventables

This year at the IDSA International Conference, Inventables teamed up with Computer Aided Technologies, Stratasys, Models Plus and the 3D Printer Experience to hold a pinewood 3D-printed derby contest, Launch Day. Back in July, we made an open call to any designer in the world to create a car that used pinewood derby wheels, a ball bearing, and would be launched off of a ski jump style track. Entries would be judged on three criteria: best flight (farthest distance), best crash, and best looks. Each of these three winners would win an Up Mini 3D printer from Inventables.

Over 100 designers from all over the world submitted cars. It was difficult to narrow it down, but Paul Hatch, founder of TEAMS Design and conference chair, and I narrowed it down to the ten cars we thought would be most likely to win in each of these three categories. The cars were then printed by Stratasys, Computer Aided Technologies, Kalidescope and The 3D Printer Experience. Finally, Models Plus built the track that the cars would race down to their destruction.

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With the ten cars printed and on display before the 1,000 designers who attended the conference, the excitement for the race was building. For those of you who missed it or attendees who want to relive the experience, we had six cameras capturing the action, including a slow motion camera to grab the crashes. Check it out:

See more on the event on the Inventables blog.

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Making Room: Inside Museum of City of New York’s ‘Launch Pad’ Model Micro Apartment

Are even tinier apartments the answer to better accommodating the emerging housing needs of major cities? An exhibition at the Museum of City of New York suggests as much, and the “live smarter and smaller” theme seems to be resonating—the popular show on new housing models has been extended to September 15. We asked writer Nancy Lazarus to head over to the museum’s fully built “micro unit” and make herself at home.

About thirty curious visitors filed into a 325-square-foot full-scale studio apartment model on a recent Friday afternoon. The occasion wasn’t a real estate open house, but a chance to experience a highly touted micro-unit called “The Launch Pad.”

The furnished model (pictured above) serves as the centerpiece of “Making Room: New Models for Housing New Yorkers,” an exhibition on view through September 15 at the Museum of the City of New York. Amie Gross Architects and interior designer Pierluigi Colombo, founder of Resource Furniture, collaborated on the unit’s design.

Architectural models and design solutions from New York and selected cities worldwide are also showcased. These coincide with New York Mayor Michael Bloomberg’s initiative to offer more affordable, though smaller-scale, housing options for the growing ranks of single city residents.

An open ambience prevailed inside the micro-unit, not claustrophobia, as skeptical attendees may have expected. They soon learned key elements for optimizing space from Jeffrey Phillip, an organizing pro who specializes in blending style and efficiency.

“We all struggle with living in small spaces, but small spaces are also grand spaces,” Phillip said. He showed visuals to illustrate the advice he offers to space-challenged clients. While a few concepts were conventional, others were counterintuitive. Some mini spaces benefit more from design makeovers.
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Vitra acquires Artek

Vitra acquires Artek

News: Swiss design brand Vitra has acquired Artek, the Finnish furniture company co-founded by Modernist architect Alvar Aalto in 1935.

Vitra succeeds Swedish family-owned investment company Proventus, who took over majority ownership of the brand from the founders’ families in 1992.

Artek CEO Mirkku Kullberg said the buy-out is intended to give the brand a more international presence. “The international dimension, which was a clear goal already in Artek’s founding manifesto of 1935, needed to be revitalised,” he said. “That arena is where we want to be, and alliances or ownership arrangements are one way of building the future. In our judgment, having an owner from the industry was the best choice for Artek.”

“Vitra has held Aalto and Artek in high regard for decades,” said Vitra chairman Rolf Fehlbaum. “Like Vitra it is a commercial-cultural project which plays an avant-garde role in its sector. For Vitra it is important that Artek can continue and further develop this role.”

Further details of the deal have not been disclosed. A spokesperson from Vitra told Dezeen that Artek will continue to operate as a separate company, with no changes in management or manufacturing for the moment. “Artek and Vitra are both very creative companies so any crossover is likely to be in creative collaborations,” she added. Artek is already the distributor for Vitra’s furniture in Finland.

Artek was founded in 1935 by Aalto and his wife Aino, art promoter Maire Gullichsen and art historian Nils-Gustav Hahl. The company’s core archive comprises Aalto’s birch wood furniture designs including Armchair 41 created for the Paimio Sanatorium he completed in 1932 (pictured) and Stool 60, the much-copied classic that’s been in continuous production since 1933. The brand is extending its range and has recently acquired the rights to Finnish designer Ilmari Tapiovaara’s furniture.

In recent years the brand has also been collaborating with high-profile contemporary designers including Shigeru Ban and Naoto Fukasawa.

Earlier this year American furniture brand Herman Miller acquired New York-based textile manufacturer Maharam, whise archive includes work by designers Charles and Ray Eames, George Nelson and Gio Ponti.

See all our stories about Artek »
See more stories about Vitra »

Vitra acquires Artek
Stool 60

Here’s some more information from Vitra:


On 6 September 2013, Vitra acquired the Finnish company Artek

A renowned design company founded in 1935 in Finland by architect Alvar Aalto and his wife Aino, art promoter Maire Gullichsen and art historian Nils-Gustav Hahl, Artek was built upon the radical business plan to “sell furniture and to promote a modern culture of habitation by exhibitions and other educational means.” Artek has become one of the most innovative contributors to modern design, building on the heritage of Alvar Aalto.

“Vitra has held Aalto and Artek in high regard for decades,” explains Rolf Fehlbaum, a member of Vitra’s Board of Directors. “The Finnish design company is more than a collection of furniture; like Vitra it is a commercial-cultural project which plays an avant-garde role in its sector. For Vitra it is important that Artek can continue and further develop this role.”

Artek will continue as a separate entity. Synergies between different operations will be explored. They primarily relate to manufacturing, distribution and logistics.

Mirkku Kullberg, Artek’s CEO, says: “The international dimension, which was a clear goal already in Artek’s founding manifesto of 1935, needed to be revitalized. That arena is where we want to be, and alliances or ownership arrangements are one way of building the future. In our judgment, having an owner from the industry was the best choice for Artek.”

Kullberg continues: “This is a great opportunity for the Finnish design industry and a major move for Artek, lifting the company to the next stage.”

The core of the Artek product range consists of Alvar Aalto’s furniture and lighting designs. Under its new portfolio strategy, Artek is extending the range and has acquired the rights to Ilmari Tapiovaara’s furniture collection. In parallel, Artek also continues to work in close collaboration with prominent international architects, designers and artists, such as Eero Aarnio, Shigeru Ban, Naoto Fukasawa, Harri Koskinen, Juha Leiviskä, Enzo Mari and Tobias Rehberger.

As an important player in the modernist movement and in the spirit of its radical founders, Artek remains in the vanguard as it searches for new paths within and between the disciplines of design, architecture and art. “There is definitely a comeback of Nordic design and there is a renewed appreciation of Aalto’s work. Tapiovaara of course is much less known internationally, and it is high time that he be discovered,” Rolf Fehlbaum adds.

The partnership between Vitra and Artek is based on shared values. Proventus CEO Daniel Sachs, former owner of Artek, explains the decision of the transaction: “Vitra has the ideal corporate culture, know-how and industrial resources to take Artek to the next level.”

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