Five emerging Canadian designers from IDS and Toronto Design Offsite

We’ve chosen five young Canada-based designers and studios to watch, after seeing their work that includes a wooden ping-pong table and furniture made from mushroom mycelium at design events in Toronto.

The Canadian commerce capital’s annual celebration of design comprises two coinciding events. This year, the IDS Toronto trade fair took place at the Metro Toronto Convention Centre from 18 to 21 January, and the citywide Toronto Design Offsite festival ran from 16 to 22 January.

Both aim to foster new talent from across the country and North America. Here are our picks of the bunch:


David Mazel Tov chair
David Mazel Tov chair. Photograph by Laurence Poirier

Louie George Michael

Originally an architect, Louie George Michael moved to Canada to study cabinet making and primarily uses maple wood

In Toronto this year, he exhibited his lifeguard-like David Mazel Tov chair, which features two vertically arranged rattan seats oriented in opposite directions to one another.

The designer’s other products include the maple wood Tina Burner table that can also be used for ping-pong matches.

“I try to make furniture fun by playing with scale and function,” he told Dezeen. “I invent and create everything myself by using the inherent qualities of the material as the source of my concepts.”


Coracle bench. Photograph by Matthew Tammaro
Coracle bench. Photograph by Matthew Tammaro

Jake Whillans

Jake Whillans combines wood with other natural materials – like tanned leather, cast bronze and soapstone – to create pared-back furniture and homeware.

The Toronto-based designer’s work includes the white oak Coracle bench, with a leather-wrapped seat base that doubles as storage space, that is modelled on ancient Irish fishing vessels.

His Baré family of tables and planters that were exhibited in January were designed as an “exploration of roundness”.

“My process involves both digital and traditional modes of production – while an underlying consideration for the sustainability of my practice informs every decision I make,” Whillans told Dezeen.


Mycobench
Mycobench

AFJD

AFJD specialises in turning mycelium – a biodegradable material made from mushroom spores – into furniture pieces.

Studio founders Amber Frid-Jimenez and Joe Dahmen have so far used the mouldable material to create honeycomb-shaped outdoor seating named Mycobenches, and an installation titled Mycelium Mockup that demonstrated the architectural capabilities of the fungus.

“We work at the intersection of architecture and information design, engaging new technology in a feedback loop with materials to create provocative virtual and built environments,” the duo said. “We like to work with systems that change and grow over time.”

Their Mycobenches were shown alongside Louie George Michael’s chair and Jake Whillans’ tables in the Living Well exhibition, on show at design store Craft Ontario until 18 March 2017.


Dawn linear light
Dawn linear light

ANONY

Founded by Christian Lo and David Ryan, lighting and product design studio ANONY’s portfolio is dominated by circular forms.

“We are really attracted to the shape because it seems to represent the most perfect geometry,” said the Toronto-based pair.

“We think it works great in lighting as it seems to provide a sense of balance and unity.”

They have used round forms in the capped spherical Ohm pendants, and as draped shading elements over the linear Dawn lights.


Kumo chair
Kumo chair

Mitz Takahashi

Mitz Takahashi is based Montreal but was born in Japan, and his heritage heavily influences the appearance of his designs.

This can be seen in the Kumo chair, comprising a thin metal frame that supports a pillowy seat.

“I tend to lean towards the minimal, so I focus on details for designs,” Takahashi told Dezeen. “Every time I go home to Japan, it reminds me that Japanese aesthetics runs in my blood without even thinking about it.”

Takahashi and ANONY both exhibited as part of the emerging designers platform at IDS.

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ASAP gives rocky form to Downtown LA hotel tower

American studio ASAP has conceived a new hotel for the urban core of Los Angeles that is meant to evoke a rock emerging from the landscape.

The Spring Street Hotel is proposed for the core historic district in Downtown Los Angeles.

The 28-storey building, which is now under construction, is meant to capitalise on the area’s growth and increasing role as a business and tourism destination.

Spring Street Hotel by asap

“The design will build on its distinctive location and cultural context to create a landmark destination and memorable hospitality experience,” said ASAP, or Adam Sokol Architecture Practice, a studio with offices in LA and Buffalo, New York.

While conceiving the design, the team drew inspiration from the region’s natural features. “The design of the hotel is based on the idea of a large rock in the landscape drawing on a generation of land art in Los Angeles and the southwestern United States,” the studio said.

The building is meant to stand in contrast to neighbouring structures. “It benefits from the tension with the existing historic buildings to create a distinctive icon in the landscape,” the firm said.

Spring Street Hotel by asap

Encompassing 160 000 square feet (15,000 square metres), the hotel will contain 176 guest rooms, including 20 suites. Concrete, wood and glass will be used to create interior spaces that are “simple and modern”.

The entrance is framed by outdoor public spaces, and the roof – with its bar and pool – will also serve as a gathering spot.

“The roof bar will be Downtown Los Angeles’ highest outdoor public space, with panoramic views of the skyline and mountains,” the team said.

Additional amenities include a garden bar with a movie screen, a restaurant, banquet areas, meeting rooms, a gym, a business centre and retail space.

Other buildings proposed for Los Angeles include a trio of residential towers by Skidmore Owings and Merrill and P-A-T-T-E-R-N-S and a mixed-use scheme by Bjarke Ingels Group that incorporates housing, offices and public spaces within a giant concrete framework.


Project Credits

Architect: Adam Sokol Architecture Practice
Design team: Adam Sokol, Michael Wysochanski, Nancy Choi, Wei Ni Ni, Daymond Robinson, Gregory Serweta, Ana Misenas, Lesley Loo
Executive architect: HLW International
Lighting design: Horton Lees Brogden
Structural engineer: Nabih Yussef and Associates
Mechanical engineer: AMA Consulting Engineers
Civil engineer: Psomas

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Dominique Coulon & Associés gives library undulating walls like an "unfurling ribbon"

French office Dominique Coulon & Associés has completed a media library in Thionville, France, featuring a wavy facade that lifts up to reveal ribbons of glazing facing into curving courtyards.

The Media-Third-Place Library provides the Thionville commune in north-eastern France with a media library, as well as music studios, a broadcasting media room, an auditorium and a cafe.

The building is located on a street corner with a colonnade of tall trees lining three of its sides.

Undulations in facade dip inwards to create three curved courtyards. A wave of glazing running around the base of the white walls scoops upwards to permit views out into the courtyards but dips down in areas that face the street to offer privacy.

“The facade serves as an unfurling ribbon that serves as a backdrop to the different universes contained in the programme,” said the architects. “At its closest to the street, the ribbon dips, the better to contain it, rising again where it stands further back.”

“The hollow and solid sections produce an ambiguity between inside and outside, questioning the borders of the public space,” they added.

Another opening is hollowed out of the centre of the building and features a meandering garden ramp that leads up to a green rooftop.

Mounds of grass offer spaces for people to take a nap, picnic or read outside with views of the surrounding treetops.

Inside the building is predominantly open-plan, with the literature library occupying the centre. An area for small children, the multimedia library, and permanent and temporary display areas are placed in curved pockets.

Bulbous shapes cover the walls of the black music room to improve the accoustics, while green carpeting and benches are used in the social reading areas like the outdoor spaces on the exterior.

Rather than using walls, the architects have inserted a series nine rounded pods to host the more specific elements of the programme.

These volumes, described as “bubbles”, host a range of functions like language laboratories, places for playing video games and an arts room.

“The bubbles are defined as cocoons where people are cut off from the other universes, escaping from the collective area,” said the architects. “The bubbles are the last refuge, the most intimate part of the building.”

Openings are carved out of the walls create private reading nooks in the exterior and interior, while one features a tunnel that lead emerges in the children’s play area.

A further volume, which is completely pink inside, is a story-telling area for children, while another furnished with cork stools is an intimate reading space.

Dominique Coulon & Associés has designed another multimedia library in Anzin, as well as a music school splattered with Jackson Pollock-inspired paintwork, a Paris swimming pool and a group of schools with orange detailing.

Photography is by Eugeni Pons and David Romero-Uzeda.


Project credits:

Architect: Dominique Coulon & Associés
Lead architects: Dominique Coulon and Steve Letho Duclos
Architects assistants: Gautier Duthoit
Construction site supervision: Steve Letho Duclos
Structural engineer: Batiserf Ingénierie
Electrical engineer: BET G Jost
Mechanical plumbing engineer: Solares Bauen
Cost Estimator: E3 économie
Acoustics: Euro sound project
Landscape: Bruno Kubler

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Comedian Mitch Hedberg's Thoughts on Design

Mitch Hedberg was one of the great comedians of our time, and sadly left us too early. Here are some of his thoughts on design. We’ve cued all of the videos up to the appropriate moments.

Product Design

Package Design

Pepperidge Farm

Pringles

Yoplait

Interior Design

Infographics

Signage Design

Tattoo Design

UI/UX

Food Design

Hand Tool School #17: What If Your Shop Was MUCH Bigger?

Shop space is one thing we can never seem to have enough of. But we deal with tiny spaces and build highly efficient workflows to get things done. What if space were not an issue? What would you do differently in your shop? Would you buy more tools to fill the space, or just spread out a lot more? The answers to this question might just be wishful thinking, but they also might provide some key insights into how to structure your real life shop today.

I would spread out, I don’t really need any more tools. Though I must admit that if space weren’t an issue that there might be a few power tools finding their way back into the shop. I got rid of quite a few of them just because they rarely got used and they space they took up didn’t justify their existence. These examples are rare but usually they relate to more DIY type projects where it is less about joinery and more about nails and caulk. Specifically a place to set up my track saw for plywood projects and a place for my dust extractor and random orbit sander come to mind. Certainly a dedicated space for my 20? planer would be welcome.

Room to Spread Out

Mostly though, this dream shop space would allow me to segment my work and spread out. Things like creating a lathe corner where I could place racks for my turning tools and chucks and other accessories. I could even set up all of my lathes with some dust collection specific to them as well. It would be cool to have the space to run an actual spring pole along the ceiling too.

I could ditch my shaving pony (while very effective) and build a shave horse and small bench specific to Windsors and other chair styles. I could keep all of my chair specific tools like inshaves, drawknives, travisher, reamers, steam box, etc in cases or racks right around the bench and horse and call it the chair making corner.

I would wall off a section and make a finishing room with a dedicated ventilation system and a central rotating finishing table. I’d move my finishes into their own cabinet and keep all the other sundries like rags and filters and HVLP cleaning products right in the same room.

For the main part of the shop I would set it up with my workbench and joinery bench and keep my saws and sawing bench close by. Invariably this area of the shop would get the most attention with organization and creature comforts. Everything would key off the workbench and like my other dedicated areas only the tools I used in that space would be stored nearby.

In other words it would look pretty much like my shop now.

This “what if” exercise is exactly what I went through when I remodeled my shop last summer. What I discovered was that all my dedicated areas would be nice but would only be used in very specific situations and projects. For example when I’m turning that’s all I’m doing and I can assemble my pole lathe or wheel my treadle lathe into a good position. The I turn some chair legs or a stand alone turning project like bowls or small spindle stuff. I can pull out my turning tools and other accessories for that operation and put it all away when I’m done. It is rare that I would ever need to hop onto the lathe for something quick then back over to the workbench so its not a problem to transform my shop into a turning centric set up for the day or even a couple of weeks (typical at Christmas time).

The same applies for Windsor chairs. I’ve only built 4 of them and I thoroughly enjoy it and plan to do it again. But it is a fairly self contained type of work and I really only need the specific tools and work holding for chairs and I can set it all up and break it all down when the chair is done.

You can make the same case for any offshoot of woodworking. Even the specific stuff that would cross into typical furniture making. For instance, if I want to add a carved element or some marquetry the specific tools and sundries to those tasks can come out of storage and then pack back up when I’m done.

This realization was a pretty big deal to me. Maybe its obvious to many but it was liberating to know that it was okay to stick stuff in a box and put it on a shelf in my laundry room or a closet. What’s left is only the stuff that I turn to every day on every project. These every day items are a surprisingly small amount of tools that store in a single cabinet, saw til, a sharpening area, and a cabinet for finishes and glue. So here I sit in a 250 square foot shop with everything I need and a lot of elbow room. I keep thinking I should hang a cabinet here or there to put stuff in and then wonder if I really need it or if I’m just trying to fill the empty spaces.

Its an interesting perspective on the work shop that immediately transforms even the tiniest of spaces into an efficient work place. So while we all dream of cavernous spaces I’d wager to say that very few of us actually need that much space.

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This “Hand Tool School” series is provided courtesy of Shannon Rogers, a/k/a The Renaissance Woodworker. Rogers is founder of The Hand Tool School, which provides members with an online apprenticeship that teaches them how to use hand tools and to build furniture with traditional methods.

Link About It: These Glasses Automatically Focus For You

These Glasses Automatically Focus For You


A very clever team at the University of Utah has developed a set of liquid-based lenses that alter their curvature, depending on the distance of the wearer’s focal point. According to PSFK, “The lenses are made of glycerin and enclosed by flexible……

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Range Rover Reborn at Salon Rétromobile 2017: An edition of 10 factory-restored 1978 three-door Range Rover Classics

Range Rover Reborn at Salon Rétromobile 2017

From the Bahama gold colorway to the 3528cc V8 Petrol Carburetor Zenith-Stromberg 175CD type engine, the Range Rover debuting at this year’s Salon Rétromobile is a statement piece. It’s not new, however. It will be one of 10 factory-restored 1978……

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Bend it like Beckham, Measure it like Messi

connected_cleat_1

It seems as if we’re trying to put a chip in everything. Now this time, it’s our shoe. The Connected Cleat basically puts a bunch of sensors into your cleats that then constantly read data and give you a complete detailed analysis of your gameplay with numbers. I imagine that would work absolute wonders for the sports industry. After all, it isn’t cheating if you’re monitoring data. The module that fits into your shoe doesn’t enhance your performance… it just analyzes it up close.

What’s so marvelous is the size of this module. It fits cozily into the sole of the cleats in a way that doesn’t make you realize its there, while also being secure enough to never fall out mid-game. The cleats are designed around this module, giving you a complete footwear set that may just render your fitness tracker obsolete. Impeccably accurate gameplay data, right in your sporting equipment. I hope the sports execs are reading this!

Designer: Trevor Timson

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Bob Colacello's Curatorial Debut at Vito Schnabel Gallery: "The Age of Ambiguity: Abstract Figuration / Figurative Abstraction" on now in St Moritz

Bob Colacello's Curatorial Debut at Vito Schnabel Gallery

For those familiar with the name Bob Colacello, it may come as a surprise that he hasn’t curated a gallery exhibition until now. A close Warhol confidante—and the force behind Interview magazine through the 1970s until ’83—Colacello’s journalistic……

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Robo-cycling: Bringing the Power of Automation to Recycling

This article is part of the Design for Impact series, a collaboration between Core77 and Autodesk focused on designers using their craft to promote environmental and social change.

Do you track your trash? How carefully do you sort your garbage—organic waste in a composter, recyclables separated into the right bins, non-recyclable waste isolated into its own receptacle? How cautiously do you ensure that hazardous materials are excluded from the recycling bin or that your bottles and cans are clean?

As Americans, we all contribute to the more than 250 million tons of solid waste generated in the U.S. each year, around 34% of which (87 million tons) makes it way to recycling facilities that employ unskilled, low-wage workers to operate heavy machinery.

While recycling is recognized as a societal good, the working conditions in these facilities are cause for concern. In a 2012 report entitled “Promoting Safety and Health in a Green Economy“, the U.S. Department of Labor’s Occupational Saftey and Health Administration division outlined the risks for workers who are often poorly paid, inadequately trained, and exposed to hazardous conditions at recycling facilities among other “green” jobs.

Sorting and picking through chemical waste, batteries, scrap metal and organic materials, workers have been burned, lost limbs, and been exposed to all manner of noxious inhalants. A 2016 investigative report published in Mother Jones outlines the dangers to workers and tells the stories of some who have died from working in these hazardous conditions.

Entrepreneur Matanya Horowitz is on track to address those concerns with AMP Robotics. With precision, speed and accuracy, their robotics technology is designed to take over the most dangerous jobs that humans now do at recycling facilities, mitigating what Horowitz calls “dull, dirty and dangerous work.”

The AMP Robotics logo on a small piece of hardware

Automation for Efficiency and Safety

“At the beginning, we saw ourselves as a computer vision company. We were going to just apply robots to this problem. When we started getting deeper into the recycling industry, we just saw so much potential. Even without robotics, technology in recycling is improving at a steady clip,” says Horowitz.

AMP Robotics technology aims to make the industry profitable and safe. Compared with landfill use, the economics of recycling are appealing to waste management companies, as an efficiently run recycling facility can achieve higher profit margins for managing their waste.

“In the industry, there’s something called tip fees [also known as disposal fees]. If the tip fees for a recycler are lower than the landfill tip fees, recycling becomes not just the right thing to do, but it’s the economically efficient thing to do. Now we’re basically just digging in as deep as we can and seeing how could we help bring the cost of recycling down.” says Horowitz.

With their current recycling facility partners in Boulder, CO, Horowitz estimates that they are saving 50% of sorting costs using AMP Robotics systems. Calling what they do scalable recycling solutions, Horowitz’s team leverages machine learning to teach the robots to identify valuable materials amid the clutter of fast-moving conveyor belts.

Their comparative efficiency shows that their robots can make 50 – 100 accurate “picks” per minute, while their human counterparts can achieve between 30 – 60 picks per minute. With smart technologies they can constantly improve their accuracy as new forms of recycled materials are introduced to the marketplace.

The AMP Robotics system sorting recycling items

Even more important than that is the improved safety that comes with AMP Robotics system. By utilizing the AMP Robotics systems, recycling plant workers aren’t exposed to harmful contaminants, and significantly reduce their risk of serious injury. Efficiency combined with improved safety is the key to profitability.

“When you start getting deeper and deeper into a problem, it becomes even more rich with opportunity,” says Horowitz.

Creative Risk-Taking

With a Ph.D. in Robotics from CalTech and time spent at NASA’s Jet Propulsion Lab, Horowitz knows how to create a wickedly efficient algorithm. Designing the robots, however, was not as intuitive. His start-up team consisted of programmers with no mechanical background.

“Our premise with these robots was that it was the vision system in the software that needed to improve to solve this recycling project problem and not necessarily the mechanical design. For the most part, we made very bad mechanical parts.”

Then they were introduced to Autodesk Fusion 360 and everything changed. “Fusion 360 is democratic,” says Horowitz. As he explains, the software had a catalyzing effect. “Okay, we can actually make this right the first time. It actually enabled us to create things, going from just a couple of sketches on a piece of paper to actually having real CAD and actually being able to make designs that fit the first time.”

Model of AMP Robotics using Autodesk Fusion 360

The accessibility of Fusion 360 turned a deficit into an opportunity. Suddenly the team could actually see what they were making, creating 3D models that aligned with their vision of an algorithmically pure solution.

Horowitz credits the Autodesk Entrepreneur Impact Program and Fusion 360 for making AMP Robotics come to life. He says, “It’s making it so that as a programmer I can converse with my mechanical designers in an intelligent, efficient way.”

Inspiration Everywhere

Horowitz’s path to robotics wasn’t obvious from the beginning. As he tells it, he was convinced that getting an MBA and working in business was going to be the direction his life took. He remembers thinking, “Oh, this kind of stuff is kind of silly and kind of pointless, so I’m going to go do the adult thing. Maybe get an MBA.”

The moment of clarity for him was seeing the DARPA Grand Challenge. Run by DoD’s Defense Advanced Research Projects Agency, the competition was intended to spur the development of autonomous cars. To Horowitz, the Grand Challenge felt like a page out of his childhood where he recalled playing with Transformers, an early window into robotics beloved by many children. That passion was further fueled by his older brother, Benjamin, who taught him how to program, which ultimately took him to CalTech.

Running parallel to his love of robotics was an appreciation for recycling. Growing up in eco-savvy Boulder, he was first introduced to the recycling industry as a Kindergarten student when some representatives from the local Eco-Cycle plant spoke to his class. A later visit to the massive Puente Hills recycling facility in Los Angeles set the wheels in motion.

These experiences, seemingly random and unconnected, collectively combined to create a set of experiences that launched AMP Robotics.

“I think for so many of these things, they didn’t seem to have any meaningful impact immediately, but it created a context and a culture around these ideas. The result is sooner or later, you put the dots together and go after the important things,” Horowitz says. “I just can’t speak highly enough of the kinds of programs that create a community around ideas.”

Amped Up and Looking to the Future

For their part, AMP Robotics is hoping to inspire more passion in recycling and robotics. The company has worked hard to connect with meaningful investors in their work; companies like the Oskar Blues Brewery, a company that is already active in green causes and recently awarded AMP Robotics a grant to advance their work.

“The money from Oskar Blues Brewery let us buy our first conveyor belt and build a test set-up in our facility,” Horowitz says. More investors will mean greater advances and more opportunities to improve AMP Robotics offerings throughout and beyond Boulder.

As for the AMP Robotics team, Horowitz offers them an opportunity to work in a technologically innovative field while also furthering a cause that matters.

Matanya Horowitz and the AMP Robotics team at work

“Someone will join our team because they’re excited about the robots. A couple of months after joining, they start to visit the recycling facilities, talk to the people working there; and they actually become more excited,” says Horowitz. “They are excited about solving an important problem and not just hacking away at some typical business program.”

For the local Boulder community, particularly the recycling plant workers and their families, AMP Robotics offers a window into what robotics can do for them and, perhaps, offers new opportunities for the future.

“It’s that kind of interest and passion for doing the right thing that matters. There are always little things that connect the dots. If we didn’t have some of those early opportunities, we wouldn’t have been able to get this far.”