Hasta La Ideas

Taking a lesson from the automotive industry on automation, Mokumono partnered up with 3D Hubs to robotically build the bada$$ bike you see here. Unlike other bikes that are usually manufactured with hundreds of parts and days of manual work before being shipped across the world, this new production method simplifies things. It makes it possible for the build to occur anywhere facilities permit and cuts back on labor costs while saving on the fossil fuels burned to transport units overseas.

Unlike traditional bike’s steel or aluminum tubing that takes hours of hand-welding and meticulous oversight, the Mokumono uses two sheets of 7000-grade aluminum pressed into form and laser welded together. Using just two formed halves joined around a head tube, seat tube/bottom bracket and drop-outs, the welding is simplified and streamlined for automated production. The result is faster and requires less work. Better yet, the number of components is reduced so it’s stronger and there’s less to break! While it might not have the bespoke feel of other handmade cycles, the fact that it’s robot-built does give one a sense of relief you can’t find elsewhere.

Designers: Bob Schiller & Tom Schiller of Mokumono

The Frame

Unlike anything else. The aluminum frame is stiff in the areas where it matters. To allow for a comfortable ride, we designed the frame with floating rear stays and added a carbon fiber front fork. Making sure that our strong and lightweight frame offers a smooth ride.

Carbon Belt Drive

The Gates CDX Carbon Belt Drive System is designed to be a stronger, quieter alternative to the traditional bike chain. The durable carbon-fiber belt is grease-free and requires little to no maintenance. It won’t leave any marks on your pants and you’ll never have to pull over to fix a dropped chain.

Cambium C15 Saddle

The Brooks Cambium C15 saddle is made from vulcanized natural rubber and an organic cotton top that offers extraordinary comfort and exceptional freedom of movement. The hard-wearing top, die-cast aluminum structure, and tubular steel rails allow the Cambium to stand up to many years of hard use. Furthermore, a distinct dampening effect is delivered by the classic Brooks “hammock” construction, reducing road vibrations and keeping the rider comfortably in the saddle.

Bose has finally commercially released Sleep Buds worth $249.95 with an aim to put “an end to sleepless nights.” Whether it’s a snoring, traffic, AC sound or loud neighbor, Sleep Buds with in-built noise-masking technology is a perfect partner for an undisturbed sleep. But wait, these wireless earbuds do not stream music or any other audio to cover-up the external noise. In fact, they play soothing music to ears and relaxes mind to help you fall asleep. Bose latest noise-masking gadget measures 0.94″ H x 1.06″ W x 0.56″ D and weighs only 0.081 oz (each bud).For masking the noise, Bose has designed its own Sleep app that has ten pre-loaded soothing sounds such as rhythm of rolling waves or gentle rustle of leaves. The speaker company will add more sounds to the app through a software update in future. The Sleep Buds takes 8 hours to get a full charge. The battery life stretches up to 16 hours of use in a single charge.The Bose Sleep Buds are now available in the US and Canada at Bose stores, bose.com and select resellers. They will arrive in Asian and European markets in the fall…(Read…)

The ridged roofline of this museum in Chile‘s Aysén Region references existing historic buildings on the site and creates a sequence of dramatic internal spaces with steeply sloping ceilings.

Santiago-based studio Tirado Arquitectos was commissioned by the regional government to develop a museum on the historically important site, where settlers established a sheep-farming community in the early 20th century.

The community grew into the city of Cohaique, which is now the capital of the Aysén Region and the gateway to some of Patagonia’s most remote areas.

The historical significance of the site, and its remaining original buildings meant that an important focus of the project was the preservation and repurposing of these simple wood and stone structures.

The studio headed by architect Cristóbal Tirado also sought to ensure that new interventions are in keeping with the existing hierarchy of the built structures on the 2.6-hectare plot, as well as their relationship to the natural setting.

The first stage of the project focused on returning the site to its original state by clearing away any incongruous later additions and reinstating the historic site plan, with buildings arranged along either side of an old road.

“The intervention seeks first to restore and consolidate the structure of the buildings,” the architects explained, “deleting all kinds of historical mistakes that damage the original condition of them, trying at the same time to preserve the value of the evolution of the constructions.”

The new building was designed to house the largest of the museum’s exhibition spaces and is intended to sit inconspicuously within its heritage context.

The elongated structure occupies the site of several derelict farm buildings that were demolished due to their poor condition. Its massing references these predecessors, as well as the proportions of the preserved workers kitchen.

The building is constructed as a single monolithic volume featuring a roof with varying pitched sections that are directly informed by the angles of the other heritage structures on the site.

“The facade is formed as the succession of farm houses and their roofs,” the studio added. “The volume recedes in areas where trees exist or there are proposed patios and opens on the ends to enhance its relationship with the labourers kitchen and the landscape.”

The timber-clad volume rests on a continuous concrete plinth and is wrapped in batons of lenga wood, which is native to the southern Andes range and will gradually weather to help the building blend in with the surrounding nature.

The same wood is used to create a consistent flooring surface throughout the building’s interior, which is arranged as a linear sequence of interconnected rooms featuring uniform white walls and ceilings.

The various rooms are given a unique quality by the dramatically different roof forms. The varying pitch of the ceilings determines the character of the different exhibition spaces, which are joined by a reception area and an auditorium.

Glazed partitions used to separate the rooms feature metal frames with staggered vertical elements. The glass surfaces provide a visual connection with the adjacent patios and courtyards whilst allowing daylight to flood into the exhibition spaces.

As part of the project, the team developed a proposal for the landscaping around the new and existing structures that seeks to restore and consolidate the historic properties of the site.

Groves of trees and fruit farms will be preserved and maintained, while different grasses have been sown to separate the park from the old road. Trees will also be planted to enhance the separation of the museum and the park from the nearby city.

Photography is by Cristóbal Palma.

Project credits:

Technical unit: Regional Direction of Architecture MOP Región de Aysén
Architects: Cristóbal Tirado, Silvia Barbera, Jorge Batesteza
Project manager: Cristóbal Tirado
Collaborators: JT.Rodríguez (team leader), JP.Larraín, I.Balart, F.Torreblanca, JC.Barros, S.Cruz
Specialities: P.Larraín (restoration), E.Zegers (calculus), Cobe Ing (sanitary), Cobe Ing (electric), Termovac (climate), DLLD (lighting), Landscape MPB (landscaping), I.Balart (furniture and signage), Contacus (acoustics)
Construction: LYD Construction

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