Nendo designs crystal trays and accessories for Atelier Swarovski Home

Nendo designs crystal trays and accessories for Atelier Swarovski Home

Flat-cut crystals traditionally used in chandeliers feature in this collection of crystal trays and homeware accessories by Japanese studio Nendo for Atelier Swarovski Home.

The collection features four sizes of crystal tray called Soft Pond, and Tangent, a series of cube-shaped frames that hold various assortments of metal rings and crystal discs depending on their function.

Nendo designs crystal trays and accessories for Atelier Swarovski Home

Intended to resemble small ponds that have been “scooped up and placed on the table”, the trays are discs of four blue or green flat-cut crystals of varying sizes, layered on top of one another to create the illusion of depth.

“A mix of crystal thicknesses was used in the objects to gain a range of shades and convey a feeling of depth, which is the same phenomenon that appears in large bodies of water – the deeper the lake, the darker its colour,” said Nendo.

Nendo designs crystal trays and accessories for Atelier Swarovski Home

To better resemble a body of water, each layer of crystal is tapered so that it is thinner on its outside edge.

The upper surface of the trays was treated with acid to create a subtle incline towards the middle of each product, a technique known as acid pickling.

The multi-use frames feature overlapping metal structures that are designed to function in a number of ways, including as a candle holder, vase, tray, and a mirror.

Nendo designs crystal trays and accessories for Atelier Swarovski Home

Each frame is complete with a single, flat-cut crystal that can be used as a framing device when a flower or candle is placed on the other side, gently refracting the image.

“The flowers or the flame of the candle can be enjoyed by viewing them through the carefully positioned flat-cut crystal disks, framing the object,” said Nendo.

Nendo designs crystal trays and accessories for Atelier Swarovski Home

The frames are available in either a mirrored finish with a blue crystal or a matte black finish with a black crystal.

Recent products by Nendo include a fungi-like tableware and tea set and a series of cast glass chairs that feature a U-shaped base formed by the effects of gravity on molten glass.

The post Nendo designs crystal trays and accessories for Atelier Swarovski Home appeared first on Dezeen.

What to expect from Design Testing

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Designers will design but the validation of the said design comes from its actual users. Take any scenario we can think up of into account, the best results are often achieved once we get inputs from multiple potential users or in other words by doing ‘Design Testing.’ With all the hype and hoopla asserted with regards to testing, it is better to step into that arena with an open mind and goals as to what are your expectations. In that case, there are lesser chances of getting lost in all the feedback you receive. To clear the noise around design testing, the article below by Jonas Downey at SignalvNoise walks us through his thought process about design testing and what to expect when you’re testing!

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If you search the Internet to learn about A/B testing, you’ll find scads of articles bursting with tips for cranking your business performance into the stratosphere.

You’ll get blazing hot secrets like…

BOOST YOUR CONVERSION RATE BY 300% WITH THIS TINY TWEAK

and…

DESTROY YOUR COMPETITION USING A STATISTICALLY SIGNIFICANT SHADE OF BLUE

…and it just keeps going like that, into an overenthusiastic pit of armchair psychology and semi-authoritative pseudoscience.


As the gurus tell it, A/B testing is like Vegas slots: plunk some crap into a machine, score a handful of 🍒🍒🍒s, and voilà, Easy Bake Revenue!

With a pitch like that, who could resist? It sounds so simple. If you don’t do it, you’re obviously a fool who’s leaving money on the table.

Well, I have a couple of hard truths for ya:

  1. It’s not as easy as it sounds, and those big gains aren’t such a sure thing.
  2. Setting out to dramatically boost some arbitrary metric (signups, conversions, revenue, whatever) is exactly the wrong way to approach a design problem.

How do I know this?

I spent most of last year testing dozens of conversion-related design ideas in Basecamp, and I found that the JACKED UP PERFORMANCE aspect is the least interesting part of the process, by far.

The most interesting part is how it can change your thinking. Testing is a ticket to ride. It energizes your adventurous spirit, introduces you to uncharted territory, and lands you in cool places you never expected to go.

Here’s what I learned, and why I’ve come to love doing experimental design.

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Testing turns your designs to trash

After running tests for a while, you’ll find yourself throwing away mountains of design work for just a handful of meaningful improvements.

Do that enough, and you’ll notice something: Maybe design isn’t such a special endeavor after all!

The truth is…a lot of design is ephemeral, malleable, disposable…garbage.

Anything you make today merely represents one moment in time. Maybe it’s your best idea now, but it’s not necessarily the best idea you’ll have in another two days or two months.

Testing makes this painfully obvious on a shorter time scale. You’ll soon become less emotionally invested in your precious creations, and more focused on the problems you care about.

Testing strengthens your gusto

I don’t know about you, but it took me years to build up the confidence to make hard design decisions. I still struggle with it sometimes.

You have to succeed and fail a lot. You have to take criticism a lot. And you have to trust your gut and keep at it, day after day.

Experimentation is a great way to build that muscle. It’s an opportunity to try things you aren’t completely sure about and gives you a sweet little safety net for failures.

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Testing makes you thoughtful

It can be tempting to do experiments like the lottery: throw a bunch of random shit at the wall and then declare victory when one thing performed best by random chance.

You might get lucky a few times that way, but it’s a terrible long-term approach. Without some overarching vision, you’ll be left with a gnarly mess of test results born from guesses, and no clear plan for what to do next.

The better way, of course, is to start with good ideas! Do some research, come up with educated hypotheses and concepts you believe in, then build and test them to verify your thinking instead of defining it.

Testing destroys perfectionism

It’s so freeing to ship a bare-bones version of an idea because it’s “just a test” that you’ll either improve or throw away when it’s done.

If you thought that same design had to stick around permanently, you’d probably never launch it with a lot of known flaws or incomplete parts. You’d want to fix up every last detail and make everything perfect first.

Amazingly, those rough, imperfect tests often outperform the supposedly perfected version you already had in place. When you see that, you’ll realize your outsized attention to detail might not matter as much as you thought.

A license for imperfection is an extremely useful defense against Fussy Designer disease. We should all be vaccinated early and often.

Testing builds empathy

This sounds counterintuitive: running an experiment is mostly a pragmatic and statistical kind of thing. How is that related to empathy?

It’s related because you’re forced to learn what happens when real human people interact with your work. Your choices all have directly measurable effects, so you can’t hide behind bullshitty designer speak or vague justifications when the data shows you’re just flat wrong.

That means you have to get outside your insular designer bubble, stop thinking of people as numbers, and get in their shoes a bit.

When you do that, the business boosts you want will happen as a natural side effect of continually tuning your product to serve your customers’ real-life situations. Making things clearer or more efficient for your customers always pays off.

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Testing helps you make space

One tough challenge in UI design is making physical space for new things you want to do. There’s only so much room on a screen!

You might have ideas that require injecting steps into an existing UI flow, adding more screens, revising a visual hierarchy, or rearranging certain navigational elements.

Doing stuff like that is a gamble. You might be confident that your new version is better in some way, but are you sure your improvements are worth the extra steps or added complexity?

Testing lets you dip your toes in the water. You can run a short experiment and see if you’re busting your business before committing to a direction.

Testing tells the truth

The truth is weird. Sometimes common sense wins out. Sometimes a wild idea succeeds. Sometimes a version you hated performs the best. Sometimes your favorite design turns out to be a total stinker.

Where else in the design world can you get opinion-free feedback like this? There are no Art Directors or Product Managers or App Store reviewers telling you what they think is right. It’s real human nature telling you what’s right!

It’s a fascinating, powerful, bizarre reality.


The original write up by Jonas Downey published on SignalvNoise can be found here.

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Ask Unclutterer: How can I change someone into an unclutterer?

Since we started asking for submissions to the Ask Unclutterer column, we have received many, many, many questions on the following theme:

I am uncluttered and organized, but my partner/spouse/roommate/sibling/child is not. It drives me crazy! Please tell me how I can change/fix him/her/them.

Each time I see one of these messages, my heart goes out to the people involved. I used to be the partner/spouse/roommate/sibling/child who was making messes and not picking up after myself. My college roommates used to yell at me, my parents hired someone to clean my bedroom, and my husband had to have a serious talk with me that bordered on being an intervention. Although many of you may not believe me, the reality is that being a clutterer living with an unclutterer isn’t the easiest of lives, either.

People can change from clutterbugs into unclutterers — I’m living proof of that — but wanting the change to happen doesn’t necessarily mean that it will. Here are some tips that may help to improve your situation:

  • Put Yourself in Their Shoes. Living a cluttered life is not full of puppies and rainbows. You walk around with the stress of your crap and disorganization on your mind all the time. You want to be organized, but don’t have the knowledge and/or energy to make it happen. If you had enough money to pay someone to clean up after you, you would hire someone in a heartbeat just to get rid of the anxiety. You know that you’re upsetting other people, but something is stopping you from changing your ways.
  • Stop nagging and have a conversation. The worst thing you can do is nag the clutterbug. Nagging sends the message that you have no respect for the person. Instead, have a conversation about the state of your home. Go to a public place (most people don’t yell in public spaces) like a restaurant, coffee shop, or bar, and really get to the heart of the matter.
  • Be honest about what you do around the house. Most people overestimate their contributions to work done around the house. It’s because we focus on just what we’re doing, attach a sense of worth to it, and assume what the other person is doing isn’t as valuable. Keep a list of all that you do and ask your house mate to do the same. They might not know how much you actually do, and vice versa.
  • Plan together. Walk through your home and talk about what you imagine for each space. Have everyone input their ideas equally. How do you envision yourself living together in those rooms? What storage exists? How do you use the space and what do you need to do to keep these areas maintained?
  • Create responsibility lists. Sit down and set a clear plan of action for the future. Divide up chores and layout guidelines for who is responsible for what. Make action items and be realistic with time limits. Consider asking a professional organizer to join you if you want some help with brainstorming. Also, create a daily routine list, similar to what was discussed our “exhausted after work” column. Set clear expectations so that there is no grey area. Do this together — don’t make a list and hand it to your house mate.
  • Avoid criticism in the early weeks. It may take some time for everyone to figure out the nuances of the new responsibilities. Ask if the other person needs help instead of being critical about how the work is completed. Organizing and uncluttering are things we learn, and not everyone is perfect at a task the first time they try it.
  • Use gentle reminders. Turn on music when you clean so that there is an audible cue for cleaning. Or, use the same set of songs in a playlist for cleaning time if you typically have music playing in you’re home. Make it obvious that you are tackling the items on your list. Honestly, this is a more effective encouragement tool to get someone to do their chores than nagging them to help you.
  • Positive speech. It’s important to focus on the end results of your organizing and uncluttering activities. The payoffs one gains from being organized are usually more valuable than the payoffs the person gains from being lazy.

Be sure to check out our post “What to do if you are organized and your partner isn’t” for additional tips and tricks.

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.

 

This post has been updated since its original publication in 2009.

Post written by Erin Doland

Design Job: OXO Is Seeking a Design Engineer to Develop the Mechanisms in New Products

Reporting to the Senior Industrial Design Manager, this Design Engineer will be working on projects through the Design Engineering cycle to ensure products meet performance standards, quality expectations are manufacturable, and adhere to design briefs. This highly creative individual will play a key role in

View the full design job here

Chimney-shaped galleries protrude from Exploratorium museum by Bernard Tschumi

The Exploratorium by Bernard Tschumi Architects

Bernard Tschumi Architects has completed the Exploratorium museum in China, which has giant industrial chimney-shaped exhibition spaces protruding from its perforated copper coloured exterior.

Due to open in Autumn of this year, the 33,000 square meter museum is located in Tianjin, and is designed by Bernard Tschumi Architects to showcase the port city’s industrial past.

The Exploratorium by Bernard Tschumi Architects

The project was completed in collaboration with the Tianjin Urban Planning and Design Institute, as part of its masterplan for a new cultural centre in the Binhai district.

“We designed the Exploratorium to relate to the rich industrial history of the area, the site of high-volume manufacturing and research,” explained the Bernard Tschumi Architects.

The Exploratorium by Bernard Tschumi Architects

The building in the city’s Binhai Cultural Center, will contain galleries and spaces for cultural events and exhibitions along with office space restaurants and shops.

All of the Exploratorium’s facilities are positioned in and around the giant cone structures, which protrude out from its walls and above the roofline.

The Exploratorium by Bernard Tschumi Architects

They are wrapped by a copper-coloured facade made from perforated aluminium panels, designed by Bernard Tschumi Architects to give the building a “unified presence”, while helping it to reduce heat gain.

Forming the focal point of the facade is the Exploratorium museum’s largest cone, which houses a triple-height lobby with a large spiralling ramp.

The Exploratorium by Bernard Tschumi Architects

It provides access to all public parts of the building, and is lined with the viewing portholes that can be seen scattered across the facade.

Visitors can also follow the ramp up to a viewing platform on the roof of the museum, which nestles amongst the tops of the chimney-like structures, and overlooks the surrounding city.

The smaller chimney-shaped volumes contain spaces for the display of large exhibits.

The Exploratorium by Bernard Tschumi Architects

To create an an “other-worldly feel” inside the museum, Bernard Tschumi Architects fitted circular lights into the ramp to resemble a constellation. 

However, dependence on artificial lighting is limited elsewhere, as the conal structures are topped by skylights, and channel natural light into the whole museum.

The Exploratorium by Bernard Tschumi Architects

Bernard Tschumi Architects also designed these structures to function as solar chimneys – a passive cooling and heating system that channels warm air out of the building in summer, and filters it in during the winter.

The Exploratorium sits alongside 5 other buildings in the Binhai Cultural Center master plan, including the Tianjin Binhai Public Library designed by MVRDV.

The Exploratorium by Bernard Tschumi Architects

It is the Bernard Tschumi Architects’ first large-scale building in China, but it is not the first project by the studio to have a striking facade.

In 2012, Bernard Tschumi Architects completed a visitor’s centre with an ornate herringbone exterior on an archaeological site in France, which is designed to references the timber fortifications.

Photography is by Kris Provoost.


Project credits:

Client: Tianjin Binhai Municipality
Architect: Bernard Tschumi Architects
Lead designer: Bernard Tschumi.
Key personnel: Joel Rutten, Nianlai Zhong, Christopher Lee, Pierre-Yves Kuhn, Jerome Haferd, Bart-Jan Polman, Dora Felekou, Pedro Camara, Shayi Liang, Nate Oppenheim, Kate Scott, Clinton Peterson, Olga Jitariouk, Sung Yu
Local architect and engineer: Tianjin Urban Planning and Design Institute (TUPDI)

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Christina Banban’s Singular Colorful Paintings

« Dès mon plus jeune âge, j’ai été émue par le dessin et la peinture. En fait, ce que je préférais, c’était emporter avec moi un cahier et des crayons. Je n’aimais pas vraiment les jouets et j’imagine que c’était ma forme de divertissement à moi », révèle Cristina Banban. Cette artiste espagnole qui vit à Londres a commencé à prendre des cours d’art dès l’âge de cinq ans. « C’était ma première rencontre avec la peinture. J’étais dans une petite école mais avec une forte communauté, dans ma ville natale près de Barcelone appelée El Prat. J’ai passé pas mal de temps avec des personnes plus âgées, des amateurs et des professionnels qui partageaient cet amour pour la peinture. Ils pouvaient passer des heures à parler de la beauté d’un rouge ou de la qualité de représentation d’une nappe suspendue brodée de citrons ».

Avec une telle expérience chevillée au corps, Cristina Banban réalise de véritables oeuvres d’art singulières inspirées de sa vie de tous les jours. « Je crois que l’art est une passion pour tous les plasticiens. Pour moi, c’est plus qu’une passion, c’est un style de vie. Je ne peux pas m’en passer et ma vie quotidienne est liée à la peinture. L’un ne va pas sans l’autre. Mes inspirations en sont d’ailleurs tirées. Je dirais aussi que mon travail est autobiographique. De manière plus personnelle ou indirecte, il porte toujours des références qui me sont fidèles ».

Retrouvez ses œuvres sur sa page Instagram : @cristina_banban













 

 

A New Logo for Slack

La firme internationale aux millions d’utilisateurs a connu depuis sa création une croissance et une notoriété fulgurante. Il était donc temps de redéfinir le logo pour qu’il représente mieux l’esprit et l’identité de l’entreprise. De fait l’ancien logo, un hashtag multicolore, était très problématique. D’abord parce qu’il était difficile à reproduire, à cause des 11 couleurs déclinées qui le composaient, mais surtout parce que sans ces couleurs, il ne restait qu’un hashtag qui visuellement n’était pas spécifiquement rattaché à l’identité de Slack. C’est donc le studio de design Pentagram qui a été chargé de refondre ce logo, accompagnant et concluant la fulgurante ascension de l’application de bureau.

Slack_launch_animation-list!

 

 

 

 

 

 

 

 




Stockholm's Gina Tricot store features medley of materials

Interiors of Gina Tricot fashion store, designed by Note Design Studio and Open Studio

Note Design Studio and Open Studio sampled from a wide material palette to complete the interiors of this clothing store in Stockholm, which combines metal, coloured glass, and terrazzo-style surfaces.

Interiors of Gina Tricot fashion store, designed by Note Design Studio and Open Studio

Decked out with boldly contrasting display fixtures, Gina Tricot has been collaboratively designed by Note Design Studio and Open Studio to be “a showcase of materiality and tactility”.

The store occupies a period building along Götgatan, a major shopping street in the artsy Södermalm district, and is the fashion label’s flagship.

Its interiors are designed to serve as a blueprint for the design of all future Gina Tricot retail spaces, kicking off the brand’s wider aesthetic overhaul.

Interiors of Gina Tricot fashion store, designed by Note Design Studio and Open Studio

“There’s a base of these calm and harmonious colours, which we’ve spiked with pop colours and textiles in various spaces,” Daniel Heckscher, interior architect at Note Design Studio, explained to Dezeen.

“This space is the seed for Gina Tricot’s other stores across Sweden – so every design decision and attribute needed to be transferable and scalable without losing its brand consistency.”

Interiors of Gina Tricot fashion store, designed by Note Design Studio and Open Studio

Arranged over three levels, all of the shop’s walls have been painted pale pink and fitted with bubblegum-coloured neon arrows that direct customers to different departments. Contrast is offered by blocky plinths dotted throughout the space, which display small accessories or beauty products.

Some are crafted from veiny white marble, while others are clad in terrazzo-style vinyl from flooring brand Tarkett. Note Design Studio also used this material for the surfaces of an installation at last year’s Stockholm Design Fair.

Interiors of Gina Tricot fashion store, designed by Note Design Studio and Open Studio

“Instead of funnelling the visitor through a pre-set customer journey, the new store leaves the customer to make decisions,” said the studio.

“The interior invites exploration and generates surprise encounters with key pieces and styles.”

Interiors of Gina Tricot fashion store, designed by Note Design Studio and Open Studio

An iridescent glass box has been erected over a stairway that leads to the basement, complemented by tinted panes of glass that have been placed in front of a handful of the shop’s clothing rails.

The material palette is further diversified by the store’s large cash counter, which is fronted by mottled silver metal, and the chevron timber floorboards.

Interiors of Gina Tricot fashion store, designed by Note Design Studio and Open Studio

A cafe has been created on the shop’s third floor where customers can grab a snack or relax on one of the salmon-toned armchairs.

The formally cramped changing rooms have also been overhauled to feature curtained cubicles and a central sofa, which the studios hope will foster “a sense of togetherness and camaraderie”.

Interiors of Gina Tricot fashion store, designed by Note Design Studio and Open Studio

Gina Tricot isn’t the only retail space to feature an unexpected mix of materials – the recently opened Valextra store in Miami pairs metal mesh display podiums against pebble-dashed stone floors, while the Eytys shop in London has reflective aluminium shelving and rough concrete walls.

The post Stockholm’s Gina Tricot store features medley of materials appeared first on Dezeen.

Iris van Herpen explores human-animal hybrids in Shift Souls couture collection

Iris van Herpen explores human-animal hybrids in Shift Souls couture collection

Iris van Herpen looked to advances in DNA engineering and female forms in mythology when imagining this sculptural couture collection.

The Dutch fashion designer showcased her Shift Souls collection at the Musee des Beaux-Arts this week as part of the haute couture shows in Paris, alongside a laser light installation by contemporary artist Nick Verstand.

Iris van Herpen explores human-animal hybrids in Shift Souls couture collection

Each of the 18 garments, which featured voluminous spheres, elaborately waved forms and laser-cut detailing, were inspired by human-animal hybrids.

The collection’s warm colour palette ranged from shades of indigo and purple to ochre and yellow, and included prints that created optical illusions to “distort the body”.

Iris van Herpen explores human-animal hybrids in Shift Souls couture collection

Van Herpen thinks the subject of hybrid creatures is important given recent scientific breakthroughs in genetic engineering.

“With the advances in DNA engineering and the first successful creations of human-animal hybrids called cybrids, the mythological dreams of humankind since the dawn of civilisation are shifting to the canvas of science,” said the brand.

“While the scientific and ethical implications of cybrids are still unclear, this collection expresses the fact that this reality is upon us.”

Iris van Herpen explores human-animal hybrids in Shift Souls couture collection

One piece, made in collaboration with artist and former NASA engineer Kim Keever, featured photographs of “vaporous coloured clouds” printed onto translucent organza and layered to create blurred patterns.

Another look was made of gradient-dyed silk fabrics layered against laser-cut frames of polyethene terephthalate glycol (PETG), a clear-coloured plastic resin, to create voluminous spheroid shapes that are meant to “hover in symbiosis with the body like mythological creatures”.

Iris van Herpen explores human-animal hybrids in Shift Souls couture collection

Van Herpen revealed that her initial inspiration came from Harmonia Macrocosmica, an early-1600s star atlas by German-Dutch cartographer Andreas Cellarius, as well as historical representations of mythological and astrological creatures throughout history.

Iris van Herpen explores human-animal hybrids in Shift Souls couture collection

“For Shift Souls, I looked at the evolution of the human shape, its idealisation through time and the hybridisation of the female forms within mythology,” said Van Herpen.

“Especially the imagination and the fluidity within identity change in Japanese mythology gave me the inspiration to explore the deeper meaning of identity and how immaterial and mutable it can become within the current coalescence of our digital bodies,” she explained.

A highlight of the show was a futuristic red dress with a multitude of laser-cut waves, creating a “dance of quivering echoes that optically distort the body”.

Accompanying the garments was a series of 3D-printed face jewellery made in collaboration with the Delft University of Technology, developed by 3D-scanning the model’s faces and mapping out a shape based on the shifts in density across the face.

Iris van Herpen explores human-animal hybrids in Shift Souls couture collection

For the show’s finale, Van Herpen worked with Dutch artist Verstand on a light installation that used walls of laser lights to create a “dreamscape” of circulating clouds on the venue ceiling.

“Iris wanted to envelop the audience within a dreamscape of clouds, relating to the fabrics of the collection designed in collaboration with artist Kim Keever,” Verstand told Dezeen.

Iris van Herpen explores human-animal hybrids in Shift Souls couture collection

To create the illusory wall of light, the Dutch artist positioned lasers on the corners of the catwalk, on the floor and above the model’s heads.

Air fans were used to direct smoke from smoke machines to the laser surfaces from multiple angles.

“When the smoke mixes with the air and hits the laser beams, it reveals the cloud-like vortices in mid-air while creating the optical illusion of an immaterial wall,” said Verstand.

Iris van Herpen explores human-animal hybrids in Shift Souls couture collection

The artist’s previous work includes an immersive audiovisual installation that reinterprets people’s emotions as pulsing light compositions.

Van Herpen is recognised for applying innovative techniques to unusual materials in her collections. Her previous show saw the designer translate the kinetic movement of birds flying into pleated garments.

The post Iris van Herpen explores human-animal hybrids in Shift Souls couture collection appeared first on Dezeen.

A Swiss-made ‘Apple Watch’ without a screen… or hands.

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I’ll be honest with you. The Swiss Alp Watch looks wonderful, but when I get to describing it, it’s a bit of a let-down. It’s worth noting that the watch is tagged as a Concept (although it is available for order for an obscene price of $350,000), and I personally feel it holds a LOT of potential as an Analog-Meets-Electronic concept. We’ll get to that later.

The Swiss Alp Watch (or SAW for short) comes from luxury Swiss timepiece brand, H. Moser and Cie, with its highlight being the way it looks. Designed with a silhouette that one may mistake for an Apple Watch from afar, the SAW comes with a rectangular body and a crown on the side, but what’s noteworthy is that the front doesn’t have a screen or hands. In fact, the SAW doesn’t visually indicate the time either. The watch comes with a ‘minute repeater’ that tells you the time through sound, using chimes to indicate what time of the day it is. A button on the side of the watch body lets you summon the chiming, letting the SAW tell you time through the medium of sound. The watch does, however, have an interesting visual element to admire. Right on the otherwise plain watch-face lies a cutout that showcases the watch’s undoubtedly eyecatching one-minute flying tourbillon, at the 6 o’clock position. The watch also comes with an exhibition back that lets you admire the intricate hand-wound HMC 901 caliber.

The fact that the watch only resembles a smartwatch and completely underplays the rectangular Apple Watch-esque aesthetic is honestly a bit of a let-down. I personally think the SAW would be an exceptional watch to own if the rest of the face were an OLED screen that had a cutout around the tourbillion the way Samsung and Huawei’s phones have a hole-punch where the camera is located. The contrast between a bright pixel-based screen, and an incredibly detailed flying tourbillion would work wonders, creating a unique combination of cutting-edge technology and century-old Swiss craftsmanship. Now I’d pay top dollar for that… maybe not $350,000 though.

Designer: H. Moser & Cie

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