Drop is a product system, designed to empower glaucoma patients to self-administer preservative-free medication.
Actuated & Rest State
The image shows the device in its actuated and rest states, indicating how users interact with the product.
Credit: Harry Moorman
Design for Manufacture
Exploded view of the device, detailing the internal components and DFM features.
Credit: Harry Moorman
Cap removal
The cap can be removed to allow access to the medication nozzle and forehead grip.
Credit: Harry Moorman
Device in hand
Credit: Harry Moorman
Development (1)
A multitude of development techniques were utilised during the project process, from digital and hand sketching, to 2D illustrator renderings and CAD.
Credit: Harry Moorman
Development (2)
A multitude of development techniques were utilised during the project process, from digital and hand sketching, to 2D illustrator renderings and CAD.
Credit: Harry Moorman
Device in use
The device can be rested on the forehead to increase stability. Users use the blue grip to align the nozzle above their eye, and squeeze the two buttons together to administer a dose.
Credit: Harry Moorman
Device in dock
The dock stores the device, completing the system and keeping all product components in a single location.
Credit: Harry Moorman
Medication removal
Spare medication bottles can be stored in the dock.
Urko Sanchez Architects, who are based in Nairobi and Madrid, referenced the traditional typology of a walled medina quarter found in many North African cities.
With its open spaces and maze-like network of streets the SOS Children’s Village is designed to foster a sense of community for the orphaned and in-need children who live there.
“The compound is a walled quarter, providing intimacy, a sense of community and security, well-adapted to the social and environmental context,” said the architecture studio.
“Going against the contemporary flow of minimal open space, we made sure every house had an open area that was private enough for it to become an integral part of the home and everyday life”.
The compound was constructed using a reinforced concrete structure, infilled with precast concrete blocks and coated with a pale Cemcrete finish to help reflect harsh sunlight.
The large cluster of buildings consists of fifteen separate homes, each with room for ten children, along with additional units for staff, services, and a home for the centre’s director.
Homes are arranged to balance the desire for the creation of private space with the need for security and “organic surveillance” by the SOS staff who look after the children.
To make the place comfortable in an incredibly hot and dry climate, the narrow alleyways between each housing unit have been oriented to create natural ventilation corridors.
Tall wind-catcher towers ensure the entire compound is well-ventilated.
Each block has also been oriented to make the most of natural air and light, with some sitting together so that the roof of one block creates a terrace for another.
With no cars, these streets and alleyways are also safe places in which the children can play. Plants were introduced into the design to create a communal greenery that the residents are encouraged to take care of.
“Ultimately, the SOS Children’s Village is a shell to protect life,” said the architecture studio.
Along with the Petronas Towers, Pelli’s most significant buildings include One Canada Square in London, World Financial Center in New York City and the National Museum of Art, in Osaka.
Pelli designed the Petronas Towers, which were the tallest build in the world when they completed
Pelli was born in 1926 in Tucumán, northern Argentina. He studied architecture at the Universidad Nacional de Tucumán before moving to the United States to attend University of Illinois School of Architecture.
After graduating Pelli joined the studio of Eero Saarinen, where he would work for ten years on projects including the TWA terminal at JFK Airport, which has recently reopened as a hotel.
In 1977 Pelli established his own firm Cesar Pelli & Associates, which he would run for the next four decades, with the name changing to Pelli Clarke Pelli Architects in 2005.
In 1995 he was awarded the AIA Gold Medal.
Pelli architect of tallest buildings
Pelli was known as a skyscraper architect and he created tall buildings in cities across the world. The most prominent of these was the Petronas Towers in Kuala Lumpur, Malaysia.
The pair of 451-metre-tall towers were the tallest building in the world between twin 1998 and 2004, and remain the tallest twin towers in the world. The building was also awarded the Aga Khan Award for Architecture.
Pelli Clarke Pelli Architects is the tallest building in San Fransisco
In the UK Pelli designed the 235 metre-tall One Canada Square tower in Canary Wharf. London, which was the tallest building in the country between 1990 to 2012.
His studio was also the architect of the Gran Torre Santiago. Completed in 2010 the 64-storey tall skyscraper in Santiago, Chile, is the tallest building in Latin America.
This January marked the 35th anniversary of Mac’s launch and since that time are few product lines that have the Mac’s longevity, or which have been reinvented so many times.
Out of the many of the Macs that Apple has created since 1984, Hopkins has chosen the ones that has advanced both the platform and home computing the most.
“Rarely are these the most powerful Macs of their day; instead, they are the ones that changed how we see or use a Mac, that pushed the platform forward in different ways,” Hopkins told Dezeen.
“This means there are some surprising omissions and some equally surprising inclusions. Yet all contributed to what the Mac is today.”
Read on for Hopkins’ pick of the best Macs:
Macintosh 512k, September 1984
“The unveiling of the Mac in 1984 was the greatest product launch in history. Steve Jobs removed the diminutive Mac from its bag, dramatically took a boot disk from his inside jacket pocket, started it up and let the Mac take over.
“A demo showing off its capabilities, including writing the words “insanely great”, was accompanied by Chariots of Fire playing in the background. Then almost unbelievably it started talking – a voice synthesiser was unheard of in a home computer.
“The fanfare, the launch and the famous Big Brother ad directed by Ridley Scott, which ran in the 1984 Super Bowl got the Mac off to a roaring start. However, sales quickly started flagging. The reason: the Mac’s $2,500 price point, and slow performance.
“While it was a huge technical leap, the team had skimped on some of the specs to keep the price down, notably its RAM. Even in 1984, 128k wasn’t enough to do serious work, especially when it had to help run the Mac’s fancy graphical interface.
“So the original Mac doesn’t make the list, but the updated version with four times the RAM, which came out in September 1984, does. This was the Mac the original Mac should have been.”
Macintosh LC, October 1990
“This was the first Mac I used. The LC was conceived as a Mac that would be affordable for schools. LC apparently stood for low-cost colour, and my school, like so many others, had a classroom full of them.
“Technically it wasn’t great as Apple cut a number of corners to keep the cost low. But it did have an expansion slot, which could take a card that allowed the LC to run software made for the Apple II, which was a big plus for schools in the US where the Apple II was widely used.
“But the thing I remember most about it, was how friendly it was. Back then computers still seemed scarily complicated. But not the LC with its distinctive pizza box case and matching 12 inch monitor – in colour! This was the first computer where I didn’t need to worry when I was using it.”
PowerBook 100, October 1991
“The PowerBook 100 was the first laptop computer that bears comparison to those today. Although there were portable computers before, the PowerBook established the laptop paradigm of the clamshell design with keyboard placed up against hinge, a centrally placed trackball below and palm rests either side.
“Although underpowered compared to the Powerbooks 140 and 170 released at the same time, lacking an internal floppy disk drive and sporting a dull, passive matrix screen, the PowerBook 100’s more compact design puts it on this list as a great Mac, and one that still sets the standard nearly three decades later.”
Twentieth Anniversary Macintosh, March 1997
“Steve Jobs apparently hated this Mac. To his eyes it represented all that was wrong with Apple when he returned to the company as interim CEO in July 1997. The mid-1990s were dark times for Apple as Windows 95 eroded its usability advantage and plans for a successor to the ageing Mac OS floundered.
“The Twentieth Anniversary Macintosh (TAM) was conceived not only to mark the founding of the company by Jobs and Steve Wozniak 20 years before, but, as Jony Ive described in a video produced at the time, as a radical reimagining of the future of the personal computer.
“In many ways the TAM succeeded. Harking back to the original Macintosh, it was an all-in-one design with the internals integrated with the 12.1 inch LCD screen, a vertically mounted CD drive below and fabric covered speakers either side.
“An external base unit contained both the power supply and subwoofer and the keyboard came with integrated trackpad flanked by leather palm rests. In a bizarre move, the initial colossally high price of $9,000 apparently included the TAM being delivered to your house by a tuxedoed concierge riding in a limousine.
“For some, the TAM is a contender for the worst ever Mac – a classic example of fiddling while the company burned – yet the lineage to today’s iMac is hard to ignore. While it sold poorly it showed the creativity of Apple’s design team, which under the leadership of Ive would ultimately save the company.”
iMac, August 1998
“How could this list not include the original iMac? It was Ive’s masterpiece and the Mac that saved Apple. For a while, everything from irons to portable radios seemed to be riffing off the iMac’s colourful translucent plastic. Apple was relevant again.
“In some ways, however, the iMac repeated an old formula: middle of the range specs inside a beautifully designed and memorable case. However, there were some differences with the iMac.
“Firstly, it included a fast G3 processor, so it could compete with the best of the Windows world. Secondly. Apple ditched the legacy connectors in favour of USB. And, thirdly, it contained no floppy drive – the first Mac to lack one. Although criticised at the time, these moves proved highly prescient. With the iMac, Apple showed the future was already here.”
PowerBook G3 “Pismo”, February 2000
“I used two of these back in the day, and it’s probably the Mac I feel most nostalgic about. The first PowerBook G3 arrived in March 1998 just before the iMac (we’ll discount the one from November 1997 on account of it really being a 3400c with a G3 processor).
“Most PC laptops at this time were thick, boxy and not a little bit clunky. The PowerBook G3 was something else: a light, compact and sleekly curving design. It was beautiful but also serious.
“It’s hard to choose which was the best of a line that ran until January 2001. The Wallstreet II, launched in August 1998, was the last Mac to use Apple’s rainbow logo, which has to mean something. But I would choose the last model, the Pismo, for it’s refined design, modern connects, spaceship power brick, and for being the first PowerBook to support Wi-Fi.”
Power Mac G4 Cube, July 2000
“Again, another contender, like the TAM, also for worst Mac ever. The Cube, as it became known, was underpowered and overpriced. It sold badly and lasted for little over a year in Apple’s product line before being axed.
“Yet looking back, the Cube stands apart as a distillation of everything a Mac should be: tightly integrated with no extraneous parts, fanless (a particular obsession of Steve Jobs) and so beautiful it resembles more a work of art than a tool for getting things done (apparently MoMA has one its collection).
“For Jobs it also clearly stood as a synthesis of the Mac and the NeXTcube, the computer created by NeXT, the company Jobs had founded after he left Apple in 1985. Although it didn’t last long, the Cube has a direct descendent in the much cheaper Mac mini.”
PowerBook G4 12 inch, January 2003
“Probably the best-loved of all pre-MacBook laptops, the 12 inch PowerBook G4 still has a special place in many users’ hearts and commands something of a premium on eBay.
“It was the first laptop where one didn’t need to compromise between power and portability. It was fast, comparable to a desktop, and while seeming super thick now, was small and light enough to throw into a bag on the way out of the house.
“What made it special was that it never felt like the shrunken version of a bigger laptop, rather a computer that had its own particular identity. It was tightly integrated, everything you need, but nothing more, robust yet approachable. Ever since it was cancelled in May 2006, users have been crying out of its return.”
Macbook Air, photo by Ryan Morse
Original MacBook Air, January 2008
“‘There’s something in the air’, Steve Jobs said mischievously at the end of the January 2008 Macworld keynote. Even for someone known for his flair and love of the dramatic at product launches, there was little that topped the moment Jobs removed the MacBook Air from a Manila envelope to gasps and cheers from the audience.
“Once again Apple had redefined the laptop, this time as super-thin and super pared-back, with only the minimum connectors and no DVD drive. Its influence has been profound, not only setting the direction for the Apple’s own laptops, but becoming the reference point for the whole laptop category.
“Laptops as we know them today wouldn’t be the way they are without the MacBook Air.”
“Unusually for Apple we have known this was in the works since 2017 when they called together a few select journalists to announce that they were ‘completely rethinking the Mac Pro’. This was good news to many at the time. The ‘trashcan’ Mac Pro hadn’t been updated since 2013 and many were wondering if Apple was still serious about creating a pro machine.
“Two years later the wait looks like it has been worth it. The new Mac Pro combined with Pro Display XDR does not disappoint: hugely powerful, massively expandable and in a case that just screams performance. It is a a fitting send-off for Ive.
“While its inclusion on this list is perhaps a little premature, this may very turn out to be the ultimate Mac. Meanwhile, the emphasis that Apple placed on the Mac more generally during the recent keynote suggests the Mac is now back at the forefront of company’s mind and we can expect some further great things over the next few years.”
Proposed for a site beside the RIBA Stirling Prize-winning 30 Mary St Axe – known as the Gherkin – Kahn’s spokesperson stated that the mayor believed “the design is of insufficient quality for such a prominent location”.
Among the projects is an experimental cork house, Grimshaw’s London Bridge Station, and the Macallan Distillery, which is Rogers Stirk Harbour + Partners’ seventh project to have been shortlisted for the accolade.
Researchers at Harvard University revealed the concept for “greenhouse shields” on Mars that could facilitate the growth of plants and terraform the planet.
This will be rolled out as part of the Spanish fashion retailer’s wider sustainability initiative, which also includes a promise that its head offices will meet the “highest green building certificates”.
Among participants’ concerns was an overwhelming complaint about the demands placed on architecture students that are leading to burnout and mental-health issues.
The Map House has created an exhibition of lunar maps created in the 300 years leading up to the first moon landing, which took place 50 years ago today.
Mapping of the Moon: 1669-1969 contains around 80 celestial maps from the 17th century, alongside 20 moon globes and scientific instruments.
The collection includes many maps from the space age including Hammond Inc’s Moon Chart from 1966
London antique-map gallery and seller The Map House has put on the exhibition, which is open until 21 August, to celebrate the 5oth anniversary of the first moon landing in 1969.
The Map House put on the exhibition to demonstrate the scientific endeavour that took place over 300 years to allow the Apollo 11 moon landing mission to take place.
“In order to reach a destination, you generally need a map,” Mary Beal, gallery manager at The Map House told Dezeen. “This also stands for anyone embarking on the adventure into space.”
The USAF Lunar Wall Mosaic was created by combining over one hundred pictures
Some of the most interesting maps in the collection were created in the 1960s as part of the effort to land a man on the moon.
“I think one of the most striking maps in the collection is the phenomenal USAF Lunar Wall Mosaic by the United States Air Force Aeronautical Chart and Informational Service (ACIC)”, said Beal.
The Moon by Rand McNally Company was published in 1958
“The NGA (now the Defense Mapping Agency) reported that 281 of the best lunar photographs and over 1,200 telescope observations were carefully mosaic-ed together to create an accurate picture of the moon, from which they were able to measure distances, plan a successful route and choose landing sites,” she continued.
“An ambitious project with a phenomenal outcome, this map was instrumental in the success of NASA’s Apollo program and landing men on the moon.”
Tycho Brahe’s map from 1660 shows earth as the centre of the universe
Alongside these 20th century creations are numerous maps drawn as humans began to visually observe the moon.
“Astronomy is one of humankind’s oldest sciences,” explained Beal. “For millennia, we have looked up at the night sky in awe, drawn it and tried to make sense of our place in the Universe. It is only with the arrival of the telescope that scientists and astronomers are finally able to see the fine details of the heavenly bodies.”
Jean Baptist Homann’s Tabula Selenographica was published in 1710
The earliest maps on display date from the 17th century and are much more decorative than later maps.
These lunar drawings were created as humans were learning more about the world and the universe, and over time the detail and accuracy of the mapping improved.
Cassini’s Moon Map, first published in 1679, is one of the first scientific maps of the moon
“Over time, as our understanding of the universe developed and the technology we used to measure and observe also developed – we have been able to get a clearer picture of the Earth’s moon and the solar system in which we have lived,” said Beal.
“A major early milestone was Cassini’s moon map, first published in 1679 by Jean-Dominique Cassini I and from drawings by Claude Mellan. This is considered one of the earliest, most scientific maps of the moon.”
Falk Verlag’s relief map of the moon was published in 1968
Alongside the maps on display are a selection of signed memorabilia by astronauts Neil Armstrong, Buzz Aldrin and Jim Lovell.
The soul of a Bugatti definitely resides within this concept by Invisive. Its stylings are a lot like a modern-day Chiron, with the slick horizontal headlights and the signature C-cut on the car’s rear pillar. However, the Type 103 really turns things up a notch with its horse-shoe grill at the front. With a wider base, the grill goes from horse-shoe to practically a parabola shape, almost giving the car a discernible grumpy-face. I imagine if a magnificent car like the Bugatti Type 103 was stuck in traffic, it would have a grumpy-face too. The grille on the front is quite sloped too, resulting in an overhang on the front that’s relatively large, but makes the car look longer, along with a back that absolutely looks Batmobile-ish with surfaces trailing off backwards to make the car look like a motion-blur even when it’s standing still. It also has a centrally located vertical tail-light/aerowing better visible in the top-view that reinforces that Batmobile image, almost looking like the car has a tiny afterburner on its back like a jet.
The objective was to take Bugatti’s C-series and toy with the curves and surfaces, amping the design up while sticking to Bugatti’s design heritage as much as possible. Designed, modeled, and rendered over a week-long project timeline, the Type 103 could stand right beside the rest of Bugatti’s cars and nobody would be able to tell original from fan-made concept. In all ways, it captures the natural progression of the Bugatti series, down to the iconic design details and color choices, to even the surfacing and photo-realistic rendering. I’ll give the exaggerated rear a pass, just because it looks so incredible I want it to be true!
Drumroll please! The first leg of the Core77 Design-Athlon has concluded and we have our winners! Thanks to guest-star judge Reid Schlegel and Core77 Staff for picking these fine examples of design sketching!
This Sunday July 21 is the deadline for our first #c77prototyping challenge! Anyone can enter and be in the running. You challenge-tested design-thletes already on the leaderboard have the advantage, so continue your winning streaks and get a Lunchbox prototype in before Sunday!
Without further ado…!
The Ultimate Dad Shoe – Sketching Challenge #1
—-> Winner, earning 15 points in the Core77 Design-Athlon…
This Sunday July 21 is the deadline for our first #c77prototyping challenge! Anyone can enter and be in the running. You challenge-tested design-thletes already on the leaderboard have the advantage, so continue your winning streaks and get a Lunchbox prototype in before Sunday!
Multiple award-winning NYC based product design studio Pensa is looking for an Industrial Design Intern to join their team in Brooklyn New York this fall. A small yet highly talented team powers the Pensa studio, and has resulted in over 100 internationally awarded projects with clients like Samsung, OXO, Pepsico, goTenna, Google, and many more. Backed by creativity as well as new technologies, Pensa prides itself in a unique design process that results in products born out of love and determination to improve quality of life through better user experiences.
The Opportunity
We are Pensa, the Brooklyn creative force behind the D.I.Wire, Street Charge, the Merge urban bicycle and the ONEBLADE razor. We are looking for Industrial Design students or recent grads to join our team for a design internship or co-op.Pensa is known for its ability to create beautiful functionality. Our designers are inspired and creative problem solvers that develop product stories connecting back to the functional and emotional needs of people. Pensas designers love design and help our clients solve their hardest product challenges. They have a passion for creating complete and compelling solutions and have a keen eye for resolving every detail. If you have world-class talent, a passion for product design and invention, and a desire to work on a wide range of product experiences in a fun, creative and collaborative design studio, wed like to meet you.
Responsibilities
As a design intern or co-op, you will: • Learn about real-world application of design practices and concept development through hands-on participation in both internal and client-based projects, and through the mentorship of our senior staff • Collaborate in qualitative fieldwork, brainstorming and ideation sessions • Build prototypes and mockups of your concepts (rapid prototyping and/or traditional fabrication) • Help with concept refinement, 3D CAD development and building of presentations • Collaborate on design reviews and decision making, articulating your point of view • Have ownership of your projects
Requirements
This position requires: • You are pursuing a degree in Industrial Design and have completed at least 3 years of study or you are a recent grad • Excellent conceptualization and sketching skills • World class form giving ability • A hands-on approach, comfortable prototyping and working in a workshop • Great story-telling: the ability to communicate your design visions to your fellow team members and to clients • Some experience in preparing, executing and interpreting generative research • Expert-level knowledge of 2D illustration (Adobe Creative Suite) and 3D CAD software (Rhino & Solidworks preferred) • Understanding of materials, plastic and metal production processes, quality control and other techniques for manufacturing
Looking quite like an elaborate tissue box (that was before I learnt that the Konus was inspired by a shuttlecock from the game Badminton), the Konus lamp leaves quite an impact. Its base is soft and rounded, its top is jagged like an inverted umbrella, and together, they both look half-soothing, half-fun, and just really interesting. Created for Gantri, the Konus is 3D printed in entirety out of biodegradable PLA, and comes fitted with a warm LED light on the inside.
Raphael Pangilinan of Konus Design made the first version of Konus two decades ago as a teenager in the Philippines. “I didn’t have a lot of money, so I improvised using driftwood or pieces of metal. I first made Konus using bamboo, eventually moving on to hand-woven abacá fiber,” he says [image at the bottom]. “I never manufactured it on a large scale because it would have taken forever, but now 3D printing lets me do that.”
Konus is just a really fun lamp to have, for its simple yet different form. The base of the lamp, unlike most lamp bases, isn’t pot-shaped but is rather a complete sphere. Sitting on top of it is an un-traditional form too. While most lampshades have a trapezoid shape, Konus flips that shape upside down, making it wider on the top, and much longer. The result is a lamp that’s just fun to look at, whether it’s off and looking like an abstract sculpture, or on and casting a cozy, warm glow across the room.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
