Dean Malmgren on How He Sees Data as a Rich Design Medium

This interview is part of a series featuring the presenters participating in this year’s Core77 Conference, “The Third Wave”, a one-day event that will explore the future of the design industry and the role designers will play in it.

To a designer with a more conventional career path, Dean Malmgren’s entry into design sounds a bit backwards. In 2009, Malmgren co-founded the company Datascope, a data science consulting firm. After an acquisition of their company by IDEO, he now works directly in their Chicago offices alongside his original Datascope team as an Executive Portfolio Director with a passion for human-centered design. You may be asking yourself, how does an initial curiosity around data collection and algorithms lead to a focus on human-centered design? The way Malmgren sees it, utilizing data alongside user research in considered ways can lead to even more human-centric product solutions than ever imagined. Malmgren’s work hopes to push the idea that teams can invigorate their design practice by, as he frames it, “using data as a design medium”.

We recently spoke with Malmgren, who will be taking part in a panel with IBM’s Joe Meersman and Marijke Jorritsma of NASA Jet Propulsion Laboratory at the 2019 Core77 Conference “The Third Wave”, about his background and how to reframe your relationship with data as a working designer.

Core77: Can you tell me a bit about the path that led you to found Datascope?

Dean: We started Datascope as we were wrapping up our PhDs at Northwestern. Mike and I were both in the IDEO lab at Northwestern and we were studying the space of complex systems, which in a nutshell, basically involved taking big datasets and telling stories about what we were observing through the lens of predictive models and lots of other things.

It was through that experience that we gained a lot of expertise and developing models that made sense and that you could interpret. And it was really kind of the inspiration behind [us] designing algorithms that were useful for people, which I would say is sort of the founding principle behind Datascope. As we got started, as you might imagine, we learned pretty quickly that that involved a lot more than just data and code. It was a time of designing not just those algorithms but actually the surrounding products and experiences that accompany them.

So we very quickly started to learn from the agile development community, the lean startup community, but especially the design community. And along the way, we’d met IDEO who was at first an informal mentor to us. We would just grab coffee with them every little bit and talk to a few of their partners about what the future of design looked like and why data science is relevant. [We would also] ask for advice on growing a consulting practice that ultimately turned into an externship, basically where I spent a couple of weeks at IDEO doing a project and we had a senior designer come and work with us on some projects. That all went well. And led us to sort of question, you know, what was the next thing?

What was a step that made sense? And what we realized is that designing intelligent products and services in an authentic way, we do our best work [when] data scientists are working side by side with designers; it’s not just the practice of human-centered data science, it’s actually just another discipline of design. And so that was the impetus for actually being acquired by IDEO, just to continue pursuing what that looks like and bring that all to life.

By training I’ve never taken a design class, but to be fair, I didn’t take any data science classes either.

Interesting. You studied math and engineering and chemical engineering, if I remember correctly?

Yeah. So I studied math and chemical engineering as an undergrad. My PhD was in the chemical and biological engineering department, although I never took a biology class, like since high school. And I’ve also never taken a statistics class, so I kind of learned statistics on the streets as they say. Design is kind of the same thing I suppose.

You just kind of pick things up as you work with different clients?

Yeah. At Datascope especially, we would take tools and approaches from the human-centered design toolkit and apply them to a data science context. So one thing that would happen all the time with our clients is that they would come to us and say things like, “we have this big data, what can we do [with it?] How is this valuable? Or we just read about deep learning and we need to use it in our business.” And while those like statements came from a good place, the reality is that they’re not grounded in a business problem or context.

And so it involves sort of sketching out what that could possibly look like. And we did that through the lens of design and learning about people’s needs and what drove them. And then using that to sketch interfaces or services or whatever, you get a better sense for the data that you want to collect and how that might be valuable.

So it never felt like a forced thing. It felt really natural, just to start using those design toolkits for our purposes. And we’ve also bent it the other way to bring some data science-y tools to how we think about design.

Malmgren (right) with Datascope co-founder Mike Stringer (left)

So how have the projects that you’re working on changed since you were acquired by IDEO? What essentially do you do as executive portfolio director?

Well, that’s a mouthful and I’ll get into that next. I can highlight a couple of things that are different about our work here versus at Datascope. One thing that I don’t think would be a surprise to anybody is that IDEO has an incredible portfolio of clients and partners that we work with. So the scale of problems that we’re working on is quite a bit more expansive than what we were doing at Datascope.

I would also say that the degree of collaboration that we’re having across disciplines today versus then is obviously different. But that’s intentional and it’s been incredibly fruitful. I share this with a bit of trepidation, but it’s a fact that’s worth sharing, which is that everybody that came from Datascope remains a part of IDEO today, which in the grand scheme of acquisitions by bigger companies is pretty incredible, two years in. So I feel like we all are pretty passionate about continuing to push this edge of not just what doing human-centered data science looks like, but also more importantly, pushing the edge of what it means to design intelligent products and services.

And I’m curious if you can talk a little bit about like how data science has evolved as a practice over the years.

I mean, I would feel a little uncomfortable speaking to this about the field at large because I’ve practiced it in a very specific way that’s always been kind of intentional about how we’re designing algorithms to be useful for people. Like when we were first getting Datascope started, as I reflect, I think it was largely led by this concept of big data, how data’s the new oil and you better suck everything up now so that you have something to use later. And I think organizations are getting wise to the fact that that hasn’t born as much fruit as you might think.

I think that’s how the early era was. Today, I feel like in general, the field of data science remains pretty technology focused, but perhaps with a bit more open eyes. And there’s quite a bit more conversation today about the ethical considerations that go into building models and thinking about the data that you’re collecting in the first place. That’s not only forced through regulations like GDPR or the equivalent law in California whose name I can never remember… The sunshine law, that’s a good name. I should’ve remembered that! But at any rate, while those legislations are important, the fact of the matter is that these things have been top of mind in the data science community and have brought to light a lot of thought leaders in the space.

I had this general question for you about how data science makes design better, but the more I think about it, it occurred to me that design also shapes data. So I was wondering if you could talk a little bit about that.

Design absolutely influences the data that you collect, which is actually directly related to how data science makes design better. I think in 2019 we live in an era where our watches are smart, our shoes are smart, we are using all these different tools and technologies that are connected. You have homes that are aware of when we’re present and not. We have thermostats that are smart. You know, the list just goes on and on. And designing how those experiences unfold in an authentic way is, or prototyping what those experiences will look and feel like in an authentic way. It’s not something you can just totally wizard of Oz.

Speaking of data science as a discipline in design impacts design in a really positive way by bringing these things to light and allowing us to experiment and learn from how these algorithms can be influenced by the experience and vice versa to make the holistic product or service a lot better. So we have some examples of that across our portfolio.

I was wondering if you could expand on this idea of “co-designing the algorithm” through maybe a case study. I watched a talk recently that you did and you discussed your bus safety project from a few years ago, but I was hoping you could kind of unpack that process of co-designing the algorithm with a more recent project.

The economical project that comes to mind for me is this work that we were doing for a medical device company. And the way that this worked is that they had a new surgery, a new surgical tool and they wanted to help doctors facilitate conversations with patients to make them more aware of whether or not they were ready for surgery. And you know, some people when they go in for surgery, they’re of the mindset that, oh, I’m just going to a body shop. You’re going to swap out a knee and I’ll be all set. And it’s not that simple. Obviously, bodies react in weird ways to surgeries. And so there’s a lot of preoperative and postoperative care that is super important. One of the big opportunity areas that came up was actually facilitating these conversations in a much more authentic way to allow patients to take ownership of their care and giving doctors the tools to sort of have that conversation.

And so we prototyped this interface that was driven on the back end by an algorithm that would basically connect different factors. I can’t tell you the real [factors], but things like how frequently you exercise, your diet. These various factors that you can actually control as a patient and the outcome, the likely outcome, or how quickly you would get better after surgery from their data. And it was a huge hit that, frankly, I don’t think would have been as impactful had the team not been working side by side along the way. And actually, the side story on all this, and the reason why I really like this story, is that the project team had come back from research and they had went down [for a visit with data scientists] for an afternoon. And the data scientists doing what data scientists do, threw together a halfway decent algorithm and a really bad interface to try to bring this concept to life.

As I was researching for this interview, you described data as a medium of design, which kind of really clicked for me.

Yeah. You see data impacting design in three different ways. I mean, data is often used to quantify design. You see that a lot in things like AB testing. We use data as a means to inspire design quite a bit. That can happen through exploratory data analysis to identify opportunities or more frequently, we find ourselves doing simulations of future states to illustrate how different designs could be experienced. In a way, that’s sort of hard to do or hard to imagine as an interaction designer or an industrial designer. And then of course, data as a medium for design, where you actually are molding it or shaping it or deciding what data to collect in the first place, as you alluded to earlier. And that to me, that’s what’s most exciting honestly, is thinking about the data that you can and should collect and describing to users why it’s relevant to them to sort of make that value exchange really authentic.

You prefer to refer to artificial intelligence as augmented intelligence, right?

Well, that’s how we like to think of it in the sense that at the end of the day, data algorithms serve people, not some robot overlord. And so it’s really important to keep the people front and center when doing the work. And what that means in practice is that data scientists should, it turns out, talk to other people and learn about their needs firsthand. Data scientists don’t talk to people in general, and that’s something that I would very much like to change. I think it would generally improve the degree to which people adhere ethical standards and think about the impact that algorithms have on people in their lives.

Can you talk to me a little bit about the Hyper Human proposals you did? I asked Joe [Meersman] this question too about the future products of AI and I thought those propositions were really compelling in their optimism.

Yeah. So we’ve actually done two of these exhibits. One was in Munich called hyper human and the other was called the discomfort zone, which was a exhibit that we did in Palo Alto.

So both of these we did as a means to push the edge on what we think that future could look like. So I mean, there’s a lot of things that I liked about the tension that we tried to hold in those exhibits. It brings to light the tradeoffs between privacy and —well, frankly—convenience, which is often played out in a lot of these sagas in the news, but also showing how the future of work doesn’t have to be scary actually. That there is lots of promise and reasons to be optimistic about having new skillsets and what that could mean for you. Also, giving people the sense of what it might feel like to be augmented by a machine rather than replaced by one. So there are a number of things that I thought were really cool. My favorite example from the Munich exhibit, I think it was called the “belief checkout”. And so with belief checkout, the idea is that when you go to the grocery store and you purchase some products, you have to do a lot of research if you want to shop according to your values. And so the thought that you could bring all that to life in a really compelling and easy to access way that plays off the real things that people are worried about, like cost, convenience, materials it’s made of, et cetera, et cetera. That’s all really important. And it was fun to play around with that and see that come to life.

And then there’s also the question of how these technologies can be leveraged to solve systems problems and kind of like the biggest challenges we’re facing, like climate change. What in your mind are the keys to tackling these issues?

Well, that’s a great question. I like to think about that a lot. The short answer is that, you know, these systemic challenges, whether it’s education, poverty, climate change, equality, I mean, that list goes on and on. I think the challenge, in any sense, is a cultural one about agreeing on principles that we can all sort of align to. And from a data point of view, I would hope that means thinking of ways to make data accessible and transparent, but also respecting the value that it does bring. And so what that might mean is, you know, thinking about how we share wastewater data for example, or pollution data in a way that benefits everyone.

I appreciate that, I know it was a broad question. Joe kind of gave us a good overview of the panel discussion, is there anything that you wanted to add to that?

Speaking directly to the Industrial Design audience of Core77, one of the things that I’ve found really exciting is, you know, as we design artifacts and objects that are in fact intelligence, that’s a two-way street. You know, designing the next thermostat, as an example, it brings together a lot of these different skill sets. And I think there’s ample room for collaboration, particularly in an era of IOT and other things that we’ve really only started to scratch the surface on. And I’m pretty convinced by that, you know, designing objects that are aware of their surroundings and help us take meaningful actions and adapt to our ever-changing context. It’s an area that’s ripe for continued innovation for the years to come. So I’m pretty excited to be speaking with that group.

Hear Dean Malmgren and other design industry leaders speak at this years Core77 Conference, “The Third Wave”! Tickets are available now.

How to Pitch: Smart Mouth

Frequency: 2x/month Background: With a launch date of October 2019, the Smart Mouth newsletter is poised to bring stories about food history and culture to its readers. “It’s about food, but the focus isn’t on how things taste,” says Katherine Spiers, editor. “It’s more about culture and context and history…and sometimes about what’s on the…

To access this post, you must purchase AvantGuild Membership or MB Unlimited.

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M-Rad designs accessible tiny cabin for California campground

AutoCamp by M-Rad Architecture

American firm M-Rad has created a compact, movable cabin with design elements to accommodate people with disabilities, including a shower with a seat and doorways wide enough for a wheelchair to pass through.

AutoCamp by M-Rad Architecture

The X-Suite dwelling is featured at Autocamp Yosemite, a glamping site in northern California that offers a range of accommodations, from tents and trailers to cosy cabins. The site is located near Yosemite National Park, one of the most visited parks in the US.

For the 35-acre (14-hectare) campground, Los Angeles-based M-Rad created five identical tiny cabins that comply with the American with Disabilities Act (ADA). The civil rights law, enacted in 1990, requires public spaces to be accessible to people with mobility limitations and other disabilities.

AutoCamp by M-Rad Architecture

The X-Suite cabin totals 270 square feet (25 square metres). In addition to accommodating guests with disabilities, the dwelling features prefabricated construction and well-appointed interiors.

“The X-Suite exemplifies ADA-complaint design that doesn’t compromise beauty for functionality,” the studio said in a project description.

AutoCamp by M-Rad Architecture

 

Rectangular in plan, the cabin contains a bedroom with a queen bed, a full bathroom, and an open-plan living area and kitchen.

The small building has a wooden frame, exterior walls wrapped in a metal rainscreen, and a standing-seam metal roof. Designed to be movable, the cabin sits atop a steel chassis with wheels.

AutoCamp by M-Rad Architecture

At the Autocamp site, each unit has a wooden deck that doubles as a ramp. Double-entry French doors provide plenty of space for entering.

Inside, the team incorporated painted drywall, white Corian countertops and Porcelenosa tiles. Walnut was used for flooring and casework.

AutoCamp by M-Rad Architecture

Rooms are furnished with simple decor in neutral tones, including a pale-grey futon accented with tan pillows. Contemporary artwork adds pops of colour. Luxury amenities include an Apple TV and air conditioning.

Ample glazing enables guests to feel connected to the surrounding woods.

AutoCamp by M-Rad Architecture

“An oversized skylight over the bed allows for stargazing, while windows that rise to the ceiling allow you to feel like you’re sleeping in the wilderness,” studio founder Matthew Rosenberg told Dezeen.

ADA-compliant features include spacious thresholds and relatively wide rooms that allow for wheelchairs to turn around. In the bathroom, the shower features a handlebar and seat. Rosenberg added that windows, doors, knobs and other elements adhere to ADA standards.

AutoCamp by M-Rad Architecture

All five units at Autocamp Yosemite were fabricated in a factory and trucked to the site. The X-Suite cabins are among dozens of dwellings at the luxury campground, most of which were designed by Anacapa Architecture and Geremia Design. The site also features a spacious clubhouse with a bar and swimming pool.

Photography is by Kristopher Grunert.

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Wavy white concrete roof tops Foster + Partners' Apple Aventura store in Miami

Apple Aventura by Foster + Partners

Foster + Partners has completed its latest Apple Store in Miami with an undulating white concrete roof that draws on the city’s art deco buildings.

The British architecture firm worked closely with former Apple chief design officer Jonathan Ive, who left the company earlier this year, on the project.

Called Apple Aventura, the store is located in Aventura Mall shopping centre in the north of Miami.

Apple Aventura by Foster + Partners

It comprises a boxy, two-storey building with glass walls and trees inside, following the aesthetic of the numerous stores that Foster + Partners has created for Apple.

“This store is very ‘Miami’ to me – its special trees, the light and the new roof,” said Ive.

“It is also quintessentially Apple, marrying the outdoor lifestyle with a sense of freedom and creativity that is intrinsic to the way we work,” he continued.

Apple Aventura by Foster + Partners

The wavy roof topping the building, meanwhile, takes cues from the 1930s modernist buildings of Miami’s South Beach, which feature white concrete, curved walls and geometric details.

“The language and materiality at Apple Aventura Mall are inspired by Miami’s white Art Deco traditions and climate, making it an expression of its place and culture,” said Stefan Behling, Foster + Partners’ head of studio.

Apple Aventura by Foster + Partners

The roof is made from seven, precast 20-foot-wide (six-metre-wide) concrete arches coloured white. The barrel-vaulted ceiling is supported by thin steel columns, also coloured white and clad in a concrete casing.

“We love the honesty and purity of the concrete,” Behling said.

Apple Aventura is the first Apple Store to be built of white precast concrete. The material is a continuation of its application at Apple’s headquarters in Cupertino, which was completed by Foster + Partners in April 2017.

The concrete component inside Apple Aventura comprises beams measuring 80 feet (24.3 metres) that span between pillars spaced 60 feet (18.2 metres) apart. White fabric then covers the ceiling for acoustics.

Apple Aventura by Foster + Partners

At the middle of the store is built-in stadium-style seats facing a “Forum screen” that displays visuals.

The steps scale two levels and feature leather seating and charging stations. They are also designed to serve as a place for hosting Apple Genius appointments, in addition to Apple talks and Apple Music events.

Apple Aventura by Foster + Partners

At the top of the steps is a store area accessed by an entrance that is located on a higher level. At the bottom of the stadium is a light-filled space where wooden tables display Apple products alongside indoor planted trees.

Anchoring the building is the mall’s entrance and plaza, complete with trees, low plantings and teak outdoor furniture.

Apple Aventura by Foster + Partners

This courtyard is designed as a “response to Miami’s outdoor lifestyle” and also serves as “an outdoor Genius Grove”. Nearby is a garden featuring metallic slide called Aventura Slide Tower by German artist Carsten Höller.

Foster + Partners has designed a number of Apple Stores that implement the tech giant’s retail vision. Others in the US include Apple Michigan Avenue in Chicago, featuring a roof that resembles a Macbook, and a store inside a historic Washington DC library.

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"Sort of like a high-maintenance partner"

Apple credit card

In this week’s comments update, readers are amused by the care instructions accompanying Apple’s new credit card.

Credit where credit’s due: Apple’s new credit card launched in the US this week, along with advice to keep it in a soft bag and clean it with a microfibre cloth ― recommendations some readers do not plan to take.

“Truly a symbol of how far Apple has fallen,” remarked Henry Baker. “A product that serves no purpose made of materials inadequate for its intended daily use.”

Matt agreed: “More bother than it’s worth – sort of like a high-maintenance partner.”

“This card is made of titanium, it’s already going to outlast all your other cards,” Peter Müller pointed out. “What’s so damn wrong about it getting scuffed in your leather wallet or from swiping though machines?”

Zane Gray was more optimistic: “I guess it will prevent you from spending money.”

“I seriously don’t get why everyone is so upset about these instructions,” questioned patrickmarnold. “iPods from first generation on used to have a chrome back that scratched just from looking at it.”

This reader took it upon themselves to re-write Apple’s guidance:

Is the design of the new Apple credit card flawed? Join the discussion >


Toranomon-Azabudai project by Heatherwick Studio

Garden designs: Heatherwick Studio’s renderings of a plant-filled pergola to accompany Japan’s tallest skyscraper have Dezeen readers offering their gardening expertise.

“Placing landscape in the most difficult of growing conditions does not make great architecture,” threefloatingorbs stated.

Donacio Cejas Acosta agreed the landscaping lacks originality, throwing some sarcasm into the discussion: “OMG what is that? A plant? I feel an intense quantity of surprise!”

“Japan has a long-valued tradition of tending delicate potted trees and difficult gardens,” explained CariHislop in response. “They will ensure the plants are cared for and it will be stunning.”

Other commenters noted the likeness to the Garden Bridge, among other Heatherwick Studio projects.

“What you mean is Heatherwick Studio is still trying to build that garden bridge in any shape or form,” said LoveYourHairHopeYouWin.

“Chunk of Garden Bridge but with some sakura for context,” added dcbzyxkji.

Guest also felt the similarities: “A mash-up of other Heatherwick projects coming out of their office.”

But not everyone viewed the similarity as a bad thing. “Definitely a Heatherwick building, love it,” said Arturas Žuravliovas.

This reader was nothing but impressed:

Is Heatherwick Studio’s design too plant-focused? Join the discussion >


Aston Martin’s Automotive Galleries and Lairs service

Garage sale: luxury carmaker Aston Martin has launched a design service to create bespoke garages for drivers to showcase their favourite cars, leaving readers asking if Aston Martin is trying to fix the wrong problem.

“Sigh. How about home designs for rising sea-levels, higher climate temperatures, or fortification from the angry mobs when their jobs are sourced out by robots?” questioned Hilton Purvis. “We need ‘purty’ rooms for vehicles like we need more holes in our heads.”

MrG was also concerned with wider socioeconomic arguments: “I think this is making the point that rich people are not taxed enough.”

“A poignant if not fitting indictment of the current state of humanity where we are now designing houses for cars instead of people,” agreed Domnhall.

Steve hassler was more complimentary: “I’m not a big car guy but I definitely recognise many as sculptural pieces of art. If I had an E Type I would want to display it properly and not hide it in a garage.”

Pierre Alain VARREON on the other hand felt Aston Martin should stick to what they know: “Perhaps Aston Martin should keep making cars, actually among the best in the world, instead of trying to do architecture.”

This reader had another request for Aston Martin:

Is there a market for Aston Martin’s new service? Join the discussion >

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Kazuyo Sejima creates commuter train with giant windows to take advantage of panoramic views

Laview train Kazuyo Sejima

Pritzker Prize-winning architect Kazuyo Sejima has designed the Laview commuter train with huge passenger windows and a curved glass nose, which is now in operation between Tokyo and Saitama.

The trains designed by Tokyo-based architect Sejima, who heads up SANAA with Ryue Nishizawa, have been running on the line between Tokyo’s Ikebukuro station and Chichibu in neighbouring Saitama prefecture since earlier this year.

Laview train Kazuyo Sejima

Sejima said that she was asked to design a “as never seen before”, and opted for the curved design with giant windows for passengers to enjoy the view.

“This is my first time to design a train and the most obvious difference with building design is that the train can move to different places,” explained Sejima.

“This train moves through the city to the mountains of Chichibu and I thought it would be nice for the train to be able to respond and blend into the surroundings in a soft way,” she continued.

Laview train Kazuyo Sejima

Windows are placed along each carriage at regular intervals. Each passenger window is 135 centimetres by 158 centimetres and the bottom of each pane falls well below the usual point on regular commuter trains, to allow passengers to enjoy “large panoramic views”.

Each train has eight cars, with a total capacity of 422 seats. Sejima has designed both the design concept, exterior and interior of the carriages, with sofa-like seats upholstered in a bright yellow material.

Laview train Kazuyo Sejima

The upholstery for the carriages was designed in collaboration with textile designer Yoko Ando. Each seat has an adjustable headrest and a table within the armrest.

Walls of the carriages are white to contrast with the warm yellow seats that wrap around the passenger.

Laview train Kazuyo Sejima

Sejima intended the carriages to make the passengers feel relaxed, as if they were at home rather than travelling on public transport.

“I wanted to make a train which feels like a living room where passengers can freely relax and feel motivated to ride the train,” she explained.

Laview train Kazuyo Sejima

Lighting in the carriages is deliberately soft and indirect from the train’s vaulted ceiling. Sejima collaborated with Shozo Toyohisa on the lighting, which adjusts throughout the day to create the most relaxing atmosphere depending on the time of day.

The entrance to each carriage is designed in warm yellow tones with an artificial marble floor.

Laview train Kazuyo Sejima

The mirrored exterior was created with an aluminium paint specially developed for the Laview train. The degree of reflection that the exterior surface would offer “was carefully studied to show a new impression of the scenery”.

The “soft impression” of the front of the train was made by installing a 1.5-metre-wide curved glass panel, the first of its size in Japan.

Laview train Kazuyo Sejima

Designed to celebrate the 100th anniversary Seibu – the operator that runs the line – the train’s name is an acronym. L stands for “a space reminiscent of luxurious living”, A is for “speedy like an arrow”, whilst view is for the “views through the large windows”.

Seibu plans to replace all seven trains that travel the 60 mile track between the two stations with the new trains by the end of 2019.

Laview train Kazuyo Sejima

As well as designing the train, Sejima recently branched out from designing buildings by creating a multi-functional bag for Prada called The Loop.

The bag winds around the wearer’s neck and is adorned with playful pockets in pale pink, blue, yellow and white.

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Roof completes on Heatherwick and BIG's Google HQ

Google headquarters photographed by The 111th

New photos capture the latest progress on the headquarters that BIG and Heatherwick Studio have designed for Google in California’s Mountain View.

Silicon Valley photography company The 111th took the images of Google’s new campus, currently under construction in Mountain View, California.

Google headquarters photographed by The 111th

Danish architect Bjarke Ingels‘ international firm BIG and London’s Heatherwick Studio, led by Thomas Heatherwick, teamed up to design the complex, which marks Google’s first office to built from scratch.

It comprises two structures built close together and a larger volume a few blocks away.

Google headquarters photographed by The 111th

The 111th’s images capture the construction of the three buildings, which are set to be topped with white tent-like roofs. Each canopy is formed as a series of panels that dip slightly in the middle, creating a rippled effect.

The photos reveal that the rooftop of the larger building is fully completed. The windows at incisions across the panelled top, which are called “smile-shaped clerestories”, are also installed.

Google headquarters photographed by The 111th

The construction of two nearby buildings is also well underway, with one of the structures featuring a similar roof.

The 111th, which specialises in real-estate photography, discovered the project when flying over the Silicon Valley site in November 2018. It captured the early stages of construction on the larger structure in an aerial movie.

Google headquarters photographed by The 111th

Heatherwick and BIG first revealed Google’s new headquarters in 2015 with a series of dome-shaped buildings. The duo originally claimed that campus would be built by robots but there are no signs on them in any of the images. Instead cranes, several trucks and heavy machinery feature.

The project was stalled in 2015 when city councillors granted the property to LinkedIn but Google opted to build on a different, smaller site. Heatherwick and BIG then revised and reduced the plan in 2016 to feature just one building.

Google headquarters photographed by The 111th

Inside the volumes, the roof will enclose several structures and is designed to regulate the temperature and acoustics.

Within the office spaces, furniture and partitions are designed to be movable as part of Google’s goal to set a new industry standard for workplace design with the Google 2.0 initiative outlined by Ingels.

Rounding out Google’s Mountain View headquarters are plantings and pathways that will provide outdoor areas across the complex. They are referred to as a “green loop”.

BIG and Heatherwick Studio are also working together on Google’s headquarters in London, and BIG also plans to create Google’s offices in nearby Sunnyvale.

Google headquarters photographed by The 111th

The Google outpost is located on the southern tip of San Francisco Bay and nestled among three Silicon Valley cities, Palo Alto, Los Altos and Sunnyvale.

Other tech offices in the area include Apple’s doughnut-shaped headquarters in Cupertino by Foster + Partners and Facebook’s building extension by Frank Gehry in Menlo Park.

Photography is by The 111th Group.

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BMW unveils "blackest black" car sprayed with Vantablack

BMW VBX6 Vantablack

BMW has released a Vantablack version of its X6 coupé, which has been spray-painted with “the world’s blackest black” pigment that absorbs over 99 per cent of light.

Inventors of the Vantablack technology, Surrey NanoSystems, collaborated with creative agency Levitation 29 to coat BMW’s latest X6 coupé with a sprayable version of the pigment.

BMW VBX6 Vantablack

According to the German car brand, the BMW VBX6 is the “first and only vehicle in the world” to feature a Vantablack VBx2 coating, which almost entirely removes all reflections.

Exclusive rights to the original Vantablack pigment are controversially owned by artist Anish Kapoor, but the VBx2 coating is a slightly different material, with pigment suspended in a carrier solution that allows it to be sprayed onto larger areas.

BMW VBX6 Vantablack

Its ability to absorb over 99 per cent of light causes the human eye to perceive Vantablack in both its forms as two-dimensional, interpreted by the brain as similar to staring into a “hole” or “void”.

Coated in the blackest shade in the world, the BMW VBX6 appears to lose its three-dimensional shape, including most of the car’s defining features like its distinctive twin headlights and kidney grille.

The VBx2 variant of Vantablack has a one-per-cent total hemispherical reflectance, meaning it is still considered super-black while enabling a small amount of reflection from every angle.

BMW VBX6 Vantablack

“We realised that it wouldn’t have worked if we’d put on the original Vantablack material, as the viewer would have lost all sense of three-dimensionality,” said Ben Jensen, Vantablack inventor and founder of Surrey NanoSystems.

“It worked really well because of the size of the car, its distinctive shape, and how imposing it is,” he continued. “VBx2 with its one-per-cent reflectance provides just enough of a hint of shape.”

“But putting a paint like that on a conventional car lacking a distinctive design would probably detract from it in some way,” said Jensen.

BMW VBX6 Vantablack

According to its creators, the project was conceived as a “playful” yet “cutting-edge” take on the tradition of concealing key design features by keeping cars under cloth.

“Internally, we often refer to the BMW X6 as ‘The Beast’,” said Hussein Al Attar, designer of the BMW X6. “The Vantablack VBx2 finish emphasises this aspect and makes it look particularly menacing.”

“We often prefer to talk about silhouettes and proportions rather than surfaces and lines,” he added. “The Vantablack VBx2 coating foregrounds these fundamental aspects of automotive design, without any distraction from light and reflections.”

BMW VBX6 Vantablack

British artist Anish Kapoor acquired exclusive rights for the Vantablack pigment in 2016, making him the only person in the world who can paint using this colour.

It led to a long-running feud with Stuart Semple who created his own version of blackest-black, available to anyone but Kapoor.

Initially developed for coating space-borne components, Vantablack is composed of a series of microscopic vertical tubes around 5,000 times thinner than a human hair.

When light strikes the surface, it is almost completely absorbed rather than reflected, and is continually deflected between the tubes.

VBx2 uses the technology in a slightly different way to the original Vantablack, with a sponge-like structure rather than a series of tubes.

BMW VBX6 Vantablack

Known as the BMW VBX6, the Vantablack vehicle will make its debut at this year’s Frankfurt Motor Show, which will be taking place in the German city from 12 to 22 September 2019.

The sprayable Vantablack VBx2 has previously been used by British architect Asif Khan, who spray-painted a pavilion at the Pyeongchang Winter Olympic Games in South Korea with the pigment last year.

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Zigzag thatched bamboo roofs shade classrooms of school in Indonesia

RAW Architecture has designed a zigzag roof of thatched bamboo for a school in Indonesia, which is raised up on stilts to deal with its swampy site in Tangerang city.

The Jakarta-based practice built the 300-student Alfa Omega School, which is longlisted for a Dezeen Award, on this challenging location in just six months.

Alfa Omega School by RAW Architecture

A shallow ramp leads up to school, and a dramatic corridor sheltered by a roof leads to a bamboo pavilion providing space for activities.

Structurally, the school buildings are split horizontally into three layers. On top of the 2.1-metre-high concrete stilts sits a steel base infilled with curved masonry walls, on top of which is a lightweight bamboo upper floor topped with a thatched bamboo roof.

Alfa Omega School by RAW Architecture

“Steel, with its variation of thickness and treatments, gives chances for versatile details of design. While bamboo, on the other hand, is flexible matter that requires little maintenance,” explained the studio.

At the level of the lower brick sections, Alfa Omega School’s classrooms sit set-back to create a series of walkways around each, shaded by the overhang of the floor plate above.

Alfa Omega School by RAW Architecture

To streamline construction and minimise waste the design has square modular classroom units, arranged into four long thin buildings.

These four blocks are laid out in a hand-shaped plan around a central amphitheatre and courtyard. Green spaces in between each block allowing for ample natural ventilation.

Alfa Omega School by RAW Architecture

Full-height glazing within the building’s steel frame provide views to both the outside and across the adjacent school structures, and in some areas the brick walls have been perforated to provide airflow.

Above, the walkways around the classrooms are sheltered by the long overhang of the thatched roofs, and the space between each block can be traversed via small steel bridges.

Alfa Omega School by RAW Architecture

Built with the help of local craftspeople, the majority of Alfa Omega School’s materials were sourced within three miles of the building, both to help speed up its construction and lower its carbon footprint.

“Initiating a healthy social cycle with local involvement allows for a collective creative process,” said RAW Architecture.

“The project was completed by local stone masons, a steel welder from the Salembaran area and a bamboo craftsman from the Sumedang area.”

Alfa Omega School by RAW Architecture

With no artificial air conditioning, the school was designed to be ventilated passively by cross ventilation using the circulation that surrounds the classrooms.

RAW Architecture was founded by Realrich Sjarief, whose previous projects include a home and studio he designed for himself in Jakarta.

Photography by Eric Dinardi.

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White & The Bear children's restaurant has white surfaces and timber furnishings

White & The Bear by Sneha Divias Atelier

Sneha Divias Atelier has swapped stereotypical primary colours for neutral tones inside this restaurant in Dubai, which is designed specifically for children.

Located in Dubai’s Jumeirah district, White & The Bear has been designed by Sneha Divias Atelier with “urbane” interiors that avoid the bright shades usually used within child-focused spaces.

The restaurant and retail space is instead decked out with neutral colours and materials that, according to the studio, will foster children’s curiosity.

White & The Bear by Sneha Divias Atelier

“At the atelier we selected such distinct palettes for kids’ spaces to not overstimulate the senses,” explained the studio.

“Instead, the colour scheme promotes creativity, imagination, and learning.”

White & The Bear by Sneha Divias Atelier

The ground floor of the building has been made into a singular open-plan space with all-white surfaces.

One half of the room is dedicated to the restaurant, which will offer a menu of healthy meals specially curated by a children’s nutritionist. Timber has been used to form a grooved coffee counter where visiting parents can grab a hot drink and a series of tiny, animal-shaped seats for kids.

White & The Bear by Sneha Divias Atelier

Some of the chairs featuring curving arms and a rear central leg to appear like an elephant, while others have bunny or bear-like ears extending from the backrests.

A flock of bird-shaped pendant lamps and mirrors printed with peeking bears have also been used to bring a fun feel to the space.

The other half of the room accommodates a small shop where clothing, books and toys are displayed on full-height gridded shelves.

White & The Bear by Sneha Divias Atelier

The shop continues up to the building’s first floor, which includes a large glass-fronted room that can be used for arts and crafts workshops or birthday parties.

Connecting corridors are lined with books and have cushioned reading books inset into the walls.

At this level there is also a nursing room where mothers can feed their young babies in privacy, as well as a bathroom with lowered sink basins and toilets so that kids can use with ease.

White & The Bear by Sneha Divias Atelier

“Children should be left to explore their surroundings and find their own space where they feel comfortable,” the studio added.

“Our design is focused on humanizing the interior architecture, bringing a sense of proportion and scale for children to feel integrated.”

White & The Bear by Sneha Divias Atelier

A handful of other studios have taken a more pared-back approach to children’s design. Early last year, Danish brand Ferm Living created a minimalist play kitchen that can fit in small homes.

Kartell also produced an ultra-simplistic dolls house made from candy-coloured plastic back in 2017.

Photography is by Natelee Cocks.

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