Design Criticism of the Cognalyzer, a Wearable That's Like a Breathalyzer for Cannabis

If someone’s drunk, you can measure their blood alcohol concentration with a breathalyzer. But there’s been no equivalent for measuring how high on THC someone is. “In an era of cannabis legalization,” writes industrial design firm Shape Products, “reliable impairment detection will become increasingly important for protecting consumer rights and safety in the workplace.”

By “consumer rights,” they’re presumably talking about a purchaser of cannabis; does this pot get me as high as it’s supposed to, did the producer measure what this stuff can do? And the latter point about workplace safety is well-taken: You manage a construction crew, Randy shows up a little glassy-eyed, maybe you don’t want him working the crane that day.

Shape was hired by Zentrela, a tech company that developed an algorithm that can read a person’s EEG results and measure how high they are. Shape’s job was to design the physical object, a portable wearable that they call the Cognalyzer. (Apologies for the low-res photos, those are all that was available.)

As for how it works:

A series of electrodes collect electrical signal (sic) and send the information through a proprietary wiring harness and control unit. From here, the data gets transmitted via Bluetooth to a tablet or computer where the analysis takes place. After about 5 minutes of live data collection, Zentrela’s algorithms will have enough information to determine the presence of impairment and the extent to which the test subject is impaired. This technology brings unmatched objectivity and clarity to the impairment detection industry while also opening the door for cannabis producers to better test and segment their products.

I do have a couple of criticisms about the design. Before I get to those, we should first understand what the design challenges were:

Testing validity is at the heart of Zentrela’s core value proposition and the hardware must match the sophistication of the software upon which the Cognalyzer relies. One of the main challenges was designing the system to be a one-size-fits-all solution while keeping the manufacturing costs down to facilitate mass distribution. In order to optimize for these considerations, we designed the headset around a die-cut frame. Using early prototypes, we continually tested construction and adjustment styles to ensure that electrodes would be easy to position accurately.

The Cognalyzer system is designed for two users, both equally important; the test administrator and the test subject. Cognalyzer tests are designed to be performed in the real world, not in a laboratory setting and, for those administering and receiving tests, it’s likely to be the first time interacting with EEG technology. Because of this, the hardware needed to be foolproof and easy to use.

From the administration standpoint, we carefully considered variations in head shape and size and designed the fit system accordingly. Eight of the ten electrodes can be accurately positioned and checked for signal quality regardless of head size or brain position within the skull. To help secure these electrodes in place for the duration of the test, we designed an electrode that can slide along a track in the die-cut headset to custom-locate on any subject. Our usability and ergonomic testing process was geared towards improving the testing experience for those administering and receiving the test. In addition to speed, we knew that a big part of the experience would come down to subject comfort which is especially important as many of us are predisposed to feel uncomfortable when receiving any type of medical test. To help make the experience more comfortable we added soft materials to the die-cut edges and electrode bodies that would come in contact with subjects’ skin and head.

[Zentrela’s feedback] was instrumental in getting to a final product that strikes a balance between, subject comfort, ease of testing, and of course, medical validity.

So assuming the points they needed to hit from the design brief were physical comfort, ease of testing and medical validity, I can assume they’ve reached their benchmarks. Thus my criticisms may not be fair because they’re outside of the design brief. I’ll air them anyway, for the purpose of discussion.

My take is that while the device may be comfortable to wear, with well-considered touchpoints, it doesn’t look comfortable. That’s fine if I’m a professional marijuana producer testing out my product, like a farmer taking a soil sample–you don’t care what the tool looks like, as long as it works well.

However, if I show up for work and my boss thinks I’m high, and asks me to strap this thing on, I’m going to be resistant. In my opinion and within this context, the device looks cold and clinical, or like some kind of torture device from a sci-fi movie. I don’t want to be ordered to don this.

And my main concern, given recent events, is how this object would be used in a law-enforcement capacity. If I get pulled over–and if I’m a black person, who is likely already terrified–the last thing I want to do is let a police officer put this onto my head.

I understand that this object’s design is form-follows-function, and I’m sure it works for providing readings. But I would want to see an equally important secondary function in the design brief, which is to consider the contexts in which this item might be used, and what the perception of it will be to the perhaps unwilling wearer.

That’s just my two cents. Your thoughts?

Financial Technology Company Aza's Rebrand Weaves African Heritage and Spirit Into Its Design Language

“Rebranding of Aza: Pan-African Financial Infrastructure” took home the Visual Communication Winner Award in the 2020 Core77 Design Awards competition.

Formerly called BitPesa, Aza is a financial technology company that preceded the growth of “Silicon Savannah” since its beginning in Kenya in the early 2010s. Simply put, the company helps foreign businesses transfer money into Africa, and African businesses transfer money out of the continent, bypassing the US Dollar intermediary currency.

And the growth of this financial ecosystem on the continent is rising fast—according to Forbes, Africa’s Tech Hubs grew at a pace of 40% in 2019 alone, which means their global presence is also expanding.

To respond to both a need for a globally understood presence on top of a focus less strictly on cryptocurrency, Bitpesa began a rebranding journey to revamp their brand architecture, positioning, name and visual identity with the help of San Francisco-based design agency Wunderdogs.

The design thinking behind this re-brand was two-pronged in that the company wanted it to be strongly rooted in African culture while also appealing to worldwide investors and partners. Wunderdogs adds, “as a global business with roots in Africa, BitPesa was deeply committed to elevating and enhancing the geographies in which it operates. With a policy for hiring locals over expats and the majority of business done within the continent it was important the new identity was adopted by employees, understood by partners and appreciated by customers across Africa. With this in mind the identity had to be geographically agnostic…we wanted to create an identity that reflected and celebrated the wide-reaching impact technology had on the continent, enticing those in Europe and the US to realize and leverage potential within the region.”

The design team wanted to embrace the cultural roots of Bitpesa instead of creating something homogeneous with brands around the world. They then asked the question: “How do you build modern African tech brands that showcase local and pan-African culture whilst appealing to Western counterparts?”

Their first hurdle came with changing the brand name. After different workshops and semantic explorations, the team came to the name Aza, a nod to several references within African culture. As Wunderdogs explains, “Aza is a female name used across Africa. A subtle yet powerful nod to the leadership team within the business and the matriarchal power structures of Africa. Its meaning varies across languages, yet from Yoruba to Swahili it represents power, strength and honesty. “

For Wunderdogs, the color scheme also needed to stay true to the African brand in which it represents. They took inspiration from the color palettes of 56 national flags across Africa and used it as a jump off point for branding. The complexity and sometimes universality of some of these colors however did present a unique challenge, as Wunderdogs describes: “Selecting distinctly African colors whilst avoiding an obvious similarity with one of the 56 national flags on the continent meant palette choice was one of our biggest challenges. To overcome this hurdle we turned to African textiles and Aza’s industry for visual inspiration.” To bring a balance to the design that suggested both heritage and universality, the team arrived at a palette that showcases Africa’s heritage as well as it’s techno-centric future. Blue was chosen as a widely accepted representation of the fintech space, with greens and orange an obvious tie to the continent as a whole.

Awarded the professional winner award in the Core77 Design Awards Visual Communication category for their expert design execution on Aza, Wunderdogs co-founder Daria Gonzales says of the honor, “As a young agency, winning Core77’s Visual Communication Award is absolutely groundbreaking for both the team and for our future as a business. It is a great honor to be recognized alongside legendary agencies and designers, especially for one of the most interesting and challenging projects we’ve tackled to date. I am so grateful for having supported AZA’s team on their mission to facilitate the flow of currency into Africa.”

The overall success of the project demonstrated to Wunderdogs an important design lesson: never underestimate the power of your story. As Wunderdogs mentions, “The key learning from the Aza rebranding was authenticity triumphs trend. There is little to be gained from an African-tech company mimicking Western brand standards, and everything to be won by developing a brand that truly embodies the culture within which it operates.”

Read more about the rebranding of Aza on our Core77 Design Awards site of 2020 honorees

Harvard GSD students create Design Yard Sale to support anti-racism initiatives

Design Yard Sale by Harvard GSD

Students and alumni of Harvard GSD have launched an online sale of items donated by architects and designers, including an IKEA chair signed by Virgil Abloh and a Sam Jacob painting, to fundraise for organisations that fight for racial equality.

Launched today, the student-led Design Yard Sale is selling donations from Jeanne Gang, Toshiko Mori, Oana Stanescu, Billie Tsien and Snarkitecture among other industry professionals.

Design Yard Sale by Harvard GSD
Fashion designer Virgil Abloh will sign and illustrate the Makerad chair from his IKEA range for the winning bidder

All net profits will go to the Bail Project, which pays bail for those who need it, and non-profit design practice Colloqate Design.

“Design and architecture are what we’re good at,” said co-founder Yaxuan Liu. “But right now we need to get resources into the hands of activists and organisers on the front lines of the movement.”

“Design Yard Sale lets us use our skills to make that happen.”

Design Yard Sale by Harvard GSD
Architect Sam Jacob has donated an original painting of the Lake District in England

Modelled on a typical yard sale, the online auction collates a variety of items like furniture, signed books, prints, tote bags and handbags.

Standouts so far include one of the chairs from Virgil Abloh’s Makerad IKEA range, which the fashion designer will sign and illustrate for the winning bidder, and a painting British architect Sam Jacob created for the auction.

Design Yard Sale by Harvard GSD
This curved pink stool by American architect-designer Jerome Byron is also included in the auction sale

Out-of-print books like a copy of Spatial Structure signed by Pezo von Ellrichshausen and a copy of African Modernism signed by Iwan Baan were available, as well as an autographed copy of Delirious New York by Rem Koolhaas.

The Dollhaus (Closed) a print by architectural designer Jenifer Bonner, a Womxn in Design sweatshirt and American architect-designer Jerome Byron’s glass-fibre reinforced concrete stool were also submitted for the start of the auction.

Design Yard Sale will continue for one month and is continuing to accept submissions for new sale items up until mid-July.

It founded by Yaxuan Liu, Tessa Crespo, Grace Chee, Edward Han, and Izzy Kornblatt, students and alumni of Harvard Graduate School of Design (GSD), which is recognised as of the world’s most prestigious graduate schools for architecture and the built environment.

Design Yard Sale by Harvard GSD
Study for a Mosaic by Billie Tsien is among other items donated to the online yard sale

Their initiative comes in the wake of anti-racism protests in every US state after the killing of African-American George Floyd in police custody.

Architects and designers have established a number of initiatives in the aftermath to address and improve racial equality in the profession.

Examples include a Google Docs spreadsheet listing black-owned studios and anti-racism design conference Where are the Black Designers?.

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Yoku SH spa system by Effegibi

Yoku SH spa system by Effegibi

VDF products fair: an integrated bookcase accentuates the glass front of the Yoku SH – an at-home sauna and hammam system by Italian brand Effegibi.

Depending on how many items are placed on the shelves, this can act as a decorative display, a storage space for towels or books, and as a privacy screen shielding the occupant from view.

The name Yoku SH derives from the Japanese practise of forest bathing, or shinrin-yoku, which advocates for the health benefits spending time in nature.

In line with this idea, the unit is made up of tall, vertical panels, rendered in Aspen wood on the outside and American walnut on the inside of the sauna, to create the feeling of being immersed in a forest of trees.

The unit’s frame is divided in half to create two distinct spaces – the dry sauna and the humid, Turkish bath, with is tiled in marbled porcelain.

Together with the internal shower, this allows for cycles of heating up and cooling down to take place within one and the same space.

The front of the unit is entirely covered in panoramic, smoked glass, which can be customised with either a wooden sauna door or the shelving system, which is made from sheets of oxidised steel.

Product: Yoku SH
Brand: Effegibi
Contact address: info@effegibi.it

About VDF products fair: the VDF products fair offers an affordable launchpad for new products during Virtual Design Festival. For more details email vdf@dezeen.com.

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002-Slim Cuff by Nyyukin

002-Slim Cuff by Nyyukin

VDF products fair: the 002-Slim Cuffs by jewellery brand Nyyukin are intended to offer wearers a timeless design while also encouraging them “to be playful or experimental”.

The 002-Slim Cuffs comprise two different layers – a polished base structure and an interchangeable, decorative inlay – which are made using 3D-printing technologies and designed to be mix-and-matched.

Nyyukin’s intention for the range is for it to defy trends and offer wearers a piece of jewellery that can be worn throughout the day and adapted to suit different outfits or events.

“There’s usually two categories of jewellery: the timeless classics and the in-the-now pieces,” explained co-founder of Nyyukin Vera Henco. “You always had to make a choice.”

“We wanted to create something that is timeless and long-lasting while still letting you be playful or experimental.”

The base of the bracelet, called Character, is made from durable, lightweight titanium. It is available in three different finishes, and the characteristics of the material ensures the bracelet cannot be bent, so that it can continually hold the inlays.

The inlays, which are named Moment, are made from a type of polyamide plastic available in 12 different colours. These are made with either a studded texture or a smooth minimalist, understated version.

Product: 002-Slim Cuffs
Brand: Nyyukin

About VDF products fair: the VDF products fair offers an affordable launchpad for new products during Virtual Design Festival. For more details email vdf@dezeen.com

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Online Exhibitions Exploring Race, Resistance and Resilience

Writing for Smithsonian Magazine, Jennifer Nalewicki has listed eight art exhibitions online currently that center around Black history, racism, protest and identity. Including Nina Chanel Abney’s gorgeous work (that she herself describes as “colorfully seductive and deceptively simple investigations of contemporary cultural issues”), Jacob Lawrence and Jordan Casteel, the list comprises talented painters—but there are also photo shows and exhibits of historical ephemera. From art to artifacts, these eight exhibitions are worth taking the time to explore. Read more about them at Smithsonian Magazine.

 

How to Add Spray-On Lights to 3D-Printed Parts

Typically, if you’re prototyping something and you need part of that prototype to illuminate, you have to design around whatever off-the-shelf lighting component you’re using. The available technology thus influences the final form.

What if, instead, you could 3D print whatever shape you like, and spray the lighting on afterwards? I know that sounds crazy, but a group of HCI (Human Computer Interaction) researchers at the UK’s University of Bristol have figured out how to do just that. They use multimaterial 3D printing to print a combination of insulating and conductive plastics, then spray a series of materials (including one layer of electroluminescent paint) onto the form and wire it to a power source.

Here are examples of what they can produce:

They call their process ProtoSpray, and here’s what it looks like in action:

Interested to try it yourself? They’ve got an Instructable up called “ProtoSpray: How to Make Your 3D Prints Light Up!

Siren Design creates "environments where people can thrive"

VDF studio profile: Siren is a sustainability-focused, women-led design studio that has crafted interiors for businesses from tech companies like Google and Facebook to a philanthropic organisation.

The company was founded by CEO Mia Feasey in 2005 and has since expanded to include 75 employees across its original Sydney studio as well as locations in Melbourne and Singapore.

Both offshoots are run by female MDs, and 82 per cent of the team is female.

Cambooya is the family office of the Vincent Fairfax family

The studio, which works primarily on commercial interiors, redefined its core mission in the wake of last year’s devastating bushfires in Australia and now focuses on improving sustainability in the interiors industry and the business world at large.

Prompted by the realisation that overhauling clients’ interiors every few years is more polluting than even the fashion industry, Siren decided to change the way it works on every level, from its suppliers to its materials and the ideas and directions presented to clients.

It hopes that by modelling environmental best practice in front of business clients, this in turn will “inspire businesses to care for the planet”.

Siren designed the interior of The Commons co-working space in Sydney

As well as promoting sustainability, Siren also aims to find the “sweet spot between innovation and practicality” in its designs.

“The most successful workplaces are not those defined by the name of the designer chairs in their foyer, or how rare and expensive the benchtop marble might be,” said Feasey.

“Instead, the most vibrant, transformative workplaces are those where the users have the ultimate control and flexibility within the space and the ability to adapt the space to their needs.”

Maximus’ Melbourne office features arched windows and a clean, minimalist interior

Among the studio’s recent projects are two offices for consultancy firm Maximus – a clean, minimalist space in Melbourne and a darker Sydney equivalent with its own bar, two-column planter system and custom-made desks, which maintain the practicality of a traditional workstation without looking clinical.

For the interior of Cambooya, the family office of Australian philanthropic organisation the Vincent Fairfax Family Foundation, Siren drew heavily on a palette of natural materials.

In honour of Cambooya, the rural town in Queensland where the family patriarch was born, everything from the floors to the tables and chairs in the eponymous office is rendered in rustic wood, while panelling on the walls hides in-built storage spaces.

Wood panelling is used liberally throughout the Cambooya office to create hidden storage spaces

A meditation garden, yoga studio and basketball court feature in Siren’s design for The Commons co-working space in Sydney’s Chippendale area alongside a library and quiet rooms.

To cut down on the use of materials, the building’s natural brick walls are left exposed except in the games room and library, which are decked out in plywood to add a sense of warmth to the space.

While several of the studio’s projects take cues from nature and liberally integrate plant life, these ideas are taken one step further in the design of Google’s Singapore office.

Siren’s design was based on the idea of creating an ecosystem over five floors, with the studio giving each level a distinct theme, such as “roots” and “canopy,” with higher levels informed by clouds and outer space.

The brick walls of The Commons co-working space are left exposed

“We work hard to create environments where people can thrive, this includes focusing on health, wellbeing and social and environmental sustainability,” said Feasey.

Crucially, this also extends to the company’s own employees, who were guaranteed wages for two and a half months in the face of the Covid-19 pandemic even when projects were coming to an end, in order to ensure they felt supported and able to do their best work.

Studio: Siren Design
Website: sirendesign.com.au
Contact address: siren@sirendesign.com.au

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Automotive Journalist Lists 10 Car Design Trends "That Need to Stop"

As a former art director, automotive journalist Mark Takahashi has the background to speak design a bit better than his peers. In a recent video called “Car Design Trends That Need to Stop,” Takahashi aired ten gripes encompassing aesthetics, ergonomics and anachronisms.

Because the overall video’s a bit long, I’ve isolated the time stamps so you can hear and see examples of the individual problem areas he points out:

1. Fake Vents

2. Big Grilles

3. Thick A-Pillars

4. Piano Black/High-Gloss Interiors

5. Flat-Bottom Steering Wheels

6. Lack of Buttons

7. Analog Clocks

8. Light-Colored Dashboards

9. “Four-Door Coupes”

10. Big Key Fobs

Will work up an additional list. Your suggestions?

Will Fancraft™ Technology Finally Bring Us Flying Cars?

A company called Metro Skyways has been working on VTOL (Vertical Take-Off and Landing) systems in an effort to realize practical and safe flying cars. “Our mission,” the company writes, “is to manufacture the world’s safest, quietest, most compact, high occupancy VTOL aircraft in order to make aerial, mass transportation a reality by making it commercially viable.”

The technology they’re investing in is what they call Fancraft™, which is essentially a pair of large, drone-like rotors that are integrated into the overall form of the vehicle, rather than sticking up over it. The interior part of the form between the two rotors becomes the passenger cabin.

2003 prototype

Latest design, the Cityhawk

This approach, according to the company, yields multiple benefits:

Compact with Large Payload

Fancraft™ have 1/4 the footprint of a helicopter with a more spacious cabin. They eliminate the risks associated with external rotors without compromising any of a helicopter’s payload, range or hover capabilities.

More aircraft carrying more passengers can fly and land in less space making Fancraft™ a key element in establishing a successful urban, aerial, mass-transportation system.

Quiet Comparable to Street Traffic

Part of being “urban friendly” is being quiet. Ducted rotors enclosed in the fuselage are inherently quieter than an open rotor, which means that Fancraft™ start out at a natural advantage when it comes to noise.

Add to that our multi-bladed, slow-turning rotors which generate less noise at its source and you wind up with an aircraft that will blend seamlessly into the ambient sound of city traffic at 70 dBA from just a block away.

They’ve got two different designs. The first is the Falcon XP, an air shuttle sized to carry 13 passengers and a pilot:

The second is their Cityhawk, sized to carry five passengers and one pilot:

Sadly, there’s no word on how close they are to production, nor what regulatory hurdles remain.