If we weren’t in the middle of a pandemic, I’d decry this product; but now it’s easy to see why the Infinity Game Table is the latest Kickstarter smash.
The Infinity is essentially table with an HD touchscreen for the tabletop. Developers Arcade1up have licensed a slew of popular classic boardgames–Scrabble, Monopoly, Trivial Pursuit, Battleship, etc., totaling more than 50 games–and programmed them all into the Infinity.
If that was all it did, I’d hate it; boardgames offer simple, tactile family entertainment without the need for electricity, and they need no technological upgrade.
However, the brilliance of the Infinity is that it’s of course connected to the internet. This means that in the age of social distancing, you can now play Scrabble with family members across the country.
Doing so requires that all parties have an Infinity, of course, and the units aren’t cheap. Even with the Early Bird pricing knocking $100 off of the $599 retail price, you’re looking at a minimum $1,000 buy-in to remotely play games with one other party. But the high price hasn’t stopped backers: At press time they were up to $603,854 in pledges on a $50,000 goal, with 45 days left to pledge.
Animal furniture design company LucyBalu has collaborated with Choupette, the beloved pet of the late fashion designer Karl Lagerfeld, on a hammock-style cat bed called Swing.
Choupette, who is rumoured to have inherited some of Lagerfeld’s millions, endorsed the prototype woollen bed design when it was delivered to her via her agent.
Choupette personally approved the bed design
“We sent our cat hammock to Choupette’s agent in Paris as a gift,” said LucyBalu founder Mathias Wahrenberger.
“Sometime after that, we received a message saying that our Swing was Choupette’s new favourite place,” he added.
“This was the moment in which our dream of collaborating with Karl Lagerfeld’s cat became reality.”
Swing is made from soft, cosy felted wool
Made from felted wool, the hammock portion of the Swing bed hangs between two powder-coated metal wall mounts.
Felted wool was chosen because it is a soft, natural material. The fibre textile is good at absorbing and retaining heat, making it a cosy spot for a cat.
Swing is fixed to a wall by a powder-coated metal mount
Choupette’s approval was a coup for the LucyBalu designers, considering the fluffy white Birman cat is used to living in the lap of luxury, flying in a private jet and being attended to by maids.
“We only choose certain projects that we think really match Choupette,” said her agent Lucas Berullier.
“With Choupette loving her hammock – which she sleeps and relaxes on – it is obvious that not only we, but cat owners all around the world should be introduced to the LucyBalu brand.”
Cats can jump up and sit in their own hammock with Swing
Along with naps, cats love to sit in high vantage points where they can observe goings-on. The minimalist Swing is also an aesthetic match for Choupette, with its white struts and pale felt complimenting her fur coat.
“We are honoured to have had the opportunity to be this close to Choupette,” said LucyBalu designer Sebastian Frank.
“I mean, we were the first people to ever be allowed to take pictures and videos of Choupette in her home,” Frank added. “We received a very warm welcome from the entire Choupette family, despite all the hype this famous blue-eyed Birman cat receives.”
Choupette’s signature appears on the collaboration
The LucyBalu x Choupette Swing bed will be a limited edition, with only 1,000 pieces made and all bearing Choupette’s signature. Gifted to the German fashion designer in 2011 by the model Baptiste Giabiconi, Choupette was Lagerfeld’s favourite companion and muse until his death in 2019.
Studio Puisto has designed an adaptable, prefabricated cabin that can be built anywhere and used as anything from a garden office to a remote off-grid retreat.
Named Space of Mind, the compact cabin was developed in collaboration with furniture brand Made By Choice in response to the coronavirus pandemic, to offer people who are forced to spend more time at home a space to unwind.
Space of Mind cabins are designed primarily for remote locations
Studio Puisto intends for Space of Mind to serve primarily as a remote, off-grid hideout, but they can also be built closer to home for use as an office, garden gym or spare bedroom.
The cabins have modular interiors that also allow them to be quickly and easily adapted to suit a user’s changing needs.
The prototype is located on an outcrop in Porvoo
“Space of Mind is a modern cabin that acts as a dedicated space to think, recharge and unwind – somewhere we can find our own peace of mind,” explained the Finnish studio.
“How we find that peace of mind looks different for all of us. Therefore, an integral aspect to the design of Space of Mind is its versatility and adaptability,” it said.
“Through a modular system, Space of Mind can serve as anything from a spare bedroom to a gym to a home office with the flexibility to be placed nearly anywhere in the world.”
The cabins have an angular yet compact form
Space of Mind cabins have a lightweight, wooden structure measuring just under 10 square metres.
They are prefabricated in a factory to minimise damage to the site and ensure they can be easily transported and erected in remote locations.
Cladding options include larch wood, black tar paper, or galvanised steel with standing seams, while the foundations are made from either removable helical piers or lightweight concrete. This ensures a cabin can be adapted to suit different climates and ground conditions.
The roof overhangs and shelters the entrance
“To make Space of Mind available to even the most remote of locations, it was strategically planned to be light enough for transportation by crane or helicopter with a resilient foundation that supports almost any site,” the studio explained.
“This, in turn, adds to its versatility, ultimately creating an opportunity where we have the freedom to tailor a spatial experience to our exact needs.”
They have a prefabricated wooden structure
The first Space of Mind cabin to have been installed is clad in larch and located on an outcrop in the archipelago of Porvoo in Finland.
Larch was chosen as it will grey with time to complement its surroundings, and Studio Puisto will soon build more beside it to rent out as a holiday retreat.
Larch is one of three cladding options
The angular form of the cabins was developed to offer an “element of surprise” while maintaining an efficient, compact shape. Its overhanging roof functions as a sheltered entrance.
Their structures are uninsulated to encourage users to connect “the raw, natural elements and ever-changing weather conditions outside”.
The interiors are modular and easily adaptable
The interiors of the Space of Mind cabins are also modular and can be fitted with different furniture pieces. These are attached to the main structure using wooden pegs.
Described by Studio Puisto as a puzzle, this modular system relies on a simple slot and lock mechanism that allows for easy reconfiguration.
Modular furniture is slotted into the structure
“The interior is modular and connected to the structure of the cabin by wooden pegs,” said the studio’s partner Willem van Bolderen.
“The interior can be switched from a rest-space to a focus-space or a wellness-space. The wooden pegs slide into the slot and lock the furniture elements in place,” he told Dezeen.
The cabins feature one large window at the rear
Wood was chosen for the interior finishes to create a warm quality that is simultaneously pared-back, but there is also the option to have a wool carpet.
The Space of Mind cabins can be purchased with a separate dry toilet that can be placed near the cabin, alongside an outside kitchen or storage element next to the door.
The prototype has larch cladding so that it greys overtime
Studio Puisto is a Finnish architecture studio founded in Helsinki in 2010. It is headed up by van Bolderen alongside architects Mikko Jakonen, Emma Johansson and Sampsa Palva, Heikki Riitahuhta.
Space of Mind is now available for purchase, and the studio is currently also developing a sauna version.
Italian architects Massimo Gnocchi and Paolo Danesi have developed a conceptual cabin called Mountain Refuge that is designed as a space to find “connection with nature”.
Partners: Mikko Jakonen, Emma Johansson, Sampsa Palva, Heikki Riitahuhta and Willem van Bolderen Team members: Ayda Grišiūtė and George Michelin Bed design: Matri Carpet design: VM-carpet
Comprising 40 laundry tablets, one 16-ounce dish soap powder, one 19-ounce hand soap tablet and one 20-ounce multi-surface cleaner tablet, Blueland + Reformation’s Routine Clean Kit encourages ditching the toxic chemicals for natural formulas that are kinder to humans and the environment. Using mostly naturally derived ingredients (including citric acid and sodium carbonate) these potions will still do the trick and thoroughly clean clothes, plates and surfaces. Also in the kit are minimal, durable vessels designed by the team at Reformation to keep and use forever. Refills are affordable and come in compostable packaging from Blueland.
Chris Benjamin and Tim Aness on reimagining a classic, inside and out
Originally produced from 1963 to 1993, the Jeep Wagoneer oozes nostalgia—from the boxy shape to its wood paneling. Redesigning such an icon guarantees backlash, but the 2021 Jeep Wagoneer and Grand Wagoneer Concept balances retro Americana with contemporary style, courtesy of curvier lines and premium materials. A sophisticated and significant design choice, there’s no Jeep insignia anywhere on the vehicle—inside or out. But the lack of brand broadcast also points to Wagoneer becoming a future brand from Fiat Chrysler Automobiles (FCA) which, after merging with France’s PSA, will be reborn as Stellantis in early 2021.
1986 Jeep Grand Wagoneer
This context is important to understand. Stellantis comprises plenty of car brands but perhaps can be distilled to just Chrysler, Peugeot, Fiat, Jeep and Ram. From a global perspective, these are the most relevant brands. Chrysler proves to be the weakest, while Jeep is the healthiest selling worldwide. It’s the oil that lubes the rest of the machine. Making an upscale SUV for one of those aforementioned brands wouldn’t work, but releasing Wagoneer—piggy-backing off of Jeep’s excellent reputation—is a brilliant move.
Grand Wagoneer Concept
Both the Wagoneer and Grand Wagoneer will be three-row SUVs, with the latter higher-end—though both sit above anything Jeep produces in terms of price, aesthetics, amenities and design. When these move from concepts to production vehicles, they’ll be built in Detroit on the same platform as the Ram 1500 and will compete with Lincoln, Cadillac and GMC domestically and the likes of Land Rover, Mercedes-Benz, Volvo and BMW in Europe.
Grand Wagoneer Concept
Chris Benjamin, formerly at Volvo and Daimler, helms interior design at Jeep and Chrysler. More specifically, Tim Anness is head of exterior design for Wagoneer. We spoke with them both to hear about what parts of the Wagoneer they wanted to retain, what they wanted to pay homage to, and what they wanted to reimagine entirely.
Grand Wagoneer Concept
There’s a massive glass roof on this design. It’s etched with a map of Detroit, which hardly says, “Take me to the mountains to drive over things!” Can you tell us a little about decision and the process?
Chris Benjamin: We’re proud of the fact that Wagoneers are going to be made in Detroit. It’s so important for our local economy. From the very beginning we knew we wanted to represent that on the vehicle somehow, but there’s a funny thing about maps: we had to create it from scratch. We can’t just download it from Google. And the map we made is so digitally rich that most computers couldn’t handle the data file. We tried all sorts of methods to get it onto the glass, but we finally landed on screen-printing—which is a whole other challenge carmakers aren’t used to, but it was a ton of fun.
Grand Wagoneer Concept
Speaking of glass topography, there’s a lot of digital real estate in this concept, with four screens in the front row alone. Why not just go the iPad-like route other carmakers are choosing, following Tesla?
CB: You have to look at what you’re doing as a piece of art. For me, to just glue an iPad up there, I would consider myself lazy. Also, the way you shape things has a big impact on your feeling of spaciousness, which is very different than how much space you actually have. If that center panel was a big, tall surface, you would feel like there’s something imposing in front of you.
Grand Wagoneer Concept
You’ve also given a lot of these screens over to the passengers.
CB: We’re giving the co-pilot functionality. More screens in front of the passenger rather than the driver lets them control entertainment or put in navigation they can bounce in front of the driver’s instrument panel rather than have the driver struggling with that. We just felt it was a way to unify the experience for everyone in the car, which is also why there are entertainment screens in the back for kids.
One other clever detail is the exact use of the McIntosh audio logo and illuminating it, as they do for their home hifi systems.
CB: As you surely know, car designers love to look at home audio. And I’ve been in a lot of McIntosh studios these past few years. When we see the way their systems are executed—the black glass and metal and even the way it’s backlit when it’s off, we wanted to make sure we captured all of that, in keeping with their design aesthetic. You buy a McIntosh audio system, and get a Wagoneer with it!
Grand Wagoneer Concept
Speaking of icons, the Wagoneer was the pinnacle of Americana, a burly family car. Tell us about how you wanted to pay homage?
CB: Well, we carried the two-spoke steering wheel of the original forward. It’s such a cool graphic, and then of course we put the Grand Wagoneer insignia in inlaid metal in the wood on the passenger side. But if you just woke up on the car scene today, it was important to us that you’d still see modern details. That interior is in this brownish aubergine, and everything you touch is highly textural. So the feel of the shifter, which has a backlit element to it, has this knurling texture on the outside; it feels good in your hand. There’s a lot of “third read” layering.
What’s another example of that?
CB: The interior has some lacewood trim and it’s black, but it’s not painted; it’s heat-treated to darken. But then right at the edge, there’s a raw part that’s not treated—almost as if you shaved it back just a few millimeters.
Grand Wagoneer Concept
You have more wood on the exterior of the car, nestled around the headlamps and the roof rack, but some critics have dug in on the lack of faux wood paneling from the original.
Tim Anness: We wanted to be respectful of our heritage, but not retro. That “wood” was vinyl. I think if we’d put vinyl stickers on this vehicle, that would’ve been pretty problematic. But the car we did make, really from the emotion of the original, is so simple we wanted anyone to be able to draw it. Its shoulder is really horizontal (we call that the set line) and if you just add trapezoidal wheel arches to that set line and nothing else, you can draw the Wagoneer.
Grand Wagoneer Concept
There’s no Jeep logo on the exterior, but there is the American flag. A lot of people might be confused why it’s flying in reverse. Can you explain the logic?
TA: It’s a military thing. If you look at any ship, plane, etc, in our armed forces—the stars always lead. Same as on any soldier’s sleeve. Like everything else we were aiming for, to us, if you’re going to put a flag on a vehicle, you’d better do it right.
Grand Wagoneer Concept
The concept has an exceptionally open greenhouse. Even the third window is squared rather than canted forward. This counters a lot of the trend in crossovers, which can be very hard to see out of. Tell us about that.
TA: We didn’t want there to be a bad seat in this vehicle. That broad greenhouse really speaks to a kind of optimism where you think of the family bouncing down the road on a trip, and we wanted to reward everyone with a great view. But also we wanted to pay really close attention to the driver’s sight lines. We made decisions to make thinner pillars as much as safely possible, and let everyone see out of the car.
When it comes to new concepts for iconic fashion staples, like watches, it’s important for the design to stand out. Now, sometimes that means ornate details and intricate decoration, but sometimes it’s just the opposite. As is the case for the new visual timepiece concept, Sans. Turning minimalism into the design’s distinguishing attribute, Roshan Hakkim, the creator behind it, says, “Sans is a concept watch, which [aims to distill] the watch face to the bare minimum; ‘One dot replaces two hands.’”
You won’t find any hour, minute, or second hand on this watch, in fact, the watch is named after the French word for “without.” Sans is a stainless steel concept watch that offers a relaxed alternative approach to telling time, you’ll know the hour and relative minute throughout the day, but not too much else. This is the perfect watch for outings that don’t require cell phones, time-limiting itineraries, or for those of us who prefer a bit more wiggle room when it comes to our personal schedules. Replacing the numbers that typically surround the watch face are laser etched dots and replacing the rotating clockface pointers, also known as “hands,” is a single circle that represents each hour of the day. Instead of the gradual transition from one hour to the next, this watch jumps every 5 minutes. For instance, in order to indicate a time of 2:30, number two will remain above the 30-minute marker. This minimalist approach to telling time is not so much an aesthetic decision, even though the design is both airy and elegant, but more so one rooted in a “celebration of purity,” as described by Hakkim on his Instagram.
Timepieces are classic and will most likely stand the test of, well, time. Sans brings an exciting, fresh revamp to the traditional timepiece by stripping it down to its bare essentials. Besides, checking your phone for the exact time only leads to even more time spent on the touchscreen. With Sans, you might feel encouraged to forget about the details, the seconds, the minutes, if only for a moment, and to just live from hour to hour.
I often get told that there are way too many masks out there, and my response is almost always “there are way too many smartphones, laptops, and cars out there too”. Each mask, just like each phone, each car model, or each sneaker design, hopes to make its own impression, solve its own set of problems, and create a positive impact on the user and help the company earn a fair amount of money that then goes into delivering better products. Meet the weetbe mask, one of many masks featured on this site. Unlike other masks though, weetbe has a set of properties unique to it. It’s transparent, comes with not two but three filters, has an attachable face-shield component, and the best part, a modular fan-unit that snaps onto the filter on the front, power-delivering clean, filtered air to your nose and mouth for as long as 8 hours.
Drawing on the analogy of masks and mobile phones, the weetbe mask offers a level of modularity that reminds me of Google’s Project Ara. The mask itself is a functional face-mask with a transparent body, hypoallergenic design, and certified filters… but its ability to snap-on extra modules is what makes it wonderful. The weetbe comes with a clear, see-through body complete with an air-sealing lining and an anti-fog coating. Adjustable straps help secure the mask around your face, while filters on the front as well as the sides help you breathe 98% clean, purified air. The mask comes fitted with Proveil filters, which are made from nanofibers that are small enough to trap respirable airborne particles including viruses. These filters are reusable, can be washed or steam-sterilized, and are made to biodegrade too, allowing you to replace them easily and guilt-free.
The most anticipated feature about the weetbe, however, is the snap-on fan module. Referred to as the ‘fan osaka’, the fan module snaps right onto the front, pushing air through the anterior filter to create positive air pressure inside the mask. Built with its own lithium-ion battery, the fan works for 8 hours on a full charge and works silently. The module is smaller and lighter than you’d think, still retaining the mask’s transparent appeal, and is perfect for snapping on while exercising, jogging, or even for elderly people who find it difficult to breathe through a mask. Backers of the weetbe can even opt in for the ‘screen osaka’ a snap-on-snap-off face shield made from clear polycarbonate, offering a pristine, see-through barrier that protects the upper half of your face. The screen sports a similar anti-fogging feature, making sure your view isn’t ever obstructed by condensation.
Other features of the weetbe include its ability to be customized, with a custom skin you can apply on the inside of the mask, turning its transparent body into a canvas of print. The head-bands are customizable too, allowing you to add a name or company logo on. The weetbe is even splash-resistant, which means you can easily wear it out in the rain… and its transparent design, aside from enabling you to use facial unlocking on your phone, just gives you the freedom to breathe clean air and be protected without having your face concealed by opaque fabric or plastic. Besides, it helps to be able to smile at friends, neighbors, and other people too!
weetbe – Transparent Face Mask with Attachable Shield & Fan
weetbe is an all in one transparent face mask that comes with three filters, has an attachable face-shield component, and a modular fan-unit that snaps onto the filter delivering clean, filtered air to your nose and mouth for as long as 8 hours.
fan osaka – Snap-on Fan Module
screen osaka – Attachable Face Shield
Designed to give extra protection to doctors, nurses, waiters/waitresses who are in constant contact with the public.
Transparent Design
The transparent design enhances visual communication between people. In addition, it makes listening and lip-reading easier for the hearing impaired.
The Australian Centre for the Moving Image (ACMI), based in Melbourne, temporarily shuttered last year to allow for an ambitious refurbishment worth $40 million AUD. After some inevitable delays this year due to Covid-19, the redevelopment is now set to be revealed in early 2021.
When the museum reopens, it will have a fresh look devised by UK design agency North, which will complete ACMI’s transformation from its beginnings as a local film centre in the 1940s to the most visited museum of its kind.
At the heart of the identity is a distinctive new wordmark, which is squared off at the edges for an impactful boxy effect that lends itself well to a grid system. The ‘m’ subtly calls to mind the shape of a video cassette, and makes for a far more memorable logotype than its somewhat corporate predecessor. A new typeface, Px Grotesk, has also been introduced to the suite to be used across all touchpoints.
North worked closely with ACMI’s in-house design team on the identity, which features a streamlined colour palette that enhances the vibrant imagery used across the museum’s cultural programme. The update comes with revamped signage, merchandise and campaign assets, as well as a new website created by Liquorice and internal wayfinding by Büro North.
The new identity coincides with the launch of an online exhibition, along with the announcement that when the ACMI reopens its doors, it will roll out a new approach that incorporates digital into the museum experience.
The lean towards digital gave impetus for a greater focus on video content and animation in the visual identity system, which feels especially appropriate for a museum dedicated to moving image work.
With the promise that there will be something for people at home, as well as in a physical and digital capacity within the museum space, ACMI looks set for the post-Covid arts world – with a fresh look to boot.
The book, authored by Peter Mendelsund and David J Alworth, explores some of the recurrent motifs of cover design, delving into trends that have shaped the way books have been marketed over the decades.
It charts some of the influential changes along the way – from the first dust jackets in the 1800s, through the rise of graphic design as a profession and into some of the stories behind more controversial titles such as Lolita. There’s also commentary from cover designers, for example David Pelham discussing some of his initial notes for his now iconic JG Ballard novels.
Penguin Science Fiction covers of The Terminal Beach, The Wind from Nowhere, and The Drowned World by J. G. Ballard, design by David Pelham, who was the art director at Penguin Books between 1968 and 1979The Big Book LookThe Case of the One-Eyed Witness by Erle Stanley Gardner, 1955, design uncredited
As well as standout examples from the history of cover design, Mendelsund has filled the book with his own takes on prominent novels, such as Ulysses – exploring the kinds of covers that might be possible outside of the restrictions of publishers’ demands.
Kidnap by George Waller, 1962, design uncredited. The Velvet Underground by Michael Leigh, 1963, design by Paul Bacon Studio. Hang-Up by Sam Ross, 1969, design by James Bama. The Raft by Robert Trumbull, 1944, design by George A. Frederiksen
The book is a welcome reminder of what a rich canvas book covers offer to designers, and how influential a role they can play in establishing a relationship between title and reader.
The Look of the Book is published by Ten Speed Press, priced $50; penguinrandomhouse.com
The high-pressure medical jobs of the couple living in this Poznań apartment led Agnieszka Owsiany Studio to apply a calming mix of wood and pale marble throughout the interiors.
Set inside a newly built residential block that overlooks a botanical garden, the Botaniczna Apartment is home to a surgeon and his wife who runs a medical clinic.
Above: the living area. Top image: a wood-lined hallway leads to the apartment’s master bedroom
The couple had purchased the 90-square-metre apartment as an empty shell but soon brought Agnieszka Owsiany Studio on board to develop the interiors.
They requested that the studio compose a calming home environment where they could unwind at the end of their often stressful workdays.
The couple’s personal trinkets can be displayed in a long walnut sideboard
“My clients asked for a high quality, almost hotel-like space as they were in need of everyday comfort,” the studio’s founder, Agnieszka Owsiany, told Dezeen.
“I really wanted to create something timeless, hence the idea to use the materials such as wood and travertine which age beautifully and hopefully won’t be replaced within many years,” she continued.
“All the kinds of wood and stone I chose, they have these nice, soothing warm tones.”
A black dining table contrast the neutral colours elsewhere in the room
Wooden chevron flooring runs throughout the home’s open-plan living and dining room, at the centre of which sits a plump sofa upholstered in brown leather.
A coffee table perches on a fluffy rug just in front. It runs alongside a four-metre-long walnut sideboard where the couple can tuck books and magazines, or display small ornaments.
The kitchen boasts oak cabinetry and a travertine marble island
The kitchen is placed in the corner of the room, finished with oak cabinetry. Slim slabs of creamy travertine marble have been used to make the splashback behind the stove and the breakfast island.
There’s additionally a console made from burl wood – specifically chosen by the studio for its distinctive grain pattern – and a jet-black dining table fashion from bogwood, which is meant to stand in stark contrast to the otherwise neutral shades in the room.
Burl wood has been used to make a distinctive vanity desk in the bedroom
A cosy, wood-panelled hallway leads to the apartment’s other rooms, which lie behind floor-to-ceiling doors.
Agnieszka Owsiany Studio has continued using much the same material palette – for example, burl wood has been used to create a vanity desk in the master bedroom. Oak storage units feature in the adjacent walk-in-wardrobe, which is neatly obscured by a linen-curtain screen.
Travertine marble also covers surfaces in the bathroom
The same travertine marble that features in the kitchen has been used to line surfaces in the bathroom and to make the washbasins.
In the home office, oak lines the back wall and a full-height gridded shelf.
The home office includes a full-height oak shelving unit
This isn’t the first project that Agnieszka Owsiany Studio has completed in the Polish city of Poznań.
At the end of last year, the studio designed the interiors of restaurant Nadzieja, filling it with Bauhaus-inspired details like tubular steel-frame chairs and pale partition walls that echo the buildings seen in Tel Aviv’s White City.
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