Hasta La Ideas

David and Jeanette Reiss-Andersen, cofounders of the Oslo-based tiny home company Norske Mikrohus, decided to build an eco-friendly and affordable alternative to the pricier standard-size homes available on the market.” We wanted to create something for people looking for a way out of the rental and mortgage markets—something for those who want easy access to nature and to live with fewer possessions,” said David. And their efforts led to the birth of ‘Tind’ – a beautiful wood-wrapped tiny home built in Norwegian style.

Designer: Norske Mikrohus

Measuring 70 square feet, Tind is a tiny home on wheels, that draws inspiration from the forests and mountains of Norway. It’s also clad completely in Norwegian spruce, making it a sustainable little house. Not only the exterior but the interior of the home is also clad in wood – birch veneer to be specific, giving the space a very modern, natural, and warm vibe. Large glass doors connect the indoors to the outdoors, creating a lovely connection to nature. Black aluminum windows provide an interesting contrast to the otherwise pale wooden tone of the home, creating an effect that is subtle and elegant.

The home features an open-plan kitchen and a spacious living area, which showcase a flooring of ash. This further offsets the warm and minimal theme that seems to be running through the entire house. There’s also a compact built-in wooden counter in the open-plan kitchen, which serves as an efficient home office, as well as a handy dining area.

Another interesting highlight of the home would be the skylight. It provides a stunning view of the night sky, and helps you feel even closer to nature! There’s also a walk-in closet, which isn’t seen in most tiny homes. It adds a really cool and unique element to Tind. It provides the same amount of storage, you would find in the other tiny home models by Norske Mikrohus, so there’s been no compromise on the storage space.

The bathroom boasts a large shower area, which isn’t usually seen in the bathrooms of tiny homes. This was inspired by houseboats! There’s also sufficient space under the sink to fit in a washer/dryer.

Not only is Tind built from environmentally friendly Nordic materials, but it was also designed to withstand Nordic weather conditions. Tind was designed with one important goal in mind – to encourage flexibility and freedom. It’s a home you can move around in, and take wherever you want to. It supports a comfortable life on the road, and the freedom to live life wherever and however you want!

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It’s easy to take modern products for granted because of the ease of manufacturing and the ubiquity of some materials. Not everything that is new is good, however, and not everything that is old is obsolete. Newer synthetic materials eat away at our planet’s life, while the easy way of producing things doesn’t always yield long-lasting results. Sometimes, we have to take the hard-earned lessons of the past to heart in order to make something beautiful, enduring, and, more importantly, sustainable. That’s the message that Blue Ainery’s compact Furoshiki denim bag tries to send by using traditional dyeing and weaving methods to create a fashionable storage accessory whose very design pays homage to Japan’s history and tradition, many of which still apply today.

Designer: Ainery Blue

Click Here to Buy Now: $82 $94 (10% off). Hurry, only 5/10 left!

Almost everything about the Furoshiki denim bag is a nod to Japan’s past culture, design, and fashion. The term “furoshiki” itself is a reference to the traditional Japanese wrapping cloths for goods, bento boxes, and informal gifts. When worn as a bag, the Furoshiki looks more like an “Azuma Fukuro” that predated today’s modern tote bags by about four centuries. The design might look basic and even old-fashioned, but there’s also a certain charm to its minimalism. More importantly, its uncomplicated shape leaves enough room for plenty of items inside.

Ryukyu Indigo Dye – A type of natural Indigo dye that has been produced in Okinawa, Japan since ancient times. “Ryukyu” is another name for Okinawa.

The bag looks made from your typical denim material, but there is nothing typical with how it’s actually made, beginning from the way it’s dyed. It uses the Ryuku Indigo plant to create a rare natural dye using traditional and manual methods like microorganism fermentation. The warp yarns undergo a traditional soaking method to make sure that the Ryuku Indigo dye really seeps into the core of the yarn. The end result is a material that doesn’t fade quickly no matter how many times you wash it.

Uses “Kase-zome”, a Traditional Japanese Dyeing Technique – The warp yarns are soaked, then taken out and exposed to air to let the dye oxidize. This procedure is repeated during the dyeing process. By soaking the yarns over and over again, the Ryukyu Indigo dye seeps all the way deeply into the core, resulting in a unique texture.

The denim is woven using more traditional shuttle looms that yield more durable high-density fabrics compared to modern looms. That said, the fabrics are sewn by machines, but there’s still an element of quality production thanks to how it’s handled by a factory in Okayama that is also used by famous but unnamed fashion brands. Right from the start, the Furoshiki bag is made with traditional methods and materials to ensure the same long-lasting quality of traditional bags that last for decades, not just years.

Of course, the denim bag isn’t just all about the past. It also applies the lessons of modern manufacturing and design, like the use of reinforcing rivets to make the bag stronger. It is also designed with modern aesthetics in mind, like the use of denim fabric, even if the shape and form don’t conform to the modern ideas of bags. It’s a perfect example of how good design never really goes out of fashion.

The Furoshiki denim bag demonstrates how modern design thinking can apply the lessons of the past to create something that will also endure the test of time. Stylish, durable, functional, and sustainable, the bag easily stands out among modern tote bags as something that blends the past and the present in a harmonious way. Given how it’s designed not to fade easily and to match almost any fashion style, the $80 early price tag is almost perfect for a long-lasting bag to carry your stuff with you.

Click Here to Buy Now: $82 $94 (10% off). Hurry, only 5/10 left!

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On any random given day, if you walked up to me and asked me if Kanye West was a good designer, my answer would be a resounding NO. By my own personal standards, Kanye West’s designs are odd to look at, make me physically uncomfortable, and have me wondering if the prolific artist even knows anything about aesthetics… then it occurred to me. In a world where attention is currency, the fact that I’m sitting in front of my computer on a Monday night writing about Kanye’s designs obviously means he was really good at garnering attention and being the topic of conversation. To a brand, that’s as ‘good design’ as it can ever get.

As designers, we’re instilled with a certain set of values that make us prioritize our consumers. We solve problems for them, and a product that makes a consumer’s life measurably better is ‘good design’. However, what we’re never taught is that our client – the person who pays us the money to design stuff for them – is a consumer too. If your end-product makes life better for end-users but bankrupts the company selling the product, is it really a good design? Good design has multiple stakeholders – you/your team, your client, your planet, and your user. Everyone should stand to benefit from your work. That core belief is what made me question Kanye’s work much more objectively – just because I absolutely hate the Yeezy shoes and slippers doesn’t take away from the fact that they’re WILDLY successful products… which means customers love them, the brands benefit from them, and so does Kanye. Much to my disappointment, that’s a Win Win Win. However, we as designers aren’t wrong for looking for logic in Kanye’s work, but more on that later. First, let’s just try and ask ourselves a pretty crucial question.

Is Kanye West REALLY any different from other designers?

Try to think of as many famous contemporary designers as you can and most of them should have one thing in common – eccentricity. The kind of eccentricity that also ends up reflecting in some of their best work. Gehry’s design of the Bilbao Guggenheim is visual madness, as is Gaudi’s Sagrada Familia. Karim Rashid has made some questionably odd-looking (yet iconic) products in his career, as has Philippe Starck. Why do we laud their work as hallmarks of great design but look at the same level of creative eccentricity in Kanye as the mad ramblings of a non-designer? Well, I think I answered our question right there.

There’s a weird elitism at play here. Kanye’s designs don’t receive the same treatment as Gaudi or Karim Rashid because Kanye never went to design school. Try and put that rather odd distinction aside and your argument really falls apart, doesn’t it? We really don’t cut Kanye the same amount of slack because he’s also a controversial figure in real life and since he’s more primarily known for his music, it’s natural to think that design is some sort of ‘side gig’ for him. BUT… apples to apples, how much more different is Kanye’s design aesthetic from, say, Luigi Colani or Zaha Hadid? Don’t the Yeezy line of footwear looks just about as awkwardly organic and alien-like as Zaha Hadid’s own architectural pieces? I dare you to look at Qatar’s Al Wakrah stadium and tell me it doesn’t have the same alien-ish form language as the Yeezy Foam Runners. Or at Colani’s approach to form generation and tell me that it’s just about as bizarre and visceral as West’s. Kanye isn’t a ‘designer’ in the puristic sense – he probably doesn’t stick to a rigid design process. He probably doesn’t use Photoshop or Autodesk Fusion 360, and I bet he doesn’t quite know a thing about 3D printing. He doesn’t have clients from hell who ask for 20 iterations before selecting the first concept direction you had originally showed them, and even though this hurts, he probably doesn’t have to follow up for payments. However, he’s incredibly expressive, knows how to create iconic products, and from whatever I’ve found online, his shoes tick all the right boxes – they’re comfortable, durable, and people love to wear them. So why do we hate them?

Zaha Hadid’s Al Wakrah Stadium [Left] and Yeezy Foam Runners [Right]

To understand Kanye, you first need to understand the cultural crossroads we are at.

Remember the Sony Playstation 5? The Cybertruck? The ‘Cheesegrater’ Mac Pro? Dyson’s air purifying headphones? They all had one thing in common – they were deeply polarizing. Everyone had an opinion about them, and just like putting pineapple on pizzas or arguing whether a random dress was white and gold or blue and black, they had the internet up in arms. Similarly, you either like the Yeezy Foam Runners or hate them – there’s no in-between. That seems to be the cultural pitstop humanity is currently at.

I’ve often wondered what design movement we currently are in. Looking back at the past, you had movements like Art Noveau, Art Deco, Dadaism, Bauhaus, Memphis 2.0, Blobject, and most recently, Minimalism. So which movement are we currently in? Based just on the past couple of examples and also just the cultural moment we live in, I like to dub this phase ‘Polarism’. In a world filled with seven billion people, it’s practically impossible to please everyone… so the best you can do is garner a reaction – positive or negative. Our internet-connected world also has a tendency to jump from one subject to another at lightning speed… so a good design by that very standard is a design that occupies neural space for as long as possible – and the chances of something lingering around in your head are only maximized when the internet is debating/arguing about it. You’re forced to pick sides, and you’re forced to vehemently defend your side with the kind of mad fervor often reserved for religion or politics. As bad as that sounds, you have to admit that it’s kind of genius too.

This isn’t to say that every single designer must try to execute some Machiavellian plan and divide the internet with everything they do. I strongly disagree with this approach, and to be brutally honest I don’t think this is what Kanye is trying to do either. His approach to design, just like with his music, is to create something iconic that gets everyone talking.

A Design Analysis of the Yeezy sliders.

The original idea for this piece came from my good friend John Mauriello, who created an incredible video on exactly the same topic, where he analyzed Kanye’s work from both micro and macroscopic views. The video’s right up here for you to watch if you’re interested in hearing what he has to say. However, without further deliberation, let’s quickly perform a design analysis on Kanye’s work.

To be honest, there are a few things you need to consider while analyzing Kanye’s ‘design portfolio’ if you will. For starters, he doesn’t work alone – he DOES have a design team, led by Nur Abbas (formerly of Louis Vuitton and UNIQLO) and Steven Smith (who previously worked at Adidas and Nike), who help him realize his vision and bring a level of design and manufacturing expertise to the picture so the Yeezy products are still rooted in feasibility and reality. However, to appreciate Kanye’s unbridled rawness, it’s important to also realize that he’s never been restricted the way conventional design teams have. Adidas famously collaborated with Kanye on the one condition that he had complete and full creative control, which sort of creates a unique set of conditions that not many designers today get to experience – loads of capital and zero constraints. It’s natural for designers to dial down their wild ideas fearing client backlash, but Kanye and his team have absolutely no such qualms. This is what unrestricted creativity looks like, and if you hate it, I can’t help speculate that you’re probably a little jealous too!

Kanye’s biggest crime was making design ‘unboring’ again

Back to the footwear themselves. John makes a few rather interesting points in his video which I’m about to conveniently borrow for the purpose of this article. He highlights the similarities between Kanye’s footwear and the Cambrian Era – a 53.4 million year-long period that saw an absolute explosion in marine animal evolution. This was a time that saw probably the wildest kind of animals as nature played the role of a mad scientist, developing some incredibly unique (and terrifying-looking) sea creatures just to see what would stick. You had animals with shells, 8 legs, spiked backs, exoskeletons, the works. All these animals existed in roughly the same era, and provided incredible diversity to the oceans before oxygen levels drastically fell, wiping them all out. Kanye’s works feel like the Cambrian era of footwear design too, with this explosion of a new aesthetic that sort of defies logic, but pushes the conversation forward in unique ways.

I use the term ‘defies logic’ rather loosely here because logic seems to be the only weapon designers have in their case against Kanye. Every designer is taught the Gestalt Laws of Visual Perception – 7 laws that teach us how to guide the eyes of the user, employing different ways to entice, educate, and engage people who come across our work. For the most part, it seems like Kanye’s designs don’t necessarily adhere to these principles strictly. They look like they’re alien objects from an alien world where sense and symmetry have little value – to which my immediate devil’s advocate question is – why does a shoe need to have sense OR symmetry? The last time I checked, the overarching purpose of a shoe was simply to be comfortable, fashionable, and a commercial success.

The Hallucigenia from the Cambrian Era [Top] and the Adidas Yeezy 450 Sneakers [Bottom]

Kanye is an incredibly outspoken person too, as Mauriello’s video highlights a snippet of the rapper absolutely lambasting Lady Gaga who was briefly the creative director at Polaroid. “I like some of the Gaga songs… what the f*** does she know about cameras?!” he asks, confusedly. While he’s absolutely right, he also vindicates himself in the eyes of the design community. A pair of shoes is arguably less complex than a camera. If Kanye was left to his devices to redesign Polaroid’s imaging systems or its camera’s user interface, chances are he’d make an absolute mess of it. That’s an area that requires design expertise, systems thinking, constant reiteration, user-behavior research, workflow analyses, and a lot of UI/UX work. That aspect of design is best left to designers who are trained/experienced in those very domains, just the same way you wouldn’t ask Kanye to design the docking interface on the International Space Station. He isn’t way over his head, because he knows exactly where he brings value.

Kanye’s Creative Process

One of the interesting new approaches Kanye brings to design is his ability to collaborate. Music in itself is a collaborative process and for Kanye, the design process is relatively similar to jamming with other musicians – everyone knows their roles and exactly where to contribute. A drummer doesn’t just pick up an electric guitar on a whim, or worse, grab the microphone and start singing the lead vocals. A band is a classic example of a hive mind that works like a singular organism, with everyone contributing in their own way towards an end goal – and for Kanye, that same approach carries forward to design too.

Kanye being an outsider is actually a great thing in that regard just for all the unknowns he brings. Steve Jobs, an outsider, completely revolutionized the music industry and music ownership too. Besides, design’s inherent role is to support and supplement other professions, so as long as you’re creative (and you’ve got a team that can take care of the complexities), you can design. Sure, there’s also the fact that your designs have to be user-friendly, which is why Kanye doesn’t manufacture the shoes himself but rather has a team of fashion designers helping execute his vision. There’s a collaborative process where art and usability come together seamlessly. It’s pretty much the perfect melting pot.

So… IS Kanye a good designer?

Subjectively? I don’t see myself wearing the stuff he makes, but that can’t possibly be a referendum on his design abilities. I don’t wear wristwatches, but that doesn’t mean Audemars Piguet and Richard Mille make badly designed timepieces. Personal choice is never a parameter for judging something objectively.

Kanye may not be ‘your’ breed of designer, but he’s without a shred of doubt an incredibly talented creator. Sure, you could argue (objectively even) that his brand of design borders more on art than it does on puristic user-centered design…and truth be told, in the fashion industry, there’s nothing wrong with that at all. If Kanye ever designs MRI machines or stealth aircrafts, I’ll be the first one to call BS on his work.

I believe Kanye’s work is marvelous because it makes me question my own approach to analyzing design, and it also lets me reconnect with modern pop culture. Yes, the Foam Runners look weird to me, and maybe they do to you too… but if your only thought is “Why are the shoes shaped like that?” just try asking yourself the opposite question. Why aren’t other shoes shaped like this too? If there’s one single takeaway from this piece, it’s that let’s not equate ‘different’ with ‘bad’.

The post Is Kanye West a Good Designer? first appeared on Yanko Design.

Dreaming spiders, an AI that fixes roads, a remote-controlled robot surgeon and more this week

This Free AI Tool Fixes Old Photos

GFP-GAN is an open-source photo-restoration tool that uses AI to transform old photos that may have faded over time or become damaged. The algorithm makes an educated guess about missing or damaged details from each image, smoothing out creases and enhancing color. While the AI may not always recreate an exact replica of the original photo, the restored images have been meaningfully impressive. It’s also free and incredibly easy to use, as users only need to upload the image they want to fix, click “restore” and wait for the results. Learn more about the new tool at BGR.

Image courtesy of BGR

Pioneering Japanese Fashion Designer Issey Miyake Dies at 84

This morning, Miyake Design Studio announced the passing of its founder, Issey Miyake, the pioneering Japanese fashion designer who first rose to fame in the ’80s for eye-catching, avant-garde designs. Miyake was born in Hiroshima in 1938 and studied graphic design at Tokyo’s Tama Art University. He moved to Paris where he transitioned from studies at the renowned École de la Chambre Syndicale de la Couture Parisienne to positions with Givenchy and Guy Laroche. In 1988 Miyake introduced his signature micro pleating—born of a proprietary heat treating system that pressed into place permanent accordion-like pleats. Miyake won over many devout collectors, including Steve Jobs (whose signature look included Miyake’s black turtleneck). His designs are enshrined at NYC’s Museum of Modern Art and London’s Victoria and Albert Museum, among other prestigious venues. Read more at CNN.

Image courtesy of PL Gould/Images/Getty Images

Reimagining Roads To Be Walkable and Bike-Friendly, With Help From AI

Streets that cater to pedestrians and bikers not only offer more commuter options, but they also create areas that look and feel community-oriented—as evidenced by Brooklyn-based artist Zach Katz’s new project. Using the second version of DALL-E, the AI system from OpenAI that generates images and art from written descriptions, Katz feeds the program an image from Google Street View with details on how the street should look instead. The program generates a new, redesigned version that often inputs sidewalks, biking lanes, fountains and other public spaces. The new street attests to how accessible areas are welcoming and desirable. Since sharing his project, many people, including council members and urban planners, have reached out to the artist with requests for reimagined roadways. Learn more about how Katz hopes the project can help envision better cities at Bloomberg.

Image courtesy of Zach Katz/OpenAI

New Environmentally-Friendly, Heat-Resistant Plastic is Developed

In developing a new technique to create polymers (large molecules that are composed of smaller, structured molecules), Japanese scientists have opened the door for the creation of environmentally-friendly plastic. These scientific researchers were able to gain control over molecular weight (crucial to the formation of plastic) using two pre-existing techniques called “living cationic polymerization” and “asymmetric cationic polymerization.” This novel strategy allowed them to manipulate benzofuran, a naturally-derived precursor to a polymer that is chemically recyclable, heat resistant and transparent. “While polybenzofuran is not used as a commercially available plastic, it has a stiffer molecular structure and a higher glass transition temperature than polystyrene. We see it being used as a new plastic with good thermal properties,” says Mineto Uchiyama, a researcher from the study and lecturer at the Graduate School of Engineering at Nagoya University. Read more about the innovation at Phys.org.

Image courtesy of Journal of the American Chemical Society 2022

New Study Suggests Spiders Dream

In a new study, researchers from the University of Konstanz in Germany discovered that spiders, specifically the jumping spider species Evarcha arcuata, experience moments of rapidly shifting eye movement while they sleep—a sign that indicates they may be dreaming. These twitches are similar to that of other animals who experience REM sleep, the phase in slumber in which dreaming occurs. To find more concrete proof of a dream state, the ecologists will continue to observe spiders, experimenting with rousing spiders from slumber to ascertain how much they depend on sleep or if they are just resting their eyes. While the research is still ongoing, the study has raised interesting questions about sleep’s purpose and evolution, reflecting how humans and animals may be more alike than previously thought. Read more about it at The Wall Street Journal.

Image courtesy of Daniela C Rößler

Remote-Controlled Robots Could Perform Surgeries in Space

Slated to board the International Space Station in 2024, MIRA—which stands for Miniaturized In-Vivo Robotic Assistance—is a remote-controlled surgical robot created by Virtual Incision Corporation, a Nebraska-based medical technology company that recently signed a contract with NASA. The robot is purported to perform medical surgeries by being remotely guided from Earth, a service that could provide longterm help aboard deep space missions. MIRA is uniquely suited for the undertaking as it weighs only two pounds. While it still has to undergo further testing before it performs lifesaving surgeries, the invention could be a major development for health providers who need to reach people in remote areas—whether in space or on Earth. Learn more about it at Futurism.

Image courtesy of Virtual Incision Corporation

New Online Encyclopedia Spans Palestinian Art and History

Launched by the Institute for Palestine Studies and The Palestinian Museum in Birzeit, the Interactive Encyclopedia of the Palestine Question is a free interactive resource that journeys through Palestine’s history, art and culture. The platform, which is in English as well as Arabic, is comprised of four chapters: Beginners commences in 1795 with the development of icon painting; Pathfinders stretches across a period of art in the mid-1900s that was predominately pioneered by refugees; Explorers includes censored works that were created under occupation; and Present Tense: New Directions is a chapter on international and conceptual art. There is also a section devoted to Palestinian embroidery that details how the Nakba (the Arabic word for “catastrophe,” used by Palestinians to refer to the mass eviction created by the founding of Israel) birthed new art. In linking history and politics to visual art, the project depicts the agency, creativity and strength of Palestinians whose legacy is often obscured. Read more about it at The Art Newspaper.

Image of Ismail Shammut’s “At Erez Crossing (The Queue)” (1997), courtesy of the Institute for Palestine Studies

Link About It is our filtered look at the web, shared daily in Link and on social media, and rounded up every Saturday morning. Hero image courtesy of Virtual Incision Corporation

The Razr seems to have lost its ‘edge’.

In what couldn’t have been a more shitty time to announce the new Moto Razr, the company decided to do it in the same 24-hour period that Samsung announced their new Galaxy Z Flip4 phone. The worst part? The Moto Razr 2022 sort of looks exactly the same as the Galaxy ZFlip 4, with the vertical folding design, and what really seems like a ‘blunter design’, going entirely against the phone’s one defining character – its razor-sharp design. To add insult to injury, the phone only seems to be available to its Chinese audience, so as much as I’d like to see one on the shelves and get a better look at it, that doesn’t seem to be on the cards.

Designer: Motorola

Although the company’s strategy to only focus on the Chinese market seems odd, it makes sense given two reasons – A. The initial folding Moto Razr had a rocky start with various technical and hardware difficulties, and B. China has consistently recorded the highest number of foldable sales ever since the Royole Flexpai – so I wouldn’t be surprised if this was a business decision.

However, just an analysis on the phone itself: Objectively, the Razr 2022 is a pretty great phone. It looks a lot more streamlined and has a larger outer screen and two primary cameras. It also ditches that weird thick chin that the previous phone had, which I appreciate because it allows the folding display to look fuller, but it seems like that chin’s disappearance now makes the phone look thicker in comparison (even though it’s 0.3mm thinner than its 2020 predecessor). Besides, the top of the Razr always had a sharp edge that sat flush against the chin when closed. Without the chin, the top of the phone loses that sharp edge, making it look ‘blunt’. I’m a little confused about how I feel because not only is the Razr phone no longer razor-sharp looking, but it also means the phone looks almost exactly like the Z Flip 4, which also has a larger outer screen, two primary cameras, and a top-to-bottom folding display with a hole-punch camera. In an ideal world where the Z Flip4 didn’t exist, the Razr would look like a pretty remarkable handset, but all factors considered (along with the unshakeable feeling that the new Razr feels less ‘razor-like’), the 2022 Moto Razr just doesn’t seem ‘cutting edge’.

To just get the specifics out of the way, the new 2022 Razr now comes with a 6.7-inch foldable P-OLED FHD+ panel with a 144Hz refresh rate, along with a 2.7-inch P-OLED cover display that works for viewing notifications, accessing unique widgets, and using ad the viewfinder for the two primary cameras. The dual cameras feature a 13-megapixel ultra-wide camera and a 50-megapixel OIS-enabled shooter. There’s a third hole punch camera on the inside, which is equipped with a 32-megapixel sensor.

Don’t get me wrong – the Razr 2022 isn’t a bad phone. It’s just not as exciting anymore in visual and overall appeal, also in part because the rest of the world outside China won’t get their hands on it. The phone packs a 3,500mAh battery with support for a 33W fast charger (although I’m not sure if the charger comes with the box). Other features include dual SIM support (which is a big deal in the Asian market), 5G, Wi-Fi 6E, Bluetooth 5.2, NFC, and obviously, a USB-C charging port.

The phone is all set to launch on Monday, the 15th, with a price tag of 5999 Yuan (about $890) for a model with 8GB of RAM and 128GB of storage or 7299 ($1,082) for the higher specced model featuring 12GB RAM and 512GB of memory.

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