The Tallest Man on Earth: Looking for Love

From Swedish singer-songwriter The Tallest Man on Earth (aka Kristian Matsson) comes an enchanting, upbeat third single, “Looking for Love,” from his forthcoming album, Henri St. For the track, Matsson worked with producer Nick Sanborn of Sylvan Esso. “The first day in the studio, Nick created this hissing noise while I was feedbacking electric guitar,” Matsson shares in a statement about the song’s origin. “We had so much fun jamming like that. Then Nick put down some piano to overdub my guitar, and we knew we had the song.”

Universal Glow Daily Defense Mineral Sunscreen Fluid SPF 40

Silky smooth and lightweight, this Dr Loretta formula combines moisturizer and sunscreen for supple and protected skin. With 17% zinc oxide, it provides full-spectrum defense from sun (UVA and UVB) and blue light (HEV) without appearing chalky. Apply every morning (to face, neck and hands) to protect your skin while leaving it looking dewy, and feeling nourished.

Watch how this rusty old drill bit is converted into a 24k gold-plated Kunai throwing knife

YouTuber Random Hands has a reputation for transforming absolutely anything into a shiny, brilliantly hand-crafted EDC tool. The man’s turned an anvil into Thor’s Mjolinr, a rusted bolt into a pair of scissors, and now, a grungy industrial drill bit worthy of the scrapyard into a pretty brilliant Kunai throwing knife. The process pretty much started with identifying the right bit of raw material for the project – some bits were too narrow, some too short. Finally, Random Hands settled on a large honker of a drill bit, only because the actual drill part would be practically unusable. Made from incredibly hard materials, the drill would be difficult to forge, and would crack if hammered into shape. Instead, the rest of the bit would be where Random Hands worked his magic. A bit of forging, hammering, angular-grinding, polishing, and anodizing later, the bit got turned from a rusty old mess into a shimmering Kunai. As impressive as the end result is, the process is just as enticing, as Random Hands gives you a sneak peek at every single process required to get from raw material to finished EDC.

Designer: Random Hands

One-half of the drill bit was used to make the Kunai. It involved separating the hardened steel from the softer low-carbon steel part and then forging the low-carbon steel into a flat plate. Random Hands then used a drawn template to create the Kunai’s design on the flat metal slab, before cutting the slab to the desired shape.

Once cut, the Kunai went to the lathe machine to smooth out the handle, and the sanding machine to flatten out the blade, its edges, and the handle. As the Kunai’s final form took shape, Random Hands chucked it back in the oven to help the surface harden, before polishing it and letting it rest in pre-heated sand.

Before polishing

After polishing

The polished Kunai is then nickel-plated before getting a plating of 24-carat gold. Once coated with a shimmering layer of the precious metal, the Kunai is finished with a woven grip, right before it gets tested against a dart board. The Kunai was originally a farming and general-purpose tool in Japan, which was then adapted as a throwing weapon by the ninjas. It’s unclear if this particular 24k gold Kunai is up for sale, but Random Hands does mention that it weighs a hefty 328 grams.

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Espacio 18 Arquitectura cantilevers a sculptural concrete house in Oaxaca

Casa del Alma by Espacio 18 Arquitectura

Mexican studio Espacio 18 Arquitectura has balanced an expansive concrete house designed like a “rock carved to create a sculpture” on a hillside in Oaxaca.

Known as Casa del Alma, the 460-square metre (4,950-square foot) house was completed in 2023 as the client’s “last refuge” after a “long life of work and travel”, according to Espacio 18.

Concrete, light-filled house on a hillside in Oaxaca
Casa del Alma is a hillside house by Espacio 18 Arquitectura

Two concrete boxes – set in the highest up next to an ecological reserve – frame views of Oaxaca City and create a space for “peace, meeting, contemplation, and introspection”, Espacio 18 said.

Structural concrete embeds the house in the terrain and the boxy concrete forms jut out in cantilevers from the slight slope.

Cantilevering concrete box-like structure attached to house
Structural concrete embeds the house in the terrain

“This project was inspired by the masters of light, such as [Gian Lorenzo] Bernini or current masters such as Alberto Campo Baeza,” the studio said.

“The different uses of light in the space allow the project to evolve during the day, during the year in the different seasons. It’s as if it were a rock carved to create a sculpture.”

Statement staircase with floating concrete treads
The two halves are divided by a statement staircase

The two halves are divided by a monumental, entry staircase with floating concrete treads and light that filters down between the concrete beams.

“Through vertical subtractions, we work with light, creating domes, beams and windows,” the studio continued. “The light expands through the spaces, bathes the walls and shows us the passage of time.”

Kitchen within concrete house embedded into Oaxacan hillside by Espacio 18 Arquitectura
One side holds service areas and the kitchen

Set primarily within a single level for the convenience of the resident – despite the entry stair – the program is separated into public and private zones on either side of the staircase.

One side – which is slanted deeper into the hillside – holds service areas and the kitchen, dining and living spaces, while the other holds two ensuite bedrooms.

Minimal interior finishes within living room of Oaxacan house on a hillside
Interior finishes are minimal

The interior finishes are minimal, leveraging the poured-in-place concrete structure and polished concrete floors with exposed aggregate. Low-profile glass and metal serve as additional detailing.

Large rectilinear skylights illuminate the bathrooms and the circulation spaces, where the repetitive concrete beams reappear.

Bathroom with standalone tub and a view of the Oaxacan hillside
Large rectilinear skylights illuminate the bathrooms

The spaces that face away from the hill are characterized by floor-to-ceiling glass sliding doors that allow the view to serve as the fourth wall.

The linear balconies have no roof but are wrapped by a deep concrete beam as well as delicate glass railings.

The staircase wraps up to another bedroom and an expansive terrace that looks out to the surrounding landscape and city. An outdoor kitchen is built into the rooftop.

In the basement, the parking area and mechanical rooms are tucked under the concrete cantilever.

Expansive terrace with a rectilinear concrete sink and wooden decking by Espacio 18 Arquitectura
An expansive terrace looks out to the surrounding landscape and city

The layout allows cross ventilation both horizontally and vertically to mitigate the warm climate of Oaxaca, and a rainwater harvesting system and LED lighting contribute to the home’s resiliency.

Espacio 18 Arquitectura also completed a concrete and terracotta beach house in Oaxaca that orients to the sunrise and sunset, as well as a dark grey townhouse with a glazed interior courtyard in Puebla.

The photography is by César Béjar.


Project credits:

Design: Espacio 18 Arquitectura
Interior design: Espacio 18 Arquitectura
Builders: Espacio 18 Arquitectura
Architect in charge: Sonia Morales
Landscaping: Espacio 18 Arquitectura
Team: Mario Ávila, Carla Osorio, Sonia Morales, Karina Flores, Paola Alavez, Marco Farias, Noemié Coquil
Carpentry: Orvesa y diseño
Engineer: LM Estructuras
Steelwork: Alfredo y Ramon
Interceramic: Bathroom Furniture and hardware
CEMEX: Concrete
GEO Iluminacion: Lighting project
Concrete workshop: Terrazo

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Dezeen Debate features "unsettling" staggered housing on Japanese hillside

Kengo Kuma staggered housing in Japan

The latest edition of our Dezeen Debate newsletter features a staggered housing development by architect Kengo KumaSubscribe to Dezeen Debate now.

Kengo Kuma and Associates has completed Miyanomori, a staggered housing development at the bottom of the Okura Mountain in the city of Sapporo, Japan.

Consisting of 15 homes, the development’s staggered plan was designed to provide residents with natural light and scenic views.

Commenters weren’t sold on the project. One thought the idea that one resident’s balcony is another resident’s roof was “unsettling”, while another thought the stairs were “too steep”.

The red-brick International Rugby Experience building by Niall McLaughlin Architects on Limerick's high street
Niall McLaughlin Architects creates red-brick beacon for International Rugby Experience in Ireland

Other stories in this week’s newsletter that fired up the comments section include a seven-storey museum in Limerick by Niall McLaughlin Architects, a suburban house in Croydon by Francesco Pierazzi Architects and a police station in Germany by Wulf Architekten.

Dezeen Debate

Dezeen Debate is sent every Thursday and features a selection of the best reader comments and most talked-about stories. Read the latest edition of Dezeen Debate or subscribe here.

You can also subscribe to our other newsletters; Dezeen Agenda is sent every Tuesday containing a selection of the most important news highlights from the week, Dezeen Daily is our daily bulletin that contains every story published in the preceding 24 hours and Dezeen In Depth is sent on the last Friday of every month and delves deeper into the major stories shaping architecture and design.

The post Dezeen Debate features “unsettling” staggered housing on Japanese hillside appeared first on Dezeen.

Discover the different types of interior décor styles

With the evolution of different civilizations, designs have changed. New functional design styles have evolved and combined with innovative materials that have stood the test of time. The ever-evolving interior design styles are characterized by using distinctive furniture, accessories, lighting, and upholstery, which cohesively create a signature look. Unsure of what decor type can match your taste? Here is all you need to know about popular interior design styles and how each is different from the others.

Transitional

Transitional is the fusion between traditional elegance and contemporary materials. In a traditional style, curved furniture combines materials such as steel, wood, and rattan. In this style, accessories are kept to a minimum, and the furniture design and textiles in the form of rugs, throws, and cushions are used to lift the décor and style the space.

Designer: Aneka Interiors

Traditional

The traditional is a timeless design style composed of ornately carved furniture in dark wood, and the décor takes inspiration from the 18th and 19th centuries. Deeply rooted in European design sensibilities from England and France, traditional décor has depth and emphasizes the art of layering. The décor has a neutral color palette, and colors are introduced through bold artwork and floral decorations. In addition, it incorporates the use of sumptuous textiles like silk, linen, and velvet in various patterns like paisley, damask, floral, and plaids. Crystal chandeliers infuse an element of glamor and form an integral part of the décor.

Designer: Alberto Pinto

Modern

Modern design is deeply rooted in the décor Germany and Scandinavia. There is a sense of simplicity with the use of functional furniture in clean and sleek lines. Another characteristic is that it includes a simple color palette and uses a plethora of materials like steel, glass, and metal.

Designer: Courtney Nye

Contemporary

There is usually confusion between modern and contemporary design styles. Note that modern furniture adheres to strict sleek lines while contemporary furniture is comfortable. It can include sinuous curves, exposed legs, and clean lines that provide a light and airy feel. It uses innovative finishes, and materials like metal and glass are strategically used as their reflective surfaces can bounce light.

Designer: Studio M6

Minimalist

Based on the principle of less is more, a minimalist design incorporates sleek lines and functional pieces of furniture. In addition, the use of neutral and airy color palettes characterizes the décor. Although it focuses on functionality, patterns are not used in a minimalist design, but bold or primary hues can be introduced in the accent wall.

Designer: Mikhail Startsev

Industrial

During the second industrial revolution, the industrial buildings closed down and were converted into residences resulting in a new industrial design style. The décor derives inspiration from warehouses with open plans and high ceilings and makes use of old timber, exposed brickwork, beams, and air conditioning ducts to create a dramatic effect. Accessories like oversized artwork and cozy carpets infuse color and softness into the space.

Designer: De Padova

Mid-century Modern

Mid-century modern is the design style of the 1950s and 1960s that emerged in post-war America. It emphasizes pared-down forms, organic shapes, textured fabrics like corduroy, bouclé, and fuss-free furniture design in materials like teak, rosewood, and walnut. Some iconic mid-century furniture pieces include the egg chair and wishbone chair. The best part about mid-century modern design is that it encourages indoor and outdoor living and establishes a connection with nature by using sliding doors and picture windows.

Designer: Cablik Enterprises

Scandinavian

Scandinavian décor pays tribute to the Nordic countries’ design style that expresses their love for nature. It uses the Danish concept of Hygge, which emphasizes warmth and comfort. The furniture is understated with a sculptural quality. This décor focuses on natural lighting, a functional design, and fewer accessories. It uses an all-white, gray, or beige color palette to create an airy and cozy atmosphere and use natural material like linen, cotton, and leather to infuse softness. Pops of color are used in the décor achieved with layered fabrics, glass furniture, and textures.

Designer: Johanna (scandinavian.interior)

Japandi

The Japandi design blends the culture of Japan and Scandinavian countries and pays a lot of attention to nature. It uses natural stone and wood. It makes use of a dark and rich color palette.

Designer: Nada Hesham

French Country

French Country style uses warm, earthy colors like mustard, red, and gold alongside the use of natural materials like stone and brick. The upholstery includes floral patterns, and the décor displays an ornate collection of porcelain dishes and heavy linen bed covers.

Designer: Kelly Deck Design

Bohemian

Bohemian defines an informal and carefree lifestyle and is a perfect mix of vintage furniture, globally inspired textiles, light fixtures, items from flea markets, and those accumulated during travels. It is a personal and individual style that fuses different cultures and artistic expressions, including bright colors and bold patterns in the furniture and accents.

Designer: Justina Blakeney

Rustic

Taking a cue from nature, the rustic design style uses wood and stone. Some design features of the décor include vaulted ceilings, exposed wooden beams, and reclaimed wood floors. It blends simplicity with the beauty of natural materials. Cowhide and sheepskin rugs and throws bring a cozy vibe into the space.

Designer: Studio McGee

Hollywood Glam

Characterized as luxurious and over-the-top, the Hollywood glam style is a statement-making design style using high-contrast colors. The décor includes Victorian design features and a bold color palette using sumptuous textiles like velvet and silk. It is a luxurious and dramatic design style that fuses art deco and mid-century modern.

Designer: Lori Gentile Interior Design

Shabby Chic

It’s a vintage style that originated in the 18th century. It includes vintage and heirloom pieces of furniture with an antique look that is passed down from one generation to another. In this décor, the furniture and furnishings give a distressed and aged look and show signs of wear and tear.

Designer: Shabby Chic

Coastal Design Style

The Coastal design style takes inspiration from the beaches with a light and airy color palette that includes neutrals and shades of green and blue. Large windows bring in plenty of natural light to create a relaxed and comfortable environment. Light fabrics on the windows blow with the breeze and infuse a coastal vibe as well as a seamless fusion between the indoors and the outdoors. The coastal style integrates painted and distressed furniture paired with wicker and jute furniture and plenty of indoor plants.

Designer: Banks Design Associates

Modern Farmhouse

The farmhouse style celebrates open-concept living, sleek lighting, and barn doors. The modern farmhouse uses a neutral color scheme, and for the accent colors, it picks up colors of nature like blue, sage green, or burnt orange.

Designer: The Beauty Revival

Mediterranean

Mediterranean homes have a relaxed, rustic, and welcoming feel. It is designed with arches, columns, and internal balconies and is inspired by countries like Spain, Greece, and Italy which are located in the north of the Mediterranean Sea. Light colors are mixed with earth tones and warm accents. The furniture includes local olive or pine wood furniture combined with raffia and linen. The floors and walls are beautified with colorful mosaic tiles and handmade zellige clay tiles.

Designer: El Fenn

Art Deco

Art Deco originated in the early twentieth century in France. It includes oversized furniture. Note that the industrial revolution was inspired by art deco, and it used a lot of metal. It uses curved or angular forms, and the favorite color palette includes black, white, and gold hues.

Designer: Eichholtz

There’s no one-size-fits-all here. Your personality can be a conglomeration of multiple design styles too! So go ahead and let your home reflect yours.

The post Discover the different types of interior décor styles first appeared on Yanko Design.

University of Pennsylvania names Rossana Hu architecture department chair

Rossana Hu

Shanghai-based architect Rossana Hu has been named as a tenure faculty member and chair of the Department of Architecture at the University of Pennsylvania in Philadelphia.

Hu, a co-founder of architecture studio Neri&Hu Design and Research Office, was selected to join and lead the architecture apartment at Stuart Weitzman School of Design at the University of Pennsylvania (UPenn).

“Neri&Hu has always had a global perspective; as our project reaches beyond Asia, and as our increasingly diverse international staff, leading a US design school will only make the practice stronger and more open,” Hu told Dezeen.

“And I am excited to see what we can do together to impact the future of architecture.”

Born in Taiwan, Hu is the third woman to hold the appointment and will take the place of the current chair, Dutch-American architect and Architectonics founder Winka Dubbeldam, who has led the department since 2013.

Set to begin in 2024, the appointment will see Hu overseeing the department at the historic American university, founded in 1740.

The appointment marks a return to the United States for Hu, who was schooled at the University of California in Berkeley and Princeton and who began her career under American architects Michael Graves and Ralph Lerner.

Hu has also served as a visiting professor at other prestigious US institutions such as Berkeley, Harvard and Yale, and currently serves as the chair of the Department of Architecture in the College of Architecture & Urban Planning at Tongji University.

She founded Neri&Hu in 2004 with her husband Lyndon Neri, where she has “profoundly transformed Shanghai’s design culture”, the University of Pennslyvania said.

Noteworthy projects from the studio include The Waterhouse at South Bund, as well as the Junshan Cultural Centre in Beijing, and a stone-clad distillery for Pernod Ricard in Sichuan.

Last year, Neri&Hu’s work was featured in a retrospective at Aedes Architecture Forum in Berlin called Reflective Nostalgia.

The studio has released a number of furniture designs and installations and Hu is also the creative director for Shanghai-based, international furniture outfit Stellar Works.

Over the years, Hu has been an outspoken critic of architecture, especially in terms of commenting on Chinese architects and their relationship with styles from Western nations.

In 2018, Neri and Hu told Dezeen that things were changing in Shanghai and that architects there are “developing their own language”, after she had expressed concern nearly a decade earlier about the direction of the architectural culture in the country.

Hu has also been a supporter and facilitator of the design scene in China as the co-founder of the Festival of Design in Shanghai.

Other recent appointments in architectural education in the United States include the elevation of architect Stephanie Lin to the dean of the School of Architecture (TSOA).

The photography is by Thierry Coulon. 

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March 2023, Design Speculations: Higher Education's Weakening Influence, Designers' Roles in the Climate Crisis, and AI Regulation Talks

Design Speculations is a monthly feature that rounds up the latest news and postulates on what it implies for the future of design.

The closeout of March means the end of 2023’s first quarter, and technological advancements in that span of time have surprised even those with a hand in spawning this revolution. We’re already beginning to see how AI is affecting everyday productivity and seeding mistrust mere months after its release, and the 3D printing industry is gaining value in a variety of industries. In other news, the world’s leading climate scientists issued a final warning on the race against rising greenhouse gas emissions and global temperatures, and a rising interest in apprenticeships over college education is calling into question future relevance of these institutions. Let’s dig a little deeper into all of the above:

AI development is snowballing

Last month offered up a swarm of surprising AI developments. OpenAI released the highly anticipated Chat GPT-4; feeling pressure, Google hurriedly introduced their rival AI, Bard, which yielded enough online disappointment to prompt a 7% sink in Google stock. The difference in efficacy between Chat GPT-4 and Bard is shocking, considering that Google has spent over 8 years on Bard’s AI underpinnings.

Even newer than chatbots, and a bit more shocking, are AI-driven text-to-video capabilities. (This space is already competitive too; Philipp Tsipman, Founder of CamCorder AI, recently tweeted that 5 advanced generative video models were released within just 7 days.) The example below from Runway, a small AI generative tool development company, is so surprisingly high-quality, one wonders what the cultural and political consequences will be once the technology’s perfected—and how quickly that might happen.

Powerful figures are taking notice of this speed, as demonstrated by the recent creation of a contentious petition. On March 29, a group of technologists including Elon Musk and Steve Wozniak signed the petition calling for a “six-month moratorium of the development of advanced A.I. systems,” according to Fortune. And camps are already divided about whether this reaction feels like an example of thoughtful recalibration or AI hysteria.

One viral news bit this month was this hypebeast adjacent image of the pope wearing a white puffer jacket, which also happens to be a completely fabricated picture rendered on Midjourney (Image via Reddit)

Concerns about AI are well-encapsulated in the now-viral post of the Pope wearing a white puffer jacket fit for the runway, an image rendered in Midjourney that tricked many on the Internet. James Vincent’s Verge piece does a nice job of explaining the “hyper real” aesthetic of this image, and why these examples are so easily fooling us. News sources in March began to postulate on AI’s potential to spread disinformation in the 2024 election. Given the research about social media’s contributions to political polarization in the United States, it’s worth thinking about how AI will feed fuel to this fire.

In lighter news, people are finding some clever ways to take advantage of AI to optimize productivity, and maybe get rich? Take for example, brand designer Jackson Fall’s proposal to Chat-GPT to create a business idea that will “generate as much money as possible in the shortest time possible without doing anything illegal.”

As reported on March 15, Jackson started a sustainable affiliate company as instructed by AI, has spent $100 on the project, had a cash balance of $1,378.84 thanks to contributions from investors, and a company value of $25,000 thanks to a $500 investment for 2% share of the company. Impressive!

Another emerging story is the growing demand for “prompt engineers,” a job that aims to crack the code of expert AI prompt writing. This role is making news due to the fact that it seemingly requires no formal tech degrees and pays upwards of $335,000. But many say due to the rapid fire nature of AI, you shouldn’t expect this opportunity to last long. “I wouldn’t be so sure that it will continue for a long time. Don’t dwell too much on the current state of prompt engineering. It’s starting to evolve quite quickly,” Mr Adrian Weller, Research Director of Machine Learning at Cambridge recently told Bloomberg.

As for the proposed moratorium, one has to wonder how the government would carry out a hard pause on its proliferation. I’ve seen so many interesting applications of AI for designers as of late, including a lecture from Case Study Club on how to create a portfolio with the help of AI prompts and a Figma plugin that allows you to use ChatGPT to auto-fill sample content. While some are still skeptical of AI’s staying power, the technology is already so seamlessly integrated into daily productivity, it’s difficult to imagine how we would hypothetically disentangle ourselves from it.

3D printing applications are expanding

What is 3D printing’s destined future role in our lives? A March piece by The Guardian served as a holistic update on the industry with some predictions therein. While the prediction 10 years ago was that 3D printers would become as common as the household paper printer, this piece demonstrates its future value in factories and large-scale production.

3D printing’s biggest use cases as of 2023 are in the medical field, construction, and car manufacturing. In the case of cars, 3D printing consistently delivers parts that are uniquely lightweight yet strong, and aerodynamic. When The Guardian asked car manufacturer Lukas Czinger about his thoughts on 3D printers’ future role in the industry, he answered, “in the next five years, you’re going to start seeing it on everyday cars…In the next 10 years, you’re going to basically have seen it replace most of casting and extruding and stamping.”

Customization is another big topic in 3D printing, with potential applications ranging from food to even medicine. Last month, for example, Columbia researchers released a study having to do with the creation of some admittedly unappetizing-looking cheesecakes using 3D printers—but why?

Would you eat this cheesecake?

Jonathan Bludinger, Mechanical Engineer and Postdoctural Fellow at Columbia’s School of Engineering mentions in the video above that the experiment is “all about customization and uber-accessibility. I see this more as eventually ending up in your homes one day, like a microwave or a kitchen appliance,” with customization elements that allow users of future food-making appliances to control factors like dietary restrictions, calorie intake, and allergens. Perhaps the 3D printer does have a place in the home after all?

The Guardian piece also hinted at an interesting customization example in the case of a future “biopill,” a current experiment Hague is working on with GSK and Astra Zeneca to create a single pill containing multiple medicines, bespoke to each patient. “Compliance is a massive issue: you’ve got all these drugs, people just don’t take them,” Hague noted. “These are huge potential benefits that people can understand.”

While we’re clearly still in a deep experimentation zone when it comes to 3D printing, I think it’s safe to say digital fabrication is reaching well beyond its original applications with interesting potential ahead.

The urgency to address climate is growing

Image credit: NASA via Unsplash

The Intergovernmental Panel on Climate Change (IPCC), a faction of the world’s leading climate scientists, delivered an urgent message last month: get to work on reducing emissions now, or it may be too late. The group emphasizes in their recently released sixth assessment report that if we are to maintain hope about keeping our global temperatures from rising above 1.5 degrees Celsius, we must work on rapidly reducing emissions immediately. As reported by The Guardian, Chair of the IPCC Hoesung Lee warns, “This synthesis report underscores the urgency of taking more ambitious action and shows that, if we act now, we can still secure a livable sustainable future for all.”

The IPCC delivers an urgent call for every industry to tackle climate change now (side note, this video feels like a hint that Oscar-winning “Everything, Everywhere, All at Once” is currently at its cultural peak) (Video credit, The Guardian)

UN Secretary General António Guterres added if we are able to fast-track solutions to reduce emissions by 2040 rather than the 2050 goal outlined in the UN’s Net Zero Coalition Proposition, we still have a fighting chance of avoiding the worst. “The climate timebomb is ticking. But today’s report is a how-to guide to defuse the climate timebomb. It is a survival guide for humanity. As it shows, the 1.5C limit is achievable,” Guterres notes.

As design evolves from a simple process to bring physical objects to production into a rubric for designing complex systems and strategies, it makes one wonder: Designers already do such a fantastic job of bringing designs to the market within a reasonable timeline. Can we also utilize these powerful fast-fail approaches to turning around greenhouse gas emissions?

A think piece at Fast Company on climate by Balena Science CEO David Roubach is an interesting one in that it demonstrates a more progressive mindset around product development. Balena, a material science company, is developing materials meant to decompose not in decades, but mere weeks under proper composting processes. Their prototype for a sandal made of dirt that can fully break down under a quick timeline is impressively sturdy and modern looking.

Balena’s sandals can decompose in a matter of weeks in compost (Image credit: Balena Science via Facebook)

In many ways, this mindset shift would require careful revisions of process, but also a product’s final output. Materials are a crucial component of design’s sustainability strategy, but perhaps even more important is the consideration of product lifecycle and how we deal with a product’s refuse.

Embracing this perspective calls to mind interesting aesthetic directions. Would a shift to more circular processes mean a refusal of color in products that are often created using toxic synthetic dyes, and a future more muted in tone? Examples like Balena’s sandals show a future world through the lens of design that can look both modern and earthly—imagine less scratchy hemp clothing, and more science-supported, 100% compostable, non-toxic polymers you would never know can decompose back into dirt and enrich our soil. It’s a fun future to imagine, and it’s clear development is well on its way.

Where is your power in this equation? It could begin with questioning your processes and quantifying the impact your design decisions make on the environment. There are many ways technology can aid in this process. There are interesting new startups beginning to offer up a way to evaluate production processes, like Planet FWD, a data company that helps consumer product companies understand their impact and create more regenerative production processes. There are growing consultancies you can partner with to create a design plan for your business with sustainability in mind, such as PROWL and Standard Deviation. Further educate yourself on the state of climate today by growing your reading list, and tap into communities talking about these issues, such as the Work on Climate Slack group.

Is the demand for college waning?

Some young people are foregoing the college route for more specialized apprenticeships to reduce the risk of unemployment (Image credit: Mizuno K via Pexels)

Are young people losing interest in higher education? A piece by the Wall Street Journal published in March explores the trend among Gen-Z of applying for apprenticeships as an alternative to traditional college programs. According to the report, over the past decade, college enrollment reduced by 15% while apprenticeship has gone up 50%, with some programs as competitive as Ivy League universities. It’s clear Gen-Z is fed up with the debt accrued earning a college degree in addition to the uncertainty of employment post-graduation.

The Wall Street Journal piece reports employers are noticing the knowledge college graduates gain through university courses aren’t matching up with demands of roles—as a result, some employers are eliminating requirements of college degrees from job descriptions entirely. The research hints that demand in the job market is putting pressure on educational institutions to provide more specialized programs to increase the likelihood of students’ future employment. Pair that with the fact that recent research suggests AI threatens the stability of a wide variety of white-collar jobs, and you’ve got a pressure cooker of uncertainties around the future of work.

There is, of course, a risk to an immediate switch to the mentality of specialized focus gained through something like an apprenticeship over general education. Stanford University economist Eric A. Hanushek argues university’s variety in courses “makes people more adaptable and able to learn new skills that show up later when the economy changes,” and that apprenticeships are in the end likely most beneficial to companies.

All things considered, how do we save the college system given these growing opinions? What of the college institution is worth saving, and what deserves to be tossed? Given the news, I’m predicting a huge cry for more applicable courses to real life. In the larger realm of education, one story picking up steam is the popularity of TikTok-focused marketing courses that teach students how to key into what makes content potentially viral. In design, this desire for something more tailored to professional life is well-demonstrated by the popularity of alternative design programs like Google’s UX Certification program, Advanced Design and Useful School.

There will likely be a growing demand for courses to match the technological landscape, and further integration of AI programs into educational courses—and universities risk irrelevance if they fail to respond to this need. In a recent episode of the Often Unexpectedly design podcast about ‘why design schools suck’, co-host Gookul Beeda put it best when he says, “There’s a gap between industry [needs] and professionals [skills]. And if the academic space is not filling it, the only other people who can do it are people in the industry.”

Professional Surfer Kai Lenny on Routine, Fear and Big Waves

From Portugal’s Nazaré to Maui’s Jaws, big-wave surfing demands practice, skill, courage and camaraderie

Unlike any other professional sport, surf competitions, especially big-wave surf competitions, require a literal perfect storm of conditions. Swell height and intervals, wind speed and direction, tidal shifts and weather—they all must align for a contest to be greenlit. Once the call goes out, the cadre of invitees and alternates from all over the world board last-minute flights, scramble for rental cars and descend upon a locale. Video and photo crews, fans and sponsors arrive in droves.

<img data-attachment-id="309715" data-permalink="https://coolhunting.com/culture/professional-surfer-kai-lenny-on-routine-fear-and-big-waves/attachment/tudor-nazare-tow-surfing-challenge-presented-by-jogos-santa-casa-3/" data-orig-file="https://i0.wp.com/coolhunting.com/wp-content/uploads/2023/04/Lineup_Nazare22_1RIB2385_Blanc-scaled.jpg?fit=2560%2C1707&ssl=1" data-orig-size="2560,1707" data-comments-opened="0" data-image-meta="{"aperture":"7.1","credit":"World Surf League","camera":"Canon EOS-1D X Mark II","caption":"NAZARE, PORTUGAL – FEBRUARY 10: Lineup at the TUDOR Nazaru00e9 Tow Surfing Challenge presented by Jogos Santa Casa on February 10, 2022 in Nazare, Portugal.(Photo by Ru00e9mi Blanc/World Surf League)","created_timestamp":"1644500088","copyright":"2022 World Surf League","focal_length":"50","iso":"100","shutter_speed":"0.00125","title":"TUDOR Nazaru00e9 Tow Surfing Challenge presented by Jogos Santa Casa","orientation":"0"}" data-image-title="TUDOR Nazaré Tow Surfing Challenge presented by Jogos Santa Casa" data-image-description="

Image by Rémi Blanc, courtesy of World Surf League

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Courtesy of Rémi Blanc/World Surf League/Hurley

In this case it’s Nazaré, an old fishing town with narrow cobblestone streets, a now-famous lighthouse and a praça de touros (bullfighting ring) around 80 miles north of Lisbon. Roughly 20 big wave surfers are in the back half of the waiting period for the Tudor Nazaré Tow Surfing Challenge. During the portion of the contest (open from 15 November 2022 to 31 March 2023) that we attended, there had been few possibilities as the wind off the coast of Portugal was unrelenting.

Courtesy of Hurley

Born and raised on the island of Maui, one of the invited competitors, 30-year-old Kai Lenny is an eight-time Standup Paddleboard (SUP) champion and widely revered as a waterman—a high compliment and what many professional surfers, SUPers, big-wave entrants strive for. In 2021, he published a book, Big Wave Surfer: The Greatest Rides of Our Lives, which includes three hundred pages of stunning surf photography. Lenny (currently sponsored by Hurley, Tag Heuer, Red Bull, GoPro and Nike) continues to evolve the sport of big-wave surfing. Traditionally big-wave surfers focus nearly exclusively on making the wave: the attention to remaining atop a roughly 25-pound surfboard while vertically dropping down a bumpy wave face—as a mountain of water four stories high and whitewash that feels like a liquid brick wall chases you—is a tall order. Many onlookers fail to comprehend the feat or are stupefied that the surfers survive. In addition to successfully completing the rides, Lenny stands out as he surfs massive waves as if they were small(er).

After a morning spent on the water, Lenny spoke with us from Hawai’i about everything from his eye for surfboard shapes and design to his day-of contest routine.

Courtesy Hurley

How important is routine to you? 

The first thing I do when I wake up is check my Oura ring. My heart rate, the amount of times I woke up the previous night, which is obviously more now. I drink a ton of water. It’s the first thing that enters my stomach. And yes, routine is super-important. Sticking to that routine, even when there’s interruptions, has shown me just how important it is for me.

Walk us through that routine, specifically on a comp day.

After I drink a ton of water, I look at the buoy reports. The ones way out in the middle of the ocean so I have an idea of what’s coming. Swell height and interval and what that would translate to in terms of foot faces. I look at the forecast. It’s updated every six hours. Then I make a breakfast burrito. Three eggs, cheese, ketchup, tabasco, salsa. I watch videos of me the last time I surfed that spot. Nazaré. Pe‘ahi. [A big wave spot off the north coast of Maui also known as Jaws]. Then I stretch. Hip openers are really important. I duck walk by squatting, hips below my knees, and walking 12 steps forward and back. Loose hips allow me to get that energy into the board really fast. Then I shake for one minute. On my heels and bouncing. What that does is turn everything on in your body.

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Courtesy of Laurent Masurel/World Surf League

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Courtesy of Laurent Masurel/World Surf League/Hurley

The Nazaré contest has had quite a history. During the first one in 2020, competitor Alex Botelho nearly drowned. The rescue effort was tremendous. Brazilian surfer Maya Gabeira was also carried up the beach not breathing. Clearly you know the risks and the history; how does that factor into competition for you?

Eyes and ears up. Alex was down for eight minutes not breathing. When it’s pretty heavy, things go wrong really quickly. Often in big-wave surfing, the first person to save someone is another athlete… When everyone comes in alive and is stoked, that’s what matters. In big-wave surfing, the only time you win is when you are competing against yourself and Mother Nature. You perform your best when you are having a good time. That’s how you win.

And every big wave, just like every wave, is different. Jaws [a big-wave break in Peʻahi on the north shore of Maui] is the most perfect big wave there is, whereas Nazaré is riding a mountain with an avalanche coming down behind you. It’s survival versus high performance, which is why you need really heavy 20- to 25-pound boards. At Jaws, it’s more like 13- to 16-pound boards. At Nazaré, that weight is to keep you connected to the water when you’re hitting six foot chop coming up the face.

You work very closely with your shaper to optimize your equipment. Can you elaborate on that relationship?

After every single session we’re working on new equipment. Adding more foam, taking away foam. To always be performing at the highest level but also survive. Designs evolve so quickly. It’s a combination of the wave and my performance level and style. We weight the boards in the back; think of a Baja 1000 truck. It’s so you don’t lose control when you’re being towed by a jetski into a wave. It engages and reengages in the back. Fin design, the board rocker—we are constantly reworking. The higher performance, the less stable. I’m trying to find that line and I don’t think that will ever end.

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Courtesy of Rémi Blanc/World Surf League

” data-medium-file=”https://i0.wp.com/coolhunting.com/wp-content/uploads/2023/04/Wave_Nazare22_1RIB2377_Blanc-scaled.jpg?fit=300%2C200&ssl=1″ data-large-file=”https://i0.wp.com/coolhunting.com/wp-content/uploads/2023/04/Wave_Nazare22_1RIB2377_Blanc-scaled.jpg?fit=1024%2C683&ssl=1″ loading=”lazy” class=”size-large wp-image-309716″ src=”https://i0.wp.com/coolhunting.com/wp-content/uploads/2023/04/Wave_Nazare22_1RIB2377_Blanc.jpg?resize=1024%2C683&ssl=1″ alt=”” width=”1024″ height=”683″ data-recalc-dims=”1″ />

Courtesy of Rémi Blanc/World Surf League/Hurley

As many have pointed out, you don’t just make the wave. You dance. How do you overcome the fear?

The way you overcome the fear factor, you focus less on what could happen and rather focus on what you want to do. You could die out there, but it’s about—on this next wave—you want to ride the barrel, for example. You break down that goal into a smaller and smaller goal. I want to catch a wave and do a fade. First step: you wait until sun is blocked by the lip. Boom, fade. You make it a digestible goal versus I want to go out there and be the best. Step by step, it’s little goals through the day that you can check off.

Hero image courtesy of Rémi Blanc/World Surf League/Hurley

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