Dezeen School Shows: an anti-fashion clothing brand that takes cues from postmodernism and branding for a healthy eating company influenced by Korean traditions are featured in Dezeen’s latest school show by students at Florence Institute of Design International.

Also included is an airline rebranding project that takes cues from Japanese design and a branding design for a cultural centre in Uruguay that uses signature colours from the country’s flag.

Florence Institute of Design International

Institution: Florence Institute of Design International (FIDI)
Course: graphic design
Tutors: Eleanor Ferguson, Dusko Stojanovic, Ingrid Lamminpaa and Maria Montesi
Final review jury: Kate Eadie, Federica Fabri, Ingrid Lamminpaa and Dusko Stojanovic

School statement:

“FIDI is an international design school located in the centre of Florence, Italy.

“The design research project studio courses are held during the final year of the three-year graphic design programme.

“The third-year graphic design research project is a self-driven body of work generated over a period of 30 weeks, culminating in a final presentation where students are given the opportunity to demonstrate the extent of their understanding and ability to apply design theory in practice.

“Students are required to form a working hypothesis, around which they must focus on delivering a unique graphic design solution to a real-world problem they have uncovered.

“Each project has its unique challenges and particular design angle requiring substantial primary and literary research on the topic.

“The three-year programme offers intensive curriculum teaching on various aspects of graphic design to acquire advanced skills and knowledge and develop professional practitioners within the international design community.

“The course results in a validated bachelor’s degree, BA (Hons) Design, issued in collaboration with the University of Chester.”

‘Hey Look Ma’ Sustainable Fashion, Fall 2019 by Jennifer Greinschgl

“Jennifer’s design project aims to develop a community around the ethos and values of anti-fashion and to ignite a conversation about the environmental and social issues within the fashion industry.

“Her concept draws inspiration from past rebellious movements such as the punk era and postmodernism.

“With the fast fashion industry growing rapidly, Hey Look Ma encourages people to accept social responsibility and fundamentally change their behaviour.

“Using ambiguous messaging and visual provocations, the brand aims to guide society towards making ethical and more environmentally conscious decisions rather than to dictate them.”

Student: Jennifer Greinschgl
Tutor: Eleanor Ferguson
Email: jen.greinschgl[at]hotmail.com

Re-branding for the Árni Magnússon Institute, Fall 2021 by Aldis Osk Unnarsdottir

“Aldis designed a full branding scheme for a new exhibition space dedicated to Icelandic manuscripts.

“Her aim was to assist the public in understanding Nordic history and culture, to convey the message from the manuscripts through graphic design and provoke curiosity through an engaging experience.

“The Árni Magnússon Institute is a research and cultural institute whose role is to conduct research on Icelandic studies, particularly Icelandic language and literature.

“Its purpose is to spread knowledge in these fields and to preserve and expand the collections they currently hold.”

Student: Aldis Osk Unnarsdottir
Tutor: Eleanor Ferguson
Email: aldis.unnarsdottir[at]gmail.com

Florise Public Cultural Displays, Spring 2021 by Katja Osterlin

“Katja’s concept for Florise combines art and technology to create a cultural exhibit that takes place throughout the city of Florence in a safe yet engaging way.

“Informed by a childhood memory of assisting with a projection mapping show, the brand’s identity is inspired by rebirth, which has its origin in Renaissance Florence.

“The intention is to use a series of light and sound installations to deliberately control overcrowding while providing a cultural experience for people to enjoy.”

Student: Katja Osterlin
Tutor: Eleanor Ferguson
Email: katja[at]osterlin.se

CTRL+Z Product Branding, Spring 2021 by Marika Varesi

“CTRL+Z is a health company targeting the current issue of dehydration in Canada’s population, mostly due to the increase in alcohol consumption during the COVID-19 pandemic.

“With the culture of healthy living and wellbeing continuously growing, Marika has designed branding and merchandising for CTRL+Z in an innovative way, particularly for the pharmaceutical industry.

“The brand has four flavoured powder sachets containing electrolytes that aim to improve health and hydration.

“The concept is to use the branding itself to push the product, and the use of medical type font and a fresh aesthetic aims to build a trusting and transparent relationship with the customer.”

Student: Marika Varesi
Tutor: Eleanor Ferguson
Email: marikavaresii[at]gmail.com

Pxel Design App, Spring 2021 by Lukas Kaiser

“Lukas saw a gap in the market to provide new businesses with the help required to elevate their company visually.

“Pxel is an intuitive website interface that allows customers to browse for a design that they feel fits with their own company’s products and values.

“Minimalist graphics and clean neutral colours give the branding a sharp, professional look. The use of only black and white throughout the website allow users to browse the categories on a blank canvas.”

Student: Lukas Kaiser
Tutors: Eleanor Ferguson, Dusko Stojanovic, Ingrid Lamminpaa and Maria Montesi
Email: lukaiser77[at]gmail.com

Riley Stratton School Design, Spring 2022 by Riley Stratton

“For her design research project, Riley created a new graphic aesthetic for Great Lakes Art Academy.

“Her aim was to transform the dull, unmotivating environment of the school into somewhere colourful and conducive to childhood development.

“The redesign of the school applies to the interior spaces, the learning materials, wayfinding and marketing.

“The colour palette was carefully selected based on the research on colour psychology and the benefits colour has for both teachers and students. Organic lines and shapes flow throughout the school, using new maps, signs and murals to tie the concept together.”

Student: Riley Stratton
Tutor: Eleanor Ferguson
Email: strattonr22@gmail.com

Space & Self Home Design App, Spring 2022 by Ishanou Mohindra

“Ishanou’s project Space & Self addresses the problem of poor mental and physical health, adversely affected by the badly designed environments we live in.

“The initiative aims to repurpose objects as an affordable way to improve interior design and organisation.

“Using research on the negative effects associated with poorly designed spaces and unorganised homes, Ishanou has developed the app to be accessible through affordability.

“Space & Self also connects its customers to design specialists who help them create personalised and better-designed spaces. The use of bold, strong colours with simple shapes contributes to an easy-to-use app with a fun, playful theme.”

Student: Ishanou Mohindra
Tutor: Eleanor Ferguson
Email: ishanou.m[at]gmail.com

Feat Branding Design, Fall 2020 by Dohui Hwang

“Feat is an innovative guide to healthy eating derived from the practices of Korean medicine. The purpose is to provide personalised guides for people to encourage healthy habits.

“The company assesses on an individual basis and creates a unique salad for optimised health and immunity.

“The practices of Korean medicines are combined with western food culture to help expand the reach of Korean traditions while remaining relatable to western societies.”

Student: Dohui Hwang
Tutor: Eleanor Ferguson
Email: hdheuhdh[at]naver.com

Enso Luxury Airline Branding, Fall 2021 by Maximillian Tassev

“Max has developed a brand identity for a luxury airline company that will fly the newly designed Overture supersonic jet.

“Enso is targeted at business people and those with little time who will enjoy the comfortable, contemporary and more sustainable airline.

“He draws visual inspiration from three main Japanese cultures and artistic periods, Zen, Edo and Retrofuturism, with the goal of encapsulating a serene, tranquil environment while simultaneously creating a futuristic and fresh aesthetic.

“The marketing of the airline uses a logo symbolic of the dynamism of the aircraft soaring through the sky in its advertising, tickets and marketing materials, while the clever use of a simple colour and graphic style create a consistency across the branding.”

Student: Maximillian Tassev
Tutor: Eleanor Ferguson
Email: maxtassev[at]gmail.com

Guacho Cultural Centre, Spring 2022 by Maria Cruz Espalter

“Maria’s design research project focuses on the overall branding of a cultural centre whose purpose is to encourage youth in Montevideo, Uruguay to reconnect with their cultural heritage.

“She has designed the centre to encourage curiosity that is particularly lost in young people living in the city today.

“Using vivid contemporary graphics, the institution will integrate interactive elements and super-graphics that differ from typical forms of displaying history, which often lack innovation and imagination.

“The design for the centre’s logo and graphics are abstracted from cultural elements, such as the colour of the country’s flag and patterns found in traditional Uruguay clothing.”

Student: Maria Cruz Espalter
Tutor: Eleanor Ferguson
Email: macu.espalter[at]hotmail.com

Partnership content

This school show is a partnership between Dezeen and Florence Institute of Design International. Find out more about Dezeen partnership content here.

The post Florence Institute of Design International presents 10 graphic design projects appeared first on Dezeen.

Classical Chinese gardens informed the sweeping white-concrete geometries of Shanfeng Academy, a culture and sports centre in Suzhou by Chinese studio Open Architecture.

Shanfeng Academy combines a theatre, gallery, library and cafe with sports and dance facilities, which serve 2,000 students as well as locals in a newly-created district in the city.

Due to the diverse mix of functions housed in the building, Open Architecture opted to split it into a series of five blocks, which are separated by gardens themed on the four seasons.

Each block has been given its own “unique personality”, with the five coming together to create a dynamic roofline of curved, angular and rectilinear forms.

Connected by elevated walkways, the sweeping forms of the blocks are modelled on the nearby Classical Gardens of Suzhou, which are a series of traditional Chinese gardens on the UNESCO World Heritage List.

“By breaking down and pulling apart, voids are created in the form of four gardens,” explained Open Architecture.

“Between the gardens and the solid voids are the semi-outdoor walkways, where the colonnades and their moving shadows define another kind of void.”

The largest volume sits at the site’s eastern end of Shanfeng Academy and contains the Grand Theatre, which is topped by a curved roof and opens onto the bamboo Spring Garden.

On the opposite side of the Spring Garden is the triangular form of The Forum, which contains a black box theatre and a “chapel-like” meeting space illuminated by skylights.

To the west, the Energy Cube contains fitness rooms and dance studios that overlook the Winter Garden from balconies cut into its cuboid form.

Meanwhile, the gymnasium block to the north features a glazed section at its base and a sports court on its roof. It looks across the Autumn Garden and towards the library, which is organised around a pool of water in the Summer Garden.

Each block at Shanfeng Academy is united by a finish of board-marked white concrete, punctured by irregular square and circular openings that create layers of views through the site.

Visitors are able to move across the site via the elevated walkways, routes at ground level framed by thin colonnades, or on the paved upper level that features areas of planting.

“Board-formed white concrete is adopted for the building envelope, both to pay tribute to the white-walled, grey-roofed traditional architecture of the Suzhou area and to resolve the problem of traditional white plaster needing constant maintenance,” said Open Architecture.

“Moving through the building, the architecture changes, with layer upon layer of foreground, middle ground and background,” it continued. “Multiple threads of time and space coexist and continue to unfold, forming a rich spatial experience full of sensory details.”

Open Architecture was founded in 2003 in New York City by Li Hu and Huang Wenjing and opened its Beijing office in 2008.

Alongside Shanfeng Academy, the studio has designed other cultural projects including the amorphous Yichang Grand Theatre and a rock-like concert hall in a valley outside Beijing.

The photography is by Jonathan Leijonhufvud unless stated otherwise.

The post Open Architecture draws on traditional gardens for concrete cultural centre in China appeared first on Dezeen.

A husband-and-wife hotelier duo has renovated a hotel in a Venetian-style palazzo on the island of Capri, refreshing its pastel-pink facade and continuing the hue into the guest rooms.

Il Capri Hotel was built in the 19th century as a private villa in the Neo-gothic Venetian style before being transformed into a hotel in 1899.

Its current owners, Graziella Buontempo and Arnaud Lacombe, redesigned the interiors to reflect the grandeur of the property while imbuing it with a sense of contemporary chic.

The duo retained the building’s signature pink-and-white facades, repairing and repainting them. They also chose to repeat some of the same hues and external architectural details throughout the interiors.

“Honoring the property’s history and location, the hotel’s colour palette is inspired by the pink found across the island of Capri and the striking volcanic reds of Mount Vesuvius,” said the hotel team.

A bright red curved awning signals the hotel’s entrance, located close to the town square in the centre of the famous Italian holiday destination, leading guests to a reception desk topped with reddish marble.

Room keys are stored individually in small arched niches within a wood-panelled wall behind, while local gifts are displayed on built-in shelves nearby.

The hotel’s public areas feature checkerboard flooring, black lighting fixtures and red curtains to the match sofa cushions and rug trims.

A variety of antique furniture pieces were curated to make the lounges feel homely while artworks and photos were sourced from the personal collection of Buontempo, whose family has long associations with the island.

Archways divide various seating areas from corridors and one another, creating several distinct areas where guests can relax.

In the bedrooms, pink appears again as wainscoting and on upholstered headboards shaped as ogee arches.

The rooms include sisal floors and other natural materials and are simply decorated so that attention isn’t drawn away from the views.

“Each of the 21 guest rooms pays homage to the culture of the island with decor imbuing a feeling of comfort, no-frills luxury and understated elegance,” the hotel team said.

Il Capri offers several options for dining and drinking, many of which allow these activities to be enjoyed al fresco with views of the island’s dramatic coastline and the Gulf of Naples.

These include the street-level Caprirama Bar, connected to the lobby and extended onto an expansive terrace with a herringbone-pattern tiled floor and groupings of terracotta plant pots, landscaped by garden designer Jonathan Froines.

The all-day restaurant Vesuvio also has a shaded outdoor dining terrace, where caned bistro chairs accompany wood-topped tables.

Sun loungers line up along the rooftop swimming pool, shaded by red parasols with crenellated white edges.

There’s also a subterranean nightclub, Rumore, which is used as a cinema and an events space during the off-season.

A short boat ride from Naples on the Amalfi Coast, Capri is a popular destination for both Italian and international tourists.

Elsewhere in the country, recently opened or revamped hotels include the Palazzo Daniele in Puglia, the Condominio Monti in Rome, and the Aeon Hotel near Bolzano.

The photography is by Jonathan Froines.

The post Il Capri Hotel receives pink-heavy revamp from Graziella Buontempo and Arnaud Lacombe appeared first on Dezeen.

Disclaimer – This article was written considering current United States intellectual property laws as of May 2023. If you’re interested in knowing more about your country’s IP laws and view on AI, I recommend consulting a lawyer or doing some research online.

Little did Mark Zuckerberg know back in October of 2021, that the future wasn’t, in fact, the metaverse. Just months after he rebranded his entire company as Meta, putting all his bets on a virtual universe, something completely shook the foundations of that reality. OpenAI and StabilityAI both debuted their text-to-image AI art models, allowing pretty much anyone to create stunningly realistic images with just a simple text prompt. Stable Diffusion, Dall-E 2, and MidJourney suddenly became all the rage, completely creating new professions and destroying existing ones overnight. If that wasn’t enough, on roughly the 1-year anniversary of Meta’s rebrand, OpenAI unveiled ChatGPT, the all-powerful AI chatbot that even had legacy companies like Google wetting the bed.

It’s now difficult to imagine a world before AI tools, and there’s obviously no going back to those days now that this Pandora’s box has been opened. The world’s changed so much in the past few months, as people have used AI-based tools to become artists, writers, coders, etc. overnight… but there’s a fundamental question to be asked and answered here – When Machines Create, Who Gets To Own It??

When Machines Create, Who Gets To Own It??

This question, like the actual origin of AI-generated content, isn’t new. Machine learning has been around for more than a decade at this point, with computers gaining intelligence through the act of data-gathering, parsing, ‘thinking’, and ‘creating’. As early as 1996, Deep Blue defeated grandmaster Garry Kasparov in a game of chess – a first for any computer. Then in 2011, IBM’s Watson supercomputer beat humans in a game of Jeopardy; and in 2015, AlphaGo beat European Go champion Fan Hui with a score of 5 to 0. Is it safe to say that computers defeated their human counterparts? Or that the engineers who created the computers were the actual victors? What about when a self-driving Tesla kills a pedestrian? Does the blame go to the AI? Or the human behind the wheel? Or Tesla’s team of engineers who built the self-driving algorithm? We’re still figuring out the answers to all those nuanced questions, although Tesla’s terms and conditions clearly outline that the company isn’t liable for anything its self-driving AI does. The liability falls upon the driver, who probably scrolled right past the terms and conditions to click on the ‘Accept’ button.

Needless to say, AI-generated accidents and AI-generated artworks are viewed differently under the law. As far as art goes, be it a video, an image, a script, a song, or any medium that the AI can work with, the (US) law is pretty straightforward – According to copyright law, only humans can be granted copyrights. If it’s created by AI, nobody can claim ownership of it or copyright it.

Interestingly enough, in 2018, the USPTO (United States Patent and Trademark Office) denied copyright to AI expert Dr. Steven Thaler for his AI-generated artwork titled “A Recent Entrance to Paradise”. Why? The examiner found no human authorship. According to the Office: “…The work could not be registered because it was made ‘without any creative contribution from a human actor.’” However, in February of 2023, graphic-novel artist Kris Kashtanova was granted copyright for their AI-generated comic book “Zarya of the Dawn” for the simple reason that there was human input in creating the entire comic book and its underlying storyline. The entire comic book was “AI-assisted” and not “AI-generated”, which is why it was eligible for copyright. The individual AI-generated images within the comic book, however, were not subject to copyright.

Zarya Of The Dawn – The first “AI-assisted” comic book to be granted Copyright

What does ‘Ownership’ even mean?

The law interprets ownership a little differently than humans do. On an interpersonal level, ownership is simple. If something belongs to me through purchase, I own it – like my phone, my watch, my shoes. The ownership is limited as a matter of speaking because even though I own my phone, I can’t repair it, modify it, or hack it without breaking certain rules, but that’s for a different discussion entirely. If something belongs to me through creation, on an interpersonal level, it’s pretty clear-cut too. I made it, it’s mine. The law, on the other hand, has three broad ways of ascribing ownership through creation – Trademark, Patent, and Copyright. Here’s how they work.

Trademark – Protects branding elements, such as names, logos, and slogans, that are used to identify a specific company or product. For example, Apple’s logo is a registered trademark that identifies the company’s products and services.

Patent – Protects new and useful inventions or discoveries, such as a new technologies or overall design. Apple has numerous patents for its various technological innovations, such as the iPhone’s multi-touch interface, and even on designs themselves, like the actual design of the iPhone.

Copyright – Protects original works of authorship, such as books, music, artwork, and even written source code/algorithms. For example, Apple owns the copyright to the software used in its products, such as the iOS operating system used in the iPhone and iPad. This means that no one else can legally copy or distribute Apple’s software without their permission.
*Patent and Trademark Offices are incredibly critical of AI being used even in documentation. Remember Dr. Stephen Thaler from earlier? Dr. Thaler developed an AI system called DABUS that could write patent applications. However, the USPTO rejected all patent applications on the grounds that they weren’t written by a human, with even the Supreme Court ruling in their favor.

In short, you could copyright an AI that you built on your own… but you can’t copyright the work generated by the AI unless there’s human effort involved in the work itself. There is, however, one small catch that most people tend to overlook… and it’s often written in the fine print of the Terms and Conditions that we agree to all too eagerly. Do companies like MidJourney, OpenAI, Google, Microsoft, and Stability.AI have rights/access to the work created by us using their AI programs?

Does Midjourney or ChatGPT fully or partly own my work?

I’m guessing you didn’t think about that while accepting the terms and conditions. Here’s the hilarious bit. I didn’t too, and companies often bank on this ignorance. In 2012, Bruce Willis almost considered suing Apple because he realized that all the music he paid for on iTunes didn’t “belong” to him. In short, he couldn’t download it, listen to it outside Apple’s ecosystem, or gift it to his children. Even though he PAID for the music, he didn’t actually pay for the music. He paid for the ‘privilege’ of being able to listen to it… a fact he would have known if he had read the iTunes Terms and Conditions.

With programs like Midjourney, ChatGPT, DALL·E, and Stable Diffusion, the answer to the question really depends from program to program and company to company. Here’s what the Terms of Service are for all common AI programs/bots. Be ready for a lot of legal speak. There’s a TL;DR version down below in case you just want the summary, and do note – these terms and conditions are subject to change at any point in time.

• Midjourney – The company states that “You own all Assets You create with the Services, to the extent possible under current law. This excludes upscaling the images of others, which images remain owned by the original Asset creators.” You retain ownership of the assets even if you cancel your membership, but there are two caveats.  The first – By using the Services, you grant Midjourney a perpetual, worldwide, non-exclusive, royalty-free license to reproduce, prepare derivative works of, publicly display, perform, sublicense, and distribute any text or image prompts you input into the Services or assets produced by the service at your direction. Secondly, your ownership of assets is subject to additional terms if you’re an employee or owner of a company that makes more than $1 million USD a year in gross revenue, and you’re using the service on behalf of the company. If that’s true, you only own the assets under Midjourney’s Pro tier. If you are not a Paid Member, you don’t own the assets you create. Instead, Midjourney grants you a license to the assets under the Creative Commons Noncommercial 4.0 Attribution International License (the “Asset License”). Read Midjourney’s entire Terms of Service here.
• Dall·E2 – Created by OpenAI (the same folks behind ChatGPT), Dall·E2 had incredibly strict terms up until July of 2022. The company watermarked each image with five colored swatches at the bottom right, and OpenAI was incredibly strict in enforcing the fact that the generated images DO NOT belong to you and are not meant to be treated otherwise. It wasn’t up until July 2022 that they relaxed their policies, allowing creators to commercialize their creations by selling their AI-generated art… OpenAI grants you rights to the images you create using DALL·E2, however, your prompts and artworks may be used by OpenAI to improve and maintain their services. This is also the case with ChatGPT. Read ahead to know what OpenAI says broadly in their Terms of Use across all their products.
• ChatGPT – OpenAI looks at data through two lenses – Input and Output. You may provide input to the Services (“Input”), and receive output generated and returned by the Services based on the Input (“Output”). Input and Output are collectively “Content.” The Input you provide wholly belongs to you, as does the output, with a few disclaimers. OpenAI hereby assigns to you all its right, title and interest in and to Output. This means you can use Content for any purpose, including commercial purposes such as sale or publication, if you comply with these Terms. OpenAI may use Content to provide and maintain the Services, comply with applicable law, and enforce our policies. You are responsible for Content, including for ensuring that it does not violate any applicable law or these Terms… which loosely translates to ‘with great power comes great responsibility’. OpenAI does not hold itself responsible for any input or output that violates its terms, or the law. Read OpenAI’s entire Terms of Use here.
• Stable Diffusion – This one’s tricky, given that Stable Diffusion is open-source and multiple companies/services are using its technology. However, with their proprietary DreamStudio AI program, StabilityAI (the company) mentions that “you own the Content that you generate using the Services to the extent permitted by applicable law.” However, given that the AI bot accepts images as input too, StabilityAI holds you responsible for ‘owning’ the images you upload onto its service, including copyrights and rights of publicity. You are responsible for the content and ensuring that it does not violate any laws or intellectual property rights. Stability and its affiliates may use the content to improve the Services and store it in a “history” section of your account for easy retrieval. Read the DreamStudio Terms of Service here.

TL;DR – All programs give you some form of right to ownership (this isn’t a copyright) to the work you create, but at the same time, they also give themselves permission to use your prompts and the resulting output in any way they choose. So be incredibly careful of the material you feed into these AI programs – especially make sure nothing you share with them is confidential or intellectual property that doesn’t belong to you.

Can someone steal my work if it’s not copyrighted?

Funnily enough, even though you’re given the right to ownership with these AI ‘generations’, the court of law doesn’t recognize it in a way that’s legally enforceable. So yes, you own the works you create, as long as you can keep them a secret and prevent them from being copied/stolen. The second you put your un-copyrighted works up in the public domain, anyone can pretty much copy it all. Your only respite in that regard, is the court of public opinion… unless there’s human intervention involved, in which case your work is eligible to be protected by copyright. The inverse is true too. You can ‘steal’ someone else’s work and modify it to an extent where the law considers it ‘your own creation’. It’s what musicians do with ‘sampling’ too, although many songs have been taken to court over possible plagiarism.

If I can’t copyright my AI-generated work? What can I do with it?

To be brutally honest, trying to copyright AI work is like trying to copyright a Starbucks order because you told the barista what you want. If all you provided were instructions, you shouldn’t be claiming any sort of credit for what the AI created… even if the basic framework of an idea belonged to you. You can, however, build on what the AI creates, treating it as a collaboration… and honestly, that’s what AI tools are all about. AI isn’t meant to replace humans, it’s meant to give humans new skills to create better work faster. It’s a means to an end, just the way Photoshop and AutoCAD replaced their manual counterparts.

To summarize, here’s the question we asked at the beginning – When Machines Create, Who Gets To Own It? Well, if the machine created it based on data from the entire internet, then the entire internet collectively has a right to access it or be inspired by it. When humans create work, they’re inspired by other work. When AI creates work, it’s merely sampling and remixing things in its dataset. So if you really want to be different, and if you really want to claim work that belongs to you, give it your own, distinct human touch!

All images in this article were created using Midjourney

The post Who Owns AI-Generated Content? Understanding Ownership, Copyrighting, and How the Law interprets AI-generated Art first appeared on Yanko Design.

When you take a shower in a hotel or an Air BnB, you rarely think about the design of your shower heater. All you care about is that it works and that you figure out how it works. There are a lot of times, at least in my experience, when I just open the shower and wait for the heater to do its thing. And if it doesn’t, then I’ll have to work with a cold shower as I have no patience to tinker with something that might just figuratively (or literally) blow up in my face.

Designer: Sinan Anayurt

This concept for a Hitachi New Shower Heater might be able to solve that heater problem. Not only is it designed to be unobtrusive and simple enough to use, it also aims to bring the simple Japanese aesthetics of minimalism with a priority on safety. And hopefully, it will just give you the right amount of heat that you need without you having to solve complex design problems.

The heater has a central circle which is the main “hearth” and is connected to the power button and the knob that determines how hot or cold the device should give you. The circular form and the convex shape lets the water flow over the heater. It also has a back design that is able to hide the piping details and gives you a slimmer heater that should not get in the way of your other bathroom activities.

The design for the new shower heater also makes sure that it is safe enough for your bathroom since it’s waterproof and will not put you in danger of electrical shock. The designer also says that the production is easy and the heater is slim enough to minimize the materials needed, therefore saving on costs and waste.

The post Sleek Hitachi-inspired shower heater concept simplifies the process of getting hot water first appeared on Yanko Design.