The popularity of wireless speakers has made them a staple in many homes, and that, in turn, has shaped the way these products are being designed. To match many interior motifs, the majority of wireless speakers take on more minimalist and low-key aesthetics that make them blend with their surroundings. Unfortunately, that has also made many of these everyday items less memorable and distinctive, as if they’ve been stripped of any sense of identity. That’s an almost ironic situation for a device that is supposed to inject life and vibrancy into living spaces. Daring to go against the tides, this one-of-a-kind speaker is designed to make its presence not only heard but also seen, taking inspiration from mankind’s own daring ambitions to break free of the Earth’s gravity and reach for the stars.

Designer: Ken Chen

Click Here to Buy Now: $619 $1089 ($470 off). Hurry, Flash Sale ends soon!

If you look at most wireless speakers today, they most often come wrapped in very minimalist designs and shapes. Some, such as those coming from luxury brands, do exude a sense of luxury through their materials, but the majority of these audio accessories might come off as almost bland and too identical to each other. While there’s definitely nothing wrong with minimalism, there seems to be a misconception that it’s the be-all and end-all of design, which couldn’t be farther from the truth. The Nebula tech art speaker is a glowing example of that, bringing character to the speaker in order to bring your music to life in ways you will never forget.

Inspired by NASA.

Right off the bat, the Nebula speaker looks like no ordinary speaker. Its transparent, cubiform shell and circular windows are almost similar to the bulky helmets used in the earliest ages of deep sea diving or, for a more contemporary image, astronaut helmets. This isn’t by accident, because the Nebula, as its name might suggest, is heavily inspired by the pioneering spirit of mankind’s space programs, like the Apollo missions, the Hubble Telescope, or the more recent Mars landings. Even the specific hue of orange used, namely “International Orange,” was chosen for its connection to space agencies and their use in the spacesuits of old.

Beyond its already uncommon shape, the Nebula wireless speaker boasts a unique feature that truly makes the device feel “space-age.” Instead of a typical digital visualizer, it uses a special Ferrofluid substance that dances to the beat of the music using the electromagnetic field naturally generated by the speaker. This SoundForm technology transforms the Nebula from a powerful speaker into a stunning audiovisual experience that will make you the life of the party and the talk of the town.

The Nebula isn’t just about looks either. Four high-fidelity speakers grouped into two separate chambers, each with its own passive radiator, creates thunderous beats, impressive volume, and palpable vibrations that kick the party’s music up a notch. And if one isn’t enough, you can pair two Nebula speakers wirelessly to create a truly wireless stereo (TWS) experience. Despite all that power, the speaker is super-easy to use with a touch-based control panel on top and support for Bluetooth audio sources, including both iOS and Android devices. Want to really be bold and daring? Simply unscrew the clear detachable JoyShell and flaunt the speakers’ inner beauty for all to see.

Wireless speakers might be very common these days, but that doesn’t mean their designs need to be as well. Taking a page from history’s most daring adventures, the Nebula Tech Art speaker not only delivers excellent audio quality but also creates a striking and memorable visual experience, both through its design as well as its SoundForm ferrofluid visualization. Escape the gravity of monotony with this exciting tech art speaker and bring back the sense of adventure to your life.

Click Here to Buy Now: $619 $1089 ($470 off). Hurry, Flash Sale ends soon!

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In the world of action cameras, GoPro has been leading the game, but there are some names, like the Insta360, that are rigorously pushing the boundaries. Yet again, with the latest outing in Insta360 GO 3, the company is making uncanny power moves.

One of the standout action cameras in the making, Insta360 GO 3 comes packed – least to say – with innovative features and cutting-edge technology. For a perspective, the tiny powerhouse comes with a flip touchscreen and is usable in detached mode to work standalone, all the while relaying clips wirelessly to the unit with the screen. All in all, the camera is slated to revolutionize the way we capture our adventures.

Designer: Insta360

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Weighing in at only 35g, the Insta360 GO 3 is incredibly lightweight and compact, making it the perfect companion for any adventure, cycling day out, or a vlog in the kitchen, from first-person perspective. The lightweight and snappable design makes it even more delightful coz you can easily take it anywhere without any hassle.

For a camera, size is secondary; image quality is what really matters. To that accord, the Insta360 GO 3 comes with f2.2 aperture, and support for INSP and DNG formats for photos and videos are captured in MP4.  Speaking of videos, the Insta360 GO 3 offers a range of recording options: you can record in 1080p, upward to 2.7K resolutions at varied frame rates. It allows you to shoot videos in 1080p at 120 FPS.

Photography enthusiasts and adventure junkies will also appreciate the camera’s diverse range of resolutions available for capturing photos. Whether you prefer the square format 1:1, or Instagram-worthy 9:16, the Insta360 GO 3 offers endless creative possibilities alongside the standard delivery.

The camera also boasts three video recording modes to enhance your shooting experience and give you even more flexibility to capture the perfect shot. In FreeFrame mode, you can modify the aspect ratio of your footage after shooting, while Timed Capture is for the lazy adventurers who can set the GO 3 to start recording at a specific time, when you’re snoozing or busy setting up the tent at sunset.

In addition to freedom and camera prowess, the Insta360 GO 3 also takes stability seriously. With FlowState Stabilization technology the first-person videos or the action recording will all be jitter and shake-free, no matter the orientation or speed you are using it. And with a specified battery life of up to 170 minutes, the Insta360 GO 3 keeps you shooting for longer without interruptions. Additionally, remote, hands-free voice control, and live preview functionality make it easy to control the camera in real-time. Whereas to enhance the shooting experience, GO 3 comes with a versatile magnetic design and a range of handy accessories.

The camera itself is waterproof down to 5m if you were thinking of taking it down to capture yourself with marine life. Insta360 GO 3 is available through Amazon with a price tag of $399.99. At that price, this action camera offers tremendous value for the features and capabilities it brings to the table.

Click Here to Buy Now

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Musings on the differences between art and design, the impact of AI in creative fields and a new look at data perception

Austrian born graphic and industrial designer and Grammy winner Stefan Sagmeister rejects the current cadence of news, instead focusing on what he calls “long-term thinking.” This topic is the focus of his recent work, Beautiful Numbers, which debuted at the Thomas Erben gallery in New York in 2021 with plans to internationally tour this fall. It was also the subject of his presentation aboard last month’s Summit At Sea, a three-day immersive cruise in international waters off the coast of Miami that included live music performances, wellness activities, art installations and conversations.

We caught up with Sagmeister after his seminar to discuss the difference between designer and artist, the impact of AI in creative fields, and how “ripping up” 200 year old works of art lead to a major change in how he perceives and displays data.

COOL HUNTING:
In the age of everyone talking about AI, it seems like titles are more elastic than ever. Everyone is a creator. Everyone is a creative director. Everyone is a designer.

Sagmeister:
Everybody’s a storyteller, that’s for sure.

Art doesn’t really have to work. It can just be.

Stefan Sagmeister

CH:
Exactly. You’ve said throughout your career that there is a difference between artists and designers. How do you differentiate, especially when AI and its evolution is at the forefront of so many conversations?

SS:
I would say the most common differentiation would be one of functionality. Art doesn’t really have to work. It can just be. It doesn’t really need to do anything. There is no expectations from us as an audience. While design, when we get into the very, very detail, it becomes a little bit wobbly, but by-and-large, design needs to have a function.

The chair that I’m sitting on, I can push it so far formally that I can’t really sit on it anymore. At which point it’s sort of ceases to be a chair and it becomes a sculpture. But I think that’s sort of the easiest way to make the differentiation.

CH:
What’s the not easy way?

SS:
Within those fields within design, or within art, they are various behaviors. Ultimately, if you really look tight, there is no such thing as 100% nonfunctional, or 100% functional. Even the extreme nonfunctional, even the artist who says, “I don’t want this to do anything,” ultimately, it will have a function, even if it’s just a monetary function. Or somebody may take might take a selfie in front of it giving it some sort of promotional function. So there is no such thing as 100% purity. Within the fields there have long been artists who make functional objects. Warhol coming from commercial illustration, becoming an artist, but then while he was an artist making many functional things from album covers that were arguably better in quality than the silly industrial portraits that he did to make money for his graphic design project that was Interview magazine. So it becomes, when you look at it tightly, it becomes a little bit convoluted. But in general, I would say it’s function that makes a difference.

CH:
I know you were speaking about Warhol, but in a lot of ways, what you just outlined, frankly can be applied to you.

SS:
I myself enjoyed a design education and really have been in the world of design all my life. So I continue to call myself a designer because that’s really where I’ve come from and I very much like that profession. But it is true that in many of the projects from the last decade there might not have the usual functionality as in, we do an ad for beer that says “buy more beer” when it has that function. So we tend to do bigger subjects. And we tend to use museums or galleries to show these bigger things. But ultimately, they’re still pieces of design.

Yes, if you’re sort of like a meat and potato designer that designs for low level, I am pretty sure that a good part of that will go to AI.

Stefan Sagmeister

CH:
What about the role of the designer when it comes to AI? Can it be a designer? Can it take over your job?

SS:
Well, I’ve been notoriously terrible in predicting the future. So I’m not sure if I’m the most reliable person to give a solid opinion here. In general, I would say no, I myself am not scared that they will take over my job because I think like technologies before it, it will probably take over the lower end of those professions. Yes, if you’re sort of like a meat and potato designer that designs for low level, I am pretty sure that a good part of that will go to AI. I’ve definitely seen not quite well functioning but pretty okay functioning ideas for website design where you tell the AI what kind of site you want, and what it what kind of features it would have, and it builds that site for you. So if you’re running a lower mid-level website design company, a good part of your revenue will probably be automated and will be not necessary anymore.

CH:
This was your fourth Summit. What made you say yes to attending this year?

SS:
I was on the mountain many years ago, once in Tulum and once before on the boat. Basically I said yes because the other ones were very good. And I felt, even though I’m not a person who would go on to a cruise ship, that conferences in small faraway places are way superior to conferences in New York or in London or Paris because everybody stays together. The speakers will be there. You know, if I’m at a conference in London, I know I have so many friends in London, that I’m likely going to have dinner with them, not with the participants of the conference. So I think this kind of works.

You can look at the world from a very long term perspective and pretty much the longer the perspective, the more positive you will see room for development in basically all directions that are important to human beings.

Stefan Sagmeister

CH:
One of Summit’s core mandates is make no small plans. What are your not so small plans for the future?

SS:
Right now, I think I’m very much in the in this trajectory of long term thinking. I’m considering this short term-ness of almost all media doesn’t seem like it’s going to change anytime soon. I don’t think that that job of providing a little carrot to the stick that the media always keeps is going to be over anytime soon. It’s just fascinating that you literally have a choice of how you can look at the world. If you look at the short term, everything by design and by definition will look terrible because bad things happen very fast and are fantastic for that short news cycle. And this is not just an opinion, meaning like there is proper scientific studies that show exactly that: the shorter the cycle, the more negative news. You can look at the world from a very long term perspective and pretty much the longer the perspective, the more positive you will see room for development in basically all directions that are important to human beings.

CH:
The presentation that you gave at Summit was a digital one but for Beautiful Numbers, your latest work, you are not making reproductions – you are modifying paintings from 100+ years ago. Isn’t that a bit of a conundrum?

SS:
These are these are original paintings from 200 years ago. So basically, if you go to the gallery, you’re not looking at the reproduction of a painting. You’re looking at a physical 200-300 year old painting that we put new inserts into. These inserts are lacquered—physically inserted into the painting so that ultimately you will have a flush surface, but the surfaces are extremely different. So if you would see this in real life, you would see a surface that’s 250 year old oil painting right next to an insert that is highly glossy and contemporary. And so these are very physical, non-digital objects.

I think that many designers would feel that way but I would say that specifically in this series, the difference between seeing a photo of it and actually seeing it in real life is gigantic. It really makes a huge difference. I forget that time and time and time again, you really have to see the real thing.

CH:
So why did you choose to not bring any of the real things with you?

SS:
Because they’re heavy. That’s it.

CH:
So for this project you are taking 200-300 year old paintings and physically altering them?

SS:
Absolutely. So basically we are ripping them up, to use a more brutal term. Putting them on new stretchers and inserting new forms that have a minimalism look but ultimately, of course, are data representations.

CH:
You’re taking old art, to use your term, “ripping them up” and making something new from it.

SS:
Exactly. Ultimately the strategy is not one of destruction. But I solve this all for myself. I buy some of these paintings. My great great granddad and grandmother had an antiques store in Austria so some of them came from that, but I also buy many now at small auction houses in Europe. And I solved it for myself by saying, If I would, if my own word ends up in a small auction house in 200 years from now, and there is a designer in 2223, who buys that work and makes a new piece out of it that’s relevant to that time in 200 years, then I would say more power to that person and go right ahead.

CH:
How many of these pieces have you done to date?

SS:
Just about 100 maybe. But it’s taken a bit of scouring because there is a limited number of 200 to 300 year old paintings floating about. However, there is a bit taking advantage of the fact that figurative paintings from the 18th and 19th century are incredibly out of fashion right now.

CH:
So they are available and they are available for a price that I can afford. That’s fantastic.

Although it isn’t really apparent at first, designer Yu Ren did mention that the inspiration for the table came from the popular Japanese game featuring a hungry yellow circle with a gaping mouth. “I eat therefore I am”, says Ren as he describes Pac-Man’s demeanor, and explains how the table’s open mouth has the same fun, hungry appeal. The table, however, comes with a cylindrical design that opts for space and material optimization over being too similar to the original Pac-Man.

Designer: Yu Ren

The Pac Man Side Table’s appeal lies in the fact that it masks its inspiration rather well, resulting in a piece of furniture that looks unique. The table’s design is realized using curved plywood that’s layered with a disc of black marble on the top and bottom. The side table also comes with a handle that sits flush against the cylindrical body of the table, and opens out to reveal a light strip built into the inside. There’s a hidden ambient light built into the top of the table’s inner compartment, filling the interiors with a nice wash of warm light. Touching the handle also helps toggle the light as well as adjust its temperature.

To pay homage to the original Pac Man, Ren designed a version in yellow too. I’ll be honest, it resembles a LEGO head more than anything else, but just like beauty lies in the eyes of the beholder, creative execution lies in the mind of the creator. The inclusion of lighting panels is a clever touch, although that means needing to keep the side table near a plug point at all times.

The Pac Man Side Table is a Gold Winner of the A’ Design Award for the year 2023.

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Dezeen School Shows: a project that explores the relationship between textiles, sound and the human body is included in Dezeen’s latest school show by Lucerne University of Art and Design.

Also featured is a cabinet of curiosities made from textiles and a project that explores the use of Swiss felt.

Lucerne University of Art and Design

Tutors: Lucerne University of Applied Sciences and Arts
School: Lucerne University of Art and Design
Course: BA Textile Design
Tutors: Marion Becella, Franziska Born, Andreas Saxer, Lilia Glanzmann, Doris Kurzmeyer, Christa Michel, Daniela Zimmermann, Jonas Leysieffer, Mònica Gaspar, Jasmin Schneider, Isa Glink and Laura Schwyter

“Our world is changing and textile designers are ideally equipped to face the challenges. With colour, pattern, functionality and sensuality as our guide, we constantly reinvent the realm of fibres, fabrics and surfaces.

“By merging materials and disciplines, we leverage our hybrid expertise to create forward-thinking ideas and aesthetic objects for various fields. Fashion, architecture, theatre, product design, fine arts, interior architecture, and research all benefit from our craftsmanship.

“We actively apply traditional skills in harmony with the digital realm, reshaping reality and making a tangible impact as grassroots experts in a transforming world.”

Dorfmatratze and Friends by Lynn Balli

“I’m angry. Our society is teeming with self-posturing, abrasive popular heroes, heteronormative stereotypes and macho arseholes.

“One way to rebel against them is to use satire. Taking the piss out of this patriarchal bullshit, visual amusements are dished out and feminist utopias are spun.

“The costumes created are choreographed in three different contexts: on a concert stage, at a feminist strike and on the village square in Stans.”

Student: Lynn Balli
Tutors: Franziska Born and Jonas Leysieffer
Email: lynnballitx[at]gmail.com

Print à Porter by Giulio Gallana

“My bachelor’s project involves researching ways to confront and solve the problem of used clothing.

“The research focuses on efficiently recovering the textile substrates from used clothes and enhancing their value through industrially scalable finishing techniques.

“The result is a design strategy that allows all-over-prints to be incorporated into the remanufacturing process.

“The screen-printing process combines the underlying patchwork textile to form a new whole, which is then showcased using the example of a pullover.”

Student: Giulio Gallana
Tutors: Franziska Born and Jonas Leysieffer
Email: giulio.gallana[at]gmx.net

Kuriosum by Caroline Gruber

“Explore the colourful diversity of the curious creations and immerse yourself in the world of stitches. What unfolds is a cabinet of curiosities, full of floating creatures, whimsical plants and soft formations, all waiting to be discovered.

“The collection of knitted objects reveals an experimental confrontation with material and form.

“The cabinet of curiosities invites the viewer to find new things, to take a different point of view and to let their fantasy run riot.”

Student: Caroline Gruber
Tutors: Christa Michel and Jonas Leysieffer
Email: caroline.gruber[at]live.com

Tag It by Lara Grünenfelder

“Labels usually provide little information about how items of clothing are manufactured and how they can be preserved within the textile cycle.

“In fact this information plays a decisive role in purchasing habits, nudging the consumer to spend more conscientiously.

“The production of the blazer involved recording the labour required, the use of resources and other information about the material, which was then printed directly onto the clothing.

“The blazer is intended to act as an intercommunicative object, displaying the value, outlay and handwork that lie behind the item.”

Student: Lara Grünenfelder
Tutors: Marion Becella and Jonas Leysieffer
Email: lara.seraina[at]gmail.com

Supersonic Textures by Sonja Locher

“This project aims to find the crossovers between textile, sound and the body. Visual, tactile and acoustic stimuli invite the viewer to come closer and to immerse themselves.

“The elaborately crafted item of clothing is adorned with materials like plastic and strips of cloth, creating a mishmash of textile textures and sounds.

“The interaction with the space permits an intimate moment of curious exploration, in the sense that the acoustic level only unfolds to the interactor through tactile investigation and using their body.”

Student: Sonja Locher
Tutors: Franziska Born and Jonas Leysieffer
Email: sonja.locher[at]hotmail.ch

Play and Grow Up by Stephanie Meier

“Children play. They explore their surroundings with all of their senses, developing their abilities in the process. This bachelor’s project focuses on tactile and visual experiences.

“The project consists of individual objects made of cast-off textile material, which can be combined in any way imaginable.

“Along with different sensations of form, colour and material, the child also comes into contact with textile handwork.

“Moving, sorting and variably arranging the play elements creates individual worlds that awaken, excite and encourage fantasy and creativity.”

Student: Stephanie Meier
Tutors: Marion Becella, Jonas Leysieffer
Email: stephany.textiles[at]gmail.com

ErzählSTOFF by Jana-Sophia Rehmann

“The ErzählSTOFF living-room cushion collection is an homage to Switzerland. Using selected themes from tradition, nature, mobility, science and innovation it captures the spirit of the times and shows the diversity of the country in a narrative way.

“The digitally printed textile pictures can be mutually combined. Rearranging the cushions creates different stories and surprising perspectives.

“In the process, they playfully make the rich facets of Switzerland to a tangible and pleasurable experience.”

Student: Jana-Sophia Rehmann
Tutors: Daniela Zimmermann and Jonas Leysieffer
Email: strongjs.rehmann[at]gmail.com

Sunny Side Up by Laura Schor

“Using the sun’s rays as a source of energy is becoming evermore relevant. Photovoltaic modules have the potential to be applied as design surfaces and to be made eye-catching by sampling them.

“In the form of a collection of samples, my project proposes the use of coloured photovoltaic cells on roofs. The wide range of designs plays with visual illusion and – depending on the context – can produce a look of assimilation or irritation.

“This sunny work is part of a project by the Products and Textiles Research Group – HSLU Design and Art.”

Student: Laura Schor
Tutors: Daniela Zimmermann and Jonas Leysieffer
Email: laura.schor[at]bluewin.ch

Feltastic by Jodie Schulthess

“For my bachelor’s project I have chosen to explore the potential of Swiss felt. Felt is considered to be the oldest textile known to humankind, but today enjoys too little prestige.

“My goal is to shape the material extravagantly and in a modern way by designing a collection of textiles that can be used both in interior design and in fashion.

“By concentrating on a single material and by creatively sounding out its boundaries, I have been able to crucially expand my knowledge. This humorous and immersive installation is there to highlight the power of this local material.”

Student: Jodie Schulthess
Tutors: Daniela Zimmermann and Jonas Leysieffer
Email: jodie.schulthess[at]gmail.com

Paysage Paille by Estelle Ruedin

“The work addresses the use of straw in the design of textiles. It explores the extent to which straw can be used to form a textile surface, to create volume and simultaneously to produce interesting patterning.

“The process involved applying rye straw systematically to natural and synthetic textile surfaces of varying weights in order to determine its scope and limits.

“The physical malleability of straw allows wide experimentation and resulted in the current collection, intended as an inspiration for spatial use.”

Student: Estelle Ruedin
Tutors: Marion Becella and Jonas Leysieffer
Email: estelle.ruedin12[at]gmail.com

Partnership content

This school show is a partnership between Dezeen and Lucerne University of Art and Design. Find out more about Dezeen partnership content here.

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