Urban Jungle

Land Rover celebrates 25 years in the U.S. by showing city-dwellers the true purpose of SUVs

Leading up to the New York International Auto Show Land Rover celebrated 25 years in the U.S. by staging an “Urban Jungle” in a parking lot beneath the High Line in Manhattan. Decorated with buried taxis and vintage Rovers, the course features hills, holes, mud and ruts that show off how well the current vehicle line-up can tackle extreme terrain.

We visited the site this morning with a Nikon D4 in hand and decided to test out the camera’s new time lapse feature. The simple set-up and instant playback made the entire process a pleasure.


The Abramović Method

The famed performance artist’s most significant works are revisited to further blur the line between audience and participant

Abramovic-3.jpg

Marina Abramović has returned to Milan with a new performance, specially conceived for the Padiglione d’Arte Contemporanea (PAC), her first major museum exhibition since her retrospective in 2010 at the MoMA. The Abramović Method continues Abramović’s three major performances from the last decade: The House With the Ocean View (2002), Seven Easy Pieces (2005) and The Artist is Present (2010). The focal point is always the constant relationship with the public, which becomes part of the artwork.

Abramovic-1.jpg Abramovic-2.jpg

A retrospective of her most significant performances is presented among furniture with embedded minerals, allowing the public to interact with them while standing, sitting or lying down on the sculptures. These objects create a physical and mental pathway that transforms the PAC into an experience of darkness and light, absence and presence, altered perceptions.

Abramovic-4.jpg

Visitors can become performers and stand in absolute silence (thanks to special noise canceling headphones) expand their senses, observe (the rooms are provided with telescopes), and learn to listen. The Abramović Method aims to transform the artist, the performers and the public. In the video below we get a brief look at the piece in action.

The Abramović Method

Curated by Diego Sileo and Eugenio Viola

March 21—June 10, 2012

PAC Padiglione d’Arte Contemporanea

Via Palestro, 14

Milan


Cool Hunting Rough Cut: David Lyon

GM’s head of interiors on the difficulties and rewards of automobile design

We recently caught up with David Lyons, the Executive Director of Interior Design for General Motors North America, at an event for Chevy’s new on-board technology system, MyLink. David gave us the scoop on the difficulty of designing a car interior and how a focus on specific consumer needs is essential for a successful product model.


Mini Rocketman

See Mini’s LED-lit concept car’s dual-hinged doors and drawer trunk in our video

MiniRocketman.jpg

Making a good thing better is hard enough, but making a small thing smaller may be even trickier.
Mini
invited us to see how they did both when yesterday in Milan they unveiled their new concept car Rocketman, a forward-thinking ride with features that suggest not just a future of more compact cars, but one that boldly uses materials, lighting and other features.

Lit entirely with LEDs, the all-glass roof (also embedded with LEDs) makes for a glittering look, accented by the carbon-fiber body, which also lends fuel-efficiency. Its diminutive size, measuring just over three meters and seating three, is geared for urban markets and, perhaps most impressively saves space with a sliding drawer-style trunk, that can be left open for toting snowboards or other bulky items. Hinged doors make squeezing into tight parking spaces easy and allow passengers to get in the reat seat without too much trouble.

We caught up with BMW design head Adrian van Hooydonk at dinner and learned all about the Rocketman’s spirit animal, his predictions for car design’s future and more.

MiniRocketman2.jpg

Is there a danger of being too cute with Mini?

The lines are more crisp and taut on this concept, because we feel that a Mini should always be like a friend, let’s say. But if it becomes too cute, than maybe people will see it like a toy, a teddy bear. Of course we like to appeal to young customers, but Mini traditionally is a car that appealed to people of all ages, cross-gender and all around the world.

The elements in this car, we believe are elements that could do that: keep Mini exciting, interesting fun, endearing, but also something to be reckoned with, also serious. Almost like a British bulldog—a small dog, but people take it seriously.

What are the challenges of designing small?

On a big car, it’s easy to make things move, do a door opening or a trunk. On a small car, it’s much, much harder. But exactly what Mini stands for, right from the very beginning, is being clever in a small space. And this car is full of ideas for a small space. The way the trunk opens, the original Mini had that too. In a tight parking spot, if a car is parked behind your Mini, you can still open this trunk and put your stuff in. Or the side doors, they have a double hinge that allows you to open the door, even when there’s another car parked right next to you.

How much less room does the door need?

I would say one-third, if you have to put a number to it. The Mini has quite a long door, because it’s a four-seater but a two-door car. If you open it with one hinge, you hit the other door and then you have to sort of squeeze in. With the Rocketman, we solved both issues. You can crawl in the back because the door’s quite long, but you don’t have to squeeze in through a narrow opening because of the double hinge.

That’s actually why we called the car Rocketman. On the one hand, Rocketman sounds like a brave little guy—and Mini is that, a brave little guy. But this car to us is so full of ideas, that we thought it’s rocket science by Mini. That’s why we call it Rocketman.

How did you treat the interiors for this car?

Of course we are dealing with a small car, but as a designer you can do a lot to give the feeling or the sensation of more space. We did this in the Rocketman in the sense that there is no dashboard like we know it today.

The dashboard takes up a lot of space. In the old Mini there was only a steering wheel and one big dial, and that’s what we’ve done in this Rocketman as well. But the steering wheel and the big round center dial have grown together into a structure. And then the rest of the dashboard is gone, you don’t need it.

Continue reading…

The lighting is another feature which I believe can do a lot to create a very nice atmosphere, even in a small space. We’ve played with that a lot in the car, and we believe that the light or the light color in the future is going to play a bigger role in the whole color and material set up of the car. Right now the light is treated very separately from the materials that we use in the car, and in this concept we made it an integral part. We thought about it from the beginning, it could light up in red or blue or some other colors.

You could customize to your mood, which is something that Mini offers today. There’s just one or two LEDs in the Mini interiors today so you can change the color seamlessly from orange to blue. But in this car now, there’s big surfaces of light. And the roof of course is transparent which is another element that increases your sensation of spaciousness.

What other examples of industrial design inspired the car?

We’re constantly not just looking at other fields of design, like industrial design, furniture design or fashion design, we also have a part of our team—actually a large part of our team located in California—called Design Works. And this design consultancy, we do industrial design for other companies as well. We are actually in touch with other industries, like aircraft industry, or boating. We design airplane interiors or boats exteriors and interiors.

And you always learn, so as a designer you become more creative the more you work on different types of products, or design problems. LED light is something that is coming anyway, also in furniture, also in housing. It is simply very small, it uses less energy.

It led to a whole creative outburst, because now we can position these lights in places where in the past a lightbulb would have to go in and there wouldn’t be the space. Without LED we couldn’t have done this roof or the illumination of the door panels, or the tail lamps where the air can pass through. It wouldn’t be possible.

What about the headlights?

In the headlamps, the way we use LED is we would like to make the light in a way that is soft and homogenous. We don’t like to see the dots actually, because we think it’s a little bit too bright, a little bit too cold. And we want to have the light be somewhat soft and warm.

What are the features you think are most likely to go to market?

When you’ve just presented a concept car that’s meant to go very far in the future, then that’s probably the toughest question to ask. But, the lighting ideas for sure. I would say things like the hinges, or the way the trunk works. This would be possible to put in production.

Also a lot of the surface features, the design the ideas, the form ideas we’ve put in the car, both in the interior and the exterior. I can see a lot of potential in using those because that is not necessarily technically difficult. That’s just a matter of seeing how it was received—judging by tonight that was good but let’s see if the broader audience in Geneva sees the car.

And this was also deliberate. If people see this car as part of what could be Mini, then we have just broadened our palette. We’ve just given ourselves more room to play. Because Mini has such a strong history, such a strong heritage in one car. Of course everything gravitates towards this one original car. Does it look like that car or does it not? I think this concept car will help us widen the palette a little bit, which I think is necessary to develop the brand into the future.

Take our reader survey and enter to win a CH Edition Jambox!


Kettal

Our latest Rough Cut video with an innovative Spanish outdoor furniture maker
Kettal1.jpg

In the early 60’s, in a Spain still suffering the repercussions of the civil war and a population living under the hard handed rule of Franco, Kettal founder Manuel Alorda took a trip to Germany with his Dutch father in-law to purchase outdoor furniture. Alorda had never seen outdoor furniture before and was immediately struck by the opportunity to bring beach and camping chairs to the Spanish market. A van was purchased, machinery was bought and Alorda began producing the German line of outdoor furniture for Spanish consumption. Ten years later, as Franco’s influence declined and international trade normalized, Alorda began making his own designs and exporting his product throughout Europe. This transition began the recognition of Spanish design excellence in outdoor furniture and cemented the framework of the Kettal Group.

Kettal2.jpg

Kettal stands out amongst the many excellent outdoor furniture designers in the Spanish market due to their awesome attention to detail. This ranges from the choice of designers they strive to work with to the time and energy put into finding or constructing raw materials. The focus of Kettal’s design is to fit the needs of modern life creatively, while maintaining a commitment to timelessness.

kettal3.jpg

We had the chance to talk to vice president Alex Alorda about Kettal’s commitment to quality through innovation of custom raw materials, check it out in the rough cut below:

In addition to their innovations in furniture Kettal has also branched out into the art world, the senior Alorda began collecting at a young age. This commitment to the arts led to the founding of the Alorda-Derksen Foundation, a space in Barcelona dedicated to contemporary art and fully funded by Kettal.

Take our reader survey and enter to win a CH Edition Jambox!


Cool Hunting Rough Cut: LoSiento

Watch our video on how a burgeoning design studio takes typography to the fourth dimension

by
Gregory Stefano

While in Barcelona recently (thanks to
Red
) we visited Borja Martínez, the founder of LoSiento, a studio that specializes in 3D typography, packaging and product design. Young and imaginative, the small firm is constantly pushing the limits of what can be accomplished with paper as a medium. One of Borja’s founding philosophies is encouraging self-initiated projects at the studio, an approach of constant experimentation that has given birth to LoSiento’s amazing 4D typography. We had the chance to talk to Borja and check out his studio in this video.


Steven Alan for Nike Sportswear

Our video peek at a collection of sneakers designed by a new American classic

by
Gregory Stefano

Call it a win for the marriage of technical details and fashion or just call it a win for style, either way Steven Alan’s collection for Nike Sportswear (launched today) has us wondering why the collaboration didn’t happen sooner. The five styles all draw on Nike’s archives and add Steven’s impeccably clean twist, which he explains in more detail in our video interview with him here.

This first collection from their new partnership drops tomorrow in Steven Alan stores and online.


Cool Hunting Rough Cut: Falling Light

Troika’s dripping lights at Design Miami

We’ve long been fans of the tech-savvy collective Troika (check out our 2006 video), and the trio recently inspired us again with their beautiful installation piece “Falling Light” at Design Miami.

The Cool Hunting Rough Cut here will give you a little glimpse of the piece (as well as a preview of our coverage of the fairs), which creates the mind-bending effect of light droplets dripping from the ceiling onto the floor. The installation is composed of 50 seperate mechanical devices with custom cut Swarovski crystal optical lenses, a computer controlled motor and a white LED light. The LED moves away from the crystal lens, which acts as a prism, and the resulting diffraction gives the light droplets a flowing life.

Created in response to poet John Keats’ commentary on Sir Isaac Newton’s experiments with rainbows, the light experience, combined with the hum of the motors, provides a multi sensory experience and enforces, “Troika’s agenda that science does not destroy, but rather discovers poetry in the patterns of nature.”


José Cruz

A video teaser on the Mexican maestro of glass engraving

by Gregory Stefano

On a recent visit to San Miguel de Allende, Mexico, we had the privilege of meeting José Cruz Guillén Peña, one of the few remaining (and quite possibly the best living) master craftsmen of the “Pepita” method of glass engraving. Enjoy this peek into how José Cruz carves beautiful designs using a stone wheel, and check back for a full video detailing the artisan’s work with tequila brand Casa Dragones.