Organizing pet clutter

Order a copy today of ​Never Too Busy to Cure Clutter​ by Unclutterer’s Editor-in-Chief Erin Rooney Doland.

I have two dogs that I love dearly, Batgirl and The Bug. But boy, do they bring on the clutter.

Toys. Leashes. Food. Treat bags. Beds, shredded toys, slobbery tennis balls. And my favorite: fur. Lots and lots of fur. If you’re a pet lover, I suspect this sounds familiar. Fear not! Your furry friend need not be a source of incessant clutter. In this article, I’ll share tips for keeping pet clutter under control and out of sight. Let’s get started.

Let’s start with something simple: food. This will be easy or difficult to stash away, depending on the pet. A small container of fish food, for example, is easer to store out of sight than a 10 pound bag of dog food. For that reason, I’ll focus on the latter.

While Bug loves his food,* I don’t love the unsightly bag that his kibble comes in. To keep it stored away yet accessible, I needed a nice-looking bin. The answer was one of these “half barrels” as it fits my home’s decor and is something I don’t mind looking at. It easily accommodates a large bag of dog food plus a bag or two of treats.

If you have a spare cabinet that you’re willing to dedicate to pet food, even better. Just make sure it’s still convenient to get at. With that sorted, let’s move on to toys.

Oh, the toys. My dogs are worse than toddlers when it comes to carpeting the floor with a huge mass of toys in various states of repair. Of course they don’t pick up after themselves, so I limit the number of toys they have access to at once. Yes, pets are super cute and yes, we love buying toys for them. Just remember, the more they have, the more you must pick up. We got a small basket that sits on the floor that holds the half-dozen toys the have access to.

Speaking of, take some time to occasionally go through the collection and get rid of anything that’s badly damaged or potentially harmful. For example, that stiff rubber chew toy can get quite misshapen and potentially scratch their gums. Throw those toys away.

Leashes and harnesses are the next thing on the list. I bought a dedicated hook to hold these items and I installed it on the wall right next to the back door. That way it’s out of sight yet very convenient when I need it. You don’t want a dog who needs to “go” waiting around while you hunt for the leash, trust me. Now, a controversial subject.

Pet clothes. I don’t like them. Yes, Fido looks super adorable in that little sweater. Perhaps he’s prone to cold and genuinely needs that doggie argyle. In that case, I get it. Keep him comfortable and warm. But the goofy outfit that’s meant only to delight Fido’s human is not my cup of tea. If you must (or if you have legit clothing like what I’ve described here), find a convenient, safe place to store it. Preferably near the leash. Or in the trash bin. I kid! I kid!

Finally, the items you don’t use daily like a carrier, shampoo, outdoor toys and so on could all live in one location. Perhaps a large plastic storage bin, or a shelf in the basement or garage, clearly labeled.

Pets are members of the family with all that entails, including the clutter. It doesn’t take much to gain control of it, and it’s just as easy to let it get out of hand. Set up a few stations, buy some nice storage and enjoy your pets even more.

*Seriously, you should see him eat. It’s embarrassing.

Post written by David Caolo

Last call for entries! A’ Design Awards & Competition

This is it. With just two weeks to go, this is officially your final chance to be a part of the A’ Design Awards and Competition. Why should you? Only because it’ll not just award your design, but give it the publicity push it needs and deserves. When you win an A’ Design Award, you don’t just win the beautiful looking trophy… you also entitle yourself to a large-scale PR campaign (which gets your work published across various design recognition platforms), gain access to the Gala night (where you network with the best in the business), and you also automatically get nominated for Design of the Year (and much more). Like I’ve mentioned before, even participating has its perks. Participants who do so much as even register get included in the World Design Index and the Design Encyclopedia. The participants also help push their country’s position up in the World Design Ranking, so do it for your country!

Now that you’ve made up your mind to register, you’re probably wondering how to go about it. You start by registering here. It’s simple! A’ Design Awards and Competition also have an incredibly wide span of categories for you to choose from so no matter what, you know your design has a place in the competition. The A’ Design Awards and Competition spans over every imaginable Design Category (Furniture Design, Electronic Devices Design, Transportation Design, Medical Devices Design, Home Appliances Design, to name just a few) and is judged by a panel of more than 80 esteemed jury members from all around the world. The last date to register your entries is the 28th of February, so put the pedal to the metal, man!

Scroll down to see some of the winning designs from last year. Let them inspire you and get those creative juices flowing because who knows, we could very well be talking about your design here two months from now when we feature the winning designs for this year on the 15th of April.

Register Here for the A’ Design Awards and Competition 2017 : Deadline 28th February

01. Lockblock by Dan Kulp
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Knives are dangerous and can cause some serious accidents. Lockblock locks your knives so that you have to push a lever to release them before use.

02. Architech by Alan B. Guyan
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3D printing is still a pretty exclusive manufacturing process but the Architech shoes by Under Armour actually have 3D printed soles that don’t just look dope, they enhance performance too.

03. Swing 65″ TV by Vestel ID Team
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It’s a TV AND a TV Cabinet! Plus look at how insane it looks! Need i say more, really?

04. Turn-Lock by inDare Design
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Door handles that double up as door locks are just superb even on a conceptual level. Here we have people who’ve even gone as far as detailing the design out!

05. Trempel Hanger by Viktor Puzur

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All you have to do is truncate a stiff cardboard tube at the correct angle and voila! You’ve got yourself an unusually pretty and functional cloth hanger!

06. Hideaway Chair by Think & Shift Studio

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It may look like a chair, but in the minds of children, it’s more like a fortress of fun!

07. Coral Vase by Aprilli
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A vase that looks arguably better than the flowers you put in it? Mother nature may not approve! However, we do!

08. Valtra T4 Tractor by Kimmo Wihinen
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Are tractors even allowed to look this desirable?! Is it just me or does the Valtra look appealing to you too?

09. Yoga 900S Laptop by Johnson Li
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Even Lenovo gets the importance of the A’ Design Awards! Imagine having your design featured right alongside one of the best tech companies today!

10. TTMM Watchfaces by Albert Salamon
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Just like the CKIE Diagram 17 Watch, the TTMM Watchfaces app for Android Wear is all about artistic reinterpretation of time. Looks incredible, don’t you think?!

Multiple mezzanines are connected by an open stair in Delution Architect's Jakarta house

A staircase connecting a series of split levels ascends through a void at the centre of this house in Jakarta, which features a cantilevered upper storey that projects over the entrance.

Splow House by Delution Architect

Splow (Split-Grow) House was designed by local studio Delution Architect for a plot on a residential street in the Tebet subdistrict of the Indonesian capital.

The compact plot measuring just six metres by 15 metres is typical of the city’s dense urban fabric and resulted in a brief focused on optimising the available space, daylight and ventilation on offer.

Splow House by Delution Architect

A limited budget also meant the clients required a low-cost solution that can expand over time, with new spaces being added when budget is available.

The need to allow for vertical expansion informed the design of a building featuring three storeys, including one that is set back towards the rear so the house appears to match the height of its neighbours.

Splow House by Delution Architect

“The split concept is used to manipulate the facade of the house,” explained the architects. “The house required a height of three floors but with the split concept it is only seen as being two-floor high from the facade.”

The street-facing elevation features a ground-floor set back from the road, which allows space for a parking area, garden and entrance sheltered beneath the cantilevered upper storey.

Splow House by Delution Architect

Internally, the three storeys are divided into a series of half levels. The first three of these mezzanines were completed during this initial phase, with two additional levels planned for construction at a later date.

The internal spaces are connected physically and visually by open stairs accommodated within a large central void that is illuminated from above by a clerestory window.

Splow House by Delution Architect

“The first mezzanine to the last mezzanine are connected by one big void which becomes the main source for natural light and air,” said the architects. “Within the void, people can interact and communicate directly from different floors.”

Splow House by Delution Architect

The main entrance leads into a lounge area connected by a short set of steps to a sunken kitchen and dining space. A freestanding island unit at the centre of this room features folding and pull-out sections that provide additional surfaces when required.

Splow House by Delution Architect

Concrete steps connecting the lounge with the kitchen area incorporate sliding wooden drawers beneath the treads. A white steel and wood shelving unit alongside provides additional storage.

A guest bedroom and bathroom are accommodated at the rear of the building on the same level as the kitchen. The upper floors contain additional bedrooms, including a master suite on the cantilevered first floor.

Splow House by Delution Architect

A void between the house and the boundary wall of its neighbour allows air and natural light to reach interior spaces on the various levels. Louvred windows on the upper floor assist the circulation of air within the building.

The external passage is used for storing a water pump, bicycles and outdoor equipment, and features a pebbled surface that enables rainwater to drain through.

Splow House by Delution Architect

A window at the base of the entrance facade provides a view from the sunken kitchen towards the street so the occupants can observe visitors arriving at the house.

A similar opening slotted into the base of the wall in the master bathroom assists ventilation in this space and adds an unusual detail to the facade.

Photography is by Fernando Gomulya.

The post Multiple mezzanines are connected by an open stair in Delution Architect’s Jakarta house appeared first on Dezeen.

Studio MM clads Hudson Valley hillside cabin in blackened wood

American firm Studio MM Architect has created a modern holiday dwelling for a forested site in upstate New York, which features a giant front door and a garage for its car-lover owner.

Called Tinkerbox, the residence is located in Kerhonkson, a hamlet situated about 100 miles (160 kilometres) north of Manhattan.

Tinkerbox by Studio MM

The two-storey black home was envisioned as a getaway for a car enthusiast. The upper level contains the main living zones, while the lower level encompasses a garage and workshop.

“Nestled in the woods of Hudson Valley, this house was conceived as a car-lover’s dream retreat,” said Studio MM Architect, a New York-based studio. “A generously sized garage is the locus of the design, generating space for car storage and maintenance, as well as a spacious wine cellar and a furniture workshop.”

Tinkerbox by Studio MM

The exterior is sheathed in charred cedar, which was burned using the Japanese technique of Shou Sugi Ban.

The architects singed the wood themselves, giving them a chance to participate in the building process. “We researched the Japanese technique of charring wood called and decided that it was something we wanted to tackle on our own,” the studio said.

Tinkerbox by Studio MM

Upon approaching the house, visitors encounter a mahogany pivot door that rises 12 feet (3.6 metres). A wooden canopy cantilevers over the entryway and is meant to direct the eye upward.

“The continuous wood beam structure of the cantilever pulls the eye up and through the space,” the architects said.

The same strategy was used in the rear of the cabin, where a large wooden plane shelters an exterior deck. The plywood canopy is supported by single beam anchored to a concrete column that doubles as an outdoor fireplace.

Tinkerbox by Studio MM

Inside, the home’s upper floor contains a master bedroom on one side, and an open-plan living and dining area on the other.

The zones are separated by a stair that leads down to the lower level. The stair treads were fabricated using hardwood trees culled from the site.

The team sought to incorporate a “handcrafted concept” throughout the dwelling.

Tinkerbox by Studio MM

A waterfall-edge marble island sits between the kitchen and dining area.

The dining room table was designed by Studio MM and built by the craftsman Elijah Leed. The firm also designed the brass chandelier suspended over the table.

An expansive window seat and built-in hearth serve as focal points in the living room. Stainless steel was used to surround the fireplace, as well as a wood store on the deck.

Tinkerbox by Studio MM

In the master bedroom, the studio installed a built-in headboard and custom linen curtains.

“This house is all about curating specific and unique design moments,” the architects said.

During the summer, concrete walls and flooring help keep the lower level cool, while strategically placed windows and the covered deck provide passing cooling for the upper floor.

Tinkerbox by Studio MM

Other homes in the Hudson Valley include a wooden retreat by Foz Design that is perched on a sloped site overlooking a river and a rectilinear dwelling by Jay Bargmann with glass walls that reflect the scenic landscape.

Photography is by Brad Feinknopf.

The post Studio MM clads Hudson Valley hillside cabin in blackened wood appeared first on Dezeen.

Is Using VR Technology to Meet Unborn Babies the Future of Pregnancy?

Here’s a serious question for parents-to-be: Do you find yourselves becoming increasingly frustrated that you don’t really know the baby growing inside you or your partner until it’s born? You aren’t able to experience your baby with sight or touch until it finds its way out of the womb—isn’t this slightly creepy? Well, one father-to-be just couldn’t take it anymore and developed a way to virtually meet his baby before it popped out into the real world. 

One regular afternoon, Samuli Cantell casually thought to himself how cool it would be to use 4D ultrasound to scan his unborn baby and make it into a VR experience. 

He then came up with the idea to use 4D ultrasound images and data to create a 3D print of his baby. The print was used to create a full VR experience that allowed VR goggle wearers to “see” his baby floating in space, hotdog-like umbilical cord and all. How he convinced his girlfriend to let this happen, I don’t know. Somehow he did, and from the looks of the pictures, all parties involved seem pretty excited about it.

After receiving advice from Aava Medical Centre and GE (they manufacture 3D and 4D ultrasound systems), Cantell came up with this process:

“We went to the Aava Medical Centre for the 4D ultrasound scan. At this time, our baby was already a bit too big for perfect scans, but after an hour we got enough material. From the data I imported DICOM ?les to osiriX lite and made the ?rst 3D model. It turned out pretty messy, but with a little help from a friend, we sculpted a nice 3D model. The 3D model of the baby was then placed in a Unity project, and the experience was ready.”

For a first go around, the results looks pretty solid:

The final VR experience

Here Cantell describes how he felt when staring at his baby floating in space:

When I put the VR glasses on for the first time, the experience took my breath away. Even though I knew this was only a 3D model, the fact that it was based on our unborn child and the power of this immersive experience really blew my mind. For the first ten minutes, I was just sitting still on the floor watching her floating in the air next to me. It was very emotional and calming, yet unreal.

So close you can almost touch it!
Even Grandma got to take a look!

Cantell’s takeaways from this process are as followed: “It’s as awesome as it is weird, music plays a huge role in this kind of emotional experience, a lot of manual 3D sculpting is still needed, and the scanning should take place before pregnancy week 32.” Out of everything on this list, what I want to know most is what songs were on the VR Baby Experience playlist.

All of this sounds creepy, but keep in mind that a lot of parents-to-be have anxiety about parenting and meeting their babies—this could serve as a form of therapy to help calm those nerves. It’s also a potential way for fathers to feel more connected to their babies before birth. Perhaps a way to calm fathers down on Maury or Jerry Springer when they learn they are, in fact, the father? 

I’m curious to hear what people who’ve actually gone through the pregnancy process have to say about this. I particularly want to know if you would show your child’s VR baby experience to them during sappy milestones like their graduation or wedding in place of baby photos.

My only kids are two plants and a fish, so I have no answers.

Link About It: Royal Egyptian Scribe's 3,000-Year-Old Tomb

Royal Egyptian Scribe's 3,000-Year-Old Tomb


Dating back to the Ramesside period, around 1200 BCE, a tomb has been unearthed on the west bank of the Nile in Egypt. Japanese archaeologists, led by Waseda University Professor Jiro Kondo, made the discovery and researchers have already deduced that……

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Luzli's Roller MK1 Hand-Crafted Headphones: Aluminum and stainless steel earphones that fold up to fit into a pocket

Luzli's Roller MK1 Hand-Crafted Headphones

Many attributes factor into decision-making about headphones. Sound quality must always remain high on the list, but for those who oftentimes find the bulkiness of headphones an issue, the Luzli Roller MK1 has a pretty innovative solution. These……

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Meet Your Core77 Design Awards Jury Captains for Design Education Initiative, Transportation and Service Design

Where does the time go? Just last week we introduced you to the first three Jury Captains for the 2017 Core77 Design Awards so you could get familiar with the design minds that will be reviewing your Design Concept, Visual Communication and Furniture & Lighting entries. Now we have a new batch of Jury Captains to introduce, and we are just 3 weeks away from our regular pricing deadline. (That’s March 8th, just in case you don’t have it marked on your calendar.)

Before you jot down that important date, learn more about the jury team leaders of the Transportation, Design Education Initiative and Service Design categories. 

Jackie Chang, 2017 Transportation

Project Lead Designer, Nissan

So your job title, according to LinkedIn, is “Future Mobility Experience Catalyst” at Nissan—pretty cool. Tell us, what’s up with that? What does this job entail?

My official role in the studio is Project Lead Designer, “Future Mobility Experience design” is our team’s expertise. We focus on designing solutions for our customer’s future mobility possibilities. It is very rewarding to know, not only that we can fix user’s problems, but also have a chance to design experiences that are functional and unique to Nissan. The challenge is to make these experiences into tangible objects that will become part of a real product. We are “catalysts” in that sense.

You’ve been working at Nissan for over 15 years, what are some of the highlights and milestone in terms of projects you’ve worked on there over that time? What makes them so memorable?

This is a great question. There are two perspectives, the “personal” side and “company” side. The “personal” side is about directly working with the team on product design. In a project team, each role is different and, depending on what role you play, it affects the way you position yourself and work with others. The end result is the direct reflection of the team’s dynamic. The current Nissan Maxima 4-door sports car is a great example of the several successful production and concept car projects that I was able to work with the best talents at Nissan. I am very proud of being part of that. On the “company” side, my role has changed from being part of a very mature design development team to a more exploratory, researching, experiment-type role. Today, mobility experiences are deeply integrated into my everyday tasks.It all starts with users, not innovations nor design. It has been an eye-opening process be part of learning while influencing others. It is an eye-opening journey because it requires a whole different process. It is not very easy to change the way we work and think, but it is very motivating to have the opportunity not only to change the design process, but also influence the mindset of the designers.

Your resume says you’re transforming the a concept experience model into a real life model—how exactly is Nissan tackling this and what kinds of features will this model have?

People are changing, so is the economy. In the experiential economy time like today, the traditional way of designing is no longer enough to meet the consumer’s expectations. Nowadays, design is so much more integral part of many things. It is part of the holistic experience expectation. With a concept experience model, we test and define our vision with users and, only then, we fully focus with all disciplines on how the vision could be realized in the real products. To get to the real product phase, an experience modeling is surprisingly simple. Bring users early in the process to share the vision, and the team sprints for opportunities that are meaningful and inspiring for the customers. Put those experiences into specs and the team goes to work. Just as simple as that. Our approach is to deliver what matters most to our customers as soon as it could be. Though they may be small and gradual, those changes would be made in a way to be meaningful to our customers and the company as well. In that sense, our products may be the concept experience models in the true sense.

In what ways do you think our concept of transportation will change with future vehicles?

We shifted from horses to cars about a century ago, and that’s what I feel it is happening again in the automotive industry, just like the TV has lost its identity and the automotive industry is no exception. The blurring the boundary between cars and services has started. Even though cars and services will be parallel in our life for another while and they will eventually merge. This wave will disrupt so many aspects of our life, just like riding horses to driving cars did – our city infrastructures, rental car companies, passenger/merchandise transportations, cityscape, natural resources, retail, environments, health, post-sale services, well-being, finance, time, space and, most importantly, PEOPLE. Car ownership models will change, too. If you ask a Nissan customer today, “What do you drive?,” he or she would say a Rogue or something.But in the future, if asked, “What do you drive?” or even “What do you ride?” They may simply say, “Nissan,” because they will say Nissan. I feel very fortunate being a designer now and the excitement that is heading our way. I hope many talents will help redefine what CAR vs MOBILITY is in many ways. Join us if you want to change the world together.

Petrula Vrontikis, 2017 Design Education Initiative

Creative Director, Vrontikis Design Office

Petrula Vrontikis is a leading influence in graphic design. Her current work includes research, writing, consulting, creating brand communication strategies, training, and coaching. She received an AIGA Fellows Award honoring her as an essential voice raising the understanding of design within the industry and among the business and cultural communities. She is creative director and owner of Vrontikis Design Office (@vrontikis and 35k.com) and a professor at Art Center College of Design, teaching graphic design, career development, and professional practice courses.

For the latest edition of “Core Talk”, Vrontikis talks with Core77 about her teaching methods that emphasize the importance of relaying professional knowledge as well as what she hopes to see in the Design Awards submissions. 

    

Sarah Drummond – 2017 Service Design

Co-founder, Snook

Sarah is the Co-founder and Managing Director of Snook, an award winning design consultancy working at the forefront of civic, public sector and democratic innovation. Sarah focuses on making social change happen by re-thinking public services from a human perspective.

You worked in government before co-founding your company Snook. Can you tell me more about that and how that led you to the realm of service design? How did you think design could help create change in a different way than mere public policy can?

I was actually studying product design before having a shot at working in government in a non-departmental public body called Skills Development Scotland, and we’d undertaken a project with them when we were students where they got a group of product designers to start looking at services and how you could change them to better fit customer needs. This was actually quite a landmark project at the time because it was a kind of precursor to a lot of the innovative work I’ve seen going on in the UK with government digital service and new Scottish approach to service design to be run by governments—none of that really existed when we were doing this kind of work. It just seemed really obvious that you could take a design approach, which is thinking about how people use something and need to do something, and put that into the development process of any product or service that’s coming out of government.

So I always thought that from being inside that environment and actually kind of living it and seeing how it works, it was easy to spot where there were quick wins as well as larger, more long term strategic wins for embedding different design approaches inside the process of policy into implementation. I also think that design as an approach and service design could help create the right cultural setting and space for [policy] to exist in—it’s inherently a bit more collaborative, it’s more visual, and it really focuses on testing out stuff before you implement it. So I’ve always seen that as a massive part of embedding design inside of these organizations, and something that when we went on to create Snook we always said we would do. [We didn’t just want to] help organizations do better design and create better services, [we wanted to] give them the capacity to do that themselves. So I was sold on service design then and since seeing it rise and rise in the industry, within public services, within government, within commercial services as well.

What do you think is the greatest misunderstanding about service design?

I think that service design has developed an aesthetic where a lot of people think it’s only about doing social good. Whilst we’ve seen over the last 10-20 years, probably even from the 60s and 70s when people like [Victor] Papanek were talking about designing for good and social good, it’s not just that—it can do some bad things in the world. It can also help make things a lot more efficient in manufacturing process lines, so that’s one of the common myths and misunderstandings that I’ve seen about service design. But what [service design has done] for a lot of people is open up a range of tools and approaches which allow us to focus on the customer, the citizen, and allow us to actually bring form to ideas and quite intangible ideas before they’re scaled. The clarity of service design for me is that it’s about designing services, and it’s about helping people to do something better.

In order to create a truly intuitive and beneficial service, what are three things a designer must do or keep or mind during the design process?

You should always remember that your research isn’t about asking people what they want; it’s about understanding what they need. And that’s a really clear distinction between researching to understand the user’s needs as opposed to a consultation, which is asking people what they would like to see. You could research from what people say they would like to see, but really it’s about understanding what people need to do, the tasks they need to do, how they like to do them, and [thinking about how] can you help them do them better. 

I think the second thing that every designer must keep in mind is test early. Even if you’re testing out design principles for how a service might operate, whether you’re testing out a mockup of a website or a full service experience is to get it out there and get it out there early so that you don’t hold onto an idea or a service concept for a really long time, build it up, spend lots of money on it and then realize it that, actually, it fails when you put it in the hands of users. That’s really really important. 

The third thing is that services don’t happen in a vacuum, they happen in the world. They’re part of wider systems. Sometimes they ask users to move from different organizations in the context of government (for example, you might move from the department you work in pensions to then work with a commercial company like a bank). And services need to be, especially for the data that will serve customers, inter-operable between all of those organizations, so you’ve got to be really considerate of the wider system where your service will fit and I think that’s a key thing that a lot of early design education misses out. That’s not a criticism of design education but it’s a consideration for how we can actually train people to design services in the real world, where the leverage might come there. So having that sense of realism about the possibilities, as well as a sense of realism around what you can actually achieve on the given budget for that service, what the organization can actually deliver also needs to be considered. 

This interview has been edited and condensed for clarity

Regular deadline to get your projects in front of these industry leaders is March 8th. Don’t wait: submit your entry in today!

AZURE MAGAZINE – AZ AWARDS 2017 – Call for submissions

AZURE, the influential contemporary design and architecture magazine, announces the opening of submissions to the 2017 AZ AWARDS. The 7th annual inter..

More Unusual Designs for Clothes Hangers

Reader Mick saw our post on the Japanese travel hanger and pointed out the dealbreaker for him: The closed loop means it can only be hung on a hook, not a closet rod. He also wrote that “Ever since I lost my ‘Raiders of the Lost Ark’-style foldable hanger on a trip many years [ago], I’ve been looking for a replacement. It was also Japanese-made, btw, and apparently no longer made.”

For those who’ve somehow never seen the movie, here’s the one he’s referring to:

Mick, I poked around a bit to see if I could find one. Sadly all I could find was this one…

…but judging by the reviews on Amazon, it’s junk.

I went looking for more travel hangers and found a few. Boottique’s Travel Hanger is about 11 bucks, but like the one up top, also gets mixed reviews on Amazon. Apparently some folks find that it falls apart.

Here’s Jennifer Rabatel’s “T-square hanger.” (I’m not sure why it’s not called the “Bevel Gauge Hanger,” as that’s the tool it more closely resembles.) As far as I know this isn’t in production, but depending on what kinds of tools you have access to, you might be able to DIY one of these.

This inflatable hanger is a nifty idea for travel, but was apparently unpopular or difficult to produce; it’s been discontinued.

I spotted this design on AliExpress, but I have no faith this thing won’t break.

Sorry I couldn’t find a good travel hanger, Mick. But I did come cross these non-travel, designey hangers that have eye candy value:

The design of the Roomsafari Triangle Hanger, by Christine Nogtev and Chul Cheong, was inspired by the musical triangle.

Here’s a similar unrealized concept (perhaps student work?) allegedly by Cecilia Lundgren, who appears to have gone into painting rather than industrial design.

Yet another similar idea: The Frame stainless steel hanger.

Designer unknown.

This hanger sold by Urbio does not appear to be designed for use on a rod and comes with its own aluminum peg for wall installation.

Designer Martina Bartoli’s Unidentified Flying Hanger was produced in limited numbers following its debut at Milan in 2011.

Designer Chris L. Halstrøm’s Georg Hangers seem like they could double as a kung fu weapon.