The New Range Rover Velar is Already in a Design Museum: Refined yet sinister, the latest member of the auto family makes its debut

The New Range Rover Velar is Already in a Design Museum

Today Land Rover unveiled their all new vehicle, the Range Rover Velar, at the London Design Museum. While that sounds straightforward enough, it’s especially noteworthy that we’re talking about the global unveil of a new mid-sized luxury SUV—at a……

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Yves Béhar creates unthreatening design for Cobalt security robot

Yves Béhar‘s studio Fuseproject worked with robotics company Cobalt to create this robot security guard, designed to be in “stark contrast to the Hollywood dystopian Robocop”.

The robot was unveiled today in San Francisco by new company Cobalt, which was founded in 2016 by engineers formerly of Google X and SpaceX.

Cobalt by Yves Béhar's Fuseproject

Looking more like a tall speaker than an authoritarian android, the Cobalt security robot has an exterior made from aluminium and fabric.

It is designed to operate in offices and foyers, where it performs basic functions like scanning ID cards, but also uses its sensors to detect possible security threats.

Béhar is behind the robot’s form and interaction design, for which he focused on creating a machine that would be accessible and look unthreatening.

Cobalt by Yves Béhar's Fuseproject

“We wanted to design Cobalt to represent a best-case scenario in which technology supports our daily lives,” said Béhar. “Technology can provide awareness, and accountability, keeping us safe without feeling authoritarian.”

“Cobalt is a stark contrast to the Hollywood dystopian Robocop – it discreetly fits into its environment, provides a platform to grow with our needs, and enhances human ability without replacing the human.”

Cobalt by Yves Béhar's Fuseproject

Both Béhar and Cobalt stress that the self-driving robot is intended to work alongside humans rather than replace them.

With data gathered through its sensors and interpreted by advanced algorithms, Cobalt claims the robot will be able to detect and flag anomalies beyond what would be noticeable to a human guard.

It is able to work around-the-clock, and at smaller buildings where the cost of a human security guard might be prohibitive. It also keeps human security personnel out of situations that might be dangerous.

However, humans are not entirely removed from the equation, as robot fleets are supported by a human supervisor who may be working remotely. People in need of assistance have the option to use the Cobalt robot to call the supervisor, who then appears on the screen, giving the machine a literal human face.

Cobalt by Yves Béhar's Fuseproject

“One of the core fundamental values of Cobalt is to enable human-to-machine interactions,” said Cobalt CTO and co-founder Erik Schluntz. “The way we do that is designing a robot to interact with and around people.”

Béhar – who has already shaped the design of robotic devices ranging from cribs to juicers – gave the robot a fabric covering to convey a “soft and friendly” persona.

“We decided that the robot should not adopt a humanoid personality,” he said. “Instead, it should aesthetically align with the furniture and decor of the office environment.”

Cobalt by Yves Béhar's Fuseproject

The tensile fabric – which covers the robot’s sensors, cameras and self-driving mechanism – also has the benefit of preventing overheating by increasing airflow.

A CNC aluminium element at the head of the robot holds the display, office ID scanner and various buttons. It can roam fluidly around a space, and is just tall enough to operate around most open-plan office cubicles.

It reads environments using a combination of 360-degree and depth cameras, infrared and ultrasonic sensors, and smoke detectors. Algorithms involving machine learning, semantic mapping, novelty detection, and deep neural networks are used to interpret the data.

Cobalt by Yves Béhar's Fuseproject

Some common abnormalities Cobalt suggests the robot would spot are an open window, a loud noise, a gas leak, a suspicious package or an after-hours intruder. In the case of an incident, the robot begins recording and engages its supervisor.

“Security guards should not put themselves in dangerous situations, nor do they have the ability to know everything that is happening in an office,” said Béhar. “This is where a robot can be truly effective.”

“With the right sensing abilities, a robot can detect anything happening that is out of the ordinary.”

The post Yves Béhar creates unthreatening design for Cobalt security robot appeared first on Dezeen.

RCR Arquitectes wins Pritzker Prize 2017

Rafael Aranda, Carme Pigem and Ramon Vilalta of Spanish studio RCR Arquitectes have been named as the 2017 laureates of the Pritzker Prize, architecture’s most prestigious award.

The three Catalan architects are the 39th recipients of the Pritzker Prize, and will receive a $100,000 (£81,000) grant and bronze medallion at a ceremony held at the State Guest House in Tokyo on 20 May 2017.

Aranda, Pigem and Vilalta founded their practice RCR Arquitectes in 1988. The studio, which came in at number 249 on the Dezeen Hot List, is based in Olot in Spain’s Catalonia Region.

This is the first time that three architects have been awarded the Pritzker Prize, and just the second time the award has gone to laureates from Spain – with the first being Rafael Moneo in 1996.

Crematorium Hofheide in Belgium by Coussée & Goris architecten and RCR Arquitectes
RCR Arquitectes worked on a tinted concrete and steel crematorium in Holsbeek, Belgium, with Coussée & Goris Architecten

“Aranda, Pigem and Vilalta have had an impact on the discipline far beyond their immediate area,” said the Pritzker jury, which was chaired by Australian architect Glenn Murcutt.

“Their works range from public and private spaces to cultural venues and educational institutions, and their ability to intensely relate the environment specific to each site is a testament to their process and deep integrity.”

The group recently completed a tinted concrete and steel crematorium in Holsbeek, Belgium, and collaborated on an entrance to the Garrotxa Volcano Park in Les Preses near their home town of Olot.

The park is one of a number of projects the trio has completed in Olot, alongside the Les Cols Restaurant Marquee (2011), the Barberí Laboratory (2008) and the Tossols-Basil Athletics Track (2000)

Among their other notable projects are the Bell–Lloc Winery in Girona and Sant Antoni – Joan Oliver Library, Senior Citizens Center and Cándida Pérez Gardens in Barcelona – both completed in 2007.

The trio completed the Bell–Lloc Winery in Girona in 2007

“They’ve demonstrated that unity of a material can lend such incredible strength and simplicity to a building,” said Murcutt.

“The collaboration of these three architects produces uncompromising architecture of a poetic level, representing timeless work that reflects great respect for the past, while projecting clarity that is of the present and the future.”

The architects discuss how their approach to architecture has emerged over almost three decades of collaboration, in a video made by Pritzker.

“When we begin a project, we are very interested in visiting the place,” says Carme Pigem. “We are used to ‘reading’ the place as if it spoke to us with its own alphabet – an alphabet established between the site and us.”

“It is also very important to study what we are to do there. We don’t like to start with a typology or assumptions,” she added.

It is this particular approach to site specificity that won the group this year’s Pritzker Architecture Prize.

The architects discuss their approach to architecture in this film

“We live in a globalised world where we must rely on international influences, trade, discussion, transactions,” said the jury. “But more and more people fear that because of this international influence we will lose our local values, our local art, and our local customs. Rafael Aranda, Carme Pigem and Ramon Vilalta tell us that it may be possible to have both.”

“They help us to see, in a most beautiful and poetic way, that the answer to the question is not ‘either/or’ and that we can, at least in architecture, aspire to have both; our roots firmly in place and our arms outstretched to the rest of the world.”

The international award, which is modelled on the Nobel Prize, was set up in 1979 to honour the work of living architects.

Last year’s winner was Chilean architect and Venice Biennale curator Alejandro Aravena. Frei Otto, Rem Koolhaas, Zaha Hadid and Toyo Ito are among past recipients of the annual award.

Read the full citation from the Pritzker Prize jury:

Rafael Aranda, Carme Pigem and Ramon Vilalta, three architects who have worked closely together for almost 30 years in a deliberate and thoughtful approach to architecture are recognised with the 2017 Pritzker Architecture Prize. Their works admirably and poetically fulfil the traditional requirements of architecture for physical and spatial beauty along with function and craftsmanship, but what sets them apart is their approach that creates buildings and places that are both local and universal at the same time.

They established their office, called RCR for their three first names, in Olot, their hometown in the Catalonian region in the northeast of Spain, resisting the call of the metropolis in favour of remaining closely connected to their roots. The process they have developed is a true collaboration in which neither a part nor whole of a project can be attributed to one partner. Their creative approach is a constant intermingling of ideas and continuous dialogue.

All their works have a strong sense of place and are powerfully connected to the surrounding landscape. This connection comes from understanding – history, the natural topography, customs and cultures, among other things – and observing and experiencing light, shade, colours and the seasons. The siting of buildings, the choice of materials and the geometries used are always intended to highlight the natural conditions and pull them into the building.

The Bell-Lloc Winery (2007), in the town of Palamós, near Girona, Spain, for example, a building embedded in the ground, is about the soil that produces the grapes, the cool dark cellars needed for the ageing of wine and the colour and weight of the earth. The extensive use of recycled steel fuses the building with the earth and the openings between the steel slats allow in hints of light.

The marquee (2011) creating an outdoor dining and event space at Les Cols Restaurant in Olot is another example of the fusion of landscape and minimal modern materials to create a useful and popular venue. Some have said that they are reminded of places for countryside meals with family and friends. The space fits into a valley carved out in the landscape by the architects. Strong walls of volcanic stone support a light weight and transparent polymer roof to protect against rain and sun. The furniture and vertical hanging blinds that can sub-divide the space are also of clear plastic, which puts the emphasis on food, festivities and the natural setting.

In other works, such as their own office (2007), a former foundry built at the beginning of the 20th century, the juxtaposition of past and present is undertaken in a most thoughtful, clear and respectful way. Just as exterior and interior are closely intertwined in their works, so are new and old. All of the original industrial building that could remain, was left ‘as is’.

By adding new elements only where needed and in contrasting materials, the architects demonstrate their love for both tradition and innovation. The resulting building, which they call Barberí Laboratory, is comprised of varied, flexible and highly functional spaces. While Rafael Aranda, Carme Pigem and Ramon Vilalta have a deep sense and knowledge of history, they use materials and modern construction to create spaces that could not have been created before.

Community is another word that comes to mind when speaking of the work of Aranda, Pigem and Vilalta. Both in the bright and colourful nursery school in Besalú, Girona, El Petit Comte Kindergarten (2010) and the Sant Antoni – Joan Oliver Library, Senior Citizens Center and Cándida Pérez Gardens in Barcelona (2007), those who will inhabit the buildings are at the forefront of their concerns. It is obvious when seeing the rainbow colours of the tubes that define the exterior of the school that this is for children’s enjoyment, creativity, and fantasy. The library, a commission won through a competition, as are many of RCR’s projects, is situated within the fabric of an existing city block, is a needed amenity in this busy part of Barcelona. Visitors are welcomed into the library. The richness and variety of spaces invite exploration and are casual enough to create a relaxed and friendly atmosphere. The library also acts as a gateway to an interior courtyard. The senior citizens centre looks onto this space where children, library goers, neighbours and seniors can mingle.

The architects have also tackled important works outside their home in Catalonia. They have built in Belgium and France. The Soulages Museum (2014) in Rodez, France, for example, houses the works of the abstract painter Pierre Soulages and forms a symbiosis with the artist, who seems to paint with light. This building of steel and strong geometric shapes cantilevers over the site, seeming to defy gravity and like many of their other works is in dialogue with the landscape. The architects have sought to create “a space that is as close to nature as possible, enhancing our sense that we are part of it.”

In this day and age, there is an important question that people all over the world are asking, and it is not just about architecture; it is about law, politics, and government as well. We live in a globalised world where we must rely on international influences, trade, discussion, transactions, etc. But more and more people fear that, because of this international influence, we will lose our local values, our local art, and our local customs. They are concerned and sometimes frightened. Rafael Aranda, Carme Pigem and Ramon Vilalta tell us that it may be possible to have both. They help us to see, in a most beautiful and poetic way, that the answer to the question is not ‘either/or’ and that we can, at least in architecture, aspire to have both; our roots firmly in place and our arms outstretched to the rest of the world. And that is such a wonderfully reassuring answer, particularly if it applies in other areas of modern human life as well.

Each building designed by these architects is special and is uncompromisingly of its time and place. Their works are always the fruit of true collaboration and at the service of the community. They understand that architecture and its surroundings are intimately intertwined and know that the choice of materials and the craft of building are powerful tools for creating lasting and meaningful spaces. For these reasons, exemplified in all their built work, and for their ability to express the local, but also the universal, uniting us with one another through architecture, Rafael Aranda, Carme Pigem and Ramon Vilalta are awarded the 2017 Pritzker Architecture Prize.

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Space & Interiors announces lightness theme for 2017 exhibition

Dezeen promotion: Space & Interiors will focus on the use of light in interior products for this year’s event, which takes place during Milan design week.

Now in its second edition, the Space & Interiors exhibition will focus on contemporary design trends for home interiors. Here, solutions such as finishes, materials and windows by a range of manufacturers will be exhibited.

Space & Interiors
Space & Interiors focuses on contemporary design trends for home interiors and exhibit solutions by a range of manufacturers, like the CP Sistemi security door

As with the inaugural event last year, which attracted over 8,000 professional visitors, the show will be located in Milan‘s Brera Design District at the Mall Porta Nuova.

It will take place from 4 to 8 April 2017, alongside the annual furnishing and design event Salone del Mobile.

Space & Interiors
Window solutions, including Mogs’ designs for streamlined frames, are also included

The Absolute Lightness exhibit, created by Migliore+Servetto Architects, will showcase how different manufacturers incorporate the concept of weightlessness into products.

The architects’ exhibition will be split into three sections across the hall. One will occupy the central promenade, where long white tables will allow visitors to explore contents and products via an interactive app.

Space & Interiors
These cladding panels by Zanette can be used for both outdoor and indoor spaces

A second, more visual section will feature quotes, photography and illustrations, while on the upper level projections and lighting will jut out over the tables below.

Aisles between the tables will be highlighted by huge, round hovering projections and thin lines of light, to emphasise the significance of transitions.

Space & Interiors
Doors with hidden frames and another made from brushed oak are further product examples

“We have created a narrative space to highlight the stated theme of lightness, which has traditionally been a focus of architecture and, generally speaking, of projects that draw significance from materials and spaces,” architects Ico Migliore and Mara Servetto explained.

Another exhibit named La Luce del Marmo, which is promoted by the Internazionale Marmi e Macchine Carrare SpA, will focus on three themes: Carrara marble, lightness and light.

Space & Interiors
On a smaller scale is this tempered glass, touch-free toilet flush light

This exhibition will feature three different but integrated areas, including a commercial trade show and a space to accommodate private business meetings. A more immersive area will house a dynamic installation spotlighting the characteristics and qualities of individual products.

Space & Interiors
Visitors can also explore wallpaper, like Arte’s Hover pattern, which depicts a flock of birds

Meetings and workshops will also take place, while a lounge area will host Archicocktails evenings with special guests, including Fabio Novembre, Luca Molinari, Carlo Lazzarini, Carl Pickering, Alfonso Femia, Carla Baratelli, Fabio Rotella and Duccio Grassi.

For further details, visit the Space & Interiors website.

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Key projects by Pritzker Prize 2017 winner RCR Arquitectes

With the news that little-known Catalan studio RCR Arquitectes has won this year’s Pritzker Prize, here’s a look at some of the firm’s most important projects.

Rafael Aranda, Carme Pigem and Ramon Vilalta all studied at the School of Architecture in Vallès, and set up their practice in their home town of Olot, Catalonia, in 1988.

Their work ranges from public and private spaces to cultural venues and educational institutions, each designed to closely relate to the environment of its site.

The three architects started working locally, designing an athletics track for the town in 2000 before creating their own office in an old foundry there eight years later. RCR Arquitectes‘ other projects in Olot include a private house and a restaurant.

Many more of the studio’s projects over the past 10 years have also been located in Spain’s Girona province, ranging from a winery to a kindergarten and a public theatre.

Later the firm began building slightly further afield – completing an art centre and a museum in France in 2014.

Often collaborating with other architects, the trio uses materials like recycled steel and plastic. The Pritzker jury described their projects as “beautiful and poetic”.

“Each building designed by these architects is special and is uncompromising of its time and place,” said the jury citation. “Their works are always the fruit of true collaboration and at the service of the community.”

“They understand that architecture and its surroundings are intimately intertwined and know that the choice of materials and the craft of building are powerful tools for creating lasting and meaningful spaces.”

See key projects by RCR Arquitectes below, in roughly chronological order:

Tossols-Basil Athletics Track

Tossols-Basil Athletics Track, 2000, Olot, Girona, Spain

Looping through two clearings in an oak forest, the running track avoids the trees and is coloured green to blend with its surroundings.

The natural topography of the site provides stands for spectators, while a small pavilion comprising two Corten steel volumes includes a bar and storage for the football field.

Bell–Lloc Winery

Bell–Lloc Winery, 2007, Palamós, Girona, Spain

A descending pathway with angled steel sides funnels visitors down from opposite directions to the entrance of the winery.

Once inside, the material also creates a vaulted ceiling over the wine production machinery and barrel storage areas, where gaps in the roof allow slithers of light into the underground spaces.

Sant Antoni – Joan Oliver Library, Senior Citizens Center and Cándida Pérez Gardens
Photograph by Eugeni Pons

Sant Antoni – Joan Oliver Library, Senior Citizens Center and Cándida Pérez Gardens, 2007, Barcelona, Spain

Situated in Barcelona’s dense Eixample district, this cultural venue was intended to break the continuity of its historic street.

A bridging section of the front building – which houses the library – provides public access underneath to a courtyard behind, where a low-slung volume wraps around the edge.

Barberí Laboratory

Barberí Laboratory, 2008, Olot, Girona, Spain

RCR Arquitectes transformed a former foundry in their home town into their own offices and studio.

Elements of the original building, like crumbling walls and a steel structure, were preserved. They were then paired with huge expanses of glass to create light-filled workspaces.

El Petit Comte Kindergarten

El Petit Comte Kindergarten, 2010, Besalú, Girona, Spain
In collaboration with Joan Puigcorbé

Gradients of colourful plastic create a rainbow effect across this kindergarten building.

A courtyard at the centre lets children play outside in a protected environment, while the plastic allows coloured light to flood the spaces inside.

La Lira Theater Public Open Space

La Lira Theater Public Open Space, 2011, Ripoll, Girona, Spain
In collaboration with Joan Puigcorbé

To form a covered public space for theatre productions, the architects built a slatted-steel box, with angled sides and open ends, over a plaza sandwiched between two old structures.

The volume faces a river and is connected to the opposite bank via a bridge made from the same material.

Les Cols Restaurant Marquee

Les Cols Restaurant Marquee, 2011, Olot, Girona, Spain

Swooping over this restaurant is a lightweight structure made from thin metal pipes, with translucent plastic stretched across the top.

The canopy evokes the experience of dining al fresco, and extends beyond the enclosed space to protect those who are actually eating outside.

Row House

Row House, 2012, Olot, Girona, Spain

When renovating this house in their home town, the architects exposed the underside of its tiled roof and concealed circulation on either side behind thin vertical louvres.

In the central space – illuminated by a giant glass wall at the back – contemporary insertions form a sunken kitchen and dining level, with two separate mezzanines for lounging and sleeping above.

La Cuisine Art Center

La Cuisine Art Center, 2014, Nègrepelisse, France

Tucked inside the stone walls of a historic chateau, rooms made from steel and glass wrap around three sides of the building’s internal perimeter.

These spaces host exhibitions, conferences and workshops dedicated to the art and design of food and cooking, and face a central courtyard that is used for larger events.

Soulages Museum

Soulages Museum, 2014, Rodez, France
In collaboration with G Trégouët

Contemporary art exhibitions are housed within weathering-steel boxes that cantilever slightly from a small slope.

The galleries are linked by glazed corridors and bridges, forming a route through the museum.

Photography is by Hisao Suzuki, unless stated otherwise.

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RCR Arquitectes describe ambitions for "architecture that conveys beauty" in Pritzker Prize movies

In this series of movies, Pritzker Prize 2017 laureates Rafael Aranda, Carme Pigem and Ramon Vilalta describe how nature, landscape and “atmospheres” influence their approach to architecture.

The RCR Arquitectes founders, who are based in Spain’s Catalonia Region, have received critical acclaim for projects including the Tossols-Basil Athletics Track in Olot and the Bell-Lloc Winery in Girona.

The trio talk through the different aspects of their design process in these four films, released today to coincide with the announcement that they have won architecture’s most prestigious award.


On place

In the first film, the architects explain the importance of place in their designs – whether at home or abroad.

“When we begin a project, we are very interested in visiting the place,” says Pigem. “We are used to ‘reading’ the place as if it spoke to us with its own alphabet – an alphabet established between the site and us.”

“Building in places far from home, encourages us to understand those places,” adds Aranda. “We are passionate about this. We do not want to do the same thing that we do at home and just transplant it.”


On nature

In the second of the four movies, the architects describe their quest for architectural beauty, which they try to create through relationships between their buildings and nature.

“We like to speak of creating atmospheres. We have always tried to create architecture that makes people feel it, to evoke feelings and transmit a sensation of well-being and beauty,” says Aranda.

“We like to speak of beauty. We believe in this – architecture that conveys beauty.”

“For us, nature and landscape have always been important. We have learned a lot from nature, even from an early age. Our relationship with it is frank, direct,” adds Vilalta.


On materials

The use of materials is the subject of the third movie. The trio advocate a “less is more” approach to construction, using few and natural materials whenever possible.

“We have believed in trying to do the maximum using the minimum,” claims Aranda.

“By using just one material we hope to be able to create an atmosphere. And this is positive for us.”


On collaboration

In the fourth and final movie, Vilalta talks about the value in working as a collaborative – referencing the fact that no trio has ever won the Pritzker Prize before now.

“We have believed in dialogue. In a way it’s like ‘spoken jazz’,” he says. “One says something, another one continues.”

“This type of conversation takes you to unexpected places. It’s almost a reaction against the contemporary world that has promoted, in and exaggerated way, the value of the individual.”

RCR Arquitectes are 39th recipients of the Pritzker Prize. The trio will receive a $100,000 (£81,000) grant and bronze medallion at a ceremony held at the State Guest House in Tokyo on 20 May 2017.

“Aranda, Pigem and Vilalta have had an impact on the discipline far beyond their immediate area,” said the Pritzker jury, which was chaired by Australian architect Glenn Murcutt.

“Their works range from public and private spaces to cultural venues and educational institutions, and their ability to intensely relate the environment specific to each site is a testament to their process and deep integrity.”

The post RCR Arquitectes describe ambitions for “architecture that conveys beauty” in Pritzker Prize movies appeared first on Dezeen.

Rehydration Reminder


The Seal bottle isn’t what you think it is. You’re probably under the impression that the Seal has an illuminating cap that reminds you to drink water. Well actually, its purpose is completely different. The Seal is a two part smart-bottle that allows people with kidney diseases to regulate their fluid intake. The cap of the bottle uses patient details to determine how much and how frequently a patient must consume water or any fluid. An LED light on the cap alerts the user when they need to consume water, while an app allows the patient to see what rate they are drinking at, and how much prescribed water do they have left for the day.

Quite a stylish looking bottle for what essentially is a medical device, no?

Designer: Hugo Hope-Wynne







Tools & Craft #37: "A Nation Thta's Losing Its Toolbox"

This is not about the current debate on manufacturing. This is about people learning to make things with their hands.

This image is of the tool department of the E. L. Wilson Hardware Company, Beaumont, TX. and comes from the book “The Modern Hardware Store” edited by Carl W. Dipman 1929.

Years ago the Times ran an article called “A Nation That’s Losing Its Toolbox.” If you haven’t read it, you should. More recently, Doug Stowe’s constantly updated Wisdom of the Hands blog is all about how we are falling short of teaching our kids craft. Reading both of these gives you a sense of the loss of craft skills, the effects on the economy and what happens to our general national psyche and self-identity when those kids who never had shop class grow up.

Some of the points raised by Times writer Michael Falco weren’t very persuasive to me. He mentioned that cooking shows and DIY shows are very popular, but he didn’t seem to know what to do with that fact. He described it as wistful nostalgia. To me, it’s striking that although these shows are ostensibly about craft, they’re less about doing it yourself and more about consuming craft. He also doesn’t mention some of the root causes of the decline in craft skills, like the increase in the work week and the disappearance of leisure time. As a nation we want to be craftsmen, but many people don’t have the time and have lost the inclination to get their hands dirty. Falco also doesn’t mention that a lot of the things people used to build or repair have become too inexpensive and too hard to repair to justify the time.

The article notes that many tool customers are immigrants, and suggest this is further evidence of the loss of skill in the mainstream. But, at least in the largest cities, crafts were always dominated by immigrants. Even as far back as Duncan Phyfe, who was born in Scotland, immigrant craft labor was pretty common. Still, the article does raise important points, like how can we revive a manufacturing base when as a nation we get further and further away from the notion that we can make stuff.


This “Tools & Craft” section is provided courtesy of Joel Moskowitz, founder of Tools for Working Wood, the Brooklyn-based catalog retailer of everything from hand tools to Festool; check out their online shop here. Joel also founded Gramercy Tools, the award-winning boutique manufacturer of hand tools made the old-fashioned way: Built to work and built to last.

A Business Incubator Service that Comes to You

Three years ago we started prototyping a new kind of incubation as a service. Not a building filled to the brim with young guys and their high tech, high growth app-building ventures, but instead, a kind of service that comes to you—and gets plugged into centers, workspaces, labs, makerspaces and bars. One of our first programs was in a bar called Crate in Hackney Wick, East London. 

The service is called Upstarter, and we help creative producers, designers, theater makers, social innovators, and other folks with new ideas to develop great entrepreneurial muscles rapidly, while building an audience base and effectively prototyping their business. Typically these sort of people and ideas are not being supported by existing incubators who tend to focus more on scalable technology applications and services. In just six evenings, we got people off the starting blocks and in front of potential customers. 

The tools we make to work with our entrepreneurs.

We’ve worked in many different spaces and places, and that’s what we love to bring— ‘incubation for the rest of us’—delivered in places where we are. And it’s a non-profit organization, not a typical Silicon Valley style VC. This all started out at the UK Design Council with emerging technology startups. We then kicked the idea around at Carnegie Mellon University’s Schools of Design & Architecture with the aim being to bring a little entrepreneurial opportunity to their students.

Now Upstarter runs a range of short and longer-term programs. We initiate events and do lots and lots of face-to-face mentoring. Our mentoring continues with some amazing startups such as Technikio, Museum in a Box, Circumstance, Mayfly…. and we have been lucky to work at Fab Lab Barcelona, Machines Room in London, Pervasive Media Studio in Bristol and many other partners. 

We work with people exploring whole new technologies, new forms of books for example and new forms of business.

We are starting to extend our work with others, and a trip to NYC in February gave Upstarter the chance to reconnect with like-minded folk in the US, including Made In the Lower East Side (MiLES), Brooklyn Fashion and Design Accelerator and Civic Hall. We hope to return soon and bring some of our design-led, entrepreneurial support to micro business owners that are trying out new things, often combining their creative talents with solid intentions around positive social impact.

We know that our future economy is not only going to come from Silicon Valley but needs to be home grown around the world. Upstarter isn’t doing this any of this alone. Instead we’re just one part of a network of DIY enthusiasts, makers, designers and social innovators—a global community, a movement even, that could help transform economies. We’re excited to help support people to make that happen.

Learn more at and follow along on twitter at @upstarting

Colorful & Creative Artwork by Antoni Tudisco

Antoni Tudisco a imaginé une nouvelle mise en scène créative autour de la nouvelle Nissan Micra, en partenariat avec Fubiz et Nissan. Il a créé une ville entre immeubles et routes , serpentant entre les constructions. Il a ajouté des touches de couleurs à l’aide de sphères orange, jaune et argentée. L’artiste a souhaité nous montrer la polyvalence de la nouvelle version de la citadine : fun, adaptée à des utilisateurs urbains voulant une route agréable, et en toute sécurité, à l’aide du Bose Sound System et de l’Intelligent Mobility.