"Stylectrical: On Electro-Design That Makes History" Exhibit in Hamburg

Stylectrical

Last Friday, while the web was freshly abuzz with news of Steve Jobs’ retirement, Germany’s Museum for Arts and Crafts in Hamburg quietly opened an exhibition they’d been planning for some time. Stylectrical: On Electro-Design That Makes History is a 300-piece show looking at “the complex process of industrial product design in the context of cultural studies, focusing on the design of Apple.”

Though neither planned nor branded as an Apple-centric show, more than half of the works on display are from Cupertino:

The focus is on the design of Jonathan Ive, Senior Vice President of Industrial Design at Apple, [the man] responsible for creating all of the devices of the California based company. His products are of incomparable popularity on account of their extremely consistent and recognizable design. More than half of the 300 exhibits are products by Apple, which are shown for the first time in a comprehensive overview.

The exhibition traces a retrospective of works as well as of the company’s internal development of design, and moreover provides a comprehensive insight into research questions of design history by means of this popular design. In this context the Museum…will be showing some first-rate items from its own comprehensive collection of post-war industrial design, including works of the designers Michele De Lucchi, Tobias Grau, Hans Gugelot, Herbert Hirche, Peter Raacke, Dieter Rams and Hadi Teherani. Further the exhibition focuses on the economic importance of design.

The exhibition will run through January 15th of next year.

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Research: Learning Extreme Empathy by Paul Backett

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This is the second post in a 6-part series from Ziba’s Industrial Design Director, Paul Backett, on rethinking design education. Read the Introduction to the series, Teach Less, Integrate More here.

Great designers are great empathizers. It’s what separates a design that has soul from one that’s simply well-realized. In my experience as a design director and as a teacher, it’s become painfully clear that the ability to connect with users is something design students must learn, as crucially as they need sketching and CAD.

Unfortunately, the most common student design project has students designing with themselves as the target user. Research becomes a box to be ticked, and certainly never integrated into the design process. The real world, though, is full of unfamiliar design targets, and schools have a responsibility to teach the difficult skill of taking on their perspectives. What students need to learn is not just empathy, but extreme empathy—the flexibility to inhabit the mind of someone dramatically unlike themselves.

In student projects as well as professional practice, we observe several users fitting a target profile, then build a character that summarizes and exaggerates their functional and emotional needs. But students too often make the more comfortable choice by picking a friend as their target. That’s not good enough. Because this is someone they’re already familiar with, they’re blinded to the details. More important, it lets them off the hook of doing real research. A real strategic target is like a character in a movie: aspirational to others and inspirational to the designer.

It also bypasses another needed skill: learning to love someone unfamiliar. I recently put my students at the University of Oregon through a character-building exercise. During the first critique, one group summed up their presentation by describing their character Michael as ‘a bit of a douche.’ While he may have had qualities they didn’t appreciate, they were going to be spending the next 12 weeks with this guy, so I let them know they’d better find something they liked!

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Penleigh and Essendon Junior Boys School by McBride Charles Ryan

Penleigh and Essendon Junior Boys School by McBride Charles Ryan

This shimmering silhouette in the shape of three overlapping houses is in fact a junior school for boys in a Melbourne suburb.

Penleigh and Essendon Junior Boys School by McBride Charles Ryan

The two-storey school building is faced in glossy black tiles and was designed by Australian architects McBride Charles Ryan.

Penleigh and Essendon Junior Boys School by McBride Charles Ryan

Inside the extruded silhouette the school provides six classrooms, breakout spaces, a meeting room and a staff room.

Penleigh and Essendon Junior Boys School by McBride Charles Ryan

Classrooms on the first floor have curved ceilings that wrap into the pitched roofs above, while walls in ground floor classrooms have rounded edges.

Penleigh and Essendon Junior Boys School by McBride Charles Ryan

A long timber bench lines the corridor that links ground floor rooms.

Penleigh and Essendon Junior Boys School by McBride Charles Ryan

Similar buildings from the Dezeen archive include a hotel that looks like a pile of houses and a furniture showroom that looks like stacked barns.

Penleigh and Essendon Junior Boys School by McBride Charles Ryan

Photography is by John Gollings.

Penleigh and Essendon Junior Boys School by McBride Charles Ryan

Here are some more details from the architects:


Penleigh and Essendon Grammar
School – Junior Boys Building

Brief + Design:
Penleigh and Essendon Junior Boys School began in an Italianate mansion on windy hill, opposite the Essendon Footy Club. This building is exceptional in a residential area where Federation housing dominates.

Penleigh and Essendon Junior Boys School by McBride Charles Ryan

Slowly the school has accumulated much of the property in the block bounded by Nicholson, Raleigh, Napier & Fletcher Streets. Many of the ‘houses’ are now occupied by the school. This new project, a two storey year 5 & 6 block with 3 classrooms above and below, is an important addition to the school and public interface to Nicholson Street.

Penleigh and Essendon Junior Boys School by McBride Charles Ryan

We wanted this building to acknowledge and exploit its unusual urban condition. All wanted this building to be a unique acknowledgment of an important threshold stage in the boy’s school life. All wanted more than just good accommodation, and we wanted a building of the imagination.

Penleigh and Essendon Junior Boys School by McBride Charles Ryan

Click above for larger image

This proposal takes just the silhouette of a Federation Home, it is up-scaled, extruded and sliced. The front of the building might be described perhaps as a haunted house, the centre (the extrusion) is vaguely a Shinto Shrine, the rear (which interfaces with the schools ovals), if you squint – The Big Top.

Penleigh and Essendon Junior Boys School by McBride Charles Ryan

Click above for larger image

The planning is arranged so as to provide northern courtyards to the ground floor classrooms, upstairs the corridor is switched to reduce overlooking to the adjacent neighbour. The ground floor Grade 5 classrooms have rich deep colours and an earthy ambience. The first floor is ethereal. With more than a nod to Utzons Bagsvaerd Church the complex silhouette is smoothed to a cloudlike shape. The extruded chimney a source of light and a means of naturally ventilating the classroom space.

Penleigh and Essendon Junior Boys School by McBride Charles Ryan

Click above for larger image

Principal Architects: Rob McBride, Debbie-Lyn Ryan
Project team: Benedikt Josef, Amelia Borg, Natasha Maben.


See also:

.

Evelyn Grace Academy
by Zaha Hadid
Leimondo Nursery School by
Archivision Hirotani Studio
Sandal Magna School
by Sarah Wigglesworth

Autodesk’s "Introduction to Design for Lifetime" video

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As part of their Sustainability Workshop series, Autodesk’s excellent “Introduction to Design for Lifetime” vid clearly and visually explains the factors we need to consider when introducing new products. We like that it recognizes that some products should be made to last a long time, others should live shorter lives, and that there’s a grey area of products in between that are not so easy to classify; but the one thing they all need to share is a good “end-of-life” strategy. Check it out:

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Teach Less, Integrate More by Paul Backett

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This is the first post in a 6-part series from Ziba’s Industrial Design Director, Paul Backett, on rethinking design education.

A lot of recent discussion about design education argues for expanding the design student’s skill set. Many of today’s Industrial Design programs ask their students to be social scientists, technologists, business analysts and brand strategists—just about everything. The reality is, most of these skills are best learned through experience on the job, and the traditional ID skill set still makes for the best foundation: framing the problem, exploring ideas, making prototypes and storytelling.

What’s far more important, and more neglected, is that students learn to properly integrate the skills that they do learn. It’s not enough to know how to sketch, model or do user research; these skills must connect to each other, in every project the student undertakes. Used correctly, they enable us to find the solutions and tell the stories that ensure their success. But by expanding the list of “capabilities” students have, many schools are sacrificing the most important capability of all: to approach a design problem with tools that work together seamlessly.

And this has had serious negative consequences. In the 11 years I have worked as a designer, I have seen a deterioration of the core skills of design—the essential craft of what we do. When I left school in 2000, CAD and digital rendering were simply tools at our disposal. Since then they have become so powerful and so easy that they tempt students to skip over the fundamentals of the design process. It’s far easier today to jump into CAD and deliver a glossy rendering that disguises lazy design work. This simply wasn’t possible in the past.

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CCA ID Department Busts Out a New Video

CCA in San Francisco has just launched a new video featuring work, students, faculty and alumni from the Industrial Design program.

Students envision not only new generations of products, but also new services and businesses, from broad ecological, commercial, and cultural perspectives. To facilitate such far-reaching work, they receive a foundation in anthropological research, material culture, and whole-systems thinking. They work individually and as teams and make the most of CCA’s proximity to Silicon Valley and its wealth of technology.

Core77 has a soft spot for the school of course, from when we transformed the massive structure from this to this (more here), had the fire department arrive to shut down the smoke machines (you know, for the robot’s laser eyes) and clear out the party before the half-naked marching band arrived, but that’s another story….

Do check out the video above and get more details about their program here. You can keep your shirt on if you’d like.

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Prasad Boradkar’s "Designing Things: A Critical Introduction to the Culture of Objects"

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Two months ago, Prasad Boradkar quietly released Designing Things: A Critical Introduction to the Culture of Objects, a book on design and design studies that seeks to connect objects and theories.

When and why did the turntable morph from playback device to musical instrument? Why have mobile phones evolved changeable skins? How many meanings can one attach to such mundane things as tennis balls? The answers to such questions illustrate this provocative book, which examines the cultural meanings of things and the role of designers in their design and production.

Designing Things provides the reader with a map of the rapidly changing field of design studies, a subject which now draws on a diverse range of theories and methodologies—from philosophy and visual culture, to anthropology and material culture, to media and cultural studies. With clear explanations of key concepts—such as form language, planned obsolescence, object fetishism, product semantics, consumer value and user needs—overviews of theoretical foundations and case studies of historical and contemporary objects, Designing Things looks behind-the-scenes and beneath-the-surface at some of our most familiar and iconic objects.

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Leimondo Nursery School by Archivision Hirotani Studio

Leimondo Nursery School by Archivision Hirotani Studio

Pyramidal chimneys perforated by square windows draw light into the playrooms of a Japanese nursery by Archivision Hirotani Studio.

Leimondo Nursery School by Archivision Hirotani Studio

Top: photograph by Archivision Hirotani Studio

The pointed skylights provide the single-storey Leimondo Nursery School with high ceilings in each of the seven playrooms, as well as in the children’s bathroom.

Leimondo Nursery School by Archivision Hirotani Studio

Openings of assorted shapes create windows and doors through the internal walls of the nursery.

Leimondo Nursery School by Archivision Hirotani Studio

A chair has been mounted on the ceiling of one playroom, whilst five differently coloured clocks line the wall of another.

Leimondo Nursery School by Archivision Hirotani Studio

Located in the city of Nagahama, the nursery provides daycare for children up to the age of five.

Leimondo Nursery School by Archivision Hirotani Studio

Other preschools featured on Dezeen in recent months include a Japanese school filled with overlapping arches and an Italian kindergarten split into house-shaped blockssee all our stories about nurseries and kindergartens here.

Leimondo Nursery School by Archivision Hirotani Studio

See also: a shimmering copper-clad beauty parlour also designed by Archivision Hirotani Studio.

Leimondo Nursery School by Archivision Hirotani Studio

Photography is by Kurumata Tamotsu, apart from where otherwise stated.

Leimondo Nursery School by Archivision Hirotani Studio

Here are some more details from Archivision Hirotani Studio:


The “Leimondo” Nursery School in Nagahama

This nursery school for children, from years zero to five years, stands on the outskirts of Nagahama city in Shiga prefecture.

Leimondo Nursery School by Archivision Hirotani Studio

The school has been planned as a single-storey structure with a feeling of transparency between each of the spaces as well as the exterior landscape and, the “House of Light”,as we call it, has been placed in the main nursery area.

Leimondo Nursery School by Archivision Hirotani Studio

What we mean by the “House of Light” are conical, square light-wells of different shapes, different color and facing different directions in the high ceiling bringing in various “lights” into the interior space, changing with the time and the seasons.

Leimondo Nursery School by Archivision Hirotani Studio

The children may be able to feel the changes of these “lights”, even chase them and play with them, and to enjoy this gift of “light” in their daily activities.

Leimondo Nursery School by Archivision Hirotani Studio

Above: photograph by Archivision Hirotani Studio

Furthermore, the shape of the “House of Light” may be seen from the outside as its unique silhouettes are outlined against the almost unchanging rural scenery, providing it with a little more character.

Leimondo Nursery School by Archivision Hirotani Studio

Project Name: Leimond-Nagahama Nursery School
Location: Nagahama, Shiga, Japan
Use: Nursery School

Leimondo Nursery School by Archivision Hirotani Studio

Site Area: 5625.40 m²
Building Area: 690.99 m²
Gross Floor Area: 600.73 m²

Leimondo Nursery School by Archivision Hirotani Studio

Building Scale: 1 story
Structure: Steel
Maximum Height: 9.055 m²

Leimondo Nursery School by Archivision Hirotani Studio

Design Year: 2010
Completion Year: 2011

Leimondo Nursery School by Archivision Hirotani Studio

Architect: Hirotani Yoshihiro and Ishida Yusaku / Archivision Hirotani Studio
Client: Social Welfare Corporation Lemonkai

Leimondo Nursery School by Archivision Hirotani Studio

Structural Engineers: Umezawa structural engineers
Mechanical Engineers : Azu planning
General Contractors: K.K.Okuda Koumuten

Leimondo Nursery School by Archivision Hirotani Studio

Leimondo Nursery School by Archivision Hirotani Studio

Click above for larger image

Leimondo Nursery School by Archivision Hirotani Studio

Click above for larger image


See also:

.

Alte Schule Winterbach
by Archifaktur
Kindergarten Terenten
by Feld72
Kindergarten in Rosales del Canal by Magén

Critteroos: Mix. Match. Print.

Animals roar to life in an educational app designed for kids

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A new app for iPads or iPhones, Critteroos brings stock images of animals to life in an interactive game for kids (aged three-eight). The brainchild of renowned designer Clement Mok, Critteroos is the first in an imaginative series of iPad education software for children that draws on the CMCD Visual Symbols library.

Backed by a consistent beat of insect hums, the app erupts in an attention-grabbing cacophony of real animal sounds, including the occasional whinny of a horse, snort of a pig and bird’s chirp. While the sounds entertain, children delight over the app’s vibrant animal imagery. In “Flashcard” mode, each image is paired with the animal’s name, which is recited aloud for vocabulary building.

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As memory develops, users can switch from the primarily educational “Flashcard” mode to test their skills in “Mix and Match.” Flipping through animals’ top and bottom halves, kids can rack up points by finding the corresponding half, tapping twice on the screen to confirm a match. An encouraging ding sound accompanies each correct pair.

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For pure fun, kids can let their imaginations run free by creating their own “Critteroos” (mismatched animals). These humorous and dazzling animals can be given fun names (like the Rooztera) and saved to the iPhoto library for printing.

Critteroos sells for $2 on iTunes, as well as other related education applications and add-ons (like Critteroos II for additional animal sets) by CMCD.


Sainsbury Laboratory by Stanton Williams

Sainsbury Laboratory by Stanton Williams

An unusual combination of limestone columns and concrete bands surrounds the exterior of a laboratory by UK architects Stanton Williams in the botanic gardens of Cambridge University.

Sainsbury Laboratory by Stanton Williams

The Sainsbury Laboratory provides facilities for botanical research, spread over two upper storeys and a basement.

Sainsbury Laboratory by Stanton Williams

The stone piers screen a glass curtain wall on the north and east elevations, whilst the south and east facades feature gridded windows that overlook a courtyard.

Sainsbury Laboratory by Stanton Williams

Glass-fronted laboratories allow scientists to see across a double-height circulation corridor to the courtyard beyond.

Sainsbury Laboratory by Stanton Williams

This continuous corridor winds through the building and provides informal meeting areas.

Sainsbury Laboratory by Stanton Williams

Elsewhere, the building contains a herbarium, an auditorium, meeting rooms, a public cafe, garden-staff quarters and social spaces.

Sainsbury Laboratory by Stanton Williams

The laboratory is named after Lord Sainsbury, whose charitable foundation was responsible for funding the project.

Sainsbury Laboratory by Stanton Williams

The columned facade of the building presents a similar mix of modernism and classicism to David Chipperfield’s Museum of Modern Literature completed in 2006 – see our earlier story.

Sainsbury Laboratory by Stanton Williams

Other laboratories from the Dezeen archive facilitate research into natural history, genomics and nanotechnology to name a few – see all our stories about laboratories here.

Sainsbury Laboratory by Stanton Williams

Photography is by Hufton + Crow.

Sainsbury Laboratory by Stanton Williams

Here are some more details from Stanton Williams:


Sainsbury Laboratory

The Sainsbury Laboratory, an 11,000 sq.m. plant science research centre set in the University of Cambridge’s Botanic Garden, brings together world-leading scientists in a working environment of the highest quality. The design reconciles complex scientific requirements with the need for a piece of architecture that also responds to its landscape setting.

Sainsbury Laboratory by Stanton Williams

It provides a collegial, stimulating environment for innovative research and collaboration. The building is situated within the private, ‘working’ part of the Garden, and houses research laboratories and their associated support areas. It also contains the University’s Herbarium, meeting rooms, an auditorium, social spaces, and upgraded ancillary areas for Botanic Garden staff, plus a new public café. The project was completed in December 2010.

Sainsbury Laboratory by Stanton Williams

Cambridge University Botanic Garden was conceived in 1831 by Charles Darwin’s guide and mentor, Professor Henslow, as a working research tool in which the diversity of plant species would be systematically ordered and catalogued. The Sainsbury Laboratory develops Henslow’s agenda in seeking to advance understanding of how this diversity comes about. Its design was therefore shaped by the intention that the Laboratory’s architecture would express its integral relationship with the Garden beyond.

Sainsbury Laboratory by Stanton Williams

The building as a whole is rooted in its setting. There are two storeys visible above ground and a further subterranean level, partly in order to ensure efficient environmental control, but also to reduce the height of the building. The overall effect is strongly horizontal as a result. Solidity is implied by the use of bands of limestone and exposed insitu concrete, recalling geological strata and indeed the Darwinian idea of evolution over time as well as the permanence which one might expect of a major research centre. At the same time, however, permeability and connections – both real and visual – between the building and the Garden have been central to its conception.

Sainsbury Laboratory by Stanton Williams

The building’s identity is established externally by the way in which it is expressed and experienced as a series of interlinked yet distinct volumes of differing height grouped around three sides of a central courtyard, the fourth side of which is made up of trees planted by Henslow in the nineteenth century. The internal circulation and communal areas focus upon this central court, opening into it at ground level and onto a raised terrace above in order to provide immediate physical connections between the Laboratory and its surroundings.

Sainsbury Laboratory by Stanton Williams

Further visual connections are created by the careful use of glazing in the building. At ground level, extensive windows provide views of the courtyard and the Garden beyond, allowing these internal areas to be read as integral elements of the outdoor landscape. The first floor is also largely glazed. Its windows are screened by narrow vertical bands of stone that imbue the elevation with a regular consistency, behind which the pattern of fenestration could potentially be altered in response to future requirements.

Sainsbury Laboratory by Stanton Williams

Related to the conception of the building in terms of its landscape setting is the way that its internal areas are connected by a continuous route which recalls Darwin’s ‘thinking path’, a way to reconcile nature and thought through the activity of walking. Here the ‘thinking path’ functions as a space for reflection and debate.

Sainsbury Laboratory by Stanton Williams

It is intended to promote encounters and interaction between the scientists working in the building, and between them and the landscape. With glazed windows facing the court on one side and internal windows offering glimpses of the laboratories on the other, it operates as a transitional zone between the top-lit working areas at the centre of the building and the Botanic Garden itself. In this respect, the ‘path’ reinterprets the tradition of the Greek stoa, the monastic cloister, and the collegiate court, all of which were intended to some extent as semi-outdoor spaces for contemplation and meetings. As a result, past, present, and future are connected. The work of the laboratories will seek to understand the plant diversity that is glorified by the arrangement of the historic Botanic Garden in which it is set and which, though pleasant to visit, continues to function as a working space devoted to groundbreaking research.

Sainsbury Laboratory by Stanton Williams

Professor Sir Leszek Borysiewicz, Vice-Chancellor of the University of Cambridge, said: “Cambridge has a strong record in the study of plant biology – a science which is now accepted as critical for our planet. This makes the Gatsby Foundation’s award to the University both natural and transformational – we are truly grateful.”

Sainsbury Laboratory by Stanton Williams

Lord Sainsbury said: “This is one of the most exciting projects with which my Charitable Foundation has been involved. It combines an inspirational research programme, an historic site in the Botanic Garden and a beautiful laboratory designed by Stanton Williams, and I believe it will become a worldclass centre of excellent plant science.”

Sainsbury Laboratory by Stanton Williams

Professor John Parker, the recently retired Director of the Botanic Garden who has been the sole representative of the Garden at project meetings, said: “The Garden looks forward in the 21st Century to maintaining its position with the study of plant diversity in the most modern way. The Laboratory will be dedicated to the advancement of curiosity-driven research. However it is hard to imagine that increasing our knowledge of the fundamental mechanisms of plant development is not going to have a very significant impact on the improvement of agriculture in years to come.”

Sainsbury Laboratory by Stanton Williams

Key Values

Project Value: £82 million
Contract value: £69 million
Construction value: £65 million (contract value less the consultants fees)
Cost per sq m: £4,975/sq m for the main laboratory


Sainsbury Laboratory by Stanton Williams
Click above for larger image

Key dates
Construction Start date: February 2008
Completion Date: December 2010
Date of Occupation: January 2011
Project Duration: June 2006 – January 2011
Planning phase: June 2006 – February 2008
Construction phase: February 2008 – January 2011

Sainsbury Laboratory by Stanton Williams
Click above for larger image

Building Details
Postal Address: The Sainsbury Laboratory, Bateman Street,
Cambridge, CB2 1LR
Number of Occupants: 150
Gross Internal Area: 11,000m2 (incl. all buildings, excl. external landscaped areas)

Sainsbury Laboratory by Stanton Williams

Click above for larger image

Project Team
Client: The University of Cambridge
Funder: The Gatsby Charitable Foundation
Strategic Project Manager: Stuart A. Johnson Consulting Ltd
Project and Contract Administrator: Hannah – Reed
Project Officer: University of Cambridge Estate Management
Representative Users: Cambridge University Botanic Garden,
The Gatsby Charitable Foundation
Main Contractor: Kier Regional
Architect: Stanton Williams
Civil and Structural Engineer: Adams Kara Taylor
Building Services Engineer: Arup
Cost Consultant: Gardiner & Theobald
Landscape Architects:Christopher Bradley-Hole Landscape and
Schoenaich Landscape Architects
CDM Coordinator: Hannah – Reed
Approved Building Inspector: Cambridge City Council

Sainsbury Laboratory by Stanton Williams
Click above for larger image


See also:

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Van Leeuwenhoek Laboratory  by DHV Architecten Facebook Headquarters by Studio O+A Mensa Triangle by SOMAA
Van Leeuwenhoek
Laboratory by DHV
Facebook Headquarters
by Studio O+A

Mensa Triangle
by SOMAA