Hasta La Ideas

Our interview with Paul Budnitz on the release of his third model

Just eight months after the debut of his eponymous bicycle line, Paul Budnitz has once again put his legendary design abilities to good use with the release of Budnitz Bicycles‘ third model. Sporting massive 29-inch wheels, a silent Gates carbon belt drivetrain and the trademarked cantilever frame engineered to absorb road shock and improve handling, No. 3 is your dream city cruiser.

Sharing the same stunning silhouette and clean lines as its titanium predecessors, No. 3 takes a welcomed step towards accessibility with a lower price tag and a more badass vibe (though No. 1 and No. 2 still command waiting-list status at prices climbing over $5,000). We recently caught up with the former Kidrobot founder to talk about his latest designs, the transition from titanium to stainless and to learn just what it is about Budnitz Bicycles that keeps them in such high demand.

After launching your first two bikes, what’s the most valuable thing you’ve learned and how did you apply it to the new No.3?

When I set out to design the new model No.3 as the ultimate urban bicycle, I had to think differently from what I’d already done with the earlier models. I asked myself, what will the new bikes have that the others don’t? What would make me want to own all of my bikes?

If you look at our bicycle models as a whole, you’ll see there’s very little overlap. The idea is that there’s a reason to own each of our bikes, and we have several customers that have one of each, in the same way I have an iPhone, iPad, Powerbook, they each serve specific functions. Steve Jobs continues to be a role model for me.

When we last spoke you mentioned the first two bikes were inspired by Aston Martins and Maseratis, how would you describe No. 3?

When I was drawing up the jet-black model No. 3 I had a picture of a vintage Rudge motorcycle on my wall. The Rudge is a pre-war British big-engine motorcycle that only came in one color—gloss black—with few logos and precise detailing. There’s a whole Rudge culture. Riders were encouraged to take a lot of breaks, to stop every hour or so and look at the landscape and have a smoke. I just love that.

You see the visual influence in No. 3’s jet-black frame and titanium badges. The “ride slow on a fast bike” concept is built into our company philosophy, too.

We’ve also got a new bicycle coming soon, the more minimal No. 4 was actually inspired by an oversized BMX bike that I saw my friend and collaborator Chad Phillips riding around a few years ago. It had smaller (but not too small) wheels and was just the perfect size for city living. You can ride No. 4 right into an elevator, or put it into a trunk of a cab or store it easily in a small apartment. But it’s not a tiny awkward folding bicycle, it has fat tires and a full-sized cockpit. It flies. Someone saw me riding the prototype around Brooklyn a few months ago and called No. 4 a Stingray on steroids.

Why transition from titanium to stainless steel?

Models No.1 and No. 2 are still only offered in titanium, they were designed around it. Titanium is the ultimate bicycle material, ultra-lightweight and compliant. It’s hard to beat. But only a few fabricators can work with it well, and it’s costly.

Stainless is just a wonderful material, light and strong and gorgeous. It never rusts and has a fantastic ride. Using stainless also allowed us to bring down the pricing a bit on No. 3 without sacrificing quality, which as I mentioned was one of my goals. I want more people on my bikes.

What aspect of the new design are you most excited about?

Well, No. 3 is just the ultimate all-around bicycle. You can’t beat big 29-inch wheels and two-inch tires for a fast, smooth ride, and it’ll roll over just about anything. And it looks elegant as hell.

It’s just so much fun to ride, you feel like a little kid—weaving in and out of traffic.

Which of the four frames do you ride the most?

I designed all these bicycles for a specific purpose, so I use them all. I take my original model No.1 for longer rides, because it’s so crazy light and beautiful. No. 2 is what I use when I go riding for fun with my daughter. No. 3 is my go-to bike nowadays, because the big wheels are just so much fun—and also because it’s new, and I’m still having fun playing with it. I keep a No. 4 prototype at my place in New York City, and I use that one for travel, too.

Do you think the pared-down design is what sets Budnitz Bicycles apart?

Yes, our design philosophy is “Nothing Added”. The idea is create something perfect, something just right. This goes all the way down to the way the bicycles are engineered. If you don’t add functions and things people don’t need, you really can make a bicycle that will function immaculately, a frame that will last forever, and keep people excited about riding it. That’s the goal anyway.

The No.3 is now available directly from Budnitz Bicycles starting at $2,800.

The first patented controlled-feeding solution for cats

Besides their quiet companionship, cats offer a relatively low level of demand as a pet. Owners and their feline friends will enjoy the freedom of cat lover Philip Eu’s cleverly named invention, the Gatefeeder. The minimally designed controlled-access home feeding system works with a collar-mounted Smart ID tag to limit proper servings to the proper pet.

The Gatefeeder helps organize meals in multiple-cat homes, especially when one of the crew may need medication. Those who live on open farms can rely on the set-up to protect their cat’s food from pesky intruders, while outdoor cats wearing their tags can rest safe knowing strays won’t steal their rations.

Eu’s odyssey to create the Gatefeeder began when his cat, Mikey, got cancer. A new dietary regimen prevented Mikey from sharing with his housemate, Sparky. We talked to Eu to learn the story behind the decade-long labor of love to create the controlled-feeding system.

Tell us the story behind your decision to invent a feeding system for your two cats.

Plato is credited as having said, “Necessity is the Mother of Invention”. In 1999 I had a day job with long and irregular working hours, and two cherished cats, Mikey and Sparky. Then came the news, that Mikey had life threatening health issues, and I got strict Veterinarian instructions to only feed him a special medicated diet for the rest of his life. His special diet could not be shared with his brother Sparky, so I could no longer leave food out if I was going to be working late, and most nights I had to work late. After a few months of twice daily supervised meals, and with the help of friends and family for the night time feeding, I thought that there had to be a better way! I sketched out some ideas, and I now knew what our babies at home needed; now I just needed to figure out how to make the thing work. Plato was right!

What were some of the challenges that you faced in the 10-year process?

Like many inventors, this started as a weekend project for me, but each time I thought I had created the perfect solution, my cats showed me how smart they were, and sent me back to the proverbial drawing board.

I actually got stuck for over one year because the technology available didn’t allow me to make the machine I wanted. I had to wait until RFID technology became widely available and secondly, was reasonably priced before I could make the feeder I had envisioned in my mind. And still we had to overcome some very tough technical hurdles which we succeeded at because we didn’t know experts thought it was not possible.

What did you learn from the experience?

The amount of detail and minutia required is staggering and overwhelming. I never considered that one day I would need to write a manual detailing the millimeters tolerance for how two pieces of plastic fit together or how many scratches are allowed and how to define a scratch; Mind boggling.

What are some of the special features you held out for to make sure they were incorporated into the final product?

There are points designed in that allow users to drill bolts into the ground for situations (placement outside) where the feeder needs to be securely anchored, and the unit can allow up to five animals to use the feeder at the same time to allow users like animal shelters who might need such an option. We use more expensive stainless steel food bowls instead of various plastics because we believe they are the healthiest and most durable material for the cats, and a more expensive polycarbonate plastic for the clear parts because they are more resistant to scratching and clouding. The viewing window is not placed directly over the food bowl but angled so that an average person can stand in front of the feeder and see the condition of the dish without the need to bend over.

The Gatefeeder controlled feeding system is now available directly online from the inventor, designer and founder for $250.

The new plug-in hybrid integrates recycled materials with high design and performance to reach a class of its own

Those looking to spend $100,000 on a car have many options—excellent performance, coddling comfort, strong styling and luxury hybrids. The Fisker Karma EVer appeals to those who seek all of those, but are willing to meet somewhere in the middle. It isn’t the fastest or best performing in that price range, the most luxurious, or the hybrid with the best mileage. It is, however, a hugely impressive and attractive car from a new and interesting manufacturer that delivers enough of each of those components to make it a unique and obvious choice for many potential buyers. This new company seeks to increase the use of recycled materials and to decrease impact, wherever possible. Partners and suppliers are selected for their responsible business practices, and even its dealers need to get on the program—showrooms must be renovated, not built from scratch.

Building a car is an incredibly complex process that takes some of the world’s best design and engineering talent years, leveraging well-established systems and manufacturing techniques, years to create. Starting a new automobile company from scratch outside of the very small-scale, niche market is something that is very rarely endeavored given the complexity and enormous cost involved.

Southern California-based Fisker was created in 2007 by two auto industry vets and longtime associates—Henrik Fisker (who led design of the Z8 at BMW, was president and CEO of BMW’s DesignworksUSA, creative director at Ford’s London design center, chief of design at Aston Martin, and director of Ford’s Global Advanced Design Studio) and Bernhard Koehler (who similarly held senior positions at BMW as well as its DesignworksUSA division, Ford’s London design center, and was director of operations and business at Ford’s Global Advanced Design Studio). In 2008 they debuted the Fisker Karma concept, the world’s first luxury plug-in hybrid car, inspired by technology created for the U.S. military.

Four years later, delivery of the production Karma has begun, and its first customers—European royals and Hollywood celebrities among them—can be spotted driving one of the most attention-getting cars on the road today. I had the opportunity to test the Karma in Los Angeles, meet many of the company’s executives, and experience the car firsthand.

The Fisker Karma EVer (Electric Vehicle with extended range) is a $100,000, four-door, four-seat, luxury plug-in hybrid with a very strong presence. It can travel up to 50 miles on a full charge of its 180 kW, 20 KWh lithium-iron phosphate battery pack, meaning that most people commuting to work will never need the turbocharged 2.0 liter, four cylinder, 260-hp gas-powered engine (sourced from GM). If needed, the engine powers the generator, which in turn powers the two rear-mounted electric motors that drive the rear wheels, and the car can travel around 250 additional miles. This “series hybrid” design is unique to the Karma.

The motors generate around 400hp and 981 lb-ft of torque (the Ferrari 458 Italia, by comparison, generates around 400 lb-ft, and the Tesla Roadster Sport around 225 lb-ft). Electric engines are able to access all of that torque on demand, and that means the Karma is perky (though not fast), despite its 5,500-lb heft (as much as many large SUVs). The batteries, solar panel roof, engine, motors and generator create a heavy payload, one that some people believe impedes its performance and desirability. While true, those buyers are not the ones entranced by the Karma’s styling, 22″ Batmobile-like Circuit Blade wheels and Goodyear Eagle F1 Supercar tires.

The inside of the car makes as much of a statement. Available in three interior trim packages, the base EcoStandard, the EcoSport and the EcoLux (which is what I drove). Each features only reclaimed wood from fallen trees from forest fires, and even from the bottom of Lake Michigan, where 300-year-old wood is retrieved from yesteryear’s lumber mill scrap. Though limited in its use, the wood takes center stage in the cabin. The simple and natural finish—you won’t find any glossy lacquer here—is unique, subtle and luxurious.

The EcoStandard features artificial leather, and the EcoSport Low Carbon Leather—Farm Animal Welfare-certified hides which are organically tanned with ecologically harvested bark extract by seventh-generation Scottish leather firm Bridge of Weir. The perfection you’d find in a Bentley’s leather trim is traded for the natural beauty of the cow’s hide. Around 85% of the hide is used (substantially more than usual), imperfections and all. Interior colorways are fresh and innovative, too. The firm’s plant supplies its own steam-generated power and processes its waste water.

The EcoLux features a totally animal-free automobile interior along with an “EcoSuede” made entirely of recycled materials. All packages include soy-based foam in the seats and carpet made with recycled materials. Though the rear seats provide enough room for adults, they aren’t very comfortable to sit in for long periods of time.

All packages share the same electronics, and here too Fisker has innovated with a 10″ haptic touch screen to control all aspects of the car’s entertainment and operational systems. In fact the Karma has only four buttons—one for the locks, one for the glove box, one for the hazard lights and one for power. The dash’s lack of switches and buttons is not just a nod to electronics—Fisker intentionally sought to eliminate the loop involved in manufacturing, shipping, maintaining and ultimately disposing of landfill-destined plastic and wire components. The “Command Center” system, designed with Visteon, is user-friendly and well executed, though may take some getting used to by those who are less comfortable or familiar with digital interfaces. My phone paired quickly and easily, and the Bluetooth system supports audio. Key functions are easily accessed without painful menu layers, and it serves as a display when the car is in reverse. The car’s sound system is acceptable but far from industry-leading. The car features low-voltage LED lighting wherever possible, further reducing demand on the car’s electrical system.

Some of the power for the car’s systems is created by its “retro-geometric”-patterned 120-watt solar roof panel (the largest and most powerful in any automobile), which both extends battery range and makes a clear design statement. Parked in the sun? The Karma leverages that electric power to ventilate the car’s interior. Fisker estimates that around 200 miles of zero-emissions driving are created from the car’s roof, making it “the only car with a sunroof for the 21st century.”

The Karma performed as well in LA traffic as the twisting canyon roads of Malibu, providing a respectfully sticky ride that doesn’t disappoint, especially for a a sedan of its size. Those big wheels feature Brembo monobloc caliper brakes, which easily bring the car to a quick standstill, and the regenerative braking system takes that energy and directs it to help power a generator where it can be reused.

The Karma fully charges in about 14 hours with a standard 100v plug, or around 6 hours with a 220v plug.

Designed and engineered in Anaheim, CA, the Karma is built by Valmet, the respectable Finnish producer, who until last year produced the Porsche Cayman and Boxter. Fisker has purchased an old GM plant in New Hampshire which it intends to renovate and use to build its next model, the Nina.

The Karma introduces to the sometimes predictable luxury auto market a truly innovative new option from a refreshingly young company, and certainly fulfills a need for the more thoughtful consumer with six figures to spend on an equally conscious car.

Photos by Evan Orensten

Our interview with the owner of Prague’s newest experimental retail and experiential gallery space

by Perrin Drumm

Yasmin Keshmiri Hejduk opened Gallery by Minty Concept Club in Prague less than a year ago and already it’s become the city’s go-to destination as an experiential retail and gallery. “Gallery is a space where people meet, browse through new magazines and enjoy a more social setting to find goodies within the heart of Prague,” Hejduk says. “Gallery combines the cool aesthetic of Scandinavian design with friendly charm, creating a modern vibe and opportunity to discover a new world.” She is kept busy moving a constant rotation of clothes and accessories through the front of the shop while planning the next big pop-up event in the back, but after a well-earned vacation she sat down to tell us the story behind Minty.

You opened Minty in September, 2011. What did you do before that? What led you to create an art/retail space?

I met my husband in 2002 in Prague when I came over to shoot a commercial. Having worked in the film industry for years in London and then running a Production Company in Prague gave me a real taste for creative activities. Though I’m a producer, I still felt that it was a creative job—you certainly have to be creative with money!

After having my two sons, I wanted to branch out in a different way and decided to set up Minty Concept Club as a creative studio/experiential agency. Minty became big in Prague due to the number of pop-up projects we executed and we soon got a reputation as a company that brings a real creative edge to commercial projects. It was a natural progression to find a space that can give us the opportunity to continue.

What were your goals for Gallery when you first started out? What kind of role did you see yourself playing in the community?

The goal of Gallery was to bring lifestyle and trend-inspired projects to Prague while collaborating with young designers and artists. We really try to promote the people we have collaborated with. For example, we worked with Veronika Jirouskova on our set direction, Lenka Mikova, who designed the Gallery furniture and Veronika Vlkova for graphics and the murals on the walls. Hopefully, through these creative yet commercial projects, they can build a good portfolio for the future and we are proud to be part of that success.

Can you tell me a bit more about how Minty splits its functions as both a gallery and a retail space? Is it common for people to visit and just look at the items for sale like objects of art, or to sit in a chair and read one of the magazines without browsing the clothes or other items for sale?

Absolutely. Gallery is all about creating an atmosphere within which we sell what we love, and the space almost acts as a mood board for Minty’s creative activities. The layout is perfect for what we’re about. The front is a more commercial shop with jewelry, one-off designer collections, magazines and emotive objects. The middle is a reading room and the back is an empty white space for exhibitions and instillations. I think the reason we’re receiving such positive feedback is because we’re more than a shop or a gallery. Gallery is based in Prague, but I think a space like this sits very well in any cosmopolitan city that has a thirst for beauty and inspiration.

How does Minty’s neighborly vibe shape the way it functions in the community?

We are just off of Old Town Square and Parizska, and as much as we welcome passers-by we do not rely on the tourist trade. There’s always something happening and Gallery is becoming a sort of creative hang out. This is very important to the function of Gallery as our visitors are contemporary, fashion conscious and open minded individuals who add a very unique vibe to the neighborhood.

Does the space become a more “normal” storefront in between pop-up exhibitions, or is it always in a state of constant exhibition, moving straight from one show to the next?

The space changes all the time. It all depends on the timing of our own projects, collaborations or exhibitions, which can last a few days to a month. We try to keep things different and fresh from merchandising and swapping the space around. The spaces have had dramatic changes from the Rocka Billy Tattoo Parlour for Zoe and Morgan, to a Black Forest designed by Igor Hosnedl. Even in between projects there’s something new to see, a new brand we’re launching or new collection arrivals. Some people even come in just to hear what music we are playing!

Can you talk a bit about your current exhibition, “Melt Your Cold Cold Heart?”

“Melt Your Cold Cold Heart” was a collaboration with design duo Rozbijim Se and Photographer Ladislav Babusak. We produced 14 limited edition Valentine’s chocolate photo packaged keepsakes. Within the project we created a glass instillation which had tasting stations with crystal water glasses. And finally in the back we created a black box with only a photograph lit, where the visitors sampled the chocolate in a more intense setting. It was a very fragile and personal experience that really enhanced the chocolate’s unique taste and the individual’s bond to the setting.

What we can expect to see from you in the coming months?

We have lots of lovely exhibitions planned. We’re working with one of our favorite photographers, Bet Orten, and the indie music band, Please the Trees. Gallery has many possibilities. We love to continue to work with chocolate and branch out into coffee. I would like to say there is a really great coffee shop in the centre of Prague but sadly so far there’s not. There are many lovely spaces like Sucr Kava Limonada or Cafe Louvre, but the coffee quality is falling behind other cities, so you can imagine what’s next on Minty’s agenda!

South Africa’s premier conference on bettering the world through creativity

Now in its 17th year, the world-class conference, Design Indaba explores how to better the world through creativity and design innovation. For three days, the annual Cape Town-based summit brings together an international collective of visionary leaders to share ideas and new ways of thinking. The conference showcases South Africa as a hotbed for forward-thinking solutions, demonstrating how a country can uniquely shape the future through creative problem-solving.

Each year the conference surpasses itself with the talent presented on stage and in the audience, and as media partners for the third year in row, we will be sharing some of the wisdom delivered at Design Indaba. Keep an eye out for more to come from the minds of people like scent artist Sissel Tolaas, Noma mastermind René Redzepi, landscape designer Dan Pearson and more. To keep up with the conference as it happens, follow Cool Hunting and Design Indaba on Twitter.