Transparent concrete and cement at World Expo

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pWhen it comes to showing off unusual materials, you could do worse than transparent concrete and cement. Both are solid and strong, yet allow light to pass through them, causing a cartoon question mark to pop up over people’s heads the first time they see the stuff./p

pAt this year’s World Expo in Shanghai, Italy took the opportunity to build their pavilion out of transparent cement (above), whereas Germany is displaying–if not using–transparent concrete (below) in their structure./p

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pBoth materials are strong and allow light to travel through them, but what are the differences? Italy’s product, called A HREF=”http://www.italcementigroup.com/ENG/Media+and+Communication/News/Corporate+events/20100322.htm” i.light/A and manufactured by Italcementi, has a “higher transparency performance than the optical fibres experimentally used in this field, but also cost much less allowing for their application on a large scale,” says an Italcementi researcher. Meanwhile Germany’s product, called A HREF=”http://www.lucem.de/en/material.html” Lucem/A and manufactured by Robatex GmbH, is 100% recyclable, and is on display in 2cm-thick sheets. /p

pBragging rights have to be awarded to the Italians: They’ve put their money where mouths are and incorporated nearly 4,000 i.light blocks, each 1m x 50cm x 5cm thick, in their structure. /p

pvia A HREF=”http://techon.nikkeibp.co.jp/english/NEWS_EN/20100514/182583/” tech on/Abr /
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Killer new production method: Metal origami

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pFounded in 2002 by manufacturing designer Max Durney and now gaining traction, A HREF=”http://www.industrialorigami.com/home.cfm” Industrial Origami/A has come up with a strong, simple, brilliant, and relatively inexpensive way to build things: By precision folding sheets of aluminum and steel./p

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pAs A HREF=”http://www.energydigital.com/industry-focus/manufacturing/above-fold” reported by Barbara Taormina in IEnergy Digital/I,/A/p

blockquote An Industrial Origami designed product starts as a sheet of metal that has been pre-shaped and perforated along the folds with the company’s signature smile cuts. Those sheets are sent to shop floors where assemblers fold them into the working forms. Industrial Origami’s fold-and-build method eliminates the measuring, cutting and welding and bolting that usually goes into producing parts.

pThe company says it can save manufacturers anywhere from 20 to 50 percent on materials, and 25 to 45 percent on labor. And, because parts travel as flat sheets, they are easier to handle and cheaper to ship. Prepping parts with a coat of paint before they are folded is also much faster and easier than painting built or assembled components./p

p”Industrial Origami profoundly changes the way products are designed and manufactured,” said Patrick Sheehan, a partner at the London-based Environmental Technologies Fund, one of the first groups to invest in the company. Industrial Origami has raised $32 million in venture funding and it is hoping to convince investors to put another $20 million more into the company this year./blockquote/p

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pThe technique provides parts with surprising strength, in addition to the benefits listed above. Industrial Origami has already lined up big-name clients like Bentley Motors and Whirlpool and has some 254 patents to date. Production method geeks can read more about the process, which is also applicable to certain plastics and composites, A HREF=”http://www.industrialorigami.com/technology/overview.cfm” here/A./pa href=”http://www.core77.com/blog/materials/killer_new_production_method_metal_origami_16549.asp”(more…)/a
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Footwear designers: Why sneaker soles should actually be upside down

pAs someone who does Ia lot/I of walking, I have more than a casual interest in comfortable footwear. And I always assumed that the sneaker, independent of whatever bells and whistles come out each year, has been largely perfected as a product: A hard outsole on the bottom and a soft, cushy midsole against your foot, wrapped around the top with a fabric upper and some laces./p

pSneaker designer and A HREF=”http://www.golite-footwear.com/” Go-Lite Footwear/A owner Doug Clark, who has thirty years of experience in the field, knows better. The central design of sneakers, he points out, is flawed; they’ve got the bottoms on upside-down. For example, let’s say the wearer steps on a small rock or irregularity protruding off of the ground. The rigid outsole will then act like a lever, see-sawing your foot into a skewed angle and, if you’re elderly or have a poor sense of balance, lead to possible injury. /p

pThis is one of those things that takes several sentences to describe but can be understood visually right away. If you’re not a footwear designer, you may not be willing to sit through the following video’s amateurish presentation and god-awful camera shake–did they film this in the back of a helicopter?–but if you want to see the central point, fast-forward to the 2:00 mark. /p

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pIf you want to read more about Clark and his methodologies, there’s an in-depth local-paper article on him A HREF=”http://www.tnhonline.com/unh-history-alum-gains-new-respect-for-shoes-1.1472023″ here/A.br /
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Classic and Modern Fabrics

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Practically an encyclopedia, Classic and Modern Fabrics provides a complete guide to the world of textiles with 834 high quality color scans of over 600 fabrics, each accompanied by a brief history and detailed description of its uses.

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Authored by textile designer Janet Wilson, this heavy tome seemingly documents every fabric ever created—from the common to the obscure. The alphabetized guide provides valuable insight on frequently used fabrics with an inexhaustible scholasticism, such as the over 25 types of velvet identified and explained down to each minute detail.

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The book comes out stateside 1 May 2010 and can be pre-ordered from Amazon or purchased online from publishers Thames & Hudson.

Click Here


Why headlights suck, and why U. of Florida researcher’s new thin-film night vision tech could be awesome

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pIf you think about it, headlights on cars are actually a ridiculous solution. I’m sure they seemed a wondrous idea in the 1920s, but back then so did drinking bathtub gin./p

pDuring my first week of living in Japan some years ago, a local friend was driving us around Tokyo. At each stoplight I noticed the cars behind us would turn their headlights off. I asked my friend why. He explained that there’s no need to have the headlights on when you’re at a stoplight, as all they do is dazzle other drivers (not to mention pedestrians). The drivers there turned their lights off as a courtesy to the driver in front of them, so they’re not getting a mirrorful of brightness./p

pI returned to New York a year later, in the late ’90s, when SUVs were becoming trendy. It seemed like every time I stopped at a light, an SUV would pull up behind me, high-mounted headlamps shining full-bore into my mirror. I could practically feel my retinas cooking./p

pHere’s why I say headlights are a ridiculous solution: Imagine it applied to pedestrians. Imagine we never used ambient artificial lighting, so every time the sun went down, we all just put on miner’s helmets with a bright-ass light on top and used those. /p

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pOn sidewalks, in movie theaters, restaurants and offices we’d all be blinding each other all the time. If someone walking towards you didn’t turn his high beams off you could play that little aggressive-aggressive game and turn yours on to blind him in return./p

pI don’t know what the full solution is, but I think I’ve seen part of it. Scientist Franky So, a researcher at the University of Florida, A HREF=”http://news.discovery.com/tech/night-vision-cell-phone-eyeglasses.html” has developed a paper-thin film/A based on OLEDs that can convert infrared light to visible light. What this means is that you could conceivably cover a windshield with this film and experience something like what you’d see through night-vision goggles. But unlike NVGs, So’s technology uses hardly any electricity at all due to its technological makeup./p

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pSo’s proof of concept is only about a centimeter square, but A HREF=”http://news.discovery.com/tech/night-vision-cell-phone-eyeglasses.html” Discovery News reports/A that “It will take about 18 months to scale up the device for practical applications, such as car windshields, lightweight night vision eyeglasses and cell phone cameras.”/p

pIf we did get rid of headlights, of course we’d still have the problem of alerting cyclists and pedestrians to oncoming traffic…although when you hear about people stepping into traffic in broad daylight because they’re fiddling with their phones, you gotta wonder what you could do. Maybe approaching cars should automatically turn your Mobile Facebook off, that would probably get you to look up.br /
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Post Fossil: Excavating 21st Century Creation

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Showcasing over 70 international designers, the current exhibit “Post Fossil: Excavating 21st Century Creation” at Tokyo museum 21_21 Design Sight is the upshot of esteemed Dutch trend forecaster Lidewij Edelkoort‘s examination of the future of design in all of its constituent parts. The content spans techniques, shapes, materials, colors and themes with 140 pieces demonstrating a new way of thinking—using the past to reinvent the future.

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The exhibition includes an array of resourcefully creative works, many fusing nature with design like Atelier NL’s “Drawn From Clay” pottery, Joris Laarman’s “Bone Chair” and Peter Marigold‘s man-made chess board. Each artist answers serious questions about meaningful consumption, how to break free of old paradigms and whether less really is more.

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Edelkoort selected designers who defy the trend of designing for design’s sake and instead create with “unfettered freedom” as they search for new methods and, arguably more importantly, new tools to design with.

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Referencing the Arte Povera movement of the ’60s, Edelkoort predicts the ideas will see a resurgence due to shifts in economics and thinking about sustainability. Tokyo’s 21_21 Design Sight makes the perfect venue to showcase these works as a museum focused on generating design that “sees clearly what is ahead.”

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Post Fossil: Excavating 21st Century Creation” runs through 27 June 2010, check out Tokyo Art Beat for full details.


Kitchen goods evolve with iSi’s silicone Flex-It line

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pThat’s your standard plastic water pitcher used in restaurants worldwide, and as a former waiter I can say its design sucks. Waiters often carry three of them in one hand by putting the handles together, but though this is an established practice, the handles were not designed for such and don’t align neatly; when fully laden, any unexpected starts and stops–such as when moving through a crowded restaurant–may cause one of the pitchers to slip and jostle, splashing its contents on you or worse, a short-tempered diner./p

pMore importantly it’s not good at the very thing it was designed for: Pouring. You can always tell which of your friends has worked in a restaurant by the way they handle one of these pitchers–if loaded up with a beverage containing ice, they will always pour out of the Iside/I of the pitcher, not the poorly-designed spout, because ice gets jammed in the spout like cars going in the Holland Tunnel and eventually causes a spill. And even if you pour ice-free liquid from the spout, if you do it too quickly the liquid will overwhelm the spout and come spilling out around it. I spent eight years working in restaurants and had problems with this pitcher design up until my last month./p

pI’ve found a lot of kitchen implements have not changed much since their very invention. If you dug up an artifact from a thousand years ago that someone used to boil water, it would be recognizable as a pot. The metal may have changed, and the materials of pitchers may have evolved from ceramics to glass to plastic, but the overall shapes and functionality remain much the same./p

pBut now we’re seeing something different in A HREF=”http://www.isinorthamerica.com/basics/basics/en/” iSi’s new Flex-It line/A of mixing, measuring and pouring products. /p

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pWhile the shapes are the same, the key difference is the material: Made from silicone, the Flex-It vessels can change their shape and allow you to make your own spout./p

pThe flexible mixing bowls, measuring cups and random containers come in handy in all sorts of ways, as you’ll want to pour something with the viscosity of pancake batter at a different rate than you’d pour straight liquid, olive oil or dry grains of rice. /p

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pIt’s wonderfully intuitive to squeeze the container to make your exit point, instead of using the flawed one-size-fits-all notion of a fixed spout. I’ve even been using them to dole out dollops of the thick Greek yogurt that I use to supplement my dogs’ diet, and with practice, you get good at squirting out just the right amount of the goopy stuff./p

pLastly, the stuff cleans up easily, and though I’ve not had cause to use them in this way, the silicone material makes it heat-resistant up to 475 degrees. Once you use these things, you’ll never want to go back to using fixed-shape mixing bowls, prep bowls and measuring cups./pa href=”http://www.core77.com/blog/materials/kitchen_goods_evolve_with_isis_silicone_flex-it_line_16452.asp”(more…)/a
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The Dwelling Lab

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One of the most interesting proposals (both visually and conceptually) at the recent Milan Design Week, BMW, Flos lighting and Kvadrat fabrics teamed up to produce a sculpture called “The Dwelling Lab.” The German carmaker and the Danish textile manufacturer asked Patricia Urquiola and Giulio Ridolfo to create the installation, using the BMW 5 Series Gran Turismo as the starting point. The upshot, an expanded car made of unconventional materials, reveals a multidimensional environment full of curious objects.

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Internationally acclaimed textile and color adviser Giulio Ridolfo, who has worked with Moroso, Vitra and Fritz Hansen and has a relationship collaborating with Kvadrat that dates back to 2004, kindly guided us on an exclusive visit to Lab, discussing his work on the project with us in fuller detail.

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“We began from the concept of Gran Turismo since it’s an old-fashioned concept, but still close to our daily life,” Ridolfo explained. ” We spend hours in our cars, especially in big ones intended for very long travels. We decided to use monochromes to make the environment more harmonic and cozy—as similar as possible to a real living room.”

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“Regarding the materials, Patricia and I used Kvadrat’s existing range of textiles, which have been padded and layered through a particular technique, revealing a pattern created for this occasion. We also added some other materials like leather, but only where it was useful and necessary, like in the belts holding the books.”

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“The ‘exploded’ surfaces are covered with everything that we can find in our cars after a long journey. Each section is linked with yellow elements, in this case the fluid details are not real colors, but warning elements, since our desire was to give the feeling of a real construction site.”


Interview with designer Sruli Recht, Part 2: A Product Rundown

pA HREF=”http://www.srulirecht.com/index.php/projects/” Sruli Recht/A has a strange sense of humor. We journalists were at a party at the Iceland Design Center when one of the partygoers had a bit too much Brennavin, sat on an unstable table laden with bottles of red wine, and sent the whole thing crashing noisily to the ground. Recht walked in right about that time; spied the huge puddles of red liquid all over the ground; pulled a camera out of his pocket, pressed it into someone’s hands, and hit the deck to pose for a crime-scene photo:/p

p[image courtesy Brian Fichtner]/p

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p align=”center”Sruli Wrecked/P

pDuring conversation Recht likes to ride the line between funny and uncomfortable, with a deadpan delivery of transgressive subject matters that sends the jokeometer needle wavering, unable to distinguish sarcasm from earnestness; that sense of humor is also evident in his product designs, some of which are produced in extraordinary circumstances–how many product designers do you know that have smuggled tanned whale penises across the International Date Line? /p

pThe products are better described in Recht’s own words, so we’ll let him do the talking./p

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p align=”center”Minke Dorks boots/P

blockquoteThe Minke Dorks are a series of coincidences combined. Actually the first night I met Heimir [Sverrisson, film director] we began talking about how Iceland had just announced it would begin whaling again in early- to mid-2006. At the same time I was putting together that shoe collection. The conversation naturally took to “What do they do with all the whale that isn’t eaten…and what can I use that will be thrown out?” I tracked down some hunters and spoke with them about this – what is discarded and what is salvageable. It turns out the only part that is tannable is the foreskin. So I took a box of frozen penises to the north of the country to a leather tanner I had heard could tan anything. And he could. These are the guys I still work with to make the other leather I still use.

pI then had to smuggle the tanned skins into Australia with invoices saying they were just fish skins, so as to take them to the producer that was making my samples. /pa href=”http://www.core77.com/blog/materials/interview_with_designer_sruli_recht_part_2_a_product_rundown_16317.asp”(more…)/a
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Art™: The work of Rubi McGrory

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pWe love the work of artist Rubi McGrory, and she’s just launched a solo exhibition of her thesis project, entitled Art#153;, at the Oglethorpe Gallery in Savannah, Georgia./p

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pArt#153; is a solo exhibition where contemporary branding meets traditional hand embroidery. In the work, McGrory focuses on the overwhelming prevalence of logo symbolism and how inured we have become to its visual clutter. In one piece, the old-fashioned sampler is given a makeover with a quote from Naomi Klein’s “No Logo” accompanied by crystal cockroaches; another sampler explores the layout of the Mall of America./p

pimg alt=”mcgrory_quote2.jpg” src=”http://s3files.core77.com/blog/images/mcgrory_quote2.jpg” width=”468″ height=”432″ class=”mt-image-none” style=”” //p

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pThe barcode pieces are standouts: The UPC is hypnotic and beautiful; the QR code quilt made of recycled garments is actually a working code. Other pieces recontextualize our relationship with common logo characters by turning them into a series of hand stitched family portraits: Foreign cookie packages are translated into thousands of tiny stitches on silk. A red satin cocktail dress indicates the branding of femininity–like a Nascar jacket shows off a team’s sponsors. The theme follows through right to the show’s reception menu, which includes foods in which the logo is part of the food, so gallery guests will eat and digest branding. Nice./p

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pMore pictures after the jump./p

pemArt#153; is the MFA thesis show for McGrory, who has been stitching and sarcastic for as long as she can remember. When she isn’t embroidering or creating art, McGrory works as a chef in the yachting industry and writes a design column for Dockwalk.com, a website and magazine for professional yacht crew. More info is available at a href=”rubistudios.com”rubistudios.com/a or a href=”rubistudios.com/blog”rubistudios.com/blog/a./em/p

pbArt#153;br /
Oglethorpe Gallerybr /
406 E Oglethorpe (@ Habersham)br /
March 19-31, Mon-Fri, 10am to 6pmbr /
Reception March 26, 6-9 pmbr /
/b/pa href=”http://www.core77.com/blog/materials/art_the_work_of_rubi_mcgrory_16246.asp”(more…)/a
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