Design Museum Collection App: kettles

Design Museum director Deyan Sudjic talks about kettles by famous designers as part of our series of interviews we filmed for the Design Museum Collection App for iPad, which is available to download free from the app store here.

Sudjic explains that kettles by Philipe Starck, Richard Sapper and Jasper Morrison had varying success for reasons including design, production quality and practicality.

Previous movies feature iconic designs for drivingmusicchairs and word processors, and you can watch them all here.

Download the Design Museum Collection App »

Design Museum Collection App: kettles

Read on for some excerpts from the app:


9091 Whistling Kettle (above)

In 1979, when Alberto Alessi took over the management of the family’s Italian metal goods manufacturing company, he resolved to inject his passion for modern design into the business that was originally established in 1921. Alessi understood that design was the way to differentiate his products from cheaper Asian competitors. While first attempts, including a series of press artworks commissioned from Salvador Dali were commercial failures, within a matter of years, Alessi had realised a winning formula by encouraging designers to add their own personality and flair into the domestic products they designed. As Alberto says, ‘we came up with a kind of cultural-theoretical manifesto that strived to establish a new commercial culture that offered mass consumers truly artistic items at an affordable price’. German-born Richard Sapper’s 1983 Whistling Kettle was amongst the first products to be born of this manifesto and set the benchmark for future Alessi collaborations.

Design Museum Collection App: kettles

Hot Bertaa

Hot Bertaa is Philippe Starck’s bold experiment in designing a minimalist sculptural kettle. Starck’s design reduces the aesthetic of how a kettle should look down to its simplest shape. The handle and spout are a single piece that skewers the sculptural body of the kettle. Starck said he was trying to instil a sense of movement into a static object; he called it his ‘theory of immoveable aerodynamics.’ Despite being in production for only seven years, it successfully claimed a new share of the market for its manufacturers Alessi, using the idea of mass produced design as art object and gift. Despite its poor functionality as a kettle, Alberto Alessi has described Hot Bertaa as a ‘beautiful fiasco’, admiring it for its playful take on everyday ‘kettling’.

Design Museum Collection App: kettles

Cordless Kettle

The French manufacturer Rowenta had long been highly regarded in the United States as a technical innovator in steam irons, so when they wanted to break into the home appliances market, the company approached British designer Jasper Morrison to develop the ‘Brunch’ set, a new, distinctive range of kitchen appliances incorporating a coffee maker, a toaster and a kettle. At a time when many mass- market kettles appeared concerned with packing in as many features as possible, Morrison’s 2004 kettle did away with all extraneous features. A simple push button turns the kettle on, while inside, a smooth stainless steel element resists buildup and provides fast, efficient heating. The lid is fully removable for cleaning, and holds a limescale particle filter so that only clear water is poured. For Morrison, this was an opportunity to redesign a prosaic, everyday, household item and for Rowenta, it created an opportunity to reach new markets.

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Design Museum Collection App: computers

In the next movie in our series of interviews we filmed for the Design Museum Collection App for iPad, which is available to download free from the app store hereDesign Museum director Deyan Sudjic talks about iconic word processing products in their collection.

He describes the designs of iconic products as the movie follows the move from analogue to digital, starting with the development of the typewriter into laptop computers in the 1980s through to the recent switch from books to e-readers.

You can also listen to Sudjic talking about classic design in previous movies featuring drivingmusic and chairs.

Download the Design Museum Collection App »

Design Museum App Collection: computers

Here are some excerpts from the app:


Valentine (above)

With its plastic casing and strong handle, the 1969 Valentine typewriter was marketed, by Italian manufacturer’s Olivetti, as a lightweight portable typewriter. While it fulfilled its function competently, Sottsass’ playful design and choice of bright colour, inspired by pop-art, expressed the mood of the time and suggested that the typewriter still had a place in the modern world.

Design Museum App Collection: computers

GRiD Compass 1101 (above)

Utilising a clam-shell design, British industrial designer, Bill Moggridge designed what most people consider to be the world’s first laptop. The computer ran its own operating system and included a 320 by 200 pixels screen that, while tiny by today’s standards, was considerable at the time. The high cost of the Compass limited the market and it was mainly used by the United States government.

Design Museum App Collection: computers

ThinkPad 701 (above)

ThinkPads used innovative trackpoint buttons instead of a rollerball or mouse to control the cursor. While this added a useful new functionality to laptops, many criticised the use of colour suggesting red should be limited to operations relating to emergencies. The other key design feature of this 1995 design is the ‘butterfly’ keyboard that folds out and expands as the lid is opened. The casing and shape were modelled on a Bento box, the Japanese food container with multiple compartments.

Design Museum App Collection: computers

Apple iMac (above)

Founded by two college dropouts in the late 1970s, Apple grew extremely fast in the early years of the computer age and then lost nearly its entire market share to Microsoft, but came back by reinventing the computer. While the all-in-one monitor and computer configuration is an Apple hallmark – dating back to the first Apple
Macintosh in 1984 – it was the launch of the iMac in 1998 that set the benchmark for future computer designs, selling over two million units in its first year.

According to Apple’s Senior Vice President, Industrial Design, Jonathan Ive, ‘The objective was to design a computer for the consumer market that would be simple, easy to use, highly integrated, quiet and small.’ In this typically economical statement, Ive has summarised the winning formula – advanced computer technologies presented in an accessible format.

Ive and his team are more akin to craftspeople than stylists, working through an intense analysis of function and a commitment to using materials truthfully. With the iMac, the idea of translucency emerged from a desire to use plastics in a new, honest way and not as a self-conscious wish to invest the computer with saccharin sweetness. As Ive says, ‘we wanted it to be an unashamadely plastic product. Given our obsession with materials and production processes, we explored different polymers, moulding technologies, colour, texture and levels of opacity. Transluscent materials posed new challenges, we not only needed to design new ways of moulding individual parts but to develop new methods of assembly. We found ourselves caring about the appearance of internal components that had previously had little impact on the product’s appearance.’

The iMac not only transformed computer design but also home offices through its pioneering introduction of colour into the drab world of computing, predominated by greys and beige. When researching new processes, Ive and the Apple team regularly seek advice from outside world of computer design. For the iMac, they consulted a group of confectioners for their strawberry, blueberry, grape, tangerine and lime shades. As Ive noted, ‘Their experience in the science of translucent colour control helped us to understand processes to ensure consistency in high volume.

Design Museum App Collection: computers

Pro Mouse (above)

Apple’s Senior Vice President, Industrial Design, Jonathan Ive describes the design process for this step-change in computer interaction design which came out in 2000: ‘we learnt from studies that the button on a mouse creates a target specifically defining how it is held and clicked. This limits the number of ways that users can hold a mouse and consequently limits comfortable use with a variety of hand sizes and methods of use.

By building multiple prototypes we developed the idea of making the entire surface the button. Allowing users to position their hands on the mouse naturally afforded different styles of use. Similarly, by rotating the dial around the optical sensor the user can adjust the force required to activate the click switch.

Analysing surface tension in liquid droplets helped us to develop a pure, essential form. A founding idea, however, can be undermined unless the ultimate implementation is based upon the same assumptions. By sharing the concerns and sensitivities of the original idea, we developed a construction to ultra-sonically weld the simple pure surface into the product assembly.’ Jonathan Ive.

Design Museum App Collection: computers

One Laptop Per Child XO-1 (above)

One Laptop Per Child is a non-profit programme created by the Massachusetts Institute of Technology (MIT) in the United States. The 2006 child-size laptop brings learning, information and communication to children where education is needed most: in developing countries. The result is an inexpensive and energy-efficient computer. The machine’s reduction in energy use, by 90 percent, is ideal for a device that could be charged by hand-cranked power in rural villages. The laptop features Wi-Fi antenna ‘rabbit ears,’ an energy-efficient LCD digital writing tablet and integrated video camera. Networking capabilities allow children to connect to each other, their school, their teacher and the internet. Every design aspect of the machine serves a dual purpose to achieve a sense of economy and efficiency.

Design Museum App Collection: computers

Kindle 3

The Kindle was the first product to suggest that electronic book readers could offer a viable alternative to physical books. Key to the Kindle’s success was the black and white e-ink display that provided a far more realistic representation of print and minimised the screen reflections that plagued other devices. This 2010 version has wireless connectivity that allow users to download content at any time. In 2010, the retailer Amazon announced that in the United States their e-book sales had surpassed sales of paperback books for the first time.

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Design Museum Collection App: chairs

Dezeen filmed a series of interviews with Design Museum director Deyan Sudjic about 59 objects from their collection for the Design Museum Collection App for iPad, which is available to download free from the app store here.

This film features extracts about the developments in chair design over the last 150 years, from the first mass produced Thonet No. 14 chair in the 1850s to the use of tubular steel as a material for furniture in the B3 (Wassily) chair in the 1920s, all the way to creating the shapes of Jasper Morrison’s Air Chair using gas injection at the turn of this century.

You can listen to Sudjic talking about classic design for driving in our earlier movie and his explanation of the way design has changed the way we listen to music in another.

Download the Design Museum Collection App »

Design Museum Collection App: chairs

Here are some excerpts from the app:


Mould for Manufacturing Thonet No. 14 chairs

As techniques using steam bending evolved, Thonet was able to produce a chair from six pieces of wood, ten screws, two washers and some wicker for the seat. The resulting chair, the Thonet No. 14, became one of the first genuine consumer products and is often cited as the most successful industrial product of the nineteenth century. Several million had been manufactured by 1900. This mould for the chair is from the 1850s.

Design Museum Collection App: chairs

Tulip chair (model 150)

Designer of the chair, Eero Saarinen was fascinated by the potential of plastics, but the limitations of early fibreglass reinforced polyester thwarted his efforts to make the world’s first chair from a single moulded element.

Design Museum Collection App: chairs

Panton Chair

Verner Panton was the first to succeed where others had failed, by producing a chair from a single element. Practical and comfortable, the cantilevered form is based on the same principles designers Marcel Breuer and Mies Van Der Rohe used in the 1920s. Early fibreglass versions were brittle and it was not until polypropylene was invented that a suitable material was found.

Design Museum Collection App: chairs

Wiggle Chair

Best known for his iconoclastic architecture in buildings such as the Guggenheim Museum, Bilbao and the Walt Disney Concert Hall in downtown Los Angeles, Frank Gehry has also experimented with furniture design throughout his career. One of his Easy Edges chairs, the Wiggle, 1972, is composed of 60 layers of cardboard bonded and screwed together. Gehry transformed an everyday material – the corrugated cardboard from which his architectural models were made – into a solid sculptural form. ‘I began to play with it, to glue it together and to cut it into shapes with a hand saw and a pocket knife,’ he recalled.

Design Museum Collection App: chairs

B3 (Wassily) chair

Obsessed by the challenge of designing a chair to be built in a factory like a Model T Ford car, Marcel Breuer concentrated on two goals as head of the Bauhaus carpentry workshop. One was to develop furniture from the same lightweight yet strong tubular steel as the Adler bicycle which he rode around Dessau. The other was to design a cantilever chair, or one supported by a single base. His experiments produced the angular B3 chair in 1925, which he nicknamed the ‘Wassily’ after his fellow tutor at the Bauhaus Wassily Kandinsky. Unfortunately for Breuer, the Dutch architect Mart Stam (1899-1986) completed the first cantilever chair before him by making the 1926 Model No. S33 from gas pipes.

Design Museum Collection App: chairs

Chair no. 406

Conceived as a variation on Alvar Aalto’s earlier laminated wood cantilevered armchair, Chair No. 406 was designed at the same time as Aalto was working on the Finnish Pavilion for the 1939 New York World’s Fair and Villa Mairea, a house for the industrialist Harry Gullichsen and his wife Maire. A few years earlier Aalto had co- founded Artek, the furniture manufacturer, with Maire Gullichsen and his own wife Aino. Based in Helsinki, Artek produced many of Aaalto’s furniture designs and continues to manufacture them today.

Design Museum Collection App: chairs

Universale

Originally an artist, Joe Colombo opened a design studio in Milan in 1962 to apply the bold, curvaceous forms – and hatred of sharp corners and straight lines – that had characterised his art to product design. He also strove to apply new technologies to develop new types of furniture. Obsessed by making a chair from a single piece of material, Colombo first tried to develop the Universale stacking chair in aluminium, but then experimented with ABS plastic. Light, portable and easy to clean, the Universale is also adjustable as its legs can be unscrewed and replaced with longer ones. Colombo strove for two years to perfect it for mass production.

Design Museum Collection App: chairs

Donna Up5 and Up6

The Donna Up5 was regarded as uncompromisingly radical when it was unveiled by the avant-garde Italian architect Gaetano Pesce (1939-) in 1969. Pesce designed it as part of a new series of vacuum sealed upholstered furniture which could be bought in as a flat pack and literally sprang to life once the vacuum seal was broken. Described by Pesce as ‘transformation furniture’, each Up piece is compressed to a tenth of its full size when vacuum-packed in PVC before expanding to its full size after the pack is opened. The Up5 became unexpectedly popular in the UK when it was featured as the diary room chair in the 2002 series of the reality TV show Big Brother.

Design Museum Collection App: chairs

chair_ONE (above)

Konstantin Grcic’s furniture and lighting designs from the 1990s were informed by pared down purism and technically rigorous forms suited to their function. Yet Munich born and based Grcic has, in recent years, embraced a more expressive element in his work – defining function in more emotional terms, combining formal strictness with wit and subtlety.

Intent on creating deliberately ‘strange’ and open forms through advances in computer design software, Grcic started to experiment with shapes that were defined by how the object would be used, rather than by expectations of how they should look, or the technical conventions of craftsmanship. The results, such as the 2002 Chair_ONE, are blunt in style, with irregular planes jutting at unexpected angles.

Grcic’s starting point for the Chair_ONE was the everyday football – a collection of small, flat planes assembled at angles to create a three-dimensional form. By die- casting the chair from aluminium – a process rarely used before in furniture manufacture that involves casting liquid aluminium alloys into metal moulds using gravity, low pressure and high pressure – Grcic was able to produce the complex skeletal one piece seat and back in a cost effective method with minimal machining.

Design Museum Collection App: chairs

Air-Chair

British designer Jasper Morrison began work on his stackable 1999 Air-Chair when Alberto Perazza, the owner of Magis, showed him a length of tube made by gas injection. ‘The design began from the leg up, describing the tubular structure of a chair to which a thin skin is applied for the seat and back, in much the same way as the earlier Plywood Chair uses a thicker plywood for the structure and a thinner plywood for the seat,’ recalled Morrison.

Design Museum Collection App: chairs

Aeron

In the early 1990s, the Aeron office chair was the first seat to address the changing shape of the American workforce with its easily adjustable, thanks to a mechanism found under the seat, optimisation for a variety of users. Designed to an ergonomic standard previously unseen, the chair commanded a huge price. This exclusivity, combined with its ubiquitous presence in expensive offices, helped it to become an emblem for the dot.com boom of the late 1990s.

The Design Museum Collection

The Design Museum Collection is made up by over 2000 objects that range from the early Modernism of the 1900s to the cutting edge of contemporary design. The Collection tells the history of design in mass production and includes furniture, lighting, domestic appliances and communications technology. The Collection is an important record of the key designs which have shaped the modern world.

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Movie: Julian Hakes on the Mojito shoe with no footplate

Nearly three years after first revealing his concept for a shoe with no foot-plate on Dezeen, architect and shoe designer Julian Hakes talks about designing the Mojito shoe as the first collection goes into production.

Mojito shoe by Julian Hakes

The shoes wrap around the foot in one continuous ribbon, with the arch of the foot forming a natural bridge between supports for the ball and heel.

Mojito shoe by Julian Hakes

Hakes’ collection will be on display at Pure London, Olympia, from 19 to 21 August and at Somerset House during London Fashion Week in September.

Mojito shoe by Julian Hakes

See the first concept models here, prototypes unveiled at London Fashion Week 2010 here and our earlier interview filmed with Hakes at Dezeen Platform last year here.


Dezeen Book of Ideas out now!

The Mojito shoe is included in our book, Dezeen Book of Ideas. Buy it now for just £12.

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Famous Movies Outfits

La photographe Candice Milon a eu l’excellente idée de tester nos connaissances cinématographiques avec une série de clichés représentant les tenues légendaires de héros de films mondialement connus. Un principe simple et réussi, réalisé pour le magazine Sport & Style à découvrir dans la suite.

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outfits
Famous Movies Outfits 6
Famous Movies Outfits 4
Famous Movies Outfits 3
Famous Movies Outfits 2
Famous Movies Outfits
Famous Movies Outfits 5

London 2012 Olympic Park legacy plans unveiled

Dezeen Wire: plans to develop the London 2012 Olympic Park after the Games end in September were unveiled by mayor of London Boris Johnson yesterday, including the transformation of the press centre into a technology, design and research centre, and the creation of up to 8000 new homes in addition to the athletes’ village (+ movie).

The area will be renamed Queen Elizabeth Olympic Park and the first phase, the North Park, is set to open on 27 July 2013, exactly one year after the opening ceremony of the Olympic Games.

The second phase, South Plaza, will open in spring 2014 and include the main stadium and Aquatics Centre, which will open for public swimming.

Five new neighbourhoods are planned for the next 20 years, including schools, health centres, playgrounds and 102 hectares of open space.

Read more on the project website, see a 360 degree tour here or the Olympic Park Legacy Company’s brochure here.

See our interactive aerial photo of the Olympic Park here and see all our stories about the London 2012 Olympics here.

Here’s some more information from the Mayor of London’s office:


“A golden Games to be followed by an incredible legacy” says Mayor

After delivering what are expected to be the best Olympic Games ever London is now set to deliver an incredible legacy that will set the benchmark for future host cities to follow, the Mayor of London, Boris Johnson said today.

Even before the world had witnessed London’s incredible opening ceremony, followed by impressive organisation of the competitions, it had hit all its milestones on the road to the 2012 Games on time and budget. It had also secured the future of six out of the eight venues on the Olympic Park – something that had never been achieved before, with serious and credible plans on the table for the Olympic Stadium and the Press and Broadcast Centre.

Speaking at his London 2012 Legacy Press Conference he was joined by some of the major investors inspired by the opportunities the Games and the regeneration of east London are providing. This includes ICity who outlined their proposals for transforming the Park’s media centre into a technology, design and research centre with the potential to generate more than 4,000 jobs. This will build on the 10,000 jobs being delivered by Westfield Stratford City whose owners brought forward their investment plans for east London by at least 15 years after seeing the potential of the area from staging the 2012 Games.

What was once an industrial wasteland is also seeing private money from around the world transforming it into a brand new district of thriving communities with 10,000 new homes planned over the next 20 years served by new schools and medical facilities. Developers Taylor Wimpey and London & Quadrant explained how it will be building nearly 8000 new homes mainly for families as well as the brand new educational academy at Chobham Manor.

But the London 2012 legacy doesn’t end at the boundaries of the Olympic Park as the Mayor is continuing to promote the incredible investment opportunities across the capital including The Royal Docks, Silvertown Quays, Vauxhaull and Nine Elms as well as in riot-affected Tottenham and Croydon where the Mayor is investing £70 million from his regeneration fund. All these areas are benefitting directly and indirectly from the £6.5 billion upgrade of the capital’s transport network as it prepared to stage the Games and with the arrival of Crossrail in 2017 London will be the best connected city for business in the world.

The Mayor of London Boris Johnson said: “The doom and gloom merchants who said our great city would implode as we tried to stage the greatest show on earth have been proved wrong. And they will be proved wrong again as we use the catalyst of the games to attract investment into the wealth of opportunities arising in London now and in the coming years. Put simply there is no other place on the planet where investors will see greater returns.”

Daniel Moylan, Chairman of the London Legacy Development Corporation said: “Central London is moving east. Bringing the Games to east London has accelerated investment in an already growing area and now the world’s attention is focused on this fantastic part of the city.

“The Legacy Corporation, working with partners, will harness the momentum of the London Games to create a new piece of the city, bringing together the best of east London and the Olympic spirit to provide jobs, homes, schools, sports and entertainment opportunities to local residents, Londoners and visitors.”

Gavin Poole CEO iCity said: “We are really excited about the opportunity to transform the Press and Broadcast Centres into a world-class centre of technological innovation and enterprise. iCITY will create thousands of jobs, provide investment and highly advanced infrastructure for East London’s flourishing creative industries, and deliver a sustainable legacy for the local community, London and the UK.

Peter Redfern CEO Taylor Wimpey who were recently appointed to construct the first of five new neighbourhoods in the Olympic Park said: “We are delighted to have been chosen to deliver the first phase of new housing in the Queen Elizabeth Olympic Park. Taylor Wimpey are already one of the biggest contributors to new housing in London and our plans for Chobham Manor provide a unique opportunity to develop an exciting new residential quarter in one of the key growth areas of the UK.

Chobham Manor was designed with families in mind and will provide East London with much needed spacious homes designed by a team of signature architects. The exemplar design and sustainability credentials combined with the unprecedented transport connections and lifestyle amenities will provide a new residential address of the highest quality.

Speaking on behalf of Qatari Diar Delancey, appointed to transform the athletes village, Stuart Corbyn said “East Village will be a place for everybody to enjoy the best of city living; new homes will be joined by first class education, outstanding sports and leisure facilities, local shops, cafes and restaurants, and unrivalled connections to the rest of the capital. This will be one of the most exciting places to live in London.

East Village provides much needed homes, investment and jobs in East London, and reconfirms our long term commitment alongside Triathlon Homes to the local community, quality, partnership and sustainability.”

Transforming the Park

After the Games, the London Legacy Development Corporation (LLDC) will begin a £300m construction project to transform the Olympic site into the Queen Elizabeth Olympic Park. This will involve removing temporary venues, transforming permanent venues into everyday use, building new roads and bridges and the first neighbourhood.

» The Queen Elizabeth Olympic Park will be an exciting new visitor destination. Iconic venues and attractions will sit alongside new homes, schools and businesses, amongst open green spaces and pieces of art in the heart of London’s East End.

» The new Park will open in phases from 27th July 2013, exactly one year after the opening ceremony of the London 2012 Games. The LLDC was set up three years before the Games in 2009.

» The Park will be 560 acres (226 hectares) in size, equivalent to Hyde Park or 357 football pitches.

Venues and Sport

» The future of six of the eight permanent venues has already been secured (Aquatics Centre, Orbit, Multi-Use Arena, Olympic Village, Velodrome, Eton Manor).

» We are in advanced stages of work to complete the remaining two (Stadium and the Press and Broadcast Centre).

» The Park offer sporting programmes for everything from grass roots community use to high performance competitions.

» Price pledge: the cost of a swimming in the Aquatics Centre or court hire in the Multi-use Arena will be the same as that of a local leisure centre.

Employment

» Up to 8,000 permanent jobs on the park by 2030 plus 2,500 temporary construction jobs

» Training and apprenticeships with a focus on opportunities for local people

» Venues such as the Press and Broadcast Centres have been developed so they can be adapted for commercial use after Games.

New Neighbourhoods

» Five new neighbourhoods developed over 20 years

» Up to 8,000 new homes in addition to the 2,800 in the athletes’ village

» A target of 35% affordable housing

» 3 schools

» 9 nurseries

» 3 health centres

» 29 playgrounds

Transport

» Best connected most accessible place in Europe.

» Direct connections to a third of London’s rail and underground stations.

» There are nine public transport lines feeding into Stratford station; after the Games this will increase to ten. This means that a train could arrive at the station every 15 seconds.

» By 2016, it’˙s estimated that the number of passengers using Stratford station each morning will reach 83,000.

Visitor Attraction

» Expected to become one of London’s Top 10 visitor destinations by 2020 attracting local, regional, national and international visitors.

» The Queen Elizabeth Olympic Park could attract more than 9million visitors per year from across London, the UK and abroad from 2016.

Green Space

» Over 22 miles of interlinking pathways, waterways and cycle paths.

» 252 acres (102 hectares) of open space.

» 6.5 kms of rivers and canals running through the Park

» 111 acres (45 hectares) of biodiverse wildlife habitat on the Olympic Park, including reedbeds, grasslands, ponds and woodlands, with 525 bird boxes and 150 bat boxes.

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Movie: Nike Zoom Victory Elite

Movie: Nike Flywire cables that tighten on impact are built into these shoes specifically designed by Nike for running the 1500m track event, as described by the brand’s global creative director for the Olympics Martin Lotti in the last movie of our Nike+ House of Innovation series commissioned by Nike.

Movie: Nike Zoom Victory Elite

The cables in the Nike Zoom Victory Elite work like a seatbelt: they are loose when the wearer runs straight and the support isn’t needed but become rigid to provide extra support as the runner changes angle round the corners of the track. The base is made of carbon fibre layers, with the rigid middle part of the shoe comprising five layers and the front, where more flexibility is needed, comprising three layers.

Movie: Nike Zoom Victory Elite

Lotti spoke to Dezeen editor-in-chief Marcus Fairs about Nike’s latest innovations for the London 2012 Olympics in front of an audience at the event we hosted at Selfridges last night – read highlights from the talk here including the importance of psychology when designing for sports.

Watch all the movies in the series »
See all our stories about Nike »

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Tornado Proof House by 10 Design

Tornados would pose no threat to this conceptual house by architects 10 Design, which can tuck itself beneath the ground just like a turtle retracts its vulnerable head away from danger (+ movie).

Tornado Proof House by 10 Design

A system of hydraulic levers would be used to push the moving structure up and down, out of a sunken dock beneath the ground.

Tornado Proof House by 10 Design

Photovoltaic cells on the exterior would provide energy to power the mechanisms, and maybe even harvest fuel from pollution in the air.

Tornado Proof House by 10 Design

When the house is secured for safety, a watertight seal would protect it from intense winds and thunderstorms.

Tornado Proof House by 10 Design

The architects envision entire communities of the houses, where any residence can sound an alarm to warn others of approaching tornados.

Tornado Proof House by 10 Design

The first prototype is currently in development.

Other ambitious concepts we’ve featured recently include a skyscraper that makes energy from algae.

See more stories about conceptual architecture »

Here’s some more explanation from Ted Givens of 10 Design:


Isn’t the Wizard of Oz a clear example of the awesome force that a tornado can muster? How can Jaws drive people out of the ocean screaming when a house blown through the sky brings back nostalgic memories? Please stay out of the water… but feel free to build your home below flood level and out of cards in the wind. There is an urgent need to shift from an outmoded logic, ignorant of the forces of nature, to a point where the unabashed rush for profit and development can be balanced against the basic goal of providing shelter. Humanity is inexplicably driven to build in places where it should not-accepting the unavoidability of this folly is the first step to breathing in a new vision. We sought a way of turning the seemingly destructive acts of nature into creative blooms.

Kinetic architecture is the innovation which we believe will form the foundation for the habitation of the future. This type of architecture learns from technological innovation and amps up its incorporation into the home, custom tailoring existing mechanisms in new ways. The revised conception of the home finds itself somewhere between garage doors, flowers, and the survival mentality of a turtle. A series of simple hydraulic levers are used to push the home in and out of the ground and deflect and warp the outer skin in response to external stimulation. The key activators of this motion being the high velocity winds associated with thunderstorms and tornadoes. A series of solar cells on the outer skin rotate and flex to attain maximum solar intensity. A translucent outer skin consisting of clear insulation sandwiched between two layers of Kevlar provides the weather barrier and lets diffuse light into the structure. We are also exploring the application of photocatalytic coatings and carbon nanotubes on the skin to absorb and clean pollution turning it directly into fuel for the home to power the hydraulics.

A water tight seal locks the roof of the collapsed home making the structure water and wind proof. There have been a series of studies since the mid 90’s showing homes that float up and out of harm’s way. This solution does not anticipate the velocity of the water, and more importantly the grinding power of the debris contained in the water. The safest place is down.

Neighborhoods will become interwoven and connected together through sensor networks that interpret weather data. After warning sirens entire suburbs can be collapsed in seconds. The whole neighborhood will behave as an organism fit for a collective response to the challenges brought by the natural environment. The image of technology as a fire breathing train slicing a trail of black smoke through the innocent forest painted by Hawthorne is slowly replaced by a desire to respond to nature and not seek to dominate it. The tornadoes and storms can burn and blow with all their fury while the suburb safely sleeps.

Can we spin this violent ever present soup into a stabilizing direction? We seek a new mobility for the home that is controlled not left to “chance” (there is nothing accidental about 100 year old weather patterns). We are currently working on the development of a prototype with a group of ship builders in the US and Africa.

Design Team: Ted Givens, Trey Tyler, Mohamad Ghamlouch, Shane Dale, Dougald Fountain

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Movie: Velodrome animation by Crystal CG

Movie: digital graphics company Crystal CG created this animated video to accompany the Chemical Brothers’ specially commissioned song, which is played before each session in the Velodrome during the London 2012 Olympics.

Movie Velodrome animation by Crystal CG

“We’ve created sweeping contours and sleek surfaces as the backdrop for an intense, futuristic cycling ‘duel’ as two animated riders power round the track,” Crystal’s creative director Darren Groucutt says of the movie, which also deconstructs the Velodrome building designed by Hopkins Architects.

Movie Velodrome animation by Crystal CG

The music is one of five official tracks composed for the Rock the Games program, which includes Muse, Elton John vs Pnau, Delphic and Dizzee Rascal.

Movie Velodrome animation by Crystal CG

Crystal CG also created the fly-though sequences over London that broadcasters are using to link from one venue to the next and the animations on a 360 degree screen held by the audience at the spectacular opening ceremony – read more about it and watch the movie here.

Movie Velodrome animation by Crystal CG

The London 2012 Olympics continue until Sunday and you can read all our coverage of design for the Games here.

Movie Velodrome animation by Crystal CG

The post Movie: Velodrome animation
by Crystal CG
appeared first on Dezeen.

Movie: Nike GS Football Boot

Movie: the base and sock lining of these lightweight football boots by Nike are made of castor beans, as explained in our next movie with the brand’s global creative director for the Olympics Martin Lotti ahead of this evening’s exclusive event at the Nike+ House of Innovation at Selfridges.

Movie: Nike GS Football Boot

Brazilian footballer Neymar (below) has worn the boots throughout the Olympic football tournament and has scored three goals in the lead up to the final against Mexico.

Movie: Nike GS Football Boot

Along with the sprinting shoes and knitted running shoes, the boots are coloured neon yellow to be clearly identifiable as part of the Nike products range.

Movie: Nike GS Football Boot

Each boots weighs only 160g and the upper is made from 90% recycled material.

Movie: Nike GS Football Boot

Lotti will talk to Dezeen editor-in-chief Marcus Fairs about Nike’s latest innovations for the London 2012 Olympics in front of an audience at the event we’re hosting this evening – more details here.

Movie: Nike GS Football Boot

Watch other movies in this series – featuring a sprinting shoe inspired by suspension bridgesknitted running shoesa bumpy speed suit that’s quicker than bare skin and a basketball kit with built-in combat pads – here.

Movie: Nike GS Football Boot

See a story we featured previously about the boots »
See all our stories about Nike »

The post Movie: Nike GS
Football Boot
appeared first on Dezeen.