The Big Ad Gig
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pI had a friend who was a caretaker for an extremely wealthy family in Westchester, New York. The family had been rich for generations, and everything they owned was “the best” and was brand-new. One of my friends’ tasks was keeping the family’s considerable fleet of cars filled with gas, and one day when he was returning with the family SUV, he carelessly let a tree branch on the estate gouge the paint on one side. When he confessed his crime to the family patriarch, he couldn’t have been more surprised at the response: “Oh,” said Rich Dad, “that’s too bad. I guess we better get a new one.”/p
p”Uh…what?” my friend said. The truck was less than a year old./p
p”We’ll get rid of the truck and get a new one. It’s no good, right?” /p
pIn short, the patriarch had been raised the same way he was raising his kids–to believe that only new, pristine things were good, and when you needed something, you went out and bought it./p
pIn contrast, I remember Karim Rashid recounting that his father was a set designer who had built many of the things in Karim’s childhood home. He had thus had impressed upon him from a young age that if you wanted or needed something, you designed and built it. (The philosophy’s certainly served him well, as the man has something like 3,000 designs in production.)/p
pObviously these are not binary choices in how to raise children, but if I had kids I’d certainly lean towards the latter philosophy rather than the former, and not just out of my eternal indigence./p
pA good place to start might be Brooklyn-based author Heather Swain’s “A HREF=”http://www.amazon.com/Make-These-Toys-Creations-Everyday/dp/0399535918/ref=sr_1_1?ie=UTF8s=booksqid=1280331729sr=8-1″ Make These Toys: 101 Clever Creations Using Everyday Items/A,” recently covered A HREF=”http://www.nytimes.com/aponline/2010/07/27/unassigned/AP-US-FEA-Crafts-Toys.html?_r=1hp” in the INew York Times/I/A:/p
blockquoteKids who spend hours communing with technology — plugged into televisions, computers and iPods — may benefit from some good, old-fashioned arts and crafts fun. Especially if they can then play with what they make.
p…”The process of picking out the project, getting stuff together and making it” is only half of it, she says. “Then they go play with it. It’s not over. That’s what I like.”/p
p…The toys aren’t intended to last forever. After all, they’re made from cardboard tubes and glue./p
p”It’s going to break. It’s going to go away,” Swain says. “But they can make it again. They can change it and innovate.”/blockquote/p
pAmen to that. If my kid scratches the family car, I won’t learn about it because he told me to get a new one; he’ll just show up to the dinner table with paint under his fingernails and a respirator-impression on his face.br /
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Ethereal tunes from a collective of L.A. music nerds
Dubbed an “indie pop quartet,” L.A.-based band Superhumanoids has more in common with the emotionally-languid style of vets like Morrissey than with peers lumped into the same near-meaningless genre. Like all good design, their tunes balance honesty, innovation and attention to detail that stems from the group’s dedication to music. The four members—Sarah Chernoff, Cameron Parkins, Max St. John and Evan Weinerman—all play different instruments and roles in other bands.
A natural frontman, Parkins typically takes the lead with his sex-phone-operator baritone anchoring his sensually-hysterical high notes and Chernoff’s soothing backup melodies. A steady beat and intriguing riffs—like on “Hey Big Bang,” a power ballad with a catchy staccato drumbeat that feels tailor-made for Chernoff’s haunting vocals—ties the dreamy roller coaster of sound together.
While the four have only been playing together for just over a year, songs like “Contemporary Individual” and “Cranial Contest” showcase a well-honed instinct for blending their individual talents.
Superhumanoids’ recently released Urgency, a red vinyl EP, sells from record label Hit City U.S.A., which Parkins’ cofounded along with fellow Franks bandmate Colin Stutz. (Chernoff is the drummer and third member of The Franks.) Pick up the record ($10) or CD ($5) online from Hit City or visit the band’s website to download the album through Soundcloud.
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pWe like seeing big-name design firms throwing their weight behind green technology. Last month we showed you A HREF=”http://www.core77.com/blog/object_culture/fuseprojects_electric_vehicle_charging_station_for_ge__16935.asp” fuseproject’s electric vehicle charging station for GE/A, and now frogdesign has designed the A HREF=”http://designmind.frogdesign.com/blog/ev-drivers-get-charged.html” Blink, an EV charging station/A that comes in both commercial and residential flavors. /p
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blockquoteThe evolving nature and adoption of EV technologies means that our design has to be fail-proof in order to build trust among early adopters. That’s why we created a design language for Blink that echoes current driving behaviors to make the transition to an electric vehicle as easy as possible. The driver instinctively knows how to use the charger thanks to the recognizable cable wrap design. This was purposefully designed not to have moving parts that could break down over time, or complex mechanisms that might confuse users, ultimately complicating the experience.
p…Every garage is different, but for most consumers, restricted space and keeping things organized are major issues. We specifically designed the connector so it would not stick out from its mount, to avoid the possibility that the user could knock it off or be scratched by inadvertently brushing against it. The taper of the housing was designed so rain will run off, and the driver won’t be tempted to place their coffee cup on top of the unit, a potential hazard for the electronics it contains. /p
pAnother challenge for the design of the residential version of Blink was the fact that the location of charging points varies on different EV’s. We purposefully separated the cable wrap and charger to allow the user to place it more conveniently within the garage. This ensures that if a consumer buys one electric vehicle now, the design of Blink can adapt if they purchase another brand in five or ten years./blockquote/p
pThe Blink is being produced by A HREF=”http://www.ecotality.com/” ECOtality/A, a clean electric transportation and storage technology company, who plans to begin rolling them out this year./p
pHere’s a video of Andy Hooper, frog’s Director of Biz-Dev, breaking down the blink:/p
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London Metropolitan University Leeds Metropolitan University graduate Charlotte Wilson was awarded Best in Show at London graduate show Free Range this year for her proposal to convert a bunker into a museum.
The existing RAF Bempton bunker in Yorkshire, UK is built into a cliff-side and would be be transformed into a museum celebrating the role of women during war.
The bunker would be dug out in areas to reveal its three metre-thick walls and create a series of courtyards open to the air.
A glazed roof over one section would have water flowing over it and down a wall etched with the names of pivotal women from past wars.
Part of the bunker would protrude out of the cliff to create a viewing platform over the sea.
Here’s some more from Wilson:
“Situated within a unique cliff side location in Bempton lies the RAF Bempton bunker. Disintegrating and of great historical interest, it is proposed the site will be sensitively renovated and reclaimed.
‘Women . War . Peace’ will be a new and exciting war museum with the pure focus of Women and War. Journeying through the exhibition will illustrate the compassion, realism, horrors and bravery seen and felt through the eyes of women during war time, both on the front-line and behind the scenes. This museum interrogates the creativity of learning through emotional and experiential spaces and details.
By breaking out of the bunker from it’s central pit space, the architectural language conveys the juxtaposition between the protective shell of the bunker and it’s contrasting dangerous subject matter. Through this process the bunker’s thick 3.3 metre walls are revealed and with this, external underground courtyards are created, allowing for pause and contemplation throughout the experience. The whole experience will be of constant enlightenment, with natural light increasingly puncturing underground and views being progressively exposed.
The bunker accommodates four main stages, Past, Present, Reflection and Remembrance;
Past. The main Exhibition Space is located within and around the bunker with the focused narrative being of the two different stories of ‘Women at War’ (situated within the bunkers walls) and ‘Women at Home’ (breaking out of the bunker to create new spaces). This gives the idea of the Women at Home being ‘Behind the Scenes’ and supporting the Women at War.
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This experience will house the stories of Women from 1914 to 2000 through interactive stations, silo spaces and archived resources with the experience being of an intimate nature. At the heart of the exhibition is an interactive time line structure which contains an immersive eerie environment within it’s walls reminding the visitor of ‘absence’. This structure is impertive as a collective point and a place to delve deeper into the information.
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Present. This experience takes place within the Souterrain and courtyard spaces and is dedicated to the stories of women of war from 2000 to the present day. Water flows along a glazed roof and enters into the space flowing down a wall, etched with the names of admirable Women, before the tunnel punctures through the cliff face to reveal a viewing platform over the sea.
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Reflection and Remembrance. This viewing platform allows for the visitor to reflect over the information gleaned whilst looking out to sea. As this space is partially exposed, visitors will begin to feel a sense of freedom as they listen to the birds song.
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Future. After ascending back up to ground level, the visitor is able to look back on underground spaces with a new perspective as they wonder freely back along the site. A proposed viewing platform will rise into the sky, allowing a view over the explosive narrative of the site.”
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East Mountain by Johan Berglund | Cottages at Fallingwater by Patkau Architects | Urezkoenea House by Peña Ganchegui |
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p[image credit: A HREF=”http://www.pointdistribution.com/hardgoods/skateboard-deck-manufacturer/” Point Distribution/A]/p
pI first learned about plywood and its properties not through the Eameses or design school, but as a teenaged skateboarder. We built ramps and surfaced them with two layers of 1/4″ ply, and our boards themselves were made of seven layers laminated together, cross-hatched for strength. The way skateboards are constructed became obvious to me after I shredded the tail of my John Lucero deck, worn down after months of abuse; the tail “de-lammed” or delaminated unevenly, and as the glue failed you could see the different profiles of individual layers and their alternating directions of grain./p
pI wasn’t the only one riding a raggedy-ass skateboard, as it wasn’t something you were meant to keep nice; it was Isupposed to/I be abused, and you’d keep riding it until you wore it down to an unworkable nub. /p
pWhich makes me wonder if Mechanical Engineering and Design student A HREF=”http://www.louisbradier.com/Projects/projects.php” Louis Bradier’s carbon fiber skateboard/A will be a hit or not. It’s a downhill longboard deck as opposed to a more thrashable street deck, but will skaters take to a material and technology more likely associated with skiing than skating? /p
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pWhether or not it takes off, it’s impressive that that’s no rendering, above–Bradier designed and built the thing himself. “It features a foam core construction with a torsion box,” he writes, “an impact tough injected polyurethane edge and load distributors.” You can see more of Bradier’s projects A HREF=”http://www.louisbradier.com/Projects/projects.php” here/A./p
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Les designers de Costa Verde ont voulu créer un lieu alternatif en reprenant un avion Boeing 727, et en faisant un hôtel dans un arbre. Doté d’un intérieur en bois et d’une vue splendide, cette résidence unique au Costa Rica se distingue des autres hôtels. Plus de visuels dans la suite.
It’s been months since we checked in with the progress on the World Trade Center building efforts, so why not do that now? At last we left things, 60 Minutes was calling the number of delays over the years “a national disgrace.” The New Yorker‘s Paul Goldberger got into that discussion too. The only positive note around that time was finally seeing a working test of Michael Arad‘s “Reflecting Absence” memorial. So what’s happening now that we’re in the thick of summer, inching ever more quickly to the 10 year anniversary? John Hill‘s always excellent A Daily Dose of Architecture has checked in on the site again via an aerial photo taken by Daniel Acker for Bloomberg. He follows this up with a great rundown on what exactly we’re looking at, where there’s been progress made (which is mostly just a bit more of the Freedom Tower). It’s a short and sweet update, and well-worth checking out if you’re curious to see how far along everything is.
New Career Opportunities Daily: The best jobs in media.
It’s been months since we checked in with the progress on the World Trade Center building efforts, so why not do that now? At last we left things, 60 Minutes was calling the number of delays over the years “a national disgrace.” The New Yorker‘s Paul Goldberger got into that discussion too. The only positive note around that time was finally seeing a working test of Michael Arad‘s “Reflecting Absence” memorial. So what’s happening now that we’re in the thick of summer, inching ever more quickly to the 10 year anniversary? John Hill‘s always excellent A Daily Dose of Architecture has checked in on the site again via an aerial photo taken by Daniel Acker for Bloomberg. He follows this up with a great rundown on what exactly we’re looking at, where there’s been progress made (which is mostly just a bit more of the Freedom Tower). It’s a short and sweet update, and well-worth checking out if you’re curious to see how far along everything is.
New Career Opportunities Daily: The best jobs in media.