MIT famously sued Frank Gehry back in '07, as the undulating surfaces he'd designed for their Stata Center turned out to be perfect for harboring mold. Now comes news of an architecture gaffe with an even more dramatic problem. The so-called "Walkie Talkie" building in London, a 25-story curved glass structure designed by Rafael Vinoly, is capable of focusing the sun's rays into powerful beams that can start fires!

Still under construction, the building's glass panels are nevertheless able to harness the sun in such a way that they recently damaged a man's Jaguar parked nearby, melting the side mirror and distorting panels and the Jaguar badge. Reflections from the building also reportedly set the doormat of a nearby barber shop on fire, and distorted the paint and de-adhered wall tiles on a nearby restaurant.

The announced temporary solution will be to erect street-level scaffolding to shield nearby businesses, though there's no word as to what the permanent fix will be for the £200 million structure. In the meantime, the building's acquired a second nickname: "The Walkie-Scorchie."

Here's a solar physicist explaining the problem:

Over the next few weeks we will be highlighting award-winning projects and ideas from this year's Core77 Design Awards 2013. We will be featuring these projects by category, so stay tuned for your favorite categories of design! For full details on the project, jury commenting and more information about the awards program, go to Core77DesignAwards.com.

• Project Name: The Extrapolation Factory
• Designers: Elliott P. Montgomery and Chris Woebken

The Extrapolation Factory is an imagination-based factory for developing future scenarios, embodied as artifacts for sale in a Brooklyn 99¢ store.

The project is comprised of two parts, a workshop and a pop-up store-exhibition. "Factory workers" translated future forecasts into unique scenarios, each inspiring a future 99¢ store product-concept. Workers fabricated these future products, including packages that revealed its inspiration story and sources that support it.

The products conceived in the workshop were shelved in a Brooklyn 99¢ amidst items already available. Store regulars and invited shoppers strolled the aisles, conversed with strangers, and purchased futures that spoke to them.

- How did you learn that you had been recognized by the jury?

We were looking through our futurescope, searching for potential attractions to be built at Coney Island, and accidentally caught a glimpse of the Core77 Awards list.

- What's the latest news or development with your project?

The Extrapolation Factory is focusing in for our next two projects. Later this year, the assembly lines will start churning out future souvenirs for the City of New York, followed by synthetic biology-enabled services.

- What is one quick anecdote about your project?

We loved working with the owners and employees of the 99¢ store, who allowed us to install the speculative products in their shop, and helped us out along the way. As an exchange, we agreed to design and install seasonal window displays for their winter holiday and Valentines Day sales. We never imagined we'd be doing window displays when we started this project!

- What was an "a-ha" moment from this project?

For us, the most exciting moment was the actual experience of strolling the aisles of the fully installed store. Stocking the shelves, and then seeing the fictional products next to the real ones conjured a surreal feeling that we didn't get in our studio, and could never be replicated in a gallery.

View the full project here.

...and the backlash begins: Yahoo unveiled their new logo this morning, following their 30 Days of Change marketing campaign, an interesting publicity stunt that came across as a mass-market (i.e. less rigorous) version of, say, the Brand New IDEO Make-a-Thon.

I'll defer to Armin Vit of Brand New for a full analysis of the new logomark—will.i.am was unavailable for comment—but I must say I find it uninspired and uninspiring. Line-weight and non-obliqueness notwithstanding, something about that "Y" and the subtly flared lines evokes watered-down YSL, and the tweaked humanist typography feels a bit design-by-committee to me (it was, in fact, designed in-house by Marissa Mayer & co.). Current brand usage guidelines include the punctuation mark, but sadly it's not quite the same without the "whimsical nine-degree rotation" (the CSS 'rotation' property is not yet supported in any major browsers); in any case, it's just regular-ol' unexclamatory "Yahoo" in common parlance.

Regular readers of Core are likely aware that we're big fans of local clothiers Outlier. Founded on their mutual interest in designing cycling clothes disguised as regular ones—think slacks and button-ups—Abe Burmeister and Tyler Clemens joined forces in 2008 to create a pair of pants; their first shirt came the following year. By combining performance-oriented materials with contemporary tailoring—check out the case study on their dungarees—they've outgrown the bike-commuter niche and it's safe to say they're now making some of the best garments on the market today (I've said it before, but I basically live in three-way shorts during the summer).

Working with longtime collaborator Emiliano Granado, they've recently produced a video of their patent-pending 'pivot sleeve,' which happened to be another candidate for the case study, if not for the fact that there is actually IP at stake. "The Patent Pending Pivot Sleeve was born trying to solve what we thought was an isolated problem, but the solution turned out to have far wider uses. It's quite simply a button up shirt designed to give you a wider range of motion, and in the process it also manages to both fit and stay in place better as well."

We wanted to create a dress shirt using traditional non-stretch shirting fabrics that didn't bind at the shoulders and across the back when we leaned forward on our bikes. We studied everything we could get our hands on, various tailored shirts, mountain climbing jackets and even the gear that George Mallory used in his fatal yet stylish attempt to summit Mount Everest in the 1920's. Ironically we probably learned the most from a couple overpriced high fashion shirts we bought on clearance in the depth of the financial crisis of 2008.

It took them a year of experimentation to create "something that was genuinely new (at least to the extent of our knowledge and research)," for which they were able to file a patent. At first glance, it simply looks like an extra side panel for a dress shirt... but try on one for size (Open Studio every Friday afternoon!) and it's hard not to be impressed by the subtle but noticeable improvement to range of motion.

A one piece sleeve that flows seamlessly into the back of the garment, creating a rear side panel in the process. The pattern piece for the sleeve becomes L-shaped. At the critical pivot point at the shoulder the fabric lies on the bias, naturally stretching exactly where it is most useful. Removing the rear arm seam prevents the shirt from both binding across the back and pulling untucked when you move your arms, so you both look sharper and are more comfortable. Finally the rear side panels allow for a much more refined shaping of the shirt than traditional constructions. A dress shirt designed to look better, fit better and allow you to move without restriction.

The new Air-Forged Oxford, which features the sleeve, has nearly sold out since they introduced it yesterday; curious to learn more about how it came to be, I reached out to Abe, who pointed me to a making-of documentary from '09...

When we looked at Dyson's UK research facility earlier, there were two things we weren't shown: One was the new product they've been developing for two years (above), and the second is the army of scientists, engineers and designers required to make it happen (below).

The new Dyson Hard, which hit store shelves this week, attacks hard surface cleaning by introducing a new element: Wetness. To replace the traditional act of first vacuuming, then mopping a hard floor, the new device incorporates disposable wet wipes to take care of the grime as the machine vacuums (cordlessly, no less). "One machine, two jobs—one action," says Sir James.

As someone who detests mopping as a wasteful (all that water), laborious (requires a clean bucket and a squeeze bucket) and inefficient (moving dirty water around) act, I am dying to get my hands on one of these things to see if it really works.

Cynics will claim that the company is seeking extra profit by now selling the disposable wipes that the Dyson Hard requires. Handily disarming that argument, however, is the fact that the Hard was also designed to be compatible with existing, standard wet wipes produced by other manufacturers.

We've developed a strong relationship with the unsung folks behind Vienna Design Week over the past few years, and once again we're pleased to announce that we will be bringing you highlights from the show. Set to take place from September 27 – October 6 in the Austrian capital city, we invite you to revisit our coverage from last year and check out the event website for more details on this year's festivities.

See you there!

wants an Entry Level Industrial Designer
in Seattle, Washington

The fast-growing and tight-knit Tovolo team is passionate about building the next generation of kitchen gadgets, dueling it out in lunch-time ping-pong grudge matches, and trying out new recipes on Friday afternoons.

If you're interested in leaving your mark on a growing national brand, getting your hands dirty testing and improving kitchen gadgets, this entry level Industrial Design opportunity is perfect for you.

Apply Now

Text & images courtesy of Zach Kaplan / Inventables

This year at the IDSA International Conference, Inventables teamed up with Computer Aided Technologies, Stratasys, Models Plus and the 3D Printer Experience to hold a pinewood 3D-printed derby contest, Launch Day. Back in July, we made an open call to any designer in the world to create a car that used pinewood derby wheels, a ball bearing, and would be launched off of a ski jump style track. Entries would be judged on three criteria: best flight (farthest distance), best crash, and best looks. Each of these three winners would win an Up Mini 3D printer from Inventables.

Over 100 designers from all over the world submitted cars. It was difficult to narrow it down, but Paul Hatch, founder of TEAMS Design and conference chair, and I narrowed it down to the ten cars we thought would be most likely to win in each of these three categories. The cars were then printed by Stratasys, Computer Aided Technologies, Kalidescope and The 3D Printer Experience. Finally, Models Plus built the track that the cars would race down to their destruction.

With the ten cars printed and on display before the 1,000 designers who attended the conference, the excitement for the race was building. For those of you who missed it or attendees who want to relive the experience, we had six cameras capturing the action, including a slow motion camera to grab the crashes. Check it out:

See more on the event on the Inventables blog.

Over the next few weeks we will be highlighting award-winning projects and ideas from this year's Core77 Design Awards 2013. We will be featuring these projects by category, so stay tuned for your favorite categories of design! For full details on the project, jury commenting and more information about the awards program, go to Core77DesignAwards.com.

• Project Name: COMPETITIONANDRELIC
• Designer: Wei He
• Cranbrook Academy of Art

The title of the project is: Competition and Relic, which is a fossil-like clay utensil. Users could put their dishes and fruit into the holes of utensil. This work is comprised of the clay and various fruits and vegetables.

- How did you learn that you had been recognized by the jury?

When I heard the news via email in Beijing, I had just got up in the morning. I felt super excited and then rushed out of my room to tell my families this wonderful news that I won an award. After hearing my words, my aunt told me seriously: "Calm down, my kid. I always receive email blackmailing me that I won some prize with 100,000 Yuan. Never trust them!!!"

- What's the latest news or development with your project?

After finishing COMPETITIONANDRELIC, I keep on playing with clay and design a new piece - Alice in Wonderland - which is a series of colorful clay tiles molded by the various vegetables. And all these tiles could be assembled together as a long tabletop.

- What is one quick anecdote about your project?

I got the design idea when Martino Gamper as the visiting artist held the workshop in my department, Cranbrook Academy of Art. But I was not a good student at the workshop, for I didn't go to Mr. Gamper's Lecture in the academy, however, I went to down town Detroit to see Jennifer Rubell's food lecture. Finally, I didn't make a chair but the prototype of COMPETITIONANDRELIC.

- What was an "a-ha" moment from this project?

When I made it in Naishu Hu's studio. I suddenly knew I was on the way, since she inspired and encouraged me a lot.

View the full project here.

In the Details is our weekly look at one especially smart, innovative or unusual detail of a new design.

About a year ago, James Smith set out to design a lamp with what turned out to be a challenging set of parameters. With a bachelor's degree in product design and sustainability, and an apprenticeship in cabinetmaking, Smith, who is based Cornwall, England, aimed for something with a simple, stripped-down appearance that was made sustainably. "I wanted to try and create a lamp that has the same sort of functionality as angle pulleys—and to do it all using timber and as many natural materials as possible," Smith says. "It was an exercise in structure and engineering to see what I could achieve without any mechanical components."

Smith chose ash wood as the base material—not only because it's fast growing and indigenous to the UK, but also because he could source the strips from a place he has a connection to: his parents' farm, which has some forestland as well as livestock. When a tree needs to come down, Smith buys the lumber from his father.

All photos by Artur Tixliski

Photo by Luciana Golcman

The emerging field of biometrics, a.k.a. the Quantified Self, is giving 3D printing a run for the money as a contender for the next big thing in consumer electronics. Just as the former is a subcategory of digital fabrication, so too do wearable technologies represent the anthropomorphic side of augmented reality and the burgeoning Internet of Things. We've seen a couple variations on consumer-friendly brainwave-meters of late—the Kickstarted Melon and craft-meets-tech Knitic come to mind, as does the conceptual Bio Circuit vest—but given the backlash to Google Glass, the most visible wearable (pun intended), we're still a ways off from mass adoption.

Even so, I was excited to have the opportunity to experience brainwave biometry firsthand at a pop-up installation in Manhattan's Meatpacking District. Billed as "The Art & Science of Feeling," Nike has put their formidable marketing budget into a remarkably cerebral launch event for the new Hyperfeel shoe; the immersive art installation, housed inside a mysterious black box, is open to the public for one weekend only, through Sunday, September 8 (NB: Guests must make reservations in advance). Yes, the sportswear innovators are in the business of selling shoes—there is, in fact, a limited-edition colorway exclusively available at pop-up shop—but you wouldn't know it as you remove your own footwear and are outfitted with a curious-looking headset. No Glass-shame here: every participant signs a waiver before gearing up and setting out into the unknown.

Just about anyone can probably come up something cool to do and a most of us can probably actually do some of those cool things. A select few of you (I'm not counting myself this time around) are also able to document those things with photo and video and present them in a way that's more compelling than your average Instagram or Vine, and possibly make a buck or two doing so. NYC-based artist and filmmaker Casey Neistat happens to be able to do all of the above extremely well, and, after years of putting together wild, wacky and otherwise out-of-left-field short films, someone at Mercedes-Benz took notice. That's right: Casey Neistat made a car commercial. And it's awesome.

(For those of you who might retort that it's a contrived attempt at 'shaking up' a staid format—the car commercial—ask yourself this: would you not do the same thing? And would you even come close to the result?)

Granted, it's one thing make a car commercial and another thing to embed it in a Friday afternoon blogpost (credit also to the automakers themselves), so in the interest of highlighting the substance behind the over-the-top finished product, Neistat has done us the favor of posting a three-part making-of doc, and it's as good as anything he's ever done... including the commercial. This, readers, is what storytelling is about.

Just about anyone can probably come up something cool to do and a most of us can probably actually do some of those cool things. A select few of you (I'm not counting myself this time around) are also able to document those things with photo and video and present them in a way that's more compelling than your average Instagram or Vine, and possibly make a buck or two doing so. NYC-based artist and filmmaker Casey Neistat happens to be able to do all of the above extremely well, and, after years of putting together wild, wacky and otherwise out-of-left-field short films, someone at Mercedes-Benz took notice. That's right: Casey Neistat made a car commercial. And it's awesome.

(For those of you who might retort that it's a contrived attempt at 'shaking up' a staid format—the car commercial—ask yourself this: would you not do the same thing? And would you even come close to the result?)

Granted, it's one thing make a car commercial and another thing to embed it in a Friday afternoon blogpost (credit also to the automakers themselves), so in the interest of highlighting the substance behind the ecstatically over-the-top finished product, Neistat has done us the favor of posting a three-part making-of doc, and it's as good as anything he's ever done... including the commercial. This, readers, is what storytelling is about.

Come out and join Core77 and Hand-Eye Supply this weekend in Los Angeles - we have something for everyone:
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Friday, September 6, 2013
8:00pm - 10:00pm
CRAFT IN AMERICA STUDY CENTER PRESENTS "PROCESS"

Join us for an evening with Craft in America Study Center for a courtyard screening of the episode "Process" from their highly acclaimed PBS series. This episode places emphasis on how one may acquire the necessary knowledge and skills it takes to set out as a professional craftsman.

We'll end the evening with live music from the Craft in America House Band, who will play American roots traditionals from the series.

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Saturday, September 7, 2013
6:00pm - 8:00pm
FILM SCREENING: MARK ESCRIBNO'S "THE SUPER NOBLE BROTHERS"

We love the DIY ethos and this 2009 documentary about Davey, Tommy and Andy Noble, brothers and local celebrities in Milwaukee, WI has it in spades. Indie record labels, obscure artists, almost famous bands and a killer soundtrack to boot.

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Sunday, September 8, 2013
6:00pm - 8:00pm
JIMMY N' ADI PRESENT PLATONIC SPEED DATING FOR CREATIVES (RSVP REQUIRED)

"These Are My Friends and Their Friends" is an ongoing project inviting Adi's ultra-talented friends to collaborate on non-commercial work. With this project Jimmy n' Adi aim to connect the disconnected world of Los Angeles' creative community, the people who are directly and currently changing the face of advertising and art.

On September 8th, creatives will be invited to participate in a project called "These are My Friends and Their Friends: Platonic Speed Dating." Adi Goodrich has invited Jimmy Marble to host the event with her. Participants are given invitations for themselves and a guest to join in the project. Each participant will be paired for three minutes with a random guest. Jokes and drawings will ensue as guests shift from one date to the next.

Space is limited. Registration required. SOLD OUT!

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The Hand-Eye Supply Pop-Up at Space 15 Twenty
1520 N. Cahuenga Blvd
Los Angeles, CA 90028

Moving through the space.

Core77's retail enterprise, Hand-Eye Supply, is deep into the third week of a month long stay at Space 15 Twenty in Los Angeles and things are heating up! More on that in a following post though, for right now we'd like to give you, dear Internet friend, a behind the scenes peek at the making of the first ever Pop-up Institute for Craft and Ingenuity!

The project started percolating in the Fall of 2012 and developed from a simple pop-up shop into a full-on exhibtion and "educational happening" over the course of the Spring of 2013. Core77's mission has been to promote and recruit for the design professions since its inception in 1995 at Pratt Institute and with the launch of the Hand-Eye Supply store we broadened that mission to advocate for a life of making things in general wether through a DIY project or a trade or craft. It seemed natural then to push the opportunity a bit further and to give Space 15 Twenty's youthful, broad audience not only a taste of the Maker life and its accoutrements but also a chance to experience its community and practices first hand.

At work, and stylishly attired.

We let the idea of the Pop-Up Institute form both the physical space and the event line-up... The interior is divided into the key environments of creative activity - the workshop, the studio and the classroom - each populated with the appropriate tools and the results of their use. The programming focuses on bringing in local Los Angeles institutions, designers and themes to connect the broader message to moment and place. This effort has lead to, among other things, a film series examining the trials and rewards of creative endeavor, workshops with materials such as felt and wood, and evening activities to connect creative-types and to air ideas and projects. See our Pop-up Institute website - handeye.la - for the full run-down.

Below is a chronicle of our build-out and launch of the Institute - a rather impressive effort, if we do say so ourselves, for it took a 2400 sq ft. space from absolutely empty to fully constructed, stocked and merchandized in four days. After months of inventory purchasing, collateral production, event programming, staff coordination, and environmental design there was only a week-long opening to bring it all together. Odds against that happening grew when the first day of building was lost to a missing shipment of materials. But then the next day, with the lumber on-site, the HES staff tackling odd jobs and the seasoned team of Space 15 Twenty slicing down build-out task-lists with scary efficiency it all started to gel and success seemed possible again. By Friday afternoon it was over, with not an hour to spare, and after a final clean-up it was time to party!

Incredible credit and thanks go to the team at Hand-Eye Supply
Lyndsey Lee Denyer, Project Lead
Laurence Sarrazin, Environmental Design Lead
Tobias Berblinger, Manager
Christine Taylor, Photographer
Also to Emily, Kat, Matthew, Kathleen, Camille and Perry

And credit and incredible thanks to the U.O./Space 15 Twenty crew
Stephen Stonehill, Project Booster and Buildout Lead
Chris Woodhead, Project Booster
Kim Bruckbauer, Merchandizing and Coordination
Beau DeGeorge and Jeff Gauntt, Buildout Samurai

Back in 1989 there were really only two supercars worth talking about: The Ferrari F40 and the Porsche 959. So it caused quite a stir when a car most of us Americans had never heard of, the Nissan Skyline GT-R, beat the all-wheel-drive Porsche 959's track time in the rain at Germany's famously demanding Nurburgring proving grounds.

Nowadays the Skyline is well-known among street racers worldwide, and in one of the Fast and Furious movies the protagonist even scores a coveted right-hand-drive version built for the Japanese market. (It is reportedly actor Paul Walker's own personal car.) But what many may not realize is that the now aggressive-looking Skyline started out as a rather humble, boxy vehicle. Check out these unintentionally amusing Skyline commercials, and peep the styling evolution, from the 1960s onwards:

wants an Associate Designer - Presentation Design
in Santa Monica, California

You want to help write Hulu's story and craft that story visually in presentations. You love distilling complex ideas into golden nuggets of design awesomeness. You have a hankering to get as intimate with PowerPoint and Keynote as with Photoshop and Illustrator. You want to be part of the forefront of a growing and exciting aspect of the graphic design industry - Presentation Design.

This is your job for the taking. Apply Now.

A preview of work discussed in this series, with designs by (from left) Angell, Wyller & Aarseth; Francois Chambard; BIKEID; and Claudia & Harry Washington

The traditional barriers to recognition as a designer are lower than ever—but there are still certain people you'd do well to impress if you hope to make a career as an independent product designer. Museum and gallery curators, retailers at physical and online stores, creative directors for manufacturers and distributors—these people can give budding designers an amazing platform for wider exposure and help them win the commissions and make the connections vital for lasting success.

So how does one get the attention of these design gatekeepers? Recently, we tasked Bryn Smith, a writer and designer based in Brooklyn, with finding out. She called up ten influential curators, retailers, and creative directors and asked them each a batch of five questions:

How do you find out about new designers?

What kinds of design are you looking for at the moment?

What's the best way for a designer to approach you? And what should he or she not do?

Can you tell us about a recent successful collaboration with a young or emerging designer?

Their answers provide a revealing peek behind the inner workings of some of America's most important design brands and institutions—and should, we hope, give Core readers some useful advice for how to get into the good graces of industry tastemakers.

Our first conversation is with Jerry Helling, the president and creative director of Bernhardt Design, a major incubator of American design talent. We'll be posting a new interview every weekday morning for the next two weeks. So check back, and by all means let us know what you think in the comments.

As president and creative director of Bernhardt Design for the last 20 years, Jerry Helling has led the industry in nurturing young talent. The design-centric North Carolina manufacturer is an active supporter of the community, sponsoring exhibitions like America Made Me, establishing an educational program at the Art Center College of Design, and creating ICFF Studio, which introduces a small crop of emerging designers each year during New York's International Contemporary Furniture Fair. Because America lacks the infrastructure for promoting design abroad—we don't have trade associations like 100% Norway or the British Design Council—Helling believes it's imperative to provide that exposure for young designers whenever possible.

How do you find out about new designers?

The usual suspects. I've seen their work, either in print or online, or I've met them at an exhibition. If I'm being honest, somebody usually comes to my attention from the press in some way or another. Online, I read Co.Design, Dezeen, Core77, Nowness. There are probably only two print sources that I pay attention to: Fast Company and Wallpaper. I pay the most attention to Wallpaper. The third one would be the furniture magazine Intramuros. She [the editor, Chantal Hamaide] has an incredible eye, supporting young people that you're going to see before they hit the mainstream.

I also go to a lot of exhibitions and trade shows where I might see a product for the first time. The two must-sees are the London Design Festival and Milan. And then I mix it up from there. The next best is probably Maison et Objet, in Paris, but I don't think it's as strong as London in furniture.

What kinds of design are you looking for at the moment?

At the moment I'm looking for design that's integrable into large, undivided spaces. Everywhere you go now, whether it be the airport, a shopping mall, a stadium, or offices, it seems like barriers that used to be able to divide space and create different moods are gone; instead, there's an openness about everything. For a product to play well in those open spaces, and be integrable with other things—that's a different aesthetic than just admiring a standalone object. I used to be more influenced by how I felt about a design as an individual object. Now I'm more influenced with how I feel about it in context.

At this month's London Design Festival, Bernhardt Design will launch the Oslo Chair by Angell, Wyller & Aarseth.

The Oslo Chair is AWAA's first commercial product launch.

As president and creative director of Bernhardt Design for the last 20 years, Jerry Helling has led the industry in nurturing young talent. The design-centric North Carolina manufacturer is an active supporter of the community, sponsoring exhibitions like America Made Me, establishing an educational program at the Art Center College of Design, and creating ICFF Studio, which introduces a small crop of emerging designers each year during New York's International Contemporary Furniture Fair. Because America lacks the infrastructure for promoting design abroad—we don't have trade associations like 100% Norway or the British Design Council—Helling believes it's imperative to provide that exposure for young designers whenever possible.

How do you find out about new designers?

The usual suspects. I've seen their work, either in print or online, or I've met them at an exhibition. If I'm being honest, somebody usually comes to my attention from the press in some way or another. Online, I read Co.Design, Dezeen, Core77, Nowness. There are probably only two print sources that I pay attention to: Fast Company and Wallpaper. I pay the most attention to Wallpaper. The third one would be the furniture magazine Intramuros. She [the editor, Chantal Hamaide] has an incredible eye, supporting young people that you're going to see before they hit the mainstream.

I also go to a lot of exhibitions and trade shows where I might see a product for the first time. The two must-sees are the London Design Festival and Milan. And then I mix it up from there. The next best is probably Maison et Objet, in Paris, but I don't think it's as strong as London in furniture.

What kinds of design are you looking for at the moment?

At the moment I'm looking for design that's integrable into large, undivided spaces. Everywhere you go now, whether it be the airport, a shopping mall, a stadium, or offices, it seems like barriers that used to be able to divide space and create different moods are gone; instead, there's an openness about everything. For a product to play well in those open spaces, and be integrable with other things—that's a different aesthetic than just admiring a standalone object. I used to be more influenced by how I felt about a design as an individual object. Now I'm more influenced with how I feel about it in context.

At this month's London Design Festival, Bernhardt Design will launch the Oslo Chair by Angell, Wyller & Aarseth.

The Oslo Chair is AWAA's first commercial product launch.