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Shifting Design Process: The Cassiopeia Camera Experience

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The evolution of design as a professional practice is one regularly impacted by developments in other fields. As designers, we often sit squarely between disciplines, streamlining and humanizing products for greater usability and appeal in the end result.

Never has the requirement to work between disciplines been as important as it is today. As industrial design becomes increasingly interwoven with service design, user experience design, engineering, manufacturing and more—designers must act as the bonding agent for teams producing innovative products.

In an effort to further understand these emerging hybrid teams of designers, managers and engineers, companies are going as far as studying the trend of co-creation to optimize for social ideation and more collaboration. Likewise, with the speed of technology and pace of product development, having tools and solutions that allow companies to build faster is proving a greater advantage than ever before.

 

In order to research the way teams work from the inside out, Dassault Systèmes put together a creative team to design the Cassiopeia Camera Experience. Cassiopeia is a concept for a connected camera that has the functionality of a digital SLR, and allows the user to sketch over photos and scan objects or textures. The team took Cassiopeia from inspiration phase to design validation, allowing Dassault Systèmes to gather first-hand knowledge of the needs of each team member and design solutions that directly enhance social ideation and creative design among the group.

Cassiopeia Camera Experience

Using this research, it becomes clear as the project progresses through different phases, that the requirements of each contributor change and communication between parties gains complexity. While each phase builds on the next, a well equipped team will be able to regularly come together during each phase for design validation. 

We decided to take a deeper look at development of the Cassiopeia project for unique insight into the inner workings of a team—one that is not only building a product but a holistic experience.

Inspiration Phase

The inspiration phase of any product demands input from a number of key players inside and outside the company. This is often done by compiling references in the form of articles, visuals, sketches and more. A product manager typically leads this phase, however every member of the team can provide valuable input at this fledgling stage.

Team gathers references and inspiration to define key functions of the product. 

Communication at the inspiration phase must support amassing source material and then distillation until a key concept emerges. The inspiration phase is particularly important for connected devices like Cassiopeia. In this case, the design team faces not only the task of designing the camera, but also the connected functionality. The complex use cases and physicality of the product must be developed in tandem during this phase for a unified end user experience.

Ideation Phase

Once the inspiration is clear to the team, the work of narrowing the idea down to a discrete set of requirements is the next step. This ideation phase moves the product from discussion of the concept into a physical form for the first time. For this phase, creative designers are tasked to visualize the product for the team, iterate together and repeat.

Rough sketches gives the product a form factor that can discussed and refined at later stages. 

Sketching in this phase is essential. It allows the team to understand possible variations and begin to make decisions about a number of factors. During ideation, the ergonomic and functional aspects of Cassiopeia merge for the first time into a rough form factor that can be communicated to the team.

Concept Design Phase

Once the product is visualized for the first time using the 3D sketches, the next step is to model the product at scale. An industrial designer will typically model the product in 3D, testing and refining design variations from the ideation phase.

An industrial designer adds scale and refines features of device. 

With Cassiopeia, this is the phase where shapes begins to emerge and the conversation about the product shifts from conceptual to physical. The goals of the design must be clarified and communicated clearly so that the product can seamlessly transition from a design into a physical object that can be considered from a manufacturability standpoint.

Detail Design Phase

Once the industrial designer has taken the design from concept sketch to 3D model, a design engineer takes the model and considers it from engineering and manufacturing perspective. This shift from design of the device to engineering of the device is a careful balance to retain as much of the original concept for the form factor as possible.

Foresight during the detail design phase offers ease of manufacturing and greater success in the final product.

This is a key matter of communication between the engineer and designer in order to deliver a product that not only is aesthetically aligned with the inspiration – but also can be manufactured. For Cassiopeia, this requires a seemingly subtle but highly important refinement of surfaces and geometry.

Design Validation Phase

In the final step, the team must simulate the product in order to engage in discussion and finalize the design. Design validation occurs both in the final steps and at regular intervals during the development. There are two main forms this validation takes, led by a visual experience designer and a physical prototyper. A visual experience designer will create a number of detailed renders, while the physical prototyper will develop physical 3D models. 

Visualizing decisions is essential to engage key players inside and outside the team. 

For Cassiopeia this is a key phase as the camera has a number of complex parts, surfaces and functions. Regular design validation throughout the process gives access to all members of the team to make decisions about the final product. When collaboration is managed well, the multidisciplinary team will arrive at the validation phase having shared expertise at each step of the design process. As a result, the final prototype is a true reflection of their shared vision and is reached more quickly than ever before.

The development process of any electronic device is challenging for teams looking to innovate in their respective spheres. As consumer's expectations increase for well-designed objects that provide comprehensive product experiences, the ability of teams to collaborate and move quickly will be increasingly valuable. The extent to which teams can effectively collaborate will be a defining factor for success - both for the team and the products they create.

To read more about Dassault Systèmes Solutions and Social Ideation and Creative Design, check out their website and webinar.


The Hand-Eye Supply Guide to Holiday Harmony

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We know the holidays are a heck of a hectic time and we're here to help! To take a little chaos out of your festivities and increase your gifting victories, check out the Hand-Eye Supply Guide to Holiday Harmony. We've considered the best and worst parts of the season, and scouted out some of the coolest, nicest, and hardest to find items around that all shine bright with Utility, Story, and Design! 

From the Workshop to the Studio, out to the Outdoors, back Home and in the Kitchen, these fine finds can delight loved ones of all kinds, and probably your awkward coworkers too.

Making the Most of an Attic

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It's the time of year when homeowners who are lucky enough to have an attic for storage might find themselves scrambling to find (and haul back down) the holiday decorations or infrequently used luggage that's stored up there. That can be quite a chore, since many attics aren't equipped to make good use of the space available—and they often lack easy access to that storage, too. Fortunately, designers have created a range of products that can make things easier.

The Loft Ledge converts the space between trusses into usable storage space. Each kit includes two brackets, a chipboard shelf and four screws. The plastic brackets, the chipboard and even the cardboard box are manufactured from recycled materials, which will appeal to the environmentally minded.

 Some purchasers wished the shelves were larger, but the smaller size (with a resulting storage area which  is 21 inches square) probably allows it to fit into more attics. Some storage bins will be too large for these shelves, but the top-rated one from The Sweethome will fit just fine.

AtticMaxx takes a different approach with its shelving, using 22-inch-square shelves with a pre-attached metal bracket and two pre-attached straps. The company explains, "The adjustable straps on the back of the shelf allow homeowners the flexibility to level the shelf based upon the angle of their specific trusses and the pitch of their roof." Each shelf can be installed in under two minutes, which is certainly nice.

Another way to create storage space is to add flooring rather than just having joists and insulation. That could be done with plywood, but the Attic Dek panels, available in two sizes, provide an interesting alternative. 

The panels are easy to install, which impressed numerous purchasers; there's no measuring or cutting required. They're also sturdy, holding up to 250 pounds. 

But in some cases adding flooring right over the joists will mean the insulation gets compressed, which makes it less effective. To avoid that, homeowners could use Loft Legs. They're made from recycled polypropylene.

Rather than placing the flooring on top of a 100 mm truss or ceiling joist, the homeowner attaches the 175 mm Loft Legs to the top of the joists. This allows flooring to be installed over 270 mm of insulation (the recommendation in the U.K.) without compressing that insulation. 

Loft Storage Stilts have a similar design—except they have wings which clip to the joists, making installation even easier. (They also raise the flooring a bit higher than other products do, which purchasers liked.) As with the Loft Legs, they attach to the joist with screws, and then the flooring panels attach to the top of the stilts (or legs) with another set of screws.

The Attic Trac Plus is a platform and wheel-track system which allows the homeowner to reach things from the entrance to the attic, without having to actually climb into the attic. Using a system like this may mean that not all the possible attic storage space gets used, but some homeowners will be glad to make that trade-off to get the easier access.

For those who do need to climb into the attic, the Versa Rail could be a welcome addition, making it much easier (and safer) to step from the ladder into the attic. There's no point in outfitting an attic with great storage if the end users avoid going up there because it's too scary.

The Versa Lift makes it easy to get things up and down from the attic, avoiding the need to take heavy or awkwardly sized items up and down a ladder. The Versa Lift comes in two different capacities, with different models depending on the floor-to-floor range. There's also the choice between a corded and a wireless remote. 

Purchasers rave about the quality, with comments like this: "I've purchased and put together many, many things in my 65 years. I have not ever encountered anything so well designed, precisely engineered, and impeccably operated as the Versa-Lift. Even the installation manual was professionally written and very easy to follow."

Lighting of storage spaces often gets overlooked, so I was delighted to see the Loft Light, a battery-powered LED light equivalent to a 32 watt bulb. It can be screwed into any timber element in the attic, and it has a battery life of up to four years. Purchasers confirm it's easy to install and gives off a good amount of light.

Homeowners wouldn't need a light designed especially for the attic, but this one does seem to have all the characteristics they would want in such a light.

How Marketers Can Secretly Use Your Computer to Ultrasonically Connect to Nearby Devices

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We all know online behavior can be tracked via web browser. But now technology is being used to "jump the air gap" between your computer and a nearby device, like your tablet or smartphone—even if it's not connected, and all without your knowledge. "[This type of] tracking is generally invisible to consumers," the Federal Trade Commission reports, "and, unlike tracking through cookies, the consumer has no ability to control it."

The way this sneaky "cross-device tracking," as practiced by companies like San-Francisco-based SilverPush, works is downright creepy:

1. An inaudible sonic beacon is emitted

The company can embed ultrasonic sounds, totally inaudible to the user, into videos and television commercials. You're watching the Superbowl on TV, or you click on a funny video on your computer, and while you're busy cheering or giggling, you've got no idea that the sound is coming out of your speakers.

2. Your phone or device has been secretly primed to "hear" it

As the sound travels—reportedly up to 65 feet—your nearby device "hears" it, because unbeknownst to you, one of the apps on that device surreptitiously contains a software development kit that's "listening" for the sound. According to the New York Times, mobile analytics firm Flurry has embedded their tracking software into some 350,000 apps already installed on 1.2 billion devices.

3. The sound activates your device to begin tracking

When your device "hears" the sound, the behavior of that device starts being monitored, and that data is routed back to whatever party paid to have access to it. The data collectors now know that you've seen a particular commercial on your TV or clicked a particular video on your computer; what did you do next? Did you call somebody? Use your phone as a remote to change the channel? Do a web search on your phone, and if so, what for? Did you open your mapping app and travel somewhere?

The Washington-D.C. based nonprofit Center for Democracy and Technology explains why this technology is potentially harmful:

…When a company combines the information from the different devices, an extremely detailed picture emerges. For example, a company could see that a user searched for sexually transmitted disease (STD) symptoms on her personal computer, looked up directions to a Planned Parenthood on her phone, visits a pharmacy, then returned to her apartment.

While previously the various components of this journey would be scattered among several services, cross-device tracking allows companies to infer that the user received treatment for an STD. The combination of information across devices not only creates serious privacy concerns, but also allows for companies to make incorrect and possibly harmful assumptions about individuals.

The problem is worrying enough that earlier this week, the FTC held a workshop on cross-device tracking. At press time there were not yet any updates on their website revealing what conclusions they drew or actions they plan to take.

Marketers having access to this air-gap-jumping technology is bad enough. But what's even more concerning is that the technology can be used for malware, as Ars Technica reports. "That means that engineers in military organizations, nuclear power plants, and other truly high-security environments," they wrote, "should no longer assume that computers isolated from an Ethernet or Wi-Fi connection are off limits."

Ars Technica wrote that piece in 2013, based on a research paper called "On Covert Acoustical Mesh Networks in Air" released that same year. Yet we believe the practice has still not become common knowledge. So maybe the paranoid tin-foil-hat-wearers have it right, and should now be wearing an additional piece of headgear: Headphones, to keep those ultrasonic beacons from reaching out.

Further information sources:

Ars Technica

Campaign Live

- Center for Democracy and Technology's "Re: Comments for November 2015 Workshop on Cross-Device Tracking" [PDF]

Steam Feed

Tech Portal

Your Story

Stronger (and Prettier) Fastening in Wood with Countersunk Washers

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Fastening Wood with Screws 101: If you need to drive a flathead screw into a piece of wood quite close to an endgrain edge, and you just drive it in without pre-drilling and countersinking, you're gonna split it. And even if you do take the time to make a pilot hole, countersink it, and get the screw in without causing a split, there's no telling what will happen over time. As the wood moves or undergoes whatever stresses it encounters—let's say the two connected pieces of wood undergo shearing forces—the screw may begin to tilt, producing the split you worked to avoid.

To solve this problem, Canadian woodworking supply company Lee Valley created these Countersunk Washers, which "prevent the normal tendency of screw heads to split stock. The washer/screw combination applies force the same way a pan-head screw does, but is counterbored to a flush position.

"These washers have a key role to play in renovations or external trim repair," they write, "since they allow you to pull warped trim into place with long screws and then finish over it."

We stumbled across these Countersunk Washers in an eight-year-old article by Ed Sulis, a Nova Scotia man who wrote up his boat repair on the Popular Sailing blog. (You see what we go through to find youse some content?) While split boards were not a problem for Sulis, here's a photo and explanation from him on how these little gewgaws helped him out:

Many boats have Teak & Holly floorboards ( 5 mm teak and holly with 9 mm ply backing ) fastened to the boat structure with number 8 countersunk SS [stainless steel] screws. Over the years, the teak and holly top surface shows the dings and wear of age, plus the screw fasteners have enlarged the countersunk holes, and some fasteners have stripped the thread in the securing "fiberglass" structure underneath.
Photo by Ed Sulis
The floorboards in this photo are 25 years old, are from a CS 33 [a 33-foot sailboat manufactured by Canadian Sailcraft], and they show the effects of much use, but they remain structurally sound. No need to replace but a bit of surface sanding and a light coat of varnish on all surfaces and they remain very serviceable. To further improve the appearance, the ugly screw countersinks in the wood were lined with brass inserts (countersunk washers). The section of floorboard in the left of the photo has the countersink well worn and the floorboard in the right of the photo shows the up-grade method and parts.

They're certainly a damn sight better looking than the dark ring of a countersink you'd see around your average naked screw head. And though they were designed for a functional purpose, if you have a furniture piece you've designed with exposed screws, I can't help but think these would provide some nice visual pop, particularly if the screws and washers were in contrasting colors.

The countersinks are machined to accept an 82-degree screw head (standard for wood screws), and of course require some precision to bore the recess for them. Warns Sulis, "Care is needed here to centre the counterbores in the existing holes and to control the depth: a drill press is a must."

They come in #6, #8 and #10 sizes, in either stainless steel or brass. A 10-pack will run you between $5.70 and $8.00 (USD, we think; you never can tell with those shifty Canadians). Check 'em out here.

Quick-Release Key Design

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So Aaron the office lackey comes up to you, asking for the key to the supply closet. You don't want to take the time to finagle that key all the way around the loop of your keyring, do you? Particularly since you clipped your fingernails this morning and prying those things apart is like trying to split an atom?

At the same time, you can't give him your entire keyring. The reason the supply closet is locked in the first place is so that these animals don't go home with their pockets lined with stacks of Post-Its and Sharpies; do you really want him walking around the corner with the fob for your Lexus?

I think not! A better solution is Scott Amron's carabiner-plus-key combination, which suffers from the somewhat unfortunate name of the Lock Climber but is a damn sight easier to get off of the keyring. 

They're pricier than your average key at $12.50 a pop, but if you don't know how to bury $12.50 in an office expense report without raising eyebrows, then you don't deserve to be in charge of the key in the first place.

Please note that they only come in KW1 and SC1 key shapes. (If you don't know anything about keys, the KW1 looks like a Teenage Mutant Ninja Turtle and the SC1 looks like the Maximillian robot from The Black Hole.)

They come blank, of course, so you'll have to head down to the locksmiths to get them cut. But you can turn this into a win by using that excuse to miss the weekly Marketing meeting. And when they ask you why you can't just send Aaron to get the key made, you answer, within earshot of Aaron, that it's "Because some people can't be trusted and might make another copy of the key for themselves. Before we started locking the cabinet, I know there were 34 packs of Post-Its in there, not 29." Then you press the chirp on your Lexus and you're like, so out of there.

Industrial Designer Reviews Sketching Experience on iPad Pro vs. Surface Pro vs. Wacom Cintiq Companion

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There are plenty of concise video reviews of tablets online--but few of them describe specifically what it's like for an industrial designer to use them. Of the three big dogs in the fight, the iPad Pro, Microsoft's Surface Pro and Wacom's Cintiq Companion, ID'ers among you are probably wondering which will best suit your workflow.

ID sketchers will want to know: What are the practical differences between the three? Which has the best pressure sensitivity? How do the styluses stack up? How quickly and intuitively can you access the all-important eraser? How's the palm rejection on each? Which one is easy to hold, which one gets hot? What feels more like drawing on paper versus drawing on glass?

The perfect man to answer these questions is Sketch-A-Day's Spencer Nugent. Luckily for us he's got all three tablets, and took the time to demonstrate the pluses and minuses of each. To truly address the concerns that a working industrial designer would have takes time, so this isn't a short video, but it is highly informative. Take it away, Spencer:


Core77's Top 5 Ultimate Gift Guide Showdown: Week 2 Winners

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This holiday, share your Ultimate Gift Guide with Core77 for a chance to gift yourself some fun prizes. We're on the lookout for your Top 5 gift ideas for the holidays and will reward the best gift guides with awesome prizes like Hand-Eye Supply gift certificates, SONOS speakers and the Apple Watch!

Continuing the showdown, our three favorite gift guides of the week will be receiving a Hand-Eye Supply gift certificate and are in the running for the big enchilada on December 8: an Apple Watch or SONOS speakers.

This one's for all you typography nerds—with this "Letter Lovers" gift guide from Brandon Horne, not only can you learn how to write your own handwritten intricate letterforms that can be transformed into vectors, you can also clamp shop projects in style with the Clampersand (we have to give Brandon props for the Hand Eye Supply shout-out as well)

How does a designer adventure and what does he bring? Adam Chang takes a stab at the age old "what are 5 things you would bring with you on a deserted island" question with particular thoughtfulness in his "Gifts That Will Inspire Adventures" guide. We're now itching to take a trip. Thanks, Adam!

Carly Ayres' gift guide is inarguably the breast. Aside from the fact that each gift features awesome original illustrations, we couldn't help but love the playfulness—kudos Carly!

Thanks to all of those who submitted, and congratulations to our winners! You'll be receiving a $25 Hand-Eye Supply gift certificate— check out all the potential items you could snag with your prize here!

Want in on the fun? MAKE YOUR OWN ULTIMATE GIFT GUIDE HERE and you could win a $25 GIFT CERTIFICATE TO HAND-EYE SUPPLY (you'll also be in the running for our envy-inducing grand prize, an Apple Watch).


Watch the Mesmerizing GIF that Channels Ike

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Readers of this blog can't hear the word "industrial" without mentally adding the word "design." But for others, particularly those of an older generation or a more sociopolitical bent, the word "industrial" might bring to mind Eisenhower's famous 1961 Presidential farewell address, where he coined the term "Military-Industrial Complex."

The older among you watched recordings of Eisenhower's prescient speech, which warned of the dangers of war profiteering, in high school or college. For those of you that haven't seen it, it can be viewed in various edits on YouTube; the longer version I recommend you watch is here, but for those with short attention spans, a shorter cut with some context is provided here.

So why am I bringing up a 1961 political speech on a blog dedicated to all things creative? Because I just stumbled upon this GIF which, while being a bit of a simplification, almost seems it was created to remind us of Ike's phrase:

Frustratingly, I have been unable to discover the name of the artist who created it; while it's currently being shared like crazy on social media, backtracking has only led me to the Giphy page where it was uploaded without accrediting the artist. If anyone knows who created this, please do let us know in the comments. The creator deserves acclaim.

Weekly Maker's Roundup

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It's been a busy week in the world of makers! Let's dive right in:

Ron Paulk popped up this week with another great tool review, which he's dubbed "The best screwdriver ever made!" I'd previously heard tell that Craftsman's Autoloading Multi-Bit Screwdriver was a keeper, and here he shows you why.

Jimmy DiResta takes an old fireman's axe head that seems well beyond saving, and he not only restores it, but figures out how to fit a new handle into it using some molding skills. Then he crafts and fits the handle and goes the extra mile, banging out a sweet leather sheath.

Jay Bates doesn't just design his pieces, he carefully designs his process. In this video, as he creates a mortise-and-tenon table from scratch, he walks you through the carefully-considered sequence of events and demonstrates a couple of neat tricks along the way (check out the no-dust dado cutting). If Bates wasn't building for a living, he'd have a career as an efficiency expert for sure.


                       Huge DIY CNC

Who knew that for the past year, Frank Howarth has been secretly building a big-ass CNC mill! Now he's finally revealing it. In Part 1 we see Howarth working with an unfamiliar material—steel, rather than wood—and welding up one burly base. In Part 2 he starts building the rails and gantry. Lots of problem-solving going on here!

What Tools Cost

This week Matthias Wandel takes trolls to task, specifically the ones who say "If I had $100,000 worth of tools like you do, I could do all that stuff too." (Uh, no you couldn't.) In this video Wandel explains exactly what the tools in his shop cost, and—surprise surprise!—it doesn't take all that much to get started.

Putting a Lid On It 

April Wilkerson continues building out the extension to house the dust collector for her shop, first figuring out how to roof, then building the doors herself. Mistakes are made and challenges are encountered, but Wilkerson prevails. (She always does!)

Out-of-the-Way Clamp Racks

Even master contraption inventor Izzy Swan's picked up a CNC mill! Here he uses it to bang out a simple, efficient clamp rack. (Between you and me, I still think Swan could out-perform the CNC.)

 

Tool Talk

Marc Spagnuolo and the missus have returned with an episode of The Wood Whisperer Live, which was put on hold last month as the Spagnuolos were busy welcoming a new member of the family. But they're back now, this time talking about FastCap's StileRite clamps, a Fuji five-stage turbine, the Powermatic PM2244 Drum Sander, and the Port-A-Mate Industrial Strength Mobile Base, for those that need to move 1,500-pound tools around the shop.

                       Largesabers

The new Star Wars movie's a month away, but Bob Clagett ain't waiting around. This week the father and Star Wars enthusiast built two comically huge lightsabers out of materials available at Home Depot. Only question is whether the kids will be allowed to play with them….


One From the Archives: 

Monster Handheld Power Planer

Jesse de Geest shows off a beast of a tool—a handheld power planer with a freaking 12" capacity! I had no idea that Makita made such a thing, let alone that you could push it one-handed.


The Nature of Things

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All of the amazing things that you and your peers in this room and around the world have imagined, designed and created, all of the building, bridges, machines, cars, products, and devices... they all have one thing in common. They're all dead. 
– Jeff Kowalski, CTO, Autodesk

I'm currently woking on an advanced research effort as a visiting fellow at Autodesk. It is code named Project Primordial. It builds on thinking from Trillions (a book I co-authored in 2012) and in some ways paves the way for the sequel. Trillions was a field guide to the age of the Internet of Things and beyond. Our basic assertion was that:

• We are entering a world saturated with computation.

• The seed of connectivity will hit this supersaturated solution and flip the sock inside out from information "in" computers, to us living "in" the information.

• There are new design and business methods that will be critically important when this happens.

• This shift will lead to an era of unbounded, often malignant, complexity.

As a designer, I'm not interested in doomsday scenarios. It has always been far easier to destroy than to create. I'm far more interested in the question: How will we design and shape this new world to take advantage of the power that it can bring to ourselves, our communities, and to humanity itself? In Project Primordial I'm exploring the intersection of Trillions with two complementary trends—digital manufacturing and machine learning—that dramatically impact this question. I believe these three trends, taken together, give us for the first time in our history, the ability to shift to an entirely new set of design and business paradigms. 

These three technological trends are inevitable. They are a done deal and the first signals from the coming deluge are all around us. The challenge is how we surf these waves, what we do about them, and how the act of designing "things" of value will change. Those of us that figure it out sooner rather than later will have an unfair advantage, plain and simple. While others will be reactionary and surprised at each turn of the screw, I hope some of us can not only survive the riptide, but harness its power for good. If you're reading this, my job is like preparing you to gamble in Las Vegas where the odds are not in your favor. You'll have to learn how to count cards, rather than relying on luck and good looks alone.

For this article I'll assume you "get" the basic assertion of Trillions and instead will focus on the role of shaping or authoring products and environments when one of the other trends listed above, namely, machine learning and big data changes the very nature of things.

Let's start with a cup of joe

You are sitting across from me at the café and pick up a cup of steaming hot coffee. Inside my head a collection of neurons that have to do with my own body going through the motions of drinking coffee begin to have a conversation. Will you offer me some coffee? Will you drink that coffee and burn yourself? Will you throw the coffee in my face, grab the table with your other hand, flip it in the air, kick it through the window and jump into the idling car waiting outside (hey, I've seen your Netflix queue)? Or will you blow on the coffee a bit and set the cup back down?

My neurons are mimicking your behavior, inside my head. Scientists call these cells "mirror neurons." They have been observed in primates and humans and in primitive forms in other organisms. Some scientists theorize that mirror neurons help us learn behavior through mimicry, or form a theory of mind about how other people may think and act, help us have empathy for others or even support the creation of our sense of self. They may even help us answer questions like, where do I end and you begin?

While the jury is out on exactly what they do—if they are some sort of special cell type, regular neurons doing double duty, or an artifact of a much deeper and more complex system we haven't discovered yet—the idea of mirror neurons helps us think about how we work, collaborate, and survive in a world where we are surrounded by others that all have a mind of their own, a living essence, that elusive idea of a soul. We spend many of our waking hours trying to decode the nature of the people around us.

Time to go for a ride!

We leave the café and jump into your new self-driving car conveniently idling outside. Since you don't have to watch the road we spin our seats around and continue our conversation. A few minutes later—while we are deep in an argument over the true meaning of life—tires screech, temporary restraints surround us and we hear a crashing noise just outside our window. We look up from our musings and see that your car has narrowly avoided hitting a guy who just ran out into the road to catch a wayward soccer ball. But your car didn't do it all by itself. We were going pretty fast and the car's momentum made it impossible for steering and braking alone to avert a deadly accident. Newton's laws of motion are hard to break. The road surface, two neighboring vehicles, and a streetlight came to the rescue as well. The road roughed up in front of our wheels to increase friction. One of the cars rammed into our side to help make sure we were deflected beyond a margin of error to ensure that we saved the man. The other one slowed down gracefully to save the human-driven cars behind us from creating a pile up. The streetlight changed from red to green and cleared a path for the diverted vehicles to continue on their way.

That scenario doesn't sound much different than the way any well-oiled team plays after years of practice. Whether it's a team of basketball players, doctors, or dance troupes. The collaboration that arises from our ability to mirror and simulate the behavior of others—and build up a body of data for how to react when there is no time but to trust our instincts—is a critical building block in the construction of a vibrant, agile, community. But will everyday things, like cars, roads, and streetlights ever really have something as complex and central to what it means to be human as mirror neurons?

What about when products wake up?

While our car trip sounds like a flight of fancy, consider this: In January Mercedes unveiled a concept car designed for lounging instead of watching the road. A car park in Germany just announced a new robot valet that can park 60% more cars than a human driver in the same space. A recent CNN article about RAY the robot notes, "A new tie-up with Volkswagen announced this month aims to increase the efficiency of RAY by getting the car and the parking robot to communicate with each other." Audi's self-driving car—nicknamed Jack—drove 550 miles from San Francisco to Las Vegas to attend the International Consumer Electronics Show (CES).

Mercedes F015 concept car.

Arguably "Jack" has an early version of mirror neurons. On that trip it had to know where it ended and other cars—and more importantly people—began. It had to run simulations of all the other cars, people, and other things around it to figure out the best path to take on its journey. It had to learn over time how to be a better player in the bigger game of life. Google's self-driving car has already been called out for having to make tough ethical decisions like: Should it let you hit the school bus of kids or drive itself (and unfortunately you) off a cliff? Up to this point those sorts of decisions were left to chance or for Spock and Kirk to figure out.

Another development demonstrated at CES was Qualcomm's "Zeroth" processors. They are the next iteration of a computer chip that has machine learning built in. Zeroth processors were inspired by nature and Qualcomm's goal is to shift from CPUs to NPUs (Neural Processing Units). They demonstrated these chips by embedding them into 3D-printed robotic assemblies that could dynamically detect patterns and shapes. Today we see things that are connected to the network gaining computational power through a sort of infinite computing through the cloud but Zeroth shows that things will have computational power to spare built right into themselves as well.

Thanks to Moore's law, it's safe to say that whatever capabilities a self-driving car has today, your watch, shoes, or headphones will have tomorrow. As an aside, a recent review of Amazon's Echo speaker had this curious note, "I forget she's there sometimes. If I mention her name in passing, she wakes up, a ring of blue twinkling like a mini Northern Lights, and starts telling me about the Gospel of Mark as if she's in the middle of a dream."

As more things get connected—and we begin living in a shared sea of information—these new "lifeforms" will join the flow and find their own environmental niche. We'll have to try to create symbiosis between us and them. Perhaps we should be studying ecological design rather than environmental design. This will be more like growing a garden or raising children rather than like building products, houses, and factories. When machine learning and big data become ever more embedded into our products and environments, the very nature of things will change.

Design for emergence

Designers have always had to consider what limitations and potential values they build into their objects. A product with "good genes" has often had a better chance of surviving in the marketplace. But as things gain mirror neurons (an understanding and empathy for the other things in their environment) and more importantly the ability to change and grow over time, designers will literally become parents of new beings in the world. How will we design for this sort of emergence? How will we shape this "networked matter" at birth to give it (and us) a better chance in the world? Are there new kinds of design tools that could help us plant generative seeds that only blossom if given the right environment to grow? Is there a way that we could build a little intent into our things so they strive to be the best thing they could be, not just at birth but over their entire lifespan? When we plant a real seed for a tree it doesn't give up when it finds the going tough, when its roots hit some rocky soil. It grows around the blockade. When a seed is planted on a hillside the roots dig in at an angle. The tree has genes that get activated at different times so that it is always aspiring to the essence of what it means to be a tree. Could designers build this latent potential into their products when they design them? Could they somehow "ship" their design intent in the product itself?

Pavlov's Cog

As with the age-old debate of nature versus nurture, these new machine entities that start out with the best of intentions and with a good set of genes, when set free in the wild, might end up with other plans. Consider a recent art project where the artists gave a software robot a weekly allowance of cash to go on a shopping spree across an area of the web called the Darknet. The bot started out buying mundane things like counterfeit jeans, and Nike trainers, but soon was purchasing baseball caps with hidden cameras, and packets of ecstasy pills. It isn't much of a stretch to imagine the bot realizing it could make a little money on the side, and buy more stuff, not only buying the drugs, but selling some of those pills as well. Pavlov's dog learned to salivate when a bell rang through a process called "dopaminergic learning" or positive reinforcement. It turns out that same process is how you "program" Qualcomm's Zeroth chips. When machines start to learn will we have the emergence of Pavlov's Cog?

A sense of place

Aside from the obvious questions—about who or what should be arrested for breaking the law when our machines start to misbehave—this art project highlights another emergent signal about the changing nature of things. Things will become buyers and sellers within the economy. Connected places and things will be a part of the "information carbon cycle," where information is never lost but instead one entities exhaust data is recycled as food to power another's processes. They will be economic players in their own right. Life has always been a market economy where survival of the fittest was the currency of the realm. The way a given organism was shaped, how it was nurtured or challenged by its environment and the other members of its ecosystem, often conferred economic value. Over its lifespan, it gained currency that could be used to barter for things it couldn't do itself. 

Winemakers often talk about the "terroir" of a region and the sorts of wines that can only come from a given locale. That sense of place—its unique combination of elements, like climate, geology, geography, the unique life that a given local ecosystem contains—shapes the outcome of a given grape. Grapes from a particular terroir have more economic value—because of the way they were nurtured—than grapes from a different place. What happens when the things we design get nurtured in different ways? Will furniture that is part of the connected ecosystem of all the Airbnb beach houses in the world gain insights that can be sold to others in the economy, particularly those striving for better living spaces? What about clothes in a dormitory or cars that are part of a weekend race club? How will our environments become authors of these new things and how can architects, product designers, and businesses build more virtuous economies? 

If we do it right we'll have far more insight and agility than those that have only made it far enough to make dead things or worse yet, zombies that consume our brains in their quest for attention. Just imagine if a thousand other things in in your home were as needy as Amazon's Echo, and as senseless. Our products, designed with life and community in mind could be an integral part of our design team. To paraphrase and extend Bill Joy's Law, there are always more smart people—and products and places—outside your company than inside. How can we harness the value of all those things and places, all that nature and nurture as this new era comes into focus?

Amazon's Echo, a hands-free, voice-activated connected speaker. 

When products become social

In Sandy Pentland's recent book, Social Physics, he reports on groundbreaking research into the ways that ideas flow within human social networks. In his research he uses a vast number of "digital breadcrumbs" (see Trillions above for why that's becoming easier than ever before) that stream in from various connected things to track how we—as a group—coordinate, discover, engage with, and exploit ideas. His team's experiments, and the underlying "physics" that he has discovered, can predict how effective or intelligent a given social network is. The underlying math they've developed is a down payment on discovering ways to improve the collective intelligence and performance that a group of people is capable of. He shows that the value of a sensor embedded into your new product or environment is not very high until it can be added to the social network of other things and people that care about that flow of data. Often the biggest value comes from not only collecting that sensor's data over the "arrow of time" but also combining it with entirely different data sets. But what will happen when products and environments enter the social network? When they shift from passive, dead, things to players in the world of social physics? How will we apply the algorithms of idea flow to things (and places) that collaborate with people? Could we build design tools that help us simulate and tune the physics of a particular place or group of people and things to radically improve the group's performance along a given dimension?

A scene from RPG, Shadow of Mordor.

As we talk about social interactions it reminds me of a recent development in game design and makes me think that designers of things and places could learn from designers of characters, games, and dungeons. Building enchanted, delightful, surprising, or lovable products takes on a whole new meaning when they have the ability to become actors in our shared drama. A game system called "Nemesis," an integral part of The Shadow of Mordor, shows what happens when things (in this case artificially created characters) hold a grudge. The Nemesis system is a major innovation in game design. If you fight a band of Orcs and some of them survive, they share their experiences with others as the game plays out and remember that you hurt them. If you ever run into one of the Orcs again, you discover it's been holding a grudge. You also find out, sometimes the hard way, that it has grown and matured and has more skills than it did before. Players of the game find this new mechanic as enticing as catnip. Some—possibly simple—social interactions make the game seem far richer and more vibrant than the mechanistic cardboard cutout characters of the past. It seems that the other "entities" in Mordor's game have a life of their own when you aren't looking at them. They have a living essence, their own particular nature.

We believed that an interactive story doesn't mean letting players choose between a set of branching narratives that we have created; it should mean that players are at the centre of authoring the experience and that the world of the game remembers and responds to them. – Michael de Plater, Mordor Design Director

There are two key words in Michael's quote that I want to draw attention to: "authoring" and "remembers." Products and environments have always had that 5% or 10% subset of users that modify, customize, or tune things to fit "just right." They are para-programmers, scriptors, ultimately participants in the authoring of the product, just not at birth. They sometimes fix bad products and other times extend good ones to be better. Products have "remembered" too, but only through wear and tear and the general shifting that a product goes through as it is used throughout its life. A new car wears in a bit and becomes that perfect summer ride with a personality all its own; a baseball glove becomes an extension of a ballplayer's hand over time. But consider a world where things have machine learning, sensing, and connectivity built in.

Could we, instead of letting entropy dictate the memory of things, reverse entropy and practice our products into better shape? What sort of embodied potential could we design into our things so that our users become authors and maybe even participants in the economy as well? How could living things shift the environmental picture? What would happen if things had a natural lifespan and could contribute to the local ecosystem when their task was done? The concept of cradle to cradle takes on a much deeper and more profound meaning when our things can be a part of our social network. How could we use the feedback loop that connectivity provides to flow resources and ideas back to other things within the community? To enlist more travelers on our quest or help the producers and consumers of those things make the next generation even better? And, like dungeon masters, how could we design vibrancy into our places and things as a response to new challenges, not only at birth, but while the game is playing out?

Simple things

"Simple things should be simple, complex things should be possible." – Alan Kay

In Trillions we noted that we should try to follow nature's lead and make complex things out of simple things. For instance, atoms make molecules, molecules make cells, cells make organs, systems, you, me, and us. This idea of "layered semantics" is critical to the design of complex systems, yet it may seem at odds with my comments about nearly every "thing" having self-driving car level intelligence. Another thread of design science research, this one going on at my home lab at MAYA (under the name "Interstacks") is designed to address just that tension. In that work we are exploring ways of making complex systems—built out of atoms and bits—tractable, scalable (to galaxies not just planet Earth), and comprehensible. While on the outside the component architecture of Interstacks looks at first blush like any other DIY electronics kit, it has been designed to address both the runaway danger of putting too much computation and complexity too far down in the layers of your things, and also to allow for the casual development of little things like connected products, bigger things like connected houses, and extra large things like stadiums and communities with the same set of tools.

We have three mantras in that research theme:

• The least amount of complexity to do any one particular job, rather than the most.

• Develop open components that are fungible between software and hardware.

• Prototypes not PowerPoints.

Each of them work together to play a little trick on the world. A sleight of hand that pledges something ordinary like a maker kit, but turns it into something extraordinary (like living products and environments that can join a community), and in the process brings it back (the prestige) to a level of layered complexity that makes it possible for us to scale without bounds and tame the noise down to a level where we can thrive. If we can foster a community of makers that can understand what they've created and the implications of the complexity they intend to bring into the world, and we can offer them a way to use recyclable bits and atoms in a market economy, we can tame complexity and move it to the right level, much like large marbles shuffle to the top of a jar full of sand when agitated.

Ultimately, if normal people can become the parents of this new breed of life in the world (just like all of us regular Joes seem to be able to do with our existing children), then we won't become trapped by the technological elite who at times enjoy the hobbies of complexity and get distracted away from the unmet needs of our customers and communities.

For an example of the dangers of this sort of hobby, consider this question…

Design Science

Humans are fooled by randomness. We have a hard time determining between coincidence and causation. We believe lots of things that are crazy, sometimes because it "feels right" and other times because we have incomplete information but want to believe we can understand the world (or have to act even if we don't have all the information). We are pattern finders by nature even when there aren't any patterns there. Evolution may have encouraged this sort of behavior. The downside of imagining that something going bump in the night might be a bad thing trying to eat us was that, if it wasn't a predator, we just looked foolish (but were still alive). Science came along at some point as an antidote to this sort of thinking. But science turns out to be hard in practice. A seminal paper by Pedro Domingos about the "black art" of machine learning notes that machines can also be fooled. They can have a hard time determining between coincidence and causation, or learning how to generalize a new skill from specific example data sets. We are in the early days of learning how to design machines that learn. I don't think we can make them logical right away—not only do we not know how to do that, they (for awhile) have to live in a human economy and humans are not logical—especially in their wants. But hopefully we can avoid affecting our mind-children with the psychoses that we have.

Richard Feynman gave a commencement speech at Caltech that is a master class in the difference between scientific and magical thinking. He illustrates his point by sharing the history of "Cargo Cults" where South Sea islanders—who had a sudden surfeit of riches drop from the sky in the form of cargo containers during World War II—formed a sort of cult when the wealth disappeared (the war ended). They built bamboo landing towers with air traffic controllers inside replete with coconut headphones. Unfortunately, while they did everything right from their point of view, the cargo didn't return. They didn't have a valid model of the actual system (for instance the real model of the world included two epic cultures battling for dominance and the islanders turned out to be a convenient way station). Worse, some cargo cults were formed because a charismatic leader that told of having had a "myth-dream" about what the gods of cargo needed. The mysticism provided a way to control the masses and co-opt the community into doing what the leader wanted.

So what happens if our products form cargo cults? What if they fool our business leaders into making decisions based on flights of fancy rather than facts on the ground? What about when our machines begin to see patterns where there aren't any, or worse, when some of the objects and environments in our social network try to become shamans through their influence and myth-dreams? While they are learning to study us, in the best of worlds to serve us better, what if they begin to foster magical thinking? 

Products that begin to act wacky and guided by voices could lose trust among their peers. Designers and organizations that produce those sorts of products or environments could become ostracized or dismissed the same way we roll our eyes when our loony uncle walks into the room. Getting smart about statistics, about modeling, forecasting, maybe even having our products gain literacy in human-centered design science, could be an antidote. But, Feynman notes that the way science works best is when we do something more. It works best when we are brutally honest, capture all of our results even if they don't fit our current model, and become radically transparent about what works and doesn't. Most importantly of all it works best when others can test out our ideas themselves and contribute to the information commons.

For business models the implications—where a given thing plays in the economy, and how much we share versus keep to ourselves— are vast. Machine learning is one way we'll tame all the complexity in our world. It is a powerful spice in the recipe we're cooking up. The sooner we as designers learn to think ecologically the sooner we'll discover the right mixture of nature versus nurture that can help our work thrive. Ultimately my goal is to stir the pot, and see what bubbles up as the necessary and sufficient primordial soup for this new species of product design.

In this article I've posed more questions than answers. It won't surprise you to learn I've got a few initial answers or at least hypotheses I'm interested in testing with a few brave souls. If you're interested in the research we are doing into shaping networked matter, join the conversation or become a partner in our research experiments.

Parting shot

How will designers create, not an Internet of Things (or worse, an Internet of Thing) but rather, as Jeff Kowalski notes in his keynote at Autodesk University, a Community of Things?

This post originally appeared on LinkedIn's Pulse.

Could a Bicycle's Speed Affect How Motorists Treat It in Traffic?

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Driving psychology: For the Manhattan motorist in a rush, the worst thing to be stuck behind is a bicycle. Along certain narrow corridors like lower Broadway that lack bike lanes, it's not uncommon for cyclists to ride in the center of a lane, to better preserve their own safety and avoid getting "doored." This can be frustrating for the motorist behind, who feels they could make the next light if only this slow bicycle wasn't in the way.

As a result you will often see motorists veer around them, creating a potentially dangerous situation. I have been both the motorist and the cyclist in this scenario, and it's the latter situation that is the more eye-opening.

However, driving behind a two-wheeled vehicle with only a slightly bulkier form, the motorcycle, provides motorists with no urge to pass. Motorcycles are faster than cars so even if you could overtake one, there's no reason to. In over 20 years of driving in the city I don't think I've been prevented from reaching a light by a motorcycle even once.

Which makes me wonder: If bicycles were as fast as cars, at least in practical city-traffic terms, and if drivers realized this, would they be less tempted to overtake them? Outside magazine recently tested out a $7,000 e-bike for a month, using it for daily commutes, and here's the excerpt from their review that sparked this thought:

Where I live, west of downtown [in Austin, Texas], there are no bike lanes or shoulders, but there are plenty of drivers who insist that the car is king. I ride and train on my pedal-powered racing bike a lot, and sometimes drivers come around me when there's little room to spare.
My e-bike changes the game. On one steep stretch of Westlake Drive, the charged machine has me traveling, with only a slight amount of pedaling, at 21 miles per hour uphill—or three times as fast as I'd go on a regular bike. My joy is genuine, and my speed is just fast enough that the woman driving the Suburban behind me decides to follow rather than attempt a pass. As I approach the intersection…I'm in the middle of the lane.

What's alluring about this is that the motorist naturally gave the bicycle the same amount of respect as a car. I don't mean respect in the corny gee-I-feel-good-about-myself kind of way, I mean respect in terms of practical behavior. It suggests an alternate future where cars and bicycles might experience something like equality on the roads.

Of course, cyclists being overtaken is not the only reason for accidents, and proponents of the "speed kills" philosophy could argue that faster bikes might lead to more accidents and less survivable collisions. More studies with more details need to be conducted; for example, in 2014 New York City media outlet WNYC reported that cyclist deaths in the city had doubled over the course of a year, but the accident reports are inconsistent in providing context about each case. As an example, some reports are as specific as "Anna Maria Moström was riding a bicycle on Main Street when she was struck by a bus making a left turn," but many only say "This death was reported in the Police Department's Motor Vehicle Collision dataset but we are missing information describing the incident." Without consistently detailed data, it's nearly impossible to figure out what misperceptions and errors led to the accidents, and whom was at fault.

Urban cyclists among you: In the absence of a bike lane, do you ride in the center of a car lane? In what specific situations do you feel you're most at risk of being struck? And do you think e-bikes, with their greater speed, would improve bike/car road-sharing, or be offset by a greater amount of non-survivable collisions?

Reader Submitted: Cosmos - Magnetic Space Toys

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Cosmos is a set of simple magnetic blocks with gentle curvilinear forms that subtly suggest their cosmic reference. Designed as a tribute to the vision, intellect and courage of humankind, who have overcome challenges and pushed boundaries. So beautiful and elegant that grownups won't mind their kids leaving them out – or they may even get some of their own!

The patented magnets pop up to snap together, just like real world locking mechanisms.
View the full project here

Is This the Future of Sneaker Manufacturing?

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Just when you thought that sneaker technology could be advanced no further, Adidas has launched its Futurecraft Leather Superstar, an ultra-limited-edition version of its classic sneaker crafted from one seamless piece of leather.

The FLS is the result of a collaboration between Adidas, the London industrial designer Alexander Taylor and the Paris shoe designer Joachim de Callatay—all working under the umbrella of the German athleticwear company’s Futurecraft group, which aims to push the limits of material innovation for the brand. This is the second edition in Adidas’s Futurecraft series, which often borrows processes and techniques from other fields. (For its first edition, the brand 3D-printed otherwise difficult-to-manufacture shapes and forms to create supportive soles.)

The Futurecraft Leather project began in late 2013. Taylor had an existing relationship with Adidas, and he proposed bringing in Callatay for some experiments in using leather for performance footwear. “I was interested to open some research into combining craftsmanship with the latest industrial technology and revisiting working with a material which resonates with the very heritage of the brand and performance products,” Taylor says.

Talking through traditional techniques and ways of working with the material, the designers decided fairly early on that they wanted to proceed by removing material from the leather, and they began using a hand-held router to experiment with making a series of cuts and varying the thickness of the material to achieve different effects. It was, Taylor says, “a kind of ‘reductive’ manufacturing, taking material away from areas of the shoe where you would like to generate more flex and breathability.”

Next, the duo applied their findings toward developing a few concept shoes, imagining how the technique could be applied to create a slew of silhouettes. The decision to work with Adidas’s iconic Originals Superstar sneakers came later on. Ever since it was introduced in 1969 as the first low-top basketball shoe, the Superstar has been a symbol of boundary-pushing in shoe design—not to mention a cornerstone of sneaker culture—and so it seemed like the ideal choice for the latest Futurecraft material innovation.

For the Futurecraft Leather Superstar, the hand-held router was scrapped in favor of an industrial CNC machine typically used for milling aluminum, wood and nylon. “We looked into a number of possibilities of working with patterns and milling various leathers to understand every detail of how we can work with the technology in an intelligent way,” Taylor says. Early on, he and Callatay struggled with calibrating the machines and testing different tool bits. “After that, it is just like anything new—you just have to make, as it’s the only way to really understand,” Taylor says. Learning from their earlier explorations, the designers varied the amount of material removed to precisely add flexibility and stability where needed.

In the Futurecraft workshop
Alexander Taylor with a completed Futurecraft Leather Superstar

From the moment the leather is taken from the tannery, the process between making a traditional Superstar and an FLS edition immediately diverges. With the former, pieces of leather are taken from the tannery then separated by various thicknesses; these separate parts will eventually be cut into individual parts and pieces before being glued and stitched back together. For the FLS, the process instead begins by removing material from a single, continuous piece by way of milling. “This adds functionality to the shoe and reduces parts, glue and labor through stitching,” Taylor says.

While one might expect the process of milling to lead to more waste, Taylor says that it actually uses less material overall. Furthermore, he says, “the waste material can be collected and reconstituted and used for another purpose.”

Using a milling technique traditionally applied to industrial manufacturing also opens up possibilities for Adidas to individually tailor its shoes to its customers. “Looking forward, we can imagine that by simply changing patterns on the screen and supplying data we can begin to imagine more precision and control through production,” Taylor says. “Whilst we have been developing the research over the past two years, we are also in some ways still very much at the beginning of illustrating the possibilities.”

Of course, another caveat or, ahem, Achilles’ heel is the high cost associated with individually milled shoes—both in time and price. “Production time is relative to where we are now with the development and technology we are using—this is all still very new,” Taylor says. “However, as I mentioned, we are reducing and removing the steps which are usually part of the production line, and the technology is currently used in industry creating most of our everyday electronic products.”

In other words, the Futurecraft team thinks we could see more of this kind of thing in the not-so-distant future. “The technology and machines are already commonplace in industry,” Taylor says. “However, they are currently used for machining aluminum or nylon or other materials. Therefore it is not such a leap to imagine how the milling of leather will become part of the process. We live with products every day which use exactly this technology to create commercial products. Projects are in development in both style and performance to bring more of the milled leather shoes in various silhouettes to the market.”

For now, however, the Futurecraft Leather Superstar will only be only available in an extremely limited edition—just 45 pairs (to celebrate the Superstar’s 45th birthday). They became available at Dover Street Market in New York, London and Tokyo starting earlier this month, so if you’re just hearing about this now and want to snag a pair, chances are you’re already out of luck.

A Luxury Shoe Storage System—With Some Puzzling Craftsmanship Issues

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The sheer breadth of furniture design subcategories, particularly within the luxury space, never ceases to fascinate us. Initially we were tickled to see this handsome Modular Wooden Shoe Rack:

Made in Italy and consisting of 12 individual boxes that interlock, it initially seems to be a worthy luxury object that would please a (literally) well-heeled client. The price point certainly puts it within that space, as it retails for £3,375.00 (USD $5,115) inside the EU, and £2,812.00 (USD $4,261) outside of the EU and their pesky levies. However, a closer examination of the retailer's photos reveal some head-scratchers. For instance:

Is that tear-out we see around the lip of the recess that houses the window? We were also puzzled that the screws weren't countersunk, but looking at the photo below…

…it appears that the screws need to stand proud in order to engage the magnets that hold the door shut.

The handles struck us as odd…

…as they're rough-cast but also polished shiny. It seems they ought be one or the other, rather than both, but we suppose that's a subjective aesthetic call.

Here we see the pins by which the boxes can be aligned, both side-by-side and one atop the other, as there are presumably corresponding holes in the bottom of each box:

For the price we'd have expected something a bit more elegant than what appears to be a thin piece of stamped metal holding the two pins together.

Thus far the things we've pointed out (except for the tear-out) could be defended for one reason or another. But here's where we get into a damning craftsmanship no-no. Whereas the horizontals appear to be created from narrower stock that has been glued together edge-to-edge, take a look at the endgrain on the verticals:

As you can see, they've gone with the cheapest cut of wood, i.e. plainsawn/flatsawn. I realize quartersawn is prohibitively expensive, but flatsawn is notoriously the cut most susceptible to wood movement and warps the most. The proof is in the pudding: Look closer and you'll see that the box at top right no longer sits evenly on the box below it.

We're not surprised that that happened, but we are surprised that they would reveal that in the retailer's photo! And if you look at how the verticals join up along the left side of the photo, you'll notice they're also far from square.

In short, these are the types of build issues we'd expect to see from a fledgling Chinese manufacturer, not an Italian concern like Turms, "a small family company in Montegranaro [Italy's center of shoe production]." A UK-based website called Permanent Style writes of this piece, "As with all Turms products, they are beautifully made and therefore not cheap." It's true that I've not witnessed their full production run in person, but based on what we've seen here, "beautifully made" seems like a judgment call.

So, what do you all think: Are we being too nitpicky? Is this about the level of fit-and-finish you'd expect from a piece of furniture in the four- to five-grand range? Are we fetishizing Italian craftsmanship and expecting a level of perfection that is no longer practically attainable in the 21st Century? And for the experienced furniture builders among you, are those the cuts of wood you'd have chosen?


In Sweden, an Eco-Friendly House Wrapped Inside a Larger Glass House

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In the 1970s, Swedish eco-architect Bengt Warne built his radical Nature House. Essentially a conventional home wrapped within a greenhouse, the Nature House served not only as a testbed and research center, but a home where he and his family actually lived, warmed year-round by the sun.

Over a decade ago, French engineer Charles Sacilotto had become intrigued by the Nature House idea. "I thought it was a kind of Utopia to live like that," he told Radio Sweden. Sacilotto reached out to Warne, and the architect designed a greenhouse for Sacilotto's home in Sweden. Here are the results, including the neat side benefit of no longer needing a roof and being able to turn that upper space into a terrace:

While the greenhouse is undoubtedly the star of the video, I was equally impressed with Sacilotto's DIY, zero-waste sewage system. The centrifuge and system of multiple tanks would undoubtedly be daunting to most DIY'ers, but it was probably child's play for Sacilotto; though he now works as a schoolteacher, in his previous career the man was a nuclear power engineer.

Warne passed away in 2006, not long after completing the design of the greenhouse in the video. If you'd like to learn more about Warne's work and eco-principles, there is a website dedicated to him here.

Design Job: Senior Industrial Designer in Boston

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Work as a member of a cross-functional team driving deep consumer insights into exceptional design solutions. To succeed you'll need a minimum of five years experience, exceptional design skills, strong knowledge of CAD and rendering software as well as strong communication skills and a strong understanding of design strategy.

View the full design job here

Tonight at Curiosity Club: Barefoot Sound

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Tonight at Curiosity Club we might get rocked, as we welcome scientist, engineer and music-loving inventor Thomas Barefoot of Barefoot Sound. We'll hear about his journey from a self-taught kid too broke to have a guitar of his own to a self-made engineering entrepreneur selling exceptional sound to the stars of rock and roll. 6pm PT at Hand-Eye Supply and streaming on the Curiosity Club homepage.

Audiophile tested, Steven-approved

Elaine Lustig Cohen, Accidental Graphic Designer

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This is the latest installment of our Designing Women series. Previously, we profiled Kartell cofounder Anna Castelli Ferrieri.

Elaine Lustig Cohen, 1997. Image via elainelustigcohen.com

Elaine Lustig Cohen began her design career as a self-described “office slave.” Having married the modernist graphic designer Alvin Lustig in 1948 (when she was 21 and he was 33), she went to work in his studio, helping manage the day-to-day affairs and serving as a de facto production assistant and draftsperson, executing his designs alongside a handful of other assistants. Although she had studied art at Tulane University and the University of Southern California, and took a great interest in the aesthetics of Constructivism and the Bauhaus, she had no formal design background and Lustig had little desire to teach her the graphic design trade. As she would later recall, “It was, after all, a different time.” Yet Lustig’s deteriorating health and failing eyesight from diabetes made him increasingly reliant on her skills, and his early death at age 40 thrust Lustig Cohen into her own design practice.

Before starting her own graphic design practice, Lustig Cohen served as an “office slave” in her husband Alvin Lustig’s studio. Image, 1949, via elainelustigcohen.com

Not that she had much say in the matter. Just two weeks after Lustig’s passing in 1955, Lustig Cohen received a call from the architect Philip Johnson, who told her to “Get on with it! Do it.” “It” was the signage for the Seagram Building in New York, which Johnson had previously commissioned Lustig to design (he died before starting work on the project). So at Johnson’s urging Lustig Cohen took on the project and began a longstanding collaboration with the famous architect. “I had never designed anything on my own in my life, but I did every piece,” she told Artforum last August, “the 375 address outside, the Brasserie sign, the firehose connections, switches, even things that wouldn’t be seen. It helped me survive for three years. I did all the catalogues for every museum he designed, every piece that had lettering on it. Philip was very fast and always had three ideas for every one idea you showed him, but if I stuck to my guns he would always go with my instincts.”

Lustig Cohen’s alphabet for the Seagram Building’s signage, 1957, via elainelustigcohen.com
Lustig Cohen’s design for the Seagram Building’s exterior signage at 375 Park Avenue in New York, 1957, via elainelustigcohen.com

From this first project, Lustig Cohen’s solo practice flourished and she received graphic design commissions from other architects, including Eero Saarinen and Richard Meier, as well as from a number of cultural institutions and book publishers. Her designs for a series of Meridian Books paperbacks are perhaps her most recognizable. Lustig had designed the first 25 covers to much acclaim; Lustig Cohen carried on the commission, designing more than 100 additional covers for the publisher. Using collages, photographs, found illustrations and playful typographic treatments, she created witty juxtapositions that each expressed an “idea that tells the flavor” of the book.

Book cover for Witchcraft by Charles Williams for Meridian Books, 1959, courtesy Cooper Hewitt, Smithsonian Design Museum
Book cover for Politics: Who Gets What, When, How by Harold Lasswell for Meridian Books, 1958, courtesy Cooper Hewitt, Smithsonian Design Museum
Book cover for Hard Candy by Tennessee Williams for New Direction Books, 1959, courtesy Cooper Hewitt, Smithsonian Design Museum

Another important client was the Jewish Museum in New York, for which she created a visual identity in 1963 as well as more than 20 museum catalogues, invitations and other printed materials. Because of the breadth of her designs and the high caliber of her clients, it’s easy to take Lustig Cohen’s work for granted, but as she pointed out in an interview with BOMB magazine, “There were no female freelancers [in graphic design]. There were many good female designers, but they either worked in fashion, publishing, or advertising. But these were salaried positions. I started in the ’50s, but it wasn’t until the ’60s that this became more commonplace.”

Invitation for the Jewish Museum, New York, 1964, courtesy Museum Associates/LACMA

Lustig Cohen worked independently from her home studio, a setup that she says later “backfired” because she never had the capacity to take on larger projects. Instead of growing the studio, she turned to painting in 1969 and began working exclusively on her fine-art practice. A few years later she also established a rare-book dealership called Ex Libris with her second husband, Arthur Cohen, publisher of Meridian Books, whom she had married in 1956. Their collection focused on printed materials and ephemera from the European avant-garde. To advertise Ex Libris’s holdings, Lustig Cohen designed a series of catalogues that have become collector’s items in their own right.

Ex Libris Catalogue 16, 1989, courtesy Cooper Hewitt, Smithsonian Design Museum

Celebrated as a pioneer of American graphic design, Lustig Cohen was recognized in 2011 with an AIGA metal, and her work has been widely exhibited and collected, with a large archive residing at the Cooper Hewitt, Smithsonian Design Museum. Lustig and Lustig Cohen were recently reunited at the Los Angeles County Museum of Art, where a selection of their book and magazine covers, advertisements, packaging and announcements hang side by side through July 4, 2016, as part of the exhibition Vitality of New Forms: Designs by Alvin Lustig and Elaine Lustig Cohen.

Exhibition catalogue for USA XXXII International Biennale Exhibition of Art, Venice, 1964, courtesy Museum Associates/LACMA
Exhibition catalogue for 2 Kinetic Sculptors at the Jewish Museum, New York, 1966, courtesy Museum Associates/LACMA
Cover for Webster’sNew World Dictionary for Meridian Books, courtesy Cooper Hewitt, Smithsonian Design Museum
Cover for The Noble Savage 4 for Meridian Books, 1959, courtesy Cooper Hewitt, Smithsonian Design Museum
Ex Libris Catalogue 11: Bauhaus 1984–85, courtesy Cooper Hewitt, Smithsonian Design Museum 
Brochure for the Kootz Gallery exhibition Picasso: Five Master Works, 1958, courtesy Cooper Hewitt, Smithsonian Design Museum
New Year’s Day party invitation, courtesy Cooper Hewitt, Smithsonian Design Museum
New Year party invitation, 1968, courtesy Cooper Hewitt, Smithsonian Design Museum


Hand-Eye's Slick Gift Pick: The Silca HX-One 

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To begin at the beginning, Silca has been making impeccable tools for nearly 100 years. If you like bikes and bike gear, especially beautiful vintage stuff, you may be familiar with their well-made pumps and stylish sundries. The HX-One Essentials kit is one bunch of sundries we're happy they waited until the 21st century for. As basic as hex keys seem, this simple Allen set destroys the competition for a few precise reasons. 

First and foremost, the alloy they use is important. For small tools that do a lot of torquing, the ability to withstand shock and work hardening is critical but easily overlooked... because getting around it gets difficult. That's why the edges of hex keys and tips of bad screwdrivers strip out even when you're using them pretty responsibly. Silca went with S-2 shock-resistant steel and a thin-dense chrome coating, tested and proven to resist rounding and distortion much longer than titanium, standard tool steels, or aluminum. S-2 balances hardness with durability, resisting rounding of both the hex tools and mating parts.

The whole kit was designed from a user's perspective with easy, satisfying operation at the forefront. The solid milled beechwood case has a simple magnetic closure and every tool slot is easy to access with a single hand. The hex keys are spray coated (not painted) with a bright textured polymer to increase grip and visibility. They snap lightly into their elastomer slots with low resistance and a satisfying click.

The kit includes a magnetic ¼" adapter that converts the 6mm key into a socket driver. The adapter is also precision cast in high strength steel, and knurled for easy grip. In the kit you get the six most common Torx sizes, two standard Phillips and two standard flat head drivers, and the ¼" driver will fit any other bits of the same size. The case has a trough for additional bits, bearings, or grease stained band-aids, internally textured to make retrieval easier.

The whole thing is made in the US, and designed to last. In now at Hand-Eye Supply for $125.00.


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