Memobilia links crafted unfinished classical furniture and digital fabricated elements. Due to financial crisis, many companies of the Italian furniture district had to close; furniture of this collection were all lying in a defaulted family workshop, on the master carver working table, abandoned together with their artisans' knowhow. We believe there's nothing lost; designers should find the gap between old craft and new technologies as an opportunity for continuity. Suggesting a new relation among industry and craftsmanship, caravan designed five pieces that play with machining, materials and crafts.

Each year during New York Design Week, designers from all over the world flock to the city, filling venues throughout the five boroughs with a seemingly endless array of new products. Don't get us wrong, we love to see the full gamut of works on display, but there is something particularly refreshing about designers who opt to challenge the design world right in the middle of one of it's most important annual exhibitions.

That's why we've had our eye on Grouphug, an alternative design collective founded by the director of product design at littleBits, Krystal Persaud. Each year, the group stages a pop-up show during New York Design Week, each time tackling a different big-picture theme—probing "those problems that make you think 'Man, the world is so fucked up,'" as they state on their website. Over the years, they've established a thought-provoking platform that lays an important foundation for generating discussions about the productive role of design in our society. On the eve of their exhibition opening this year, we sat down with Persaud to find out more about how Grouphug started, what motivates them and where they're headed.  

Core77: When and how did Grouphug start?

Krystal Persaud: I moved to New York from Atlanta in the spring of 2013. NY Design Week came around and I remember going to a handful of events and feeling underwhelmed. It was embarrassing to see shows that have not evolved past furniture or lighting designs. I know that ICFF is a Design Week staple, but there are over 40,000 industrial designers in America—what's everybody making? It can't all be chairs and lamps. For New York to continue to be the most forward-thinking city in the world, we need more experimental, visionary work.

After 2013's NYC Design Week, I thought, "I live in New York... I know some designers... why not try to organize a show I wish existed?" So in 2014, we hosted our first show, Trigger, about gun violence. This was followed by Feed Me in 2015, a show about the future of nutrition. Now we're on our third show, Judge Me, about combatting prejudice.

One of the projects selected for this year's show is Tru-Colour bandages, a new take on band-aids that redefines what "nude" means. 

 

How does the name "Grouphug" reflect the collective's mission?

I never liked the nature of design competitions. Trying to design the "best" piece to win a spot in a show always pits designers against each other. When designing solutions for a big problem, it isn't a competition. It's more about bringing designers together and feeding off of each others' ideas. So I liked the idea of this collective feeling like a "grouphug" of designers—a creative space where you submit an idea and are welcomed into a community of people who are also passionate about what you are trying to do.

It's hard to find a name for a socially conscious mission without sounding mega cheesy like "design for good" or something like that. Whenever you have a name like "for good" or "for impact" it cues the eye roll... I wanted the name to emphasize a sense of joy and fun–to attract optimistic people!

Also on view is this Pantone-esque guide to human traits by Spark Corps.

What considerations go into choosing each year's theme?

Every year during the exhibition we put out post-its and paper and ask visitors to tell us what big problems they care about or worry them. When forming a theme, we try to pick a topic that is broad enough that designers have some freedom to interpret it, yet specific enough that the final output can be tangible. For example, this year's theme of "prejudice" is universal enough that it personally touches everyone, but they all have a different take on it. I think it's important to give designers an avenue to act on things they are passionate about. We've talked about tackling themes like population, energy, and addiction in the future.

The GenderTimer app allows you to measure how much speaking time is given to women vs. men during tv shows or even in office meetings. 

 

What's next for Grouphug?

Good question! We get a little bigger every year. We try to push designers out of their comfort zone and give them the opportunity to design things they don't get to every day. Most of the concepts shown at our shows are prototypes that will never make it to market. That's ok. We hope the process of tackling a big problem for a design show will inspire designers to continue thinking about theses issues in their professional lives as well. Success to me is building a tight-knit community of designers who are passionate, curious and ready to rumble.

We want to continue disrupting NYCxDesign with fresh ideas. We've talked about adding more interactive elements to our programming next year—like running a hands-on workshop or a design charrette around the theme we choose.

BKLYN Designs, the New York Design Week fair dedicated to the best and brightest of Brooklyn makers, kicked off this morning in Greenpoint. Focused on showing the world all that Brooklyn has to offer to the world of design, the exhibit is a mixture of your standard design week fare as well as a number of exciting interactive events taking place throughout the weekend. Visitors can buy beautiful objects for the home, learn how to weave a tapestry with the Textile Arts Center, or designers can even have a one-on-one session with experts at Kickstarter to figure out how to bring their design ideas to life. 

Here are a few things not to be missed at this weekend's event: 

Imagination Station

The event space is filled with exhibitor booths along with plenty of fun installations and pop-ups—this playspace by David Rockwell is soft and modular, and is meant to encourage children to take part in "unstructured free play" and inspire their inner architect.  

Material Magic by Come Out to the Coast

These planters by designer Serena Chang for her studio Come Out to the Coast are made by creating a mold of plastic wrap and styrofoam, which are are then filled and casted using gypsum concrete and resin. In person, the styrofoam planters are uncannily similar to the original material while the bubble planters remind me of a comfy down blanket. 

The "Love Seat See-Saw"

Reclaimed wood company Sawkill Lumber Co. teamed up this year with designer Louis Lim to create this awesome "Rocking PacMan" furniture work, made from reclaimed white oak wooden barrels sourced from an old distillery in Queens. Lim utilized building techniques similar to traditional boat builders to create the piece. 

Masterful Results

Plenty of ambitious works by small design teams are sprinkled within the show, like this complex modular vase above, made by Talbot & Yoon, which was casted from concrete and resin to give an almost leather-like consistency. 

These beautiful, all-natural cutting boards by Den of Thieves are made using different wood species from Africa—the studio also make knives built using exotic woods and damascus steel. 

A nice curved bench by Peg Woodworking made out woven rope and wood. 

Brooklyn Love

A Brooklyn design event wouldn't be complete without an homage to the city's Style Wars! These lighting pieces are all handmade, one-of-a-kind works customized by Brooklyn artists for Smash Industries and Legion Lighting. 

BKLYN Designs runs this weekend through Sunday, May 8th—check out the BKLYN Design website to see the full roster of events going on this weekend. 

Showcasing a series of diverse galleries and exhibitors brought together by their focus on innovation in both vintage and contemporary design, Collective is an important anchor event during the festivities of NYCxDesign. 

The show does a great job of incorporating site-specific, commissioned installations throughout the fair, allowing for a more in-depth exploration of ideas. This year, Nendo and Cranbrook Academy of Art are the subjects of special spotlight exhibitions that highlight their respective influence on the design world right now. We were especially excited about the launch of Collective Concept, a platform for independent studios who don't have traditional gallery representation to present their work and ideas. 

Without further ado, here are our must-see picks:  

Fort Standard

Brooklyn-based Fort Standard, a partnership made up of Pratt graduates Gregory Buntain and Ian Collings, is casting the most traditional, natural materials—wood, stone and leather—in a new light. The large wardrobe pictured above is made of soapstone, carved with woodworking tools until it was thin and light enough to work as a cabinet. Through experimentation, the duo has pushed the materials to their structural limits—creating pieces that are sculptural, functional and refreshing in their simplicity.

Ian Stell at Patrick Parrish Gallery

Ian Stell is showcasing the latest works in his spellbinding series of transforming pieces, painstakingly crafted out of wood and brass pivots. The latest evolution of the work features the use of color laminate, a move that further complicates the way we read the surface of each piece as it contracts and expands in its various incarnations. 

Collective Influence: Nendo

Each year, Collective highlights the career and work of a single designer or studio. This year, Tokyo-based nendo is front and center with an installation of lighting and cabinets located in the entrance to the fair. The exhibit highlights the studio's iterative process with several dozen variations of cabinets that translate a sense of movement through an abstract notation of the way drawers swing open and close. 

Cranbrook Academy of Art: Fine Design for the End of the World

Frank McGovern, Oxidation Table

Vineta Chugh, Global Population: Year 0/ 1986/2015

Evan Fay, Vine Chair

An exhibition of graduate work from the Cranbrook Academy of Art's department of 3D Design explores apocalyptic ideas through critical, reflective design objects. Some of the projects hint at the theme formally, like Frank McGovern's tesselated table (pictured above), which adapts patchwork quilting techniques in steel, using the material's rusted patina to suggest a sense of decay. Likewise, Evan Fay's Vine Chair suggests a sense of "beauty in chaos" through a complex tangle of steel, brass, foam and scuba knit fabric. Other projects are more grounded in a critique of our present condition. Vineta Chugh's lamp series takes population data and translates it into little architectural forms—as the data increases, the light becomes dimmed through "the weight of all these passengers."

Chris Wolston at Sight Unseen

The Brooklyn and Medellín-based designer expands on his trademark technique of aluminum sand-casting in this new collection, shown against a bespoke wallpaper he collaborated on with Designtex. Wolston applies the technique to aluminum foam sheeting most commonly found in architectural sound-proofing to create a discordant collection of tables, lighting, seating and tabletop objects. 

Studio Proba X Bower at Sight Unseen

Studio Proba and Bower teamed up to present a multi-sensory immersive installation for Sight Unseen. With a recurring water element throughout the pieces, the setup establishes a tranquil, meditative environment as a welcome respite and counterbalance to the hectic nature of design fairs.

Jay Sae Jung Oh at Johnson Trading Gallery

The Korean-born designer has developed a complex technique that creates very unexpected objects. She starts with a base piece, in this case a small sofa, and adds a collage of other objects on top of it—it's a pretty fun guessing game trying to figure out what's underneath—then wraps the resulting assemblage in thin leather strips, a process that takes at least six months from start to finish. 

CW&T, Presented by A/D/O: Roto-Jam

Art and design studio CW&T is on site, working on their process piece, Roto-Jam. Their material exploration has led them to a process of particle jamming, to produce thin-shelled casts out of re-usable, dynamic molds. Check out the video below to see it in action:

Jan de Swart at Converso

If intricate wood carvings are your jam, make sure to stop by Converso's booth, showcasing mid-century modernists Jan de Swart and Wendell Castle through a variety of functional designs as well as some purely sculptural eye-candy, like the intricate ship carving pictured above. 

Shizue Imai at Cocobolo

Shizue Imai's ceramic works draw on classic and primitive techniques and references from Africa, Asia and the Americas. The experimental works feel both ancient and modern, elegant and raw—and demonstrate the endless potential of ceramic as a material and process. 

Collective Design is on view through Sunday, May 8th.

Leather Knife Sheath

Fun with leatherworking! Here Jimmy DiResta makes a sheath to hold the big-ass knife he made last time:

Reviewing a Tool Bag and a Tap & Die Set

We have a rare bit of sponsored content from Matthias Wandel this week. The notoriously picky Wandel has agreed to review some tools for Canadian Tire's Maximum brand, and he's opted to cover their tool bag and a tap-and-die set:

Cantilevered Shelf Supports

Wandel's also got a build video for this week. Here he whips up some cantilevered shelves for his shop, using his self-built horizontal boring machine to cut mortises and tenons:

Mobile Lathe Cart

Also doing a utilitarian build this week is Jay Bates, who creates a rolling cabinet to store his newly-acquired lathe. Bates gets an assist from fellow YouTube maker Matt Lane.

How to Patina Copper

For those of you branching out into metal, here April Wilkerson shows you how you can patina copper with some common household items:

Cutting Dovetail Joints

Jesse de Geest shows you the painstaking process of cutting dovetails almost entirely by hand:

Under-Cabinet Drill Bit Storage Organizer

Steve Ramsey builds a storage organizer for his drill bits, and mounts it beneath a cabinet for easy access:

Getting Shellacked

Marc Spagnuolo continues demystifying the finishing process, this time showing you how to mix up some shellac without having to measure or weigh:

Why You Shouldn't Throw Your Scraps Away Until the Project is Finished

Here Shannon Rogers shows you a classic screw-up we've all made, which is mis-measuring and cutting a piece too short, then shows you how he fixed it by digging into the trash can:

Wine Crate Endtable

This week La Fabrique DIY builds an endtable incorporating a wine bottle crate. Note that they use that crazy European variant of a jobsite table saw, where you have a circular saw mounted upside-down to the bottom of a table and you pull it towards you to cut:

Making a Mallet with Concrete, Epoxy and Lego

This week Linn from Darbin Orvar shows you how to cast concrete (well, mortar) mallet using a form made from Lego bricks. I'm not convinced I'd want a resin-coated mallet for chisel work due to how it might affect the impact, but it's an interesting technique nonetheless:

Faux Weather-Worn Paint Finish

I'm highly impressed with Sandra Powell, a/k/a Sawdust Girl, and her persistent finishing techniques. This time around she takes a fiberglass door--which of course does not take stain well and has no grain--and figures out how to get a convincing-looking weather-worn paint finish on it:

How to Get a Level Line Across a Compound-Curved Surface

While none of you reading this are shipwrights, there is much to learn by watching one. Here Master Shipwright Louis Sauzedde shows us how he solves a tricky problem: How do you get a perfectly straight, flat line across a surface that consists of compound curves?

Well, dang. For the first time in my miserable mechanic life, I'm here to tell you about the benefits of an electric bicycle accessory. Mostly. The currently Kickstarting GeoOrbiter wheel has been cruising around the internet at well above its claimed 20mph top speed, turning heads and utterly destroying its campaign goal. And, to my purist chagrin, it seems to have earned its digital fame.

The GeoOrbiter is a self-powered wheel, using a mechanism similar to the TRON motorcycle. It can push you up to 20mph in 6 seconds, go up to 20 miles without pedal assist, and will fit most rides with 700c or 26" front wheels. It straps in very quickly for an electric assist, and has a removable/additional battery pack for folks who need additional power.

The Panasonic 36V removable Lithium-Ion battery features regenerative braking, and can roll an estimated 50 miles with pedal assist, 30mi. for the 26" model. The handlebar mounting throttle gives you easy access and control, and the whole thing comes off in seconds if you need to take it with you when you park. The included tire is a solid foam "flatproof" design, which probably rides like crap but skirts many of the fit difficulties between proprietary rims and standard issue tires. 

The battery can even be used as auxiliary charging device. It has a USB port and can charge phones, lights and other accessories, while mounted or removed. If all the connections are as tight and right as they ought to be, this is easily the most user-friendly design for an assist I've seen. 

While I can't imagine this tech is going to appeal to hardcore cycling enthusiasts (just check out the wildly unergonomic seat height in the video), the much wider range of sometimes-riders could get a lot of mileage out of it. For super long commutes, or if regular riding tires you out (and that seat position might have something to do with it), juicing up your bike can definitely increase mobility.

CTO Dakota Decker and his poorly treated knees

The inevitable downside of an electric assist is its weight. The GeoOrbiter weighs 17-20 pounds, though they estimate it will net less, assuming your front wheel weighs a thunking 6 pounds to start. Either way, this is a significant amount to have located in the front wheel where it will affect balance and handling, especially important while turning. How noticeable, and whether it's manageable, will likely depend on the bike and rider… but of the few turning shots in the video, all the curves looked quite wide. 

A reader recently (and incorrectly) argued that adding a pound to your bike is irrelevant for anyone but a professional racer, but if you're a very casual rider pounds can be treated with less regard if it makes the ride itself more approachable. And if you have to add weight, keeping it low and focused around the rotational areas can help diminish perceived heft while riding. 

Certain claimed benefits do give me pause. The insinuation that you might "need to accelerate faster than cars at an intersection" is a little questionable, since drivers already have a difficult time predicting bikes' behavior, speed and distance. Throwing moped zippiness onto a bike can get you through more yellow lights, but it might complicate safe navigation by other vehicles around you. 

But by and large the biggest complaint I've seen is the cost. With an earlybird price tag around $600 and expected "regular" price of $700, is the mobility of an electric assist worth the price of a new (lighter) bike?

What say you?

Jumpstart your week with our insider's guide to events in the design world. From must-see exhibitions to insightful lectures and the competitions you need to know about—here's the best of what's going on, right now.

Monday

To celebrate the launch of the Downtown Design Festival, the Seaport District will host an opening night event on the picturesque cobblestone pavements of historic Fulton Street, featuring music, live entertainment, food and spirits. 

New York, NY. May 9, 2016 at 6 PM. 

Tuesday

Don't miss the inaugural Design Pavilion exhibition, housed in the newly renovated Astor Place Plaza. Among the curated selection of interactive displays and immersive exhibitions is American Design Club's "Growth," exhibit–a showcase of innovative functional objects made to encourage the growth of natural plants in our man-made world.

New York, NY. On view through May 11, 2016.  

Wednesday

Tadao Ando—the Japanese architect and Pritzker prize recipient known for melding the aesthetics of his native country with those he gleaned on travels to Europe, Africa, and the United States—will speak about his current work and hold a book signing of his latest monograph, Ando (Taschen, 2014).

New York, NY.  May 11 at 7 PM. 

Thursday

The motto at this year's TYPO Berlin conference is "strictly no design." The annual conference is Europe's largest event devoted to graphic design, typography and media studies. Programming this year will explore the future directions of design, but there won't be any design professionals speaking—instead, the focus is on multi-disciplinary creatives (musicians, artists, writers) who are working to re-define the boundaries of the genre with new perspectives. 

Berlin, Germany. Through May 14, 2016. 

Friday

Opening on Friday is the annual End of Year show at the IIT Institute of Design, showcasing problem-solving proposals that span across healthcare, education, urban environments, technology and business. 

Chicago, IL. On view through May 16, 2016. 

Saturday/Sunday

Kick off ICFF 2016 with the opening night party this Friday, hosted in MoMA's beautiful sculpture garden. Then, get some rest and head out to see the marathon fair this weekend—with over 30,000 global designers on view! 

New York, NY. Opening party on May 14, at 7 PM. ICFF will be on view through May 17, 2016. 

Check out the Core77 Calendar for more design world events, competitions and exhibitions, or submit your own to be considered for our next Week in Design.

Speaking of handtrucks, the UpCart can perform a trick that most others can't: Curb- and stair-climbing. While the end user still provides the motive power, the triangular configuration of the wheels makes it far easier to transform forward motion into upward motion. Have a look:

Interestingly, a couple of years ago the UpCart was a failed Kickstarter project. Despite being a Kickstarter Staff Pick, in November of 2014 it fizzled with just $27,387 pledged towards a $100,000 goal. But the developers persisted and found the funding somewhere else, and today the UpCart is available for sale on Amazon.

The Amazon reviews are generally positive, but the few one-star reviews harp on what you might guess by looking at images of the cart: It seems the object isn't very durable, with plastic parts and hinges failing under load. And it's got the same disappointing one-year warranty as the EROVR we looked at earlier.

The three-wheeled design, though patented by UpCart, is not unique. Here are several other companies producing similar products, though they look a lot flimsier than the UpCart design:

The only one that looks truly durable is that HS-33 Hand Truck Stair Climber. That's obviously more of an industrial solution, but it's apparently popular; the $170 object is currently on back order.

Gest is a groundbreaking wireless input device that can be used to control just about anything, from replacing the keyboard to flying drones. When Pushstart was approached by the team at Apotact Labs, the technology was embedded in a glove much like its less-impressive predecessors found in the gaming space.

There's something almost accidental about Sebastian Brajkovic's distorted Lathe series—like what might happen if you were to grab the edge of a chair to move it, but instead of moving, it transformed into putty in your hands, pooling up and pouring onto the floor as it dragged across the room.

Which makes sense—that's kind of what Brajkovic did. Playing around with Photoshop as a student at Design Academy Eindhoven in 2003, Brajkovic came across a feature that allowed him to grab a row of pixels in an image and drag them to any length. "I decided to try and make a chair out of it," Brajkovic says. "My head teacher back then, Hella Jongerius, encouraged me to investigate all possible movements and not go only straight with the stretching. That is how it started."

"I was very much interested in the aspect of stretching objects that resemble our world," Brajkovic says. "It seemed to me that with this tool, this technology, we can change the way we look at time. From the aspect of the human, time seems to go faster—we use technology to speed up work—but from the aspect of the object it looks like time is slowing down to a standstill, as if it is moving in slow motion and then captured in stillness."

This exploration resulted in a set of chairs, which Brajkovic presented as part of his final exam work as "The Lathe Chairs." In a fortuitous turn of events, Julien Lombrail and Loic Le Gaillard, founders of the Carpenters Workshop Gallery came to see the final work. "They had just started up Carpenters Workshop Gallery and, at that time (2006), it was not as huge as it is now," Brajkovic says. "But they had strong ideas of what it had to become."

The gallery owners worked with Brajkovic to determine the next direction for the collection, which ended up incorporating a larger range of processes—melding traditional techniques with new technologies in a collection of surreal forms. The final iteration, an extension of Brajkovic's student work, made its debut at Carpenters Workshop Gallery last week in an exhibition titled, LATHE, which showcases the results of his exploration brought to an exciting culmination. 

Conversation Piece

Lathe IX

Sleipnir Bench

Featuring chairs, couches, benches and tables, the pieces have roots in 18th century furniture designs that were turned on a lathe (hence the collection's namesake), spun into what were called 'spindle chairs.' Brajkovic takes that traditional process and translates it into a set of modern techniques, employing computer modeling, CNC lathes and virtual technology to arrive at something that defies expectations. From Conversation Piece, a chair that encourages its users to talk to each other, to Sleipnir, a bench meant to mimic a herd of animals on the move, the work combines historical references with a mixture of other sources of inspiration, such as processes of movement and growth.

As they began working together, the first feedback Lombrail and Le Gaillard had for the emerging designer was to shift his material focus from wood to bronze. Using bronze made the pieces much stronger and imparted on them "the monumentality of sculpture," as Brajkovic explains. Beyond that, other pieces in the collection are made of aluminum, cut on a CNC lathe. "I wanted to boost the effect of computer derived technology, so aluminum, which is then anodized, seemed to be the right choice for me," he notes.

For Fibonacci—a chair that resembles a giant paisley as the seat twists towards the ground to form its own support—the designer began with a frontal sketch, them moved back and forth between pencil, paper and Autocad to develop the piece. "[In Autocad,] it looked too mathematical, so I took the copy from the printer to begin hand drawing the front view—something close to the [initial] theme but more elegant." This combined process extends to each piece in Brajovic's collection, he constantly makes careful adjustments to the Autocad file, stretching and distorting various lines to fine-tune the final form.

From there, Brajkovic takes the design into a virtual reality environment. Using an Oculus Rift, Brajkovic is able to walk around the piece and get a sense of what it will feel like in terms of scale and form. "The forms and shapes tell a story of contradictions between past and present," the designer says. "I try to make complete works where all the [conflicting] elements are encapsulated [in one form]. Juxtapositions—wrong-right, old-new, soft-hard, artisan work-modern age technology—cannot exist without each other." 

When the form feels right, Brajkovic's team 3D prints a model which is later cast in bronze. Once it is cast, wood is added as a support for the final upholstery. In the case of Fibonacci, the final touch is an intricate embroidery that warps with the chair as it spills towards the floor. "I wanted this piece, with is its elegant and feminine shape, to have the hand embroidery you often see in haute couture fashion," Brajkovic says. "So we worked with Maison Lesage, a renowned institute in Paris that works with all the luxury brands." Embroidery and bronze are the central materials for the Lathe collection. "I like the eminent but hard expression of bronze, it goes well with the softness of upholstered fabrics," Brajkovic says. For Fibonacci, the bronze was painted silver before the embroidered upholstery was attached to the structure of the chair. From inception to execution, the entire piece took three years to build.

The Lathe series will be on view at Carpenters Workshop Gallery through July 2nd, 2016.

A wise word of advice to all makers:

"If it is not useful or necessary, free yourself from imagining that you need to make it. If it is useful and necessary, free yourself from imagining that you need to enhance it by adding what is not an integral part of its usefulness or necessity. And finally: If it is both useful and necessary and you can recognize and eliminate what is not essential, then go ahead and make it as beautifully as you can."

These words could easily be the mantra of a small furniture studio or pinned to the inspiration wall of a product designer working at Apple. What might surprise you is this sentiment originates from the Shakers, a spiritual sect who made impeccably crafted objects beginning more than 150 years ago. The work of these visionary minimalists are the starting point for a new exhibition taking place during New York Design Week at Sight Unseen's OFFSITE, "Furnishing Utopia"— a collection of Shaker-inspired furniture and objects by 12 design studios from around the world. 

All images courtesy of John Arndt.

A religious group who fled to America in 1774 from England, the Shakers were a community with a fierce dedication to craftsmanship. Their drive for minimalism, as Collections Manager and Curator at Hancock Shaker Village in Massachusetts Lesley Herzberg shares, came from their focus on work as a form of worship: "The Shakers made a chair with the idea that an angel could come perch on it." It also had to do with the idea that working as a community was crucial for survival, and so each object and design detail should be considered to "make their lives more comfortable in some way. There were very simple things they would do like rounding the handle of a pail on the underside so that it kind of conforms more to the hand and makes it more comfortable to carry," says Herzberg. Their search for godly perfection would go on to inspire iconic modern designers like Hans Wegner and George Nakashima for their specific focus on creating objects for the purpose of making life better, more efficient and, yes, also more beautiful.

The Shakers made a chair with the idea that an angel could come perch on it.

One example of the Shaker's famous peg rail system. 

John and Wonhee Arndt, the designers behind Oregon-based Studio Gorm, both became well-aware of these parallels between modernism and Shaker principles after spending a large amount of time over the past few years researching the culture. "We were really inspired by the Shaker peg rail as a starting point for designing furniture," says Arndt, "[which] led us to want to learn more about the Shakers." After taking a Northeast road trip to check out landmark Shaker sites, they were quickly introduced to Herzberg at Hancock Shaker Village and began brainstorming a potential project to work on together. Herzberg had also been searching for an opportunity to share these objects in a new light, to "let it speak to a new generation."

The conversations resulted in a two week workshop last September at the Hancock Shaker Village site. "The brief was to find objects in the collection that inspired them and to reinterpret them in a contemporary context...the group was given a crash course in Shaker culture and life. We went in attics and basements, store rooms and were able to closely study objects first hand," Arndt states, also mentioning how rare it is for designers to get to closely inspect historical objects such as these Shaker relics. 

The vast Hancock Shaker Village archives

Attendees of the Hancock Shaker Village Workshop. From left: Chris Specce, Jonah Takagi, Dylan Davis, John Arndt, Wonhee Arndt, Darin Montgomery, and Jean Lee. 

Designers were exposed to classic objects one might instantly recognize as Shaker design, like peg rails and rocking chairs, while also running into some lesser-known tools and utensils Shakers created for their own daily use—Arndt says, "they were often very simple with a craftsman's logic in their construction, but with an exceptionally fine sense of proportion and made exceedingly well". 

Ultimately, some designers chose objects directly from the collection while others found Shaker values themselves to be the most inspiring aspect of their research. Collaborating designer Chris Specce told Core77 that for him, "the Shakers are inspiring because they were concerned with form as an expression for their beliefs, but also in the way they ritualized the activities of daily life," which ultimately inspired the form language for his final designs. 

All the designers involved in the project were equally inspired by the Shaker philosophies they learned about as they were with the technical knowledge acquired after designing their final products. Jean Lee and Dylan Davis of Ladies & Gentleman Studio, contributors to "Furnishing Utopia" noted that, "Shakers believe making and being productive was a higher calling, something to be enjoyed and celebrated... All too often we get wrapped up in 'saving time' but we miss the point of valuing the process of creating." For busy designers today, having the time to work on something and make it truly 'perfect' may be impossible, but as we can learn from the Shakers it doesn't mean we can't allow ourselves to get lost in the moment and give equal, careful attention to design details both big and small. 

Stay tuned tomorrow to see the results of the 'Furnishing Utopia' Shaker Designer Workshop 

Convening more than 200 galleries from 31 countries for its fifth edition, Frieze New York showcases an extraordinary cross-section of work from artists ranging from newly discovered to contemporary masters. This year the fair featured nine site-specific artist sound and installation commissions, including Eduardo Navarro's Instruction from the sky (more impressive when performed outdoors but brought inside due to rain) and Anthea Hamilton's Kar-A-Sutra. 

Illumination by Jorge Macchi (2012)

Cement sculpture, metal Ed. 3/3

Photo credit: Nicole Lenzen

Kar-A-Sutra (after Mario Bellini) by Anthea Hamilton (2016)

British artist Anthea Hamilton pays homage to Italian architect and designer Mario Bellini by bringing to life archival images documenting the Kar-A-Sutra, a prototype for a utopian vehicle that would pair functionality with comfort, and create an inhabitable mobile space meant to foster human creativity, imagination, and communication. Hamilton's Kar-A-Sutra comes with a resident cast of mimes demonstrating possible positions when inhabiting this hybrid form of transportation.

Photo credit: Nicole Lenzen

Kar-A-Sutra (after Mario Bellini) by Anthea Hamilton (2016)

British artist Anthea Hamilton pays homage to Italian architect and designer Mario Bellini by bringing to life archival images documenting the Kar-A-Sutra, a prototype for a utopian vehicle that would pair functionality with comfort, and create an inhabitable mobile space meant to foster human creativity, imagination, and communication. Hamilton's Kar-A-Sutra comes with a resident cast of mimes demonstrating possible positions when inhabiting this hybrid form of transportation.

Photo credit: Nicole Lenzen

Low_res_passion by Thomas Broomé (2016)

Acrylic glass

Photo credit: Nicole Lenzen

Cube by Ai Weiwei (2009)

Porcelain

Photo credit: Nicole Lenzen

Reconciliation Study #142 by Howard Fried (2016)

Howard Fried's project The Reconciliation Studies & The Decomposition of My Mother's Wardrobe includes photos of clothes from the artist's mother's wardrobe, taken after her death in 2002. Three sets of photographs were taken of each item: 1) hanger, closet, or catalogue shot 2) worn by a model 3) swatches or extreme close-ups. Digital pigment print; Outfits worn by gallery staff at Frieze

Photo credit: Nicole Lenzen

A Section of the Rainbow by Thomas Broomé (2016)

3D polymer

Photo credit: Nicole Lenzen

Hanger by Thomas Broomé (2016)

3D polymer

Photo credit: Nicole Lenzen

Superficie argento by Enrico Castellani (2008)

Acrylic on canvas

Photo credit: Nicole Lenzen

Objeto Cinético C-15 by Abraham Palatnik (1969/2001)

Industrial paint, formica, wood, metal, magnets and engine

Photo credit: Nicole Lenzen

Amy McAuley has a pretty cool job with some pretty cool tools. She's the woman behind Oculus Fine Carpentry, which focuses on restoring historic windows and doors. Here's some shots of what her workspace might look like on any given day:

Amy McAuley

Amy McAuley

Amy McAuley

Amy McAuley

Amy McAuley

McAuley endearingly describes herself as "a serious window geek." Here are some of her notes:

Amy McAuley

Amy McAuley

Amy McAuley

Here's an example of an Oculus gig. She's cut, by hand, an absurd amount of mortises and tenons to build some Victorian-era-style windows:

Amy McAuley

Amy McAuley

Amy McAuley

While Portland-based McAuley started the company back in 2002, she's recently changed some of her work methods. "Within the last few years I have devoted most of my time to learning and using traditional tools and techniques to make the repairs," she writes.

Amy McAuley

"Along with the continuing restoration work I am now specializing in building window sash by hand." She's thus using some well-regarded antique tools, like this Disston D-8 panel saw, a design that first appeared on the market in the 1880s:

Amy McAuley

Gotta love how the Skilsaw is sitting unused on the floor.

Because McAuley often works on-site, she needs to transport her tools, and moving the saws around has proven tricky. Here was what she was using to transport them, until a recent disastrous incident:

Amy McAuley / WK Fine Tools

As she writes in WK Fine Tools, "This past week one saw caught on the edge of a deck and fell onto the concrete and then the Ghost of Ermatinger house unbuckled my strap and all the saws went careening down the stairs.

She thus came up with her own solution, which we think is pretty nifty:

"I've decided to make a carrier that fits my needs. As a lot of my job sites involve schlepping my tools up a hideous amount of stairs or hiking in a quarter mile or so down a dirt track I've settled upon a handsaw quiver. Something I can throw on my back and give some protection to the saws."

Amy McAuley / WK Fine Tools

Amy McAuley / WK Fine Tools

Amy McAuley / WK Fine Tools

I love that she uses a forged nail as the clasp.

Amy McAuley / WK Fine Tools

Click on over to WK Fine Toolsto see how she put it all together, starting with "half a cow."

The amount of retailers selling those brass key hooks indicates they're popular. The utility of having something you can quickly hook and unhook, and their classic appeal, is obvious. Is there a modern-day equivalent?

A startup company called Dango Products thinks so. Their Loop Hook is a CNC-milled piece of aluminum, and they're calling it "a utility grapple that will hang on most ledges, rails and branches to keep your everyday carries off the ground and always in sight."

It seems useful enough, and while the aesthetic and price point don't appeal to me, it was good enough to get Kickstarted and get the company going. We're always interested when design entrepreneurs start a company around a single, small, low-tech object, because it seems so doable.

Where it gets a little crazy for me is the version they offer with a wall mount, which raises the price from $25 to $45. This consists of an aluminum mount for the hook which you are meant to screw into a wall, and which is encased in either walnut, bamboo or more aluminum, and the hook slides in and out of it.

I can't for the life of me think of why I'd want a two-piece wall-mounted system incorporating a hook that I could pull off of the wall. If I'm going to dig around for some anchors (or get the stud finder) and put holes in sheetrock, it's because I'm installing something that I want to offer permanent utility. This bracket just seems overdesigned to me. What say you?

Just when you think you've seen it all in Rube Goldberg machines, someone ups the game with a bit of unexpected creativity. A YouTuber called Kaplamino has incorporated magnets into his set-ups, resulting in some mind-bending kinetic action:

That "Magnets and Marbles" video appears to be new territory for Kaplamino, whose normal stock-in-trade is dominos. His channel trailer is the kind of video I couldn't take my eyes off of:

Via Colossal

"Anything I can do, Ray can do better" —Charles Eames

Ray with a cat mask, 1971. All images, unless otherwise noted, are from the Eames Collection, the Library of Congress, Prints & Photographs Division.

Since launching our Designing Women series last year, we've focused on the careers of lesser-known and underappreciated female designers of the 20th century. For the next few weeks, we're going to change gears slightly and pay homage to those women I.D.-ers who did manage to achieve widespread success and recognition—while also calling attention to some of the lesser-known aspects of their careers.

And who better to kick-off this mini-series than Ray Eames? We're going to assume that all of our readers know her as one-half of the most influential American design partnership of the 20th century—who, in collaboration with her husband, Charles, had a prolific career that ran the gamut from furniture design and architecture to filmmaking, textiles, toys, graphics, exhibition design and much more. (If you have haven't absorbed the Eames story, please head over to the Eames Office website for an in-depth view of their world.)

Compiling this list, we kept in mind Milton Glaser's assertion that it would be "thankless, if not perverse" to try to separate Charles's and Ray's work—theirs was a true partnership, and virtually everything they made was a joint production. But it's also undeniable that, with Charles acting as the office's charismatic public spokesman, Ray's particular skills and talents have often been obscured. So, without further adieu, here are eight things you probably didn't know about Ray Eames, plus one bonus piece of trivia.

Prototype for La Chaise, 1948. Although it was submitted to the Museum of Modern Art's International Competition for Low-Cost Furniture Design under Charles's name only, Ray had a large influence in shaping the curvaceous design. Image via the Museum of Modern Art

Although jointly designed, a tag for the 1954 Eames Compact Sofa gives sole credit to Charles.

1. Ray's early training in abstract painting was the nucleus of their shared visual language

Before meeting Charles at the Cranbrook Academy of Art in 1940, Ray lived and worked in Manhattan for almost a decade, where she studied abstract painting with Hans Hofmann and exhibited her paintings and sculptures as a founding member of the radical American Abstract Artists group. This time in New York helped her develop a visual language that would inform the shapes and colors of her work with Charles for decades to come.

Lithograph by Ray, published in conjunction with an American Abstract Artists exhibition in New York, 1937

An early abstract painting by Ray from her time in New York, image via the Eames Office

A collage by Ray for the Eames demonstration room at the Detroit Institute of Arts's For Modern Living exhibition, 1949, shows the influence of her earlier education in abstract art.

2. Ray's plywood sculptures helped provide an aesthetic groundwork for their furniture

Few people are aware that before the Eameses' compound-curved plywood furniture became a hit, Ray was creating sculptures using the same materials and methods. Her early experiments with these graceful biomorphic forms are clear predecessors to the chairs they would develop only a few years later. Additionally, the sculptures allowed the Eameses to further refine their newly developed techniques for bending and shaping laminated plywood into seemingly impossible curves.

A molded-plywood sculpture by Ray, 1943

Drawing by Ray of plywood chairs

DCW side chair designed by Ray and Charles Eames, 1946. Image via the Cooper Hewitt, Smithsonian Design Museum

3. While Charles went off to work, Ray took charge of the prototyping process

Not much has been written solely about Ray, but the archive of the influential architecture historian Esther McCoy provides some brief windows into her world. McCoy reveals that when Charles and Ray moved to Los Angeles in 1941, Charles initially worked as a set designer for MGM, leaving Ray at home to lead the prototyping process for their early designs: "Ray put together the materials for tooling up the chair. Los Angeles proved to be a perfect choice because they were close to the aircraft industry, which furnished Ray materials for building molds for the chairs and for splints for war use."

Frances Bishop and Robert Jacobsen with a papier-maché study and Ray with a plaster mold for La Chaise, 1948

Ray and Charles's early experiments with molding plywood led them to develop the Kazam! machine, seen here in 1941 in their Los Angeles apartment/workshop. Read more about the Kazam! process here. Image via the Eames Office

4. Ray could have had a second career designing magazine covers

During their early years in California, Ray also designed 26 abstract covers for Arts & Architecture magazine. Later, the magazine's editor, John Entenza, would include Ray and Charles as part of his seminal Case Study House Program.

5. Ray was "a sublime pack rat"

Over the years Ray became notorious for the wealth of objects she collected and delighted over—tiny toys left over from film shoots, sugar animals meant for Mexican altars, shells, a family of combs, pint-sized dishware, Chinese kites, balls of yarn and presents that were never unwrapped because their packaging was too charming—all these items found their way to Ray, whose "gift of arranging and dramatizing tiny objects" McCoy observed, "has become a style so recognizable that there is scarcely a tiny glass pitcher—one of her favorite forms—left in secondhand stores on the west coast."

Ray's desk, 1976

"Shelfscape" arranged and photographed by Ray 

6. Ray's eclectic taste and love of collected objects still influence our own living rooms

The Eameses' furniture and architecture had a massive influence on the modern American home, but it was Ray's love of small objects, toys and traditional handicrafts that helped usher in a new eclectic interior aesthetic that superseded the pristine pre-war style. For architect Charles Moore, it was Ray who "single-handedly brought about a return to richness, the joy of the miniature object in a modern framework," as evidenced in the Eameses' own Pacific Palisades home.

Ray and Charles in their living room, 1958. Photograph by Julius Shulman

7. Ray's popular textile patterns are still in production today

Around 1947, Ray created a number of bold geometric textile patterns, which are still in production with Maharam almost 70 years later.

Crosspatch fabric designed by Ray in 1945 and submitted to a MoMA competition in 1947; it was then commercially produced by Schiffer Prints.

Ray holding a design for her Dot Pattern textile, circa 1947

8. She left nothing to chance

Ray died in 1988, ten years to the day after Charles passed away. Leaving no aesthetic decision to chance, she even designed the pine boxes for her and Charles's ashes. According to McCoy, "they were made of straight grain sugar pine, with force-fitted lids, and lined with handmade Japanese paper in which was imbedded [sic] wisps of flowers and leaves." Fittingly, Charles and Ray were buried in the same grave in St. Louis.

Bonus: She was the original distracted driver

Ray was so entranced by the visual world constantly unfolding in front of her as she drove that Charles refused to ride in the car when she was behind the wheel. As one colleague recalls, "She was looking at everything. She was looking at what was blooming, she was looking at the shadows on a certain wall … she was looking at everything except the traffic."

This was the latest installment of our Designing Women series. Previously, we profiled Bertha Benz.

Every component of Patagonia's process is critically assessed to ensure it preserves the human connection to the earth. In late 2013, after witnessing a decline in their baselayer sales compared to primary competitors, Patagonia sought a visionary partner to redesign the “sushi roll” structure of their existing baselayer packaging. Inspired by the hex nuts that Yvon Chouinard and Tom Frost invented, the new base layer package uses 100 percent post-consumer waste corrugate, which is easily recycl

The design world today seems to always be looking forward—toward the next big trend, toward the next up-and-coming talent. In opposition to that, a new book coming out at the end of the month from Core77 contributorBryn Smith and design editor Aileen Kwun shines a light on design world luminaries who have been at it for eight or more decades. Through 20 candid and insightful interviews—including Milton Glaser, Michael Graves, Jens Risom, Richard Sapper and Denise Scott Brown, among others—Twenty Over Eighty records entire lifetimes of knowledge and experiences, demonstrating the power that comes from enduring dedication, perseverance and experimentation. 

To celebrate the book's launch, the two authors will hold a panel discussion with some of the designers featured in the book (Seymour Chwast, Jack Lenor Larsen and Jane Thompson) next Monday, May 16th at Strand Books as part of NYCxDesign. Join them to find out more about what drove each designer's individual careers as well as how the field of design as a whole has evolved over the past decades in New York. 

The following excerpt features an interview with lighting designer Ingo Maurer from Twenty Over Eighty: Conversations on a Lifetime in Architecture and Design by Bryn Smith and Aileen Kwun, published by Princeton Architectural Press, 2016.

Ingo Maurer alongside his 1970 design Light Structure, produced in collaboration with Peter Hamburger. [Image courtesy of Ingo Maurer GmbH, Munich]

You've worked with light for nearly fifty years, subverting conventional notions of the medium and continually pushing it into new directions. What drives your creativity?

I consider myself like a weed, the way I grew into design. Sometimes it's better not to know where the energy comes from—just let yourself give in to what you feel. This is my philosophy: don't plan too much. Take life as it comes. It's exciting that you can have all these wonderful flowers in life, and different possibilities to encounter. It has been very, very exciting, and it still is. I work with sixty or seventy people now, and I feel very responsible toward those who work for me.

Canned Light, designed by Christoph Matthias and Hagen Sczech for Ingo Maurer GmbH in 2003. [Image courtesy of Ingo Maurer GmbH, Munich]

Comic Explosion, 2010. [Image courtesy of Ingo Maurer GmbH, Munich]

Do you approach commissioned or commercial works differently from artistic, limited-edition pieces?

I follow my instincts and I think commercially—I never make the things in my collection as art. It's about making functional lights that have a certain expression. A lot of people have described it as poetry, but you cannot make poetry; you feel it and you just do it. I'd hate to be standing beside myself, watching myself work. I would become too conscious of everything going improperly. As I said before, risk has been a big element in my life on all levels. If you don't take risks, you'll never learn about yourself. It's more important, to me, that we don't complain of what we do, and instead have the passion for it.

Interior lighting for a staircase and entrance hall for KPMG's Munich office, 2001. [Image courtesy of Ingo Maurer GmbH, Munich]

Your works are so diverse, shown and used in a range of venues and environments. How does the eventual site of a lighting project or piece play into its design?

First, I have to feel the space. Maybe even before, I have to meet the soul of the client. I have to feel what they are. We don't just take on anything; we reject a lot of work. For me, it's important that we stay on a very harmonious level together—that we are at ease with each other. It's not just about money. It's about sharing in common the most wonderful gift that has been given to us: being human. Then, of course, of utmost importance is the space at hand, and how the dialogue goes with the architect, for instance. As technology changes the formal possibilities of lighting, you've been quick to embrace new forms. You were one of the first to use halogen light, for example. I was, I really was. The YaYaHo halogen system was designed in the early 1980s. And I worked with LED to make Bellissima Brutta, which means, just as it sounds, "beautiful ugly." The first prototype of it is owned by Murray Moss. I also came up with the first OLED product. OLEDs are very expensive, though they've become a bit less expensive more recently. The light of an OLED is a kind of a monotonous light, though it carries a lot of possibility for the lighting market.

You've expressed a fascination with Thomas Edison, referring to the prototypical light bulb as manifesting "the perfect meeting of industry and poetry."

Yes, exactly—it's a fantastic symbiosis. We made a special show for Edison's hundredth birthday. My Edison lamp is a holograph that doesn't have an actual bulb, though it does make light in the image of one. It's a collector's item, made with a film that allows the object to appear. The fascination is that it's as if you have a light on the table, though there's no light bulb actually there.

Bellissima Brutta, 1997. [Image courtesy of Ingo Maurer GmbH, Munich]

How do you feel about digital light?

I find it without soul. My hope is that the industry will become more conscious, and hold a different perception toward light. I hope—and I will try to work on it for the rest of my life—to try to make very good, humane light that makes you feel well.

Your work defies categorization, integrating a wide range of materials, and in some cases, introducing new typologies. How do you choose or decide which materials to work with? Is it a constant research process?

Of course, all the time. We're always keeping track, and we're lucky that many producers and manufacturers come to us and ask us to develop things together. Or, if we're able, to use the technology they bring to us. That's a very exciting moment. We have a recent project that has been really, really thrilling to work on: Dew Drops, as I call it. It's made of foil-like sheets with little LEDs, very minimal, and you can see the conductors that are synced up. Through it all, what would you consider your biggest setback? The biggest setback for me is that I haven't lived a private life. My work has been my life and my passion. And your most significant professional triumph? Of course, the second you asked me this question, I thought of the moment—which feels like not so long ago—when I looked back and realized what I've done over so many years. As I said earlier, I grew like a weed. I've been very lucky and there are weeds out there that are very huge [laughs]. I've had some moments working with really great people—friends, colleagues, clients, and employees. That's always a big lift for me. Otherwise, I don't think much; I think consciously overthinking too much can be destructive. I often try to solve problems and visualize details at nighttime, when I can't sleep.

Maurer with What We Do Counts, an LED­integrated lamp released in 2015. [Image courtesy of Ingo Maurer GmbH, Munich]

What advice would you give to emerging designers?

Above all, be ready to work hard and show discipline. Don't keep your head in the clouds with the first couple of things you've thought up. You have to remain down-to-earth, with your feet on the ground. This is very important. And, of course, never give up if you fail.

I like to work with young people very much. It's great to see what kind of possibility they might have within them. The young Ingo Maurer had to invent and discover something like light to feed his two kids, pay for diapers and food. I was pressured, but I was free to design things that people liked. It was a hard beginning, but it was good, and I am really content with how things are now. I feel very blessed. And I must say, the best light is the one that comes from someone's heart.

Draplin. 

"Household name" is hardly a stretch. Neither is calling him one of the most influential graphic designers and speakers in the country. For the past decade, Aaron Draplin's been inventing his life, his clients, and he's been telling people why it matters.

He's made so much stuff now, he can fill a book—a big, beautiful, classic, badass book entitled Pretty Much Everything. It comes out in a few weeks, and we're stoked to have him here Wednesday, May 11 at 6 PM for an early release, a book signing, and "30 minutes of yammering" from the man himself. 

There's enough on the web already about how radical and refreshing this dude is, so I've just pulled a few of my favorite Draplin quotes here for your enjoyment. Give them a read, revel in his expletives, and come by for a beer, some original talk, and a little Draplin hang. See you then...

ON HIS PRODUCT DESIGN:

"Check out the fun details because we hide fun shit from time to time. If I did that at some big company, I'd get my ass fired."

ON THE DEPARTURE OF SIMPLE, EFFECTIVE DESIGN:

"Now when you go to a Home Depot, it's just heartbreaking. Like, it just sucks. Imagine what a fucking hardware store would look like 50 years ago…to see just a wall of that."

ON THE CHANGE IN GRAPHIC DESIGN:

"Sometimes I feel like such a cake decorator…I mean, I am. Back in the day, you really got the feeling this was like a trade…it wasn't about just trying to outdo whatever was on some cool design aggregator's site in the morning. It was about the most effective way to use one color on some old crappy thing. I might be delusional, but the logos were better then."

ON PEOPLE GETTING AWAY WITH BAD WORK:

"No history, no respect for this great little motor lodge…and I wanted to go right to that sign company and just fucking rip that kid's head off and say, 'How can you charge that kind of money for garbage like that?'"

FROM HIS TEDxPORTLAND TALK:

"Think about inventing your clients, inventing your life, inventing your day to day."

PRETTY MUCH EVERYTHING 

BOOK RELEASE PARTY

WEDNESDAY, MAY 11 at 6 PM 

Hand-Eye Supply // 427 NW Broadway, Portland, OR 97209

Talk starts at 6 PM, merch sale and signing to follow. Also: Ft. George Beer

Last week we saw Jimmy DiResta, along with assistant Willy and shopmate David Waelder, build that modular beehive house.

Waelder, who has worked with Jimmy for years and has his own well-trafficked YouTube channel, brought his own cameras (and a drone!) to shoot B-roll. So in addition to Jimmy's polished final cut, here we get a neat look behind-the-scenes to see all of the unseen work—the squaring, fiddling, adjusting, the endless supply runs—that went into this project.

Here in Part 1, sharp-eyed DiResta's Cut fans will catch a glimpse of Jimmy's screw caddy.

In Part 2 we get to see them tackle the framing and sheathing. I'm digging that Waelder leaves it in the edit every time the camera falls over:

And finally in Part 3, we see the transporting, unloading and on-site assembly. You'll notice that there's a third camera crew in the background; they were commissioned by the client to record the process, as the beehive house is part of his new business and their footage will be part of a commercial.

By the way, there's a hilarious bit at 6:46 where Waelder, mock-interviewing DiResta, apes the leading-question style of a news magazine show. I'll drop it in below if you didn't have time to get through all of Part 3: