Yanko Design
Written by Tony Meredith, Remy Lebesque, Cormac Eubanks, Howard Nuk, and Michael DiTullo.
Working out at home may be convenient and cost effective, but why do the machines for home use echo gym units so closely? Can a home machine be appropriate for and respond to the home environment it is meant to live within? Can we make it a source of pride so it does not become layered with laundry or relegated to the garage? The frog designteam asked these types of questions when we partnered with Nautilus to take a fresh look at their Treadclimber products. Together, we tore down the existing product and built it back up to become the Mobia, more reflective of its intended environment and users and more efficient in its manufacturing process. We designed it to be visually iconic, with reduced parts and cost, and passed those benefits to a larger audience by producing it at a lower price point than its predecessor.
We spent an initial block of time in a primary and secondary research immersion by diving into competitive products, learning about the retail environment they are sold in and identifying and observing a group of home exercise users in their domestic settings. We found that the majority of existing home workout machines had finishes that tended towards dark paint and metal accents, having more in common with an assault rifle than the living room. While this look and feel might be appropriate to a high tech commercial gym where everything is focused on working out, it feels alien co-existing with a family in their personal space.
The visually aggressive machines above lurk in the most mundane of home environments. If you put pillows on the deck of the treadmill below, it would make a very nice bed for a small guest.
Or what about this treadmill just stuck in the corner with the television pointed at it? Not exactly the luxurious bedroom look you might be going for.
Even in rooms where a professional interior designer was obviously involved, exercise machines stick out like a sore powder-coated thumb.
Multi-purpose office-and-workout rooms are the saddest of them all. This room is begging you not to enter it; it feels like a torture chamber.
Getting back into the studio for an initial whiteboard session, we listed out existing characteristics we wanted to avoid, while compiling a list of opportunities to build something different than the competition, something that actually belongs in the home. We knew we wanted to stay away from dark and harsh materials. We wanted to create a more holistic design that bridged the complex mechanisms. We wanted the device to look like it belonged in the home without specifically picking up superfluous accents of a particular style of home décor. We wanted it to be inviting by being understandable. In our project room, we posted up images of the people and homes we investigated to continually remind us who we were building this for. Armed with a sense of where things were and where we wanted to take them, we busted out the bic pens to develop a language that felt like it belonged.
Three directions rose to the top and warranted further development. First, the direction seen rightmost in the image below mixes architectural elements with those of contemporary consumer electronics the user might also own to create a hybrid language that feels like it belongs in the home, while retaining a technical and confident feel. The second concept takes the more traditional construction of existing machines and overlays a logical framework, making a stronger overall silhouette. Finally, the third direction feels more angular, picking up on cues found in contemporary furniture, but skewing them slightly to lend a sense of motion and hint at the device's function.
At frog we believe in a convergent process in which industrial, interaction, and graphical user interface design are done in parallel—if not in the same room—whenever possible. True to form, as we defined the architecture of the form language, we were also building GUI concepts that reflected the overall themes. We wanted to break away from the tradition of using raw LEDs and develop something that felt more refined, revealing itself when needed but remaining hidden when not in use. Our solution: a construction that transmits workout information through a seamless plastic sheet to reduce the number of parts in manufacturing—usually a good way to lessen costs—keep the instrument panel impervious to liquids like sports drinks or perspiration, and achieve that hidden aesthetic. With only four buttons, using the Mobia is simple and intuitive. When not in use, the LED readouts disappear for a clean look.
frog and Nautilus then regrouped to review which direction we felt matched the initial goals most closely. As often happens, we discovered that each direction had strong elements that needed to be in the final product. Specifically, these were the home-meets-consumer-electronics language from the first concept, the stronger silhouette of the second, and, finally, the horizontal read of the GUI from the third. We set about the task of remixing and editing those elements into a cohesive holistic vision. When done right, the result of a refinement session is a stronger design.
As we honed the details of the final design with our internal engineers we began the task of preparing production documentation for the Nautilus team. Ed Flick and his design and engineering team started the long process of finalizing the design, simultaneously costing out and sourcing components, selecting materials, conducting LED studies, making electronic and assembly technique prototypes, matching color with flame retardant plastics, gathering powder coating samples, studying motor cooling ventilation, investigating graphics, refining ergonomics and interface design, and reducing cost—all while maintaining the design vision. The last 10% is always the most arduous—so much can go wrong or simply be costed out. The Nautilus team did an amazing job developing every detail, and with design languages that are this simple, every detail must be executed superbly.
Above is a small-scale FDM grown model and a full-scale foamcore model of the Nautilus Mobia. Mock-ups like these help us to iterate through details and find solutions that are impossible to refine otherwise. Economically designed for fast assembly, the Mobia is shipped to customers in three easily handled boxes, saving money and resources. Nautilus is a customer-driven company, so white glove delivery and assembly is available to most all purchasers.
In just one year, Nautilus brought an entirely new product to the market. As designers, we rarely get to see a mass-produced project that challenges the status quo to this level and is fully commercialized in such a rapid time period. This speaks volumes to Nautilus's commitment to great product, the work they did to generate a brief they truly believed in, and their dedication to our joint vision, working closely with vendors to implement a product so true to our final design. Ultimately, the Mobia enabled Nautilus to bring the cost of the unit down 20%, opened up an entirely new market for them, and, best of all, makes home fitness more appealing and affordable to end users.
Top: A lineup of products from CraftedSystems. Bottom: Producing the work at a local YWCA.
Designer Aurelie Tu, formerly the head of women's product at NikeVision, Timing and Technology, has left the comfort of the mega firm to found her own modern craft studio, CraftedSystems, a line of housewares made from modular pieces of felt—floor and table coverings, vessels, lights, and more. All of the pieces combine geometry with the unique 2D and 3D qualities of felt to deliver remarkable forms. But more amazing than the products themselves is the innovative production-line of Tu's business. Instead of outsourcing production of her products overseas, she teamed up with the YWCA women's shelter in Portland, OR to engage women-in-transition with skills development and the healing work of craft.
I caught up with Aurelie to chat a bit about the founding of her business.
Xanthe Matychak: What inspired you to start your own business and what were your desires going in?
Aurelie Tu: Throughout my professional life, I've often thought of starting a business. Being able to build a company that embodies values and concepts that you embrace is liberating, and can present different levels of fulfillment than simply having a job.
A lot of things inspired the thought of creating CraftedSystems, including design, sustainability and social consciousness.
It was inspired by the desire to: create a company which uses design to benefit others; create a lab which fuels materials experimentation and innovation; create a new method of delivering product via alternative labor sources; and blend high tech design methodology/practices and low tech/handcraft.
XM: How did you make the shift from designing electronics and consumer products at global firm like Nike to striking out on your own to found a modern craft studio?
AT: On a professional level, I was in great position with Nike, heading up the women's product for NikeVision, Timing and Tech, from both the US and European headquarters, and was working deeply in this consumer focus of women, which has been an ongoing focus throughout my whole career, having typically often been the only female in the design studio and being the obvious candidate for designing women's product. Having designed largely electronics and consumer products in my career, I found myself wanting to reinvigorate a latent love for beautifully handcrafted product using natural materials. I have always put more thought on deeper levels to the concept of women's product, and, in CraftedSystems, have in effect turned that around into 'women's work,' using women's talents and aptitude for detailed work and bringing historical or indigenous/foreign concept of 'women's collectives' into western modern society, and introducing the notion that "healing work" can also be monetizing.
XM: CraftedSystems is this wonderful blend of craft and hi tech. How did you arrive at this combination of process for your product line?
AT: I was living in Amsterdam at the time, surrounded by Dutch design at its peak; wonderful levels of creativity and a level of independence and entrepreneurialism in designers which is very different from in the US. There is a unique blend of high tech and low tech, old world and new world in their work, which I found very inspiring and again refreshing from American design.
Audrey Bowl.
XM: You could have outsourced assembly of your products overseas. Instead, you partnered with women from the YWCA in your local community. How did you find the right people to work with?
AT: I had been wanting to give back to the community and was involved in opening the first chapter of Architecture for Humanity in Portland. I began looking for women's organizations to partner with and the YWCA was the perfect organization; they provide programs for transitional women, are fairly well organized and have at least one presence in almost every city. This makes it possible for this project to scale and expand geographically when needed. Local production could occur closer to the final destination, and local YWCAs could benefit with projects in their cities.
XM: You left a comfortable industry job to found your own business. How was that process? When was the point that you realized you had to quit your day job and what were your feelings throughout that time (I ask this because I suspect there are a lot of women out there who would like to start their own business but are afraid to make the leap).
AT: I left Nike when I had my daughter in Amsterdam. The organization was in the midst of restructuring as well, so it was the perfect point to step away and focus elsewhere. Â I had a fantastic time at Nike; it is a great place to work. I grew a lot professionally and appreciated the amazing talent there, but there are also other goals that I have for myself, and in order to grow as an individual, sometimes change is necessary. As of today the group unfortunately does not exist, and the division looks very different to how it looked 3 years ago, so the decision to step out at that time was the right one.
XM: So, you were involved with the opening of an Architecture for Humanity branch in Portland. Clearly, this kind of systemic approach to problem solving, an approach that turns traditional social and economic models on its head, is something that you are drawn to. When you look around at the things like the "green" movement in design, are you seeing this type of systemic change yet? If so, by who? Or are you seeing more, small token gestures toward change? And if this is that case, how do you feel about those small gestures?
AT: I feel design is a practice that can be an advocate for change, no matter the organization. The A4H branch I was involved with was for Portland. It is amazing when something like an A4H is proposed, how many people appear who are willing to tirelessly volunteer time to helping out. Today we are able to create our own rules and operate outside of the proverbial "box" because the same rules do not apply anymore. There are so many companies doing good in large and small ways; token gestures are a minimum today, and writing sustainability and social or community consciousness into the guidelines for companies is definitely becoming more commonplace. People today want to know more and want to embrace companies that care. They do a lot more research on companies because information is available to them on the Internet. In this day of consumerism, people seek meaning in and define themselves by the brands they use. If that brand contributes in a positive way, they feel good about themselves.
XM: Can you tell us more about the process of bringing in women from the YWCA. Who did you pitch to? Or did enter that culture in some other way. Also, do you have any stories to share about the women who assemble the products. How they feel about the work or the objects?
AT: It was actually a very simple process. I spoke with the director of the Transitional Opportunities Program and introduced the concept to her, then gave a presentation to the staff. As the YWCA serves as a transitional shelter and resource for women, they are constantly in need of job opportunities for placement. They also are trying to come up with alternative business models, such as income-generating ones owned/operated by the local YWCA, but I'm not sure how successful those have been. The CraftedSystems project is so perfectly suited to them, it almost seems like it was designed for them. It's perfect from so many angles: first, "craft" night (they have organized activities for the women, some of which are volunteer) is the most well-attended activity, showing that the women like to do things with their hands and be creative. Second, its widely known in therapeutic circles that repetitive, productive handwork is "healing". Third, it can benefit lots of women, as they cycle through the Y every 3-6 months, thus the chance of having the exact same women working on it for an extended time is unlikely (although some have expressed such interest that they would come back for more weaves). I chose the Y specifically because it is expressly for women (this project is entirely a women's project—it's really about women's work), and there is a Y in every major city. This is intentional so that if the project had to scale or there were a specific installation to make in a specific city, we could work with the women in that local city and thus be closer to the source, possibly reducing carbon footprint for shipping, etc, and benefit that local women's community.
We just did a couple weaves last week, and I have to say, I was really happy with the women's response to it. They completely understood the concept, and were so thrilled that I would trust them enough to have them work on this. They also mentioned the word "healing" and "meditative" and felt it was a relaxing thing to do. Money seemed to be a distant secondary priority, as one mentioned she would come to do it anyway even if it weren't for pay. And the women are sooo proud when they complete a piece. They invite people in the hallway to admire them, and several have taken pictures to send to their friends and mothers.
XM: What is your relationship with the women who assemble crafted systems. How do they feel about the work or the objects or you as an entrepreneur and businesswoman?
AT: They are so appreciative and really feel good about the project and really respect what I am doing. I think it's actually inspirational to them to see someone doing this voluntarily, and I believe it helps them feel valued and improves their self-esteem.
An interlocking felt pattern.
XM: Tell us about your inspiration for the products. You mention that design work that combines the old with the new inspire you. Can you drop a few names of objects or processes that have a great influence on your work?
AT: Dutch designers like Marcel Wanders, Christian Mendertsema, and Inneke Hans. Christian Mendertsema, for instance, created these fabulous poufs that were oversize knit balls. It was such a simple idea, so thoroughly modern, yet so tactile and handcrafted.
Aurelie's systems approach to founding her own product line is truly inspirational, an approach that considers not only the needs of her consumers, but the needs of people in her community. Check out all of CraftedSystems here.
Core77
Objects can often become so ubiquitous that we no longer question their form. The testimony of time shields such relics from the scrutiny and skepticism that we subject new products to.
Nail clippers, for example, have barely changed since the Industrial Revolution—which is bizarre considering the mess they can often leave your nails in and the fact that they spray their cuttings everywhere.
"Klhip" is out to change this with what they're calling "the ultimate clipper". The idea is simple. Re-engineer the cutter so that the pressure is applied directly on the nail and catch the cuttings as you go. The matt surgical steel finish and clever brand identity also give an added touch of class to the nail cutting experience.
Core77
HighChairStation is an e-tailer that scours France, Germany, Switzerland, and Scandinavia to find the most designey chairs and booster seats a baby could ask for, some of them well-considered, others excessive. Examples:
The Bloom Fresco Loft has dual chair/crib functionality;
The Tripp Trapp features height adjustability in the form of a series of grooves you can slide the seat bottom and footrest into, letting the chair "grow" with your family;
The BackTurbo Booster for automobiles has adjustable-height armrests and pop-out cup holders;
And the Grow Up Booster has enough straps that it looks like your child could withstand 3G turns in the passenger seat of a Lamborghini.
We've been following Design Museum Boston's progress since their first kick off fund raiser earlier this year and through their open sourcebranding process with Design Continuum. The group's first installation is "Creative Capital", done in partnership with the Boston Redevelopment Authority, AIR Graphics and VDA Productions. The exhibit displays publicly recognizable work done by Boston designers across a variety of disciplines like the work done by ELEVEN for OXO and Korn Design's rebranding of the Boston Ballet. Utilizing QR code technology, the exhibit will continually deliver new content throughout the year.
Stop by and take a look. The exhibition is free and open to the public, and can be viewed on the 9th floor of Boston City Hall weekdays between the hours of 9:00 am and 5:00 pm.
Check out Design Museum Boston.org for more info.
more pics
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