Mẫu concept mới này là kết quả của sự hợp tác giữa Lamborghini và 2 nhà thiết kế Daniel Chinchilla Ochoa và Alberto Fernandez Albilares.
Hình dáng của Indomable được lấy cảm hứng từ chiếc máy bay tiêm kích thế hệ mới F22 Raptor. Chiếc xe gây ấn tượng với thiết kế thân xe hình zíc zắc và sự hài hòa giữa các bề mặt với những góc cắt sắc cạnh. Hông xe giống đôi cánh đang gập lại, tạo cảm giác chiếc xe như đang chuẩn bị “cất cánh”.
Join us on October 29th for a special one day Service Design Conference in Cambridge, Massachusetts U.S.A. The conference is hosted by Microsoft at the New England Research and Development Center, and there will be an evening reception on October 28th.
This will be a crisp and intense day offering insight into the world of Service Design and how it works. Speakers will be joining us from IDEO, The Mayo Clinic, Kaiser Permanente, Engine, frog design, The Harvard Business Review, Continuum and Microsoft.
Don’t miss this opportunity to socialize, gain knowledge, and exchange ideas and experiences with Service Designers, clients and service-oriented companies worldwide! This is a small conference with around 150 seats available.
We are looking forward to seeing you all in October in Cambridge | Boston.
Best wishes,
On the occasion of Powers of Ten Day (10/10/10), Core77 and the Eames Office are proud to launch the Powers of Ten Video Response Design Competition—a new design competition inviting designers to submit 2-minute "response videos" to the Eames's seminal film Powers of Ten. The videos can respond to the film in any form—from reinterpretations and mashups to tributes and reflections--with the entry period running through January 9th, 2011.
The jury includes Eames Demetrios from the Eames Office, filmaker Gary Hustwit, MoMA's Paola Antonelli, Adam Bly from Seed Media Group, Ayse Birsel of Birsel+Seck, and Allan Chochinov from Core77. The prizes are full-featured (see below) and we are looking forward to seeing some extraordinarily creative work!
The competition will be hosted on Core77's new "Design Arena" Community Challenge platform, powered by Jovoto—an open innovation platform built for community collaboration and exchange. Since the platform allows designers to "update" their entries up until the competition deadline, designers can upload storyboards, inspirations, and sketches, getting feedback and iterating their way to their final video. Designers can submit as many entries as they'd like.
At Core77, we're very excited about celebrating Powers of Ten, and want to encourage everyone to participate! Full details below.
URL: http://bit.ly/PowersOfTenChallenge
Note: The competition platform invites iteration—you have the ability to update your entry at any time up until the competition deadline—so posting storyboards, inspirations, and other materials early is encouraged. This will invite people to comment on your work, offer inspiration, and help build a collaborative community. Post, share, refine, engage!
This initiative is a Proud Participant in 10/10/10 - Powers of Ten Day 2010, organized by Eames Office & generously sponsored by IBM, with additional support from Herman Miller, Vitra & Penfolds. Find out how to participate each year at www.powersof10.com
Core77
The development of the Everybody's Bench
At the beginning of the Vienna Design week, Milan-based collectiveEsterni began a ten-day intervention on the streets of Vienna. Specialising in developing cultural exchange projects in public spaces since 1995, Esterni took over the Palffygasse in the Hernals district of Vienna and created, with Patrick Hubmann,
Everybody's Bench is a public design intervention aimed at creating a public arena to stimulate the exchange of new ideas. It will consist of a long wooden bench that will eventually extend all along the Palffygasse, offering people a place to sit, relax, rest, organise small presentations, exhibit their own projects, live, and enjoy the public space.
Public Tools workstation for passers-by to design and construct their contribution.
What is particularly interesting about the set up of Everybody's' Bench is the 'Public Tools' small workstation at the end of the street. Individual pairs of gloves and vinyl stickers depicting what power tools are available are attached to the workstation allowing passers-by to get involved in the design and construction of the bench with the help of the Esterni team.
The Esterni team - photo: Marcell Nimfuhr of Kollektiv Fischka.com
Materials provided with the support from Austrian Federal Forests
The bench will gradually grow longer during the week, and on Saturday, 9th October, the last project day, there will be an auction of bench elements from 4 pm. See updates on their Vienna Design Week tumblr site.
Check out our coverage of the Esterni Public Design Festival from 2009.
Core77
The Golden Gate bridge provided the inspiration behind fuseproject's newSAYL chair for Herman Miller—its unique, frameless back mimics the tectonics of suspension bridges, providing ergonomic support with no hard edges. Though prototyping began in wood and rope, the trademarked "3D Intelligent Suspension Back" is enabled by a proprietary urethane and two additional trademarked inventions: the ArcSpan&tm; seat base and the Y-Tower&tm; suspension structure. Both elements assist in holding the urethane sheet in tension.
According to Herman Miller, this structure creates a chair that is fully supportive—with a thickening and hinging of the urethane sheet in the sacral, lumber and spine areas— but also flexible, responding to the movement of the chair's occupant.
After completion of the design of the chair's main elements, fuseproject continued refining lesser details, lightening the physical and visual weight of the chair as much as possible. For example, the tilt mechanism undercarriage and arm structure were integrated with the ArcSpan seat. Structural members were sculpted and hollowed out, becoming diagrams of the structure they provide. Adjustment knobs and paddles become tactile with the bare minimum of materials.
In addition to maximizing the chairs visual impact, the minimizing of details also means that less materials are consumed in fabrication, following what Béhar has termed an eco-dematerialised&tm approach (there's that trademark again). Herman Miller ensured that the materials used are sustainable, targeted to achieve the MBDC Cradle to Cradle Silver, BIFMA level 2, and GREENGUARD certifications.
Finally, the name SAYL comes from the sailing vessels that pass beneath suspension bridges, with the Y recalling the Y-Tower structure in the back of the chair.
If you're interested in learning more, here's a brief excerpt from Béhar's design statement, provided by Herman Miller:
Too often, task chairs look assembled from a kit of parts, and often they are. There is a dance between SAYL's functional engineering work and its cosmetic shaping, and there is a relentless desire to have parts run fluidly into each other. For example, I was particularly interested in making the arms look as if they were stretched and growing seamlessly out of their height adjustment posts. There is also the idea of separate parts drawn as if conceived as one: The SAYL's frameless back is shaped to both express the tension distribution from the top attachments, and visually follow the form and exposed ribbing of the YTower.As a result, the two parts are visually layered as if one.In my opinion, Herman Miller does not sell a style, but rather a set ofinventions that are identifiable as the most radical in the industry. Butwhat makes the chair relevant now? It was important to reflect theworkplace now and communicate the new horizontal nature of 21stcentury corporate structures. SAYL gives a sense of visual lightness andtransparency rather than a status-announcing design, and anergonomic feel that is biomorphic. At the same time SAYL has a senseof humility and attempts to achieve high-tactility design rather thanvisual statement. The chair screams design intent when viewed andtouched by the sitter in close proximity, but from afar it almostdisappears. The workplace is not about chairs and what they say aboutthe people that sit in them; it's about the humans and their work. Tothat effect, SAYL appears smaller in scale, and its dematerializationmakes it more transparent in the environment.
More info can be found here.
Core77
Every year, new books come out for industrial designers and architects to familiarize themselves with the abundance of new materials they can probably barely afford to buy (see Emerging Technologies and Housing Prototypes or the Transmaterial series). Well, Inna Alesina and Ellen Lupton's new book Exploring Materials is absolutely nothing like that. Instead of glossy double page spreads of avant-garde materials accompanied by highly technical descriptions of their properties, readers of Exploring Materials are given a guided, almost hand-held tour through an exhaustive list of broad material categories along with tips and tricks on their use. Although the back of the book proclaims that it contains "everything designers need to not only jump-start their design process, but also follow a project through from idea to prototype to finished object," it doesn't quite feel like practicing designers are the target audience (and that may not be a bad thing).
Perhaps more aptly, the introduction explains that it is a book intended for students, designers, artists and anyone interested in making objects. Because most of the work presented inside is student work, and Alesina is a teacher at the Maryland Institute College of Art and the book is called "exploring" materials, a DIY aesthetic pervades its pages. At the same time (and perhaps as a consequence), the authors have such an encyclopedic knowledge that almost every material is likely to have at least one tip in a sidebar that most practicing designers probably didn't know. Perhaps if your specialty is felt, you'd know that it's easier to cut when it's frozen. That said, it would be unlikely that a felt specialist would know that shaping soft foam can be accomplished by bathing it in hot water and then allowing it to set in cold water. This reviewer knew neither, but Alesina and Lupton are happy to teach that and more. For a DIY enthusiast, the variety of materials and the wealth of tips and tricks would be an utter revelation, but even for a seasoned product designer Exploring Materials is likely to provide enough tips and tricks to make it worth their while.
Perhaps because the intended audience is so broad, Exploring Materialscontains an odd duality. One page will include extraordinarily simple exercises involving woven fabric, and the next an example of potentially dangerous plastic blowmolding. Early chapters include student work at the prototype level, while later chapters show highly finished and professional products. Portions of it read like a how-to guide for home hobbyists, but its coda includes some of the clearest advice on topics as varied as securing intellectual property to how best to scale up a startup. We read Exploring Materials from cover to cover, but it's pretty clear from Lupton's graphic design (she's a pro) that it's not exactly meant to be read in one sitting. Instead each section is clearly demarked with huge topic headings, body text on a clean grid and sidebar commentary that can be read in the context of the section or as a standalone thought. Exploring Materials has enough content that it could be read as different texts for different audiences. Basically an ID course in materials in a book, students and potential students could use it as a foundation or as a resource, while professionals in practice could look to each chapter for tips and tricks. Finally, even those of us jaded enough to think we know it all could use it to revisit the sorts of wide eyed exploration of the world that we did as kids (or art students).
In a Design Observer article entitled "Massimo Vignelli's Desk," design critic Alice Twemlow references both a Guardian photo series of writer's workspaces and Imaginary Forces' The Desk, a short film documenting the desks of creatives, Vignelli included. "With a designer's desk...the tools, sketches, reference images, Japanese packaging, type samples and printouts provide a more logical cognitive path from initial brief to the final design," writes Twemlow, who goes on to illuminate how Vignelli's desk philosophy tracks with both his work style and design style.
For more on this, check out the aforementioned short film The Desk:
"The Desk" from Benjamin Cox on Vimeo.
via kottke
Core77
