Why Design is a great video series by furniture company and all around design icon Herman Miller, which profiles some of it’s best designers:
At Herman Miller design is the language we use to ask questions and seek answers to the problems our customers face. The design process is a journey into the unknown—or as George Nelson once quipped, “I have never met a designer who was retained to keep things the same as they were.” Before we decide what we do and how we do it, we like to begin by asking the question “Why?” In Why Design, a new video series, we explore the world through the eyes of our designers, and share something of why we value their point of view.
Each Monday morning, from September 10th through October 29th, Herman Miller will launch a new designer profile at Why Design. The series includes:
9.10.12 – Yves Béhar – “Surfing Is Like Improvisational Jazz” 9.17.12 – Don Chadwick – “The Camera Becomes an Extension of Your Eyes” 9.24.12 – Ayse Birsel – “Your Life Is Your Most Important Project” 10.1.12 – Irving Harper – “Paper Is a Versatile Medium” 10.8.12 – Gianfranco Zaccai – “Great Food Should Be Like Great Design” 10.15.12 – Studio 7.5 – “Design by Its Nature Is Collaborative” 10.22.12 – Steve Frykholm – “It’s the Breaks That Allow My Mind to Refresh” 10.29.12 – Sam Hecht + Kim Colin – “We Need Contrast and Tension to Be Able to Create”
I think this video is legit, we’ve been holding off on posting anything, would love your thoughts on what you guys think. Here’s what i’m loving:
– headphone jack at the bottom
– new connection port
– looks like we have less glass on the back
– larger screen, slimmer body
which brings up questions…
– will the headphone jack be in the way?
– what do we do with the 5 or more $20 iPhone cords we have?
– will it feel less like a precious possession? ;)
– will this make it less durable than it already is?
The effect that Dekotora has on the senses is profound. Imagine for a moment that you’re walking home late at night through a less trafficked, industrial area. Out of nowhere a garage door springs to life and the seismic presence of a 12 cylinder diesel barks to life. The next thing you know, a 10 ton monstrosity, cobbled together with jukeboxes, arcade machines and laser guided disco lights, is quickly bearing down on you. Such was my introduction to the relatively nonexistent presence of decorative commercial trucks operating in the greater New York City area.
A rare sight in most corners of the world, Dekotora is the Japanese discipline of decorating industrial and commercial vehicles with anything that reflects, glows, or flashes. It’s inspiration is drawn heavily from Gundam & arcade culture, something that much of the neon-marinated citzens of Tokyo can relate to.
Surprisingly, these are not “art cars” – they are fully functional and go about their daily tasks just as you see them here. Alot of these vehicles can be seen during business hours, backing up to loading docks, stopping for weigh stations or filling up at diesel pumps. Granted, some of the trucks above may be for shows only but from what I’ve read a lot of drivers do it to liven up their job and set their truck apart from the rest.
I really love the amount of detail that goes into these, I hope someday I’m able to get a closer look, I feel like I could spend a whole day looking at all the little bits and pieces. Yellow Magic Orchestra never reached the audience they deserved in the US so hey guys, here’s our chance to make up for past mistakes, you know that broken Bally machine in your aunt’s rec room? Or that Wurlitzer collecting dust in your garage? Throw a copy of Solid State Survivor in there and glue that shit to your truck man.
Fiat (Italian Automobile Factory of Turin) released the 131 to little fanfare in 1974. It was aimed at the family demographic, offering sedan, avant, and coupe layout. They were modestly powered and featured nothing truly ground breaking. So why bother featuring it? In all honesty, I think the 131 was one of the better looking economy cars of the day. It nearly stole the 3-series’ thunder, with a very evolved and elegant design for a mid-seventies car. Its proportions are pleasing, it has geometric, minimal shapes between the pillars, and anything with fog lights framed in a boxy fascia, I’m a fanb0i of.
While a lot of the cars I feature in my posts have some sort of tie-in with rally racing, I’m more a fan of european car design from the 70’s and 80’s in general, and in those days the WRC was a cost effective way for carmakers to achieve a global presence in motorsport. BMW has M Sport, Mercedes-Daimlers has AMG, Nissan has NISMO; Fiat’s tuning division was called Abarth. And in 1976, Abarth turned this mellow grocery-getter into one of the last great carbureted, rear-wheel driven rally cars. It took the World Rally Championship 3 times in ’77, ’78, and after a 2 year drought again in 1980, with a total of 18 victories over 5 years.
As good as the road-going model was, the Abarth 131 is truly a work of purpose-built art, everything from the bespoke brake ducts and flared wheel wells to the subtle spoiler lip added to the boot lid puts this particular variant in my top 10 list of best looking cars ever produced. Whenever I look at an E30 M3, I can’t help but think it looks a little sterile compared to the Abarth.
Really beautiful pixelated looking vases from Phil Cuttance. Now based in London, the New Zealander’s FACETURE series consists of vases, side tables and lightshades, all handmade using his custom FACETURE machine and molds. The reusable molds are made from an extremely thin polypropylene sheet, which when handled, allow him to reshape the form due to the malleability created by his “live hinge” system. The results are that no two objects cast are the same.
In the era of stereo lithography and other 3D printing methods, Phil’s analog workflow is inspiring, and the process seems just as important as the results, which are impressive to say the least. Head over to his site for a more in depth look at the process.