Nov 30

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Longtime Core77 friend, contributor and board moderator Michael DiTullo has a great interview on DesignJuices! DiTullo shares his personal story of “drawing stuff from the future,” at the tender age of 13 to the mentorship and career experiences that helped him develop the skills for his current role as Creative Director at frog.

Design is not an academic activity, nor is it an act of democracy. Design is a positive reaction to dissatisfaction. The key to progressing is the ability to identify experts in this and get them to mentor you!

Read the whole interview here and share your own design biography in the comments!

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Nov 30

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The most heartbreaking moment of my first backpacking trip across Europe occurred around day 25 of a 30-day trip. I was on a train and went to retrieve something from my bag. As I unzipped it, a bunch of film rolls fell out. (My trip predated digital photography and I had been shooting like crazy.) When I investigated why they fell out, I realized that gravity, the design of the bag’s interior pockets and the position I commonly laid my bag down in had all contributed to releasing the film rolls. I wondered if that had happened before, and after counting them up I was horrified to find more than half were missing. I’d lost priceless images of places and moments I’d never again get to experience.

One thing I envy of the younger generation is how much enduring documentation of their lives they have access to. Digital snaps are uploaded to Facebook and Flickr with an almost thoughtless ease, and today’s average teenager probably has more photo documentation of their high school years than I have of my entire life.

Is that a good thing? Erik Kessels, the Creative Director and co-founder of Amsterdam ad agency KesselsKramer, makes an interesting point with his contribution to a currently running group show at The Future of the Photography Museum:

Photography in abundance
Through the digitalisation of photography and the rise of sites such as Flickr and Facebook, everyone now takes photos, and distributes and shares them with the world – the result is countless photos at our disposal. Kessels visualises ‘drowning in pictures of the experiences of others’, by printing all the images that were posted on Flickr during a 24-hour period and dumping them in the exhibition space. The end result is an overwhelming presentation of a million prints.

While I certainly don’t want to drown in photos of even my own experiences, I’d at least be happy to choke and cough up a little if I could get those lost images back.

What’s Next? The Future of the Photography Museum
foam
Keizersgracht 609
1017 DS Amsterdam
Through December 7th, 2011

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Nov 30

Check out the Vanport site here.

Visit Core77′s Hand-Eye Supply Curiosity Club here.

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Nov 30

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An evil thought just occurred to me: What if the law mandated that all automobile rims be outfitted with zoetrope animations, calibrated to the diameter of their wheels, that held steady at 55 m.p.h.? And seemingly rotated forwards or backwards at faster or slower speeds, respectively? That way cops could tell if someone was exceeding the speed limit without using a radar gun.

I know, I know, the plan breaks down when you consider that in some states the speed limit is 65 and even 75 m.p.h., plus this would do nothing to tell you if someone was speeding in a 30 m.p.h. zone. I guess that’s why I’m a blogger and not an evil scientist. Anyways, I got the idea from looking at UK-based designer/illustrator/animator/cyclist Katy Beveridge’s project to get a zoetrope animation on her bicycle’s wheels:

This is a piece created to question whether it was possible to film animation in realtime. Part of my [Central Saint Martins] 3rd year disseration project I was looking at proto animation (really early basic animation) in contemporary design. I’ve taken a lot of influence from other contemporary designers who are using these techniques to explore the way we look at animation and how its made….I have interviewed animators such as Jim le Fevre and in my research referenced other people using this technique such as David Wilson and Tim Wheatley who did this before me. I developed this project based on what is being done in animation right now as well as a lot of primary research into the history of animation techniques.

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Nov 30

It seems that we’ve been seeing a glut of consumer audio solutions lately, collectively comprising a veritable addendum to our Ultimate Gift Guide (in which David Auerbach of Dijital Fix has you—specifically, your ears—covered).

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Of course, there still seems to be room to grow in the headphone/speaker category, at least to the extent that crappy earbuds remain the de facto stock accessory for audio players (read: iPods). While Dr. Dre continues to build his electronics empire, Utah-based designers Jeremy Saxton and Jacob Hall have taken a more forward-looking approach to headphone design. Taking a cue from Scott Wilson of the wildly successful TikTok & Lunatik, the designers have cleverly combined the iPod Shuffle with the one accessory that its function is contingent upon: an output device.

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The ODDIO1 represents the logical extension, in a manner of speaking, of cord reduction in the interest of streamlining the on-the-go listening experience—specifically for exercise and outdoor activities. By integrating an mp3 player into the headphones themselves, the ODDIO1 effectively cuts out the middleman of excess cabling, something like building a speaker into the iPod Shuffle, and the square-ish form factor of the cans is likely a reference to the iPod Shuffle itself.

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Just as armband-based sports mp3 players existed prior to the TikTok & Lunatik, all-in-one headphone+mp3 players are nothing new. Thus, like Wilson, Saxton and Hall hope to extend the value—and design—of the iPod as opposed to competing directly with either mp3 players or headphones.

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Check out the pitch after the jump:

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Nov 30

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If you asked a cartoonist from the 1950s to produce an icon of a drunk guy, he’d probably draw a man with a lampshade on his head. Shanghai-based industrial & interaction designer Mathieu Servais, however, envisions a similar set-up for a more sober application: Work.

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Nov 30

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We’re still waiting for Studio Neat’s Cosmonaut stylus to come out, but in the meantime they’ve updated their super-useful Glif iPhone tripod mount with two handy add-ons. The Ligature is an eyehole screw that allows you to attach the Glif to a keychain so you can always have it on hand, and the Serif clamps around the top of your iPhone to keep it securely sandwiched during more extreme shooting situations.

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Nov 30

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Tonight, Core77 welcomes Nicholas Everett of Vanport Outfitters to our bi-weekly creative speaker series: The Hand-Eye Supply Curiosity Club hosted at the Hand-Eye Supply store in Portland, OR. Come early and check out our space or check in with us online for the live broadcast!

Tuesday, November 29th
6PM PST
Hand-Eye Supply
23 NW 4th Ave
Portland, OR, 97209

Vanport Outfitters was founded in Portland, Oregon with the goal of producing durable, handmade luggage and accessories using traditional craftsmanship and materials. Owner and Creative Director Nicholas Everett was born in Portland, where he grew up working at the family business crafting custom canvas products for sailboats and yachts. His 17 years in that field demanded a significant amount of design work with heavy canvas and the requisite fasteners and marine hardware.

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Nov 30

Core77 Ultimate Gift Guide
2011 has been a hard year. Global Revolution! Natural disasters! Bankruptcy! What’s next? We’re not hedging bets for 2012 just yet, but in case things don’t turn out the way you’d expected, we’ve got you covered. Core77′s Ultimate Gift Guide has everything you need to get through these hard times and survive through the… end times?

Today’s pick is from Allan Chochinov: Allan Chochinov is the editor in chief of Core77 and Chair of the new MFA in Products of Design graduate program at the School of Visual Arts in New York City.

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What’s better than a family friendly project that is also a survival essential? The paracord is essentially long lengths of nylon rope macrame’d into a belt, bracelet or necklace—think 8 feet of cord woven into 8 inches of compactness. Prepping for the year ahead, we say kumbaya. Start with a bracelet, watchband or belt. (That belt weaves up 100 feet of cord!)

See the full gift guide HERE.

A special Thank You to this year’s Gift Guide sponsor: Felt & Wire Shop offering a selection of curated paper goods direct from designers.

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Nov 30

reboot-pakistan1.jpgThis is the third post in a 7-part series from Panthea Lee of service design consultancy, Reboot. In The Messy Art of Saving the World, Lee will explore the role of design in international development.

One year after the devastating Indus Valley floods, Reboot traveled to Pakistan in 2011 to design a better way to distribute humanitarian aid. The disaster had killed over 1,700 people and left over 20 million more homeless. When we arrived, the formal refugee camps and aid organizations had long since packed up and left, but millions of people were still camped out in makeshift shelters next to the piles of rubble that had once been their homes.

The international community pledged hundreds of millions of dollars in relief funding, but the majority of those we spoke with had gone without the aid they needed (some had never seen a dime). In order to create a better service model, we had to understand why.

What we uncovered was a strong example of how research and design can help the international development community not only solve pressing challenges, but discover and act on new opportunities.

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We had been tasked with improving an aid program run by a global coalition of public- and private-sector partners, who distributed emergency funds through preloaded debit cards. The results had been mixed. On one hand, the debit card method promised a fast, easy and secure way to get aid to the people who needed it. It was ambitious and life-saving: Over US $230 million was disbursed to families in need in the first 70 days alone.

But on the other hand, the program was complex, involved multiple actors and was enacted in rural locations with poor infrastructure. Breakdowns were inevitable. We spoke with flood victims who waited in line for entire days only to discover that the ATM machines had stopped working and that their families would go hungry for yet another night. Opportunistic officials demanded hefty “handling fees” from textually or technologically illiterate families who needed help retrieving their aid funds. Some people qualified for aid but were denied because of glitches in the system; we met one such man who had walked 16 hours to Islamabad to plead his case with the government, unsuccessfully.

United Bank Limited (UBL), a leading Pakistani bank which had spearheaded the relief program, engaged Reboot to address these challenges. From the beginning, we understood that the root cause of many shortcomings was a lack of understanding: Corporate executives in Karachi and government officials in Islamabad had little knowledge of the rural, poor Pakistanis receiving aid and the contexts in which they lived. Without this understanding, it was impossible to design or deploy an effective system.

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Thus, we began with an intensive design research process to better understand the flood victims—and the bank, too. (People don’t talk enough about empathy for your client, but it’s critical). We spoke with victims in 26 towns and villages, engaging with nearly 300 Pakistanis from all walks of life, from imams to street cleaners to loan sharks to vegetable merchants. Simultaneously, members of our team embedded within UBL to better understand its vision, needs and capacities. We spoke with staff of all levels and functional areas—everyone from the call center operators to the executives in charge—and we experienced first-hand how tough it is to run an aid program.

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