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Posted by hipstomp / Rain Noe  |  19 Aug 2014  |  Comments (0)


Carlos Tomas dropped his Mazda 6 off for a detailing appointment at a shop in Toronto. When he returned to pick it up, he noticed some cosmetic damage to the front of the car that he swore wasn't there before. But the body shop denied responsibility. A suspicious Tomas brought another car to the shop the following week, a sportier RX-8, and this time he secretly photographed the odometer before handing over the keys.

When Tomas picked the RX-8 up five days later, he noticed an extra 449 kilometers had been racked up on it. And amazingly, he received a CAD $45.60 bill in the mail from the local automatic toll collection agency.

We're guessing the designers and engineers over at Chevy have heard stories like this once too often, as they've actually cooked up a feature to solve this with their 2015 Corvette:

What's interesting is that the technology already existed as part of the Corvette's Performance Data Recorder package, which uses a small camera to shoot HD footage from the driver's POV, while a mic records the in-cabin audio and a computer records the vehicle data and telemetric info. The PDR was originally designed for track-heads who wanted to improve their lap times, but "We soon realized the system could have many more applications," Corvette product manager Harlan Charles said in a press release issued yesterday, "such as recording a scenic drive up Highway 101, or recording when the Valet Mode is activated."

The info and video can be viewed in-car immediately after recording, and it's also downloaded onto an SD card if you want to take the proof to the cops or just upload it onto YouTube. "Think of it," says Charles, "as a baby monitor for your car."

Posted by Core77 Design Awards  |  19 Aug 2014  |  Comments (0)



Visual communication is perhaps the most accessible design discipline, both for its sheer ubiquity and its broad mandate to convey an idea as clearly and memorably as possible. It could be a poster, billboard, pamphlet or even a simple design element like a calendar on the wall that initially pulls us into the work of the designers and firms around us. The 2014 Core77 Design Awards honorees in the Visual Communication category turned out to be the second largest group of honorees. From fictitious brand identities to an anthology of infographics to a good ol'-fashioned student-produced zine, there's enough work in here to keep you browsing for a couple of hours.

The jury team—led by designer, typographer, writer and illustrator Marian Bantjes—shared the 18 projects that they thought best showed the spirit of visual communications. Read on to learn more about the honored work:


Professional Winner: The Infographic History of the World, by Valentina D'Efilippo

As its title suggests, "The Infographic History of the World" is a veritable trove of graphic design gems. Valentina D'Efilippo's compilation of infographics follows everything from galactic families to the evolution of man—in short, you're getting nearly 14 billion years of information in one volume. "This is a conflation everything the world needs right now: a rediscovery of the joys of reading and the printed page; seductive and clever graphic representations of historical data and a joyful immersion in learning," says juror Mark Mushet. "The seamless video helped this one past any hurdles. Bonus points for being an attractive product that will appeal to absolutely anyone!"

» Learn more about The Infographic History of the World


Student Winner: LAXART Museum, by Young JooTak

Art Center College of Design student Young JooTak rebranded the LAXART Museum's identity down to its very last design element. The project included a new website design, interactive communication, print campaigns, media art, 3D graphics, product packaging, book and magazine layouts, virtual environments and creation of graphic identities and branded experiences. "I was really surprised this was a student project. It looked so real: completely plausible, with many levels of engagement worked out," says Bantjes. "I like the mark a lot: a very high-tech-looking X with all sorts of spin-off possibilities. It successfully combined the clean/modern thing with a really recognizable identity."

» Learn more about Laxart Museum


Professional Runner Up: Bezos Center for Innovation, by Studio Matthews with Olson Kundig Architects

The 5,000 sq. ft. space that Studio Matthews and Olson Kundig Architects designed pulls its inspiration from a well-known design buzzword: innovation. The goal of the exhibition is to inspire and help visitors learn about Seattle's creative history, as well as it's reputation for standout global companies. "You would expect that a healthy budget for design would guarantee success, but this is certainly not always the case," says juror Paul Roelofs. "In this instance, that budget was used to create an incredibly fresh package of interactive displays to describe the complex concept of innovation. The multitude of approaches designed to tell that story are themselves seamless with the content. It is a brilliant and engaging execution."

» Learn more about Bezos Center for Innovation


Professional Runner Up: Herman Miller Collection, by Hello Design

Herman Miller is by no means a new name to anyone with a bit of interest in design, and the Herman Miller Collection—designed by Hello Design—highlights precisely the allure we've come to expect from the storied brand. The collection was designed to be photographed in the Eames Case Study House. The design team also launched a video showcasing the ins and outs of the line's production."Sexy, sexy," says juror Shelley Gruendler. "We oohed and aaahed over the imagery, and despite the cliché of awarding a prize to such an obvious project, we really were seduced by the interface, the navigation and the wealth of information."

» Learn more about Herman Miller Collection


Student Runner Up: 512Stew, by 512stew

512Stew is a one-off zine that covers Austin culture through photography, illustrations and text. 18 University of Texas at Austin design students put the 300-page book together and ran an Indiegogo campaign to raise the funds for printing, limited-edition dust jackets, bookmarks and the ever-important launch party. "As an educator I can really appreciate the benefit of this project for students," says Gruendler. "Many students come out of school with too much concept and not enough execution, but this project, to teach people to actually get a publication done from start to finish including costing and printing and launching is just a really great experience and a wonderful result.

» Learn more about 512Stew


Posted by Moa Dickmark  |  19 Aug 2014  |  Comments (0)


Cansu Akarsu is one of those people who you can't help but notice when she enters a room: Her bubbly and positive energy more than makes up for her small stature. I met her during the INDEX: Design Awards a few years back, and have had the great pleasure of seeing her grow as a designer with her many socially conscious projects. Her résumé includes projects such as Happy Baby Carrier, Pad Back and Soap Shish. She moved from Copenhagen to Stavanger, Norway, this year and is now working at Laerdal Global Health.

Tell us a bit about your background?

Cansu Akarsu: I was born and raised in Istanbul, Turkey. I studied at an American high school called Robert College in Turkey, followed by studies at Istanbul Technical University (ITU),
which lead to an exchange semester at TUDelft, Netherlands, and a year as an exchange student at Korea Advanced Institute of Science & Tech.


What led you to study design?

At the international school, I had a chance to chose courses more focused on my various interests, which gave me a chance to study and experiment with web design and graphic design. I was very lucky, my school was very good in this way. They also conduct various personality test as to help you understand where you fit on the job market, and how you can direct your studies in that direction.

If you think about your closest family and friends, have they influenced you in any way?

If you ask my mom, my 'design genes' came from my father's side :). They fell in love at the university as my dad helped my mom with her technical drawing courses. So far, I am the only industrial designer in my family of engineers. What fascinates me most about design is the human aspect—that we focus more on the everyday behaviors of people than technical solutions to products.

For the last few years, you have been working with socially conscious design. How did you get started with that?

There were many small events to lead to this decision. One of them being a trip to the eastern part of Turkey that I took with my class at ITU. I had traveled a lot to different countries, but i had never visited cities outside of Istanbul, and I thought that they were going to be more or less on the same level when it came to the standards that I knew growing up. I was surprised and shocked to see the lack of resources that existed in my own country. This inspired me to see what sort of impact that I, as designer, could have on peoples' everyday lives. I understood that I could do something to help the development of my country and the world as a whole and that was really exciting for me. This is one of the reasons why I decided to participate in OpenIDEO. Here I attended the design challenges, and it was one of the places where I found that design skills could be used to address worlds' biggest problems.



Posted by Core77 Design Awards  |  18 Aug 2014  |  Comments (0)


The 3D printing revolution has been a long time coming—but, to borrow William Gibson's famous quote, it's just not very evenly distributed. Or rather, it's limited to the constraint of a relatively small build platform, at least when it comes to affordable consumer- and prosumer-level machines. "At one extreme, software tools are empowering individuals to envision, create and share their own designs; while at another, low-cost digital fabrication machines are allowing these one-of-a-kind creations to be built and consumed from the comfort of our homes," says designer Marcelo Coelho. "However, while 3D printers are becoming increasingly accessible and capable of rivaling the quality of professional equipment, they are still inherently limited by a small print volume, placing severe constraints on the type and scale of objects we can create."

Working with fellow designer and technologist Skylar Tibbits, Coelho developed Hyperform, an algorithmic software solution that marks the growth—literally—of digital fabrication. The project was named a Professional Runner Up in the Speculative category of the 2014 Core77 Design Awards.



In order to virtually expand the build volume of the FORM 1 desktop SLA machine, Tibbits and Coelho developed an algorithm that transforms a desired form—which can be larger than the printer itself—into an origami-like chain structure, which can be unfolded into the bigger final product. Where the conventional method is to default to piecemeal fabrication, Hyperform allows the object to be printed in a single piece. "Hyperform encodes assembly information into the actual parts, so there is no need for a separate assembly instruction sheet and parts don't need to be individually labeled and sorted," says Coelho.

Just to put this into perspective, check out the 50-foot chain that was made using the printer's 5” × 5” × 6” print volume:

You've seen what the machine is capable of—creating crazy long links of fiber—but check out how it's done:


Posted by hipstomp / Rain Noe  |  18 Aug 2014  |  Comments (1)


From Australia comes this clever re-think of the common butter knife. Sydney-based industrial designers Sacha Pantschenko, Norman Oliveria and Craig Andrews put their heads together and came up with the ButterUp, which adds a row of precisely-shaped holes to the blunt edge of the blade. This enables one to "grate" a cold stick of butter, creating easier-to-spread ribbons:

It's not surprising that the ButterUp quickly reached (and tripled) its Kickstarter funding target, garnering AUD $126,213 at press time over a $38,000 goal; what is surprising is how badly, and quickly, people want this design. Rather than opt for the least-expensive, $12-per-unit buy-in with a March 2015 delivery date, nearly a hundred backers opted to pay $60 to have a single unit delivered by this September! These people take their toast seriously.


Posted by Core77 Design Awards  |  18 Aug 2014  |  Comments (0)


At the heart of every design, there is a problem—or rather, a solution. The end result might broadly be called a product, but insofar as this definition doesn't specify a physical artifact, design practice can take a number of other forms. In fact, Strategy and Research suggests a more rigorous approach to design in general, at once more fundamental than a given instance of a problem and more profound than a single product. The 2014 Core77 Design Awards honorees in the Strategy & Research category represent a worthy selection of these projects.

Larry Keeley, President and Co-Founder of Doblin Inc., led the jury team in choosing their top 13 entries of the bunch. Learn more about each one below.


Professional Winner: Pearson Common Core System of Courses, by POSSIBLE Los Angeles

While information is becoming more digital by the day, one end user may have had the most benefit from the transition: student. Physical textbooks can be incredibly heavy for the students wo have to tote them around and expensive for the school providing them, and once you get to college, you're subject to both inconveniences. POSSIBLE Los Angeles has introduced the Pearson Common Core System in response—a digital experience for the classroom, specifically early learning atmospheres. "This is a bold action taken by a textbook market leader to solve an important and gnarly problem: textbooks are wildly anachronistic," says the jury. They are too costly for school districts, too heavy for students, and nowhere near interactive enough for the way young people learn now. It is rare to see the market leader be this bold in disrupting their core products—and for this reason it rose to the level of being truly strategic."

» Learn more about Pearson Common Core System of Courses


Student Winner: Redesigning the Air Ambulance, by Sean Jalleh

Tending to medical emergencies in the air is a delicate task, given the size and weight constraints of the setting. North Carolina State University student Sean Jalleh accepted the challenge of strategizing the best way to house patients, medications and equipment during inter-hospital air travel. The jury weighs in: "This is a thorough, rigorous, solution-oriented approach to rethinking the interior design of helicopters used as air ambulances. The emphasis is clearly on physical and cognitive human factors, and we liked the way the problem was tough enough that everyone involved knows you can't afford to be wrong. We also liked the way that the recommendations were communicated well--—including clear diagrams that revealed how the design was completely optimized for effective medical care in tight spaces.

» Learn more about Redesigning the Air Ambulance


Professional Runner Up: Making the Giraffe Path, by Aki Ishida and Lynnette Widder

NYC Parks that date back to the 20th Century are easily overshadowed by the novelty of the quasi-futuristic High Line. Architect Aki Ishida and Columbia University Professor Lynnette Widder are shining a light on five of the city's parks through workshop events and explorative artifacts to help visitors pull the connections between the five areas. The duo delivered a "play book" that visually documented data and strategies for future path-making. "We have entered a new era of urban design where amenities like parks and public spaces are finally getting the professional attention they deserve," says the jury. "This project is a bold attempt to open up the design of an engaging trail way that would connect five Northern Manhattan urban parks in ways that could make them as collectively engaging as New York's High Line or Chicago's Millennium Park. We especially liked the way this team reframed their urban design challenge from trail mapping to trail making, and especially commend them for the 3D dynamic development techniques they used and the lovely human scale feel of the work."

» Learn more about Making the Giraffe Path


Professional Runner Up: Physical Assets for Adolescent Girls, by Yves Behar & fuseproject

This project from Yves Behar and fuseproject for the Nike Foundation's Girl Effect program looks to empower girls and help break the cycle of poverty. The team developed four prototypes and tested them on a two-week immersion study in Rwanda, bringing research and reactions back to improve the designs. While the jury wasn't so crazy about the title, they did appreciate the way the team rose to a difficult design challenge: "We felt this was a terrible name for an important idea: use solid design tradecraft to identify the smallest number of artifacts to reinvent that would make the greatest difference in the daily lives of young girls growing up in war-torn Rwanda. Often the really tough challenges demand and deserve the best design methods, and this design team rose to the challenge effectively."

» Learn more about Physical Assets for Adolescent Girls


Student Runner Up: VisPo - Visual Poetry, by Stephanie Bhim

Poetry is one of those artforms that means somethin different to every reader. University of Technology – Sydney student Stephanie Bhim is adding another layer of interpretation with her work, VisPo. The app houses a series of poems, each with their own set of visuals—devices that display various objective language and poetr7 techniques. "We all agreed that it was visionary: It makes the subtle, sometimes abstruse and technically complex conventions in poems and makes reading and interpreting poetry more engaging, accessible and beguiling," says the jury. "We were especially impressed with the way a student from the University of Technology Sydney, acting alone, made poetry visual, artful and emotional—in ways that go far beyond anything that could be done in an analog, print-only form... Of all entries— student and professional—in the too often dry arena of strategy and research, this was the only entry with a sense of wonder."

» Learn more about VisPo—Visual Poetry


Student Runner Up: MLKL, by Jeongdae Kim

University of Arts Bremen student Jeongdae Kim takes to areas plagued with logging and fire damage with his work, MLKL. The eco-friendly material effectively turns topsoil into a net, helping plant roots stay rooted and thrive. This solution is intended for areas prone to landslides, where it can be hard for trees to develop expansive root systems. The jury's thoughts: "Sadly, we seem to now be in a new era where natural calamities are more frequent, more severe, and more diverse. One smart design response is to be resilient—design to anticipate and prevent or lessen the severity of calamities. This team from The University of the Arts Bremen did precisely this by creating a new system that will help protect the land from catastrophic erosion following logging and/or fires... We expect this theme—design for resilience—to be crucial on our overheated planet."

» Learn more about MLKL


Posted by Kat Bauman  |  18 Aug 2014  |  Comments (0)


Cheesemaking is a millennia-old industry, full of straightforward food science as well as dark corners of tradition and biological happenstance. Understanding the variety of traditional cheese production can make for a very long grocery trip, but some of the salient details may have escaped you by hiding in the packaging. Many cheese counters prominently display the reserve wheels of cheese that haven't been parceled out into dinner-party-sized chunks, and almost every counter sells wedged cheeses with clearly visible rinds. This isn't just to conjure delicious old-world charm. If your cheesemonger is nowhere to be found, or if you're generally foodie-shy, here are a few fun facts you can find built into the hard rinds of fine cheeses.

Country of origin. Like many wines, some types of cheese are regionally specific. Parmesan, or Parmigiano Reggiano (the so-called King of Cheeses), hails from a land of salty paternalism—Italy and Italy alone. Because by law it must be produced in the provinces Parma, Reggio Emilia, or Bologna, that wheel of cheese must sport at least one prominent D.O.P. stamp to be legit. On French products you'll see an A.O.P (possibly A.O.C), and regional American makers (like those using Wisconsin milk) use their own stamps too. Some cheeses give more subtle clues, like Spanish Manchego which virtually always has a basket-weave rind, having been historically pressed in grass baskets traditional to the La Mancha region where it is produced.


Cheese type and region. Though we rely heavily on our local cheese counter for proper labeling, most rind-bearing wheel-born cheeses do what they can to clear up the basics. It's very common for the basic info about type, brand and region to be carefully written in multiple orientations around the perimeter of the wheel, so it can be seen even in small segments. Bold dotted-line letters are often used, likely because stamps and dyes used on living, breathing cheeses tend to become less distinct as the rounds age, like that tacky text tattoo you got in college. Certain shapes often correspond with cheese type too. Pecorino Romano often uses a repeating dot pattern, along with a sheep's head icon within a dotted diamond. Grana Padano is completely covered with ovaloid "lozenge" symbols and four-leaf clover icons.


Posted by Coroflot  |  18 Aug 2014

Work for Remind!

Remind is on a mission to connect every teacher, student and parent in the world to improve education. When you improve education, you can solve many of the world's problems. Using the tools Remind is developing, teachers can quickly and safely connect with students and their parents to enhance communication and free up their time for more important things. With user-centric design skills and great visual design chops, you could join them on their mission to solve problems.

If you are familiar with technical challenges, design patterns, and asset production for iOS and Android, plus you have 5+ years experience as a Product Designer, Interaction Designer, or User Experience Designer, this could be the perfect job for you. In addition to knowing you're helping move the world forward, the perks of working at Remind include trips to design conferences, stocked kitchen and fridge, foosball table and daily team lunches. Apply Now.

Posted by core jr  |  16 Aug 2014  |  Comments (0)
Content sponsored by the Ford Motor Company

A myriad of design topics have been covered in the past two panel discussions Ford and IDSA have hosted, from the effect of video games on players to the intricacies of automotive design. (If you missed them the first time around, you can watch them here and here.) This time, we have four solid panelists ready to take on the customer experience and how designers can create meaningful interactions between their products and the consumer, among many other areas of interest, of course. Eric Anderson of Carnegie Mellon's Integrated Innovation Institute will be moderating the conversation among Charles Austen Angell, Founder of Modern Edge; Ed Boyd, VP of Experience Design at Dell; and Kevin George, Exterior Design Manager at Ford Motor Company (read our recent Q&A with him here).

The discussion kicks off at 12:20pm ET. Remember, if you submitted a question on Twitter using the hashtag #DesiginingInnovation, you might hear it asked on stage. Tune in below to see the 'Designing Innovation' panel live from the annual IDSA Conference in Austin, Texas.

Read up on the panelists onstage:


Posted by hipstomp / Rain Noe  |  15 Aug 2014  |  Comments (0)

01vitalyhk.jpgVitaliy Raskalov, Hong Kong

Maybe it's because I just came across the 10,000th social media selfie I've seen this month that's making me snap. It was another of those inane pics taken in the safe confines of a bar that looks like every other, so I burned the morning looking for more dangerously-shot selfies. In particular the famous ones I'd seen those Russian maniacs shooting high up in the Dubai sky.

02remnev-dubai.jpgAlexandr Remnev, Dubai

03remnevdubai4.jpgAlexandr Remnev, Dubai

As I clicked through the work of Alexandr Remnev, Vadim Makhorov and Vitaliy Raskalov, I couldn't help but pull my faves from their (primarly non-selfie) archives. Not just from Dubai, but from Shanghai and Hong Kong, that particular trio of cities being the most photogenic from high up. These guys may be in their twenties, and they may be crazy, but usually when you say to a kid "It's just a matter of time before you wind up dead or in jail," it's not SLRs they're toting around. So my hat's off to these spider-climbing psychopaths, whom I hope have never shot a selfie indoors and below 1,000 feet.

04makhorov-hk2.jpgVadim Makhorov, Hong Kong


Posted by Carly Ayres  |  15 Aug 2014  |  Comments (0)


We first covered Jamie Wolfond's work when he was still a student at the Rhode Island School of Design, stuffing plastic pellets into fireproof molds and slumping them over other objects to create his Frumpy Chair series. Now, just a few months after graduating, Wolfond has launched Good Thing, a Brooklyn-based company that takes a new approach to manufacturing by building production into the ideation phase, collaborating with designers, artists and vendors to create a seamless process for realizing new products.

Experimentation with manufacturing is a motif throughout the Toronto-bred designer's work, as he utilizes techniques usually reserved for the mass production of industrial products to create small runs of household goods. At the onset of a new project, Wolfond often begins by working with an outside vendor—even before he knows what exactly it is he's designing. "By allowing the strengths and limitations of a producer to influence the product from a very early phase, I am able to design an object that does not need to be compromised for production," explains Wolfond. "Not only does this idea yield considered objects, but it also lends itself to efficient and inexpensive production."

Good Thing was born from that concept, applying the idea to a much larger scale with more products and larger production runs. Its debut collection features a series of collaborations with local NYC designers, artists and vendors, with household objects ranging from hand-spun copper vessels to sand-cast aluminum trivets. One standout piece is the Plastic Craft Pot, a collaboration between Wolfond and Benjamin Kicic that drew inspiration from ceramic coil pots, but reimagined in biodegradable plastic.


Kicic, also an alumnus of RISD, had been playing with the archetype of the coil pot since before he and Wolfond graduated last May, making several rapid-prototyped porcelain vessels over the past year. Given that they are both interested in the parallels between 3D printing and clay coiling, Wolfond and Kicic decided to collaborate on a piece for Good Thing, but quickly realized that rapid-prototyping coil pots was not a very efficient method of producing in volume. "It is one of the few processes that does not become less expensive with quantity," Wolfond says.


Posted by Core77 Design Awards  |  15 Aug 2014  |  Comments (0)


Some of us plan vacations based on a region's culinary specialties—which, for the record, is completely legitimate and delicious. Scouring travel books for information on locavorous delights is one thing, but in the interest of making cuisine more, um, digestible, we recommend Food Maps, by photographer Henry Hargreaves and chef/stylist Caitlin Levin. Joining forces as Hargreaves and Levin, the duo recently received a DIY Notable in the 2014 Core77 Design Awards for a series of maps depicting each country made up with its popular foodstuffs.

But the maps are much more than messes waiting to happen. "We have taken many of the iconic foods of countries and continents and turned them into physical maps," says the team. "These maps show how food has traveled the globe—transforming and becoming a part of the cultural identity of that place."



The work is detailed, demarcating different states and provinces with different ingredients. The use of perishable materials served as de facto deadlines for creating work. "The food was perishable, so we had to make it quickly so the ingredients didn't start to turn and look awful," says Hargreaves. Because who wants to look at an Italy made up of mushy, bruised tomatoes?

The finished products look good enough to eat, but the process was just as painstaking as any recipe you'd find in a Julia Childs cookbook. Check out this behind-the-scenes video:


Posted by hipstomp / Rain Noe  |  15 Aug 2014  |  Comments (6)


Here's one of those design concepts sure to make the blog rounds, even though it's more neat-looking than practical. The "Bottlass"—meant to be a portmanteau of "bottle" and "glass," but perhaps they ought have gone with the less titillating "Glottle"—in essence turns beverage packaging design on its head. The idea is that a glass container shaped like an inverted wine glass, minus the base, is sealed and shipped with an aluminum base nested into the bottom. After purchase, the consumer is meant to remove the base, flip the container, open the top via a pull-tab, and insert the glass stem into the base, via "screw tab joining," as per the description—can anyone tell me what that means?—or "forced insertion."

While other websites have claimed these designs are "manufactured in Korea," this is clearly a concept that isn't in production. And here's why I don't think it's practical.

User Experience: Opening the Thing

Imagine holding any of these shapes in your hand, and trying to pull the seal off of that wide mouth without spilling any of the contents. Think you could do it? How much concentration and time would it require versus opening a bottle top or popping a tab on a can?


User Experience: Drinking From It

Looking at the renderings above, I'm not convinced that the hole in the base—whether threaded or press-fit—is deep enough to provide the stability necessary to securely support the stem.


Posted by core jr  |  15 Aug 2014  |  Comments (1)


Once again, Core77 is pleased to be the media partner for the Bike Cult Show, which will once again bring the very best custom framebuilders in the Northeast region to New York City this month. Set to take place this weekend, August 16–17, at the Knockdown Center in Queens, the second annual Bike Cult Show promises be bigger and better than before. Earlier this week, we heard from new kid on the block Mathew Amonson of Airtight Cycles; the subject of our fourth and final builder profile is the venerable J.P. Weigle, who has seen fit to chronicle his storied career in a photo essay.

If you like what you see here, head over to Knockdown Center this weekend to see these works of art in person at the Bike Cult Show!

Text and images courtesy of Peter Weigle


I never dreamed about being a frame builder—in fact, I had no idea such a person existed. In 1972, a friend encouraged me to interview for an 'interesting opportunity,' and three weeks later I was standing in this shop in Deptford, England. The shop was old, old school: No jigs, no machinery, no alignment table etc. We drilled vent and pin holes with hand-spun twist drills. Hacksaws, files and elbow grease got the job done.


After a seven-month stint, I came back to the States. I worked in a small frame shop, Witcomb USA, along with Richard Sachs. I rode and raced my bike as much as I could. I made this bike for myself in England; this road race, at left, was a hilly one up in Vermont.

At right, a few of the mid-years crew at Witcomb USA. That's Chris (Fat Chance) Chance on the left, Fred Widmer in the center, and me at the right with my Clockwork Orange haircut.


Witcomb USA closed its doors in '77. My plan at first was to get a real job... but instead I bought one of the Witcomb jigs, some of the tooling and some material inventory. This photo was taken at my first shop, a Quonset hut at a local airport. I had no phone, so I used the payphone over at the field office. Customers took quite a chance driving there, wondering if I'd be there or not.

This mixte touring bike was one of the first bikes built in my new shop. Fenders, Ideale saddle, hmmm...

Weigle-07_08.jpgClick here for high-resolution image of newspaper clipping

In the early 80s, a friend from California told me about a 'mountain bike' he had just purchased. He sent photos of his Ritchey and some sketches. I made my first mountain bike in '82 and rode it everywhere. I went to Fat Tire Bike Week in Crested Butte, CO, in '83–4. All of the MTB luminaries were there and it was ground zero for that sport. Moab was just a dusty place in the desert at that point.

Racing soon followed. The early days were real grassroots affairs—nobody knew much about the sport, so sometimes we made things up as we went along. No one knew what to wear at these events either... you might see a classic Brooklyn jersey next to a racer in cut-offs.

I also used my lightweight specials in cyclocross events, which was legal back then. At the 1988 National Championships, I won the Vets race in fine style.


Even though mountain bikes were my newfound passion, I still made my share of road frames. This bike was displayed in a show and was also selected for the cover photo at left. I was just learning how to do these three-color schemes and was having trouble. I used a tooth pick dabbed in paint to touch up my mistakes... and I used the same 'tool' to paint the clown's face on the back of the pump bump. ;~)

And on the right, the 'money shot' in a Cigar Aficionado article. I called this bike 'French Reminiscence'—all it needed was fenders.


Posted by core jr  |  15 Aug 2014  |  Comments (0)


By Tim Adkins

Ambitions are often simple dreams, born in shallow pocketbooks, that yearn for accoutrements larger than whatever the Joneses own. Some dreams deviate. They're more elemental, more profound. Consider Walter Dorwin Teague's ambition:

"I will strive to make the name I bear a loved one long after I am gone."

More than 50 years after his death, Teague's name continues to resonate. But the story of the man who strove to give it an eternal life has largely been untold. Last night, Jason Morris premiered Teague: Design & Beauty, a documentary on the seminal industrial designer, for a few hundred designers attending IDSA's 2014 International Conference in Austin, Texas. The film, nearly five years in the making, fills a substantial gap in our contemporary memory.

TeagueDoc-Morris_Audience.jpgJason Morris addressing the crowd

In the film's first few frames, we meet Walter Dorwin Teague as he faces a mid-life problem that he must design his way out of: He's a successful industrial artist who is restless. He sees the road ahead and envisions an intersection where his many interests and skills—including fine art, illustration, typography, fashion, architecture and storytelling—could converge to create a new method for giving form to experiences.

After Morris frames the conflict for us, Teague backtracks and follows a straightforward chronology. We learn that Walter—as Morris's narration refers to him in the first act—listed in his childhood diary all the books that he had read from age ten onward. We see some of the beautifully composed short films that Teague—as he is known in the second act—shot of the Chartres Cathedral in 1930. And we get some insight on the creative tension that soured the relationship between Mr. Teague—of the third act, of course—and the talented son who inherited his name and many of the senior Teague's creative gifts.



Posted by hipstomp / Rain Noe  |  15 Aug 2014  |  Comments (1)


Price inflation doesn't usually make a physical noise, but it did in 2008, in Cam Woods' neck of the woods. As gas prices rose to $4.50 a gallon, California-based Woods noticed that less folks were driving and more folks were buzzing around town on mopeds and motorized bikes. "All of these bikes were using 2-stroke engines that sounded like chainsaws on steroids," he writes. "I thought the forest was being cut down."

Woods reasoned that there must be a quieter, cleaner alternative than whipping around on a smoke-billowing two-stroke engine, and as a bicycle/motorcycle prototype builder for nearly two decades, he was in a position to do something about it. His work background made him well aware of a certain ubiquitous and tiny (50cc) Honda motor with a very long history:

The Honda 4-stroke horizontal OHV motor is the most popular and most copied engine in the world. It was first introduced in the Honda Mini-Trail 50 in 1969 and is still being used today almost unchanged in the CRF50. Companies in China have been making copies of the Honda engine for years with all kinds of variations in design and displacement, but all have the same motor mounts as the Honda. The copies of the Honda XR50 spawned a whole group of minibikes called "pitbikes." The amount of aftermarket performance parts for the Honda XR50 and its pitbike clones is endless.

Woods figured that the ubiquity and affordability of the motor—you can buy them used and inexpensive on Craigslist and eBay, and a new Chinese-made 50cc Lifan clone can be had for a little over $200—made it the ideal DIY snap-in powerplant. He then Frankensteined together a bike using off-the-shelf mountain bike parts connected to a custom frame and swing arm of his own design, and mechanically solved the problem of having both a motor and pedals capable of driving the rear wheel.


Woods dubbed his invention the Motoped Motorized Bicycle. It was reliable, lightweight compared to a motorcycle, and slightly heavier than a two-stroke but a lot cleaner and quieter. It was also pretty efficient, delivering 120 miles of travel on a single gallon of gas. And swapping in larger motors was also possible; popping in something closer to a 150cc meant you could go as fast as 65 m.p.h, though the mileage dropped down to closer to 90 miles per gallon.


Posted by Core77 Design Awards  |  15 Aug 2014  |  Comments (0)


Whether you're taking your route into your own hands with a bike or traveling as a passenger on a commercial flight, transportation is about much more than just getting from point A to point B. While we're not holding our collective breath for, say, self-driving cars or commercial space travel, we've seen plenty of innovations on the ground and in the sky in the Transportation category of the Core77 Design Awards.

General Motors' Christine Park led the jury team in choosing this year's honorees, which cover transportation designs of various scales and end users:


Professional Winner: Sandwichbikes, by Basten Leijh

The latest manifestation of the flatpack construction craze is Sandwichbikes, a build-it-yourself bike model that helps riders get to know the ins and outs of their ride in an intuitive way. The bike, designed by Basten Leijh, uses locally sourced beechwood from Germany. The jury was most impressed by the designer's ability to involve consumers: "We were drawn to the concept of engaging customers through assembling the bicycle, creating a unique experience and heightened sense of ownership. The design of the bicycle along with its packaging and graphics were consistent and appealing overall. The usage of laminate wood and its sustainable story was equally impressive as the design itself."

» Learn more about Sandwichbikes


Student Winner: The Future of Offshore Supply, by Martin Skogholt Hansen and Mikael Johansen

The Future of Offshore Supply is an exploration into maritime design, specifically offshore vessels and how they contribute to the economy. Oslo School of Architecture and Design students Martin Skogholt Hansen and Mikael Johansen took the opportunity to increase efficiency, safety and flexibility while challenging the role of traditional industry designs with a vessel that features an attachable water trailer of sorts. "We were impressed with the concept of a supply vessel that is efficient in cargo handling while strategically adding value to the economy of Norway," says the jury. "The layers of details in the design created an interest that drew us deeper in wanting to know more. The design was best in appearance, concept and presentation in that it effectively utilized graphics, rendering composition, colors and details. All design elements cohesively tied together with the concept."

» Learn more about The Future of Offshore Supply


Posted by Coroflot  |  15 Aug 2014

Work for D30!

D3O is a ground breaking smart materials company specializing in impact protection and shock absorption. This Brighton, UK based company continues to challenge and lead the world of impact protection and shock absorption with innovative, pioneering solutions for customers. From athletics and electronics to protective military gear, D30 changed the protection market with a range of lightweight, flexible and breathable protectors. How would you like to join their team and continue to revolutionize the smart materials market?

If you're the right person for this job, you will be a member of our Engineering department specializing in impact mechanics and design of future products. You will work with Product Management and Industrial Design teams to develop new concepts for future generation of innovative products. Check out all the preferred skills on the next page and Apply Now.

Posted by hipstomp / Rain Noe  |  14 Aug 2014  |  Comments (2)


Applied Minds is something like a think tank that actually creates things. The "interdisciplinary group of artists, scientists and engineers, with skills in architecture, electronics, mechanics, physics, mathematics, software development, big data analytics, system engineering, and storytelling" has worked on everything from vehicle engineering to cancer treatments to 3D interfaces to algorithms. So it's no surprise that co-founder and inventor Bran Ferren came up with a project as crazy as the KiraVan.


The KiraVan is a massive truck that can do, well, everything, both on-road and off. It can scale 45-degree slopes. Its fuel tank can hold 170 gallons of biodiesel that provides a range of 2,000 miles between fill-ups. It stores enough food and water on-board for a crew of three to survive for three weeks between grocery runs, and all the while electricity is coming in from a bank of solar-charged batteries. The truck is engineered to run through both extreme cold and extreme heat. It can deploy its own freaking drones so you can scout ahead before you proceed. And oh yeah, there's a turbo-diesel motorcycle mounted to a small elevator on the back.



Posted by Jeri Dansky  |  14 Aug 2014  |  Comments (1)


When I'm working with clients who have small kitchens, it's always a challenge to find places to store large utensils—so I appreciate it when designers create collapsible versions of these kitchen tools.

One such bulky item is the colander. The OXO silicone collapsible colander is less than 2 inches tall when collapsed, but still has the features end-users value, including plentiful drainage holes and raised feet. (Some end users say the feet are a bit too short, but that seems to be a design trade-off that goes along with the collapsibility; all collapsible colanders seem to have short feet, or none at all.) End users say it feels very study, but some say that collapsing it is a bit tricky; others say it folds fine as long as you "read the directions and practice a little." But since we all know many end users won't read the instructions, it would be better to have a design that doesn't count on that.


The collapsible colander from Rösle also collapses to less than 2 inches, and end-users say collapsing it is easy. Also worth noting: The colander, when collapsed, only takes the space of a dinner plate in a dishwasher—and it has a folding mechanism which "ensures that all parts that come in contact with food remain exposed for washing" even when it's collapsed. Given how much end users comment on how easy (or not) it is to clean their colanders, this is a feature that will have a lot of appeal. And the colander has an eyelet for hanging; an end user who does indeed hang her colander says it works well.


The Joseph Joseph folding colander, designed by DesignWright, is the thinnest one around; when unfolded, it's just 1 cm (0.4 inches) tall. It's made from a single sheet of polypropylene, and uses 12 living hinges to fold into shape; a clip at each corner locks the shape into place.