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Radha Mistry's Job at Autodesk is to Explore and Provoke Possible Futures

For this year's Core77 Design Awards, we're conducting in-depth interviews with some of our 2020 jury captains to get in a glimpse into their creative minds and to hear more about what they'll be looking for in this year's awards submissions.

You could say the general purpose of an organization's collective body is to ask the question, "what's next?" In other words, any one person's job at a company is to help contribute to moving it forward and make it a success. But not everyone can say they walk into work each day with a job that requires them to ask, "What does the future look like for everyone, and how can we help build it?" For Radha Mistry, Practice Leader for Foresight at Autodesk, these philosophical inquiries are almost always on her mind and essential to her everyday work. Given Autodesk's importance in helping to shape systems ranging from product development to AI to construction, the company puts a significant effort into envisioning the future and how they can make products that will accommodate to that evolution in a way that's close to prescient.

Curious as to what a job like this entails, we chatted with Mistry, who also will be judging our 2020 Core77 Design Awards Speculative Design category, about her day to day at Autodesk as well as what she hopes to see in this year's awards entries.

You have a very unique job title—can you tell me more about what it means and what your job entails on a daily basis?

Yeah, it's definitely not a typical job! I run the foresight practice at Autodesk and basically what that means is, our team is tasked with helping the company think more rigorously and intentionally about the future. We operate on a 10-year time horizon because once you get past 10 years, it becomes hard to really think in a more measured way—it's too intangible for us to do anything with any real impact or understanding. So we work with our CEO staff to help them determine what is the position we're taking across social, technological, economic, environmental, and political forces of change. And then taking that perspective and really thinking deeply, what is the impact if we believe that this is what the world is going to look like in 10 years? What does that mean not only to our business, but also for our customers? And how can we build out scenarios that demonstrate preferable futures for many different kinds of users? And then to kind of be in a position where we can say, what do we have agency over? What do we not, where do we think our blind spots in our gaps lie? And what are we going to do about it?

In terms of my day to day, it looks different every day. You know, it's a lot of research, a lot of reading. Lots of brainstorms and workshops and getting folks into a room who maybe wouldn't necessarily be in that room at the same time. And meeting with some incredibly remarkable humans both inside of the company and outside who are really exploring things at the edges of each of our core industries in architecture, engineering, construction, media and entertainment, product design and manufacturing. And then really having the space and the support and the time from our executive leadership to really connect the dots in a meaningful way.

I consider myself lucky. I think it's definitely something that is critical to businesses today. But, you don't see [futures work out there] with such wide support in so many organizations.

I'm curious about that ten-year timeline and how that works. How do you implement what you come up with and how does that manifest in your present work?

The cool thing about the way that we operate is we do create technology and software that customers use today. Autodesk has been around for about 35 years. We've seen how automation has changed the nature of people's jobs, and the way that things are designed and made. So because we are constantly putting products out in the world, because we have users who are using our technology every day, we have this opportunity to say—okay, if this is how people are designing and making now, if we looked 10 years out and all of a sudden we're seeing robots more widely used on construction sites, what does that mean for how our products have to evolve today to allow for that to happen tomorrow?

So we're speculating on what the future might look like 10 years out. And then using a method we call backcasting to work our way backwards to say, okay, what are the things that need to happen in the next 0 to 3 years? What are the things that have to happen in 3 to 7 and then 7 to 10 years? And that's good because it makes us hold ourselves accountable and pressure test the things we are coming up with. So we're not just throwing moon shots out there. We constantly have to come back to, how does this impact our customer? How does it impact the way they are designing and making? And that is profoundly affecting human beings in society, and we have to acknowledge that with the weight that it deserves.

Is there anything you can share that speaks to what you're researching and what you think you'll see in the future?

Last year we embarked on a world-building project. And one of the outputs of that work were a series of narratives and accompanying illustrations that helped us to demonstrate what we believed the world was going to be like 10 to 15 years out. It was a little bit more speculative but we wanted to dive into how automation would shape the future landscape of our customer's jobs, industries, and the nature of their work. We wanted to make sure our nascent perspective on the future of work was made as relatable and tangible as possible…We were thinking about things like What will need to change for successful human and machine collaboration? How do we make things for more people without racing through our planet's limited resources? And even, will all of our customers be human in the future?

From Autodesk's world-building project, this illustration is featured in the report "Spring 2030: Robot Trainers and Small Town Mayors" (illustration by YimeIsGreat)

We explore things like, in the future if you were designing a building, you have to understand that at some point it would be taken down. And so [it should be] constructed to be deconstructed easily, and those materials can be repurposed. If the nature of construction operated differently, and multiple construction sites could operate as a connected construction ecosystem, say something isn't working or if equipment is broken down on one site, can I move materials to another? Or if skills and labor isn't needed and there's a surplus here can we pull it over to something else, because there's so much waste in the construction industry right now. Basically these four scenarios looked across four different kinds of geographic terrains, different users, and look more deeply across the implications for manufacturing and construction and really thought about who the designer and the maker in the future is.

Let's back up a little bit I want to hear a little bit how you got into this work in the first place. How did you first delve into foresight?

Yeah. So my path was a little bit of a meandering kind. Having been doing this for about almost a decade now, I think it tends to be the folks who haven't found themselves in one particular industry or one particular practice, and are just incredibly curious and sometimes lost in the best of ways. But my background is in architecture. Buildings, architecture, not software architecture—you have to specify when you're in the Bay!

I was studying architecture in New Orleans when Katrina hit, and I think that really impacted a lot of my points of inquiry as I was exploring and learning about the field. I think one of the biggest things that came out of that was when Katrina hit, when I came back into the city I thought, "I wonder if 50 or a hundred years ago, the architects that were building for the city at the time anticipated a hundred year storm like this."

A future city-scape scene from Autodesk report "Winter 2030: A Metropolis in Transit" (illustration by YimeIsGreat)

It made me realize, I'm not just designing these figments of my imagination— I'm putting things out in the world that will profoundly impact people's lives. They will impact the resilience of that city. Buildings essentially then become these future artifacts because you have to consider the context within which you're building. And time is one of those things you have to take into consideration. So that was my first foray into it. At the time, I didn't really know what speculative design was called; I didn't know it was a thing! When I was working on my architecture thesis, I became obsessed with some of the speculative architecture movements of the 50s and the sixties and seventies and groups like the Metabolists in Japan and Superstudio in Italy and Archigram in the UK, and even smaller, maybe lesser known art collectives like Ant Farm in the US. I'd also read and heard the practice sometimes referred to as "paper architecture". And I thought, "Okay, maybe this is a research thing I can do on the side of my architecture gig."

"Once you kind of step outside of yourself and set your ego aside, you realize, actually your role as a designer is not to put your vision out in the world—it's to be a mediator for these future environments."

So I started architecture school when Katrina hit and I graduated when the Recession hit. It was a very interesting time to be a designer. I worked for a couple of years then in architecture and just decided that wasn't where my heart was. And so, I moved to London and I went back to school and started working for Arup's foresight team. I became way more immersed in the futures community there, both professionally and academically.

I realized then that this was a thing I could do as a viable career choice. It wasn't as easy to explain to my immigrant parents, but they've come around now. But [I've gotten here by] just being very curious about these things. Looking back now I can connect those dots and I can say, yeah, of course I was always interested in futures. But at the time I think that I was always grasping for this thing that is architecture, but not architecture that affects people, but not today.

Yeah, foresight's a thing. It puts a roof over my head and I feel like I'm doing something worthwhile in the world. And that's kind of wonderful.

I went to New Orleans recently for the first time and got to experience all of its ultra-unique architecture and it is unfortunate, amongst the many other tragedies, that Katrina hit somewhere that had such a rich architectural history.

And New Orleans still does have such a rich architectural history and tradition! And so many folks there are working hard to continue to drive that forward…It was so interesting because when we went back [after Katrina], as an architecture student, I had to step back a bit. Your first instinct is to make your mark in the world and do something new and innovative. And once you kind of step outside of yourself and set your ego aside, you realize, actually your role as a designer is not only to put your vision out in the world—it's also and maybe more importantly to be a mediator for these future environments. It's to be that translator. So it really flipped my perspective on things. And I just realized, the core of my practice was not going to be about putting buildings out in the world. It's about making sure people have a voice in the world, in the design process.

And when we were in this rebuilding process and there were a lot of conversations happening around it, people just wanted what they knew. They wanted what they were familiar with, they wanted what they felt had history and told their story. And that was, these older shotgun houses. And you know, that is changing over time as vernacular changes, but it was interesting to see that and have a moment where you're like, okay, start with the human being and then go from there.

I wanted to ask this next question just because I have been talking to a few different design studios who are starting to embrace this idea that speculative work is important to incorporate into their practices. Do you think it's important now for more studios and companies to take on employees who specialize in futures work? If so, in what design areas would it be particularly beneficial to see more speculative investigations?

Yeah, I'm smiling because it's wonderful to hear that people are seeing the value because even 10 years ago, that wasn't necessarily the case— at least not as prominently.

I think futures thinking is becoming a lot more top of mind for businesses, for studios, for designers because there's just so much more change we have to navigate. There's so much more uncertainty. We have to wade through much more complex systems, right? Even 50 years ago you had the world news, but you didn't have the state of Germany and India and France and Ethiopia in your face all the time on social media. There wasn't a 24 hour news cycle. And so I think that has amplified the sense of urgency of things, the feeling that things are changing super rapidly and we can't get a grasp of it. That has created this landscape where people are realizing there's value in being more intentional about our long term impact on the world, on people and on the planet.

"With anything you design, if you can't undo the consequences of it within 12 to 24 months, it needs foresight."

In terms of the industries where futures thinking is a good fit, I think it's anything that profoundly impacts the wellbeing of human beings and our planet, whatever requires a more thoughtful consideration of what we put out there and what our long term impact is. Sitting in Silicon Valley, when a lot of these startups were really starting to take hold, there was this culture of "move fast and break things". And while I do think it's important to experiment and to question and to provoke and not to get tied up in our own thoughts, I think that can be done in a more intentional way.

An illustration from Autodesk's futures report "Summer 2030: Micro Factories as First Responders" (illustration by YimeIsGreat)

And I don't necessarily subscribe to that idea of just putting stuff out there and not thinking about the unintended consequences of it. I think it's created a culture where we don't often take the time to reflect and consider our next moves with intention and foresight, and futures thinking gives people the opportunity to do that. I think folks are realizing it's not a luxury anymore, it's a necessity.

So how can we make that a deeper part of the conversations we are having, the business models we're putting together? [It would be beneficial to see more speculative research] in the AEC (Architecture, Engineering and Construction) world. Like I said, buildings are future artifacts and infrastructure, anything that is going to be on the planet for a long time that's going to affect people. I think consumer tech like health and wellbeing, transportation and mobility, sustainable packaging. Even policy development could be considered a design area and I think the way in which we design and develop policy drastically needs to change to meet the needs of a rapid pace of change, you know? So with anything you design, if you can't undo the consequences of it within 12 to 24 months, it needs foresight.

I think in the past there were a lot of designers out there who thought that they could really only do so much to the future better in a way, but nowadays the role of the designer has expanded. We have our hand as designers in the supply chain, in designing systems, etc, which was not as much the case a couple decades ago.

Yeah, perhaps there was a feeling of not having agency. People didn't feel like they had agency over the future. And you were kind of just like a cog in the wheel of this system that you didn't maybe fully have visibility into. And now I'm seeing even in the architecture community, there are architects who are going into a project as a partner with a developer. So they now have equity in the things they're putting out there, even though historically they have always had the liability of those projects. I think that is fundamentally shifting not only the way that we think about the business of these things, but the way we think about whether or not we have control and agency. And I think that's such a key piece in how we conceive of the future.

When people feel like they don't have control, there is a tendency to become complacent. It's only when we feel like we have a sense of agency to do something, when we feel like we can care, do we actually care. I think we do when we understand, "what does this mean for me and what is my role in it?" And that's why I say there are still so many communities who don't necessarily see themselves in these visions of the future. And it's so, so important to make space for them. Because if we don't, then you are excluding an entire group of human beings who should and could have agency and input and really have a positive impact on where the planet is headed and what happens to society in the future.

I remember reading a while back about how a lot of tech companies were hiring sci-fi writers, but that dominant perspective can also kind of reinforce these stereotypes about what the future looks like. I think it's probably important to combat that.

100%. And if we think about where the locus of control is going to lie in the future, it's not going to be in North America. And if we are working off of that assumption, then we need to do better to be more inclusive in what these visions of the future are. And what has historically dominated future's thinking has definitely been more of this—this might not be the correct term, but more of a westernized mindset. One of the things that my team here works to really think about is, when we say we are a global company, what do we mean? What does that really look like and what are we doing about it, you know? I think that's an important provocation to consider.

You are the Speculative Design Jury Captain in the 2020 Core77 Awards—What will you be looking for and hope to see in the projects entered this year?

This is kind of just reiterating my point before, but I'm really looking for a project that's exploring a global perspective. Something that will address points of inquiry that are more relevant and more reflective of what the world will be grappling with in the next 10, 20, 30 years time. A point of view that's diverse, fresh, and provocative. And that's really the reason why I chose the jury members that I did because each of them are fearlessly questioning the edges of their own practice. They are all bringing along and building communities around them that are doing the same. I think that's needed and I think that's important. I'm looking forward to seeing what people submit.

Thinking of submitting to the Speculative Design  category in the 2020 Core77 Design Awards? Submit today—Regular Deadline ends March 9t h!
The Core77 Design Awards Speculative Design Jury

2020 Speculative Design Jury Captain Radha Mistry will be joined by these designers for the awards selection process:

Monika Bielskyte

Futures Researcher/Futurist Designer

A futurist with an artist's eye and an inventor’s mind, Monika Bielskyte prototypes culturally diverse, socially and environmentally engaged future world designs for the entertainment industry, technology companies, and cities/countries. As an expert in future of content and immersive media technology space (XR/AI/UX), Monika's work consists in connecting bleeding edge technological innovation with some of the world's most original creative visions that brings Sci Fi to reality.

Robert Bolton

Principal, From Later

Robert Bolton is a Canadian artist, strategist, and principal at the foresight studio, From Later. Recognizing art works and practices as powerful antennae for detecting change, Robert experiments with ways of understanding and imagining how emerging ideas, technologies and cultural phenomena may influence longer-term futures. As an advisor to decision-makers within all matter of organizations, Robert leads interdisciplinary teams, developing strategies for long-term growth and resilience.

Tobias Revell

Artist & Designer

Tobias Revell is an artist and designer. Spanning different disciplines and media his work addresses the urgent need for critical engagement with material reality through design, art and technology. Recent work has looked at the idea of technology as a territory, expectations of the future, rendering software and the occult and supernatural in pop culture discussions of technology.

Tue, 25 Feb 2020 20:43:21 +0000 BlogLikes - Find Most Popular Blogs Japan UK Design London France Germany India US Italy Ethiopia New Orleans Sci Fi Silicon Valley Autodesk North America Designer Profiles Robert Core77 Design Awards Archigram Monika Arup Speculative Design Monika Bielskyte Radha Mistry Small Town Mayors AEC Architecture Engineering and Construction Monika BielskyteFutures Robert BoltonPrincipal From LaterRobert Bolton Tobias RevellArtist DesignerTobias Revell
Amid Coronavirus Outbreak, Milan's Salone del Mobile is Postponed Until June Milan's annual furniture fair Salone del Mobile will be postponed until June as Italy grapples with a coronavirus outbreak. The show's organizers announced the decision on Tuesday in response to growing concern about the spreading virus. Italy currently has the highest number of confirmed cases in Europe, with over 200 in Lombardy, the region where Milan is. Originally scheduled to take place from April 21 to 26, the fair will now be held from June 16 to 21.

"Following an extraordinary meeting today of the board of Federlegno Arredo Eventi, and in view of the ongoing public health emergency, the decision has been taken to postpone the upcoming edition of the Salone del Mobile Milan," the fair explained in a press statement. The board members had been weighing whether they should cancel the event altogether or only postpone it.

The mayor of Milan, Giuseppe Sala, showed support for the final decision in a video conference posted on Twitter. "I am calling on our colleagues in the furnishing sector and the Salone del Mobile to pull together to make sure Milan doesn't grind to a halt," he said, according to an English transcript of the video.

"We need to work objectively to stop this virus spreading, but we must also take care not to spread the virus of distrust. Milan has to carry on. so I would like to thank them [the board members] all for this proof of confidence because it's not easy right now to try and appeal to visitors and convince professionals from all over the world, but I believe this is the right decision. Nevertheless, as I am fond of saying, it is crucial for everyone to do their bit. Therefore I call on the government to intervene and provide some help for a fundamental sector for our economy."

Photo by Daryan Shamkhali via Unsplash

Tue, 25 Feb 2020 20:43:21 +0000 BlogLikes - Find Most Popular Blogs Salone Milan
Reader Submitted: Beazley Designs of the Year Zak Group has designed the exhibition graphics for Beazley Designs of the Year, the Design Museum's annual exhibition that presents the most inspiring and critical design from the past year. We used the exhibition design as a platform to present the work of six type designers whose typefaces were released in 2019. Each category was set in a different typeface, showcasing the full character set alongside the names of its designer and foundry.

View the full project here]]>
Tue, 25 Feb 2020 20:43:20 +0000 BlogLikes - Find Most Popular Blogs Design Beazley Reader Projects Zak Group
Philippe Starck Designs Spherical, Screw-less Eyeglass Hinges Inspired by Human Collarbones

Motor Yacht A. Image by Dstnfrey - Own work, CC BY-SA 3.0

Whether you love or hate his stuff, the sheer range of Philippe Starck's career has got to be the envy of every industrial designer. He's worked on everything from $300 million superyachts to wind turbines, from furniture down to the infinitesimal screw-less, weld-less, spherical eyeglass hinges that are about to hit the market.

"The SPHERE hinge, which has no screws or welds, offers unique multidirectional freedom of movement, a natural evolution of Biolink® technology based on the flexibility of the human collarbone."

"Biolink" refers to the "bio-mechanical" articulation Starck's been working on since earlier eyewear collections. While you can buy those earlier designs on, for the Sphere collection you'll have to go to Alain Mikli's Madison Avenue boutique later this month. Prices are $205 to $230 (which is actually a lot cheaper than I thought they'd be).

Tue, 25 Feb 2020 20:43:20 +0000 BlogLikes - Find Most Popular Blogs Design Philippe Starck Object Culture Biolink Madison Avenue CC BY SA Starck LensCrafters Alain Mikli
How Stop Signs are Made: Inside the NYC Shop That Handmakes Street Signs

Who'd have thought that if you want a stable job in NYC, you should learn to make Stop signs? The red octagons are "our bestseller," John Jurgeleit, Executive Director of Operations for the Department of Transportation's in-house sign shop in Queens, told Insider. The Stop sign is the most frequently crashed-into, vandalized or stolen, and the shop has constant orders to produce replacements.

The D.O.T. actually runs five sign-making shops (one in each borough), Insider visited the Queens branch to witness their operation, where orders come in on pieces of paper and signs are largely handmade.

In this peek inside the shop, they also reveal an interesting tidbit about the history of the Stop sign, and why it used to be yellow:

Tue, 25 Feb 2020 20:43:20 +0000 BlogLikes - Find Most Popular Blogs Design Urbanism Queens Department Of Transportation John Jurgeleit
Mycelium is Growing Everywhere Growing Pavilion at last year's Dutch Design Week photo by Eric Melander

This past November the growing popularity of the fungal building material called mycelium was made manifest by the Growing Pavilion at Dutch Design Week. A collaboration between designer Pascal Leboucq and the bio-fabrication company, Krown Design, the construction was a testament to the power of the industrious organism and other bio-materials. Within the pavilion resided an exhibition of evidence to the ways in which mycelium can be used in design, be it furniture, lights, clothing, or even food, as mushrooms growing there were harvested everyday and sold at a food truck. While the pavilion clearly demonstrated the ingenuity of a number of designers who worked with the material, it also advocated for others to work with mycelium by providing an "atlas" of all the materials and suppliers that helped to realize the structure.

Photo by Oscar Vinck

Photo by Oscar Vinck

Photo by Oscar Vinck

As industrial designers continue to demonstrate the ever evolving possibilities of mycelium, the availability of the friendly fungi is also on the rise. For mycelium to make a significant impact on the material market, and thus move production towards more ecologically sound practices, accessibility is key. What the Growing Pavilion in part tried to prove is that access is opening and that advertising where designers can get it, and how they can use it, is a big part of making that change. "If you want to make a change, you should make the information open source," said Leboucq, as reported by Dezeen. As companies like Ecovative Design and other mycelium suppliers are starting to see growing demand for mycelium, the chances of mycelium becoming a significant material alternative to fossil-fuel plastics is becoming increasingly likely.


Mycelium is the foundational structure of a fungus that is formed from hyphae (root-like filaments), it can range from being nearly microscopic in size to stretching over thousands of acres. Mycelium uses small amounts of food from what is typically plant waste and uses it to assemble a dense network of microscopic fibers. From mycelium, mushrooms will eventually sprout but that stage of the process can easily be suppressed if one is cultivating mycelium for material use. The complex filaments of the network are incredibly precise and can grow to a mold at room temperature and the way that it grows can be easily manipulated through factors like temperature, CO2 levels, humidity, and airflow. (If you want more details, check out this great 'how to' by Emily Engle.)

Korvaa headphones designed by Finnish studio Aivan

Nir Meiri makes sustainable lamp shades from mushroom mycelium

The speed at which is grows, and the ease of use make it an appealing material to designers, but of course it comes with a number of ecological benefits as well. It has a very small carbon footprint, requiring little energy to grow. It also doesn't require much water or food, and can feed on agricultural waste and most of the waste generated by the mycelium is compostable (obviously).

As the potential of the material has revealed itself, so too have suppliers grown. Most notably, Ecovative Design, this year has expanded to a large production facility and has partnered with Paradise Packaging Company to meet increased demand internationally. Making it increasingly possible to source mycelium at scale. The foundry has also licensed their technology out to organizations in Asia, Australia, Africa and Europe (including Krown Design in the Netherlands).

As the Growing Pavilion did, more organizations are starting to open-source the different ways they've been able to implement mycelium into production. For a one-of project, sourcing mycelium is easy enough (use the internet) but for designers looking to sell their products at scale, finding a sound supply of mycelium has long been a challenge. With the growth of material suppliers, and with increased attention given to open-sourcing mycelium industrial practices, selling mycelium-based design products has never been easier.

Tue, 25 Feb 2020 20:43:20 +0000 BlogLikes - Find Most Popular Blogs Europe Design Sustainability Materials Netherlands Sustainable Design Design Festivals Mycelium Dutch Design Dezeen Asia Australia Africa Ecovative Design Dutch Design Week Eric Melander Pascal Leboucq Krown Design Oscar Vinck Leboucq Emily Engle Korvaa Aivan Nir Meiri Paradise Packaging Company
Here's the Information That Companies Share About You When You Lease or Finance a Car My wife and I recently leased a vehicle for the first time. I spent a lot of time studying the paperwork in the dealership's finance office. I cynically assumed I'd get screwed somewhere, but I wanted to make sure I got screwed in a clever and devious way, not because I missed some obvious mistake.

If you want the car, you've no choice but to sign their privacy agreement, so I did. Yesterday I found a hard copy in the mailbox, spelling out the specifics. This morning I read it over breakfast and almost spit my coffee out.

I know you probably can't read that tiny image, so I'll blow it up and circle the parts that concern me. First off, the company helpfully lets you know that you can limit some, but not all, of your personal information being shared. I can't stop the first four below:

I'm fine with that first one, it's the others that irk me.

Then there's this:

"Federal law gives consumers the right to limit some but not all sharing"--why?

And why the heck are they allowed to give our social security numbers out?

(From what I understand, this agreement is the same whether you lease or finance. So when I financed a car a few years ago, I'm sure these same privacy details went unnoticed in the pile of documents they sent me.)

I guess what I'm really wondering is: Which nutjob politician do I have to vote for that will make it harder for companies to throw our info around?

Tue, 25 Feb 2020 20:43:20 +0000 BlogLikes - Find Most Popular Blogs Design Cars
Yea or Nay? A Wristwatch That Conveys the Time Non-Visually and Silently I'm generally down on new ideas for watches, which I often find too enamored of technology, but this here is a novel approach that I'm curious to get your take on.

An object called Prompt, which its creators are branding an "anti-watch," is for those who need to be somewhat aware of the time, but are tired of glancing down at their watch every few minutes. It's also for people who interact with others a lot, yet need to maintain a schedule, and don't want to be rude or unintentionally give signals by eyeballing their watch mid-conversation.

So the Prompt is not meant to be looked at. It has no screen, no face, no speaker, no connection to Bluetooth or WiFi. Instead it works haptically and, by design, without precision. What it does is indicate through vibrations, when you discreetly tap it, what quarter of the current hour you're in.

Admittedly, the watch does have a cheat. For those times when you do need the precise time, if you press down on the "lens" for three seconds, LEDs illuminate around the circumference to communicate time down to the minute. This part I'm not too crazy about, since you have to look at multiple places and do a little math:

The Prompt is up on Kickstarter, and at press time its likelihood of launch is anyone's guess: $30,000 goal, $1,551 pledged so far, 29 days to go.

So my questions are, do you think Prompt's unique approach would work for you? And/or ought they have just designed the haptic feature into a conventional-looking watch, avoiding the tech-y rigmarole with the LEDs?

Tue, 25 Feb 2020 20:43:20 +0000 BlogLikes - Find Most Popular Blogs Design Object Culture Time Non
Experience Neri Oxman's Futuristic Approach to Ecology at MoMA A new show dedicated to Neri Oxman's pioneering material explorations opened this week at the Museum of Modern Art in New York. The MIT Media Lab professor and director of The Mediated Matter Group is known for coining the phrase "material ecology" to describe the way her work brings together materials science, digital fabrication, and organic design to produce techniques and objects informed by nature. The exhibition includes seven major projects created over the past 20 years in a mid-career retrospective.

"Material ecology basically aims to place materials—things that are artificially made or designed—in the context of natural ecology," Oxman explained at a press preview. "The hope is that in the future, we will design with natural ecology in mind, such that all things will relate, adapt, respond to the natural ecology. The vision, of course, is that in the future, one will not be able to differentiate or separate between the natural and the artificial, for good and for bad."

Installation views of Neri Oxman: Material Ecology, The Museum of Modern Art, New York.

The centerpiece is Oxman's Silk Pavilion II which was first developed in 2013 to explore the relationship between digital and biological fabrication processes. Oxman and her team created the underpinning geometry of a geodesic dome using an algorithm that ascribed different degrees of density across the structure, then they released 6,500 silkworms at the base to "fill-in" the remaining gaps like a biological printer. The second iteration of the piece, now on view at MoMA, used 17,000 silkworms and experimented with light and heat to further explore how the behavior of the silkworms can actually impact the resulting architectural form.

This architectural proposal for an environmentally responsive, melanin-infused structure was created for Design Indaba. Rendering by Eric de Broche des Combes, Luxigon; courtesy Neri Oxman and The Mediated Matter Group.

Other projects investigate the bark of birch trees, crustacean shells, melanin, and even the flow of human breath to generate new design and production processes. The process behind each project—including videos, test samples, and various prototypes—is highlighted over the final result. Oxman's work is often heady but seeing the evolution of her philosophy brings her interdisciplinary, interspecies approach into greater focus.

Neri Oxman: Material Ecology will be on view through May 25, 2020.

Tue, 25 Feb 2020 20:43:20 +0000 BlogLikes - Find Most Popular Blogs New York Design Exhibitions Museum of Modern Art Moma MIT Media Lab Museum of Modern Art New York Neri Oxman Oxman Mediated Matter Group Eric de Broche des Combes Luxigon
Birds need a house, right?  Still playing with the granulating colors Daniel Smith makes.

[Author: RH Carpenter]

Tue, 25 Feb 2020 20:42:45 +0000 BlogLikes - Find Most Popular Blogs Art Daniel Smith Rh Carpenter
NEW: How to spot art scams and fraud [[ This is a content summary only. Visit my website for full links, other content, and more! ]]

[Author: Making A Mark]

Tue, 25 Feb 2020 20:42:11 +0000 BlogLikes - Find Most Popular Blogs Art Making A Mark
BWW TV: TO KILL A MOCKINGBIRD Prepares to Make History at Madison Square Garden [Author: BroadwayWorld TV]

Tue, 25 Feb 2020 20:31:05 +0000 BlogLikes - Find Most Popular Blogs New York New York City Theatre Broadway Harper Lee Madison Square Garden Sorkin Sher BroadwayWorld TV
Review Roundup: Were London Critics Wowed By THE PRINCE OF EGYPT? [Author: Review Roundups]

Tue, 25 Feb 2020 20:24:44 +0000 BlogLikes - Find Most Popular Blogs London Theatre Egypt Philip Stephen Schwartz Review Roundups Egyptopenedtomorrow
Video: CITY OF ANGELS Stars Theo James, Hadley Fraser and More Gear Up for Their West End Run [Author: BWW News Desk]

Tue, 25 Feb 2020 18:42:33 +0000 BlogLikes - Find Most Popular Blogs Theatre Theo James Hadley Fraser BWW News Desk Theo James Hadley Fraser
UI/UX Interface Concept for Harman Kardon Citation UI/UX Interface Concept for Harman Kardon Citation AoiroStudioFeb 25, 2020

We are featuring the work from Cristian Lorca who shared an interesting concept on his Behance profile for Harman Kardon Citation. Bringing another level of touch with speakers from the Harman Kardon family. At first glance, you can't help to appreciate all the levels of the process shared in the documentation. It's concise and clear. You wouldn't think there is so much work to design such a small interface but wrong. I think there is quite a challenge in determining the levels of a hierarchy of what elements is showcased and whatnot. Let's take a look.

It is about those happy or subtle moments and how we are influenced by each other.


About Cristian Lorca

Cristian is a designer from Shenzhen, China; his work is mainly around the disciplines of Architecture Lighting, Product Design, Interfaces and Visual Communication.

Tue, 25 Feb 2020 18:27:57 +0000 BlogLikes - Find Most Popular Blogs Design Harman Kardon Shenzhen China UI UX Interface Concept for Harman Kardon Citation Cristian Lorca Harman Kardon Citation Bringing Cristian Lorca Cristian Architecture Lighting Product Design Interfaces
TodayTix Weekly Exclusive Deals - Week of 2/24 [Author: BWW News Desk]

Tue, 25 Feb 2020 18:12:32 +0000 BlogLikes - Find Most Popular Blogs Theatre BWW News Desk TodayTix Weekly Exclusive Deals Week
Hollywood Celebrates Harvey Weinstein Verdict

Actresses and activists celebrated Monday when a New York jury found the producer guilty on two counts, in a decision that could send him to jail for up to 25 years.  – The Daily Beast

Tue, 25 Feb 2020 17:58:00 +0000 BlogLikes - Find Most Popular Blogs Art New York Hollywood People Harvey Weinstein 02.25.20
Photo Flash: Go Inside Rehearsal for CAROLINE, OR CHANGE on Broadway, Starring Sharon D. Clarke, Caissie Levy, Chip Zien and More [Author: BWW News Desk]

Tue, 25 Feb 2020 17:48:37 +0000 BlogLikes - Find Most Popular Blogs Theatre Broadway Caroline BWW News Desk Tesori Broadway Starring Sharon Clarke Caissie Levy Chip Zien
Designer Profile: William Sawaya Eschewing the notion that art is in the eye of the beholder, architect and designer William Sawaya considers the inherent artistry of anything—be it a painting, a candlestick, a table lamp, or a chair—to be connected to the expertise and dedication of the artist (or designer). He believes that things made carefully, with respect for the material, attention to detail, and deep commitment to craft, have intrinsic value as art, especially since they are “practically unique, strongly individual and exceptional, unlike the ‘multiple’ approach and widespread technical reproducibility so much used and abused in the arts.”

William Sawaya exterior Klapsons Hotel in Singapore with big white pillars and blue glass Klapsons Hotel in Singapore; Architect, William Sawaya

Sawaya’s Design and Architecture firm, Sawaya and Moroni, live by the credo outlined above. One only need view the roster of collaborators to gauge Sawaya’s deep commitment to creating unique and beautiful objects. Zaha Hadid, Jean Nouvel, Mario Bellini, and Ettore Sottsass are just some of the personages associated with the firm. But Sawaya designs as well. His selection of chairs from the last decade is particularly striking.

William Sawaya Bangkok High-rise hotel lobby with white partition wall with holes, black chairs, and fluorescent coffee tables on stone floor Bangkok High-Rise Hotel Lobby; Architect, William Sawaya

4Olga is a masterstroke of curved wood. The chair revels in its mastery of the material. In fact, so stunning is this chair’s manipulation of an intrinsically rigid material, that Michal Thonet himself—the original maestro of bentwood—would be slack-jawed in its presence. The piece bends back upon itself, creating a subtly curved seat enthroned in the twin fins of its arms.

William Sawaya 4Olga Chair 4 Olga Chair

The 5 pm chair is equally engaging. Named for the traditional start time of la corrida, pays homage to the sweeping horns of a bull, the tubular steel of the chair’s structure extending at the top in an arresting echo of the animal’s form.

William Sawaya chair four chairs in blue, sea green, mustard, and rust Chair

Zarina, for Andreu World, is a bit less experimental, but no less compelling even so. Made of solid beech wood, the chair has an aura of salon formality, yet is situated very much in the contemporary age. Zarina embraces negative space, providing mobility and visual variety while maintaining durability and strength.

William Sawaya Zarina Chair in white in front of blue wall on gray stone floor Zarina Chair

Before there was Wall-E, there was Sawaya’s Wall E Blade. Dating from the tail end of the last millennium, Wall E Blade is a slick credenza and matching wall unit. With vibrant orange leather and shiny polished chrome, Wall E Blade is as impressive as a knife’s edge—and still relevant some 20 years past its debut.

William Sawaya Wall E Blade view from front Wall E Blade

With its cushy seat and wrap-around back, Amy is among Sawaya’s plusher offerings. Departing from the harder materials palette of Zarina and 4Olga, Amy features comfy upholstered foam around a steel frame. The legs are solid wengé.

William Sawaya Amy Chair in red front view Amy Chair

Since 1984 William Sayawa has been an avant-garde figure in architecture and design. His extensive seating collection features his own designs, as well as work by luminaries like Ron Arad, Zaha Hadid, Daniel Libeskind, and Michael Graves. His work is displayed in museums throughout the world, including the Chicago Athenaeum, the Design Center in Malmo, Sweden, and the Museum of Modern Art. He’s also staged one-man exhibitions in Milan, Paris, Tokyo, and Basel. Find out more at Sawaya & Moroni.

The post Designer Profile: William Sawaya appeared first on 3rings.

Tue, 25 Feb 2020 17:46:28 +0000 BlogLikes - Find Most Popular Blogs Books Design Singapore Chicago Architecture Zaha Hadid Michael Amy Jean Nouvel Moroni Ettore Sottsass Malmo Sweden Daniel Libeskind Andreu Zarina Designer Profile Andreu World Sawaya & Moroni Profiles and Research Sawaya Chair Design Artistic Design William Sawaya Klapsons Hotel William Sawaya Sawaya Zaha Hadid Jean Nouvel Mario Bellini Bangkok High Rise Hotel Lobby Michal Thonet William Sayawa Ron Arad Zaha Hadid Daniel Libeskind Milan Paris Tokyo
Photo Flash: The Company of TREVOR Heads Into Rehearsal [Author: BWW News Desk]

Tue, 25 Feb 2020 17:31:19 +0000 BlogLikes - Find Most Popular Blogs New York Theatre Trevor BWW News Desk
Blake Gopnik’s New Bio Of Warhol: A Case For His Enduring Influence

It is hard now to recapture the shock of 1962 when the iterations of Campbell’s soup went on display at the Ferus Gallery in Los Angeles (New York wasn’t interested). But the cumulative effect of their pristine forms, their tromp l’oeil construction, their obsessive reiteration (there were 32 prints, one for each flavour), luminous banality and, above all, their thereness, was to blast apart everything that we thought – and think – we know about art. – The Guardian

Tue, 25 Feb 2020 17:31:00 +0000 BlogLikes - Find Most Popular Blogs Art Warhol Visual Campbell Los Angeles New York Blake Gopnik Ferus Gallery 02.22.20
Photo Flash: MACK & MABEL Wraps Up Encores! Run [Author: BWW News Desk]

Tue, 25 Feb 2020 17:23:28 +0000 BlogLikes - Find Most Popular Blogs Theatre Broadway Mack Mabel Bauman BWW News Desk New York City Center Encores Douglas Sills Alexandra Socha Allen Lewis Rickman Mack Mabel
Andrea McArdle and Donna McKechnie, Max von Essen and More Nominated for MAC Awards [Author: BWW News Desk]

Tue, 25 Feb 2020 17:20:28 +0000 BlogLikes - Find Most Popular Blogs Mac Theatre Andrea McArdle BWW News Desk Donna McKechnie Max von Essen Manhattan Association of Cabarets MAC
Darko Tresnjak Will Direct Premiere of Duncan Sheik & Kyle Jarrow's NOIR at Houston's Alley Theatre [Author: BWW News Desk]

Tue, 25 Feb 2020 17:15:08 +0000 BlogLikes - Find Most Popular Blogs Theatre Houston Duncan Sheik Darko Tresnjak BWW News Desk Kyle Jarrow Alley Theatre Rob Melrose
Swiss-Made TESLAR Watches’ Internal Chip Mimics Earth’s Natural Frequency Tue, 25 Feb 2020 17:06:01 +0000 BlogLikes - Find Most Popular Blogs Design Watches Timex Swiss Watches Electromagnetic Waves Watch Design Teslar Timex Group Luxury Division Turbo Chip So Far California’s New Gig Economy Law Is A Disaster For Theatres And Actors

No one is arguing that theatre artists don’t deserve to be paid or shouldn’t be treated well. As Susie Medak, managing director at Berkeley Repertory Theatre, pointed out, there’s simply a fundamental disconnect between the law and the creative process of theatre. “What concerns me the most is that this law doesn’t take into consideration at all the way creative artists work. It has a desire to codify everyone’s work. The impulse behind AB 5, in making everyone an employee, is that everyone will work according to standard work conditions.” – American Theatre

Tue, 25 Feb 2020 17:01:00 +0000 BlogLikes - Find Most Popular Blogs Art California Theatre AB Berkeley Repertory Theatre 02.21.20 Susie Medak
A Billionaire Who Funds Climate Denial Is No Longer on American Museum of Natural History Board

Billionaire Rebekah Mercer, who with her father Robert Mercer has poured millions of dollars into climate-denying organizations, candidates, and media, is off the board of the American Museum of Natural History (AMNH).


Tue, 25 Feb 2020 16:30:00 +0000 BlogLikes - Find Most Popular Blogs Art Science Billionaires Climate Denial American Museum of Natural History AMNH Robert Mercer Rebekah Mercer American Museum of Natural History Board