Archive for the ‘Industrial Design’ Category
ACIDO announced the winners of the 13th annual Rocket Show for emerging industrial design talent which was held May 10 and 11, 2014 at the Design Exchange in Toronto. This exhibition and competition featured the work of the top industrial design graduates from Carleton University, Humber College and OCAD U.
Rocket winners were honoured at an evening ceremony held on Saturday, May 10 and hosted by designer Davide Tonizzio. He was joined on-stage to present awards by ACIDO President Jonathan Louden, as well as award sponsors from: Cortex Design Inc., DesignForce, Ideacious, IMM Living, Javelin Technologies Inc., Kangaroo, Kobo, Nova Product Development Ltd., Spin Master, Swave Studios, Teknion and Umbra.
“Each year the graduates up their game, presenting projects which highlight their developing skills in all aspects of the industrial design process. I am deeply honoured to welcome them to the larger community of practicing designers and to share in their celebration in completing their undergraduate studies. With thirteen years of history to reflect upon, I continue to be inspired and impressed by the calibre of each successive generation of graduates,” said Scott Grant, Rocket co-founder.
This year, Borys Chylinski took home the top prize with his Skorpion Compact Mining Drill Carrier. Borys says he was inspired to tackle the subject of mining “because of my grandfather Adam, who was a miner for 35 years in my home town of Lubin, Poland. I knew that working underground was inherently dangerous, but not much more than that so I had to do extensive research into the industry to find my niche. Originally I was looking at helmets, lighting, respirators and other protective equipment and it wasn’t until I stumbled upon the Jackleg drill that I began considering a vehicle design. The jackleg is a versatile hand tool used by miners to drill rock faces in narrow drifts (tunnels). Although its design hasn’t really changed since the 1930’s, it is considered one of the most important tools in mining. Unfortunately, due to its weight and poor ergonomics the Jackleg is responsible for nearly 1/3 of all underground mining injuries. This was a shock because there are so many modern vehicles and tools that are heavily human-centred and employ some of the most advanced technologies that I have seen. So I set out to design something that could combine the versatility of the Jackleg drill, with the comfort and safety of the larger modern drilling machines. Since subterranean mining was as foreign to me as space exploration I did much of my research on Nasa’s Mars rover, the Boston Dynamics robots and other emerging technologies. I tried to apply these technologies to solve the primary hazards in underground mining: air quality, ergonomics, noise, terrain, vibration and visibility. The resulting design concept was the Skorpion.”
The Skorpion is a wheeled quadruped drill carrier designed to access narrow drifts and tight tunnels in the subterranean mining environment. The vehicle is piloted by a single operator directly through the rear control panel or by remote. The four legs provide independent suspension and steering for better mobility, stability and maneuverability as the vehicle navigates the mine. When in position the Skorpion is connected to the mine’s air and water supply to power the drilling sequence. The operator can complete the drilling process remotely and at a safe distance from the equipment which drastically reduces the chance of injury.
Now that he has completed his studies, Borys is looking to find a position that will allow him to expand his creative skills. “I want to keep learning and experiencing new things. I think eventually I would like to work in the film and video game industries combining tangible product concepts with digital design to create the ultimate user experience.”
ACIDO congratulates all of the participants of the 2014 Rocket show and offers our best wishes to them as they begin their design careers. For a full list of winners at the show, please go to http://acido.info/wordpress/rocket/rocket-2014-award-winners/.
by Rebecca Brunette
If you attended this year’s Interior Design Show in Toronto, you likely have an affinity for design and beautiful spaces. Rooms adorned with designer furniture delicately arranged according to the golden ratio, flanked in symmetry by ceiling-high windows, topped with a grand chandelier! What order – what bliss! Who doesn’t indulge in the reverie of what stylish domestic living should be? But what happens when you through kids in the mix?
The Modern Building Block
Sam Kennedy, a recent graduate from OCAD’s Industrial Design program, may just have the solution to maintaining the fine balance between play space and adult space within the home. Sam is the enthusiastic creator of Feltro, an interactive construction toy; a sort of modern take on the classic building block. Those of us who remember our grade school geometry lessons will recognize the Feltro module as the friendly trapezoid, made of blended wool felt and edged with magnets. Currently designed in two sizes and in a multitude of beautiful colours, Feltro becomes a geometric rug, a modern play fort, or your next ball gown. As if there weren’t enough reasons to get excited about these clever fabric sheets, the Feltro building modules are also manufactured in Cambridge, with most materials sourced from North America.
Rocket to Reality
We first met Sam at the ACIDO Rocket Competition in May 2013, where he showcased Feltro as his design thesis project. Sam cleaned up a multitude of awards including recognition from Ideatious and Umbra. Rocket boasts participation from Ontario’s top industrial design graduates of Carleton University, OCADU, and Humber; a fascinating window into the minds of tomorrows creative professionals. Not only did Sam feel Feltro was validated as a market worthy product, he also received valuable counsel from experienced members of the design community; advice that has led to a patent and trademark pending on the Feltro product and brand.
More than Child’s Play
Feltro bridges the worlds of play, design, and abstract creativity, bringing playful exploration into any living space. But don’t expect Feltro to stay within the confines of domestic life. With its minimalist design and simple assembly, the soft modules transform into flexible dividers, creating pockets of privacy within open concept offices.
It seems Feltro is well on its way to home (and office) spaces across Canada, a claim not many designers can make so soon after graduation. Sam has been working with the Imagination Catalyst, OCAD U’s entrepreneurship and commercialization hub, exploring funding opportunities, and receiving entrepreneurial support. Armed with talented illustrator, Adam Hilborn, buddies Steve Tam and Jesse Cowan, and even his dear mother, Sam Kennedy is braving the many challenges of bringing Feltro to life.
To follow Feltro’s adventures towards production you can visit their website (link http://playfeltro.com/) to sign up for their newsletter. We also heard word that a Kickstarter campaign is on the horizon, so you can back this budding company and help build Feltro into a force of imaginative play. Whether you’re after a stylish diversion for the kids or you simply can’t resist its limitless building potential, Feltro is one playful pastime that won’t need stowing away.
Rebecca Brunette is an Industrial Designer at Swave Studios and the Social Media Strategist for ACIDO.
Image source playfeltro.com
Image source playfeltro.com
Image source playfeltro.com
Panellists from left to right: Indigo’s creative director Paddy Harrington, architect Andrei Zerebecky of Four O Nine, designer Alison Phillips of Blackberry, and designer Jonathan Loudon of Swave Studios.
By Rebecca Brunette
October 4th, 2013
Fear. It can be your biggest impediment to innovation, but can it be harnessed to spark creativity? A panel of Canadian and international designers braved the question, exposing personal and professional fears last week at the IIDEX Canada seminar “Transcending fear to Drive Innovation”.
A struggling economy is often perceived as an impediment to business. People become conservative and risk adverse, making experimentation scarce. In these times [clients] often want to follow rather than lead, and only make incremental improvements”, says designer Jonathan Loudon, owner of Toronto creative agency Swave Studios. But fear turns into excitement and energy, and can make us very resourceful, he says, reminding us that the weak economy has been a catalyst for entrepreneurial platforms such as Kickstarter. As president of Ontario’s Association of Chartered Industrial Designers (ACIDO), Loudon is familiar with the fear that often accompanies innovative projects, known to passionate entrepreneurs and established companies alike who look to disrupt a given market.
But the world is changing, rapidly. It can be difficult to keep up with the competition, let alone lead the way. Panel moderator, Azure editor Catherine Osborne, inquires as to how Indigo is addressing changes in technology and shifts in customers reading habits from paperback to digital. Paddy Harrington, SVP of design innovation and digital creative director, offers a refreshingly philosophical perspective. Indigo is a “purveyor of every idea, ever had by man”, it just so happens, says Harrington, to be in book form. Broadening the context of such questions has allowed Indigo to move beyond the challenge of reading habits, to consider what’s at heart, “the stories that go along with the books”.
This kind of soul searching takes guts, and it’s “easy to get distracted by your competition”, says Alison Phillips, industrial design lead at BlackBerry. Fear can be “palpable”, she confesses. But despite global criticisms and market challenges, BlackBerry is staying true to their core; who they are. “For us, it’s always about the user”, says Phillips, “tapping into the emotions that people experience when they use your product.”
Understanding your customer is critical to ensuring that what your company offers will be valued and relevant. Yet having confidence in the development of innovative ideas is not always simple. There is always the risk of failure,” but you cannot let it paralyze you from innovating”, says architect Andrei Zerebecky, who boldly moved his life from Toronto to Shanghai, in the pursuit of new markets. At the time, there were no guarantees, just instinct and intuition. Now owner of the successful company O Nine, Zerebecky describes Asia as a “sandbox” for creative design work.
In this figurative sandbox, where designers play and new ideas abound, future success is often a cocktail of strategy and intuition. According to Phillips, “intuition must be combined with depth of knowledge and insight”, an approach which offers companies the conviction to carry out innovative ideas. Pragmatically, Harrington reserves his intuition, choosing to hold design solutions against a well defined brief; a check list to affirm his gut feelings. With their many tools, designers are challenging themselves and their clients to harness their fears and approach innovation with nerve.
To sum it up frankly, Loudon suggests the leap of faith for those experiencing fear in the face of innovation. Whether you are a new or existing company, “you have to expect to be disruptive, or else why do you exist?”
Rebecca Brunette is an Industrial Designer at Swave Studios and the Social Media Strategist for ACIDO.
Just slightly more than a year after his death, the high-tech, minimalist yacht that Steve Jobs imagined finally made its debut two days ago.
Named ‘Venus’ after the goddess of love and beauty, the sleek white vessel—designed by legendary French designer Philippe Starck—was unveiled in the presence of Jobs’ family.
Measuring about 80 meters long, the luxury yacht features a lightweight aluminum exterior, high walls and windows of glass.
Not surprisingly,, seven 27-inch iMacs could be found in the yacht’s interior, including six in the wheelhouse.
Each of the ship’s builders was gifted with an iPod Shuffle—with the ship’s name engraved on the back—which comes with a note thanking them for their “hard work and craftsmanship”.
Watch the video of Venus’s debut below:
Jonathan Liberty along with the design firm Humanscope launch a Kickstarter project “digit”. Click HERE to see the project.
As any designer, contractor or student knows… once you focus on your work it’s easy to misplace your pen or pencil.
For CNC Shop Owner Scott Pogue, the answer to his problem came from the mind of a child, his son William. William told him to strap his pencil to his finger. After quickly deciding that his son was on to something, he began creating concepts.
Scott took his concepts to Humanscope; a Canadian based product development firm. Once the project reached the team at Humanscope, the team created the new DIGIT.
The design team says “The DIGIT is unique .Made of thermoplastic rubber, rigid thermoplastic and elastic webbing , DIGIT is fully adjustable to fit a wide range of sizes. The DIGIT holds your pencil in a comfortable writing or sketching position.” The DIGIT is the answer to Scott’s problem and yours!
For only $10 a DIGIT, you can buy a DIGIT for you or all the SCOTT’s in your life! P.S. William says thank you!!
What makes digit unique
The thermoplastic elastomer, with a specific durometer, holds your pen firmly in place while allowing it to easily flex for writing.
The innovative adjustable strap design is very quick and easy, with no screws, glue or threads.
The digit is very comfortable. Unlike other pen or stylus holders that force you to grip the pen in a weird way, the digit flexes easily and sits as your pen normally would. The digit is simple. Hold your pen how you like. Let go and repeat.
Humanscope is a product design and development company that provides integrated research, design, development, and manufacturing services. We help businesses connect with their audience and maximize marketing opportunities. Our team of designers and engineers work with our clients to create meaningful, innovative product solutions that improve the human experience.
By LESLIE CAMHI
Published: June 15, 2012, The New York Times
Just 16 and recently released from a naval academy, Kenji Ekuan witnessed Hiroshima’s devastation from the train taking him home. “Faced with that nothingness, I felt a great nostalgia for human culture,” he recalled from the offices of G. K. Design, the firm he co-founded in Tokyo in 1952. “I needed something to touch, to look at,” he added. “Right then I decided to be a maker of things.”
But he quickly left that training behind, fascinated by the G.I.’s he saw roaming Japan’s ruins. In their jeeps and immaculately pressed gabardine trousers, they were like a “moving exhibition,” extolling the virtues of American invention. Ekuan pored over the newspaper cartoon “Blondie” for clues on American consumer culture. He enrolled at the National University of Fine Arts and Music in Tokyo, urging fellow students to give shape to a contemporary “Japanese lifestyle.”
It took three years for Ekuan and his team to arrive at the dispenser’s transparent teardrop shape. More than 100 prototypes were tested in the making of its innovative, dripless spout (based on a teapot’s, but inverted). The design proved to be an ideal ambassador. With its imperial red cap and industrial materials (glass and plastic), it helped timeless Japanese design values — elegance, simplicity and supreme functionality — infiltrate kitchens around the world.
More than 300 million dispensers have been sold, in more than 70 countries. In 2007, to mark its 50th year in the United States, Kikkoman issued a gold-capped version, and the company has also given souvenir bottles, bearing the image of Mickey Mouse, to groups of schoolchildren visiting the factory. But Ekuan’s original design persists.
“For me it represents not the new Japan, but the real Japan,” he says. “The shape is so gentle. Of course, during the war, we were forced into acting differently. But for a long time, some 1,000 years, the history of the Japanese people was very gentle.”
In the ‘‘Museum of Soy Sauce Art’’ (1998-2000), the conceptual artist Tsuyoshi Ozawa recreates Japanese masterworks in soy sauce, from contemporary works to thousand-year-old sumi ink paintings. He spoke via Skype from his Tokyo studio.
Why soy sauce? I was studying oil painting, but my interests changed. Because oil paintingis European in origin, and sumi painting is from China. Then I went to Paris for a month, and I was very sick, but when I ate soy sauce, my condition improved. Also, when Western people arrive at the Tokyo airport, sometimes they say it smells like soy sauce. So I found that it is very important to me, and I began painting with it.
What was the response when the work was exhibited in Japan? Many people believed that it was real history. The president of a soy- sauce company atfirst believed it, and he decided to buy all my work. Now he knows they are copies. But they are shown in the company’s permanent collection.