Smart mechanics

Nowadays the Word ''Smart'', regarding products, is associated to devices enhanced by electronics in sensitive and responsive ways. It refers to the technology that drive inanimate objects into a more sentient stage of their development. But electronics is not the only way to reach that goal. Through the intelligent use of mechanics it can also be achieve the point on which inanimated objects would recognize key features of their users, helping them with this to perform better whatever task these objects are meant to do.

This is the case of the Cannondale concept bike developed by Priority Design. The C.E.R.V (continuosly ergonomic race Vehicle) adapt its handle bar position to match the most efficient posture for different kind of terrain. Without a doubt a great example of meaningful collaboration between design and engineering.

 

Find more about the CERV bike here

Stretchable light and the lost of shape

This short demo shows a prototype of a LED that can be stretch. Now, that doesn't sounds like much but think for moment in the sources of light that we have today. Since we tame electricity we've been able to make vessels that contains light. From the light bulb to the pixels that you are looking at right now all our light emitting sources have a discreet shape, its shapes are define by manufacture. Since the commercial introduction of the first light bulbs back in the 1880's the shape have been pretty much the same from the glass balloon to a ''pear'' shape (the German word for light bulb is Glühbirne which can be translated as glowing pear) then to a almost any possible variation of that.

Then the fluorescent (as different as the previous incandescent) lighting technology came and also the halogen and then neon and all of them were confined either to a bulb or a tube. All of them constricted by the formal possibilities of glass. And this kept going up to the introduction in the early 60's of LED (light emitting diodes) which change the electrically powered reaction within an micro atmosphere full of specific elements ( as the Incandescence, Fluorescence, Halogen or Neon technology are) for the convenience of the electroluminescence effect in a Semiconductor, and also change the glass by epoxy. This change, the glass by epoxy, brought a whole new set of formal possibilities to the design of light sources starting for the radical decrease on size, and -for what it matters- the first squared lights.

  

But even after all these technology leaps the initial shape of the light source will be its definitive shape. The form of the light will be still the form of the mold. Until now the only source of light with the possibility of change its shape was the fire, and we couldn't control it. That change with the arrival of OLED ( organic light emitting diodes) on which the traditional semiconductor layer was replace by an organic semiconductor. The OLED technology has already proved to be flexible, which is already a great step forward. But now this little light emitting plastic sandwiched on each side by carbon nanotube-polymer can change -by being stretched- its shape, which means that its structure can be adapt in three dimensional ways. Why this is important? because of socks. Can you think in something more finely adapted to another shape than a sock wrapping you foot? a very basic shape surface that adapt to all the complexities and nuances of another intricate surface such as it is the foot.Well, when was the last time you worn a rigid sock? stretchability is the the most defining feature not for customisation, but for active adaptation. Stretchable light means that light is now is not only parts of the object but an object by itself.     

Norddesign paper approved

These are good news, I will be presenting my paper: Emotional prosthetics: Artificialy replace physical manifestations of emotions with the purpose of enhance the Mother-Son multisensory bond inside the intensive care environment. Next August (22-24) in the Norddesign conference in Aalborg University in Denmark. Here I left you the the abstract.

Collecting the mother’s emotional physical manifestations (EPM) and replicate those into the incubator machine environment can help preterm baby’s self regulation. Here’s presented a method to assess mother-child emotional care situations and  extract the right stimuli (EPM) from them that could  produce in the baby a emotional response that help him to improve his health condition as well as a mediation interface that harvest the stimuli from the mother and deliver it to the baby

 

Work vs. Play

Yet another talk about how IDEO work. This time related to the value of Play at work, with good examples of how a relaxed but focused environment where failure is tolerated can drive design teams to a successful delivery of solutions in complex situations.

Edwin Himself is Edwin Negado » 10 lessons for young designers. By John C Jay of Wieden+Kennedy

Some thing is better put them just as they come, so here it goes.

1: Be authentic. The most powerful asset you have is your individuality, what makes you unique. It’s time to stop listening to others on what you should do. 2: Work harder than anyone else and you will always benefit from the effort. 3: Get off the computer and connect with real people and culture. Life is visceral. 4: Constantly improve your craft. Make things with your hands. Innovation in thinking is not enough. 5: Travel as much as you can. It is a humbling and inspiring experience to learn just how much you don’t know. 6: Being original is still king, especially in this tech-driven, group-grope world. 7: Try not to work for stupid people or you’ll soon become one of them. 8: Instinct and intuition are all-powerful. Learn to trust them. 9: The Golden Rule actually works. Do good. 10: If all else fails, No. 2 is the greatest competitive advantage of any career.

extracted from:
Edwin Himself is Edwin Negado » 10 lessons for young designers. By John C Jay of Wieden+Kennedy

the creators project: Stefan Sagmeister

The Creators Project its an initiative that put together people whose work is connected with the use of new media in their creative processes and/or products. It's a really interesting sample of works and visions from different areas of the creative practice such as Design, Music, Film and Art just for name a few, but also is a tasteful gathering of different culture flavors that show us the singularities of every culture in the approach to creative work.
Between the featured personalities are big names like Spike Jones, MOS Architects, Peaches, and Phoenix, but my personal selection is one of my favorites graphic designer Stefan Sagmeister, who is also a big fish, but never the less, always fun.

By the way, check:http://www.thecreatorsproject.com/en-uk/

James Dyson:Design what it should be

James Dyson, founder of Dyson corporation and responsible for the world famous machine looking vacuum cleaners, share his achievements and inspirations in a relaxed show-and-tell talk called ''the art of engineering'' at MIT. Dyson, graduated from the Royal College of Art, tell the story of how he went into engineering and how important it is not to be only a Designer or a Engineer, but to be a Designer/Engineer, and inventor as he said, and the relevance to make mistakes: ''...I think the schools got all wrong, they should be giving good grades to the ones that makes mistakes and learn from them.'' something that himself take to the limit, for his first cyclone vacuum cleaner he spend almost 5 years and did 5,126 prototypes!

The British inventor also criticized the definition of Design as a marketing tool arguing a more meaningful and systemic view that he inherit from one of his heroes, Buckminster Fuller, from whom also borrow the beautiful advice: ''...you see what needs to be done and do it.''

At he end of the talk, in Q&A, he discuss how he manage the creative processes within his organization and how he see the future regarding the rising of the new Asian productive power. Surely an invigorating example of how to make you way through with a huge accent on innovation.

Disruptive innovation techniques: DeBono's last child

Edward De Bono in his ''Lateral thinking'' said, ''the whole purpose of lateral thinking is to restructure the mind patterns, to disrupt them, to be able to see the things in a different way''. When I watched this presentation it gave me the idea of being reading a really good summary of De Bono's book. Here Luke Williams apply the notion of disruptiveness to three main areas: strategies, thinking and expectations and explain how the introduction of this concept can leverage innovation, hence success, in your company.

This talk is full with real business cases of Frog design (where the speaker is a fellow) and other business leader that relate this theoretical process with real successful innovations. One thing that I personally found really interesting is that the organizational processes to innovate are shifting their focus from efficiency and system theory to a more anthropological area, actually they are going into the psychology of the people involve in these processes. What DeBono wrote thinking in the improvement of the creative performance of individuals now is been taken as a way to improve organizational performance on innovation, in other words, how we can make innovation part of our organization process? or how we can build an organization centered on innovation? well...improving the creative performance of each person involved in the organization. But it is still a gap of going from the individual to the organizational level, and it is how we translate an mind process in a collective process. Again De Bono give us a hand in his book the "Six thinking hats'', but even when he manage to describe how to deal with the collective addressing of problem there is still an environmental issues to solve in order to empowered the creative processes in collective work settings, but that's another post.

For now it's good to enjoy a very dynamic talk, full of nice examples, of how to address the innovation through disruptiveness, a concept cast almost forty years ago that still remain fresh.

For more information of the speaker go here

and for his book in disrupt innovation go here

Designer! which kind? ....mm...Designer

Design is a common noun for a big amount of different occupations. As people who have a degree on design sometimes we feel a rather disappointed with common notion of Design that able to almost everybody to become a designer just by personal statement, and because of this we usually try to separate ourselves from the crowd saying that we are Industrial, Graphic, Product, Information, Interaction, Car, Yacht, Fashion, Furniture, Interior, Stage, Green, Red, Blue or else Designer; we are good on that.

In contrast with this recently a group of Design researchers has publish a paper on Design Issues that try to find common places in diverse disciplines of the design though a very simple methodology, conversation. They realize a series of workshops with a handfull of expert Designers (more than 10 years of practice) from different fields. From the fashion design to jet engine design and from furniture design to TV documentary. The first thing they found was that, although with some nuances, all the Designers talk the same language. When an engine Designer was put into conversation with a graphic one the only idea that needed an explanation was ''thumbnail'' and it was quickly grasped... by the engine designer. So language, I mean technical language, even through heavy specialization is a common tool.

Other interesting finding of the study was that we relate the idea of good design mainly with the acceptance and recognition coming from our peers, and only then with the user acceptance, sintitutional recognition or commercial success.

One big resemblance in all the stories told by the designers is the creative relationship with the material. Great deal of the time expended in the projects and the actual search -and find- of solutions goes through the hands and the direct contact with the material. Though the ''conversations'' with the material can be more or less physically attended, the direct experience and experimentation seems to be extremely relevant. In this way the lamp designer play with the glass to find out new shapes, properties and effects that can be use in the design as the engine designer, as well as the graphic one, includes the properties and qualities of the steel or the typography as constrains and capabilities that drives de design process.

The research unveils that in the communication area the main tool is by far the Sketching. Even when the computer techniques allow us to render projects more accurately (and more convincingly for the clients) than the hand, the sketching still prevail when it comes to capture and develop ideas.

The study also goes through the relationship with the final user and the big amount of energy spent in every design project on managing the uncertainty of collaborations with people and policies and as a conclusion stress the wide range of commonalities that bring designers together rather than split them around different technical, cultural and business context; and how much we need tools that make us aware of this and foster respect across the design world.

Even though this research found some really important insight of the design praxis, there are still some questions that should be address in order to bring about information on how designers are connected to each other further than the common places of the practice, which can also be found in others disciplines. We need to ask us about, how designers work out the difficult relationship between creation of new things (or stuffs as R.Gold said) and the renovation of the already existent things? Also, which are (if there are) the commonalities of our generative process in contrast with other creative areas? Learn about this can drive us to a more deep understanding of our discipline and its practical values.

The Plenitude of Rich Gold

Some weeks ago I went in a local bookstore just to kill some time , and after take a quick look into the shelves a small green spine cath my attention in the design theorie area (after that I notice that theorie books even when it comes to design, are usually graphically bored). I take it from the shelf and just there another two things call my interest. First, all the cover was illustrated with doodles that looks like made by a school kid -a thing that I found clever in a bookshelf full of elaborated computer renderings- very warm and very beautiful. The second thing was ''foreword by John Maeda'' writen under the autors name, Rich Gold. Then when I went into the book, to my surprise I didn't found any pictures, any renders, any oversimplify diagrams, nothing but words..and CARTOONS! yes cartoons. Every chapter or section starts with a cartoon, and also every main idea on the book is stressed with a cartoon. There is a cartoon to explain the overstuffed enviroment in wich we live that Gold calls ''the plenitude'', there is also a cartoon that show clearly the four disciplines (and professions pursuit by the autor) that have the responsability of around 97% of the plenitude, there is a cartoons to explain the seven path of innovation, the five problems of the Plenitude and the seven solutions for that; and even for explain how the Plenitude of ones is based in the poverty of others.

After been exposed to that amount of quality information two thoughts came to my mind, cartoons rules and I have to reed this book.

The book is about thing, or better say Stuff. What it is, from where it comes, where it goes, how we can deal with it and why we need to be sorrounded by this thing call ''the plenitude'' (after write this post I'm not sure anymore if this book it's really about ''stuff'')

The Plenitude, Creativity, Innovation and Making Stuff

autor: Rich Gold (foreword by John Maeda)

pages:111

the MIT press

EN-V: no more cars but movable-containers-points of a mobilitynet

Augmenting Reality | Product Design and Development

this is a sample of the features in the next generation cars, where Augmented reality it's included as a part of driving experienced

Augmenting Reality | Product Design and Development

Artificial foot recycles energy ...as a silicon gun!!

Probably the engineers from the University of Michigan weren't thinking about this when they came with the idea of storage energy through the same kind of mechanical device that makes the silicon gun works (looj at the hhel clutch in the upper picture), but the design analogy it's perfect. This hight-tech electromechanical prosthetic feet works (in the mechanical part) with the same basic principle that a silicon gun, a clever solution for a very complex problem and a really good sample of analogous thinking in the design process.

for the complete article with all the explanation follow this

for a video of the device working folow this

and for the paper who explain... everything follow this

What are the discussion on Design by these days?

fig 1

Some days ago I read in WYSIWYW a really interesting and visceral post about Design & Art. This relationship has been discussed (above all in design schools, I have never hear an artist say a word about that) since the beginning of the design as a discipline, and to be honest I’m quite tired of hear arguments going in both ways, and I agree when the people from ''Sindicato de la Imagen'' says Art is Art and Design is Design, get over, don't lose more time in nonsense.

But this closure leaves us another question: what is the discussion in design by these days? And, what are the topics of that discussion?

Design, as any other consolidated discipline, has several components that converge to give substance to his theoretical and practical body: Methodology, Ethics, Technical issues, Aesthetics, Relation with the industry, Connection with other disciplines and Cultural relevance, just for say some. All these components can also be analyze by them self to find new areas to debate and to extract polar concept that define the extension of the discussion. For example, if we look the arguments in Methodology we can find ''Design thinking'' as one of the mayor driver of the praxis by these days, but also we can find ''Problem solving'' (coming from engineering) as one of the most common approaches to design. In other areas like Aesthetics polar concepts can be a little more diffuse, and they can go from naturalism (Bouroullec) to new rationalism (Lehanneur), from the nostalgia (Hayon) to the material and structural efficiency (Grcic) (fig 1).

In the same way of analysis we can find polar concept in Ethics. Today in design every day we can contrast the Super luxury -of cars, yachts, interiors, electronics, high-end audio systems, clothes, watches and almost a endless list of product focus on give pleasure and social relevance to his owners- with product and projects focus on solving social issues like education (OLXC), Health (Lifestraw), shelter ( rectionhousingsystem), energy ( ceramic jiko). Social focus has permeated design even further than poverty issues to address health and social behaviors in the developed world (NYC Condom).

The word Design its use today almost as a synonym of innovation, and in this relationship lays the Cultural relevance of design. As material culture dynamo, Design has the responsibility to innovate, but innovation can also be decompose in the polar concepts of Incremental Innovation and Conceptual Innovation. The difference lies in if the innovation comes to improve something that already exists (incremental) or introduces a new way to achieve a desire effect. For example you can design a new washing machine in which you can wash color and white clothes at the same time without worry about the white clothes get stained in the process, which would be a really good improvement in washing. That would be an incremental innovation. But if you make yourself the question: why do we need a big and complex machine to wash our clothes? Or even better, why do we need water to wash our clothes? You can find some new ideas on how to clean the clothes that can drive you to develop new objects and process of cleaning, which would be a conceptual break through, a conceptual innovation. The main difference between this two ways of innovate is the physical product of them. In incremental innovation the most of the cases ends in a new variation of a pre-existing product (like a better washing machine), but the product of conceptual innovation usually is a complete new item, that open a new branch on the technological tree (like self cleaning surfaces).

Another big difference between incremental and conceptual innovation it’s the risk level, improve an existing product it’s a safer road than develop something complete new one. But that is a subject of business rather than design, as it is also the scale of the production. Design is –and this it’s my position- in the solution, not in the repetition or the scale of the production.

The discussion on today Design it is a lot bigger than we just talk here, and we have to be aware that this isn’t a light conversation about taste or how improve the business strategy. This is about what to do in a discipline that every day has a more relevant role in society and culture.

This conversation should continue and I think one good introduction is this video where Tim Brow talk about different aspects of Design and Design thinking.

Pranav Mistry, the invention sense

Pranav Mistry is one of that people that have the abitlity of play with the technology as if it was the most childish of the games. With a background in Computer Science and Design, Pranav Mistry gather together the understanding of the interaction between the people and the digital interfaces and the comprehension on how technology can improve our lives to give birth to some of the most radical devices and interfaces. This one of the guys who is shaping the future human-computer interaction... and it's going open source!!!

Mathieu Lehanneur, object-ivness and user comprehension

Mathieu Lehanneur -French designer- who claims for a Design informed by Science to understand our real needs -like silence- and develop products with wich we can relate, and even achieve symbiotic dependences (for good, fortunately). It's also a good example of new areas for design and the richness that multidisciplinary work brings to design.

http://www.mathieulehanneur.com/

BIOMIMICRY, or the green path of the new technologies

Biomimicry, must be one of the most beatiful word that i learned in last time. It means understand and apply biological principles in human designs. Simple, but not simplistic.

The first time that i heard this word was in a Robert Full talk in TED, where he shows his investigations on Geckos feet, and how he and his team manages to achieve a deep understanding of the mechanic that allow this little lizard to climb glass walls with almost no effort, and - here's the exiting part- develop a sinthetic simulation of this feet that recreate the special habilities of this animal. The incredible amount of work made by Full and his team had big rewards in patents of new materials, applications and designs.

Two of most intereting things -at least for me- were, first the multidisciplinary aproach, mostly in the part of developing the new feet and the bottomline of the talk. In the first one because the complexity of nature demand the integration of the differents sides of sciences and technology to produce holistic understanding and feasable designs. The second, the bottomline ''we most preserve the nature design before they are lost'' this words point to

a new issue in the enviromental crisis that we are living. Nature produce extremly eficient and creative solutions through thousands - if not millions- of years of iterations, solutions that can be lost in a couple of years because the habitats destruction and animal extintion.

Other thing that caught my attention was the Biomimicry as a methodology. As a designer most of the process involve on creation have to do with the interaction between the forms and the enviroments; so, as Christofer Alexander says long ago, we analize the ''surroundings'' of an object (fisical, semantic, perceptive, mechanic, etc) and we propose forms that ''fits'' properly with these surroundings...but what Nature do if it is not that!? I'm not saying that designers are a force of Nature, but the process of design -and with this i mean every process call design- has to do a lot with what Nature do. Multiple and consecutive iterations to

develop a specific form, function or behavior. In this way it is very interesting the example of FESTO, German company who take the concept of Biomimicry to develop Pneumatic Robots who works, looks and behave like real animals.

This robots born from the deep understanding of the motion of these animals, and it is the transference of that understanding of mechanical principles to the design of these pneumatic creatures where lays the relevance of the biomimicry research; the groundbreaking conceptual innovation, in this case, of how mechanical devices can stop to be mechanical devices and become creatures with specific functions, in a product more close to poetry than engineering.

Biomimicry in the form of Biomechanics it isn't new, in every culture we can find examples of how the men build tools based in the observation of nature, but what it is new is put the focus on the materials and behaviors. In the last years the research on how the Nature resolve his more smallest structures combined with the Nanoengineering had resulted in the revolution of the materials industry. But maybe the most promising area of Biomimicry it's the study of the naturals behaviors that can lead to the improvement of the responsiveness of our own enviroment due to the basic principle that the behaviors are modeled by the information that the subject can perceibe. If we can improve our undertanding on how the Nature ''talk'' and interact with him self we can start to design the enviroment it self, not just the material part of it but the way that the enviroment can generate by it self the responses (forms, structures, stimulus, ...)for the immediate needs. An self evolving artificial enviroment.

For now Biomimicry it is at service of the cutting edge technology insdustry, but why not expect that in the future this path also take us to a better comprention of how we can live in Nature and not just above the Nature.

information and source:
http://www.festo.com/cms/de_de/index.htm
http://www.iop.org/EJ/journal/1748-3190
http://www.biomimicry.net/
http://www.biomimeticsregistry.net/main.html
http___www.biomimeticsregistry.net_pietrzyk.pdf
http://en.wikipedia.org/wiki/Biomimicry

The evolution on products

This week i have been in two very unusual and interesting places, two museum of contemporary products, Mercedes Museum and Vitra Museum.

The big diference between those museum and the regular ones (like history, Natural history, or an Antropology Museum) is that in this ones you can see a sample of a particular product an also you can see the path that leeds him to that point and the later development. In a historical museum in were the object exposed are a unique sample that comes to describe an specific cultural moment, you can only infer the amount of work and the creativity weigth of that single piece of craftmanship and, in the same way, you also have to infer the value of that object had for the people that in first place possessed it. Like the value of an spear for a hunter. But what happend when you step in front of a complete chain of development in the same object? you can see the value of craftmanship because you see the process behind every detail of that product, and how that solution connects with the cultural situation.

So, what it's the relevance of this museum? it's not the recolection of precious objects but the visualization of the cultural situation and value system through crafts.

What it is important about this is the understanding that the products didn't born in their optimal stage -if that even exist- but they evolve to fit the cultural expectations. Because of that we can't expect the perfect product, but more important than that is that we can project the future step in the evolution of a single product based in the understanding of this cultural expectations upon that product.

Then we can say that the main feature of this kind of excibition is the craft, but the craft understood as the apply understandind of cultural expectations into the phisical tansformation of the matter.
The craft as the act of visualize and therefore create…
…from my point of view, Design.

For more information on the product evolution watch this video

Iluminated Apparel 2010 by LUMINA MOTION

This is a sample work of the Chilean Light Design buro LUMINA MOTION, doing their awesome and magical lights set up.

see also:http://www.loretocorrea.com/

Iluminated Apparel 2010 from Lumina Motion on Vimeo.

The power of sound, how sound affect us

I was just killing some time in tedtalks.com when i found this incredible piece of practical human knowledge. Julian Treasure, sound researcher and ex drummer, explain how the sound affect us and how we can use it for different purposes (like playing bird singing give us the impression of safeness). Good for every one, a must for designers.