purdue idsa hosts the second annual converge conference! students and professionals are encouraged to join us for a fast-paced day of design learning, featuring a strong lineup of speakers. see the website for more info!
german industrial designer richard sapper died on new year’s eve, 2015. he was 83. his iconic design solutions make him one of the most influential industrial designers of his generation. sapper’s creative gift was a distinctive style of formal simplicity and at times humor. from simple housewares to cars and boats many of his pieces reside in museum collections worldwide including 15 designs represented at moma in new york and london’s victoria & albert and design museum. his clients included alessi, artemide, b&b italia, fiat, heuer, knoll and magis.
rearview mirror | 1956 | for mercedes 300 sl roadster, sapper’s first design gone into production
doney | | 1962 | brionvega | with marco zanuso, wins prize compasso d’oro 1962 and included in the permanent design collection at the museum of modern art in new york
tizio | 1972 | artemide | prize grand prix triennale xv 1974 | features a transformer located in the base that powers a halogen lamp through rods and press button joints, which carry electrical current without the need for cables. most recent lamp offers led illumination
bus designed to store bicycles | fiat | 1976 | competition entry study for city traffic in milan
telephone booth | 1986 | for german post office | the first telephone booth built entirely of injection-molded plastic, consisting of four identical panels plus one for the roof
argo | 1988 artemide-litech | a low-voltage spotlight track-lighting system
9091 | 1983 | alessi | features a brass melodic whistle with two pipes tuned to the notes “mi” and “ti”
la cintura di orione | 1986 | alessi | developed in consultation with renowned cuisine chefs alain chapel, raymond thuilier, pierre and michel troisgros, roger verge, gualtiero marchesi and angelo paracucchi, and under the coordination of gastronomical expert alberto gozzi
from 9 to 5 | 1986 | castelli | prize compasso d’oro 1987 | part of an extensive office furniture system. adjustable desk surface heights
aida | 1998 | magis | stacking chair
zoombike | 2000 | elettromontaggi | an aluminum 3-speed folding metro bike. the design draws on aircraft technology rather than traditional bicycle mechanics
tosca | 2007 |magis | stacking chair
aida table | 2001 | magis
according to a phaidon statement, in june, phaidon publishes richard sapper, an in depth study packed with images from sapper’s own archive and featuring specially commissioned candid photography by ramak fazel that shines light on sapper’s personal life.
On August 22, the the National Endowment for the Arts released its first, in-depth look at the industrial design field at the IDSA. The NEA estimates the industry at $1.4 billion, with some 40,000 employees in areas, from manufacturing (including motor vehicle manufacturing), to technical services, and beyond. The report also ties design to the Administration’s efforts to revive manufacturing in the U.S. [ details ] [ idsa ]
<a href="about phil patton
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The Student Design Competition turned a proud 20 years-old this March, paying homage to IHA and the 125 winners who launched their careers via this event. IHA said that in 20 years there were over 4,000 entries and 160 industry professional judges. All have contributed with a common goal in mind: to encourage and recognize young designers and raise awareness in the design housewares market of the value of design. Out of the 256 entries received in 2013, six top winners (below) were chosen along with five honorable mentions. BTW, this is Vicki Matranga’s, IHA Design Programs Coordinator, 20th trip to this dance. She founded the competition 20 years ago.
l>r breanna, heman, yutong, yungi, cole, juan and vicki matranga
DesignApplause talks to the first place winners:
[ First Place $3,000 ]
Duo Kitchenware by Heman Au | Arizona State University, junior
[DesignApplause] I am interested in hearing how you got the inspiration to develop this product, Duo Kitchenware. Can you tell me your name, age, school and major?
[Heman Au] My name is Heman Au, I’m a Junior Industrial Design student at Arizona State University, 31 years-old. The idea came from my aunt who owns a restaurant out in Palo Alto, CA.
[DA] And what’s it called?
[HA] Ada’s Cafe. And the entire restaurant is staffed by people with disabilities. She trains them and staffs them to help them become a productive citizen. So a couple years ago she came to me telling me how the knives that she has at her restaurant don’t really work, and since I’m a design student- you know, help her come up with something that would work for her staff members. At the time, I was only a freshman and I told her, “You know, give me a couple years while I develop my skills as a designer and I’ll come back and help you out.” So, a couple of years passed. I heard about the Housewares competition, so I decided to use this opportunity to design a knife for people with disabilities. And you know, from my research I found out that there’s over 800,000 Americans with one form of disability or another, and also through my research I found that there really is a lack of knives for people with disabilities. There’s a lot of spoons, cups, you know, forks- but no knives to help you cook. So I decided to take the opportunity to design something for kind of more the home use instead of the restaurant use. And that is where the idea came from.
[DA] You said it took 12 weeks to conceive and execute your idea. Four weeks of that was research and testing by two people? Now, going forward, you’re looking for a manufacturer to produce this for you?
[HA] Yes. Mmhmm.
[DA] Would you consider doing Kick Starter?
[DA] Are there any designers who really inspire you or that you aspire to be like in your work?
[HA] I really admire Joseph Joseph’s design aesthetic.
[DA] Right. OK. How did you select your materials for it? What is it made out of?
[HA] Actually drawing a blank so…The knife uses a high carbon stainless steel blade, and I picked that not because of its – I mean, it’s durable, but at the same time it has a stark [appearance], so it contrasts with the white cutting board. So it also helps with people who have kind of visual disabilities or spatial disabilities. The handle is just injection molded polypropylene with over-molded TPE, just for comfort. Kind of like the OXO Good Grips. OXO is kind of like another inspiration, just their focus on ergonomics and comfort. And the cutting board is made out of high density polyethylene, just because it’s very durable, but at the same time it won’t damage the blade’s sharpness. So it will keep it sharp longer and it’s great for harsh chemical cleaning or chemicals, it will withstand that. And again you’ll have over-molded TPE for the handle and the back side just for grip.
[DA] What’s the expected lifespan of this product? Did you come up with a way to sharpen this knife yet?
[HA] Yes, so I tested it out. I mean, I didn’t actually test it out, but I tried fitting it with a lot of knife sharpeners out in the market, and it fits in a lot of existing knife sharpeners. So it doesn’t need any special sharpening tool.
[DA] How many times did you actually have to go through the physical process of creating it before you got it right?
[HA] What do you mean?
[DA] Did you know which materials to use right away before you actually created a prototype version or did you have to make a couple of them before you got the right mixture of materials, process, etc?
[HA] Well, the materials are kind of hard because I don’t have a functional prototype to actually see how long the cutting board material lasts. But from the design aspect, just the form and function of it, I went through at least four or five design revisions before kind of settling on what this- what you see in front of you.
[DA]Is there anything else you’d like to say about Duo Kitchenware that you think people should know?
[HA] I actually want to add that besides it being a good tool for people with disabilities, I’ve gotten a lot of feedback telling me that it would be great for kids as well as seniors, who have maybe arthritis or just low strength. And even everyday moms, dads would love to have something like this in their kitchen. You know, that was kind of one of the things that I was trying to keep in mind in my design, was to keep it nice and simple- at the same time, making it look like an everyday, household item. Because obviously people with disabilities, they’re already very self-conscious of their short-comings and they don’t want to use something that’s kind of branded as, you know, of disabled equipment. You know, I’m just pretty excited to see it out in the market, because I think there’s definitely, you know, a group of people that really need something like this. And it would be great for the younger market. I know a lot of times people don’t design for that group, because there’s not a lot of them. You know, it’s better to design for like 7 billion people versus only 700,000 people, but I feel like by making my design more universal to fit, you know, all different sorts of people- it could really help bring it out to market because people want to pick it up.
[ Judges’ Comments ]
>challenging problems solved with consistent design language
>careful research with physical therapists and user group
>clearly defined problem, process well conducted
[First Place $3,000]
Smart Measure by Juan Jimenez | University of Houston, senior
[DesignApplause] Can you tell me your name, age, school, major?
[Juan Jimenez] My name is Juan Himenez, from the University of Houston. I am 23 years-old, and I’m majoring in Industrial Design.
[DA] Can you tell me about the inspiration and thought process that lead to your actual final product, Smart Measure?
[JJ] Yeah, so the project when we began, it was to design a kitchen utensil. And the way I began to do research was really just to print out a bunch of recipes and follow them to try to use as many utensils as I could. And what I began to do is to take pictures and document the different problems I found with different products and just narrowing it down until- to something that I felt had a good opportunity. So eventually I narrowed it down to measuring spoons. So from there I began to really just think of how can I solve these problems simply? And I basically just started sketching, making models and stuff like that.
[DA] OK, cool. So do you have a lot of personal experience with faulty measuring spoons or ways you can make it easier?
[JJ] Yeah, I really didn’t start cooking that much until I was given this project. But I think in a way that gave me a little bit of an advantage, because I was immediately like, “this isn’t working” or “this doesn’t work.” I wasn’t someone who is more experienced who would probably be like, “oh, that’s just the way it is.” So I think that actually gave me a little bit of an advantage.
[DA] And how did you decide on the material for the measuring spoon?
[JJ] For this material really what I did was- usually the way I go about it is I think: OK, what properties do I need this to have? So it needs to be- it needs to have a certain amount of flexibility, it has to be strong, and it has to be food-grade safe. So with that I just think, OK what other products have these same properties? And then I look at those products and say OK, what are these made of, and then I use that as kind of like a foundation to begin my material research.
[DA] How long did it take you to complete this project, from conception to completion?
[JJ] A year overall to refine the measuring spoons. The project itself took two weeks, but I went through a lot of different versions as the idea remained in my head.
[DA] OK, so now what’s next? You’ve won this award. How are you going to try to take this idea further?
[JJ] Well, the idea is to try to- I’ve taken it as far as I can with my knowledge of manufacturing. So I’m trying to meet other people who can help me develop it further and possibly take it to market.
[DA] So are you going to try to do, like Heman mentioned Kick Starter, or are you looking for manufacturers that are specifically looking to carry this product?
[JJ] Yeah. There’s a few companies that I like that have this similar, I guess, design style that I’m interested in. But it’s also a possibility to do something on my own, like a Kick Starter project or something to have it still be mine [IP] and just take it further.
[DA] Awesome. Have you ever submitted to this design contest before?
[JJ] No, this is the first time.
[DA] Well, Congratulations.
[JJ] Thank you very much.
[DA] Just another question I had was, are there any particular designers or brands that you really admire that influenced, you know, your desire to do this?
[JJ] I’m a really big fan of OXO. I think they have really simple solutions to problems, to everyday kind of things that maybe you wouldn’t think would be a problem. But they’re just simpler ways of doing things, and that’s definitely a big inspiration to me.
[ Judges’ Comments ]
>simple, novel offering in a crowded product category
>thorough and well-communicated market research
>logical design process, good sketching and mock ups
Other winners for the 2013 Student Design Competition include:
Second Place $2,000 | Yutong Wu | Dolly + Cart | Ohio State University, junior
Third Place $1,000 | Yunqi Yuan | Bella Maternity Posture Support |Ohio State University, junior
Third Place $1,000 | Cole Mishler | POR Painting Organization System | Cleveland Institute of Art, senior
Third Place $1,000 | Breanna Stachowski | The Neat Seat | University of Notre Dame, senior
2013 Honorable Mentions Include:
Xiaolei Mao | Go Grill | Arizona State University, junior
Alexander Bennett | Certain Spice Dispenser | Rochester Institute of Technology, junior
Justin Bechstein | Pulbak Vehicle Roof Rack | The Ohio State University, junior
Morgan Perry | DuoPress Glucogan Kit | The Ohio State University, junior
Sunoh Choe | The Rack-Over Bathroom Organizer | University of Notre Dame, senior
Grants to the winners’ schools | Each school receives a $415 grant for each winning entry.
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In just a few days Taschen will release their much anticipated retrospective of multi-talented designer, Marc Newson. A true jack of all trades, Newson has designed everything from “mass produced objects to limited edition furniture and fashion,” including chairs, restaurants, boutiques, cars, planes – even a spaceship. Written by Alison Castle, who also penned Taschen’s two sold out Stanley Kubrick collections as well as “Linda McCartney’: Life in Photographs,” she and contributing authors Laszlo Adams, Nicholas Foulkes, Louise Neri, and Alice Rawsthorn wax verbose in this 610-page encyclopedic tour through all of Newson’s works to date, “from early pieces such as Lockheed Lounge (which holds the world record for the highest price paid for a piece of designer furniture, at over two million dollars) through designs of household objects and more recent, large scale projects such as the interior of Qantas’s A380 and the Aquariva boat.”
Available in two editions, the $1,000 edition (hardcover in slipcase) and the $6,000 Art Edition (hardcover with leather inlay in a Micarta slipcase), which is limited to 100 numbered and signed copies.
among this year’s honorees are 12 pioneers of industrial design.
The U.S. Postal Service today officially unveiled the images of its commemorative stamp program.
[full story] also [british design classics]
The Pioneers of American Industrial Design stamp pane honors 12 of the nation’s most important and influential industrial designers. Encompassing everything from furniture and electric kitchen appliances to corporate office buildings and passenger trains, the work of these designers helped shape the look of everyday life in the 20th century. The stamps go on sale in July.
Industrial design is the study and creation of products whose appearance, function, and construction have been optimized for human use. It emerged as a profession in the U.S. in the 1920s but really took hold during the Depression. Faced with decreasing sales, manufacturers turned to industrial designers to give their products a modern look that would appeal to consumers. Characterized by horizontal lines and rounded, wind-resistant shapes, the new, streamlined looks differed completely from the decorative extravagance of the 1920s. They evoked a sense of speed and efficiency and projected the image of progress and affluence the public desired.
Consumer interest in modern design continued to increase after World War II, when machines allowed corporations to mass produce vacuums, hair dryers, toasters, and other consumer goods at low cost. Industrial designers helped lower costs further by exploiting inexpensive new materials like plastic, vinyl, chrome, aluminum, and plywood, which responded well to advances in manufacturing such as the use of molds and stamping. Affordable prices and growing prosperity nationwide helped drive popular demand.
Even as streamlining gave way to new looks in the 1960s, the groundbreaking work of industrial designers continued to transform the look of homes and offices across the country. Today, industrial design remains an integral component of American manufacturing and business, as well as daily life.
Frederick Hurten Rhead
Frederick Hurten Rhead helped pioneer the design of mass-produced ceramic tableware for the home. He is best remembered for the sleek Fiesta® line (shown on the stamp) introduced by The Homer Laughlin China Company in 1936.
Walter Dorwin Teague
Known as the “dean of industrial design,” Walter Dorwin Teague believed that good artistic design fit both form and function into a single aesthetic package. During his career-long collaboration with Eastman Kodak Company, he designed several popular cameras, including the 1934 “Baby Brownie” (shown on the stamp).
Norman Bel Geddes
A founding member of the American Society of Industrial Designers, Norman Bel Geddes was a noted champion of streamlining. “Speed is the cry of our era,” he once said, “and greater speed one of the goals of tomorrow.” The author of highly influential books on design and urban planning, Bel Geddes created visionary new looks for cars, trains, planes, buildings, even entire cities.
Raymond Loewy arguably did more to define the look of modern America than perhaps any other industrial designer. Loewy created the distinctive look of Air Force One and worked with NASA on the interiors of America’s first space station, Skylab. In 1971, he created the logo for the newly formed U.S. Postal Service, and his designs have appeared on several postage stamps.
Donald Deskey is best known for the lavish Art Deco interiors he designed in 1932 for Radio City Music Hall in New York City. However, he was also one of America’s most innovative industrial designers. A founding member of the American Society of Industrial Designers, Deskey was instrumental in winning public acceptance for modern design.
Gilbert Rohde was one of the most influential and innovative furniture designers in the U.S. His designs for Herman Miller in the 1930s and 1940s were based on simplicity and practicality and marked the beginning of modern design at the company.
Greta von Nessen
Greta von Nessen specialized solely in lighting, and none of her designs is better known than the “Anywhere” lamp (shown on the stamp). Introduced in 1951, the lamp featured a tubular aluminum base and an adjustable shade made of enameled metal. This and several other of von Nessen’s lamps have been featured in industrial design exhibitions at the Museum of Modern Art.
Specializing in household products, Russel Wright revolutionized the way we live at home. He designed at a time when growing numbers of Americans were shedding the prim conventions of the early 20th century in favor of simple and informal practicality. During his career, Wright created affordable modern furniture and tableware characterized by minimal but elegant forms.
Considered by many to be the first designer to apply ergonomics systematically to product design, Henry Dreyfuss considered the user to be the center and focus of his industrial design work. During a career that lasted more than 40 years, he designed products that touched all corners of American life, from household appliances like clocks, sewing machines, and vacuum cleaners to tractors and even the comfortable interiors of trains and planes.
Peter Müller-Munk is best remembered for the “Normandie” pitcher featured on the stamp. Introduced by the Revere Copper and Brass Company in 1935, the mass-produced pitcher was made of chromium-plated brass, an alternative to silverware that was affordable and easier to care for.
Honored by the Industrial Designers Society of America for his “vigorous sponsorship and backing of design research and high standards of industrial design education,” Dave Chapman is probably most known for his innovative and award-winning designs for classroom furniture. He also designed household appliances like refrigerators, hairdryers, radios, and electric heaters. Shown at the first exhibition of the American Society of Industrial Designers in 1947, Chapman’s streamlined sewing machines (shown on the stamp) featured a chrome grille that evoked the sleek look of contemporary automobiles.
Eliot Noyes bridged the gap between business and art, transforming the industrial design profession into more than just a commercial venture. Rather than continue the practice of changing a product’s design every year, Noyes persuaded his corporate clients to adopt long-lasting design principles instead. He is best remembered for his long working relationship with IBM, for whom he designed buildings, interiors, and a range of office equipment, like the iconic 1961 “Selectric” typewriter pictured on the stamp. He also helped IBM and other companies develop a distinct and consistent identity.
Art director Derry Noyes selected objects designed by 12 of the nation’s most important and influential industrial designers to feature on this colorful pane of self-adhesive stamps. The selvage features a photograph of the “Airflow” fan designed by Robert Heller around 1937. Denis Farley photographed the fan for The Macdonald Stewart Foundation.
Each stamp includes the designer’s name, the type of object, and the year or years when the object was created. The pane’s verso includes a brief introduction to the history and importance of American industrial design, as well as text that identifies each object and briefly tells something about each designer.
Talented designer, stylist, and illustrator.
Designer: Norio Fujikawa