AIAIAI is set to launch a new over-ear headphones aimed at music professionals. Where the TMA-1 enhances the live performance, the TMA-1 Studio enriches the studio/production experience.
An unambiguously future oriented rendering of a ‘traditional’ clock and barometer combination (no reason to suppose that the future should not contain inconstant atmospheric conditions). Figures set in Akzidenz provide a connection to the earliest phase of the Braun programm, when it was first adopted as the corporate typeface. Beautifully sealed up within these perspex vitrines. Domoset is wall-mountable. Clock and barometer swivel in their cases to permit a vertical or horizontal arrangement; they can be removed altogether and hung independently. A detachable stand allows use as a desk set. The domoset forms part of the first analogue wall clock series, formed of domodisk, domo fix, domo flex and domo desk.
Braun AB 21 domoset, by Dietrich Lubs, Available at das programm
Japanese roboticist Masahiko Yamaguchi has designed a robot capable of riding a fixed gear bicycle without brakes.
Primer V2, by Masahiko Yamaguchi
The Brionvega Algol TV is a design classic designed by Richard Sapper and Marco Zanuso in the 1960s has has proved to be one of Brionvega‘s more successful products. The company was founded in Milan in 1945 by Giuseppe Brion and specialized in manufacturing televisions. Brion’s televisions used cutting-edge technology and advanced manufacturing techniques. Many of Brionvega’s products have become collector’s items and are often exhibited in design museums around the world. Part of the permanent collection at the Museum of Modern Art (MoMA) in New York.
Brionvega Algol TV, by Richard Sapper & Marco Zanuso
More than half a century after its debut, Chris Bangle, former chief of design at BMW, reviews the Bisiluro, the legendary but ill-fated racing car designed by Carlo Mollino for the 1955 Le Mans 24-hour endurance race.
They say that the earliest design language for the primitive is that of repetition and symmetry. Regarding the design of “things that move”, history gives us quite a catalogue of proposals to improve the breed by echoing a form across some sort of bridging element. With names like “twinpod”, “twin-boom”, “twin-fuselage”, “doublehull”, or “catamaran”, the designer’s fascination with mirroring a good idea has been around ever since the Garden of Eden, when God decided two breasts looked seriously cooler than one.
Car Designers owe the origins of their craft to the hull-lofting techniques of naval architects, and while it is true that for centuries there have been parallel-hull designs for boats (from a Tahitian out-rigger to a divided hull that Da Vinci sketched), the real inspiration for modern twin-fuselage wheeled machines are the aircraft of World War II. (To be fair, the twin-boom Fokker M.9 was of World War I vintage.) Pilot and aircraft aficionado engineer Mollino must have been highly influenced by innovations from the War, and perhaps he knew that German engineers had prototyped a Messerschmitt Bf 109Z-1 “Zwilling” with a single pilot flying a two-fuselage fighter. Certainly, the sexy Lockheed P-38 inspired his generation of Car Designers as did the F-82 “Twin Mustang”, which was built from 1946 to 1953.
Read more at domus: The Asymmetric Racer by Chris Bangle, Bisiluro Racing Car, by Carlo Mollino, for the 1955 Le Mans 24-hour Endurance Race.
Alias revisits a key archive project by Pio Manzù, the brilliant protagonist of Italian automobile design during the sixties. The idea materialised at the GAMeC of Bergamo where the archives of Pio Manzù’s work are stored. It is here that Renato Staffaucher and the designer’s son, Giacomo Manzoni, met in 2010. Together they studied sketches, projects and materials until their attention was drawn to a prototype chair designed for the Rinascente department store, clearly taking its inspiration from the automobile industry. Unfortunately, the chair base was missing and only one photograph had survived to tell its story. So began an exciting journey of research and reconstruction. Three-dimensional systems were used to redesign the five-star base originally created in Pio Manzù’s day by a collaborating Japanese artist. At the same time, the leather prototype, which had been damaged over the course of time, was carefully restored. The re-edition began to take form and finally reach its completion. The decision was made to integrate a footrest on a four-star base, designed to be wholly coherent with the design and proportions of the chair. This journey of culture and design has given Alias the opportunity to discover a deep-rooted affinity with the historical figure of Pio Manzù. One of the first designers to have conceived the man-machine relationship beyond mere function, considering aspects of safety and well-being, Manzù’s uncompromising approach to design and his familiarity with technology made him a genuine pioneer in the sphere of ergonomics.
Monoqool has made a series in the unique NXT@ material, which is extremely strong and lightweight. This has helped them to make eyeglasses with ‘volume’ without adding weight. So the frames weighs only 5 grams. The NXT material was first developed by the US military for the usage in windshields in helicopters. The NXT series also comes with photochromatic frames, where the fronts of the frame change colour when exposed to sunlight. Indoor the frame is light grey, and when you go outdoor the frames turn almost dark (not the lens, but the actual frame). A bit of magic.
When race car driver and auctioneer Herve Poulain asked his friend, artist Alexander Calder, to paint the BMW 3.0 CLS that he would race in the 1975 Le Mans endurance race, it was the beginning of a truly gorgeous concept. Calder’s design of the BMW 3.0 CSL was the first Art Car ever, and one of his last works of art before he died in 1976. His rendition of the BMW Art Car boasts powerful colors and attractive curving expanses, which he applied generously to the wings, hood and roof.
Calder saw his art in action when he attended the Le Mans 24-hour race as a guest to witness his work’s premiere.
BMW 3.0 CLS Art Car, for the 1975 Le Mans Endurance Race, by Alexander Calder
via: City Furniture
Fifty years ago, the IBM Selectric typewriter was introduced to the public. In the 25 years that followed, more than 13 million of the typewriters were sold. The machine, designed by Eliot Noyes over a period of seven years, transformed typewriting by allowing the use of different fonts and dramatically increasing the speed at which most people could type. Unlike other typewriters, which struck the paper with hammers, it used golf ball-like type heads embossed with a full set of alphanumeric characters. The ball zipped along in close proximity to the paper, tilting and rotating as necessary to lay down characters on the page almost instantly. Thanks to that head, the typewriter was the first of its kind to eliminate carriage return.
The aesthetic design of the Selectric was the responsibility of Eliot Noyes, an architect and industrial designer who served as consulting design director to IBM for 21 years. Noyes drew on some of the sculptural qualities of Olivetti typewriters in Italy. The result was a patented, timeless shape, and a high-water mark for IBM’s industrial design and product innovation.
The US Post office has included the Selectric in the new series of stamps in honor of Pioneers of American Industrial Design.
“O” (as in “eau” in French meaning water) is designed, aiming to go back to the origin of the watch. It is as if sculpted from water, and creates the scenery which only the time itself embraces the wrist of the wearer. The smooth curvature of the transparent bangle leads our eyes to the mirror finish body, which reflects the scenes of the surroundings, and gradually blends into the environment as if disappearing the form of itself.
Using the transparent special plastic material, “O” opens up a new direction in watch design with non-definitive form like water, which is as if freed from the concept of the materialism.