the winner is Disney!
http://www.disneyresearch.com/research/projects/hci_sidebyside_drp.htm
How dare they modify the DLP module? That part is so expensive... anyway, well done~
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IxDA Berlin | |
This one you might be interested in! When: Berlin - September 5, 2011  http://designmind.frogdesign.com/events/portfolio-slam.html Facebook event: http://www.facebook.com/event.php?eid=181016081972283 Have fun! markus & thomas |
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For a beefed up presentation:
Rump pork boudin fatback, jowl salami ham brisket strip steak short ribs ham hock bresaola. Tail pancetta sirloin brisket meatball, ham hock bresaola shoulder drumstick pork tri-tip strip steak tenderloin. Chicken boudin pork belly, tri-tip jerky ribeye andouille pancetta tail rump. Andouille rump ground round ham hock pastrami, ribeye tenderloin. Bresaola flank ribeye, brisket ball tip sirloin ham fatback. Pork belly boudin tri-tip, meatloaf ribeye pork salami bresaola brisket beef ribs. Pork belly meatloaf boudin, pig venison andouille sausage ham fatback sirloin turkey jowl tongue ground round. Brisket pork chop short loin, boudin tenderloin shoulder meatloaf salami andouille beef ribs pastrami bacon shankle ham hock. Chuck ball tip drumstick tri-tip, pork loin tail pork belly sirloin chicken sausage spare ribs shankle ground round bacon jowl. Flank fatback ball tip ham, meatball biltong jowl cow pork belly salami pig. Flank ham jerky, strip steak...
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Guys, you really have to check out this Post:
That's exactly what I dreamed of. But how to operate and execute? It seems that Apple had made use of the two cameras. That's ... fasinating.
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(…) Ive confirms it, mentioning the importance of collaboration between engineering, manufacturing and design. It is an intense interplay between these fields that can yield mastery of the material, which is where everything starts with this object. "The best design explicitly acknowledges that you cannot disconnect the form from the material--the material informs the form," says Ive. "It is the polar opposite of working virtually in CAD to create an arbitrary form that you then render as a particular material, annotating a part and saying 'that's wood' and so on. Because when an object's materials, the materials' processes and the form are all perfectly aligned, that object has a very real resonance on lots of levels. People recognize that object as authentic and real in a very particular way."
For the sake of Core77's design student readership, I divert briefly into the realm of design education and ask Ive if he has any advice for students. "While [design schools today may have] sophisticated virtual design tools, the danger in relying on them too much is that we can end up isolated from the physical world," he says. "In our quest to quickly make three-dimensional objects, we can miss out on the experience of making something that helps give us our first understandings of form and material, of the way a material behaves--'I press too hard here, and it breaks here' and so on. Some of the digital rendering tools are impressive, but it's important that people still really try and figure out a way of gaining direct experience with the materials."
It is that direct experience, the hands-on, that is the key; like experiencing the iPhone 4 itself, it cannot be done without the physical connection. "It's very hard to learn about materials academically, by reading about them or watching videos about them; the only way you truly understand a material is by making things with it," Ive explains, going on to add that years upon years of making his own models with his own hands is what gave him a deep understanding of the materials he's worked. "And it's important to develop that appetite to want to make something, to be inquisitive about the material world, to want to truly understand a material on that level."
And what about when students graduate and become working designers? Absent the structured assignments of a Production Methods or Materials class, how ought designers stay abreast of materials? The best place for it to happen, of course, is in the workplace itself. "For a designer to continually learn about materials is not extracurricular," Ive points out, "it's absolutely essential."
Applies to all types of material, bits and atoms alike.
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What would we learn if we changed the way we looked at our cities? What if instead of just looking at them, we could listen to them?
SoundAffects is an experiential project by Parsons The New School for Design. We’re turning everyday things from weather and traffic to color and motion, into their own musical sounds. SoundAffects is a ten-day musical and visual exploration that could change the way we think about our cities.
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