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August 7th, 2011
Black and Blum’s inscribable Time Square clock and magnet board. Multi-tasking expands its reach to more and more products.
In the age of multi-tasking, it’s about time more of our domestic appliances caught up to our multivalent work methods. Sure, we’ve got fancy electronics that quadruple up as our mp3 players, telephones, internet browser and reading tablet, but a number of our long-standing devices at home have been slow in catching up to contemporary realities. Stuck and stoic with the progression of time, these laggards often serve the same function they’ve had nearly since their inception.
Speaking of time, wall clocks may well have placed been in this category except for a couple of recent additions to the genre. Black and Blum’s Time Square clock actually triples its purpose by serving as a timepiece, blackboard and magnet board all in one. Combining these particular functions in one device is not without reason, since the need to reinforce memory by quick notation is inextricably linked to keeping track of time. (Being New Yorkers and recreational punsters ourselves, we also appreciate the witty name, especially as it comes from a London-based design firm.)
Alessi’s Blank Wall Clock: no need to draw a blank anymore when there’s something you’re trying to remember to do.
Alessi’s Blank Wall Clock is the formal yin to Black and Blum’s yang, being white and circular as compared to black and square. It doesn’t have the magnet function of Time Square, but its whiteboard writing surface has a nice clean look and allows for the use of dry markers in place of chalk.
Looks like our appliances are finally catching up to our busy selves after all. It’s about time.
July 27th, 2011
A classic shoe model with an innovative twist: interchangeable heels and backs.
The simple black dress, the classic white-T, the uniform leather purse – they all complement your wardrobe like peanut butter does to jelly. Ladies love them for their stylish functionality, and because literally they match everything they own. Unfortunately, what most ladies don’t possess is an all-encompassing pair of shoes that transcends every style and outfit that their wardrobes can generate. Hence the miles of shoe racks that clog their closets and destroy dreams of early retirement.
Heels will dress up an outfit, while flats dresses one down. If you’re not sure which way to go, you can always wear one of each!
With all of its adjustable parts, ze o ze, is really five pairs of shoes in one simple, yet evolving stylistic spectrum.
Until maybe now, that is. Thanks to young and aspiring industrial designer, Daniela Bekerman, ladies can finally say au revoir to the non-matching shoe blues. The young designer (and recent graduate of The Bezalel Academy of Art and Design) hailing from Jerusalem has designed ze o ze, a modular shoe system that comes with adjustable parts, including a heel, so that wearers can adjust the style and height of the shoes according to the look they are trying to achieve. Simply add on a heel to dress up an outfit, or wear the shoes as flats for a more comfortable and practical look. Change colors, look and style as the occasion dictates.
Quick, into a nearby phone booth – look, it’s Working Woman! No, it’s Party Girl! No, it’s the ze o ze modular shoe system!
June 26th, 2011
Studio Aisslinger in Berlin. Man on left is in detention. Woman on right is watching a company ping pong game. The hex screen in foreground gives us a taste of the eponymous designer’s predilection for modular design.
In our gathering of modular product designs from all the world, it’s hard not to notice that many of them emanate from Italy. Just think Magis, B-Line, Kartell and already you’re talking about a slew of top-flight and enduring interactive pieces. Maybe it’s the climate, the food, the culture – who knows why such a regional concentration exists for this type of design? Still, it would be hard to develop a convincing theory on Italian supremacy without having to explain why, just a few hundred kilometers to the frozen north, the modular meter spikes again as we approach the Berlin studio of Werner Aisslinger.
Aisslinger is a very talented, multi-media and prolific designer who has generated some of the world’s most innovative product, interior and architectural design for brands such as Mercedes Benz, Swiss furniture company Vitra, adidas and Bombay Sapphire (Bombay Sapphire?). He’s got offices in Berlin and Singapore, so we’re talking about a global reach of considerable dimension. That’s good news for aficionados of customizable design.
Aisslinger’s chairs and chaise on display inside the Berlin studio. Below is his Plus Unit for Magis.
The company’s artistic philosophy focuses on making sophisticated new designs from novel materials and technologies, whether modular or not. Fortunately, this is not the stuff of geeky sci-fi fantasies devoid of the human dimension. Rather, the design firm says it wants to change the paradigm of modern product design by looking beyond purely functional capacities to integrate a “dialogue between emotions and technology”. Progressive? We’ve just barely scratched the surface. In an estimated 5 to 10 years the firm has plans to install a small chip inside every product that will generate product information (producer, designer and distributor) and an opportunity for instant purchase when scanned with any type of wireless communication device.
Aisslinger’s deep interest in repetitive, modular design is evident in some of the product displays in his Berlin office. On the left is Mesh, a 2007 concept design for a lightweight semi-opaque screening system (more on Mesh below). On the right is a 2008 modular bookcase made out of, what else, books!
We aren’t the only ones with an interest in this portlfolio: Aisslinger has had his furniture and product design featured at world-class museums such as MoMA (where he has a permanent exhibit on his chair design ), the MET, the French Fonds National d’Art Contemporain in Paris, the Musuem Nue Sammlung in Munich and the Vitra Design Museum in Weil, Germany.
What follows is just a sampling of the modular designs to have come out of his offices over the years.
Coral Seating and Lighting
TOP: Coral seating cushions lay on the beach as if they’ve been washed up from the sea. BOTTOM: Translucent Coral lights using a similar hex unit.
Inspired by the micro organisms emanating from the deep depths of the ocean floor, these modular seating arrangements and lighting fixtures from 2009 are composed of flexible hexagon funnels made from a mix of felt and polycarbonate that create a coral shape when joined in multiples. The sea-inspired pieces come in varying color schemes and, being modular, can be scaled to suit.
NetWork
Embroidered design enters the Age of the New Industrialism.
Perhaps you were under the impression that crocheting was culturally retrogressive. No more. Aisslinger managed to transform this traditional, old-school craft into a progressive, interactive and contemporary design form using high-technology and software. Its 2-dimensional embroidery designs are directly programmed into ‘smart’ machines that stitch the pattern together to make 3-dimensional objects.
Mesh
  
Your request for privacy should not result in staring at stark white walls!
Gone should be the days of the opaque wall divider or cubicle. For subtle separation with visual appeal, Aisslinger designed a lightweight textile structure evocative of honeycombs. The units interconnect to form customizable interior dividers with the potential to be bent into 3-dimensional shapes – distinctly unlike most separators, which are typically confined to straight planes. Made with three different types of relief structures, the hex motif and ribs were inspired by a blow-up of a vegetable organism. The color contrast of the fibers and directional changes in the weaving pattern add perforation, depth and texture to the dividers.
PLUS Unit for Magis
Stack up or down with the playful storage design unit by Aisslinger.
Similar to UP’s, the PLUS unit is a modular storage system that allows for customizable configuration of shelving units. Traditionally stacked or stacked side-by-side like a staircase, the aluminum drawers add a dimension of fun to functional design. Check them out at our store.
  
UP’s for RS Barcelona
Here’s how Studio Aisslinger explains the UP’s design:
“UP´s is a totally new modular block-system which integrates the open space between the attached boxes for the scheme: UP´s can generate endless modular sideboard landscapes or shelves always including the “free” space between the box-elements. These box-elements are offered in various types, such as the standard open box, box with sliding doors or boxes with folding wings. All these front-options can be later attached to the basic steel box-element. The visual “architecture” of the UP´s system is a rhythm of closed volumes with airy gaps in between”.
Loft Cube
TOP AND BOTTOM: Get sweeping views of any city with the 360 panoramic views of the Loft Cube. It travels anywhere you go and comes with a handsomely coordinated interior design. Will not fit into an overhead compartment.
Meet the modern day mobile home. This architectural piece is so cutting-edge that it may still belongs in the future. Composed of four walls of either translucent, transparent or opaque material, the structure forms a mobile living cube with 360 degree panoramic views. Custom interior design options are available so that lucky cube-owners can turn the Loft Cube into any type of living or working space, anywhere they would like. Made with the highest quality lightweight materials, the Cube Loft takes only a few days to set-up.
Light Wave
Bombay Sapphire sets the mood blue with their lighting fixture designed by Aisslinger.
Created for Bombay Sapphire, this large-form lighting structure created the ultimate mood lightning for one of the gin brand’s events. Made of 50 x 50 cm modules, the communal lighting object can be arranged in a variety of pixel-like configurations to create larger formats. Each individual module is designed to create a 3-dimensional shape that allows for an infinite number of additional modules. When shaped together, the overall product is an installation of fluid movement among convex and concave shapes (that’s fluid, in case you didn’t see the connection).
And this just in:
Hemp House at DMY Berlin 2011
  
TOP AND BOTTOM: A structural system made from the cannabis plant. A modular Mary Jane anyone?
Exploring sustainable materials, Aisslinger presented his Hemp House at DMY berlin 2011. The structure is made of more than 70% natural fibers, such as hemp and kenaf, bound together with acrodur, a water-based acrylic resin from german chemical company BASF.
The compression of renewable raw materials forms a new environmentally-friendly composite that is lightweight yet durable. Says Aisslinger, “Design history is driven by new technologies and material innovation. For us designers, the advent of these technologies has always been the starting point for new objects and typologies in design”.
Like we said…thanks Mr. Aisslinger.
April 24th, 2011
Modular Screen by Moorhead & Moorhead. Click on image to enlarge. Get it here.
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Opening Lyrics to “At Long Last Love”
Is it an earthquake or simply a shock?
Is it the good turtle soup or merely the mock?
Is it a cocktail, this feeling of joy?
Or is what I feel the real McCoy?
No, it’s just that the world’s first webstore for customizable, reconfigurable, modular art and design has now gone live.
www.module-r.com
Lyrics by Cole Porter. Sung by Frank Sinatra. And others.
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January 11th, 2011
There’s an old saw in advertising that a person needs to see an ad as many as five times before it will sink into the fleshy tablets of their memories and actually affect their buying patterns. We’re certainly no experts in this field, but we get the point: like memorizing the lines of a play, one generally needs to repeat an experience in order to fully absorb it. We wonder if these days the figure of five has been bumped up owing to the seemingly intractable wave of sensory input we regularly confront in the media-drenched world of the 21st century, but that’s a topic for another day.
  
Now, from this observation we could presumably arrive at another truism: when you’re trying to sell people goods or services, don’t move the target. If you’re a bricks-and-mortar retail operation, don’t go changing your location just as people are getting used to your being there. If you’re building a brand, create a distinct graphic identity, get it out there as much as you can and then stick with it for as long as you can (witness Coca-Cola). Familiarity breeds recognition, and vice versa.
So it comes as a pleasant surprise to discover a young designer throwing out the rule book (or maybe a chapter or two of it) and devising a modular logo as the basis of a graphic identity package for a fictitious client. Understanding that modularity implies changeability, the designer has deliberately presented the logo not as a fixed entity to be stamped into people’s consciousness but as an endlessly reconfigurable icon that manages to preserve its identity while morphing into something slightly different with each take. In terms of a user experience, the results are just what one hopes for when following the standard wisdom of repetition: we remember it. Not by the force of repetition, mind you, but by standing out from the crowd as a fresh idea and a rebuttal of received wisdom. Experience may be the best teacher, but smart thinking will get you to the head of the class every time.
References:
Mikael Fløysand Website
December 5th, 2010
It takes a village to make a meal: The Palace Collection by Seletti (above and below). Click on any image to enlarge and view slideshow.
Perhaps in no other room in a residence are the qualities of modular design more consistently applied than the kitchen, and its offshoot, the dining room. In fact, the kitchen plays an historically important role as the setting for some of the earliest examples of industrially produced modular products. In the 1920s Belgian architect L.H. de Koninck developed a prefabricated modular kitchen system featuring standardized cupboards and equipment; a prototype was exhibited at the Palais des Beaux-Arts in Brussels in 1930, during the second international congress of modern architecture (CIAM), and put into production two years later. Sometimes referred to as the Rational Kitchen, de Koninck’s concept highlights the widespread desire to make this room as efficient a workspace as possible, both in terms of construction and operation, and the ability of modular and interlocking design to achieve that goal.
  
That impulse has continued and even accelerated in the present day, extending beyond the built-in components of the kitchen proper to include presentation cookware and servingware for use during meals. Not surprisingly, architects and architecture play a strong role in these newer products. In fact, pride of place in our popup gallery in Brooklyn is given over to perhaps the most exuberant invocation of the intermingling of buildings and food you’re likely to ever see: Seletti’s smile-inducing Palace Collection of tableware. De-constructed, these four miniature ceramic palazzi outfitted in classic Renaissance architecture yield dinner plates, soup and salad bowls, tureens and serving bowls for six settings. An accompanying set of Seletti silverware – correction, make that goldware – finished in matte gold makes you imagine you’re dining in a 16th century Tuscan villa even as the Fresh Direct truck is pulling away outside.
 LEFT: Adónde Modular Tableware by Javier Gutiérrez and Laurent Serin.
Achieving spatial compactness and a sculptural presentation by stacking repetitive components similarly drives the design of Adónde’s Modular Ceramic Dinnerware Collection. Conceived, produced and distributed by French duo Javier Gutiérrez and Laurent Serin, this visually restrained earthenware ensemble realizes an additional efficiency in endowing many of the pieces with multiple functionalities. In other words, a plate doesn’t have to be just a plate – it can also be the lid on a container vessel to keep food warm or moist. Meanwhile that container can be a soup bowl or serving dish. Fewer things doing more work: one of the quintessential characteristics of modular design.
Adónde’s modular strategy has ample precedent in Alessi’s Programma 8 Collection, designed in the 1970s by…guess who? An architect! Born 1940, Franco Sargiani graduated from the Milan Polytechnic and later set up his studio there to pursue a multi-disciplinary practice in architecture and design. The exquisitely interlocking geometry and maximum flexibility of use characteristic of the Programma 8 design are certainly products of an architectural mind. One writer went so far as to describe it as “the most evolved system of household objects ever created on an international level,” and while we might detect a whiff of hyperbole, frankly, we can’t think of a more deserving one (sorry, Tupperware).
  
TOP: Alessi’s Programma 8 Modular Serverware Collection by Franco Sargiani. BOTTOM: Stackable Modular Ovenware by Christian Bjørn for Menu.
Programma’s architectural approach is echoed in turn in the award-winning Menu collection of stackable porcelain oven-to-table cookware. A simple progression of three modules successively divided in half generates neat formal patterns when dishes are stacked. But designer Christian Bjørn is no pure formalist: our well-fed staff of culinary experts tell us that the scalloped cut-outs in the sides of the dishes allows air to circulate while in the oven, ensuring food is evenly heated, while heat-resistant silicone feet protect the dishes from scratching each other. You can also put tea lights in a base dish under a serving dish to keep food warm. And oh yeah, they’re dishwasher and microwave safe but are not for use in gas ovens.
So what’s on your Menu? Whatever it is, bon appétit!
November 27th, 2010
Morpheo Modular Candlesticks by Seletti. Click on images to enlarge and play slideshow.
With the approach of Hanukah and Christmas, we’re naturally inspired to assemble this collection of modular candlesticks and menorahs, several of which we’re displaying at our popup shop on Atlantic Avenue in Brooklyn. For even in the age of pixels, LED’s and CFL’s (compact fluorescent lights, for those who haven’t had the displeasure of using them yet), there remains something enduringly and sensuously human about the simple flickering flame at the end of a candlestick. And of course, the association of fire not only with our antediluvian forebears but with the gods themselves carry us to a time and place not of this world. Plus you can roast marshmallows with them.
  
Top row left: Morpheo Modular Candlestick in clear. Middle: Modular Candlesticks by Museum of Robots. Right and below: Modular Wood Candlabra by WUDA.
As with all things modular, these designs beckon the user to participate in form-making by determining how the pieces are to be arrayed. In the case of our secular candlesticks, such as the Museum of Robots and Seletti designs, this typically means choosing in what order the components are to be vertically stacked on their stem. The elaboration of silhouette and the rhythmic sequence of superimposed three-dimensional shapes constitute the principal design challenges in their case. Still, if the modular system has been designed well, it’s hard to come up with something truly ugly, and the necessity of skewering the pieces on a fixed vertical centering pin means people have little room to completely lose their formalistic minds.
  
Top: Slide Magnet Menorah by Laura Cowen. Bottom left: Concrete Menorah by Marit Meisler. Middle and right: Modular Menorah in aluminum and brass by Ian Milne.
By contrast, the menorahs are oriented horizontally so as to accommodate the multiple candles required by the eight day holiday. Unlike the secular candlesticks, however, once the connecting pieces that normally hold the individual candleholders are done away with, there are few constrictions as to where the candles can be placed in relationship to each other. It is interesting to observe that most people, when bequeathed the gift of almost total design freedom, nonetheless still compose the individual pieces of the menorah in some kind of geometric arrangement (have a look at the product illustrations in this post, for example). Perhaps it is our innate desire for order, or our respect for the decorum of a religious object, but we’re just not ready to treat the emblem of Hanukah like the inside of our closets. And for that, we can be truly thankful.
  
Top row left: Hex Enamel Modular Menorah by Jonathan Adler. Middle: Cube Menorah by Shlomi Shillinger. Right: Shapes Menorah. Bottom: Travel Menorah by Laura Cowen.
November 10th, 2010
There has been much talk in recent years about the convergence of the creative disciplines. The divisions that once differentiated art, design, fashion, and even advertising from each other are now said to be dissolving under the influence of the digital revolution and other cultural forces. To be sure, the impact of these changes has not been limited to the arts; the boundaries that once existed among all sorts of categorizations have similarly eroded in the recent past.
Take day and night, for example: traditionally what people routinely did during the so-called waking hours was rather distinct from what they did after dark. Now we can sometimes barely tell the difference between the two as we check our email or do some online shopping in the depth of night. Same with the physical setting of home and office: once upon a time we traveled from the former to the latter before returning home again, with no confusion as to which was which. Now we might occupy one space for both purposes, or use our digital communications devices to keep working even when we’re away from the workplace. Near and far have similarly lost much of their antithetical qualities: the vast distances that used to make us feel separated from people on the other side of the globe now hardly matter at all as we video-conference with them in real time.
So back to the arts. As those of you who’ve followed A.R.T.’s trajectory know, we started our venture with a portfolio of modular art. From there we launched a blog and twitter stream in which we explored modularity and the related topics of mass customization, digital fabrication and co-creativity. In researching material to write about we came to discover that there’s a slew of well-designed modular products out there, but which are currently scattered among many vendors and venues. It occurred to us that what was lacking was a central hub in which to present this rich cache of design work. Thus was born Module R, which aims to fulfill precisely that purpose. And since art and design can now co-exist in a harmonious relationship rather than be segregated into separate venues, we decided to marry Module R (how fast they grow up!) with A.R.T. by opening a popup gallery exhibiting both modular art and design.
The gallery is located at 400 Atlantic Avenue in Brooklyn, New York, and will run through January 9th. There’s a reception on December 2 at 6.30pm, to which you’re all invited (it’s the least we can do for the nice folks who read this blog). For those of you who can’t make it, below is a small sampling of some of the design pieces we have on display at the shop. Either way, we’re looking forward to your feedback, and to the future success of Module R.
  
  
References:
Module R website
August 24th, 2010
Oh brother, are you in hot water! Symetrics: the Dornbracht modular bath sysem.
As long-time aficionades of modular design, we might have finally found our Shangri-La, our Holy Land, our Nirvana – and lo, it is a bathroom. Yes, a bathroom, or more precisely, a line of bathroom fixtures and fittings based on a modular grid designed by the German company Dornbracht. Or more precisely still, a design system for planning, constructing and fitting out a bathroom, which the company has dubbed Symetrics.
Among the many intriguing aspects of the Symetrics initiative is that we have a rare occurrence of a manufacturer advancing a series of products linked not just by a few common details or surface characteristics, but by a larger context of formal relationships that guide the placement of the products in their setting. The glue that binds the various products together, of course, is the grid – an underlying vertical and horizontal mesh of 60 millimeter square cells in which can be fit any of the Symetric products.
  
In a languorous music-backed video on their website (link is below), a narrator tells us that the unifying effect of the Symetrics system concentrates the design focus “on the room as a whole, as opposed to the individual fittings”. Presumably our minds derive greater emotive pleasure when disparate things hold together by means of common measures and orientations than when they are randomly sized and capriciously oriented to each other. At least, that is the position of the rationalist school of design, to which not everyone necessarily subscribes.
At the end of the video Dornbracht’s tagline appears: “The Spirit of Water”, it says. On seeing this we were rather struck by the inherent contrast between the crisp, geometrically pure and eternally fixed square geometries that underlie the Symetrics system and the unpredictably fluid contours of water. At first we thought that the Dornbracht people were vulnerable to charges of being inconsistent in their philosophy and approach (or at least, in their tagline). But then we recalled the iconic image of the Vitruvian man, an ancient Roman icon that embodies the possibilities of reconciling organic nature and abstract geometry, the curvilinear and the rectilinear, the eternal and the ephemeral. So maybe the Dornbracht people have it completely right, in which case we may truly have found Nirvana after all.
References:
Dornbracht Symetrics Bathroom Fixtures, Fittings and Planning System
Dornbracht Symetrics Video
July 22nd, 2010
We are very fond of these modular storage cubes (and larger cousins), for several reasons. First, their shape – the cube is one of those Platonic solids that the ancient Greek philosophers believed represented the atomic units from which all physical matter derived. We might no longer believe in such theories, but there remains something eternally appealing about this very elemental, cosmically pure geometry. And of course, at the root of the cube is the square, a favored shape for modular design by virtue of its direct application to grids (just glance at some of our own posts, like this one and this one).
The formal simplicity of this product is nicely mirrored in its straightforward construction and means of assembly — no tools, simply a strong eco-friendly adhesive to hold it together (wow, that must be seriously sticky). And just when you think things might be veering toward the formally ascetic, their designers wrap them in colors and finishes that range from child-friendly playful to elegantly adult. The contrasting tone along the edges and back face add to the whimsy of the brighter versions.
Top and middle:Way Basics offers kits for a larger sized unit called the “Tribeca” as well as the standard cube size; both can be customized by varying either their interior sub-division or by grouping multiple units in different combinations. Bottom: buyers can take the possibilities of personalization a step further by mixing and matching individual components from different series as well as by adding their own touches in the form of adhesive decorations, casters, and whatever else they can imagine. The company has also added some neat accessories to its line, including hardware for spinning stacked cubes and tightly fitted storage baskets. Thankfully there are legal or moral limits to what one can do with all these options!
Speaking of eco-, these products are composed of zBoard, which is made from recycled paper and non-toxic materials, and which is available to others for use in their products. Way Basics has received a lot of recognition from green-minded organizations and reviewers for their approach to sustainable design. This doesn’t appear to be just a marketing ploy on the company’s part to bolster sales — they seem genuinely involved in pro bono activities to foster sustainability at large.
Oh, and then there’s the price point; at these numbers who can not like them?
Apparently very few, judging from the strongly positive reviews they’ve gotten on Amazon (not to mention the company’s website, but we’d kind of expect that!). We look forward to seeing some more pieces from this company in the future.
References:
Way Basics
zBoard
June 12th, 2010
“Lily”. Carpet formed from star-shaped leather modules. Produced by Mia Cullin.
We greatly admire the ‘soft’ work of Mia Cullin, a Swedish designer and interior architect. She designs what might be described as modular textile systems in traditional and modern materials. Her palette includes felt, Tyvek (a modern synthetic often used as a wrap in building construction), leather and wool. Cullin’s modules have the appearance of multi-lobed geometric figures suggesting flowers, snowflakes and other centralized figures drawn from organic nature. The undercutting of the shapes forming the perimeter allows the textile units to be joined together by folding and interlocking adjacent lobes. Together they weave a tapestry of repetitive forms whose uniformity is relieved by the play of light and shadow among the variously raised pieces of fabric. The natural wave of the assembled pieces, a judicious use of cut-out figures within some of the modular designs, and the natural surface texture of the materials adds to the visual play.
  
“Flake”. Star-shaped Tyvek modules joined together to form drapery and screens. Produced by Woodnotes.
Cullin’s work is conceived in the context of interior design, which is unsurprising in light of her professional training and activities. Variously described as ‘screens’ and ‘draperies’, her textile work bridges the realms of product and interior design, art and craft.
We recently enjoyed seeing one of her designs featured at the Cooper-Hewitt Design Triennial in New York. She is a regular contributor to design fairs and exhibitions in Europe.
“Four Leaf Clover”. Leather carpet formed from clover-shaped modules. Produced by Mia Cullin.
From the designer’s website:
“Mia’s design is described as simple, poetic and elegant. Visualizing the object’s construction plays an important role. Many of her products contain a textile feeling where handicraft, folding and origami are sources of inspiration. Her works with assembled modules creating surfaces with relief patterns discerns a fascination for geometry.
Among her clients are Woodnotes, Nola, idea, Habitat, Ateljié Lyktan and Asplund.”
Designer’s website:
www.miacullin.com
Photography:
Top and bottom by Mathias Nero. Middle row by Sameli Rantanen.
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Mission Henry Ford, move over – the era of mass production has come to a close! Personalization is the name of the game now. People want a role in shaping the physical world around them to suit their individual needs, tastes and resources; to satisfy that goal they're looking for works of art and design that are reconfigurable, interactive and scalable. This blog explores how creatives are responding to the quest for customization, as well as the impact customization is having on the creative disciplines themselves.
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