Industrial Design

It looks like relaxing on a bed of squishy volleyballs, but the Feel Seating System Deluxe is made up of 120 “soft and extremely pleasant” balls. You can change it up to a variety of positions to make any kind of chair or lounger you prefer. (via Design Milk) Looks heavenly..

Nap-3a-Feel-Seating Nap-3b-Feel-Seating


Daniel Ballou is an industrial designer in California. In 2007 he founded Dashdot , a design consultancy studio. He manages to change everyday items and divert their uses for unusual objects. (via Fubiz)


John Makepeace OBE, (b 6 July 1939, Solihull Warwickshire), is a British furniture designer and maker. He bought Parnham House, Dorset in 1976 and founded the Parnham Trust and the School for Craftsmen in Wood (opening 19 September 1977, later to become Parnham College) to provide integrated courses in design, making and management for aspiring furniture-makers, alongside but separately from his own furniture workshops. One of the early students was Viscount Linley, nephew to the Queen of England.

Makepeace ceased running the Trust in 2000 when it moved to the new campus at Hooke Park under a new director who handed the premises over to the Architectural Association, the international school of architecture, for their practical modules. John Makepeace constantly explores the issues of function, structure and expression predominantly for private clients. The work is innovative and exclusive, commanding amongst the highest prices in the world for one of a kind contemporary furniture. Paradoxically he once designed furniture for the retail market including Habitat, Heals and Liberty’s.

He has taken the art of lamination and forming to a high art. Lamination is the process of layering wood together – the wood layers can be thin enough to bend easily and the glue lines thin enough to be invisible. When the layers are bent, two-dimensional curves of great strength result. Layers can also be twisted to create free-flowing three-dimensional curves especially relevant to generating shapes to provide good support in the backs of chairs. This means that fibres flex the natural line of wood.

His influences and inspirations are many ; ‘dynamic traditions – buildings, modern architecture, science, structural engineering, behavioural patterns and the human form’ (from Furniture Today). Makepeace has been influential since the Seventies British Craft Revival; this continues through the growth of numerous workshops in Britain today, not least because of his entrepreneurial leadership encouraging more creative and professional practice by furniture-makers. John Makepeace continues to design and make furniture exploring form, structure and a range of indigenous and sustainable resources. (via Wikipedia)

Raymond Loewy (November 5, 1893 – July 14, 1986) was a industrial designer, and the first to be featured on the cover of Time Magazine, October 31, 1949. Born in France, he spent most of his professional career in the United States. Among his work were the Shell and former BP logos, the Greyhound bus, the Pennsylvania Railroad GG1 and S-1 locomotives, the Lucky Strike package, Coldspot refrigerators, the Studebaker Avanti and Champion, and the Air Force One livery. His career spanned seven decades.

Loewy was born in Paris in 1893, the son of Maximilian Loewy, a Jewish Viennese journalist, and the French Marie Labalme. An early accomplishment was the design of a successful model aircraft, which then won the James Gordon Bennett Cup in 1908. By the following year he was selling the plane, named the Ayrel. He served in the French army during World War I, attaining the rank of captain. Loewy was wounded in combat and received the Croix de Guerre. He boarded a ship to America in 1919 with only his French officer’s uniform and $50 in his pocket.

In Loewy’s early years in the U.S., he lived in New York and found work as a window designer for department stores, including Macy’s, Wanamaker’s and Saks in addition to working as a fashion illustrator for Vogue and Harper’s Bazaar. In 1929 he received his first industrial-design commission to contemporize the appearance of a duplicating machine by Gestetner. Further commissions followed, including work for Westinghouse, the Hupp Motor Company (the Hupmobile styling), and styling the Coldspot refrigerator for Sears-Roebuck. It was this product that established his reputation as an industrial designer. He opened a London office in the mid-1930s. It is still active. Known as having become one of the initial creators of the streamline aesthetic, but eschewed today as being superficial styling and not design, his famous pencil sharpener, the essence of the streamline form, was produced only as a unique prototype.

In 1937, Loewy established a relationship with the Pennsylvania Railroad, and his most notable designs for the firm were their passenger locomotives. He designed a streamlined shroud for K4s Pacific #3768 to haul his newly redesigned 1938 Broadway Limited. He followed by styling the experimental S1 locomotive, as well as the T1 class. Later, at the PRR’s request, he restyled Baldwin’s diesels with a distinctive “sharknose” reminiscent of the T1. While he did not design the famous GG1 electric locomotives, he improved its appearance by recommending welded construction rather than riveted and added a pinstriped paint scheme to highlight its smooth contours. In addition to locomotive design, Loewy’s studios performed many kinds of design work for the Pennsylvania Railroad including stations, passenger-car interiors, and advertising materials. By 1949, Loewy employed 143 designers, architects and draftsmen. His business partners were A. Baker Barnhart, William Snaith and John Breen.

Loewy had a long and fruitful relationship with American car maker Studebaker. Studebaker first retained Loewy and Associates and Helen Dryden as design consultants in 1936 and in 1939 Loewy began work with the principal designer Virgil M Exner. Their designs first began appearing with the late-1930s Studebakers. Loewy also designed a new logo which replaced the “turning wheel” which had been the trademark since 1912. During World War II, American government restrictions on in-house design departments at Ford, General Motors, and Chrysler prevented official work on civilian automobiles. Because Loewy’s firm was independent of the fourth-largest automobile producer in America, no such restrictions applied. This permitted Studebaker to launch the first all-new postwar automobile in 1947, two years ahead of the “Big Three.” His team developed an advanced design featuring flush-front fenders and clean rearward lines. The Loewy staff also created the Starlight body which featured a rear-window system wrapping 180° around the rear seat.

In addition to the iconic bullet-nosed Studebakers of 1950 and 1951, the team created the 1953 Studebaker line, highlighted by the Starliner and Starlight coupes. (Publicly credited to Loewy, they were actually the work of Virgil Exner.). The Starlight has consistently ranked as one of the best-designed cars of the 1950s in lists compiled since by Collectible Automobile, Car and Driver, and Motor Trend. At the time, however, the Starlight was ridiculed as bizarre, due to its being very similar in front or back. The ’53 Starliner, recognized today as “one of the most beautiful cars ever made”, was radical in appearance, as radical in its way as the 1934 Airflow. However, it was beset by production problems. The 1953 Studebakers were actually designed by Robert Bourke, a member of the Loewy’s studio but working permanently for Studebaker. To brand the new line, Loewy also contemporized Studebaker’s logo again by applying the “Lazy S” element. His final commission of the 1950s for Studebaker was the transformation of the Starlight and Starliner coupes into the Hawk series for the 1956 model year.

In the spring of 1961, Loewy was called back to Studebaker by the company’s new president, Sherwood Egbert, to design the Avanti. Egbert hired him to help energize Studebaker’s soon-to-be-released line of 1963 passenger cars to attract younger buyers. Despite the short 40-day schedule allowed to produce a finished design and scale model, Loewy agreed to take the job. He recruited a team consisting of experienced designers, including former Loewy employees John Ebstein; Bob Andrews; and Tom Kellogg, a young student from the Art Center College of Design in Pasadena. The team was sequestered in a house leased for the purpose in Palm Springs, California. Each team member had a role. Andrews and Kellogg handled sketching; Ebstein oversaw the project, and Loewy was the creative director and offered advice.

The Avanti became an instant classic when it was introduced and has many devotees today; others consider its front end styling peculiar. Versions have been produced in limited quantities over the years by a succession of small independent companies, though never with real commercial success.

Loewy retired at the age of 87 in 1980 and returned to his native France. He died in his Monte Carlo residence in 1986. He was survived by his second wife Viola and their daughter Laurence. In 1992 Viola Loewy and British American Tobacco established the Raymond Loewy Foundation in Hamburg, Germany. The foundation was established to promote the discipline of industrial design internationally and preserve the memory of Raymond Loewy. An annual award of €50,000 is granted to outstanding designers in recognition of their lifetime achievements. Recent grantees include Phillippe Starck and Dieter Rams. In 1998, Laurence Loewy established Loewy Design in Atlanta, Georgia to manage her father’s continued interests in the United States. Laurence died on October 15, 2008 and is survived by her husband David Hagerman and their son Jacque Loewy. David Hagerman currently manages Loewy Design and the Loewy Estate. The Loewy Estate is currently cataloging the Loewy archives and raising funds to open the Raymond Loewy Museum of Industrial Design, originally envisioned by Laurence Loewy.

This is a design concept for Nike Free running shoes made out of transparent silicon by Repponen. Thus this shoe allows you to change the color just by simply changing the socks you are wearing. I like this idea. Funky. (via Moinid)