Soumitri in 2016

Design is vehicle for change. A Design Project can be a campaign. In a furiously online world I see design projects as either a first step towards a business venture or a campaign that changes the way people think. Design innovations can change the way we deal with ageing and death. Design projects can change the way the world thinks about issues. Design projects can be about improving the lives of ordinary and marginalised people. Below are some of the areas I am currently interested in/ excited about:
  1. How to die well
  2. Ways of dealing with obesity
  3. Imagining a Future beyond Medicine
  4. Ways of Journalling Pregnancy
  5. Design for people with Locked-in syndrome
  6. Proposing a Bio-Dome (a personal diagnostic ecosystem)
  7. Design for living longer
I live and work in Melbourne. In Melbourne there is a lot of energy these days around imagining a healthy future. I engage with this energy.
  1. My design approach focuses upon proposing a future that contains preferred/ visionary products and services.
  2. I am excited by design projects that focus on the small and big challenges facing humanity.
  3. I see design projects as campaigns and so have developed, and therefore teach, the abilities required to prototype design projects within communities.
  4. My current interest is in innovations in healthcare services, where I focus upon de-medicalising and re-contextualizing normal practices to develop new traditions and artefacts in the areas of:
    1. Mental health
    2. Obesity
    3. Ageing
    4. Death
    5. Diabetes
    6. Maternal health
    7. Hearing loss
    8. (Defines the design theme or discourse)

What are the 10 big design challenges in the social sector? » Design Thinking

We have relatively few design thinkers operating in the world. What would happen if instead of that capacity working randomly on problems it was focused on a small number of big issues? Could we use new mechanisms like open source or prizes to motivate larger numbers of creative people to collaborate? Could we create categories where creative competition causes us to build on the ideas of others to create the breakthrough ideas many areas of society need? I think we could.

The first step is to generate the list of big design problems in the social sector. I want to take a stab at starting that conversation here. One place to start is the list of Millennium Development Goals published by the UN. What do you think? Is this the right list? What about social issues in the developed world like obesity or crime? What kind of metrics should we use to determine the potential impact of tackling any given challenge? Should we use a return on investment approach like Bjorn Lomborg? How do we go from these general categories to more specific design challenges? I would love your thoughts and ideas.

UN Millennium Development Goals:

Eradicate extreme poverty and hunger

Achieve universal primary education

Promote gender equality and empower women

Reduce child mortality

Improve maternal health

Combat HIV/AIDS, malaria and other diseases

Ensure environmental sustainability

Develop a global partnership for development

via What are the 10 big design challenges in the social sector? » Design Thinking.

Industrial Design Melbourne

This year, like every year at this time, a whole bunch of design students will leave university to enter the profession. And as with this time every year the prospect of making a living from design is scary!

So I said to myself I would do something about it. But what?

I could visualize projects – write grant applications and generate jobs myself. September saw me submit a grant application – to redesign a glucometer. A simple project – that can use fresh design talent. October saw me dream up a rash of design projects – and I realized I had missed the deadline for many grants – thats okay I said to myself, I could ask the graduating students to work with me writing grants. That is my solution.

But all this is a long term strategyl and what if I dont get the grants. OK – this problem needs a solution that has many parts to it.

So here is what I came up with – my short term strategy:

1. If I focus my attention on only 10 of them or so – I could ask around and find them work: But shouldn’t they do this themselves? This is training for work as a freelance designer – to hustle for work is a skill that is invaluable, and has to be acquired the hard way. Still I can pitch in – and ask people over email or by calling hem up. So I did this. It may work for one or two of this bunch of students. I have to remind myself to keep the pressure on the agencies.

2. Some of the students have not done so well in their last year. Life intruded. I realise they may want time to sort things out. Or a design place to be in for a bit.

3. I think some of the students would be better off starting a business. But they do not have the necessary confidence. I realise they may want a sounding board.

4. I think some of them would be better off going overseas. But they want to live in Melbourne.

So then I realise I could do things to help 10 students. And this is best done on a case by case basis. So I said to them all – ‘okay here is the thing, I am going to support you for a year will you find your feet’.

But this left quite a few of the others out. And this is when I went off and had a conversation with Design Victoria. I came away from that conversation understanding DesignVic’s agenda and role much better. It wasn’t about work availability for Industrial Designers. I mulled about talking to State of Design – then came across the Australian Design Unit – also being done by Propeller. So they were doing something else – which was part promoting design in Melbourne and part resource for designers. Neither answers the problem – how do you employ the hundred or so fresh design graduates?

What if you dont? Well (a) its not fair, and (b) its back to the retail sector for the graduates, and of course with some more options which may be employment elsewhere – not design! I have for decades heard the comment that this is an okay situation – that we train our students will a tool kit – ‘the design way of thinking’. I wish I thought like that. I cant. My predicament is that in my previous job I looked after placements – and campus recruitments. That was in India. It doesnt happen here.

So I am back to my hole – I need to do something that will work for everyone.

This is when I thought to rectivate a NING social network we had set up last year for a course. I did that and sent off the info to the whole student community. Now in my next post I will talk about the vision for this project.

So remember the project is called – “Industrial Design Melbourne“.

Its a social innovation project.

And the NING network is here if you want to join it.

And if you have a suggestion of a solution to the problem – let me now through a comment here.

on Design Forums

Why has the level of discussion in “design forums” degenerated so quickly? Maybe because they’re not populated by “designers.” Greenfield explains …

A List Apart: Articles: The Bathing Ape Has No Clothes (and other notes on the distinction between style and design)

I admit it: I’m one of those poor souls who likes to indulge myself in the fiction that there’s something called “the online design community.” And (in what is probably a still greater admission of my own naivete) I believe in both the possibility and the worth of associating with this diverse and international scatter of people on message boards.

Indigenous Australian Design

(picture above – David Lancashire)

On Monday I was asked to be a ‘respondent’ ( my first time as a respondent!) at this event – Culture Shift:

Culture Shift: An Indigenous Future for Design

There’s a global shift in design towards greater collaboration. In Australia, designers have learnt greatly from working with Indigenous communities. But as with the new wave of Indigenous film directors, there is also an emerging generation of Aboriginal designers in fields such as architecture, fashion and interior design. Join a discussion about how our future will be shaped by Indigenous design.

INDIGO is an international platform that asks – What is Indigenous design? As an Icograda-led initiative of the IDA (International Design Alliance), INDIGO is a multi-disciplinary network of designers and stakeholders generating a community and presenting a series of projects to explore the meaning and interpretation of Indigenous design culture throughout the world.

During the State of Design this free public forum will bring together Indigenous and non-indigenous designers and commentators to look forward, examining how their architecture, product design, craft or art practice can step between cultures, drawing benefit from both, and generating a new proposition for Australian design language.

I saw some work that was spoken of as connecting to land, country and culture. The speakers spoke to motifs, colors, forms and process – all as distinct with a desire to produce something specific and precise. The specific and precise is my way of constructing a category of the ‘meaningful’ in design. Design is often utilitarian – of course – and here were designers and architects working to add an extra dimension – in the porcess hinting at the existence of an indigenous ‘way of design’. I am intrigued by this suggestion of the redesign of the design process itself.

My response was as usual all over the place and spoken very fast ( there was very little time and a lot to say ). I am at this very moment writing a piece on ‘design and the sacred’ and suddenly I was furiously rewriting the main points because the ‘sacred’ was being replaced by the ‘significant’ or the ‘uncanny’. Many people walked away that evening with the notion ‘ anything can be made sacred’ – which was me doing Durkheim. I also threw in a generous dose of the roots of design in India. I said that at that time in 1854 there were three parts to the “project” of design for indian crafts – one was a school ( a curriculum- lithography, pottery and so on), the other was the ‘institute’ of art in industry( to bring industry – read clients – and artists together) and the last was a journal (to influence opinion).

Four things are interesting here – as a construction of the elements of the theory of indigenous design:

Re Designers: There are two parts to this one indigenous designers doing design ( indigenous inspired – Alison – or just normal design) and the other is non-indigenous designers (David) doing indigenous inspired design.

Re works: The focus of this work is either for consumption by indigenous communities (troppo, merrima) or by all (Page jewellery, David).

Re Genre: Are we arriving at a specific class of artefacts, designs, experiences that classify themselves as indigenous? Is there a new design process, or is the artefact valuation (appreciation) different?

Re Context: I am inspired by David’s location in NT and the opportunity for immersion. Indigenous imbued-inspired artefacts in natural settings and in contrast in urban settings.

Which has started me off on thinking about INDIGO and a hypothetical project – indigenous australian design practice.

1. What is it: There are many practitioners who are pioneers in Australia and are making a mark. This jewellery is by Alison Page – who is striking out on her own in defining ‘aboriginality’ in design. Some very exciting stuff. Others are Troppo and David Lancashire. Then there is indigenous design in the Americas. (I went looking for some of this stuff – see following posts)

(images above – Alison Page, and work by Troppo Architects.)

Diamond Dreaming – Rare and beautiful jewellery, Sydney, Australia

Mondial Neuman Jewellers have collaborated with Indigenous Designer Alison Page to create an unique range of contemporary Aboriginal jewellery using natural coloured diamonds and precious metals. Diamond Dreaming is the first range of jewellery of its type in Australia.

2. Why is it this way: The project is an amplification and appropriateness, or a quest for the indigenous and a grounding of the design in context. So this is one way of describing the project of ‘doing the indigenous’

3. What else can it be: The main work is now happening in ‘industry’ as commercial projects, a lot of it is state funded projects – there is however very little from the universities. hat can be the location of an initiative.

4. What should it be: A three year project to build a multidimensional action research project. Some design, some research and some teaching – just three things.

(this is writing in progress)

Do you have a comment to offer? How would you answer – what else can be done?

Sustainable Designs for a Living World

Design for a Living World photo
10 Awe-Inspiring, Sustainable Designs for a Living World: Showing Now at Cooper Hewitt (Slideshow) : TreeHugger

Not able to hoof it to New York City’s Cooper-Hewitt Museum for the Nature Conservancy’s Design for a Living World”? Fret not, because we’ve brought the exhibit to you through the magic of the Internet.

In our slideshow, you’ll find prominent designers from the worlds of fashion, industrial, and furniture design (Yves Béhar, Maya Lin, Isaac Mizrahi, Hella Jongerius, and Kate Spade, just to name a few) who have explored natural, sustainable materials from specific parts of the globe where the Nature Conservancy works, from the grasslands of Idaho to the forests of China’s Yunnan Province. The result: Beautiful yet practical objects with the potential to revolutionize entire industries and reshape lives.

A future led by corporate projects

Good on you Peter Jones. So well put. I will push for a more radical position – but ‘led by corporate’ is a damning statement. You slave you, designer you. You are part of the problem – but do go there (below) and read his words. And if it works for you – I will be glad.

Design Leadership for Problem Systems

Yet in the gritty reality of everyday work, the vast majority of working designers and design educators are training for, skilled for, and planning on a future led by corporate projects. Many of us owe our livings in a creative, dynamic profession to the overabundance of producing new things and marketing those things and services via every channel of media available. We might accept this reality as yet another dichotomy among those of our modern values systems, which indeed it is. Many of us love and enjoy the constructive and skillful work we do, but may not love some of the outcomes we are making happen. Yet I say we can find new ways to motivate and lead by asking questions, presenting alternatives, and designing social opportunities as we might create artifacts.

Integrated Design

I have been looking at the Bachelors in Integrated Design offered by the Koln International School of Design. This means I have considered it from many angles and there are many things I like about it.

1. I know many designers who trained as one kind of designer and then went on to practice as another kind of designer. So in a sense traditional specializations are transmutable or convertible or – check this out – all the same.

2. The specialization in design is not at the level of design method, it is not at the level of aesthetics and it is not at the level of marke and branding. It is only in the knowledge and ability to work with technology. So textile designers learn a completely different technology to that learnt by other designers.

3. There is another level of specialization – that at the levl of skill, in that motor skill – so ceramic design in throwing pots, textile design in weaving and knitting. But the other disciplines are a bit removed from their material manipulation.

Now where Integrated design begins to make sense to me is in the absence of a charge or agency in the designer – in this I refer to the herding by schools of designers to channel them into sectorially defined professions. You are a product designer – and you will work in the manufacturing sector making appliances. There was probably and time and place for this – but that time is past. Some will disagree here  for that is the ‘real world’. But let us leave that aside – for there will continue to be enough design programs on this planet who will continue this kind of chanelling.

I am looking at a program where the ‘agency’ of the designer is to take on ‘intractable’ problems. A designer who does not feel compelled to go off and work in an office in a city or for a big multinational. One who is told in design school – that their role is to change the world and solve its problems.

The Table in Context

This is interesting and different from the studio as the location of design. But still valid as the consultant preoccupation. What may also be interesting is to focus upon what we do not speak about because we believe mistakenly that what we believe in as the ‘right way’ is ubiquitous or that our way of thinking is ‘value free’. Designers are actually an ‘agency’ and their practice is a campaign (see the web address of this blog) – and this is why designers become outdated so easily.

adaptive path » blog » Dan Saffer » Smash The Table!

Being outside allows designers to be advocates: lobbyists for what is the right thing to do for the users, the integrity of product itself, and even in some cases for what is best for the business.


As Dreyfuss knew, sometimes it benefits us to be more like artists than scientists. Design is, after all, a combination of science and art, and it is often art’s job to shine a light on what is uncomfortable or hard to do: the strange and unusual. The Truth with a capital T (which also means Trouble). We just need to draw on that legacy more often. Telling a CEO her vision of the product is the wrong one is not easy. It requires two things: courage and allies.

I hope we’re nearing the end of the product design mindset

Emergence 2007 » Blog Archive » What People Are Saying About the Emergence Conference

Todd Wilkens from Adaptive Path’s talk–”The End of Products”–was near to our hearts. Building the argument for ecosystems rather than products, he talked about the need for less service design than a “service mindset,” concluding with the admonition: “I hope we’re nearing the end of the product design mindset.” —Allan

I can do my take on Design Today

I make a proposition that Industrial Design is at a place where graphic design was in the 90s and photography was at the time of the digital camera. The line between the professional and the amateur is blurred. The amateur often explains better – and in the early days of the explainer these people were Historians (Penny Sparke) and later Management people – and this community has among them some very prolific people like the Sociologist Liz Sanders. Another things that happened in the 90s was that the STS (science technology and society) wallahs moved in to study ‘how designers design’. In the celebrated example (or atleast a example I am fond of citing – so I don’t really know if it is celebrated – and by whom, maybe by the social science people) of the Aramis study Latour does an amazing job of mapping the discourses of the various stakeholders. I teach my students to do Actor Network Mapping if only for them to understand the perspectives of the different stakeholders.

More specifically the study of the ‘design process’ ( as a step by step process/ activity plan used by designers in a fuzzy way) was an initiative of the corporation and motivated by – the goal – the desire to study the activity (activity analysis) to make it more systematic and amenable to management practices. (note whether the good product can only emerge from a rigorous ‘process’ is still an open question – but as an enterprise option it is the only way to go).

I am interested at this point – in giving voice to the designers lament that ‘oh we have been overrun by the outsiders’. But I don’t wish to go down the path of maintaining the purity of the discipline – like my colleagues – but am quite happy to be eclectic and engaged with the social science discourse. I in fact did my PhD in social science – so I have a particular stake in seeing the social science perspective come to the fore and dominate articulations.

To quickly capture the point I am making – I propose two provocations:
1.    Are the products made today ‘unique’? That is could they have emerged from traditional design approaches or projects constructed in the ‘old’/ traditional way.
2.    Are products today consistently successful. Is the lowering of “Risk” – by making design systematic – paying off.

(This is the project perspective – a note to myself)

China Partly Blames Foreign Designs For Unsafe Toys

China Partly Blames Foreign Designs For Unsafe Toys

BEIJING (AFP)–China on Tuesday laid part of the blame for poor product safety on foreign companies whose designs were flawed, as millions of parents around the world prepared to buy Chinese-made toys for Christmas.

In a defiant response to a reporter’s question on toy safety, foreign ministry spokesman Qin Gang said China took product safety seriously but toy producers in the country should also be careful of foreign-made designs.

“Some Chinese toy producers produce their products according to the designs of their foreign clients and then it turns out that there are problems with the designs of these products,” Qin said.

“Those designs were produced by the foreign side so here we remind our Chinese producers to not only pay attention to production, but also be careful with the designs by the foreign parties.”

China is the world’s biggest toy exporter, with total sales of 60 billion toys in 2006, amounting to 60% of the world market.

Bonnie at the Melbourne Design Market

I went to the Melbourne Sunday Design Market – orgainsed by the Nationla Design Centre. This market happens twice a year. Here is a picture of Bonnie’s stall.



Any object that has been used, modified, or manufactured by humans, such as a tool, weapon, or vessel. In art, an artefact is a product of human skill and creativity, while in archaeology, the object may be a simple item of importance and interest.

Armenian Architecture – VirtualANI – Glossary

Any small object that has been manufactured, used, or modified by humans.

Cancaver – Glossary of Karst related terms

A product of human manufacture or art, e.g. tools of bone, stone flakes, etc., paintings, engravings. In caves, tools are often buried in sediment.

World Wide Words: Artefact versus artifact

[Q] From John Weiss: “Could you give a note on the historical or geographical divide between artifact and artefact? I was brought up to stick with artefact, much as the incompatibility with artificial annoyed me, and I was surprised to see you use artifact. I suppose I could look it up, but your explanations are more fun.”

[A] Flattery will get you everywhere …

Presumably you are referring to the recent piece on ecofact? In the newsletter I was inconsistent, using artefact one week (while noting that Americans spelled it artifact), but the next week accidentally spelling it artifact (I put in as evidence for the defence a saying of Ralph Waldo Emerson: “a foolish consistency is the hobgoblin of little minds”).

In saying that the British spelled it with an e, while Americans spelled it with an i, I was guilty of a sweeping generalisation that needs some qualification and footnotes.

Both spellings may be found in both countries. In Britain, the preferred form given in dictionaries is artefact, though the other often appears as an alternative. The Oxford Dictionary for Writers and Editors firmly suggests spelling it with an e, as does Bill Bryson in The Penguin Dictionary for Writers and Editors. However, the style guide of The Economist, with a large international circulation, suggests using artifact, since it is acceptable, it says, both to American and British readers. Americans prefer the i form by a large majority, but not exclusively so — newspaper practice seems to vary considerably, some insisting on the i form, others being more relaxed about it.

Reviving Experimental Design, by Scott Klinker

Beyond Fashion: Reviving Experimental Design, by Scott Klinker – Core77

Today, if any realm can claim the conceptual high ground of design research, it is interaction design–the perfect intersection of objects, systems, and social behaviors. Interaction design has become a separate branch of design discourse, a friendly sibling of industrial design with it’s own unique vocabulary and community of practice. IAD contains a universe of new theoretical questions that promise to transform daily experience. As physical stuff is enabled by networked data, a world of new experiences and cultures open up, along with the anxieties and fears triggered by accelerated change. Who will be best qualified to explore these concepts? Architects? Object makers? Interface makers? Social scientists? And which of these is likely to build a truly human poetics of interaction? Pioneering hybrid thinkers, and hybrid teams already begin to point the way.


d.light – About Us

The use of kerosene lamps has caused countless disabilities and loss of lives. Kerosene lamps are a poor and unreliable source of light that emit smoke and create unhealthy home environments. They depend on kerosene fuel, which is expensive for the rural family. There are 1.6 billion people worldwide who still use kerosene as their exclusive source of light.

Our Vision
D.light will be a world market leader in off-grid lighting and power solutions, unceasingly serving our customers with innovative products that improve their lives.

Our Mission
We will replace every kerosene lantern in the world with high quality and affordable light and power solutions, thereby providing everyone access to a basic human need: safe and bright light.

By 2010, we will improve the lives of 10 million customers.

By 2015, 50 million customers.

By 2020, we will have improved the lives of 100 million customers.

By then, we will have significantly contributed to completely replacing kerosene as a lighting source with clean, safe, and affordable lighting.

Research Publication – five years on

Looks like an interesting document. See – Five Years On. Victoria’s Design Sector 2003-2008
“5 December, 2008, Join us for the launch of the research publication that will provide a valuable knowledge bank on Victoria’s design sector.”

2nd Road

About us – 2nd Road

2nd Road is a training and consulting firm specialising in shaping large scale change.

Our methods and business philosophy have been developed over the past 20 years through our considerable consulting and training experience.

We believe that the key to shaping our futures lies in the arts of Conversation and Design:

* Conversation is talking through problems in an open, free flowing dialogue
* Design is the art of inventing new things (not organising them), of turning thinking into action

We empower people to think and act together more effectively, placing them on the front foot and enabling them to design better futures for themselves, their organisations and their communities.

We liberate and focus the natural intelligence that lies hidden in organisations and communities.


Meeting a Masters student two days ago I was thrown back to a stint I did in Lisbon in 2000. I spent a big aprt of that time reading and one of these was on the indea of the Transnational. Yesterday I saw work that was a classic in the realms of the transnational – how designers function in a global space by constructing works that are a melange of cultural discourses, artefacts and processes.

When Baz Luhrman did it in Moulin Rouge some saw fit to decry the work in pejorative terms – as a pastiche – but others saw a celebration and experimentation in the genre of Bollywood. When Wright did Japanese architecture – it was hailed. When we see art nouveau today we seldom see it as the new Japonsime. But hang on these are one way things – these are ‘influences’ acknowledged or unacknowledged. And are of a particular class of things.

When Mira Nair does Monsoon Wedding – its western eyes doing India. Its the diaspora expressing its longing for the ‘zinda dil’ – its a bit bollywood – but more hollywood visits Delhi with a punjaban as an escort. This is transnational stuff. This is a creative project with many dimensions and layers of cultural meaning. When Chadha does Bend it like Beckham she is nearer the issues of ngotiation – and it is grounded.

When Miyake does ikat from India – its a creative practice that collaborates with craft. When Italy does mojaris – I dont know what that is. But this is what designers do – atleast some of them. And when they do this – a motif from here, a technique from there, an element from somehwhere else all tied together with an aesthtic judgement from another place – we get magic.

So I went looking for texts and have put up some resources here – take a look:

Elements of a discourse on the Transnational

INT3160: Transnational culture in theatre, literature and film


This unit examines transnational culture in selected works of literature, film and theatre. Cultural production in these fields has shifted radically over the last generation as terms such as ‘postcolonial,’ ‘hybrid,’ ‘fusion,’ and ‘intercultural’ have become increasingly contested when applied to works that extend beyond national boundaries. A body of work has emerged in literature, film and theatre that challenges conventional notions of ‘host’ and ‘target’ cultures in an intercultural exchange, suggesting that artists are doing more than simply ‘borrowing’ cultures and their lived experience in a globalised world increasingly obliterates what were once viewed as firm cultural boundaries.

Students who successfully complete this unit will be in able to:

1. articulate a deeper knowledge of the complexity of cultural flows across borders
2. apply this deeper understanding to specific cultural contexts and works of art in literature, film and theatre
3. analyse the complex strands of cultural interactions within a work of art
4. articulate and be able to defend a personal position with respect to these cultural flows
5. develop further skills in research and writing
6. synthesise knowledge obtained in class along with information from a range of sources in an original, analytical piece of writing
7. Third year students will extend their writing and analytical skills further through a deeper engagement with theory in their seminar presentation and essay.

Use Your iPhone As A Wireless Numeric Keypad

NumberKey: Use Your iPhone As A Wireless Numeric Keypad | Mark’s Technology News

Here’s a neat solution for both on-the-go number-crunchers and gamers alike. Called the NumberKey, it is an iPhone App which displays an elegant numeric keypad and wirelessly transmits touchscreen keystrokes to your MacBook or MacBook Pro.

NumberKey was developed by Balmuda Design for people who require the numeric keypad omitted on MacBooks. For the wireless connection to work, you need to install their NumberKey Connect software on your laptop (only macs at the moment) so that it can interpret the information sent by the App Store Application on your iPhone or iPod Touch.

‘Second Life’ textiles


TED team member Caryn Simonson was recently part of a panel discussion at the ICA in London as part of the Textile Futures Research Group (TFRG) Salon series.

‘What Future for Living Textiles within the Built Environment’ was exploring how textile designers inhabit other design fields and cohabit with the world of science, particularly with the recent developments in nano and bio technology. The question being asked was how much is the textile design discipline changing and are we as designers and consumers ready for the next material revolution?

After hearing from architects Mark Gaulthorpe and Mette Ramsgard, Caryn Simonson presented the recent TFRG project in which work from the Group is being shown within the virtual space of Second Life. The Group have bought their own island on Second Life and have designed and built an exhibition space to show the work.

3D Printer Feeds On Paper And Glue

Mcor Matrix 3D Printer Feeds On Paper And Glue | Mark’s Technology News

Finally, we’re getting closer to a consumer-level 3D Printer. This model, called the Matrix, is made by UK company Mcor and crafts intricate three-dimensional objects using nothing more than cheap sheets of standard A4 paper and glue.

The cost savings over plaster modeling and proprietary media are huge. In the image above, the head comes in at €7.20 ($9.25), the house €1.20 ($1.54), the hand €3.70 ($4.75) and the teeth cost as little as €0.63 (80c). You could probably do even better than this too by using scrap paper and picking up lots of regular PVA when it’s going cheap. Note: You are supposed to use their “proprietary glue”, but seriously, how different can they be? Both are water-based PVA.

The printer seems almost magical, but the process really is quite simple. Starting from the ground up, it feeds a sheet of paper and applies glue to the required areas, as dictated by your design. It feeds another sheet on top and the excess is trimmed away with a tungsten-carbide tipped blade. Compared to a Concrete-Jet 3D Printer, it’s child’s play.

Learning to Ride the SBU – Self Balancing Unicycle

Self Balancing Unicycle – mad!

Vodpod videos no longer available.

Alligator-Like Vacuum Has LEDs For Eyes

Miele S7: High-Tech, Alligator-Like Vacuum Has LEDs For Eyes | Mark’s Technology News

German appliance manufacturer Miele have come up with an impressive new ultra-flexible vacuum cleaner called the S7, which features an array of bright LED lights on the suction head to floodlight all your dirt and dust. Apart from looking great, this simple addition should help prevent missing a spot and the cursing that inevitably ensues.