I don’t typically mind separating a few eggs the old fashioned way, but this new and improved method might come in handy if one were talking volume. I am very intrigued by the fact that the demonstration is taking place on the couch and not in the kitchen. Also note that the video has been viewed over 10 million times. Thanks to Danièle for sending my way.
Most forms of work possess a certain level of artistry. Wiring and plumbing are no exceptions. Like most of us, I have a fear of my home catching fire or of the pipes bursting. I don’t think about it all that often until I come face to face with evidence of a really bad job. Or, for that matter, a really good job. Regardless, I am fascinated by schematics, and especially so with those that either represent a system that is highly functioning or one that is on the verge of failure.
As an industrial designer, one of those skills in which one should have achieved a certain amount of fluency is the ability to create a three-dimensional object out of a series of two-dimensional shapes…and vice versa. This is something I have yet to master. So, is it any wonder that my attention is fixed on these drawings of disassembled objects? Just from looking at them, I can guess at what their final shapes are. But in order to be sure, I’d have to cut and fold. Of course, from Agence Eureka.
I was reading the actual paper version of the NYT this morning and was basically assaulted by the scent of perfume as I paged through one of the sections. Couldn’t figure out where the odor was coming from until I bent my head down to sniff an advertisement for…perfume. Blech. And then I was reminded of some razors I bought over the summer. They emitted a very pungent strawberry scent as soon as I removed them from the packaging. Again, I couldn’t initially figure out from where the aroma originated. And how had I missed the two little berries on the label? Something about this seems to have crossed a line. I’m still mulling over why it offends me. I did a little homework and found a story in the Times offering up various explanations (most of them pretty obvious, but still weird) as to why the last unscented bastion in our bathrooms has now succumbed to the forces of marketing.
I went to buy a couple of new alarm clocks yesterday — we have a cat who is occasionally unruly and hurls everything on the bedside tables to the floor. no clock could stand up to such repeated abuse — and was reminded of how truly ridiculous we designers can be sometimes. As I was standing at the counter trying to decide between the black version or the white one and back again, the soft-spoken, very design-ey gentleman in charge of the shop inquired in the nicest way possible, “Does it really matter?” Instead of taking offense, as perhaps I should have, I burst out laughing. He’s right, it doesn’t freaking matter. It’s a clock for crying out loud. It’s unobtrusive, simple, well-designed. Who cares if it’s white or black? Would it really make a difference in my life one way or another? It’s not going to work better if it’s one color versus another. This particular clock is a re-issue of a design originally created in the 90s by Dietrich Lubs and Dieter Rams for Braun. Oh, and for the record, I bought two black ones.
I attribute these few words to Eric Asimov, a food and wine writer for the the NYT. He was referring to choosing a wine to pair with food (specifically oysters), not ruminating on the creative process. Although I suppose picking a wine to be compatible with a certain aliment could fall into that category. Anyway, I wrote it down and have been trying to remember it ever since. This is not to say that I don’t strive for exactitude, but I try to be mindful of it not becoming an end in itself. Or an obstacle to everything.