Ferrari: Under the Skin, A Multisensory Tour.

Venue: The Design Museum, London

Date: Saturday 17 March 2018

Edited Images.Ryan prince_12

Image: Visually impaired participants can be seen exploring samples of upholstery materials used in the making of Ferrari car seats.

The Tour

The FERRARI: UNDER THE SKIN exhibition commemorates Ferrari’s 70-year history and explores Enzo Ferrari’s inspirations, original photography, hand written letters, original drawings, and some cars from this iconic car brand. This tour for visually impaired visitors was an excellent opportunity to understand Enzo’s inspirations and to see the design and development processes that went into creating some truly remarkable cars.

The exhibition is dedicated to detailing the remorseless drive of Enzo Ferrari to create the perfect driving machine for track and road. There are 14 cars in this exhibition and our road map was to focus on a few models that carry a distinctive thread through the Ferrari history, allowing us to discover Enzo Ferrari’s passion and the continuing development of the Ferrari brand.

We looked at the 125S, the F40, an original 1:1 scale model of the J50, and the LaFerrari Aperta. This tour was also unique as we were able to deliver two tours on the same day, a testament to the popularity of the Ferrari exhibition.

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Image: Ferrari 125 S | Image Credit: Design Museum

The 125 S was the first Ferrari, an extraordinary achievement in an Italian economy devastated by the 2nd world war. This is the only existing official replica, built in 1987.

FerrariFact – Enzo Ferrari was 49 years old when this car was created.

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Image: Clay Model of the Ferrari J50 | Image Credit: Design Museum

Displayed here is an original 1:1 scale hand-crafted clay design model of the J50 which was made in 2016 in a run of only 10 cars to celebrate 50 years of Ferrari in Japan.

Experimenting with special modelling clay was first discovered in the United States in the 1920’s. Unlike normal clay, the water phase of the material was replaced with waxes and oils so that it remained soft enough to work with but firm enough to keep its form, an essential property which meant it did not dry out or harden too quickly.

The clay is initially built up more thickly than the dimensions given so the final shape is generated by a process of subtraction. Modellers continually work closely with the car designers, adjusting and appraising the car’s form as it develops.

An additional advantage of clay is that it is also possible to add material back on after it has been removed, so the process of creating a perfect car is both iterative and collaborative.

Ferrari flow line visualisation

Image: Flow line visualisation | Credit: Design Museum

Wind tunnel testing is the traditional method for developing racing car aerodynamics. Tunnel testing helps to visualise airflow over the bodywork, providing design solutions that reduce drag. Potential flow instability issues can also be resolved as accurate modelling of real world track conditions can be mimicked, providing opportunities for design solutions that can bring high-speed stability.

Fine detailing of aero sensitive areas of the car can produce substantial gains in performance and the Ferrari full scale wind tunnel test facility in Maranello allows the aerodynamicist the best opportunity to fine-tune geometry without the worry of scale effects.

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Image: Andrew can be seen describing the flow line visualisation

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Image: Ferrari logo | Image Credit: Ferrari Corporate

The Ferrari logo with its iconic Prancing Horse symbolises Italian luxury, exclusivity, performance, design and quality the world over.

According to Enzo Ferrari, after he won the 1923 circuito del Savio in Ravenna, he met the famous Count Francesco Baracca, father of the world war 1 Italian ace pilot Francesco Baracca, who had died in 1918. Ferrari also met the pilot’s mum, Countess Paolina Baracca, who suggested that he should put on his cars the prancing horse that her son had used on the side of his plane, as she thought it would bring him luck.

The original “prancing horse” on Baracca’s airplane was painted in red on a white cloud-like shape, but Ferrari chose to have the horse in black. The black color signified the grief of Baracca’s squadron after the pilot was killed in action. Ferrari’s engineering department adapted the horse so that it balanced on one leg with its tail pointed upwards.

The letters S F (Scuderia Ferrari) was initially engraved at the bottom but by 1947 the letters S F had been replaced by the Ferrari name. Then Ferrari added a canary yellow background as this is the color of the city of Modena, his birthplace. The logo is crowned with green, white and red strips, which symbolize Italian national colors.

The font of this logo is stylish and effective, highlighting the brand features of the manufacturer.

The featured car, the Ferrari F40

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Image: Ferrari F40 | Image Credit: Ferrari Corporate

The F40 was conceived as a special car to commemorate 40 years since the very first Ferrari – the 125 S. Enzo Ferrari suggested that the company did something special ‘the way we used to do’.

When the F40 was eventually announced in 1987 its Pininfarina designed body took everybody’s breath away. It was raw and mean, a car that looked like a racing model. The F40 model title was derived from “F” for Ferrari and 40 represented the fortieth anniversary of Ferrari car production. It was also the last new car presentation attended by Enzo Ferrari before his death in August 1988.

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Image: Andrew describes the unique features of the F40 to several visually impaired participants. The image shows the rear of the car and it’s distinctive rear wing.

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Image: LaFerrari Aperta in production | Image Credit: Design Museum

Designed for Ferrari’s most passionate clients, the LaFerrari Aperta is the new limited-edition special series model, and just 350 models of this spider version of the acclaimed LaFerrari supercar will be built.

This hybrid combines an electric motor and battery system to give a striking performance boost as well as a reduction in fuel consumption. The LaFerrari displayed in this exhibition is a white one. We normally associate all Ferraris with their trademark red colour, called “Rosso Corsa”, but buyers nowadays have a multitude of different finishes to choose from.

The workshop session.

For the workshop session, the Ferrari F40 was our model of choice. Workshop participants were able to take some of the ideas and thoughts from the tour into this session. We also had vector drawings and a 1:18 scale model to help with our attempts to create clay models of the F40.

Understanding how to convert drawings, the 2D phase of design, into more complex 3D one is key to judging volume and proportions on a real model. It is also useful for determining the car’s surfaces and for the insertion of fine details like the lights, doors and rear wing.

We were able to create a good number of clay models which looked great, especially as many were made by first-time clay modellers. We had tools like Surform blade, slicks and spatula to help clean up the surface but not really enough time to fully benefit from their use.

What was quite remarkable is the way all visually impaired participants were able to partake in the making process and how we could feel the surfaces and intersections in the clay models, observing the harmony of the shapes and the quality of the surfaces.

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Image: Visually impaired participants at the creative workshop waiting for modelling clay to be used in the making session. Andrew is assisted by two sighted guides.

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Image: A sighted guide and artist helps to mould the modelling clay into round palm size shapes.

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Image: Another sighted guide helps Andrew prepare the modelling clay for the making session.

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Image: Image: Visually impaired participants at the start of the workshop session.

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Image: A visually impaired participant uses the 1:18 scale model of the Ferrari F40 as he makes his clay model at the workshop session.

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Image: A visually impaired participant uses the large vector drawings to determine the scale and dimensions of his clay model Ferrari F40, at the workshop session.

Some Testimonials:

“A fascinating exhibition and fun activity after rounded off the event very well. The volunteers were excellent, and the guides were friendly and patient.” – Ema P.

“We were impressed with how much thought and preparation Andrew put into making the exhibition and its ideas accessible to the children.” – Peter W.

“The museum volunteers were excellent.” – Jessica B.

“Impressive!” – Mihay I.

Credits:

Tour Guide: Andrew Mashigo

Tour Programmer: Bernard Hay, Producer Adult Learning, Design Museum

Photography: Ryan Prince Art

Large Print Guide: MaMoMi

Copyright © 2018 The Design Museum. All Rights Reserved.

The next tour:

MULTISENSORY ARCHITECTURE TOUR

Saturday 12 May 2018
11:00 – 12:30

The sensory trail will stop at interesting features along a tour designed to explore specific physical features and a tactile walkway around and within the museum.

This is a free tour and early booking is advised.

http://www.mamomiinitiative.com

Beazley Designs of The Year Exhibition Multisensory Tour

The Design Museum
Saturday 18 November 2017
A Multisensory tour | Blog

Beazley Designs of The Year exhibition

Every year, the Design Museum recognises worldwide excellence in design through its Beazley Designs of The Year exhibition. This year, the tenth year in the series, showcases some of the most original and exciting products, concepts and designs from the following six categories; Architecture, Digital, Fashion, Graphics, Product and Transport.

The tour provided our visually impaired participants with valuable insight into many of the thoughts and criteria behind current designs and concepts, and ended with the unique opportunity to explore a few original objects from the exhibition in our handling session at the end of the tour.

Edited Images. Ryan Prince_05
A Visually Impaired participant explores the Paper Mache wall by touching with her palms and then finds more detail by rubbing the wall with the tips of her fingers. She is supported by a sighted guide.

Design is all around us and affects everything we do. Will designs be the brilliant breakthrough expected, or are some just absurd experimentations? Are the expectations of some designs realistic and valuable enough for the amount of development and time put to them? Underpinning MaMoMi’s multisensory approach are a focus on the interpretation of the available information, as well as collective participation, and we continue to express and demonstrate these values in our practice.

The Tour

For this tour and workshop session, we explored four exhibits; Meet Graham, Scewo, Gita, and Nike Pro Hijab, and toured the Play Space.

Meet Graham is an interactive lifelike sculpture demonstrating human vulnerability and the bodily features that would be needed to withstand a car crash. This is partly an educational tool and partly an unforgettable public service announcement.

Meet Graham was not installed as part of the exhibition but a short film demonstrated the making and workability of the concept. It is a grotesque depiction of how a human body would need to be formed in order to best withstand a car accident. It’s features include a flat, flabby face, tough skin, a barrel-like chest and a torso like an airbag.

Meet Graham is an interactive lifelike sculpture demonstrating human vulnerability and the bodily features that would be needed to withstand a car crash
Meet Graham, an interactive lifelike sculpture

Image: Meet Graham
Credit: Transport Accident Commission

Scewo is a futuristic looking wheelchair. It is a self balancing mobility device designed by a group of students and it enables wheelchair users to reach locations that were previously inaccessible. It is designed to sit up like a regular wheelchair and has a joystick and controls attached to the end of the handlebar. The user can also use a shift in body weight to control the chair.

It has two large wheels to drive around on flat ground and an extra pair of wheels at the rear of the chair allows users to raise the chair up so that they can engage with others at eye level. It also has rubber tracks that can be lowered to the ground for increased traction, allowing it to smoothly go up and down stairs safely, even on spiral stairs. Transitioning on and off the stair is automated and accomplished by the push of a button. The design also allows for many adjustments in the seating position. Scewo is still a prototype and under active development and was viewed via a short film.

Scewo is a stairclimbing mobility device. It is a mobility device designed by a group of students and it enables wheelchair users to reach locations that were previously inaccessible
Scewo is a stairclimbing mobility device

Image: Scewo
Credit: Scewo

Gita is a robotic personal helper that carries your belongings. The company behind the Vespa scooter have made its first move into autonomous transportation with this robotic personal helper that carries your belongings for you. The two-wheeled Gita is a cargo vehicle that can track its owner and roll along behind them. It looks like a drum with two bicycle wheels attached to the outer parameter, allowing it to roll along as it navigates space.

Access to the storage compartment is via a small secure and lockable lid at the top which can be opened by a slight touch, and with a tap of a button, Gita can follow you. It is approachable and communicative, using lights, sounds and a touchscreen interface to stay in touch. Gita is tracked at all times and has a 360 degree camera.

Gita is a robotic personal assistant that carries your belongings for you
Gita is a robotic personal assistant that carries your belongings for you

Image: Gita
Credit: Piaggio Fast Forward

Nike Pro Hijab is a performance hijab by Nike that will potentially change the face of sport for Muslim women. Over recent years, meetings with top-flight athletes illuminated performance problems associated with wearing traditional hijab during competition. Specific issues with previously used garments included the garment’s weight, the potential for it to shift during action and the lack of breathability would usually disrupt the focus of the athletes during competitions.

Nike’s design team combined this information with existing Nike innovations to create the initial prototype hijabs. Equipped with the feedback and collected insight from Nike elite athletes, Nike’s design is constructed from durable single-layer Nike Pro power mesh, a breathable lightweight polyester fabric that features tiny, strategically placed holes for optimal breathability but remains completely opaque, and a soft touch. The mesh is also stretchy, so when combined with an elastic binding it allows for a personalised fit that adapts to both the wearers head and sport. Fluff threads used at the neck eliminates the rubbing and irritation that can occur when an athlete sweats. It was unveiled two days before International Women’s Day.

Nike Pro Hijab is a performance Hijab by Nike
Nike Pro Hijab is a performance Hijab by Nike

Image: Nike Pro Hijab
Credit: Nike

The exhibition tour ended with a visit to the Play Space where Nimuno Loops is installed. The Nimuno Loops tape was developed to allow Lego builders to place their creations on the walls, the ceiling, furniture and pretty much anywhere. It can be cut and can bend sideways as well. It is an extension of playing with Lego and allows for an even more creative engagement with an abundance of possibilities.

Participants were able to deconstruct, rearrange and reconstruct the play space, and this very tactile experience was truly useful as it provided opportunities for play. This also initiated the discussion around creativity through responsive design. Interestingly though, the Nimuno Loops was not developed or even officially sanctioned by the Lego company, and it is a curiosity to see how Lego responds to the increased creative functionality this sticky tape offers the Lego bricks and it’s other components.

Image: The six images posted show visually impaired participants and our sighted guides visiting the Beazley Designs of The Year exhibition.

The Workshop

The workshop session was an opportunity to physically explore some objects from the exhibition. Our handling resources included a sample of the paper mache wall, the Nike Pro Hijab, the Nimuno Loops and a few Lego brick objects.

The Nike Pro Hijab is exactly what it says it is. Constructed from durable single-layer Nike Pro power mesh, it is a breathable lightweight polyester fabric that features tiny, strategically placed holes for optimal breathability but which still remains completely opaque, and soft to the touch. Visually Impaired participants explored the hijab’s stretchy mesh which, combined with an elastic binding, allows for a personalised fit that adapts to both the wearers head and sport. At the request of the athletes, the designers placed a signature Nike swoosh just above the left ear to highlight the hijab’s pinnacle performance nature.

The paper mache wall has sustainable and recyclable qualities, and also meets the design criteria for the exhibition, exploring forward thinking methods for exhibition design and installations. This neutral coloured paper mache is a composite material consisting of paper pulp and bound with an adhesive. The sample we explored was a cut out from the actual installation and was evidence that though the exposed surface felt a bit fragile, it would actually withstand a good amount of physical handling. The rough surface felt like it would chip off easily but it remained firmly fixed on the wall. The composite material has benefits that include sound and heat insulation, and its sustainability and recyclable qualities means that when the exhibition finally closes, it will be easy to recycle. You may also perceive a soft fragrance in the paper mache, depending on the make up of the pulp.

We began to deconstruct and reconstruct the Lego brick objects, using the Nimuno Loops to create interesting variations of the objects, and making use of the tactility of the sticky tapes to rearrange the orientation and usability of the Lego bricks. This provided a really fun experience for our visually impaired participants.

A Visually Impaired participant can be seen trying on the Nike Pro Hijab, with the assistance of a sighted guide
A Visually Impaired participant can be seen trying on the Nike Pro Hijab, with the assistance of a sighted guide
Andrew, the tour facilitator, explains the benefits of the paper mache wall.
Exploring a section of the sample of paper mache wall.


The Next Tour

The next tour is the DESIGNER MAKER USER Tour: the USER experience.

This tour and workshop session will hold on Saturday 13 January 2018, from 11:00 – 12:30.

We will continue our exploration of the Designer Maker User exhibition, and investigate design and the user experience. One question is, how does design interact with our senses, as users? A workshop session will allow participants to co-design new objects that respond to the themes discussed.

This is a free tour but booking is necessary. Please book by visiting the Design Museum website, via the link here Designer Maker User tour.

Please meet in the atrium at 10.45am.

Credits

Multisensory Tour Facilitator: Andrew Mashigo.

Tour Programmer: Bernard Hay, Producer Adult Learning, Design Museum.

Large Print Guide: MaMoMi.

Image credits: MaMoMi Images, except where mentioned otherwise.

Photography: Ryan Prince Art, for MaMoMi Images © All rights reserved

Copyright © The Design Museum 2017

Design and Play: Exploring Designer Maker User

The Design Museum | 9 September 2017

The Design and Play tour of the Designer Maker User collection at the Design Museum was our opportunity to review the impact of play in design, taking a view of creative play and concluding with an opportunity to design and make unique objects.

Taking a tour of Design Museum’s permanent collection, the Designer Maker User exhibition, you note that the almost 1,000 items of twentieth and twenty-first century design objects on display viewed design through the angles of and the continuing interaction between the designer, manufacturer and user.

Image: The meet and greet prior to the tour, and start of the tour at the entrance of the Designer Maker User exhibition
Image credit: MaMoMi images © All rights reserved
Photographs: Ryan Prince Art

The Timeline of Design
The pre-industrial era was a period when everyday objects were made by craftsmen in a process shaped by skill and precedent. The rapid growth of Industrialisation from the 18th century introduced greater possibilities for creating designs in great volume but many observers and users still wanted to protect the dignity of craftsmanship.

Rejecting Industrialisation gained momentary drive in the mid 19th century but the opportunity to deliver mass-produced products, made in less time, and meeting standardised specifications with the use of machine production realised through batch production, made business sense and encouraged the modern designer to embrace the idea of machine and industry.

Creative Play
Many experts believe that a child’s early experience of play have a formative effect on their motor skills and on their psychological and emotional development. This tour draws on the benefits of play in the design process, particularly highlighting traditional crafting and making processes, using elements of creative play that explores our senses as we explore various materials and different elements of creativity.

Play is the highest expression of human development in childhood, for it alone is the free expression of what is in a child’s soul” – Friedrich Froebel, Designer (1782 – 1852)

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Image: At the Creative Play display, Designer Maker User exhibition
Image credit: MaMoMi images © All rights reserved
Photograph: Ryan Prince Art

The Creative Workshop
The design of a product involves a range of steps that can include goal setting, research, getting a design brief, fabrication, testing and implementation. This tour and workshop helps us better understand the uniqueness of traditional craft-making methods while sharing the benefits of mechanised mass-production methods. But we will make sure it is also about play and having fun.

Play is an important part of the growth of a child but as we develop into adults, we stop playing so much. We get so bugged-down by work that we forget the value of play. During this workshop led by Lynn Cox, a visually impaired creative practitioner and freelance disability and visual equality trainer, we use craft-making processes to create several objects of design.

Image: Workshop activity in the Creative workshop
Image credit: MaMoMi images © All rights reserved
Photograph: Ryan Prince Art

Closing Note: Advocating for social Inclusion
An important goal of an access programme is to provide accommodations that enables individuals with a disability to participate fully and independently in social life, and the museum encourages its disabled visitors to participate in its public programme.

One way of approaching this, from a personal point of view, is to enhance opportunities and encourage an environment where able and disabled visitors can together participate in public events. The idea that events or activities should be reserved only for a particular audience causes or promotes marginalisation, or put in another way, social exclusion. Social Inclusion challenges barriers, values and behaviours, and by creating an inclusive learning environment, we actively support the goals of an inclusive society.

Social Inclusion is the process of improving the ability, opportunity, and dignity of people, disadvantaged on the basis of their identity, to take part in society.” – World Bank, 2013

The Design Museum’s multisensory tours are a key event for our disabled visitors but we also encourage other audiences to participate in our tours and events, especially when it does not deny a disabled visitor the opportunity to participate in the said event(s).

This Design and Play tour had its highest ratio of sighted participants to date, making up approximately half the number of participants, and is something we will continue to monitor and advocate. It is important to us that we continue to be an agency of positive social change.

A huge thank you goes to Bernard Hay, Producer, Adult Learning, Design Museum, to Lynn Cox, our workshop facilitator, and our sighted guides for their continued support.

Our next tour:
The next tour at the Design Museum is on Saturday 18th of November and will visit the Beazley Designs of the Year exhibition, taking a snapshot of the very best in innovative and contemporary design from the past year. More information to be published soon.

Andrew Mashigo
Founder and Freelance facilitator
MaMoMi

Action Painting: A Musical Composition

“Action Painting” is a musical composition created in response to a painting from our 2016 Dialogue Beyond Sight Exhibition. This musical composition was done at the chamber orchestra, in Malaga, Spain, by music composer and orchestra conductor Mr. Antonio Moral Jurado, and reveals a process that mimics the relation and points of union between approaches to a pictorial work and approaches to a musical work.

Spanish artist Ismael Moga attended our collaborative exhibition, and was one of the many sighted artists who contributed immensely to the dialogue around cross-disciplinary practice with visually impaired and blind creative practitioners. His painting, AfterHere, was created during a workshop activity run by British artist Rachel Gadsden, who co-curated the exhibition.

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AfterHere, painting by Ismael Moga

Image: AfterHere, by Ismael Moga.

“Action Painting” uses reference points such as style, movement, speed, energy and all those elements that give surface and colour to the painting’s texture. It also uses as a starting point the musical work, idealisation and abstraction of the creative process in the creation of the watercolour painting “AfterHere”.

In this composition, Ismael was looking to create a framework for action, by channelling certain sounds and gestural impulses happening through the harmonic and temporal spaces, which may sometimes be limiting. “Its leads to the obtaining of certain timbral or tonal determinations and colour implications, a function of the alternation between themselves”, Ismael said.
Below is the musical composition ACTION PAINTING, by Mr Antonio Moral Jurado.

Credits:

Artist: Mr Ismael Moga.
Musical composition title: Action Painting.
Author: Mr Antonio Moral Jurado, 2017.Music commissioned by Mr. David García Carmona, Director of Chamber Orchestra of the CSM of Malaga, Spain.
Director of Orchestra: David García Carmona.

Dialogue Beyond Sight exhibition is a MaMoMi project supported by Arts Council England

EXPLORING ACCESS.

EXPLORING ACCESS.
Access at the Design Museum: July 2014.

The Access programme at the Design Museum offers its blind, visually impaired and deaf visitors the opportunity to explore the museum’s permanent collection or special exhibitions with highly skilled museum educators, providing detailed and engaging experience of the works on display. The Design Museum is the world’s leading museum devoted to contemporary architecture and design, pioneering new thinking in design through its programme of exhibitions, events and learning projects.

DESIGNS OF THE YEAR 2014.
Closes on 25th of August.

DESIGNS OF THE YEAR 2014 is an exhibition that offers viewers the opportunity to review the last year in Design. Celebrating the very best across seven design disciplines, nominees were placed in categories ranging from Architecture, Product, Fashion, Furniture, Graphics, Digital and Transport. On show are items like the CHILD CHEMO HOUSE, KOBE in the Architecture category, through to the XL1 CAR designed by Volkswagen in the Transport category. Within these are a variety of objects and products to learn about and be fascinated by.

“These show the best of design, from initiatives in technology or materials to design that helps make life easier, safer or more stimulating. Which is your favourite nominee?” – Gemma Curtin, Curator, DESIGNS OF THE YEAR 2014.

The show is displayed on the second floor of the museum and there is easy access for wheelchair users via a lift that takes you from the ground floor. You travel through various themes like Care, Situation, Delight, Thought and Connect, with a clear view of the display and various items that can be touched.

For this publication, we will take a brief look at just a few items on display.

CLEVER CAPS

Designed by Claudio Patrick Vollers (Co-inventor & Designer) and Henry Suzuki (Co-inventor)

“Clever Caps are bottle caps which also work as building blocks. They can be collected and used on their own, but are also compatible with the world’s most popular building blocks. In this first commercial version, they were designed to fit PCO 1881 standard bottle necks, and include a tamper evident safety seal.” – Design Museum.

The Clever caps is fun, movable, changeable and adaptable. I see the younger visitors really enjoying this product.

THE SEABOARD GRAND

Designed by Roland Lamb and Hong-Yeul Eom

“The Seaboard is a reinvention of the piano keyboard, re-imagining the keys as soft waves that enable continuous and discrete real-time, tactile control of sound through three-dimensional hand gestures. The design combines contemporary minimalism and traditional handcrafted quality.” – Design Museum.

I like this one particularly because of its multisensory feature, as you play the keys through soft, silicone surface and can hear the sound through several headphones. This redesign of the piano allows a more intuitive control of the sound experience.

XL1 CAR

Designed by Volkswagen

“The Volkswagen XL1 becomes the world’s the most efficient liquid-fueled production car with an official combined cycle figure of 0.9 l/100 km (313 mpg) and an aerodynamic drag coefficient of 0.189. It requires only 8.4 PS to sustain a constant 100kph on a level surface in still air, a speed the car can reach from rest in 12.7 seconds.” – Design Museum.

The smooth curvaceous form and sleek lines around this car, and its aerodynamic shape, helps reduce drag and is equally good looking.

THE NEW CREMATORIUM AT THE WOODLAND CEMETERY

Designed by Johan Cesling

“Built on an undulating terrain in a wild wood section of the Woodland Cemetery, the New Crematorium features exposed white concrete and white glazed bricks in a building which is at once robust and sensitive.” – Design Museum.

The organic features of this product lends itself to greater exploration. The colour and texture of the brick used matches the building materials.

PAUL SMITH SHOP FACADE

Designed by 6a Architects.

“The cast iron used for this facade references London street furniture and creates a sharp contrast to the neighbouring Georgian townhouses. A sinuous pattern of interlocking circles puts an abstract spin on a classic Regency shape, while curved windows nod to the glass in nearby arcades.” – Design Museum.

Hidden in the facade is a Paul Smith drawing cast in the surface. This facade uses cast iron, a material with great thermic values.

Booking a tour:

To book a touch tour of this exhibition, please contact the access team via email at access@designmuseum.org or telephone 020 7148 6883.

View the Design Museum website at www.designmuseum.org

Next month, we will be reviewing LOUIS KHAN: THE POWER OF ARCHITECTURE, currently showing at the Design Museum.