• You might be sleeping, but the UP3 will still be awake tracking the sleep patterns and the quality of wearer’s sleep through stages of REM, Light, and Deep patterns, converting the data into a status report for tracking and improving daily sleeping habits.
• The UP3 is not only able to determine how you’re doing, but also what you’re doing. Algorithms, partnered with the multi-sensors – work together to identify the specific type of workout you’ve completed, then offers personalized guidance for improving performance and overall health. Over time, the UP3 is able to take personal biometric data and shape recommendations via the UP App “Smart Coach” feature.
• While Apple’s watch will require daily recharging, the UP3 can go a whole week (7 days) between charges.
• The UP3 is water resistance up to 10 meters, ideal for pool swimmers. The Jawbone UP3 starts at $179, currently only available for pre-order in Silver and Black, each with their own distinct relief surfaces. Jawbone promises additional colors and textures, alongside matching rubber, leather and woven band options, will be released later in 2015.
I don’t think the challenges are any different from footwear to cars, as I believe good design balances where you have been and where you are going.
Are there any materials and/or design solutions appearing within automotive interiors today which have a direct corollary to active footwear (or vice versa)? And are there any materials on the horizon which you’d like to begin working with in either category pollinating one industry from the other (Flyknit trim inside the next Vette)?
I think the materials of the two industries go hand-in-hand to an extent. They definitely grow from each other in an aesthetic standpoint. The one thing that footwear can do is take more risks. Like I said previously, consumers are more forgiving there because the investment is lower. But the one thing athletic footwear can’t do that automotive can is use very, very high quality materials. The leathers we use for an interior of a Corvette are closer to matching a formal shoe that is $600+ as opposed to the welded synthetics you find on any top line basketball shoe.
You mentioned [Nike] FlyKint, I think that if you look across all genre’s of product development currently that we are all looking for our “FlyKnit”. An opportunity to create a product with a material that has endless aesthetic limitations, is lightweight, meets performance standards and is cost effective is always something we will pursue. The big challenge for automotive is finding something that does that but also meets are standards of being iconic. Corvette is over sixty years old and we believe that the materials that were selected on that very first car are just as beautiful today as they were in 1953. We have to make sure that our next development of materials lives up to that same standard.
We just got back from Mondial de l’Automobile and one of the things that struck us was how conservative the American market is when it comes to color, finishes, and materials in our cars. Yet the athletic footwear industry is perpetually pushing the bounds of both fashion and function. Why is there a disconnect between what we wear and what we drive here?
I think the disconnect comes down to two things: fashion and money. An entry-level car is still more than $10,000. At that point for many it is less about a choice and more about an investment. When you bring [a car like the Corvette] into that conversation, you start at $53,000 and only climb higher. Outside of the ultra, ultra exclusive luxury products like a Birkin bag or something similar, high fashion is still pretty affordable in those standards. In my eyes people are much more willing to take a risk at a lower cost, particularly fashion, because they don’t expect it to last forever. They are only thinking emotionally when it comes to that purchase because it meets their current want.
When it comes to a car, it’s a combination of emotion and logic. For many Americans a car is solely about function and they don’t necessarily need a car that screams for them. They might just want it to whisper. For the select few that want to scream – like the Corvette or Camaro buyer – we provide them with very distinct and bold color combinations that really speak to their emotions. A good example of this is on the new Stingray.
I created the Adrenaline Red color space (above). The color doesn’t whisper anything, it only screams the emotion of bold performance. Currently it is the second highest selling color interior for the Stingray – second only to Black – I like to think it is because of the approach we took on it. We knew if we were going to feature red we had to feature it in a bold way. That color isn’t a color you can shy away from. If someone is selecting red they are expecting to get red in a dramatic presence, and I think we’ve provided it.
So you’ve now not only been responsible for redesigning the Air Jordan line, but you’ve also helped redefine two American icons, the Corvette and Camaro. As a designer, what are the challenges inherent with working on brands connected with such heritage?
The brand heritage of Corvette and Camaro are something that I take very seriously. Every time we are kicking off a major project I visit our Heritage Center, our archives so to speak, where I can go through the history of the cars with not just brochures and color swatches but actually with the vehicles physically. It’s one thing to see images of your history, but it is a completely different experience to sit in it, hear it, and ultimately drive it. It really brings the past sixty years of Chevrolet performance through all of your senses.
As for challenges, I don’t think the challenges are any different whether for footwear to cars, as I believe good design balances where you have been and where you are going.
Where do you most often look to for design inspiration outside of the automotive and footwear industry?
I use to rely heavily just on visual inspiration from current trends that I have seen or noticed in life. While I still do that, I am really transitioning to experiential-based inspiration: observing how our products are used and the nature in which they live gets me thinking and helps me builds stories that are relatable to the vehicle. I have been visiting races, car events, and [automotive] shows to immerse myself in the product and really see where it has been and can go. Most recently I visited our race team headquarters at Pratt & Miller, spending the day photographing them as they prepared our C7R racecar for an up-and-coming race. This provided me with so much tangible inspiration for the car and where we want to take it. It was a phenomenal experience.
I believe good design balances where you have been and where you are going.
In the next 10 years, what do you predict will transform the automotive interior from a design and materials perspective? I think that the car interior will change dramatically over the next decade. It is becoming more and more evident that our car is going to be more then just a driving vehicle as autonomy comes into play. Combine that with the notion individual design and bespoke editions are going to become more expected as 3D-printing grows, and you will see the car interiors completely transformed. I imagine materials that change with according to the body and atmosphere it is in, materials that transition colors from one area to the next, along with materials that live and interact with you. I think the key thing that will happen is that the interior materials will become a part of you, not just passively there for you like they currently are. What detail would you like the average person to take note of the next time they’re sitting inside a car or while checking out new shoes? In both cases I’d want them to understand that everything is there for a reason. Everything that you are encountering while slipping into shoes or into a car seat has been created to enhance your experience. There is a story and thought that brought those elements to you, and that many people worked many hours to create something so breathtakingly beautiful for you. So enjoy it! A special thanks to Brett Golliff and the General Motors team. You can also follow Brett on Instagram or Tumblr.
More than 25 million bags are lost or mishandled by airlines every year. With the advent of microcomputers and the Internet of Things we have the opportunity to prevent these problems while providing a smarter option to travelers of the connected generation.
- Bluesmart co-founder Brian Chen
Bluesmart Technologies is planning to release their smart carry-on beginning July 2015, and are seeking funding via Indiegogo.
Tend to your Backburner. Keep a “Backburner” to catch ideas that may someday become actions. Whether it is an idea for the future or some small errand you want to remember, put it in the backburner and then forget about it.
Think beyond lines and boxes. The dot matrix on the front and back of each page serves as a subtle guide for your notations and sketches.
Preparation and Focus Items. Plan for meetings beforehand and be sure to address your focus items. Behance recently announced it found itself a spiritual creative partner in record label and art company, Ghostly, adding a refreshed and apparition branded Action Book and Dot Gridded Book amongst several other Action Method notebooks.
“Brainstorming from our apartments during the hours outside our day jobs, we used our personal Action Pads to capture and complete countless action steps that ultimately pushed Behance from vision to reality.”
As a designer/writer who has been dabbling in using other actionable daily/weekly planners using free online templates to good success, I’m excited about using something a little more self-contained and aesthetically executed beyond the binder clipped collections of paper that can quickly accumulate while keeping tabs on projects throughout the weeks, months, and year.
These new printed Action Method notebooks will especially appeal to those who believe writing or drawing something down helps memory retention when compared to typing or copying and pasting resources.
“What interface would get smart phone users excited about using a dedicated camera?”
So our goal was to start from a user’s view perspective: beginning with a phone, then adding features which would allow them to improve the average person’s photography skills with a better lens. And from a manufacturer’s view point: if we adjust our approach to meet this user half way, what characteristics would the device offer? How would it relate to the classic camera and current mobile devices? Basically our feeling is that this meshing between digital with mechanical can lead to something more interesting compared with how the manufacturers are currently thinking. Understanding this is a concept-only at the moment, what do you ideally envision the technical specifications for this device? It’s a very haptic experience. As we get used to the swipe, pinch, and touch [interaction] on the smart phone, why not use the same gestures with a camera? Therefore we felt the external front lens of the camera should also be a haptic surface. The lens form is faceted in shape, giving your finger tips a reference point, a nod to the old days. A user would move their fingers around the lens to make adjustments – like to zoom or adjust the aperture – in the same way we do with most current cameras. The lens itself stays static and is non-removable.
…the external front lens of the camera should also be a haptic surface. The lens form is faceted in shape, giving your finger tips a reference point, a nod to the old days.
However, the touch sensitive surface display changes; the lens is like a mini array of individual displays arranged as facets. Each faceted area would not only display aperture settings, but also ISO or other user adjustments (colour, B&W, etc.); the user could preselect to be make adjustments using this lens interface versus the rear display.
We imagine some people would use this haptic display lens to make adjustments, while others would be happy swiping and pinching on the rear display. Or maybe a combination of both, depending on the situation. The lens itself would be optically a 28-30 mm model – the classic reportage lens size. But it’s a concept, so no reason why we couldn’t imagine this couldn’t be a SLR type or 18-70 zoom lens either.
Similarly, which materials would you use in construction?
Much the same as a high-end smart phone. Could you tell me more about the software/interface side of the envisioned user experience? As you can see from the concept images, its largely a mobile phone interface in terms of navigation. We envision a simple language suitable for a person with beginner-photography skills. But the device would also be switchable to prosumer-mode for those who want further controls. One crucial feature envisioned central to this design revolves around image filtering. Because we spend so much time trying to organise our data (and the data is getting bigger, thanks to HD resolution images), we want to have simple filter options available using the camera’s on-board capabilities. For example, we could create filter sets formulated not only by light conditions or subject, but also location: “London”, “People”, “Sunny”. We can rid of low-light and stabilize and compensate for user shaking, because the camera can recognize these parameters in realtime and make adjustments accordingly, while also making each of these features automatically or easily accessible. Because the photography industry still skews toward a specs-oriented market, camera makers build incredible sensors and smart systems to capture photographs, but seem to research less about the inverse: reviewing and filtering shots. This shortcoming is one reason I believe the camera manufacturers are suffering.
The first two recommendations may seem obvious when considering the long-term protection of a device with up to a 5.5″ screen, but the last might elicit a suspicious, “why?”. I plan to always charge using a docking stand because of concerns about the screen’s larger size (keeping the device at an upright position reduces the chances of accidentally incurring a cracked screen) and also because of reports the new iPhones support faster 2.1-Amp charging. When connected to a newer model Mac or a higher current power plug, both new iPhones now draw in an extra 1600 mA of power compared to the base 500 mA fed by the standard USB module which ships with the phones. The problem of course is Apple hasn’t decided to offer their own compatible dock, and the current selection of Lightning docks are limited when editing out with design and stability in mind. I’ve picked the following three options – some actually originally designed for the iPad Air and iPad mini – all with a small, but stable base for charging and displaying the new phones safely, but with designs that complement Cupertino’s aesthetic: The Dock+: The original 2 lbs. of solid steel design Dock+ was already over-engineered for the iPhone 5 models, and it confidently accommodates for the wider and larger iPhone 6 models (as shown here). Each Dock+ is made in Boulder, Colorado and the non-branded design is available in both black and white. The Lightning Dock: If you’re a disciple of the belief “less is more”, but still want a stable docking stand, this puck-shaped anodized brushed silver or black aluminum design hits both marks. And despite the smallest of the trio offered here, the Lighting Dock can even fit iPhones with cases thanks to an adjustable back support design. Belkin Express Dock: Stable enough to hold up an iPad or iPad mini, Belkin’s charging dock’s design features a built-in 4-foot USB cable and is backed by a two-year limited warranty. The only qualms about the Express is the branding, which would have been more aesthetically pleasing placed at the back of the stand.