Lunar’s Modular Design Sets Out to Simplify and Streamline Home Energy Storage

By in Design

Lunar’s Modular Design Sets Out to Simplify and Streamline Home Energy Storage

There are certain elements of a home we often have to resign to sacrifice in regards to aesthetics in exchange for the services and conveniences they provide: hot water heaters, water softening/filtration systems, sprinkler systems, and solar panels to name a few. That last category dedicated to providing energy powered by sunlight has grown into a robust industry catering to homeowners looking to ease growing energy costs, with supplemental battery storage systems shaping to be a necessary component of the home energy equation.

But as anyone researching residential energy storage systems quickly discovers, most battery systems are more desirable hidden away from view. Because nothing says eyesore more than big blocks of batteries with visible cables and wires required to connect the system to the energy pathways of your home. Lunar Energy’s Head of Design Matt Jones set out to find a way to balance functionality and aesthetics in a category within residential emphasizing the former rather than the latter.

Because Lunar’s hardware is intended to sit outside and be exposed to the elements, changes in humidity, not to mention curious wildlife outside the home for 20+ years, the company identified an opportunity to set themselves apart in a way that would naturally appeal to homeowners. In a video dedicated to the design of the system, both Jones and Lunar’s Mechanical Engineering Manager Erica Lewis emphasize decisions such as specifying higher grade aluminum, choosing aesthetic contemporary colors, and designing an exterior catering to a simplified and compact presence will all help adoption rate since it allows customers to better determine where they want to install a traditionally physical imposing presence.

Lunar Energy battery system in dark blue set against a white exterior wall of a home.

The system is designed as a modular unit system, which means you can start with just enough for power outages, and in time add more battery capacity as needs/requirements grow. The Lunar System’s modular design allows for 10kWh to 30kWh of capacity in a single unit, with pouch cells of Nickel Manganese Cobalt allowing for increments of 5kWh between.

Lunar Energy is making a clear stab at stealing away potential Tesla Powerwall customers with their own battery storage system created with a design closer to a large home appliance rather than a residential infrastructure component you’d want to hide away. Pair that with their user-friendly smart home app integration for controlling and monitoring power storage+consumption, and the daunting responsibility of managing electricity at home seems as simplified as any other smart home app.

Lunar System owners can set their home power consumption to draw entirely from the battery for a specified time rather than the grid.

Lunar’s attention to design extends even into its non-visible internals. The system was designed in relation to the 95th percentile of male hand sizes to ensure internal components are easily manageable for electricians, a demographic represented by the larger handed. Lunar Energy’s efforts earned the company an iF Design Award 2023 award.

As a new homeowner scheduled to install a solar system this autumn, my own interest about residential energy storage has grown from mere curiosity to longterm hope of adding such a simplified, automated – and aesthetic – solution delivering energy resiliency in a future shaping to be defined by rising costs and energy instability. Time will tell if Lunar Energy becomes a viable player or defining standard of good design in service of software-forward home power as the new landscape of Net Energy Metering 3.0 (NEM 3.0) implores more homeowners to invest in energy storage to supplement the grid.

Gregory Han is the Managing Editor of Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

Range native selected for artist on mural project

By in Native

Range native selected for artist on mural project
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CHISHOLM—A new mural is in the works to be displayed on Lake Street in Chisholm.

The Chisholm Downtown Revitalization Committee selected Lindsay Kivi, a Buhl native and Chisholm High School Alumni to produce what is called a peek-a-boo mural to be displayed on an upper portion of the First National Bank building, visible just below the roofline facing west on Lake Street.

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Climate protest and swan upping: Monday’s best photographs

By in Photography

Climate protest and swan upping: Monday’s best photographs
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Yecheon-gun, South Korea

People sit inside their tent at a temporary shelter at a sports centre in Yecheon-gun, Gyeongsangbuk-do province. At least 40 people are dead and nine missing nationwide after flooding and landslides following heavy rains, according to the National Fire Agency. South Korea’s central and southern regions are bracing for another spell of torrential rains, the state weather agency said

Photograph: Jeon Heon-Kyun/EPA

Saint Petersburg Photographer Documents The Bizarre Contrasts Of Russian Life (70 New Pics)

By in Photography

Saint Petersburg Photographer Documents The Bizarre Contrasts Of Russian Life (70 New Pics)

Moderator, BoredPanda staff

Diana works as a Team Lead and a Community Manager for Bored Panda. After acquiring a BA in Business with Marketing Management, she decided that she wanted to do something far more creative than her usual marketing business which mostly included researching companies’ competitors or working on swot/pestle analysis every single day. Excel spreadsheets weren’t her thing either, so she decided creative storytelling was the way to go. Other than that, outside of work, you can find her making barista-style coffee or hand-stretched pizzas, sometimes even drawing and playing video games with friends.

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Native Game Creators Return With A New Project

By in Native

Native Game Creators Return With A New Project
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By Coyote & Crow Games

July 17, 2023

The Native creators of the award-winning game Coyote & Crow are back with a new tabletop game, Wolves, which is crowdfunding now on Kickstarter. This is a family-friendly game for 3-6 that has players take on the mantle of leaders of agrarian communities, working together to share resources and make it through winter.

llustrated and designed by Indigenous creatives, the game follows in the footsteps of the company’s first game, Coyote & Crow, which has not only been nominated for numerous awards but broke multiple Kickstarter records when it crowdfunded back in 2021.

Now the creators want to use modern tabletop game mechanics to highlight cooperative play and gifting economies. The game encourages players to work together since if any player fails to meet their community’s needs, all players lose the game. Only if everyone makes it to the end of the game can there also be an individual winner.

In addition, Coyote & Crow Games, the publisher, is producing this game without any plastics and their components are FSC certified, meaning that all items are recyclable and sustainable. There are also pledge levels available to donate copies of the game to schools, libraries, and community centers that serve Native communities.

Wolves launched on Kickstarter on July 10 and runs through August 7, 2023. The game met its base funding goal in under five hours but is now looking to reach numerous philanthropic stretch goals. First up is a free digital version of the game to be released through Tabletop Simulator, a game emulation software available on Steam. The company also has plans to donate money to Illuminative, create a grant program for Indigenous creatives looking to travel to conventions, and more.

The game was designed by Connor Alexander (Cherokee Nation), who was also the creative force behind Coyote & Crow, the roleplaying game. In addition, both Ovila Mailhot (Sto:lo / Nlaka’pamux Nation) and Sadekaronhes Esquivel (Kanyen’kehà:ka/Mexican Indigenous) provided art for the game.

“We wanted to create a game that spoke to the idea of sharing,” said designer Connor Alexander. “Most games have a winner at the cost of everyone else losing. I think the tradition of gifting shows that everyone can make it to the finish line and we’re all better off for it when we do. The game promotes cooperation while still providing an incentive for individual players to do their personal best.” Wolves also allow players to manage resources and push their luck to gain more while penalizing them if they overstretch those resources. In addition, there are Knowledge Cards that allow players to gain special individual benefits along the way.

Coyote & Crow Games is a company dedicated to bringing Indigenous concepts to modern tabletop games by lifting up Native writers, designers and artists within the board game industry. They also aim to provide positive, accurate, and uplifting depictions of Native Americans in the gaming space.

You can watch the full trailer video here:

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The most influential skate photographers of all time

By in Photography

The most influential skate photographers of all time

In the vibrant heart of the mid-20th century, amid a whirlwind of social and cultural revolutions, a nascent phenomenon surged through the crumbled concrete of America’s urban landscapes – skateboarding.

In this compelling tableau, a captivating cast of photographers, armed with their lens and love for the sport, captured the essence of this rebellious subculture, unwittingly catalyzing its ascension into mainstream recognition.

Often underappreciated, the role of these artists in the rise of skateboarding was as pivotal as the boards, wheels, and daring spirits that fueled the sport.

The following profiles weave a narrative of how these photographers, through iconic stills and action shots, turned skateboarding from an audacious pastime into a cultural revolution.

The images these photographers captured in the 1960s, 1970s, 1980s, and 1990s were far more than mere documentation of a sporting event – they were spirited snapshots of an evolving era.

They caught breathtaking stunts and the fearless spirit and tenacity of a youth culture embracing radical self-expression.

These photographers also played a critical role in catapulting skateboarding into the wider public consciousness.

Through their work, the underground world of skateboarding permeated into mainstream media, featured in publications that were once oblivious to the sport’s existence.

Moreover, the emergence of skateboard photography coincided with and fostered the birth of a burgeoning industry.

The visual spectacle of the sport, as seen through their lens, caught the eye of entrepreneurs and businesses, leading to the genesis of the modern skate industry.

Beyond the sport itself, these photographers helped develop a unique street culture.

Their photos became a mirror reflecting a fusion of visual arts, music, and advertising, all favoring the recognition and acceptance of skateboarding.

These images are now woven into the tapestry of pop culture, encapsulating the relentless spirit of an era that still resonates today.

Glen E. Friedman

Glen E. Friedman: the author of the photo book 'My Rules'

A true pioneer in skateboarding photography, Glen E. Friedman’s camera lens has narrated the story of the skateboarding revolution like no other.

Born in Los Angeles in 1962, Friedman was the perfect age to witness firsthand the gritty and edgy rise of skateboarding during the 1970s and 1980s.

As a teenager, Friedman began capturing images of his friends skateboarding in the now-famous Dogtown neighborhood.

While still in high school, he began contributing to SkateBoarder magazine, effectively cementing his position as one of the key chroniclers of the burgeoning skateboarding scene.

His work was gritty, raw, and authentic, a mirror reflecting the defiant spirit of a subculture about to explode onto the mainstream stage.

Friedman’s lens captured more than just gravity-defying tricks; it encapsulated the audacious ethos of a generation.

He was renowned for his ability to portray the dynamism and audacity of his subjects.

The Dogtown boys, Tony Alva and Jay Adams, among others, came to life through Friedman’s photos, their rebellious energy immortalized on film.

Among Friedman’s vast array of work, some images stand as icons in the annals of skateboarding history.

One such photograph is the mid-air shot of Jay Adams at the Brentwood school banks, taken in 1976.

This image, with Adams suspended in a moment of fearless exhilaration, encapsulates the radical spirit of the era.

It is an artistic statement as much as a historical document, testifying to the raw, untamed energy that fueled the sport’s evolution.

Friedman’s photography wasn’t confined to skateboarding, either. He expanded his focus to encompass the worlds of punk rock and hip hop, capturing seminal acts such as Black Flag and Run D.M.C with the same raw intensity he brought to his skateboarding work.

This fusion of music and skateboarding further solidified his place in the annals of youth culture documentation.

In his images, we perceive more than skateboarding tricks and punk rock shows – we witness a youthful rebellion that defined an era.

Glen E. Friedman, through his evocative photography, has managed to eternalize these vibrant moments of cultural history, affirming his legacy as one of the most influential skate photographers of all time.

J. Grant Brittain

J. Grant Brittain: a 1980s skateboarding photo available in 'Push' | Photo: J. Grant Brittain

Immersed in skateboarding photography for over four decades, J. Grant Brittain is a name that resounds with immense respect and admiration in the sport’s history.

Born in 1955 and raised in California, Brittain’s journey with skateboarding began in the late 1970s at the Del Mar Skate Ranch, where he managed the skate shop.

Brittain’s photography journey commenced quite unexpectedly when he borrowed a camera to document the dazzling feats of skateboarders at the ranch.

Self-taught and driven by a profound fascination for the sport, he soon found himself capturing images that transcended mere sporting events.

His photographs encapsulated the essence of skateboarding culture – its rebellious spirit, creativity, and camaraderie.

His photographic prowess and an intimate understanding of the sport led to his involvement with Thrasher Magazine and, later, the co-founding of Transworld Skateboarding Magazine in 1983.

His work as a photo editor and photographer for Transworld over the next two decades would influence the visual direction of skateboard media and, by extension, the sport itself.

Brittain’s portfolio is a testament to his ability to capture moments and narratives.

His 1987 shot of Tod Swank at Del Mar Skate Ranch, titled “Push,” is an iconic image.

In it, we see the dynamic tension between skater and board, a snapshot of the literal and metaphorical push that drives the sport.

While Brittain’s career spans several decades and countless iconic images, his commitment to telling the skateboarder’s story sets him apart.

His lens has given us more than just images; it has provided us with a rich visual narrative that continues to shape the landscape of skateboarding culture.

C. R. Stecyk III

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Emerging from the swirling, sandy haze of Dogtown, California, in the 1970s, C.R. Stecyk III stands as a beacon in skateboarding photography.

An artist, writer, and filmmaker, Stecyk has captured the skate subculture in all its vibrant, gritty detail, paving the way for the sport’s journey into the mainstream.

Born in 1950, Stecyk found his creative calling amid the rough-and-tumble world of the Zephyr skateboard team, also known as the Z-Boys.

In the derelict landscapes of a rundown neighborhood and the empty swimming pools of Venice, he began to document the unbridled energy and artistry of this raw youth culture that was soon to redefine the notion of sport.

Stecyk’s photography offered an unfiltered window into the heart of skateboarding.

His shots, infused with raw, kinetic energy, introduced the skateboarding subculture to a broader audience.

His work featured prominently in SkateBoarder magazine, a conduit through which the rest of the world glimpsed the audacious, counter-cultural ethos that lay at the heart of skateboarding.

One of Stecyk’s iconic images features Tony Alva soaring above an empty pool, the board beneath his feet defying gravity as he rises from a curl of blue.

The power of this image lies not just in its depiction of a remarkable trick but in the way it encapsulates the daring spirit of skateboarding.

It affirms freedom and rebellion, a testament to a culture that thrived on pushing boundaries.

Stecyk’s contribution extends beyond photography.

He penned a series of influential articles, “The Dogtown Articles,” for SkateBoarder magazine, offering an intimate insider’s perspective on the skateboarding scene.

His writing and evocative photography created a compelling narrative that resonated with audiences far beyond Dogtown.

In many ways, C.R. Stecyk III’s work forms the backbone of skateboarding’s visual and cultural narrative.

His photographs, articles, and films have provided a multifaceted exploration of a culture that refused to conform, creating a lasting impact on how we perceive the skateboarding world.

Mike O’Meally

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Hailing from Sydney, Australia, Mike O’Meally’s love for skateboarding and passion for capturing moments have propelled him to the forefront of skateboarding photography.

His work over the last three decades is revered for its raw emotion and unique perspective, offering a window into the soul of the sport.

Born in 1970, O’Meally discovered skateboarding at a young age.

But it wasn’t until 1987, after stumbling upon an old camera at home, that he began combining his love for the sport with photography.

What began as a hobby quickly became a profound passion, leading him to document skateboarding scenes locally and, eventually, across the globe.

O’Meally’s break into international acclaim came in the 1990s when he moved to California, the pulsating heart of global skateboarding.

His work soon graced the pages of prominent publications like Transworld Skateboarding and SkateBoarder Magazine, showcasing his keen eye for capturing both the action and the subtler, off-board moments that define the culture.

Beyond capturing riding skaters, O’Meally’s work often provides a profound, intimate look at the skateboarding community.

His candid portraits of famous and lesser-known skateboarders reveal the depth of his subjects and the diversity and cohesion within the culture.

Tobin Yelland

Tobin Yelland: one of the greatest skate photographers of the 1990s

Deeply rooted in skateboarding since age 15, Tobin Yelland is an artist whose craft transcends the boundaries of sports photography.

Born in 1970 in Berkeley, California, Yelland discovered his passion for skateboarding and photography around the same time, in the mid-1980s, merging the two into a fruitful career that has spanned more than three decades.

Having picked up a camera at an early age, Yelland’s images bear the authenticity of a skateboarder turned self-taught photographer.

His photographs uniquely communicate not only the excitement of the sport but also the nuances of the culture, lifestyle, and individual personalities that shape it.

Yelland’s work first came into the limelight in the late 1980s when Thrasher published his photographs.

His images, characterized by their raw energy and intimate framing, have since graced the pages of numerous skateboard and lifestyle magazines, highlighting his keen eye for the narrative within the action.

One particularly iconic shot from Yelland’s portfolio features Mark Gonzales riding down Lafayette Street in 1996.

But Yelland’s work is not limited to capturing feats of athletic prowess.

His portraits often provide an intimate look into the life of the skaters, depicting them in quieter moments of introspection off their boards.

These images are as much a celebration of the sport as they are a documentation of the lifestyle and spirit surrounding it.

In addition to his photographic work, Yelland has expanded his creative repertoire to include film and commercial work, always maintaining his unique perspective rooted in skate culture.

Skin Phillips

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Skin Phillips is a household name in skate photography, synonymous with compelling images that have brought the dynamic sport to life for over thirty years.

Born in Swansea, Wales, in 1965, Phillips’s pathway to becoming one of the most esteemed photographers in the skateboarding world was as vibrant and compelling as his images.

Phillips discovered skateboarding in his early teens and, with it, a fascination for how photography could illuminate the high-speed drama and artistry of the sport.

Armed with a camera and a keen eye for details, he began documenting his local skateboarding scene, blending his passion for the sport with a blossoming talent for visual storytelling.

However, Phillips’s contributions to skateboarding extend beyond his spectacular action shots.

As the editor-in-chief of Transworld Skateboarding, he played an instrumental role in shaping the visual culture of skateboarding and championing the sport’s evolution and growth.

Furthermore, his commitment to the sport and its community is evident in his involvement in the Adidas Skateboarding team, where he continues to foster talent and promote the culture and lifestyle of skateboarding.

Spike Jonze

Spike Jonze: the Girls Skateboards line shot by the photographer

Born as Adam Spiegel in Rockville, Maryland, in 1969, Jonze’s journey from an enthusiastic skateboarder to an award-winning filmmaker and photographer is a testament to his creative genius and deep-rooted love for the sport.

Jonze’s encounter with skateboarding and photography happened almost simultaneously in his adolescence.

He began documenting his skateboarding exploits and those of his friends, quickly garnering recognition for his unconventional approach to capturing the sport’s energy, audacity, and culture.

His breakthrough came in the 1990s when he joined Transworld Skateboarding.

His work stood out for its distinct style, blending action and portraiture, often in unexpected, whimsical ways.

Jonze was not just photographing skateboarders; he was narrating stories, capturing moments of triumph, risk, and the sheer joy of the sport.

One iconic image that exemplifies Jonze’s creative prowess is a shot of Mark Gonzales riding in a pristine, empty swimming pool.

The dramatic picture, laced with a sense of serenity, encapsulates Jonze’s ability to bring out the juxtaposition of tranquility and movement inherent in skateboarding.

However, Spike Jonze’s contributions to skate culture extend far beyond his compelling photography.

He is also the co-creator of the trailblazing “Video Days,” a short film featuring the talent of legendary skaters, which is often hailed as one of the most influential skateboarding films ever made.

From there, Jonze embarked on a prolific film and music video career, winning numerous awards, including an Academy Award for Best Original Screenplay for “Her” in 2014.

Despite his broader success, Jonze has always stayed connected to his skateboarding roots, using his platform to highlight and promote the sport.

In Spike Jonze, we see more than a celebrated photographer or acclaimed filmmaker; we see a true skateboarding aficionado.

Ed Templeton

Ed Templeton: skateboarder and lensman | Photo: Creative Commons

Ed Templeton, born on July 28, 1972, in Garden Grove, California, has shaped a unique path for himself in skateboarding and the arts.

He is best known for his professional skateboarding career, vivid artistic works, and compelling photography, which has chronicled the reality of life in the suburbs.

Templeton’s fascination with skateboarding began in his teenage years, and by the age of 20, he had turned professional.

His fearless and inventive style made him a favorite in the skating community, extending his influence beyond the skate park.

In 1994, he and his wife, Deanna, co-founded Toy Machine, a successful skateboard company that is an influential player in the industry.

However, an injury in the late 1990s prompted Templeton to explore his interest in art and photography more extensively.

His artistic style, often featuring dystopian themes and focusing on the experiences of suburban youth, has been exhibited in art galleries worldwide, including the Museum of Contemporary Art in Los Angeles and the Palais de Tokyo in Paris.

Much like his art, Templeton’s photography captures the unfiltered essence of youth culture and the realities of street life.

His photographic collections, such as “Teenage Smokers” and “Teenage Kissers,” present candid snapshots of adolescence, bringing a certain humanity and authenticity to his subjects.

As a self-taught artist and photographer, Templeton maintains a raw, engaging aesthetic that echoes his skateboarding ethos – fearlessly explorative and authentically expressive.

His book “Deformer,” a culmination of an 11-year personal project, received significant acclaim, further cementing his status as a powerful visual storyteller.

Warren Bolster

Warren Bolster: he shot the famous 1977 Arizona Desert Pipes session | Photo: Warren Bolster

Among the luminaries of skate photography, Warren Bolster’s name shines with a certain radiance.

Born in 1947 in Manhasset, New York, Bolster would come to shape skateboarding’s visual story in remarkable ways.

In his early years, Bolster became enamored with surfing, a passion that would eventually steer his life’s trajectory.

Moving to Hawaii in the late 1960s to pursue this passion, he soon discovered another talent – photography.

Bolster’s knack for capturing the exhilarating moments of surfing caught the attention of Surfer magazine, where he served as a photo editor in his early twenties.

However, it was on the skate planet that Bolster truly left his mark.

After returning to California in the mid-1970s, he was captivated by the burgeoning skate culture.

He became the editor of SkateBoarder magazine, where his photographic and editorial contributions helped elevate the publication to legendary status.

One of Bolster’s most memorable images captures Tony Alva carving a vertical arc on a pool’s concrete edge, the intensity of the moment amplified by the stark contrast between the skater’s fluid motion and the rigid geometry of the urban landscape.

The riding session at Arizona Desert Pipes was also memorable.

This image and many others captured the essence of skateboarding’s adventurous spirit, embodying the essence of a generation that refused to be confined by traditional norms.

Warren Bolster’s photography was a visual chronicle of skateboarding’s transition from a niche hobby to a recognized sport and cultural phenomenon. His images didn’t merely document; they conveyed the exhilaration, freedom, and rebellion at the heart of skateboarding.

Sadly, Bolster passed away in 2006.

Haworth Launches DesignLab, Future-Focused Concepts for the Ever-Changing Office Space

By in Design

Haworth Launches DesignLab, Future-Focused Concepts for the Ever-Changing Office Space

Bold, creative decisions and the workplace don’t often go hand in hand, but office furniture brand Haworth has launched DesignLab, a collective of talented designers and artists focused on looking beyond the industry for new ideas and experiences in the office space. Bradley Bowers, Chrissy Fehan, Eny Lee Parker, Maximiliano Rosiles, and Brian Wooden have created future-focused concepts, curated and mentored by Patricia Urquiola and her studio, that include their individual experiences in digital, graphic, art, sculpture, and product designs. The projects were developed throughout the early months of 2023 before launching at the brand’s Chicago showroom during NeoCon.

“The Haworth DesignLab is bringing new perspectives together with our existing design talent and partners,” said Matthew Haworth, Chairman. “It’s important for us to challenge expectations and set a new standard for where we live and work. We all play a pivotal role in the creation of beautiful spaces and are interdependent. Haworth doesn’t have all the answers, and we seek to be informed by others. There is a lot of excitement to celebrate our 75th [year] and have these talented designers and artists help us understand what’s next.”

Patricia Urquiola

With its start as a side hustle in a schoolteacher’s garage, Haworth understands the importance of having a unique entrepreneurial core, design-forward approach, and multicultural spirit. “It is important to have a conversation that opened a window in the company to the future,” said Patricia Urquiola. “To use this exploration as a tactic to explore design diversity, to understand what is possible and in a design language that is distinctly American.”

white showroom with plaque reading DesignLab

Haworth DesignLab at NeoCon 2023

Further design diversity and desirability was added to the brand by partnering with these five designers and artists to find spaces for potential innovation for the ever-changing office world. Bowers, Fehan, Parker, Rosiles, and Wooden are challenging current design expectations by helping to set new principles for the workplace. Haworth DesignLab includes shelving, an outdoor collection, a daybed, a lounge, and a rug installation – all designs that you might not connect with an office environment – and that’s exactly the point.

brown-skinned man poses with two pieces of furniture made from red and blue wires

Polaris Outdoor Collection, Bradley Bowers, New Orleans, Louisiana

“I don’t think companies are ever going to really get it right because they’ll always be trying to satisfy some past concept as opposed to trying something new,” said artist Bradley Bowers about the office. “For example, people are going to try to find a way to maintain the cubicle. But why? Maybe it doesn’t work anymore. Maybe trying to make a cubicle exciting isn’t possible because you’re still trying to make a cubicle.” Speaking of his time at SCAD (Savannah College of Art and Design), Bowers observed, “I feel like if companies start looking at how universities structure – or maybe not structure – their workspaces, we could learn a lot.”

digital sketches of two pieces of furniture made from wires

Polaris Outdoor Collection

The Polaris Outdoor Collection looks to everyday culture and technology advancing the possibilities of what things can become. Bowers’ goal is to use these advancements to create accessible, useful objects. Polaris began with his exploration of how complex geometry and the curvature of magnetic field lines can be manipulated into everyday objects. “As I was looking at field lines, I said, ‘Oh, that’s kind of like wires. It would be interesting if wire furniture, outdoor furniture, could stop looking so boring. Is there a way to make it more exciting?’,” Bowers shared. “I also was thinking of using new technologies, like computerized numerical control (CNC) pipe bending. I like to say that I want to create ideas and pieces today that we couldn’t do yesterday. CNC pipe bending is a relatively new process, and it means almost any profile, any curve that I can draw on the computer, I can feed it to this machine and it will squeeze it out almost like Play-Doh, and the pipe comes out looking just like the pipe in the computer. So I thought, ‘OK, outdoor furniture is dominantly these wires. We now have technology that can play with wires in a much more dynamic way, and I have this idea for a much more dynamic line work’.”

digital sketch of a piece of furniture made from red and blue wires

Polaris Outdoor Collection

Of the Haworth DesignLab initiative, he said, “The cool thing about Haworth is that I’ve been sitting on this idea for a while, but I didn’t have access to make it become a reality. I’ve got a lot of ideas that I can’t execute on my own, but somebody at Haworth knows the right person to call to get access to this machine to create this concept.”

Bowers’ design language is simple. “I can’t make you buy my stuff. I can’t make you live in houses or rooms I’ve designed. But I can put them in front of you so that you don’t go through life thinking that all you have to pick from is the same banal, dead, mundane stuff that’s been fed to you for decades.” Bowers’ philosophy is, “Is what I’m making worth changing someone’s mind? Is it going to push technology? Is it going to push culture? What’s it going to do that makes it stand out in a sea of vanilla?”

semi-circular lounge chair covered in shaggy dark grey upholstery

Phil Lounge, Chrissy Fehan, Detroit, Michigan

Chrissy Fehan, who works at Pophouse, has a different perspective of the workplace than others in DesignLab because she works in a commercial interior design firm that designs offices. “When I’m in the office, I like to focus on really collaborative work and stuff that you can’t necessarily do at home,” Fehan shared. “Over the course of the pandemic, things shifted from coming in 40 hours a week to coming in when it’s going to be super-collaborative work, and then anything heads-down we’re doing at home. That feels like all those social moments should happen together, so the culture continues to grow and manifest that way.”

digital sketch of semi-circular lounge chair

Phil Lounge

Fehan’s Phil Lounge offers a playful place to sit and curl up, and petting it is encouraged. Her inspiration comes from time spent working at home, snuggled up next to her pup – Phil! The seating was designed to release stress by mimicking the soft feel of petting an animal, known to lower the stress hormone cortisol.

“I suffer from anxiety, and when I worked from home over the pandemic, it was really nice to be able to pet my dog while I was in meetings,” she divulged. “The chair was designed thinking about the work that we do at Pophouse and how we’re trying to make everyone feel really inclusive. And what would make me feel good returning to the office was a chair that I could pet – that I could hug, that I felt like I was being kind of tucked into. It’s over 7 feet wide… the material is really soft and you can kind of run your fingers through it. That was the overarching goal – to make people’s lives better in a charming, playful way.”

woman posing with a half-finished semi-circular lounge chair

Phil Lounge + Chrissy Fehan

“I really like to start on a narrative-based foundation, so really thinking about the why of what needs to be solved and then going through different iterations of concepts. The Phil chair was an idea to solve the problem of how do you invite people back to the office who have become so comfortable at home,” Fehan said, speaking to the lounge’s inception. “Then I started modeling what would make me feel really comfy. Then I started playing with the visuals… And to be honest, with the Phil chair, I just watched my dog sleep. He curled up similar to the chair. Phil is a elderly goldendoodle, which is my favorite stage for him because he’s super vocal. He’s a very lazy, supportive dog.” It won’t surprise you to learn that Phil is the owner of custom designed bowls.

woman perched atop a cloud-shaped daybed

Cloud Daybed, Eny Lee Parker, New York, New York

“Because of the pandemic, many companies are playing with the idea of how much space is needed for offices and conference rooms. There are so many spaces that have multiple identities, like coffee shops that are a bar at night. You see retailers doing pop-ups and different types of events,” said ceramicist, artist, and designer Eny Lee Parker. “The idea of an office can be very exciting, but it is challenging because it is a space where you should be able to be really focused, as well as have people coming together to work. There are opportunities to evolve and make it a little more flexible, but a routine is really important.”

cloud-shaped daybed production

Cloud Daybed

Of the Cloud Daybed, Parker said, “The cloud series concept started two years ago… But it was purely plaster and fiberglass; it wasn’t upholstered. And then the next step was, OK, I want this to be bigger, more like an armchair… And then we did a series of just cloud-shaped stools. Probably the most exciting one to me is the daybed, because of the scale of it and being able to actually fully lay on it.”

The Cloud Daybed is playfully, yet carefully designed to provide the perfect position, slight head support, and raised feet for the ultimate comfort. “It begins with an idea of what it could look like. I’ll just sketch really quickly, and sometimes, if it’s not too organic, I’ll model it on the computer to look at proportions. If it is a little more organic, I’ll model it in clay. So for this one, I did a model in clay and then had someone do a 3D rendering,” she shared. “I made sure all the inspiration came from really old sources and was nothing like any new furniture – we wanted to make it look like we were creating something based on something that already exists, but in a contemporary sense. Just creating a mood and the story behind it. All of that builds a backbone.”

cloud-shaped daybed prototype

Cloud Daybed

We’re all guilty of daydreaming about escaping work, but the Cloud Daybed can take you to cloud nine. “Clouds are one of those shapes that we like to romanticize… the bed is very animated, but the fabric is really soft and kind of fuzzy. That translates to a strong statement in shape,” Parker explained. “What I really enjoy is the fabrication and the problem-solving that is involved. We focus on the fabrication – on how this fabric is not working, the structure inside, what kind of foam we’re going to use, and the stitching. I really like focusing on the journey of making a design into reality.”

Parker describes her design point of view as coming straight from her own personality. “And my personality is, at the end of the day, the Industry of design, of art, of luxury. My goals? They’re not centered around products, they’re centered around people. The coolest feeling is to see something on paper and then see it in person – that space between paper and reality.”

white showroom with plaque reading DesignLab and textile shelving

Split-1, Maximiliano Rosiles, Mexico City, Mexico

“I think of [the office] as a non-sited space,” textile artist Maximiliano Rosiles explains. “Teams have to be able to engage with each other, but I don’t think a physical location is necessary. I think technology is going to play a big part in that… It will be like we are meeting online, but more elaborate.”

sketches of adjustable metal and textile shelving

Split-1

For Haworth DesignLab, Rosiles created Split-1 fragmented shelving, in collaboration with Tek-Knit/Duvaltex. The innovative solution deconstructs traditional shelving into something unconventional and personalized. The materials and shapes the designer chose to use contradict one another – metal and textile – to create a mix of soft and sharp forms.

With a history heavy in installations and sculpture, Rosiles began with his mind on floor-to-ceiling pieces. “I just thought about hanging stuff, so that put vertical lines in my head, and that naturally led me to think about how I was going to connect those lines, which then led me to a shell form. It’s blurring the lines between art and design, it’s totally different from what I’ve done before.” While working on the project he was surprised at how well the communication flowed between the participants and Haworth’s designers. “The Haworth designers have been so open to my ideas and have been encouraging me to even push the limit of that idea,” Rosiles shared. “I didn’t expect collaborating with a huge company that works in an industry where I’m a complete outsider would be so open to having me.”

Split-1

Rosiles’ process is intuitive, using whatever materials are on hand and working through trial and error. “It’s about never letting go of your intuition, because I think that’s where the soul of the work is. I’m self-taught, so I’m comfortable doing my own thing. I don’t like to overthink stuff. But my work is also a huge contradiction of rational versus irrational, or order versus disorder. Kind of like disordered chaos,” he describes it. “The big thing with me is I’ve never been afraid to fail. I think failures are the best thing that could ever happen to you, so I’ve never been scared to try things. I like following my instincts and just doing it, which has led me to other things which can be way better than the initial idea.”

man posing with adjustable metal and textile shelving

Split-1 + Maximiliano Rosiles

The part of Rosiles’ inspiration that isn’t intuitive comes from an unexpected source: streetwear. “When I was younger, I was interested in streetwear, and the leader of streetwear was always Virgil Abloh. He inspired a whole generation to just do what you want with passion and don’t stop. Everything I’ve been talking about comes from that streetwear, do-it-yourself mentality, using the resources you have, being creative, just doing it.

man sitting on a colorful round pouf that's on top of a large colorful rug that flows from floor to ceiling

Inter-Dimension rug installation, Brian Wooden, Nashville, Tennessee

“There’s the practicality versus fun, that Yin and Yang balance,” artist Brian Wooden said of today’s offices. “We can design this completely ergonomically and have it optimized for human productivity and paint the walls with a color that has been tested to improve cognitive function or whatever. That’s the Yin. Then the Yang would be this wild space where there’s all this room for creative expression, and there are instruments and toys to play with and games. Having a little bit of the Yang would get that balance in there. I would go for a little more Yang, which just makes spaces fun.”

project planning diagram

Inter-Dimension rug installation

Wooden’s Inter-Dimension rug installation leans towards the yang as he translates his typical two-dimensional design language by pulling illustrative elements into the third dimension. It feels like two worlds are colliding in a cacophony of shape and color of the rug tapestry and ottoman duo. The various illusions Wooden has created leave the viewer wondering where one dimension ends and another begins, creating a “2.5 dimensional space.”

“I wanted to appeal to the inner child by taking a lot of these spaces and just treating them like a playground for grown-ups. Again, looking at a space and saying, what is the most exciting thing I could envision? That’s what all my work is about,” Wooden shared. “I want to connect with my audience. What do I really want to see? What do I want the world around me to look like, and how do I want to interact with my environment? If I really want that deep down from a genuine place, inevitably, there are people out there who want that too. It’s just trying to come from a genuine place, and hopefully, that’ll connect.”

showroom layout diagram

Inter-Dimension rug installation

He explains his process as “very immediate.” Spending too much time on something runs the risk of Wooden getting bored and never finishing. “I want to still be excited about it. I want to get my process out of the way and still get enough time to experience it on my own – because that part is fun.”

With Wooden’s street art background, creating the illusion of 3D is a common theme. “You’re working completely in two dimensions, but you’re using illustrative techniques to try to convince your audience that these shapes have dimension,” he said. “The next step was to pull some of those out into the real world while still using these elements of illustration and animation and drawing. Now there is a little bit of three-dimensional space; you can interact with it a little bit. You can touch it. You can sit down on it. It creates a really fun environment, like when you’re a kid and you show up at some wild playground that you’ve never been to before. As you start to get in there and move around it and start to build out a map, it starts to make more and more sense the more you play with it. I definitely want the viewer to be curious and to go and interact and explore because it’s new to them… It’s a very different experience from every angle.”

colorful pouf production

Inter-Dimension rug installation

Wooden isn’t used to working with a company so far outside of his scope of work, but he’s been wanting to do it for a long time. “I was surprised by their willingness to just let me be me. In the beginning, I was trying to fit the mold, and as I got into it, I realized they are going to let me do what I want… The more I’ve allowed myself to believe that, the more fun I’ve had.”

group of six people posing for a photo

Top Row, L to R: Maximiliano Rosiles, Bradley Bowers, Patricia Urquiola
Bottom Row, L to R: Brian Wooden, Eny Lee Parker, Chrissy Fehan

Haworth DesignLab and Patricia Urquiola have managed to show us a tiny fraction of what the future of workspace design might look like, proving that working outside the industry has its own advantages. Whatever the next phase of the office looks like, you can bet Haworth will be on top of it. Learn more about Haworth DesignLab at haworth.com.

Kelly Beall is senior editor at Design Milk. The Pittsburgh-based graphic designer and writer has had a deep love of art and design for as long as she can remember, and enjoys sharing her finds with others. When undistracted by great art and design, she can be found making a mess in the kitchen, consuming as much information as possible, or on the couch with her three pets. Find her @designcrush on social.

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