Great (link) pointer and according analysis from Victor on the way designers both senior as well as novices work.

Charlie Lazor is the founder of FlatPak, the system of prefab building components that are configured to meet the client's needs. The client works with the design team to create the best house for the site and can have as much creative input as he or she wishes. Or simply leave it up to the design team. (The excellent FlatPak website features a revealing case study about this process.) The system is based on one component: an 8' wall that is one storey high. The design comes into being eight feet at a time, so the possibilities are almost endless. Or are they, now that the housing market is a mess?



FlatPak House in the Catskills

How are things going now that the real estate business is suffering? Is this a golden opportunity or the beginning of the end?
We sell a product that is a good value. We don't sell silver bullets. So like all good values, your market might shift in a severe downturn and you would expect to do less, but frankly, it's too early to tell. I can say we have clients looking to capitalize on hungry builders; savvy homeowners, university and resort property people. Worst case scenario, we can ride this out because we have low capital inputs and overhead and we'll be ready to rock when things getting moving again.

Good is now available as a lifestyle hotel choice.

"What does “good” mean to you? For some, the word may inspire visions of helping a homeless person find shelter for a night. Others may think of global warming and chant the mantra, “reduce, re-use, recycle.” Or, maybe your mission isn’t to save the world, and it simply connotes a positive fun attitude.

Joie de Vivre Hotels’ identity as a socially-conscious company inspired us to design this SOMA hotel with all these good intentions. From beds and headboards made from locally reclaimed wood to glow in the dark messages, our guests will discover that we are good with a lighthearted twist."

Is it smart to lead with Good or to build Good into everything you do?

Should Good be half-hearted?

Should Good by light-hearted?

Answers please on a postcard or in the comments section.

Posted by Ed Cotton

I attended the Natural Building Colloquium held this year at the Orella Ranch overlooking the Pacific Ocean near Santa Barbara, California, at the end of October. What a magnificent setting this was to spend a fine week of connecting with fellow enthusiasts of the natural building movement. About 70 attendees shared our insights, stories, passions, songs, poetry, cooking, concerns, and labor. I came away with gratitude for the opportunity to interact with such caring people, and with a renewed sense of confidence that we will manage to help forge a sustainable future.

This year’s Colloquium was organized by the Natural Building Network (www.naturalbuildingnetwork.org) and was hosted by Gunner Tautrim, who represents the sixth generation of this family living on this land since 1866. The accommodations were primitive, with only a small kitchen as enclosed space; the rest of the facilities were rustic pit privies, temporary solar shower stalls, temporary bamboo and tarp meeting spaces, and a nice lawn area. We brought tents for sleeping. All of this was happening with the grandeur of the Pacific coast as a backdrop, and the elemental simplicity and beauty combined to create an appropriate mood for contemplating the benefits of building naturally. After breakfast each morning we would gather in a big circle on the lawn to review the various options for the rest of the day and share other thoughts. Typically the mornings were devoted to work on a sturdy, permanent, multi-stalled toilet facility that was already framed with wood. Gunner wanted the walls and a surrounding fence to be finished with natural materials, and there were many volunteers who formed teams to accomplish this. Mostly, split bamboo or recycled fencing was used for a framework, over which cob and clay finishes were applied.

Lunchtime often featured tables where specific discussions would occur, having spontaneously been announced at the morning circle. The afternoons were reserved for many concurrent presentations or discussions, so there were always hard choices to make about what to attend. During the course of the week, over forty different topics were explored, in a variety of meeting places. These ranged from the use of materials (such as bamboo, cob, adobe, and lime) to more theoretical discussions about engineering, thermal properties, efficiency, and design. One of the most popular forums was about codes and ways of improving the acceptance of natural building techniques by building officials. I will be writing about this topic in more detail in a future blog post.

I shared one two-hour presentation about earthbag building around the world with a woman architect from Israel, who had brought plans for an earthbag residence that she was designing for a client there. First I talked about the history and development of this technique, and then profiled a number of projects that have been completed (see www.earthbagbuilding.com). After this introduction, the architect laid her plans on a table and we all discussed specific questions that she had about them. This was a great way to learn some of the basics of earthbag building, and then apply these concepts to a specific situation.
I was very pleased that a discussion was convened to explore the role that natural building can play in what was described as the “long emergency,” or the compounded effects of climate change, peak oil and other resource depletion, population pressures, and financial crises. Without this discussion I would have felt that we were negligent in addressing these most pressing issues. I plan to write another entire blog post about this.

After dinner (which was always delicious and usually vegetarian), we were treated to a variety of programs or entertainment that emanated from our group. Mostly these were slide or Power Point presentations, but one night was devoted to a talent show with lots of music and some stand-up comedy…great fun. I showed lots of pictures I took when in Jeddah, Saudi Arabia a couple of years ago where I had been invited to discuss sustainable architecture with the faculty and students at the King’s University (see www.greenhomebuilding.com/weblog for my essay about the situation there) .

One morning, about half of us opted to attend a tour of historic adobe buildings in the heart of Santa Barbara. The earliest remnants date to the 1780’s when Spain authorized the construction of a presidio and the Santa Barbara Mission. Much of this early adobe construction was toppled during subsequent earthquakes, but recent reconstruction, using stabilized adobes, has returned the area to its original presence. I chatted (in Spanish) with the Guatemalan and Mexican crew who were making new adobe blocks for further repair work. On the return trip to the Orella Ranch, several of us made a detour to the nearby beach to dip our feet in the ocean.

One of the delights of this event was the participation of James from Zimbabwe, Africa. This very engaging fellow brought with him pictures of a lovely little thatched cob circular building that he and some friends had made. He also brought his large thumb piano to serenade us with African ballads. This was a reminder of the deep roots that natural building has from all corners of the world.

All together this week of camping out in this spectacular place and connecting with these dedicated and compassionate souls has left me feeling heartened that we will find ways to overcome the enormous obstacles that lay ahead.

On a very foggy night before we were to disperse the next morning, during our closing ceremony, we arranged ourselves in two large circles that faced each other. We (on the outer circle) were asked to assume the role of addressing our ancestors (on the inner circle) from some indefinite time in the future. When I did this I felt strangely like I was really speaking from the future. I told the young woman who was sitting across from me that I did not blame her for the difficulties that she and subsequent generations had endured. I said that the pattern was innocently established well before she was born. Industrialization was fashioned to improve life, not deteriorate it, and the consequences were not foreseen. And then I told her how much I appreciated the hard work she was doing to address and correct the mistakes of our ancestors. I said that because of the actions of her generation, we in the future were enjoying a simple and healthy life based on ecological balance, and that we owe her and many of her generation our gratitude for all that they did to make this possible. We then stood and embraced, the Future and the Present, for a moment of true compassion.

To see more of my pictures taken at this event go to flickr.com/photos/kellyhart.

• B_E_E | New Zealand | Branding Cleaning Products
  More and more I find that simple, clear & intenlligently designed concepts are the most convincing ones in our world of increasingly plurivalent and confusing messages: I'll make it all white!
  (tags: brands branding brandchannel typography design)

it won’t take you long to figure out that dolan geiman’s chicago place isn’t what we typically feature in our sneak peeks. but looking through his images and reading through his descriptions felt like i was unlocking a treasure chest full of great stories and memories into the world of dolan geiman. it’s funny to think about where everything we own comes from and the stories behind it. and it’s very clear from dolan’s work how his surroundings inspire him. be sure to click here for more full-sized images, with complete descriptions, and you can find more of his work here (psst…there’s a sale!) and his blog here with all sorts of fun stuff he has in the works. [thanks dolan and ali!] -anne

[Above: This is the area I refer to as “the waiting room”.  This is where my pal Chris Nightengale, fashion photographer extraordinaire, does some of his shoots. The mint colored chest of drawers is entirely metal and was a gift from my friend Denny, who always has been a wonderful inspiration in my life. He lugged this heavy thing to me when I was down on my luck and living in an unheated rat-hole apartment in Virginia. Now it looks a little better, as does my luck.  I found the globe in a dumpster in Charleston, South Caroline, and the artwork, Jazz Atlas (2008), is one of my collage constructions made from magazines I found in old farm houses. [Photo credit: David Schalliol]

Yours truly at work. . . This is the Art Machine. There is a long story behind the Art Machine, but essentially I made this out of old doors and found objects from a soon-to-be-demolished house I was living in when I first moved to Chicago.  Hockshop refers to the name of my previous studio and gallery in the Pilsen neighborhood of Chicago. Under the moniker Hockshop, the Art Machine debuted in Chicago during a yacht-based art show organized by Bridge Magazine (now called Bridge Art Fair, they produce expositions in London, Miami, New York, and elsewhere). The top of the Art Machine is an old canvas tent that my granddad used when hunting in Canada and which I screenprinted with various images. The little squares of metal on the front are hand-cut signs I grabbed in a scrap yard in Stuarts Draft, Virginia. The little Panel Paintings, on the wall behind the Art Machine, are the staple of my art business. I make about 1000 of these things a year, out of recycled wood, recycled paint, and water-based silkscreen ink.  This is my carnival area, I like to say, because the combination of the Art Machine and the Panel Paintings presents a nice sideshow feel. [Photo credit: David Schalliol]

This is a cabin-like installation just inside the front entrance of my studio.  I created this out of salvaged wood, found billboards, and old signs I’ve found along the road driving to and from art fairs. The raw wood slats were given to me by my pals over at Circa Ceramics who were using them as shelving. I found the deer head while exploring an abandoned barn in Ohio. I saw one of the antlers sticking out of the floorboards. The rusted milk can was used by my dad when he milked cows as a kid. The old glass bottles adorning my bottle tree surfaced outside my warehouse building when the City dug up the cobblestone street in preparation for resurfacing the road. The green bucket is full of shotgun shells I gathered from a shooting range in southern Illinois. The buoys have been collected from various coastal towns including Key West, Cape Cod, and New Orleans. I grabbed the screen door from an abandoned general store in Virginia, and I bought the lentil above the door at a yard sale here in Chicago for only five dollars. I’ve started collecting green and greenish-blue boxes from abandoned warehouses here in Chicago. [Photo credit: David Schalliol]

This is the back side of the entryway installation.  This is where I feel most like a mad scientist. And yes, in case you’re wondering, there is a whiskey flask in the bottom drawer. I found the chair in an old farm house in North Carolina and screenprinted the back and seat myself. The desk was left in the basement of my last apartment and could kill an elephant if it fell on it. I had to use a truck jack and three retired football players to transport the desk when we moved into this space. The framed oil painting on the floor was hanging in my grandma’s den when I was a kid. She was trying to throw it out when I intercepted it.  The red dolly in the corner I bartered from an old (semi) drunk barber for two six-packs of Old Style beer. I think he got the better deal, but at least it looks cool. I snagged the green metal hanging light from a warehouse here in Chicago. Above my desk is one of my inspiration clotheslines. I’ve found this is the best way for me to display various ideas and my notes to myself. The little white paintbrush holder sitting on my desk with the face on it is a ceramic mug made by my pal Ed Brownlee. Ed is about two pints away from being mistaken for a criminal, but he’s a damn good artist and has an enormous heart. [Photo credit: David Schalliol]

Our building has a green roof, which Ali helped plant, and this is where the plants were stored before they were given the outdoor penthouse suite. The equipment featured in the photo is one of our landlord’s lathes; he collects old, industrial machinery amongst other things.

This is my little shrine to Johnny Cash. On the day Johnny Cash passed away, I was getting ready for an opening at Unit B Gallery, formerly in Chicago and now in Austin. The work I was showing was loaded with connotations of death and resurrection and was called the Tombsigns of St Emmeline. The synchronicity of the event was really overwhelming and would have seemed spooky, except that I seem to attract energy like that and I am open to it. The week before I was eating pizza in St Louis and some kid was skateboarding nearby with a boom box and he was playing Johnny Cash’s last recording. When I asked him about it, he said he didn’t know it was Johnny Cash, and that he had just found the tape under a tree and liked the sound. I found the whiskey jug on the bottle tree in the dirt behind the warehouse. The butterflies are screenprinted on wood and were part of a spring window display for a local shoe store . . . I use one corner of the studio for staging photos, both for Etsy and for print brochures. The mantel was a gift from a T-shirt printer (48 Industries) in the building, a fellow scavenger. [Photo credit: David Schalliol]

Stuff I love: plastic dice, old painted nail, orange train ticket to California (1898), list of numbers in Spanish, green feed tag, hand-drawn family album for collage, Virginia text from a high school Math book cover. [Photo credit: David Schalliol]

In this entryway installation close-up, the fresh eggs (fresh eyes) sign was a studio warming gift passed on to me from my buddy, artist Michael Merck, who grabbed it from a little Mexican street cart.  I found the paintbrush hanging on a hook in a bathroom of a warehouse I was occupying while living in Virginia. It’s the only paintbrush I own that’s never been used for painting.  Below the brush is a catfish sinker I bought when I went fishing in Kentucky last year.  The rooster painting, Dirt Road Series IX, is one of my own, silkscreen and acrylic on recycled wood available here. He’s a good pet and doesn’t eat food or make any noise.  He just sits there lookin’ pretty. The books to the left of the rooster are my sketchbooks.  I use old books for my sketchbooks, pasting ideas and collage materials into the existing pages, instead of buying new white-paged, sterile sketchbooks. I think it’s important to be surrounded by many different textures, so I started collecting the softballs over the past four or five years. Almost every time I make a trip down to a river, I find softballs stuck in leftover flood debris and so I started saving them in this locker room bin. If you like metal baskets like this one, you can find some here. The blue oar is a mystery. I found it one night in the middle of the road while I was driving through West Virginia. The strange part was that one end of the oar was tied to a tennis shoe.  I kept the oar; the shoe didn’t fit, so I left it. Above the fresh eggs (fresh eyes) sign is a wooden gun I made from a piece of billboard I found in Indiana and then adorned with little metal objects from an old trade school parking lot. Finally, the rooster painting is sitting on an old hen crate, used by my granddad to take chickens to market. Ali won’t let me get chickens yet, but I’m working on it. [Photo credit: Kara Elliott-Ortega]

Included in this shot are an Ed Brownlee mug (paintbrush holder), comic book collage materials, old picture frames found in a barn in Kentucky, a bluebird collage in progress, and a couple print proofs. Used paint cans, thrift store mugs, and Quaker Oats bins are used to hold brushes, pens, and markers.[Photo credit: Kara Elliott-Ortega]

‘sleep’, 2008 (source imagery: jean-bernard restout)

deitch projects, new york
november 1 - december 20, 2008

‘down’ is an exhibit of new paintings by kehinde wiley which opened earlier this month at new york’s
deith projects. a wide selection of wiley’s large-scale works will be on show including four new works
each referencing images of fallen warriors, saints, and classical mythology. using source imagery
from classical paintings, wiley contemporizes them with elements of other painting styles including
graffiti. wiley also examines the notion of ‘the master painter’, while also casting young black males
in the role of the subject.

http://www.deitch.com
http://www.kehindewiley.com

all photography by max yawney


‘morpheus’, 2008 (source imagery: jean-antoine houdon)


‘christian martyr tarcisius’, 2008 (source imagery: auguste falguiere)


‘the virgin martyr st. cecilia’, 2008(source imagery: stefano maderno)


‘femme piquee par un serpent’, 2008 (source imagery: auguste clesinger)


‘lamentation over the dead christ’, 2008 (source imagery: mantegna)


‘a dead soldier’, 2008 (source imagery: velasquez)


‘down’ by kehinde wiley, installation view at deitch projects

In general I find the conferences organized by Trendbüro Hambug quite corporate and too often the same players (aka speakers) show off. However Tim Leberecht from frog design pointed me to a slideshare summary on the key findings of the German Trend Day 2008 conference. Have a mind on your own and browse the slides: "In May this year, frog design founder Hartmut Esslinger spoke at the German Trend Day in Hamburg. The Trend Day is an influential annual forum that gathers thought leaders from business, media, and academia to discuss emerging social and cultural trends. This year's theme was "Identity Management," and other speakers besides Hartmut included Richard Florida, Danny Choo, and David Bosshart."

I am very pleased to announce the launch of my new website, www.earthbagbuilding.com. Actually this is a cooperative project between myself and Dr. Owen Geiger of the Geiger Research Institute of Sustainable Building (www.grisb.org). Owen and I have known each other for several years and have much respect for each other's work and for the potential of building sustainably with earthbags. To find out more About Us, see this page.

As the banner proclaims, our main attitude is that of sharing information and promoting earthbag building. We expect this to become the premeir site for learning about how to build with earthbags. While the site will be expanding over time, it already has a wealth of information.

Under the heading of Projects and Pictures we have already featured 17 earthbag projects from around the world, and we have plans to show many more. These pages are quite rich with photos and text that explain the nature of the projects, which range from residences to studios to walls to public buildings.

We have already posted 11 Articles about earthbag building, some we have written and some by other authorities on the topic. I have written a short History of earthbag building as well. So far we have 3 articles about Testing earthbag technology.

We have posted 4 pages devoted to the use of earthbags for Emergency Dwellings, and feature several other Plans that are available for more lasting structures.

There is a lengthy section with FAQs gleaned from my years of answering questions from the public at www.greenhomebuilding.com.

Our page of Resources features links to other related sites, books and DVDs that might be purchased, and where to buy supplies for building with earthbags. If you are looking for ways to get involved through Workshops, this page might help you find one.

If you are seeking specific information about this technology, we have provided a couple of Search engines to fascilitate this. One of these is set to search a selection of content-rich resources.

And finally, we are launching a Blog that is specifically about building with earthbags, where both Owen and I will be posting more information and provide a way for you to share information with us through your comments.

I hope you enjoy browsing and benefit from this new resource!

• Hong Kong Design Centre Workshops
  Some links to workshops and seminars the Hong Kong Design Centre will be offering in London in June; just in case you’re around the corner.
  (tags: design hong kong hongkong centre china London)
• Study Shows Blogging Now ‘Mainstream’ Among Women
  While not directly related to Design Management I do think that when it comes to user involvement in the design process the social web will for sure emerge as an additional source of insight. Interestingly only a few DM experts did get it so far!
  (tags: women blogging research blogs socialmedia blog marketing stats)
• Are Methods The New Waterfall? at Experience Matters
  Some challenging questions and ideas on if and how methods in design (if not in management at all) are both enriching the ‘process experience’ while still allowing for ‘creativity’? This reminds me on the paradox between logic and creativity from de Wit.
  (tags: design management methods process thinking tools)

This svelte steam powered car was created using salvaged parts (including tea kettles) and is capable of achieving speeds of 170mph! Developed by Edward Montagu and created by a team of graduate students in the University of Southampton, the car will soon attempt to shatter the record for the fastest steam powered vehicle in the world - previously set in 1906.

(more…)

Every year I update all of the listings for media at www.greenhomebuilding.com and I am doing that now. Last year when I got to the topic of our environment and books about global warming I was astounded to notice that nearly half of the new titles were nay-sayers trying to cast doubt in the public perception of the issue. Most of these writers were associated with conservative think tanks or corporate interests.

As you might imagine there are many new books written about global warming and its consequences; I noticed over twenty five that were published in 2007. This time, the ratio of nay-sayers has diminished to about a quarter of the volume. I take this as an encouraging trend, in that the real science and public perception are obviously coming closer together. To see a listing of some of new media see this page.

It’s about time, the (M)Ad Men figured that out. Well they sort of did before and there always been Industrial Designers in advertising and branding. But much of the focus then was on packaging design, and Industrial Design was often seen as nothing more than skinning. Core77 has a pretty good article called “Stepmothers [...]

I should share some snippets from last Friday when I’ve joined several of my peers in The Hague, NL. However please allow for some digesting of my impressions and thoughts! I will write a follow up for sure ;-)

After all what we’ve touched in our panel discussion as well as during the ‘after show’ talks has been (amongst others) the question how to best enter the ‘Design Management Sphere’. From regular email conversations as well as face2face talks this seems to be an urgent question in particular for fresh (design) graduates.

What I usually respond (and this is not meant as ‘fobbing off’) is that independent from their focus of study (let it be design or business administration just to name the two most dominant ones) graduates should try to gain as many and rich experiences in their field of profession as possible. This enables them to comprehensively explore the pros and cons of the field and will help them to render more precisely which domain of the Design Management sphere they are most interested in: Digital, Brand, Corporate, Industrial, Consumer, Services, just to name a few.

Ultimately and this is what I truly believe in: Design Management to a large degree is to a large degree nurtured by the application of (for sure!) cross-disciplinary experiences and skills that tend to rather grow over time. This does however not mean that undergraduate BA & MA programmes in Design Management are not useful. This is however a different discussion to be discussed at another time.

So, for those of you who are seeking for these cross-disciplinary experiences delivered in a highly condensed format you might want to have a look at the MoHo Website. Here’s a snippet from their vision statement:

“Innovation is hampered by a myriad of factors in today’s globalised world. The lack of communication between knowledge centers such as engineering, marketing and design in companies, creates distortions and miscomprehensions between people that heavily penalize the innovation process.

These problems are further amplified if economic reality is brought into the picture. Too many products have been ‘invented’ in the past with little or no potential for economic success. ‘Inventors’ very easily forget the importance of market reality.”

Unfortunately I haven’t been aware of this initiative and hopefully they will share some of the findings publicly soon!

Side note:

These are the facts & figures of the event I do miss more designers here for sure:
# 7 days in Palo Alto
# June 1 - June 8
# 1 house
# 16 partners
# 15 endorsements
# 15 engineering students
# 3 design students
# 15 business students
# 10 social entrepreneurs
# 10 artists
# 5 venture capitalists
# 2 design professors
# 3 business professors

I recently returned from a vacation wandering around the Ozark Mountains in Oklahoma, Missouri, and Arkansas, and was amazed to see so many stone houses. This style of building has obviously been a vernacular art for at least two centuries, since many of the buildings were quite old. I would estimate that something on the order of 5% of the residential construction in that region is done with stone walls. I don't know if these houses are insulated on the inside (I hope so, given the seasonal heat and cold they must endure.)

‘punta della dogana’ renovation, venice, italy
image © tadao ando architect & associates

'challenges: faithful to the basis' is an exhibition that attempts to give an overview of ando's 30 years
as an architect, focusing on the various types of ‘places’ he has designed over the years. 10 or so projects
undertaken in osaka, kobe, tokyo, venice, abu dhabi, mexico and bahrain which were completed under
different conditions, project durations, scales and programs are all featured in this retrospective exhibition.

 
‘punta della dogana’ renovation, venice, italy
image © designboom

see the designboom article:


tadao ando retrospective exhibition

We all know the drill when it comes to meetings: Arrive prepared and in time, stick to the agenda, don't interrupt others and let them speak until they're finished ... But we all do also know that we so often suck with these basic rules. Therefore I'd thought that it might be a good idea to have the basic rules written down. This is no matter of being a business or design manager. On the contrary maybe some more structure in discussions would very often help meetings on design, process, and aesthetics to be more effective ... What are your experiences?

Each year the Society for Environmental Graphic Design sponsors a contest to recognize the best in environmental graphic design. This year’s Juror’s Award went to Norman Lee and Charles Houser for their Billboard Earthbag Project.

The designers say: “Because most conventional sandbags are fabricated from polypropylene, they are very vulnerable to UV rays and quickly begin to deteriorate when exposed to the sun. Consequently, earthbag shelters need to be plastered to maintain their durability during extended use.The Billboard Earthbag Project envisions using billboard vinyl as an alternative material for earthbags. Polyvinylchloride (PVC) or vinyl, a virtually indestructible, UV-resistant material that cannot be incinerated because of the toxic gases it would emit, represents a substantial portion of the PVC in the world’s overburdened landfills. Because of its durability and imperviousness to the sun and other elements, billboard PVC is an ideal material for reuse.”

“The reuse of billboard vinyl in earthbag construction mitigates the impact of global warming in two ways. Transforming this landfill-bound material into another useful product helps lessen landfill overflow worldwide. It also eliminates the need to protect earthbags from UV rays, resulting in more robust emergency shelters that can be used longer to lessen the human suffering caused by natural disasters.”

“As a visual concept, each billboard shelter stands as a symbolic gesture of sustainability. Beyond its environmental benefits, the strategy of reusing billboard vinyl visually recontextualizes the nature of billboards, which are symbols of mass consumerism and a pervasive form of visual pollution in our world. This concept does not seek to generate imagery, but instead appropriates existing commercial imagery as a metaphor for global recycling and reuse. Assembled together into a shelter, the earthbags create a dynamic and vibrant pattern of collaged images and text from around the world, dramatically suggesting a unified, international gesture of sustainability, hope, and humanitarianism.”

According to the jurors, they "were intrigued by this project as an example of ‘cradle-to-cradle’ design pertinent to the signage industry. Utilizing intrinsic qualities of billboard PVC—UV resistant and near indestructible—this concept proposes the creation of dwellings from recycled material and imagery. The idea takes the recycling of billboards, street banners, and print graphics—already employed by art museums in the creation of second-use products—to another level. Truly inventive!"

This all sounds pretty good, and might well work if the billboard material were cut and sewn into bags. One obvious disadvantage of the idea is that since PVC is toxic when burned, this would present a potential hazard to the occupants, but of course this is true of many modern building materials. PVC poses a great risk in building fires, as it releases deadly gases long before it ignites, such as hydrogen chloride which turns to hydrochloric acid when inhaled. As it burns it releases yet more toxic dioxins. Additionally, vinyl does outgas highly toxic VOCs over time. Fortunately most of this danger would have passed with the use of recycled signs, but this could also be an issue.

If you’re a fan of modern prefab architecture and you’re raising rugrats, now you can get your little ones on the prefab mod action with the Mini Modern Prefab Playshed. Part Case-Study home, part play-house, the Mini Modern Prefab proves that kid’s design can be fun and sophisticated at the same time. Architect Ryan Grey Smith, known for his adult-sized Modern-Shed is bringing prefab to preschoolers with his Modern Play Shed, a smaller but no-less awesome version of his original design. Better than any treehouse or playhouse we’ve ever seen, it comes fully loaded with a sloped shed roof, dutch doors, 12 windows, and more.

READ MORE AT INHABITOTS >

Modern farmhouse sounds like an oxymoron, but I've seen more than a few great looking modernist takes on the American homestead. One of my favorites is Farmhouse One, by the architecture firm of Durkee, Brown, Viveiros and Werenfels. It's a simple, traditionally inspired Rhode Island farmhouse with modern twists. Take a look.




And if you're in to modern farmhouses you'll also be pleased to know there's a great blog dedicated to the genre - the appropriately named Farmhouse Modern. It's definitely worth a look (I found it on the LiveModern Blog Directory, where Future House Now is also listed).

If you want to completely overdose on cool modern farmhouses, pick up the book Farm Houses: The New Style by Neill Heath. It features the houses I mentioned above, and many more, in 185 full color pages. Great book.



Image credits - Durkee, Brown, Viveiros & Werenfels site, Amazon.com Listing

More and more I find that simple, clear & intenlligently designed concepts are the most convincing ones in our world of increasingly plurivalent and confusing messages: I'll make it all white!

Image: Happy 3rd Birthday by Laura-Beth Wow I almost missed it yet again! Yesterday, November 09, was Design Sojourn’s 3rd birthday. It has been 3 great years of blogging and to mark this event it I have been thinking about what I should do to celebrate it with you dear reader. Oh before I [...]