Design Job: Level Up Your Career as the Global Industrial Design Manager at Catepillar by Coroflot Jobs

Caterpillar Inc., the world’s largest manufacturer of earth moving equipment, is seeking its next Global Industrial Design manager and has an immediate opening for a 10+ year experienced, highly creative and proven leader for its worldwide team. This role has the critical responsibility of enabling and leading Caterpillar to leverage a sixty-year internal industrial design consultancy to execute industry leading human centered design in earth moving and power generation products. This position leads highly skilled degreed creatives that continually ensure any product or component development led by industrial design, delivers deep customer empathy and value synonymous with the iconic Cat brand.

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Design Job: Stay Cool as an Industrial Design for YETI Coolers in Austin, TX by Coroflot Jobs

At YETI, we believe that time spent outdoors matters more than ever and our gear can make that time extraordinary. When you work here, you’ll have the opportunity to create exceptional, meaningful work and problem solve with innovative team members by your side. Together, you’ll help our customers get the high-quality gear they need to make the most of their adventures. We are BUILT FOR THE WILD™. You are a highly motivated self-starting Industrial Designer with a proven track record of bringing consumer products to market. You thrive in fast-paced environments with entrepreneurial DNA, and are comfortable charting new territory. Your creative chops allow you to research, strategize, synthesize and develop concepts across any platform or category.

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Design School: $200,000 Student Debt (Art Center) by Jimmy Design

Design School: $200,000 Student Debt (Art Center)
The Cost of Going to a Private School for Industrial Design. How Much I Paid for My Industrial Design Degree: https://www.youtube.com/watch?v=MF1w4iz7yqY School to Earnings Study: https://ift.tt/2IXkCq9 Art Center Info: https://ift.tt/OClKi0 My Portfolio https://ift.tt/2u820vK My Instagram https://ift.tt/2W4L31h Get The Pens Here: https://amzn.to/2GAA8sv https://amzn.to/2EgUg0c Metal Peg Board: https://amzn.to/2VyBBUj Peg Board Hooks: https://amzn.to/2SH85cY My Main Camera https://amzn.to/2GPaMrC My Microphones https://amzn.to/2Sqbcpv https://amzn.to/2CHqOjl https://amzn.to/2BQQXdM Microphone Setup Parts https://amzn.to/2ViLBAS https://amzn.to/2BQRix4 https://amzn.to/2VjFZq0 My Lights https://amzn.to/2Aq1DjE

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Design Job: 11 Open Faculty Positions Are Open Right Now at Parsons School of Design by Coroflot Jobs

Parsons School of Design, a college of The New School, invites candidates for eleven full-time faculty positions in areas including: Animation, Art and Design History, Communication Design, Interior Design, Textiles, Social Justice/Community Engagement, Fashion Design Technology, Fine Arts, Photography, and Industrial Design. Visit: https://ift.tt/2JhHmRR. The New School is

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Give Your Smart Watch a Touch of Nature With Bandly by Alexandra Alexa

The story of Analog Watch Co. started in 2012 when founder Lorenzo Buffa was a senior in the Industrial Design program at Philadelphia's University of the Arts. "Most of my undergraduate work was research-focused, but before finishing school I wanted one portfolio piece that was a physical product and mock brand," he explained to us in a recent email. "I saw a trend of wood watches emerging and decided to explore an alternative to wood links for the band." Over the course of his thesis year, Buffa explored different types of wood, veneers, substrates, and adhesives, before ending up with four watches featuring soft, remarkably pliable bands made out of wood. A year and a half later, that original line of watches was successfully funded on Kickstarter and Analog Watch Co. was officially born.

When we last caught up with Buffa, he had just launched that first Kickstarter campaign, and today, he's back for a second round of crowdfunding for his latest product release: Bandly.

Each of the four designs comes with a matching background optimized to compliment the Series 5 Apple Watch "always-on display."

Buffa adapted his thesis technique—for which he received a utility patent in 2017—to create a range of wooden straps that are compatible with the Apple Watch and Fitbit Versa. The organic grain of the wood gives the bands a warmth that traditional tech accessories made of plastics and metals are too often missing.

"Bandly aims to be a micro-change that brings a little bit of real nature into your experience of tech," Buffa says. "Technology fatigue isn't going anywhere, so we decided to combine the well-known benefits of nature with everyday tech items."

Four years in the making, developing Bandly presented a distinct challenge. "The original design was treated and had specialized coatings for wear, but the average watch wearer doesn't wear their watch 24/7 like smartwatch users do," Buffa explains. "I had to account for the fact that the watches go through much more rigorous use and wear. This meant changing wood species to ones that are more crack resistant and finding a matte finish that was also truly sealed so it could handle all of the moisture from sweat." We don't have more details about their proprietary process, but it renders the pliable wood virtually waterproof.

Available in dark teak, light teak, maple, and rosewood, the engineered wood is backed with soft vegan leather. The campaign page boasts that the bands withstand up to 10,000 bends, 500 stabs, and 1000 smashes. At press time, just a few hours after their launch, Bandly had raised almost 50% of their $2,500 goal.

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No Ideas? How I Overcome Designers Block! Industrial Design by Jimmy Design

No Ideas? How I Overcome Designers Block! Industrial Design
How to Overcome Designers Block. My Portfolio https://ift.tt/2u820vK My Instagram https://ift.tt/2W4L31h Get The Pens Here: https://amzn.to/2GAA8sv https://amzn.to/2EgUg0c Metal Peg Board: https://amzn.to/2VyBBUj Peg Board Hooks: https://amzn.to/2SH85cY My Main Camera https://amzn.to/2GPaMrC My Microphones https://amzn.to/2Sqbcpv https://amzn.to/2CHqOjl https://amzn.to/2BQQXdM Microphone Setup Parts https://amzn.to/2ViLBAS https://amzn.to/2BQRix4 https://amzn.to/2VjFZq0 My Lights https://amzn.to/2Aq1DjE

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A Large-Scale Retrospective Dedicated to Charlotte Perriand Fills the Fondation Louis Vuitton in Paris by Alexandra Alexa

For the first time since the Fondation Louis Vuitton opened in 2014, the entire Frank Gehry-designed building is currently dedicated to the work of a single designer: the visionary Charlotte Perriand (1903-1999). Over four years in the making and comprised of more than 180 pieces of design, the show demonstrates how Perriand forged a modern way of living that combined design, architecture, and the visual arts.

"She was an exceptional personality, a woman committed to leading a veritable evolution, or perhaps more aptly, a revolution," the exhibition statement reads. "Her keen observation and vision of the world and its cultural and artistic expressions place her at the heart of a new order that introduced new relationships between the arts themselves...as well as between the world's most diverse cultures...Her work resonated with changes in the social and political order, the evolution of the role of women and changes in attitudes towards urban living."

The show includes seven completely reconstructed spaces, finished according to Perriand's exacting specifications. These include Perriand's own Saint-Sulpice apartment from 1927, La Maison du Jeune Homme, shown at the Universal Exposition in Brussels in 1935, the Refuge Tonneau, a mountain shelter she designed in 1938 with Pierre Jeanneret, and reproductions of two exhibitions she held during her time in Japan, where she worked as the official advisor on industrial design to the Japanese government.

As Wallpaper* reported, Cassina, with whom Perriand started working in 1964, provided pieces from their archive and replicated certain works in the finishes and colors that would have been used at the time. Visitors are invited to sit on and use the furniture in the recreated spaces, providing a unique immersion in Perriand's world.

In addition to Perriand's own work, the show includes 180 artworks by 17 artists, including Pablo Picasso, Fernand Léger, and Alexander Calder. Perriand often juxtaposed her designs with specific artworks, and the curators went to great lengths to source the exact pieces. "The art alone could have warranted its own show, but here you get to see it in a real context," noted chief curator Olivier Michelon.

Find out more about how Perriand redefined "the art of dwelling" and "the art of living" in our primer and if you can, make sure to catch this blockbuster exhibition before it closes on February 24, 2020.

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Gowanus Open Studios: Framed by Rezoning, A Portrait of Our Top Pit Stops by Emily R. Pellerin

Proposal illustration of development along the Gowanus Canal, via the Department of City Planning

Gowanus, a Brooklyn neighborhood iconic for the eponymous polluted canal that runs through it, is zoned for light to mid-manufacturing, and is one of the New York City neighborhoods that, in complement to its current zoning, is a welcoming environment for makers of all sorts: fashion, furniture, product, printmaking, photography, painting, ceramics, sculpting, textiles, architecture, glassblowing, drawing, woodworking, lighting, and other industrial design and artistic practices.

Rewind to the mid-90s, to precisely 23 years ago, when the neighborhood's artists, designers and manufacturers decided to band together around the importance of the creative community they belonged to. This, in part, stemmed from an acknowledgement of the nascent pressures of real estate development, and the necessity to collectively protect their haven of affordable work space.

One-of-a-kind hand woven horsehair and cast iron Bench No. 05, designed by Alexandra Kohl and J.M. Szymanski; Kohl's studio will be open to the public for Gowanus Open Studios, where you can view more of her provocative textile and furniture creations

"A bunch of artists in the neighborhood got together. It started very small," says artist and curator Johnny Thornton of Arts Gowanus, of which he's Program Director. "Then [it] just sort of grew and grew." In 2006, in the organization's 20th year, Arts Gowanus became a nonprofit, and further incorporated advocacy into the suite of programming and services it offers the artists in Gowanus that make up its constituency – the pioneers and the creative progeny of Arts Gowanus' founding members.

The City's 2019 rezoning proposal, then – which is referred to as a "Draft Scope of Work" – cites as a main priority the "support [of] existing clusters of economic activity" (P. 5); however, in its introductory summary, it outlines that implementing the rezoning "would result in net decreases of 104,000 sf of warehouse space… and 60,000 sf of other industrial space." Despite the unfortunately problematic nature of these contradictory propositions, there are many positive line items within the proposal, including supporting some existing protections for industrial space, enforcing affordable housing requirements, provisions of industrial job training, safeguarding along the Gowanus Canal waterfront, and more.

Because of the infiltration of real estate interests into urban design priorities citywide, and now most pressingly the current proposal (which is in community evaluation stages, although no progress on approving or revising the proposal has been reported since earlier this summer when a series of community open meetings was held), the presence and impact of Arts Gowanus is all the more crucial.

Anonymous (2012), designed in steel by figurative metal sculptor Alexandra Limpert. (Dimensions: 70" x 22" x 13".) Her art is inspired by cityscapes and the human form, and she's interested in automatons and additive manufacturing in her sculptural constructions, which involve animatronics. Visit her studio for a glimpse into the process and engagement with the work it produces.

One of the organization's most community-building and highest profile endeavors is its annual Gowanus Open Studios (GOS) weekend, this year taking place October 19th and 20th from 12 noon to 6pm. Citing growth year-to-year, Thornton shares that, with more than 400 studios now participating, engagement is estimated to be upwards of six thousand passers-through (perhaps even closer to the ten thousand mark, if exponential patterns of past attendance rates continue).

This estimation is important for two reasons: one, it references the symbiotic relationship between commerce and industry in the Gowanus neighborhood, a value that some local restaurants and storefronts have acted on in the form of becoming official GOS sponsors. "A lot of our central businesses are packed that whole weekend," Thornton says. "One year, Fletcher's [Brooklyn Barbecue] ran out of meat!" Arts Gowanus, as evidenced, is contributing to a neighborhood economy beyond just the arts-specific realms; it is testifying in realistic, quantifiable ways how interest and investment in the creative industries offers a reciprocal commercial value to the communities it remains a part of.

And that is the second reason this anticipated foot traffic is so important: That is, the interest (and the broader value of that interest) that its audience specifically points to. The guests, says Thornton, can be divvied up between demographics who are coming from Manhattan, including "a lot of curators, a lot of buyers," as well as people coming from all over the borough and are interested in meeting artists in their usually-private studio environments, and those coming more locally from within Gowanus, to simply get to know their neighbors.

The draw for city-based curators and buyers represents the serious relevance of the economy that local Gowanus makers are forging from their concentrated, South Brooklyn footprint. The current proposal by the City grants some protections for, but also poses some threats to, this stronghold that artists maintain over the neighborhood's current commercial-industrial ecosystem.

To familiarize ourselves with that hyper-localized ecosystem – one of many in New York City's boroughs whose landscape is within the scope of the City's present attention – we've perused the recently released Gowanus Open Studios map to get a feel for the diverse community of artists and makers whose doors will be open wide to guests throughout the upcoming, celebratory weekend. We encourage you to visit Gowanus (and its adjacent areas) for the event and visit the makers and spaces listed below, and to make your own route beyond that for a self-guided tour. As for what exactly to expect 'round the Canal? "Any sort of creative" can get involved, says Thornton. "We don't put a cap on what art means to us – that's for the artist to decide."

For more information about the participating creatives and their locations, including sponsor restaurants and other commercial sites, visit artsgowanus.org.

Seven Select Core77 Studios to Suggest for Your Schedule of Stop-ins

Aardvark Interiors
126 13th Street
Studio #3R

Helmed by experimental, experiential artist and sculptor Jason Gandy, Aardvark Interiors creates site-specific interiors installations and produces its own collection of fine furniture. An expansive studio housed in a building amongst other creatives and GOS participants, the unexpected abounds within Aardvark's workspace footprint. Gandy's interactive, mobile peephole artworks will be on view alongside his finely constructed debut furniture collection and other works in progress.

Vignette featuring the collection pieces Dark Matter Desk and Portal Mirror, via Aardvark Interiors

Andrew Algier, Algierwork
166 7th Street
Gowanus Studio Space

Based in the neighborhood's eponymous artist studio complex, Algierwork welcomes people to view its workspace, which produces furniture, sculpture and objet. With a playful and sometimes ironic approach to furniture making, Algier's practice encompasses a broad range of design pieces that are responses to the way people naturally interact with the things and spaces around them.

Seats for Sore Eyes, II (2018), a one-off design in ebonized oak, by Andrew Algier

Clare Burson
18 Whitwell Place
Shapeshifter Lab

Musician and visual artist Clare Burson will be showing, in addition to other work, pieces from the Bumps Collection, a series of functional objects – at once beautiful and bizarre – including vases and jewelry dishes. Through wheel work and hand-building/-painting, the designs' exteriors boast tactfully placed knobs made of a semifluid glaze, resulting in irresistable touchability.

Image via Clare Burson of select Bumps Collection pieces

Gowanus E-waste Warehouse
469 President St

An extension of LES Ecology Center, the Warehouse is the only free, permanent e-waste drop-off center in all of New York City. Specially for GOS, the site will be leading hourly tours, inclusive of a hidden "Prop Library" and featuring information about the mechanics of E-waste recycling.

Photography by Claudio Papapietro for (and borrowed from) the Wall Street Journal

Makeville Studio
125 8th St

Makeville is rooted in the ethos of sustainability through resource-sharing and responsible materials-usage, and the development of community-creator relationship. Offering shared shop space, events, classes and lessons, the artist membership base will be exhibiting their work (primarily in wood), and meeting and greeting guests interested in its programming, products, and mission.

Wood sculpted bowls by a Makeville-based artist, via Makeville.com

Shakespeare Gordon Valdo Architects
168 7th Street
Studio #316

Originally founded by Amy Shakespeare (no relation to the Bard, that we know of), this women-owned architectural firm, often focused on affordable housing and other community-centric projects, is opening its doors for an exclusive viewing into its working offices, plus a special installation.

SGVA design for a Park Slope brownstone. Image via Brownstoner; photograph by Andrew Rugge.

Textile Arts Center
505 Carroll Street

Hosting creative educational programs, artist residencies, exhibitions, technique-focused classes and more throughout the year, the TAC fosters appreciation for and explorations of textile arts, history and culture. And for all you fabrics-inquisitive makers touring around GOS: they also offer space and loom rentals!

Image via textileartscenter.com

To see more of the designers and businesses here visit the Gowanus Open Studios 2019 on Saturday and Sunday, October 19th - 20th, from noon - 6pm

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Design Job: Get an Industrial Strength Job as a Sr. Industrial Designer for Milwaukee Tools, in Brookfield WI by Coroflot Jobs

Milwaukee Tool's Industrial Design team is continuing to grow and is looking for a dynamic Industrial Designer to join its in-house design team. Our product line is continually expanding; come join a growing creative team that is building a portfolio of advanced products. The primary duties of a Staff Industrial Designer center around the development of new products. Every project entails empathetical understanding of users, the inventive exploration of form and function with consideration for the interactions between the user and the product or system. Conceptual exploration is accomplished through competitive assessments, field visits to identify unmet user needs, design trend awareness and purposive ideation. The design intent is communicated through visual storytelling and study models to gain acceptance by the project team.

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Could You Imagine Earning an Industrial Design Degree Online? by Rain Noe

Like many design schools, the Rochester Institute of Technology offers degrees in both Industrial Design and Architecture. Unlike most design schools, however, R.I.T. recently announced they're rolling out a Masters of Architecture degree program…online.

They're not alone. In fact, according to the Guide to Online Schools, "Online architecture degrees are available at the bachelor's, master's, and certificate levels." The site lists 31 accredited schools offering such degrees.

Which begs the question: What about Industrial Design? At press time I could only find one accredited school claiming to offer an online degree in ID: The Academy of Art University in San Francisco. However, the Online Industrial Design Degree section of their website makes no mention of which degrees--Bachelor's, Master's, Certificate--they offer as an online option.

AAU has posted this video demonstrating how their online programs work, but it's not ID-specific:

For those of you who have earned ID degrees, could you imagine earning one online? It's been a while since I graduated, but I could not see a "distance learning" model having worked for me. The camaraderie developed in classrooms and studios, the ability to see what all of your peers were working on, the help we gave one another, the future friendships and work contacts we formed, all seemed irreplaceable. We gave each other internship leads and job leads. Perhaps most importantly, many of us had jobs waiting for us after graduation as a result of the in-person education; we'd formed rapports with professors who were working industrial designers, and many of them hired many of us (indeed, that's how I got my first two gigs) after graduation.

While I cannot imagine an online Industrial Design degree program being a suitable replacement, I suppose it's worth noting that not too long ago, the idea of buying something online--not to mention meeting romantic partners online--seemed absurd. So I'll be keeping an eye on how this progresses.

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What We Learned at the 2019 Core77 Conference, "The Third Wave" by Core77 Conference

by Alexandra Alexa and John P. Kazior

This year's Core77 Conference, "The Third Wave" took place on Friday, October 4th, and included presentations by a number of designers working in variety of fields, but all asking similar questions through their work, like: How can designers do better? How can our community use our unique skillsets in order to enact real change? Each talk countered and questioned the design community's established processes while challenging how design can uniquely tackle issues relating to sustainability, representation, and not perpetuating frightening sci-fi visions of the future.

All photos by Rebecca Smeyne

Didn't get a chance to take part in this year's conference and wondering what attendees got out of the experience? Here are some of the lessons we took away from talks throughout the day:

Notes on collaboration

Yasaman Sheri set the tone for the rest of the day with her discussion about the importance of "code switching" across disciplines to better design in the increasingly complex and networked systems we find ourselves in. Sheri presented her wide-ranging work—from being one of the first designers working on Microsoft's Hololens to a recent residency at Gingko Bioworks where she created biosensors that can react to certain molecules, toxins, hormones, etc. far more sensitively than existing hardware.

Early prototypes of the Microsoft Hololens

Along the way, she's learned to switch between various "codes"—those embedded in our culture, in nature, in our machines. As her practice has evolved, so too has her desire to build trust through language, exemplified by initiatives like the BioDesign Dictionary that she created to establish a foundation for her work with the scientists at Gingko. "Shared language helps us build trust across boundaries," Sheri explained. "It requires taking the initiative (and having the interest) to learn the other community's language." "There is no consensus on an ethical future because there is no 'one' ethic nor 'one' future," she continued. While it may not be possible to come to a single consensus on one "ethical future," collective decision-making is going to be vital going forward.

John Maeda released the floodgates, so to speak, when he was quoted in Fast Company as saying "in reality, design is not that important." His seemingly dismissive statement launched a series of impassioned responses, even though it lacked context. Maeda used this experience to launch a discussion about the value of public failure and the importance of those who assume the risk of disrupting norms. "Disruptors are an anomaly," Maeda said. Most people don't love change, so if you assume that role you have to be prepared to take the heat. And if (or rather, when) you find yourself experiencing a public failure of your own, Maeda shared his go-to resource for getting out of the funk, this essay on "personal renewal" by John Gardner.

Joe Meersman of Resideo hosted a panel with Marijke Jorritsma of NASA's Jet Propulsion Laboratory and Dean Malmgren of IDEO, exploring the future of data on micro and macro scales. The issue of language and communication across disciplines emerged as a key theme again. As Dean put it, he works as "a data scientist working with other data scientists to learn the language of design" while Marijke has to understand and anticipate the needs of astronauts as she develops user experiences for future missions. When designing UX for highly-trained scientists, one major challenge Marijke pointed out is making sure that the data is not looked at as proprietary. Ultimately, she said we find ourselves in "exciting data times," but Dean was quick to point out they are also "terrifying data times." When designing new experiences, the data we currently have—although there's a lot of it—is not always the right data and language is big part of how that gets framed.

Question the legacy of modern design practices

Through examples like the Lego Braille Bricks, Liz Jackson schooled the audience on spotting "disability dongles" and asked that we always question whether we're "thinking of" or "thinking for" when designing. Design briefs too often seek to fix disabled people. "We're defined as the problem rather than the problem being defined as the problem," Jackson said. In the process, emerging technological schools of thought like transhumanism are actually promoting the erasure of disabled people through design.

Lego Braille bricks commercials are highly visual and therefore clearly not created for blind consumers.

Jackson proposed "design questioning" as an alternative to "design thinking." She referenced the shift from thinking about empathy as inspiration—according to the definition of being "physically moved by works of great human expression"—to it being a way of expressing pity or sympathy. "We've lost the ability to parse between definitions," she said. Nobody is immune from this kind of thinking. Jackson concluded with a rumination on Lewis Miller's flower installation in NYC. She stumbled across a bunch on a curb and was instinctively drawn to pick them up, to save them from being discarded. "Not all things need saving," she realized. "Sometimes they need the right to exist."

Jerome Harris took us on a crash course through the history of modernism in graphic design, from its Nazi roots to its current status as the default language of printed matter and branding. Modernism has become a default in much of graphic design today. It's familiar grids and alignments have essentially become synonymous with the entire discipline. Modernism "gives design an immediate legitimacy," Harris noted. Rather, Harris urged attendees to consider how technology gives us more opportunities than ever to be expressive. Rather than mining the familiar canon for inspiration, Harris suggested alternate sources that have been left out of the history books. The long lineage of queer and feminist zines for example, show what design can be when it's made with true urgency. "When you have something to say, not just sell," as Harris noted. As modernism continues to define the expression of our tech-driven capitalism, how do we find a new Modernism that is more appropriate for the challenges we face? Harris ended with a simple ask: think about the criteria you use to assess good design and don't stop challenging it.

Rethink how technology can be utilized to enact change

Several founders housed in New Lab presented their company concepts to the Core77 audience and demonstrated very different ways in which technology, machine learning and data can be harnessed to create sweeping change. Atolla skincare founder Meghan Maupin discussed how her company uses machine learning to perfect skincare solutions, which results in a better understanding of one's own skin health and as a result, declining packaging waste in the cosmetic industry. Farmshelf founder Suma Reddy explained to the crowd how she found a way to grow hyper-localized produce in indoor settings with minimal water usage. And finally, Roots Studio Rebecca Hui demonstrated how technology can be used to preserve heritages and cultures' creative works while also ensuring these communities can be properly attributed and paid for their original works.

What have we gotten ourselves into?

In his "participatory talk," Francois Nguyen, creative director at Frog, took the audience through Maslow's famous "hierarchy of needs," with a set of exercises designed to help simulate the fine line between comfort and need. Providing a series of historical vignettes to demonstrate how industry has addressed those needs of ours, Nguyen highlighted the ways in which design has so often led to excess. From the simple paper dixie cup, an object designed to make drinking more hygienic, to the 1 million plastic water bottles consumed every minute, that we've arrived at. In his discussion of the cost of comfort, Nguyen implored us to consider the importance of all the products we create, but also, all that we don't.

How now do we reckon with the world comfort has created for us? Susanne DesRoches, took us through her 25 year journey from her education and early career in industrial design, to developing sustainability and resilience guidelines for the city of New York. Building from experience as a designer and learning to collaborate with engineers and architectures at the Port Authority, DesRoches, has been able to apply her unique experiences to helping prepare the city for an uncertain future. Sea level rise, precipitation fluxtuation, air temperature increase and the multitude of issues climate change will inevitably throw at the city. From DeRoches' own journey we can glean that collaboration and education are a necessity if we are ever to prepare ourselves accordingly.

For designers, finding a place to start when it comes to confronting climate change and other issues in sustainability can be a challenge. Moderated by Leigh Christie of MistyWest, Sandra Moerch, Meagan Durlak, and Brian Ho discussed the ways in which they've addressed the United Nations Sustainable Development Goal's through their own work and how they can serve as a starting point for sustainable design practice. Finding goals to connect with, and learning how the different goals can inform each can help individuals and organizations develop more comprehensively sustainable practices going forward.

Design for an uncertain future

Just as designers must acknowledge the social and ecological issues of our time, we can't stop pushing the boundaries of our collective imagination. VR/AR "evangelists," Max Almy and Teri Yarbow of SCAD, demonstrated the many ways that the technology can alter perspective, experience, and ideally generate empathy, in the budding medium. With projects like "Oculus VR for Good" and their own project "Radiance" for therapy in Hospice, Almy and Yarbow suggest that the VR/AR frontier can offer possibilities for social impact that we've not had access to before as artists and designers.

Archie Lee Coates, partner at PlayLab INC., has made a career of challenging what is possible. Archie and his cohort at PlayLab INC. set for themselves the mission of creating a public swimming pool, "+Pool," in the East River. Though it has been an endeavor spanning several years with obstacles the whole way through, their vision will finally be realized.

PlayLab and FOOD' s +Pool concept (soon to be a reality)

Providing an impressive carousel of design, publishing, exhibition, fashion, installation, performance, and more, Archie took us on a journey through the dreams of his studio. With the improbable achievement of +Pool, Archie made a compelling case for the collective pursuit of dreams.

In the conference's final presentation, Paola Antonelli, gave us a glimpse at what dreaming in our current ecological crisis might look like. In the exhibition Broken Nature, curated for the Design Triennale in Milan, Antonelli compiled a wide array of designers and artists that are acknowledging climate change and extinction, and imagining the ways we might proceed forward. Through the diverse and multidisciplinary exhibition, Antonelli presents the idea that we cannot escape extinction, but we may can decide the manner in which we go out.

Stay tuned for speaker videos in the coming weeks, and learn more about the 2019 Core77 Conference, "The Third Wave" on our conference website

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