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Yves Béhar
From the archives 🎙️
Industrial design icon Yves Béhar shares stories behind some of his most impactful projects.
📲 Listen on Apple Podcasts → https://podcasts.apple.com/ca/podcast/220-yves-b%C3%A9har-designer/id1632267449?i=1000676283895
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The discard pile

I think part of being a designer is to fail every day, to try things that don’t work out. In a way, every project fails every day until it succeeds! That’s what the iterative process of design is about. The projects that don’t launch, this is sometimes due to the fact that they’re too early but that doesn’t mean they don’t come back a few years later as ideas integrated in different projects. Timing in many ways is key.

~ Yves Béhar, from Yves Béhar – The Talks

slip:4uteie53.

I’m reminded of the idea of one’s discard pile. Béhar’s work can fail (the idea of success versus failure in trading with others is baked into the way we use the word “work”), so he’s aware of “failure” as a salient feature of his creative efforts. Here on the ‘ol blog, this isn’t about “work” so it’s not possible for it to “fail.” But I do often think about the discard pile: I don’t actually create blog posts and then discard them rather than post them. But I do often read and find things, imagine what I could post about them… and then I don’t post it.

ɕ

#Creativity #YvesBéhar

El Diseño trae Historias a la Vida. La Vida trae Historias al Diseño y las Historias dan Diseño a la Vida.
Yves Behar.
Fundador del estudio de diseño industrial fuseproject con base en San Francisco.
La frase en sus tres modalidades podría aplicar prácticamente en cualquier ramificación del diseño y ser siempre tan útil como nuestra profesión misma.
#yvesbehar #swebmty #citasdemarketing #citasdediseño

Kunlé Adeyemi, Liz Diller, Yves Béhar and Daniel Simon to judge Dezeen and Arrival's Future Mobility Competition

Kunlé Adeyemi, Elizabeth Diller, Yves Béhar and Daniel Simon are among the judges for Dezeen's Future Mobility Competition powered by Arrival, which seeks innovative ideas to transform transportation.

The four leading architects and designers will be joined by Jeremy Offer and Martina Wierzbicki from Arrival and Marcus Fairs and Cajsa Carlson from Dezeen to form the judging panel, which will assess the competition entries and select the winners.

The Future Mobility Competition powered by Arrival calls for radical mobility solutions

Launched last month, the Future Mobility Competition powered by Arrival is a global design contest for ideas that reimagine the future of transportation.

Contestants are tasked with identifying problems with mobility in their city, or a city they are familiar with, and proposing solutions that will improve how people move around their environment.

The contest is open for entries until 14 April 2022 and features total prize money of $85,000 with a top prize of $25,000.

Full details of how to enter the competition can be found in the competition brief and rules.

Kunlé Adeyemi is the founder of architecture practice NLÉ

Adeyemi is an award-winning architect, professor and development strategist and the founder and principal of architecture, design and urbanism studio NLÉ.

Alongside his professional practice, Adeyemi is an international speaker and thought leader. He is a member of UNDP's Africa in Development Supergroup and is currently an adjunct visiting professor at the University of Lagos, following previous appointments at universities including Harvard, Princeton, Cornell and Columbia.

Elizabeth Diller is a partner of Diller Scofidio + Renfro

Diller is a partner of New York architecture practice Diller Scofidio + Renfro (DS+R).

Her cross-genre work has been distinguished with inclusion in Time Magazine's 100 Most Influential People list and the first MacArthur Foundation fellowship awarded in the field of architecture. She is a member of the UN Council on Urban Initiatives and is a professor of architectural design at Princeton University.

Yves Béhar is the founder of Fuseproject

Béhar is a designer, entrepreneur and the founder of the design and innovation studio Fuseproject.

Béhar has pioneered design as a force for positive social and environmental change and has been at the forefront of entrepreneurial venture design, co-founding brands including FORME Life, August and Canopy, as well as partnering with numerous start-ups.

Daniel Simon is the founder of Cosmic Motors

Simon is a designer best known for his contributions to feature films such as Tron: Legacy, Oblivion and Star Wars VIII, in addition to his collaboration with Singer Vehicle Design and the books Cosmic Motors and The Timeless Racer.

He studied car design in Pforzheim, Germany, before working for Volkswagen Advanced Design between 2000 and 2005 and then becoming an independent designer, consulting for various Fortune 500 companies worldwide.

Jeremy Offer is senior vice president of industrial design at Arrival

Offer is senior vice president of industrial design at Arrival, where he leads a team of multi-disciplinary designers.

With a background in industrial and service design consulting, Jeremy is the recipient of multiple design awards across a 35-year career, which he achieved working across design disciplines at the leading edge of technology, including artificial intelligence, robotics, the Internet of Things and autonomous vehicles.

Martina Wierzbicki is climate action lead at Arrival

Wierzbicki is Arrival's climate action lead, focusing on delivering the company's ambitious sustainability goals. Prior to this, she was part of Jaguar Land Rover's sustainability team.

Martina recently completed a master's at the Cambridge Institute of Sustainability Leadership, writing her dissertation on the challenges automotive businesses face when implementing responsible metals and minerals supply chains.

Marcus Fairs is Dezeen's editor-in-chief

Fairs is the founder and editor-in-chief of Dezeen. A 3D design graduate, Fairs began his journalism career writing for architecture title Building Design and later for Building, where he rose to deputy editor.

Fairs launched Dezeen at the end of November 2006 and the site has grown rapidly ever since, now attracting over three million unique visitors every month.

Cajsa Carlson is Dezeen's deputy editor

Carlson is the deputy editor of Dezeen, which she joined in 2020.

She was previously the architecture and design editor at Culture Trip and the editor of Houzz Sweden, and has worked for publications including Cool Hunting and Design Week.

Enter the competition by 14 April

The Future Mobility Competition powered by Arrival closes for entries at midnight on 14 April 2022.

The judging panel will select ten finalists, which will be announced and published on Dezeen over two weeks in June 2022. Of these finalists, the judges will select a winner as well as a runner-up and third place.

The winner will win the top prize of $25,000, while the runner-up will receive $15,000 and the third-placed entrant will receive $10,000. Each of the seven remaining finalists will receive prize money of $5,000.

For more information about how to enter, including the full brief and rules, visit www.dezeen.com/arrival-future-mobility-competition.

Partnership content

The Future Mobility Competition powered by Arrival is a partnership between Dezeen and Arrival. Find out more about Dezeen partnership content here .

The post Kunlé Adeyemi, Liz Diller, Yves Béhar and Daniel Simon to judge Dezeen and Arrival's Future Mobility Competition appeared first on Dezeen.

#futuremobilitycompetitionpoweredbyarrival #all #transport #design #yvesbehar #kunléadeyemi #elizabethdiller #arrival

Yves Béhar 3D prints Forust homeware from reclaimed wood waste

Sawdust is mixed with a natural tree-sap binder and 3D printed into complex, swirling geometries to form this homeware collection, designed by Yves Béhar for additive manufacturing company Forust.

Called Vine, the range includes a vessel, bowl, basket and tray, created using a process that Forust says is the "first of its kind" for rematerialising offcuts from the wood and paper industry.

The sawdust composite is 3D printed in layers to replicate different wood grains and achieve a strength and durability that the company claims is comparable to conventional timber.

The Vine collection by Forust and Yves Béhar spans four different pieces

"I see this material as a fantastic circular design opportunity to build unique products with additive technology, rather than subtractive," Béhar told Dezeen.

"This will result in fewer trees needing to be cut and waste material being put to good use."

Of the 15 billion trees that are felled every year to produce paper, build homes and make furniture, Béhar claims up to 50 per cent goes to waste.

That's because subtractive practices like turning tree logs into lumber boards leave behind unusable cellulose dust, of which only a portion is recovered to make particle board or wood pellets. The remainder is sent to landfill or incinerated, contributing to air pollution.

The vessel can be used as a desk organiser

Forust diverts this sawdust from going to waste and turns it back into a useable product by spreading the sawdust into thin layers and binding them using a "non-toxic and biodegradable" binder.

This is made by mixing tree sap with lignin – a polymer found in wood and other plants, which helps to bind their cell fibres and is another waste byproduct that accrues in the timber industry.

"Our process leverages high-speed binder jetting to selectively deposit binder or ink onto each layer of sawdust at a rate of over 670 million drops per second and a resolution of 1600 dots per inch," said Forust CEO Andrew Jeffery.

The 3D-printing software can incorporate wood stains such as oak, ash and walnut, as well as digitally reproduce most grains from rosewood to mahogany.

Unlike particle board or laminate, the resulting wood composite can be sanded and refinished like real wood.

The Vine collection in particular is printed from cylindrical rods of the same length and diameter, which spiral out from a central extrusion point at the base to create a simple, repeated pattern.

The collection also includes a small tray

Rather than making the products resemble conventional woodwork, this helps to emphasise the unique rhythm of the 3D-printing process.

"Because Forust's printers produce parts additively, layer by layer without the need for support, it provides the freedom to create complex geometries and intricate designs that would be difficult or impossible to produce with traditional woodworking methods," the designer explained.

All pieces are printed from a central extrusion point at the base

Béhar predicts that the same method could be used to produce anything from furniture to entire architectural elements.

"I am currently exploring vanities, counters and storage being made with this process, as well as furniture that could be produced at the time of order rather than months in advance like standard production," he said.

"I also see a big opportunity in customisation and sizing, as variations can be easily done for each order. As a designer, it is rare to be offered a realistic and sustainable new material to create with and I can't stop sketching new ideas."

Other projects that have repurposed wood industry waste include a modular furniture collection by Swedish designer Martin Thübeck that combines reclaimed wood from a local birch sawmill using a single joint.

Last year, Formafantasma dedicated an entire exhibition at London's Serpentine Sackler Gallery to the global impact of the forestry industry.

Called Cambio, the show examined how the extraction, production and distribution of wood is not always as sustainable as it seems.

The post Yves Béhar 3D prints Forust homeware from reclaimed wood waste appeared first on Dezeen.

#all #design #materials #technology #homeware #productdesign #wood #yvesbehar #fuseproject #homewaredesign #3dprinting #reclaimedmaterials

Yves Béhar 3D prints Forust homeware from reclaimed wood waste

Sawdust is mixed with a natural tree-sap binder and 3D printed into complex, swirling geometries to form this homeware collection, designed by Yves Béhar for additive manufacturing company Forust.

Called Vine, the range includes a vessel, bowl, basket and tray, created using a process that Forust says is the "first of its kind" for rematerialising offcuts from the wood and paper industry.

The sawdust composite is 3D printed in layers to replicate different wood grains and achieve a strength and durability that the company claims is comparable to conventional timber.

The Vine collection by Forust and Yves Béhar spans four different pieces

"I see this material as a fantastic circular design opportunity to build unique products with additive technology, rather than subtractive," Béhar told Dezeen.

"This will result in fewer trees needing to be cut and waste material being put to good use."

Of the 15 billion trees that are felled every year to produce paper, build homes and make furniture, Béhar claims up to 50 per cent goes to waste.

That's because subtractive practices like turning tree logs into lumber boards leave behind unusable cellulose dust, of which only a portion is recovered to make particle board or wood pellets. The remainder is sent to landfill or incinerated, contributing to air pollution.

The vessel can be used as a desk organiser

Forust diverts this sawdust from going to waste and turns it back into a useable product by spreading the sawdust into thin layers and binding them using a "non-toxic and biodegradable" binder.

This is made by mixing tree sap with lignin – a polymer found in wood and other plants, which helps to bind their cell fibres and is another waste byproduct that accrues in the timber industry.

"Our process leverages high-speed binder jetting to selectively deposit binder or ink onto each layer of sawdust at a rate of over 670 million drops per second and a resolution of 1600 dots per inch," said Forust CEO Andrew Jeffery.

The 3D-printing software can incorporate wood stains such as oak, ash and walnut, as well as digitally reproduce most grains from rosewood to mahogany.

Unlike particle board or laminate, the resulting wood composite can be sanded and refinished like real wood.

The Vine collection in particular is printed from cylindrical rods of the same length and diameter, which spiral out from a central extrusion point at the base to create a simple, repeated pattern.

The collection also includes a small tray

Rather than making the products resemble conventional woodwork, this helps to emphasise the unique rhythm of the 3D-printing process.

"Because Forust's printers produce parts additively, layer by layer without the need for support, it provides the freedom to create complex geometries and intricate designs that would be difficult or impossible to produce with traditional woodworking methods," the designer explained.

All pieces are printed from a central extrusion point at the base

Béhar predicts that the same method could be used to produce anything from furniture to entire architectural elements.

"I am currently exploring vanities, counters and storage being made with this process, as well as furniture that could be produced at the time of order rather than months in advance like standard production," he said.

"I also see a big opportunity in customisation and sizing, as variations can be easily done for each order. As a designer, it is rare to be offered a realistic and sustainable new material to create with and I can't stop sketching new ideas."

Other projects that have repurposed wood industry waste include a modular furniture collection by Swedish designer Martin Thübeck that combines reclaimed wood from a local birch sawmill using a single joint.

Last year, Formafantasma dedicated an entire exhibition at London's Serpentine Sackler Gallery to the global impact of the forestry industry.

Called Cambio, the show examined how the extraction, production and distribution of wood is not always as sustainable as it seems.

The post Yves Béhar 3D prints Forust homeware from reclaimed wood waste appeared first on Dezeen.

#all #design #materials #technology #homeware #productdesign #wood #yvesbehar #fuseproject #homewaredesign #3dprinting #reclaimedmaterials