Top 5 Design Considerations for Human-Machine Interfaces > ENGINEERING.com | Lexan Polycarbonate Embossed Sheet

On a recent late-summer Saturday, as the fall sets into the trees and empty lots near the end of Girard Avenue in Fishtown, Kurant Tap House is hopping.

Since the case is basically a shell, there’s not much to worry about. The buttons are exposed, though they are a little obstructed by the case on the bottom. The cutout for the fingerprint sensor is adequate, as is that of the camera (even if it is shaped a little weirdly). The integrated magnet on the back is cool, though you will need to pay an extra $10 to get the mount from PITAKA. That mount was too large for the air vents in my old BMW, though your mileage will obviously vary. I tried using a run-of-the-mill circular magnetic mount off Amazon, but that didn’t hold it very well for some reason, even though it held my Thin Fit and its magnet just fine. Again, this may not be an issue for you, but it’s important to keep in mind.

In 2008, Mr. Koolhaas and a partner, Christopher van Duijn, were enlisted to reimagine a former, turn-of-the-century distillery Prada owned as the foundation’s permanent home. Walled-in, abutting a weedy stretch of railroad tracks, the distillery was a picturesque assortment of dilapidated stables, a bottling facility, a carriage house, some offices and warehouses.

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Visually, the Velar is beautifully balanced with powerful proportions; a continuous waist line rises through to the taut tapered lines of the rear and a generous 113.15-inch wheelbase contributes significantly to both its elegant design and spacious interior.

The space at 436 East Girard Avenue was originally an empty lot, next to a brass foundry, according to Meyers and property records. It was turned into a carriage house in 1880. It became a garage in the 1980s, and then a storage center, according to property records.

Market segment by Product Type, split into <6 mm, 8 mm to 18 mm, 20 mm to 30 mm, >30 mm, along with their consumption (sales), market share and growth rate.

Earlier, Ive had said that he wouldn’t trade reach for permanence. The studio’s perpetual advancements improved “the quality of life for millions and millions and millions of people.” To decelerate—“to say, ‘There you are, it’s done’ ”—would make his professional life simpler. But that, Ive said, would be “really selfish of me.”

The photograph is often described in art history as if it was a window, but what happens when we step through the window of the picture plane, and into the image itself? Because such images have no natural scale, we might find ourselves suddenly bigger, or smaller, than we expect. For people entering Svizzera 240, this whimsical problem was made concrete. The interior of the pavilion was remapped as a series of rooms whose scale distorted to fill the available space, even as all the fittings, from door handles to wood grain, remained meticulously Swiss standard issue. Visitors would move, increasingly dismayed, from one room to another, feeling themselves smaller, and then larger. With another person in the room—are they standing as far away as we think they are, or are they taller or shorter than we thought? Much like a hike on a glacier in which an inexperienced walker, without the benefit of familiar forms, slowly loses their bearings and is unable to tell if a ridge is an hour away or a day’s march, visitors pleasurably lose their bearings in a space where the objects are familiar, but scale is no longer trustworthy. Architectural historians and critics, walking through the rooms in Svizzera 240, would try to orient themselves via history. Some spoke of mannerism, others of Borromini. The playfulness of the installation, and the pleasure it brought, was also a rejection of functionalism in favor of a baroque, self-reflexive exploration of possibilities, of the rules of a game pushed to its limits. To go, within a few sentences, from minimalism to mannerism (let alone to the Baroque) requires some critical agility. Mannerism and minimalism would seem, on the face of it, to contradict each other. But there is an inner affinity: both mannerism and minimalism explore not just content, but the coordinates of experience. They don’t just make things bigger or smaller, they stretch and compress time and space, wringing meaning out of the grid like some deviant topologist. What the exhibition recalled—for it is a canonical lesson, but one worth retelling—was how the seeming minimalism of the rooms, their sameness, could sensitize the viewer to subtle shifts and could produce on an experiential level a kind of maximalism.

We toured the site in a Jeep, in the rain. “Gosh, that’s come on so much,” Ive said. The building’s ring was a trench, lined with concrete, deep enough for two levels of underground parking. When we got out, Ive declined to wear the construction hat provided; we walked across mud and peered over the edge. His noises of appreciation—“Oh!”—sounded almost regretful.

The Apple Watch—the first Apple device with a design history older than its founder, or its designer—was conceived “close to Steve’s death,” Ive said. It’s hard to build a time line of this or any other Apple creation: the company treats the past, as well as the future, as its intellectual property. But, in 2011, there may have been a greater appetite than usual for investigations of new products. One could imagine that executives were eager to act, in anticipation of grief, market upheaval, and skeptical press. (The Onion: “Apple Unveils Panicked Man with No Ideas.”) Cook said, “We were looking at multiple categories of products, and thinking about which ones to do.” The company began developing the iPad Mini. Before the end of the year, prototype ancestors of the iPhone 6 were lined up in the studio, with screen sizes at “every point-one of an inch, from four all the way through to well over six.” (Earlier, the studio had designed a larger iPhone based on the architecture of the iPhone 4, but, as Ive recalled, it was “clunky” and “uncompelling.”)

Every vehicle wearing the Land Rover badge must offer excellent towing ability. With a towing capacity of up to 5,512-lbs on V6 models, the Range Rover Velar is no exception.