Design Archive

Clan Kerr and The Legend of The Spiral Staircase

The left-handed Clan Kerr and spiral staircases

Spiral staircases were a clever defence in medieval castles. They were almost always built with the spiral in the same direction (clockwise, when looking up from the bottom) so that the defending swordsman, who would either be coming down the stairs or backing up in reverse, could freely swing his sword. Conversely, the attacking swordsman (ascending the stairs) would have his swing blocked by the wall.

This, of course, assumed that both attacker an defender were right-handed, which most were.

Left-handed swordsman, though rare, had the advantage of surprise when attacking out-in-the-open – they had fought (and trained against) more right-handed opponents than their adversary had fought left-handed opponents. Their attack when ascending standard spiral staircases was also not blocked by the wall.

The warlike Clan Kerr trained to use their weapons with their left hands. Scottish Poet James Hogg (1770-1835) wrote, in The Raid of the Kerrs:

But the Kerrs were aye the deadliest foes
That e’er to Englishmen were known
For they were all bred left handed men
And fence [defence] against them there was none

and Walter Laidlaw wrote, in The Reprisal:

So well the Kerrs their left-hands ply
The dead and dying round them lie

Legend has it that, to allow them to more easily defend Ferniehirst Castle – seat of the Clan Kerr – the staircase was built spiralling in the other direction (see illustration above, with left-handed Kerr shown with ginger hair).

Is this true? Certainly, the castle does feature a reverse spiral staircase, but a 1993 study found no increased incidence of left-handedness in Kerrs.

Personally, I don’t Kerr whether it’s true or not – it’s a great story.

Beautiful Living Postcards

A London-based company, A Studio for Design, has created a wonderful new way to send a greeting – the Postcarden. This lovely little idea is packaged to be sent easily by post, utilises the skills of local artists and is created using ethical packaging and materials.

For our first product we looked at the most universal gift – the greeting card. We felt that this conventional card lacked surprise, bringing only a momentary enjoyment. The arrival of a greeting card or letter in the post can always brighten up your normal mail and bring pleasure but once opened its role becomes commonplace and static.

This quirky gift is currently available in three designs – Allotment, Botanical and City – for the price of £7.50 each.

I can’t wait to see what this creative bunch rolls out next!

Classic Geeky Objects of the 20th Century

Ericsson Ericofon Telephone

1954, by Blomberg, Lysell and Thames. Made from ABS plastic. Typical eBay price: from £50.

The “Cobra”, nicknamed after its shape, was the first one-piece telephone. More than just a design gimmick, the innovative ergonomics ensured it was initially a success in hospitals and other environments where peoples’ movement was restricted.

Originally available in 18 colours, the phone also featured one of the first transistor buzzers, giving it a distinctive chirping sound rather than a traditional telephone bell ring.

The button on the base of the telephone depressed as the phone was placed down, hanging up the call. When the phone is picked up, the button is released, picking up the receiver: cleverly building automated functionality into the intended physical use of the object.

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Braun Phonosuper SK4 Record Player

1956, by Gugelot and Rams. Made from sheet steel, wood and perspex. Typical eBay price: from £1000.

Like the Ericofon, which was co-designed by a non-designer (Thames was an engineer), the SK4 was co-designed by an architect, Dieter Rams. Originally designed to be a low-cost entertainment unit, the clever use of modern materials and minimal design ensured that the Sk4 – also known as Snow White’s Coffin – would become a design classic.

The use of sheet steel allowed a single layer to be wrapped around the front, top, and back, with the electrical components inserted from the bottom. This clever design removed the unsightly wiring normally found at the back of the unit, allowing an entertainment system to be positioned in the centre of the room as ‘furniture’ for perhaps the first time.

Standard record players of the time had a wooden or other solid cover that hid the complexities of the turntable when not in use. Although sheet steel was first considered for the SK4 lid, the design team found that it had a negative effect on the quality of the sound. So, for the first time, a transparent perspex lid was used, displaying the beautifully arranged controls in all their glory. This design decision was quickly adopted by other manufacturers.

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Brionvega TS-502 Radio

1965, by Zanuso and Sapper. Made from ABS plastic. Typical eBay price: from £250.

The design duo Zanuso (another architect) and Sapper created many stunning objects, including the first folding telephone (the Siemens Grillo) and the first European transistorized portable television, the gorgeous Brionvega Doney 14.

This stunning radio, measuring about 10 inches tall, folded into a cube and featured a slide-out carrying handle. Dubbed in the marketing materials as “the protagonist of its environment”, the unusual design ensured that people took notice wherever it was placed.

Still available with the same design today, 45 years later, the TS-502 proves that “classic” design is anything but classic: rather than creating something in-keeping with the style of the times, truly “classic” designs are those that break the mould.

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Olivetti Valentine Typewriter

1969, by Sottsass. Made from ABS plastic. Typical eBay price: from £100.

Designed by yet another architect, the Italian Ettore Sottsass set out to create the “anti-machine machine”, in what could be see as the predecessor of the iBook and other Apple products that introduced office objects to the home.

Sottsass described his creation as “a biro among typewriters”, and later as “too obvious, a bit like a girl wearing a very short skirt and too much make-up”. Even so, his simply designed colourful typewriter became popular with many a budding poet and author, and was supported by a marketing campaign with art from Milton Glaser (of “I ♥ New York” fame).

In an attempt to simplify the typewriter as much as possible, it is rumoured that an early prototype of the Valentine only had a single case of letters (i.e. could not switch between upper and lower case), perhaps predicting the informality of modern-day SMS and email messages.

Olivetti are the only company that still manufacture manual typewriters.

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JVC Videosphere Television

1970, by JVC design team. Made from ABS plastic. Typical eBay price: from £70.

Clearly influenced by the space race of its time, the Videosphere seems to embrace every constraint of the technology, and then adds a few more unnecessary ones for the heck of it.

An 8″, black and white television, the videosphere housing accentuates the curved tube screen, and adds unreachable controls at the top/back, together with a chain for hanging the TV from the ceiling.

A stunning, classic object that demonstrates how great design sometimes wins over functionality (though I’m not sure I’d actually like to watch anything on it).

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Polaroid SX-70 Camera

1972, by Dreyfuss. Made from chromium-plated plastic. Typical eBay price: from £40.

The great Henry Dreyfuss, originally a theatrical designer, was asked to design the first camera to use Polaroid instant film.

Not only was it the first camera to use instant film, it was the first folding SLR camera.

And not only was it the first folding SLR camera, it was (in a later model) the first auto-focus SLR camera.

A stunning piece of engineering and design, the folding camera was designed to fit in a “gentleman’s pocket”. It rightly won many admirers: Andy Warhol was a fan, Charles and Ray Eames made a short film about it, and Laurence Olivier gave his only product endorsement to it.

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Sinclair Cambridge Calculator

1973, by Sinclair. Made from plastic. Typical eBay price: from £15.

Sir Clive Sinclair, of lapdancing wife fame, named the stunning Cambridge pocket calculator after the original location of the Sinclair offices.

The Apple-esque minimalism on the outside was unfortunately not matched by equally stunning design on the inside. Although the prototype was built with standard gold-flashed nickel contacts on the switch, the production models used a cheaper tin-coated nickel. Switching the calculator on and off a few times smeared the oxidised tin across the contacts of the switch, quickly turning the calculator into an always-on version.

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Photo Credits

  1. Ericsson Ericofon photos by Flickr user mollybob.
  2. Braun SK4 photo by Flickr user withassociates.
  3. Brionvega TS502 photo by Flickr user gentax.
  4. Olivetti Valentine photo by Flickr user Andy Martini.
  5. JVC Videosphere photo by Wikimedia user Wackymacs.
  6. Polaroid SX-70 photo by Flickr user Master of Felix.
  7. Sinclair Cambridge photo by Flickr user Berto Garcia.

The Design Process Behind Classic Album Artwork

Storm Thorgerson is a British designer and artist responsible for more classic album covers than you can possibly imagine one person could create in a lifetime. From Pink Floyd to Audioslave, The Cranberries to Muse, he has produced the most compelling and memorable album artworks of the last 40 years.

An excellent exhibition of his artwork runs in the east-London Idea Generation Gallery from April 2nd to May 2nd, 2010. Part of the exhibition highlights his creative process for a specific case study. Check out the exhibition yourself to see the process in action and in detail. For now, here’s a quick overview:

  1. The Brief. The designer listens to the music (possibly only demos at this stage), reads the lyrics, and talks to the band. These create a ‘brain soup’, from which ideas can be extracted to form the brief.
  2. Roughs. Over a number of meetings/days, the designer meets the band again for discussions, in an attempt to pin-down a theme or big idea. This stage is creative, with word-play, honest thoughts, and scribblings. The best are converted to more complete illustrations (the ‘roughs’).
  3. Tests. Once a rough is accepted and a budget agreed, a prototype is often created to ensure that the idea works. Depending on the idea, this could involve the creation of scale models from clay or polystyrene. If everything works, the final models are constructed.
  4. Shoot. A location is researched and booked, possibly for a long-time if outdoors and in uncertain weather. Models are erected and positioned, with help from volunteers if the shoot is big and complex. A wide range of photographs are then taken, under varying light/weather conditions and filters.
  5. Editing. This could be called ‘selection’, where the best shot from the shoot is chosen. This can take several days, if hundreds of similar shots need to be compared.
  6. Artwork. Finally, having chosen the perfect shot, any cleaning-up or final computer editing is performed, before handing over the final product.

Written down like this, the process seems so simple. When you consider that some ideas involve 700 or 800 iron beds arranged on a beach with the tide approaching, you begin to appreciate that it might not be so simple after all.

London Shop Fronts

£1 Shop - Image by Emily Webber

Image by Emily Webber

London-based photographer Emily Webber has amassed a fascinating on-going portfolio of images of various shop fronts in London.

There is something so intriguing about these images, about the independent shops and businesses that are shown. So simple in concept, so layered under the surface. In a world which is dominated by big business and brands, the photographs seem to portray a dying world, a retro signed-existence that is too often forgotten or ignored. And like many urban photographical studies, it raises many questions about society. What does it tell us about our city life? What is the future for such a way of life? There’s chaos and grime, systematic of the city.

The collections are also a captivating look at various sign designs – graphics and typography, shop names from the random, to the ‘puntastic’, to the banal. From the american style to the classic italics. It’s like a life-size photoshop font collection of the present and yet also the past.

Beautiful. Melancholic. Urban. Dying. And yet, somehow, very much alive.

Image by Emily Webber. The London Shop Fronts web site.