"Smart Wheel is a pedal assist which means it helps you ride your bike effortlessly. The motor turns on when you start pedaling and begins accelerating to your desired speed. It stops when you stop. It saves you time by getting you to your destination faster and gets you there without losing your breath or breaking a sweat. ...
FlyKly App allows you to control and monitor the Smart Wheel. It also offers many other features like safety, support and social connectivity. It's available for free for iOS and Android devices with Bluetooth 4.0 connectivity and for the Pebble Watch."
(Niko Klansek, FlyKly)
"Fairphone, which is described by its makers as 'the world's first ethical smartphone' is set to launch in London. The first prototype of the Fairphone, which has been developed by a team in The Netherlands, will be shown at the London Design Festival next week. Fairphone's makers say they use conflict–free materials and aim to ensure that every worker in the phone's supply chain receives a fair wage."
(Angus Montgomery, 10 Sep 2013, Design Week)
"Fredrik Gertten profiles two idealistic young female entrepreneurs who created a revolutionary 21st–century design object everyone told them would be impossible to fashion."
(Focus Forward Films, 2012)
"In our paper we focus on how design prototypes can foster communications in organizations that deal with the development of innovations. We distinguish the impact of prototypes between two different organizational levels; we first conduct the impact of prototypes at the level of organizational design teams that develop ideas and concepts for solutions. We then focus on the impact of prototypes on the level of organizational teams and departments that have not been part of the initial design phase but are responsible for further developments in the innovation process, e.g. production, financing, and marketing.
Previous research has indicated that prototypes have a significant influence on both organizational levels. Prototypes, in the best cases, can become so–called boundary objects between different domains and stakeholders and may deliver positive effects within the innovation process. However, the successful management of stakeholders in this context remains highly challenging. In this paper we want to address these difficulties as well as the current state of research in this field. We propose that a prototype does not only stand for an important design technique but should moreover be regarded as a management tool that can be integrated into a structured dialogue between stakeholders. We provide first insights on what a structured dialogue, based on prototypes, can mean and what it thereby should imply. We will synthesize prior research findings and begin to develop a concept on how to utilize prototypes as boundary objects from a management perspective."
(Holger Rhinow, Eva Köppen and Christoph Meinel, 2012)
Holger Rhinow, Eva Köppen, and Christoph Meinel: "Prototypes as Boundary Objects in Innovation Processes". Conference Paper in the Proceedings of the 2012 International Conference on Design Research Society (DRS 2012), Bangkok, Thailand, July 2012
"In this way the puppeteers would be part of the development of the prototypes for the virtual puppets as well as the characters for the play, before the actual rehearsals would begin two month later. ...
The value of the actual meetings and workshops can not be emphasised enough. This gave the participants hands on experience with the constraints in the actual equipment and a chance to meet the team that would be responsible for operating it. It is not until the artist has a very physical and intuitive impression of the material and the involved people the creative process takes off for real–before this everything is abstract ideas. ...
In the planning of the research project and the actual production the division of labour within and between each field of activity were specified as outlined in section 3.
As the process went on the borders became more blurred exploring the new field between creative production in theatre and animation and methods from computer science and systems development. One of the big challenges was the development of a common language between the artist and the programmer/technicians and to define and invent new methods that were necessary to carry out the production.
I tried to explore the numerous reasons for this in the evaluation phase of the project. This was done by conducting qualitative interviews with the participants and by reviewing the large body of video documentation from the process. The footage was edited to a 50 minute documentary about the project on which the following assumptions are based (Callesen 2001)."
(Jørgen Callesen, 2003, p.15,18,30)
Callesen (2001) Virtual Puppets in Performance, Proceedings, Marionette: Metaphysics, Mechanics, Modernity, International Symposium, University of Copenhagen, 28. March – 1. April, 2001
Callesen, J. (2003) "The Family Factory – Developing new Methods for Live 3D Animation" in Madsen, K.H. Production methods: behind the scenes of virtual inhabited 3D worlds. Springer–Verlag, London.