The Innovation Issue
Wish List: The Best Stuff
How to Meditate
Should You Buy a Tesla?
The Smart Home, the Smart Way
Accidental Innovations
The Future of Gear
The Review: Samsung Galaxy Fold
Tool Kit: Astronaut Drew Feustel
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Contents The Guide
22
24
36
Found: Casio AT-552 Janus
100 Years of the Bauhaus
When Do Innovations Cross the Line?
Wish List
42
48
The world’s most desirable gear, right now
The State of Wearables
Born on the Battlefield
Rivian R1S Electric SUV
34
Dyson V11 Torque Drive Vacuum
46
Lotuff Raw “Rasa” Day Satchel
60
Patek Philippe 5235/50R Regulator
68
Steinway & Sons Spirio | r
88
Nike Adapt BB
98
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62
66
70
78
The Race to Save Coffee Before It’s Gone
Should You Buy a Tesla?
The Review: Samsung Galaxy Fold
Tested: Beer, Cycling Shoes, Earbuds + more
92
100
Guide to Life: Build a Smart Home — the Smart Way
Bulk Buy: Carabiners
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CONTENTS
Features
106
118
The Future Perfect
The Future of Gear
The Car of Tomorrow promises a lot: scorching performance, clean power, the ability to drive on demand. But when connectivity enters, privacy leaves. Which begs the question: What will the car of the future cost?
Technology is transforming everything from the crampon to the cockpit. Here are the innovations shaping our future — indoors, outdoors, and everywhere in between.
138
148
Q+A: Michael Muller’s Virtual Reality
Paul Dillinger Comes Clean
The man behind the Marvel movie posters — and decades of commercial and fashion photography — opens up about his love for the open ocean, the need to improvise, and the transformative power of storytelling.
Levi’s head of innovation knows the apparel industry has some cleaning up to do — but in the meantime he’d like to change the world, writes John Zientek.
156 To Know What’s Beyond
In the brutal, frenzied history of exploration, nothing equals mankind’s push beyond the boundaries of Earth. Fifty years on, the wild early history of the NASA space program still defines the bleeding edge of of human audacity.
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GEAR PATRO L TH E INNOVAT I O N I SSU E
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CONTENTS
Intel
172 Beach-Friendly Beach Gear
174
178
How to Get Better at Everything: Meditation
At Work With Nathan Myhrvold
180
182
Death to the Instant Pot
Accidental Inventions
188 New Rules of Summer BBQ
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198
210
Sharp and Sculpted Summer Fashion
A NASA Spacewalker’s Everyday Carry
212
216
The Conversation: Trainer + Retailer
Up, Up and Away
LETTER FROM THE EDITOR
Eric Yang
I
FOUNDER, EDITOR IN CHIEF
@hashtagyang | eyang@gearpatrol.com
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GEAR PATRO L TH E INNOVAT I O N I SSU E
nnovation can be tough to spot in real time. Contrary to popular belief, innovating is not a mythical act. The most reliable source for a lightbulb moment is far more prosaic: small, incremental improvements, and the mistakes unearthed along the way. Most of us only acknowledge innovation when it trickles into real things — things we can see, feel and experience in the context of our own lives, and whose practical merits we can vouch for through the power of our wallets. As Thomas Edison once quipped, “Anything that won’t sell, I don’t want to invent. Its sale is proof of utility, and utility is success.” In the same way, innovation can be a rather unglamorous process, so too is the affirmation of innovation through the act of buying a product and using it without irony or pretext. For Issue 10, we set out to celebrate innovation in all of its forms by looking at the products, flash points and people, both new and old, driving us toward an alternative, and hopefully better, future. Inside, you’ll find stories highlighting everything from a global design movement (the Bauhaus), to the current state of wearables. You’ll also discover stories showcasing the extraordinary impacts of unbridled ambition (NASA’s Gemini and Apollo missions), and lucky accidents (the Popsicle). Finally, there’s The Future of Gear, a grand assembly of summaries covering the trends and materials making the next generation
of products lighter, stronger, faster and smarter than ever. If you need a place to start, or end, I highly recommend it. While it’s easy to focus on the revelry of successes, I believe it’s equally to appreciate all the wonderful failures, accidents and reactive processes that, combined with perseverance and discipline, add up to what most of us also credit as innovation. Apple brought us the iPhone, but many of those early ideas were developed first in failed products like the Newton MessagePad. Pfizer set out to create a blood pressure medicine, and landed on Sildenafil — or, as you know it, Viagra — solving the affliction of sexual dysfunction for millions of men. Bausch and Lomb was commissioned by the Army to solve sun glare for pilots; their solution became one of fashion’s most enduring, stylish accessories. As for Edison? Turns out he didn’t invent the light bulb after all; what he created was the first commercially viable alternative to the gas lamp. The fact that popular culture credits him with one of the most important products in history — not to mention the sheer symbol of innovation — speaks directly to the power each of us as consumers wield in defining what is, and isn’t, innovative. The takeaway is this: whether or not the products highlighted in this issue eventually make it into the pantheon of greats is up to you.
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CHARLES MCFARLANE @charles_mcfarlane Gear Patrol Studios is the creative partnership arm of Gear Patrol. Select advertising in this magazine has been crafted by Gear Patrol Studios on behalf of brands to help tailor their message specifically for Gear Patrol readers. These sections are demarcated with GEAR PATROL STUDIOS. To learn more visit, studios.gearpatrol.com or reach out to us: advertising@gearpatrol.com
ISSN 2381-4241 PUBLISHED QUARTERLY PRINTED in USA by AMPER LITHO on SUSTAINABLE PAPER INDEPENDENTLY PUBLISHED IN NEW YORK 236 5TH AVE, FLOOR 8 NEW YORK, NY 10001 © 2019 GEAR PATROL, LLC
T H E H E L L G A P O D G R E E N + S TA I N L E S S
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ISSUE 10
Behind the Cover text by henry philips
The idea of innovation is too often conflated with the grand reveal. The auto show introduction. Countdown clocks. Steve Jobs pulling the curtain back on the Macintosh. But innovation’s true nature is typically less sexy and more iterative: prototypes; minimum viable products; “revised-finalfinal-final.jpeg” files. It’s that long road powered by little more than optimism and hard work that inspired our cover shoot. The Ava XC is an electric aircraft dreamed up by Beta Technologies, a small company whose creations are
stored in a mostly abandoned former Strategic Air Command base in Plattsburgh, New York. Beta has been relatively quiet about its product development; unlike competitors like Airbus and Bell, who have unveiled beautiful, curvy renderings of futuristic aircraft that don’t yet exist, Beta has spent its time racking up test flight hours in a craft that, technological wizardry aside, wasn’t designed to appear in the next Minority Report. Beta will debut its production aircraft in conjunction with a plan to fly the current
prototype across the country, favoring innovating over marketing and creating over concepting. That’s why we couldn’t think of a better example to live on the cover of Issue 10, our Innovation Issue. And that slightly lanky prototype looks pretty amazing under a barrage of lights, and through the lens of DW Burnett, a longtime cover contributor to all your favorite car magazines (not to mention Gear Patrol Issue Seven). We hope you enjoy. Here’s to making cool shit.
dw burnett, photographer
j o e t o r n at z k y , art director
brenden clarke, p l at f o r m p r o d u c e r
“As we started to descend, the plane began to tilt sideto-side. When red flashing lights and alarm noises accompanied the seemingly out-of-control plane, my heart rate had to have been at least 180. I looked back to see Joe quite white and Henry, our deputy photo editor, with a very nervous, very fake smile. I knew then we were in for a bumpy landing.”
special than k s
Kyle Clark Tom O’Leary Cameron Jonas Malcom Achilles Andrew Giroux
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“Any creative will tell you that having the whole set to yourself is great. But throw in an entire airport with acres of concrete, pre-war hangars, epic sunsets and access to a de-icing truck. You have yourself a recipe for a great cover shoot.”
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GEAR PATRO L TH E INNOVAT I O N I SSU E
The Guide
Innovation takes many forms, from an artistic movement that spawned a century of design innovation (p. 24) to the current crop of high-tech wearables (p. tk) to a lab-grown plant (p. 62) that might save coffee as we know it. Of course, certain new things are considered heresay: in some competitive circles, groundbreaking gear like a carbon fiber-infused running shoe (p. 36) is just a fancy way of cheating. Then there’s the stuff with more promise than weight, like a foldable smartphone (p. tk) that can open three apps at once, or refillable deodorant (p. 78) designed to save the planet. Innovation can be described many ways — exciting, unmooring, controversial, revolutionary — but boring isn’t one.
T H E IN N OVAT IO N ISSU E G E A R PATROL
22
F
FOUND
1984 Casio Janus AT-552 text by oren hartov photo by chandler bondurant
Wearables might be the hot category of the moment, but do enough digging and you’ll realize companies have been pushing towards integrated wearable technology since before MacGyver debuted. Just look at the AT-552 from Casio’s short-lived Janus line, which featured a gesture-control touchscreen more than 30 years before the Apple Watch. Although the timepiece sports a traditional dial, the watch crystal is actually a capacitive touchscreen on which the wearer can trace numerals and commands — e.g. “4 + 9” — with a finger; an integrated microchip performs the simple calculations (to eight places!) and displays the result on the digital LED bar at the top $2the , 9 9dial. 9 of The AT-552 was only available for one year, in 1984, and originally retailed for just $100. Today, pristine examples in good working order can top $1,200 — a steep price, perhaps, for a basic watch with the world’s most underwhelming calculator, but an undeniable bargain for a forgotten (and still entirely wearable) piece of tech history.
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100 YEARS OF BAUHAUS One of the most innovative art movements in history continues to influence architecture, product design, watchmaking and more. text by oren hartov
1925 FAGU S SHOE L AST FACTORY BY WALTER GROPIU S Carl Benscheidt, the original owner of the Fagus Factory, was dissatisfied with the building’s exterior and hired Bauhaus founder Walter Gropius to redesign it in 1925. The result, which included liberal use of glass and rapid fluctuations in height and contrast, were revolutionary for the time. In 2011, UNESCO declared it a World Heritage Site.
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prevalent across myriad disciplines: form follows function. Thus, the products that emerged from Bauhaus were stripped of nearly all ornamentation, and made from common materials that lent themselves to mass production — buildings, chairs, wristwatches and everything in between. Today, the influence of the Bauhaus is evident everywhere you look, from Apple’s iPod to the Porsche 911. Distinctly modern, relentlessly practical and admittedly polarizing, it’s a movement that continues to inform multiple creative disciplines, and a century after the school’s founding, its popularity shows no signs of waning.
1924 MT8 TABLE L AMP BY WILHELM WAGENFELD AND CARL JAKOB J UCKER An early Bauhaus design, the MT8 lamp was crafted after the central tenets of the school, using simple shapes and, with the inner components mostly exposed, eschewing ornamentation. Though unpopular on its release, the MT8 lamp is still in production today and has since become one of the most recognizable designs to emerge from the school.
p h o t o s c o u r t e s y o f t h e m o m a s t o r e , fa g u s - g r e c o n , knoll, the poli house, a. lange & söhne
No art movement in history has impacted the world of products quite like the Bauhaus. Founded in 1919 by the architect Walter Gropius in Weimar, Germany, the school’s original manifesto proposed a union of art, architecture and design via a curriculum that would “create a new guild of craftsmen, without the class distinctions that raise an arrogant barrier between craftsman and artist.” Gropius and his fellow Bauhaus instructors — Paul Klee, Wasily Kandinsky, Oskar Schlemmer, Herbert Bayer and Marcel Breuer — preached a multidisciplinary approach to design built upon the tenets of modernism. Its central axiom has become
1925-1926 MODEL B3 WAS S ILY CHAIR BY MARCEL BREU ER The so-called “Wassily” chair was created by famed master carpenter Marcel Breuer while an instructor at the Bauhaus. Inspired by bicycle design, Breuer used tubular steel to construct the chair’s frame, which was then covered in fabric or leather. The chair, another Bauhaus icon, has been mass-produced since the 1950s.
1926-1927 NESTING TABLES BY JOSEF ALBERS Originally designed for a private apartment and crafted of solid oak and lacquered acrylic glass, Josef Albers’s nesting tables, meant to function “independently and interdependently,” brought the artist’s passion for color to an otherwise simple, utilitarian form. They were considered groundbreaking for their integration of color into furniture design and remain in production today.
1940 WRIST WATCH BY L ANGE & SÖHNE
1934 P OLI HO U SE BY SCHLOMO LIASKOWSKI
After the Nazis came to power in 1933, Bauhaus-trained architects fled Germany and settled around the world, including Tel Aviv (in what was then still Palestine) where roughly 4,000 Bauhaus buildings would eventually be built. The Poli House, constructed at a major intersection, is characterized by its unusual shape and its horizontal ribbon windows. It once housed a printing press and a shoe store; now, it’s now a luxury hotel.
This wristwatch by Lange & Söhne featured many of the stylistic components now associated with Bauhaus watchmaking: a clean dial with plenty of negative space; a stylized, Arabic font; and a long, thin handset. Other famed watch companies, such as Braun and Nomos Glashütte, would later utilize these design elements when crafting their own now-iconic watches.
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1944 SWIS S RAILWAY CLOCK BY HAN S HILFIKER Created in 1944 by engineer and Swiss Federal Railways employee Hans Hilfker, in conjunction with clock manufacturer Moser-Baer, the Swiss railway clock has since been recognized as an icon by the Museum of Modern Art. Watch- and clockmaker Mondaine’s business is built largely on the brand’s licensing and adoption of this heavily Bauhaus-influenced clock, which has been ongoing since 1986.
1946 NELSON PL ATFORM BENCH BY GEORGE NELSON
1958 IIT IN STITUTE OF DESIGN CAMPU S BY LU DWIG MIES VAN DER ROHE Developed over the course of nearly 20 years, the Institute of Design campus in Chicago proved to be one of famed architect Ludwig Mies van der Rohe’s most ambitious designs. Named by the American Institute of Architects as one of the 200 most significant works of architecture in the U.S., the plan made liberal use of an orderly grid pattern, steel and glass for a fresh, modern aesthetic that still feels contemporary today.
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photos courtesy of mondaine, design within reach, iit institute of design, vitsoe, junghans, p orsche, braun
The Nelson Platform Bench has been part of Herman Miller’s furniture collection for decades. Originally crafted in 1946 by noted designer and teacher George Nelson, for his office at Fortune magazine, the bench can be used as either a seat or a surface. It has been called “a landmark of modern design” for its clean, flexible-use form.
1960 VITSOE 606 SHELVING SYSTEM BY DIETER RAM S Dieter Rams’s 606 Shelving System has been produced by Vitsoe since 1960. A modular design that can be rearranged to suit a customer’s changing needs, the 606 includes numerous shelving and cabinet options for both residential and commercial use. Simple, economical and made to last a lifetime, the system was one of the original “green” furniture designs.
1970
1962
BRAU N CAS SET T ELECTRIC SHAVER BY FLORIAN SEIFFERT
J U NGHAN S MA X BLL WRISTWATCHES BY MA X BILL In 1956, prolific Swiss designer Max Bill began a long and fruitful relationship with German watch manufacturer Junghans when he created a wall clock for the brand. A few years later, Bill designed his first wristwatch, a simple, manually wound timepiece that would later serve as the cornerstone to the entire Junghans catalog, and which are still popular today.
1963 P ORSCHE 911 BY FERDINAND ALEXANDER "B UTZI" P ORSCHE
The Braun SM31 electric shaver of the early ‘60s, available in black only, sold eight million units. In 1970, the Florian Seiffert-designed Cassett shaver — available in bright red, yellow or black — showed that colors could inject some fun into an otherwise utilitarian design.
While attending the Ulm School of Design, Ferdinand Porsche had the opportunity to learn from several Bauhaus-trained instructors, including Max Bill. Though Porsche was eventually dismissed from the school, the Bauhaus tenets of clean, uncluttered design and form after function made themselves apparent in Porsche’s most famous creation, the 911, which debuted in 1963.
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1980 ATHEN S CON SERVATOIRE BY IOANNIS DESP OTOP O U LOS In 1959, the Athenian government commissioned Ioannis Despotopoulos, the sole Greek architect to have studied under Walter Gropius at the Bauhaus, to design a large, multiuse cultural complex. Since its completion in 1980, the Athens Conservatoire has been utilized as a cultural hub for artistic performances and events, and stands as a testament to the Bauhaus’s adaptability to different types of spaces and uses.
1992 TANGENTE WATCH BY NOMOS GLASHÜT TE First released in 1992, the Tangente is Nomos Glashütte’s most recognizable design and one that’s built entirely upon the Bauhaus aesthetic. Everything from the linear typography to the long, thin lugs recalls early Bauhaus watchmaking from the 1930s. It has won numerous design awards, including the prestigious Grand Prix d’Horlogerie de Genève.
1998 T T BY AU DI The need for aerodynamic performance in an automobile dovetails with the Bauhaus philosophy of form following function; excess ornamentation will only inhibit performance on a car. German manufacturer Audi put this design philosophy into practice most notably with its TT, a curvaceous two-seat sports car that wouldn’t have looked out of place in the 1940s or ’50s.
IP OD BY APPLE Steve Jobs once said of Apple, “The product design, the advertising, it all comes down to this: Let’s make it simple. Really simple.” The original iPod featured simple geometry, a modern, sans-serif font and little else. Even the packaging was designed to be as clean as possible. This Bauhaus-like approach now pervades the entire Apple product line.
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p h o t o s c o u r t e s y o f at h e n s c o n s e r vat o i r e , n o m o s glashütte, audi, apple, mercedes benz, ressence, knoll
2001
2014 T Y PE 1 BY RES SENCE Ressence’s watches, a marriage of analog and digital technology, may be the stuff of the future, but their design philosophy is decidedly Bauhaus. With an emphasis on legibility and ergonomics (there is no conventional crown to disrupt the case), the Type 1 would have been recognizable to Herbert Bayer, designer of the “Bauhaus typography” in the late 1920s.
2013 AMG VIS ION GRAN TU RISMO BY MERCEDES-BENZ A concept developed for a famed video game franchise, the Vision AMG Gran Turismo may be a supercar, but it incorporates the Bauhaus design philosophy that pervades so many of Mercedes’s automobiles. Clean lines and a lack of ornamentation make for both a beautiful aesthetic and an aerodynamic vehicle.
2018 ALU MIN U M CHAIR BY MARC NEWSON This chair, made by famed Australian industrial designer Marc Newson, looks like a successor to a design from Ludwig Mies van der Rohe from 1930. Utilizing thoroughly modern materials in a form that completely eschews ornamentation, the Newson Aluminum Chair is a study in modern Bauhaus engineering.
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Non-Required Reading text by jack seemer photo by chandler bondurant
The Bauhaus has been the subject of thousands of books and papers, most tucked away in museums and libraries. Here are three you’ll want to keep out in the open. cloc k wise f rom bottom
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Bauhaus Originally published in 1990, Bauhaus has become something of a definitive reference guide to the movement. A new and more compact edition, made in collaboration with the Bauhaus Archive in Berlin, has been updated with hundreds of new documents, sketches and photographs. Publisher: Taschen Pages: 552 $20
Bauhaus: Weimar, Dessau, Berlin, Chicago Hans Maria Wingler’s 1969 book clocks in at nearly 700 pages, making it possibly the most comprehensive collection of documents ever assembled on the Bauhaus, and includes excerpts from books, speeches and newspaper and magazine articles from the era, plus private letters penned by luminaries like Ludwig Mies van der Rohe. Publisher: The MIT Press Pages: 662 $100
Breuer Marcel Breuer (1902 - 1981) designed some of the world’s most famous chairs during his time at the Bauhaus, but his work transcended tubular steel furniture. This meaty monograph charts Breuer’s unique design language, with a heavy focus on his brutalist architecture from the mid- to late 20th century. Publisher: Phaidon Pages: 448 $150
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