The speaker pair remains attached with one another and can be detached with easy twist and lift. The connecting cable contains two mini USB ports that go to both speakers, one USB 2.0 goes to the PC for charging and the 3.5mm audio output jack to the source of music, whether it is an iPod, Mac or usual MP3 players. Both the speakers have LED lights to indicate it as switched ON. The pop open Bass Xpansion System mimics the resonance of a powerful sub-woofer and enhances the style of these speakers.

Difference between these speakers and X-Mini 2nd Generation is quite clear. First one is X-Mini Max II comes in two pieces, whereas X-Mini 2nd Generation offers a single speaker only. Another remarkable difference is the volume controller is embedded with the connecting cable in X-Mini Max II, on the other hand, you can find it on the body of X-Mini 2nd Generation. Moreover, the tiny connector cable in X-Mini 2nd Generation that remains tucked with the base is absent in X-Mini Max II. And finally, the size is also an important factor about these two. Max II is larger in size, therefore, it is able to produce louder sound as well. Aside from the identical shape, there are few similarities among them too, such as both of them are using 40mm driver and features “Buddy Jack” design, allowing connecting many speakers like a chain. So, when buying one of them, you should consider the portability along with your need of greater sound.

The making of these speakers seem quite strong to me. I can feel that it is strong enough to survive minor fall in the ground or any rough surface. There are rubber soles under the base to make it slip-resistant. Overall, I think as a portable mini speaker set, the X-Mini Max II has it all.

[Buy it here]

From : X-Mini

Starting from the package I received, a cool sleek package with the heading “Audio Revolution in a Box”, which really enhances the attention. I have opened the package and yeah I got a bit disappointed since almost all the portable speakers come in a pair. Well I must say this feeling got away as soon as I plugged in the little monster with my iPod. But still, I wish I had 2 X-Mini 2nd Generation speakers to make better comparison with X-Mini Max. [Buy it here]

The compact, innovative, capsule shaped design combining with the superb sound clarity it delivers through its large 40mm driver; this is a perfect audio enhancement that can make any sort of music or video player into an individual or group entertainment point. If features high capacity rechargeable battery that can offer around 11 hours of continuous playback which is three times more than its predecessors.

Since I have only one X-Mini 2nd Generation, I couldn’t check but found online in several reviews of this speaker that it can be connected to another and so on, forming a bass-enhanced, self-powered chain of speaker system. This is obviously a cool feature which is quite rare too. In fact to get the experience, I am already searching if any of my friends bought it. It features a built-in volume control too which I personally prefer to keep in max and adjust the volume as much I want from my media player. The LED light shows that it’s turned on.

When it comes about the cables, it is handy in many ways. The main connecting cable has three ports; the mini-USB end goes to the speaker, the 2.0 one goes to the pc and the 3.5mm jack to the media player, whether it’s an iPod, MP3 player or a laptop. Aside from that, the speaker contains a tiny audio connecting cable that can be neatly tucked into the base. Even though, the minimum use of wire has eliminated the hassle a lot, I just wondered a wireless connection using Bluetooth or Wi-Fi or any other means would have made the gadget out of the world.

The size of the speaker is really tiny. I’ve compared with few other portable speakers online, say for an example its cousin X-Mini Max II, and have found it the tiniest among all others of the same range. Moreover, the balance of convenient portability and great sound quality has been done perfectly and accordingly a user would like. The thing I like most of my X-Mini 2nd Generation speaker is its extendable vacuum that imitates the feel of a sub-woofer; you can feel the vibration distinctly when it is playing on your hand, which is able to produce bass and volume over around ten times of its physical size.

Overall, the X-Mini 2nd Generation speaker seems very much stylish with me and everyone I’ve shown it has praised its design and performance. I really loved the speaker and considering the tiny shape and reasonable price, I will surely consider buying one more to get louder sound experience. [Buy it here]

From : X-Mini

Designer : Joey Roth

Designer : Catherine Wong

Designer : Orlando De Urrutia

[Press Release]

MIT unveils EyeStop: an iPhone‐like interactive bus stop for the City of Florence

May 14, 2009. MIT architects and engineers have unveiled EyeStop, an interactive bus stop designed for the city of Florence. On Saturday 16 May the project will be presented officially at the Genio Fiorentino by the President of the Province of Florence Matteo Renzi (dubbed ‘The Italian Obama’ by TIME Magazine).

EyeStop, developed by MIT’s SENSEable City Lab, is an exploration into the next generation of smart urban furniture; it aims to enrich the city with state of the art sensing technologies, interactive services, community information and entertainment. The project is partially covered with touch sensitive e‐INK and screens, so that it can deliver information to people seamlessly. Users can plan a bus trip on an interactive map, exchange community‐relevant information on a digital message board, surf the web, monitor their real time exposure to pollutants and use their mobile devices as an interface with the bus shelter. “Interacting with EyeStop could change the access to urban information in a similar way to how the iPhone has changed our mobile life” commented Carlo Ratti, Head of the SENSEable City Lab at MIT.

At the touch of a finger users can indicate their desired destination; the system will then display the shortest bus route from where they are and the position of all relevant buses real‐time. The EyeStop will glow at different levels of intensity to signal the distance of an approaching bus. Riders and passers‐by can also post ads and community announcements to an electronic bulletin board placed on the bus stop, enhancing its functionality as a public space ‐ a place to gather and exchange community relevant information.

In addition to displaying information, the bus stop also acts as an active environmental sensing node, powering itself through sunlight and collecting real time information about air quality and the urban environment. “EyeStop is an experiment into urban computing: it may be considered an “info‐tape” that snakes through the city, rising up like a pole or cropping out of the sidewalk like a shelter. It senses information about the environment and distributes it in a form accessible to all citizens” – commented project leader Giovanni de Niederhousern.

A generative parametric model produces a unique design for each bus stop, providing both optimal sheltering for users and maximum sunlight exposure for direct photovoltaic powering. Unlike the typical mass‐produced bus stop, EyeStop is designed to fit the physical characteristics of its surroundings, with each unit being slightly different from the others. Furthermore, simple materials like shiny steel, extra clear glass and gray local stone (pietra serena), together with its minimalist design, serve to optimize how it blends into the historic urban fabric of Florence.

“Since the Renaissance, there has been an interplay between the physical form of the city (urb) and its citizenship (civitas),” added Carlo Ratti. “Today’s technologies are adding new possibilities to that age‐long relationship, thanks to the addition of digital information to physical space. It is as if a new materiality were emerging in architecture, with the seamless blending of bits and atoms…”

EyeStop was developed at the SENSEable City Laboratory by Giovanni de Niederhousern, Shaocong Zhou, Assaf Biderman and Carlo Ratti, in collaboration with the Province of Florence and the local public transportation authority ATAF.

Designer : Giovanni de Niederhousern, Shaocong Zhou, Assaf Biderman and Carlo Ratti via Core77

[Press Release]

DRAGONFLY, A METABOLIC FARM FOR URBAN AGRICULTURE

2009 : 800 MILLION OF URBAN FARMERS FOR RESPONSIBLE ECO-CITIES

The world of fast-food and frozen food is over! The urban keen interest of the beginning of our Century turns toward the garden flat bringing back the countryside in our overcrowded cities fighting from now on for a community urban agriculture able to contribute to the durability of the city and to rethink the food production.

On the roofs, terraces, balconies, in the hollow of the non-built public spaces, in the interior yards and the suspended greenhouses, the eco-warrior aspires to escape from its competitive and consumeristic universe imposed by the laws of the market. He desires to cultivate its immediate landscape so as to better take root in the ground by creating his own ecologic and alimentary biodiversity. The consumer becomes from then on producer and the garden inhabitant !

From the Parisian « worker gardens » to the « community gardens » of New York going though Muscovite « vegetable squares », eight hundred million of urban farmers, i.e. more than one human being out of ten, consume nowadays chlorophyllous products from these cosmopolitan kitchen gardens. These new gardens, aware of the emergency to reduce our fuel consumption and the necessity to modify our behaviour facing the climatic changes, decrease thus their environmental impact and build eco-responsible cities on a community way.

2025 : 5.5 BILLION OF CITY SLICKERS FACING THE FOOD CHALLENGE OF THE 21ST CENTURY

According to the PNUD (Programme of the United Nations for the Development), the worldwide urban population will go from 3.1 billion of inhabitants in 2009 up to 5.5 billion of inhabitants within 2025. Looking for a positive energetic assessment, the contemporary city aims within fifteen years at producing cleanly and intensively more energy than it consumes so as to pack this urban exodus! It develops therefore the urban agriculture to become food self-sufficient by recycling at the same time its liquid waste by phyto-purification, its solid waste in fertilizers by composting and by producing energy by biomass, photovoltaic cells and other renewable energies (thermic solar, photovoltaic solar, wind, tide-turbine energies…).

In order to avoid the asphixiation of the planet and the feeding of its 9 billion of inhabitants within 2050, it deals thus with reinventing the traditional energetic pattern between the city and the countryside between western countries, emerging countries and developing countries. This sums up as following: on the one hand import of natural and food resources, and on the other hand export of waste and pollution. The ecologic city aims at reintegrating the farming function on the urban scale by emphasizing the role of the urban agriculture in the use and the reuse of natural resources and biodegradable waste so as to close the loop of ecologic flows.

The urban agriculture can feed the city without any pesticide or chemical fungicide (whose toxicity is proved on the human being : cancer, sterility…), and make it less food dependant of its backcountry or other regions of the world. Organising the distribution of fresh products in short circuits, that means linked directly with the consumer, the urban agriculture complete thus the traditional agriculture. In addition to the nutritive quality of the produced and consumed food, the urban agriculture is also a growth lever of the urban unemployment market and the local economy. It is used directly as a social link in the conciliation of the primary needs of the newcomers with the challenge of their integration in the life of the city, fighting thus against poverty and exclusion. On the sanitary level, this farm approach presents also an interesting potential for the decontamination of polluted grounds and undergrounds as well as for he purification of the polluted atmosphere in CO2.

Due to the fuel crisis and climatical change, the rural agriculture of the western countries must answer to the worldwide food crisis of the developing countries and mainly Africa. Its role is from now on to produce (with an increase estimated of 60% within 2050) all the foodstuffs transportable by boat such as cereals or corn. This is based on the evolution of the science and the most advanced biotechnologies. In addition to this nutritious role, the rural agriculture is newly challenged to recycle its own culture rebus for the green chemistry in order to produce the bio fuel called “second generation fuel” using the energy of non-consumable materials from the plants, that means fibres such as celluloses.

DRAGONFLY, A NOURISHING VERTICALY CULTIVATED CENTRAL PARK

The architecture has to be in the service of this new agriculture and to design this new social desire in this context of ecologic mutation and food autonomy! The Dragonfly project suggests therefore building a prototype of urban farm offering around a mixed programme of housing, offices and laboratories in ecological engineering, farming spaces which are vertically laid out in several floors and partly cultivated by its own inhabitants. This vertical farm sets up all the sustainable applications in organic agriculture based on the intensive production varied according to the rhythm of the seasons. This nourishing agriculture is furthermore in favour of the reuse of biodegradable waste and the keeping of energy and renewable resources for a planning of ecosystemic densification.

Floor by floor, the tower superposes not only stock farming ensuring the production of meat, milk, poultry and eggs but also farming grounds, true biological reactors continuously regenerated with organic humus. It diversifies the cultivated varieties to avoid the washing of stratums of soft substratum. Thus, the cultures succeed one another vertically according to their agronomical ability to provide some elements of the ground between the essences that are sowed and harvested. The tower, true living organism, becomes thus metabolic and self-sufficient in water, energy, and bio-fertilizing. Nothing is lost; everything is recyclable to a continuous auto-feeding!

A BIONIC AND ENERGETICALLY SELF-SUFFICIENT ARCHITECTURE
The architecture of Dragonfly prototype suggests reinventing the vertical building (that outlined the urbanistic booming of New York City since the 19th Century) as structurally and functionally as ecologically and energetically.

To ensure the social diversity and a permanent life cycle (24h/24) in the tower, the mixed programmation is mainly laid out around two poles of housing and work places. Around housings, offices and research laboratories as well as the most private to the most public agricultural and leisure spaces are designed in gardens, kitchen gardens, orchards, meadows, rice fields, farms and suspended fields. The distribution of flows is made around a true safe spine spreading in loop the numerous elevators, the goods elevators and stair wells serving all the levels by separating simultaneously the inputs and the outputs recycled from plants, animals and human beings.

Architecturally, the functional organisation is represented by two oblong towers symetrically arranged in pair around a huge climatic greenhouse that links them and deploys itself between two crystalline wings. These very light wings in glass and steel retake the loads of the building and are directly inspired from the structure of the dragonfly wings coming from the family of “Odonata Anisoptera” whose transparent membrane is very finely nervured. Two inhabited rings buttress around these wings. Their organically chiselled exo-structure accommodates the inter-climatic spaces that receive the agrarian cultures. They buttress.

The whole set forms «double layer» architecture in bee nest mesh that exploits the solar passive energy at its maximum level, by accumulating the warm air in the winter in the thickness of the exo-structure, and by cooling the atmosphere by natural ventilation and by evapo-perpiration of the plants in the summer. Protecting thus the cultures from climatic changes in New York (from -25.5°C in the winter to +41°C in the summer), these plug spaces are useful to reflect on the agriculture not anymore in terms of surface area but really in terms of volume. Actually, whereas grounds nourish orchards, each wall and each ceiling are metamorphosed into three-dimensional kitchen gardens. The interior frontages of the housing and offices throw towards the skyline of New York the cantilever of their hydrophonic balconies with hexagonal section thanks to what it multiplies the culture layers by floors. The vegetation abounds, the earth is swarming of insects and animals are freely brought up in holding tanks by urban consumers with low income. The architecture becomes eatable!

Designer : Vincent Callebaut Architect

Designer : Jacky Wu

Primavera Helmet, designed by Sebastian Hess, is a key product of the latest high quality helmet array for the recent scooter generation. This open face, easy and casual helmet provides 180° visor that meets classic elegance. The clearly defined design has reduced to the essential components only and the style combines the legendary past with latest appearance. Innovation and vision, tradition and future, engineering and design are the main factors of this sustainable product. The main goal of designing this product is to provide excellent safety to the new generation scooter riders with a brilliant outlook that will attract the attention of all range of bikers.

[Press Release]

The Primavera helmet revives a legendary past and represents the birth of the new brand NZI by Hess Design. In its design and performance the helmet plays with citations and references to the exceptional Vespa 50 Special, the style icon of the 70`s. The minimalistic aesthetics of the Primavera refers directly to the mystic Vespa-models of the 70`s. These style icons were the base for the new developed helmet with its innovative features and its easy and safe use. New standards in terms of urbanity and innovation are set by creating a complete Primavera edition containing helmet, gloves and scarves.

Quality is no longer enough. Today a product or a brand is perceived as new only if its functionality and its materials are innovative. Tradition and future, innovation and vision, engineering and design unify and peak in an “honest” and sustainable product without loosing the base of creating innovative, technical and protective apparel. The ambition of the cooperation between NZI and Hess Design is to develop and create new charming products. Essential elements therefor are the intensive investigation of user scenarios and the vision of creating sustainable and innovative products. NZI and Hess Design develop products for seekers of beauty, for people with consciousness looking for high quality products.

Sportiness, dynamic and elegance in all their plainness are the key features of the Primavera. Clearly defined lines that are reduced to the essence underline the character and style consciousness. Their forms and their flow give hints to some new key features. The front of the Primavera with its playful swinging lines and the decorative air-inlets refer to hairstyles and hat fashion of the 60`s. The rear section with its metallic air-outlets rather speaks an automotive language and makes sure the helmet in its appearance is well-balanced. The 180° rotatable visor marks the heart of the helmet. Different shaped and toned visors can be attached to the patented helmet fixation tool-free via magnetic system in just a second.

The fusion of traditional, classical elegance with young, fresh and easy streetwear effects an exciting and charming impression. Deep satisfaction and intimate gratification will be experienced by every Primavera user. Desire of spring, desire of style awakes in all seekers of beauty. Primavera represents the initial of a new lifestyle that can be lived. Primavera, the helmet for the high tech community of tomorrow.

Designer : Sebastian Hess
Photography: Jörg Baumann

[Press Release]
Priestman Goode has designed the new first class suite for airline Swiss.The suite will enter service in April as part of the airline’s new first class cabin. This is in conjunction with a fleet renewal programme that will see Swiss’ Airbus A330-200s replaced with A330-300s. Priestman Goode has previously worked on the interiors of Lufthansa’s intercontinental fleet and the Airbus A350 cabin design. Goode says the consultancy worked with Swiss on the design concept, and then worked closely with the super first class division of US manufacturer BE Aerospace to develop the suites.

He says, ‘BE has a seat mechanism that has been certified and passenger tested, and everything else in the suite is bespoke. We worked closely with BE, at this level you have to be very precise.’

Designer : Priestman Goode