Design of the Automatic Analog: The Olympus Mju / Stylus

Design of the Automatic Analog: The Olympus Mju / Stylus

Today is 9/21. My grandfather's name, was 921 Yamada. That's no typo; his first name was 921, which in Japanese sounded similar to "No.1 in the Country (Kuni-ichi)." I'm conflicted that my grandfather has a interesting yet Borat-esque name.  He used a lot of cameras, and always researched about the best cameras. He was also blind, caused by a bullet penetrating his leg during the second world war. I actually don't know how that really makes sense, but apparently he was able to see photographs at a close range although he couldn't generally see. When I was a small child, he gave me the Olympus Mju (Pronounced "Mew", and called the "Stylus" in the States). I did not think much of it then, but I easily carried this camera in my pocket everywhere I went.

The camera is made of plastic, and it does not have a zoom. The camera is turned on by sliding the front cover open, and all you had to do was press the shutter button. As a kid I was amazed by the cleverness of the design, and how the design, the curves worked with how the camera was supposed to be used.  It had a fixed focal length of 35mm, which was a very sharp lens. This camera was so useful as a everyday camera, and it took the beatings associated with that of being in a pocket of a late-elementary/middleschooler all the time. Back then I didn't have the appreciation of this camera as I do now, but I was surprised how durable it was despite being a plastic point and shoot. Its rewinding mechanism broke down after all the years of shooting, and after getting into SLR' in high school and going into Architecture, I forgot about the camera, and it was stored in the damp, humid storage of my parents house in Japan for almost 10 years.

Recently, film photography has attracted some new attention, and I remembered about this camera.  I assumed that since it has been sitting for 10 years, it must have rotted out but that I would still keep it around as a keepsake of my grandfather (My parents house is particularly humid during the summer, to a point where a book would curl up in few hours) Much to my surprise, the camera worked (The battery was inside for more than 10 years too), and the rewind mechanism was able to be repaired relatively affordably.  There was a bit of fungus growth in the lens, but it did not affect the photos.

Looking at the camera today, it is a delightfully 90's Japanese design - reminiscent of the Mazda Miata, the culture of compact "fun" innovation- the care the designer took to integrate the use into the hand-friendly form has left a lasting legacy, where I enjoy taking this camera in my pocket today, even with a great camera already included in the iPhone.  Also, the lens is very sharp and the quality of the photo it produces is very nice.

The use of plastic to achieve the rounded form and the lightweight, resilient camera is very appropriate for the intended use of this camera. Looking back now, the use of plastic and its better resiliency over metal is probably what had this camera survive my use when I was a child.  The use of traditionally non-premium materials such as plastic does not automatically make a design cheap - the criticality and honesty with the design and materiality is what brings the value into the design.

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THE CULTURE(S) OF POST-RECESSION ECONOMY

THE CULTURE(S) OF POST-RECESSION ECONOMY: Is the US eating the same way as Japan in the 90's?

Some aspects of Japanese culture we thought of as strange in the 90's are deeply routed in American culture today. Here are three of those quirks, and my unscientific guess as to why it happened.

It is widely accepted today that Japan has lost its steam and edge in innovation and leadership.  There is an overarching pessimism and risk-averse dynamic, a prolonged cultural depression despite the nation full of talent, valuable skills and potential. If the Japan in the 80's was when it was making wild and bold propositions, the 90's was when Japan suddenly went limp and made it super awkward for everyone involved, avoiding the subject and trying to have small talk to pass the time for the next 25 years.

Growing up in late 90's San Francisco, there were a lot of strange quirks in Japanese culture when compared to the American culture then. At the time, I thought these were rooted in the cultural background. Today, I see similar dynamics at work in the forefront of American culture, which makes me wonder if in fact the phenomena of quirks in Japanese society in the 90's was a product of Japanese culture, or a inherent reactionary culture born from the recession. Here are the three quirks I noticed:

Quirk 1: Nice Little Things

Today, we have a proliferation of well-made and packaged design items that are celebrated and sought-after in the US.  There is an renewed interest and increased expectation in craft, quality and thoughtfulness in the product. In the 90's this was not the case - design and craft was not much of a priority. People may have cared for having a good car - but most people could care less the quality of their stationary and general everyday goods. I remember the contrast between the Japanese mechanical pencils and the american ones - the Japanese ones were noted for its quality and thoughtfulness, where the US goods were relatively indifferent of the design and thoughtfulness for everyday things - this is not a criticism of American manufacturing, but merely pointing out different priorities of the time: The US simply didn't give a shit as long as it worked. The pen "just needed to work", and "if it ain't broke, dont fix it" was very much the mainstream mentality. Even apple computers in those days were beige plastic machines. Today, you would be able to find a more design-conscious water bottle stocked in a Seven Eleven.

Quirk 2: Lining Up for Food

Today, we have foodies, and famous eateries with crafted food that people rave about and line up for in the US. Similar to the expensive little things above, there is a newfound interest in eating gourmet food, even if it is a little more expensive.  In the 90's there was good food too, but perhaps peoples interest and food culture was nowhere near the interest we have today, where lining up and waiting in long lines for (what is supposed to be)good, unique food is part of the food culture.  We heard about people lining around the block for ramen in Tokyo, and we laughed it off then. Portlandia has an episode Brunchtown about a expensive and trendy brunch place that has a line so ridiculously long that there are security guards and shantytowns that encompass the line, while nobody gives two pebble-sized shits about an adjacent diner with cheaper food. Obviously the comedy show exaggerates the phenomena, but nevertheless it is an commentary on society's new attitude towards food. Today, there is no difficult finding a 15 dollar burger joint which has gourmet flavoring and intricate craftsmanship if you are in an urban area.

Quirk 3: #Trending Everything to Death

Oh god, we just can't stop hearing about zombie-themed everything, or our guilty-but-cute-teehee infatuation of everything bacon, or our general embrace of the nerd culture. There are zombie and vampire tv shows and movies that copy each other.  There are zombie-related cars and car commercials. There are zombie-related food.  Bacon is available with anything imaginable. Its now cool for everyone to like sci-fi stuff.  There are oversweeping trends that take off from the internet and become plastered on everything commercial.  In the 90's we didn't understand Japan and its trends that tend to overrun everybody - fads took over society in a way that would scare us in the US. We had trends then, but not to a magnitude of Japan where it took over everything, like Pokemon.  Today, trends and memes in the US not only have a widespread influence transcending different age and social groups, but also heavily commercialized.

Conclusion: What Happened?

In a strange and unpredictable way, there was a shift in the values at the forefront of American culture in the 2010's, that resembled traits of Japanese culture in the 90's.  There were, admittedly, certain level of importation of Japanese values into American culture via silicon valley and increased speed and magnitude of cultural exchange with the advancement of the internet.  However, I had thought that these traits were inherently rooted in Japanese culture: The dense and mono-cultural background with its resource-strained archipelago context contributed to the focus on small thought out items and food, the widespread proliferation of trends.  Simple influence alone is difficult to overcome the physical context in which the culture is formed.

My unscientific guess is that this is an economic effect - both periods were post-recession years- Japan in the late 80's and US (and the world) in 2009.  The consumer values and habits have shifted since the recession, which I believes shape the quirks listed above.  With an insecurity about the future in economy, people step back and avoid large and risky investments, like buildings and large scale projects. Yet, at a personal level, many of us still want to have little niceties and indulgences - we naturally scale back our desires. This turns people's eyes toward smaller stuff- like an occasional nice food instead of buying a car, or buying a nice one-of-a-kind pen to treat yourself. See how everybody became all about nicely designed smartphones and less about cars the last 5 years?

If consumers are changing their purchasing habits, producers also try to avoid risk- by latching on to existing trends instead of forging new ones. As the trend grows, more and more companies try to cash in on it. There is a certain economy to joining in the market - Statistically, its better to open a donut store in an area full of donut store, instead of opening a sandwich store in the area. Everybody's there to get donuts, not sandwiches.

That's my observation and guess: 90's Japan was the hipster of recession economy, and like real hipsters, thats nothing to brag about.

Field Test: TYPE 34X - Wrist Module

Field Test: TYPE 34X - Wrist Module

Steve King of Steve King Architectual Imaging sent us a photo of the test module in use at Nancy Holt's Sun Tunnels, a site specific sculpture in Utah. The development of the Type 34X is nearing its completion. More soon.

Blackened Hardware

[lang_en]Blackened Hardware[/lang_en][lang_ja]黒錆の金具[/lang_ja]

[lang_en]Recently, I went to a facility that will be blackening the hardware for the Type 34 camera strap. Until now, I have been blackening the hardwares myself with chemicals, which took a lot of time and not all the hardware was useable.  Why do I demand this custom blackened finish over  the commonly available black-nickel plated hardwares? Here I will briefly explain my fascination with this particular finish. Click the button to read on. [/lang_en][lang_ja]最近、３４式カメラストラップの金具を黒く染める工場に行ってきました。今までは自分の家でやっていたのですが、個人がやるのでは効率が悪く、加工したうち使えない金具も少しありました。今回はよくある黒メッキ加工の金具ではなく、この黒染め加工になぜこだわるのか、説明したいと思います。[/lang_ja]

[lang_en]This finish is called "black oxide", and it is commonly used for hardwares and guns. The chemical process makes a thin oxidized layer on the surface of the metal.  This adds corrosion resistance while finishing the hardware black.  Unlike paint or plating, this process also adds only about a micrometer of thickness, which makes it ideal for screws and firearms which require precise fit and movement. It can be done in batches, and is an economical and efficient in terms of production.

While the logic and efficiency makes sense, my love of blackened metal comes from the way it wears.  It offers a matte black finish that is deeply ingrained in the metal itself, and when it gets worn overtime, it does not peel or chip off like paint - it wears in a nice way like how a nice worn pair of jeans wears.  This is why I use blacken my stainless steel parts for my Camera Strap - It wears nicely, and the stainless base metal will not corrode even if worn.

A lot of what we own today is nice and shiny when new, but as it gets damaged and worn through use, it starts losing its appeal- and we quickly replace it with the next new and shiny thing.  I would like to provide longevity for my products, in the sense that the damage and wear through using the products adds the depth and character to the item, not only encouraging the use but prolonging the value overtime.[/lang_en]

[lang_ja]この加工は黒錆加工といい、ビスや銃の加工によく使われます。この加工は、薬品を使い鉄の表面を酸化させることにより、鉄がさらに酸化しないように保護します。プレートやペンキとは違い、加工の膜が１ミクロメートルほどしか生じないので、ビスや銃など動くパーツに使われます。液体を使い、一度に大量の加工が出来るので、効率がよく、経済的なプロセスです。

理屈はかなっているこの黒染め加工ですが、心に響くのはその仕上がりと剥げ方です。鉄を黒く塗るのではなく、染める加工なので、ペンキみたいに割れたり剥がれたりするのではなく、かっこ良くすり減っていきます。ステンレスにこの加工を施すと、鉄の下地が現れてきても錆びません。

最近の商品は新しいうちはピカピカでも、使っていくうちに傷やすり減り具合がかっこわるく、じきに新しいものを欲するようになります。自分が作る商品やデザインは、使ってすり減ったり、傷が付いていくほど味が出てきてかっこ良くなる物を作りたいと思っています。そうすることによって、長く、楽しく愛用出来るデザインを提供したいと思います。[/lang_ja]

Introducing the Type 34 "Clint" Offset Camera Strap

Introducing the Type 34 "Clint" Offset Camera Strap

I wanted a nice camera strap to securely hold my elegant Olympus OM-1 Camera, which was handed down by my father. I couldn't find a strap I liked, so I started building iterations of camera straps of my own design. I aimed to strike the best balance of comfort and low-profile, reducing seams that can potentially snag.  Personally, I only need to adjust the length of a camera strap once when I first put it on the camera, but was always annoyed by the extra bulk of the adjusting mechanism throughout the use. I eliminated the adjustable slide, and made the strap length to my liking from the get-go. Therefore, the Type 34 is available tailor-made to your liking.

I wanted to make sure that the strap will not drop my camera- and chose durable, corrosion-free hardware traditionally used for architectural application, finished with a tactical black coating used for firearms.  I always believed that objects should reveal its charachter the more it is used, which encourages things to be actually used for a long time.

[Click Here for the Type 34 "Clint" Page]

Tool v.s. Gadget

[lang_en]Tool v.s. Gadget[/lang_en] [lang_ja]道具とガジェットのデザイン[/lang_ja]

[lang_en]

Many people use the words gadget and tool interchangeably.  And this pisses me off, as a big tool nerd. This has a lot to do with design, as tool design and gadget design is different and should be pretty easy to grasp.  Remember, every time you use either words incorrectly, god makes a tool that cooks kittens for the nazis...

[/lang_en] [lang_ja]

道具とガジェット（小道具）は似たようなものだが、やっぱりまったく違うものなんだよね。デザインする上でも、まったくプロセスが違う。道具フェチの俺として、今回はこの違いについて話したいと思う。

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[lang_en]

The importance here is the difference, not how they are defined.  How to define the two is up to you, but here is how I define the difference.

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ここで大事なのは、二つの言葉の意味よりも、その違いを見たほうがいいと思う。それぞれをどう定義づけるかは、個人それぞれだと思う。

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[lang_en]

Tools: Something Serious

Tools are optimized for some specific operation.  The tool is designed without any frivolous design or use of materials.

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[lang_ja]

道具：くそマジメで一途

道具ってのは、あることをするだけのだめに作られ無駄なものやオマケのものが一切ない。

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[lang_en]

My favorite design in tools is the pry bar. This has been shaped by function to the very last millimeter.  Pulling out a nail or prying open a wood joint- sounds so simple, but there are a lot of different situations-When the nail is nailed too deep into the wood, when the nail is crooked, when the nail has been cut off, etc.  This single tool used with a hammer is a can be used to handle all these different situations- and doing so is like a mini puzzle. Which end to use, and how hard to hit, etc.  You really cant understand this without having actually done it.

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[lang_ja]

僕が一番好きな道具のデザインは、くぎ抜きに使うバールだ。釘を抜くって、結構単一な作業に聞こえるけど、釘を抜くときにはいろんなシチュエーションが出てくるんだよね。釘が深く刺さりすぎてたり、釘が折れ曲がっていたり、釘の頭がなくなってたり。このバールを金槌でたたけば、ほとんどの場合気持ちよくスポっと取れるんだ。ワインのコルクを上手く抜いたときみたいにね。それもけっこう小さなパズルみたいで楽しいんだ。これはほんと、いろんな釘を抜いてみないとわからない楽しさだろうね。

[/lang_ja]

[lang_en]

Gadgets: Something Fun

These are something that CAN be used as a certain tool, but is integrated into something else. Gadgets usually have functions added as bells and whistles or bells and whistles added to function.  As a easy general rule if it "can be used" for something else that the entire object isn't, its an added gimmick to something else.

[/lang_en]

[lang_ja]

ガジェット：どっちかというと、遊び人

ガジェットって何かのために使えるんだけど、物全体を見るとその用途との関連性はさほどない。ガジェットには道具らしきものがエキストラとして付いていたり、おもちゃの一部に道具らしきものが付いていたりする。「XXにもつかえる」ってのは大体ギミックであってたぶんガジェットと解釈していいだろう。

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[lang_en]

This is pretty much crap.  Sure, you would need a phone and a mouse on your work desk probably, but its useless for everyone.  For example, I can't look at porn while calling someone really boring.  There’s no relationship between the two functions so this "mouse that can also turn into a phone" is as useful as shit on a stick.

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[lang_ja]

これなんかひどいもんだ。電話とマウスってのはたしかにデスクの必需品だけど、一緒にしちゃったらどうしようもない。電話相手がつまんないときにエロサイト見たくなったらどうするんだ。電話とマウスって、ほんと機能的に関連性がないから「電話としても使えるマウス」ってことになる。「帯に短し、襷に長し」だ。

[/lang_ja]

[lang_en]

What about Multi-Tools and Swiss Army Knives?

So, here things start going up for debate. They are both contraptions that can be used for many things, but is not optimally designed for one operation.  I personally think multiplier tools such as Gerbers and Leathermans as tool while Swiss Army Knives are a gadget.

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[lang_ja]

スイス・アーミー・ナイフやマルチプライヤーはどうなんだ？

こっからいろいろとややこしくなってくる。どっちも、多くの道具の機能性を持ち合わせているが、何か一つの作業のために作られた物じゃあない。個人的にはマルチプライヤーはレッキとした道具でスイス・アーミー・ナイフはガジェットと思っている。

[/lang_ja]

[lang_en]

Gerbers and Leathermans are designed for heavy use and has no frivolous or symbolic parts.  They are simply "bunch of tools bunched up into one without compromising too much usability". I feel the Gerbers are better designed as a tool, but more on that next time.

Swiss Army Knives, on the other hand, started out as a utilitarian tool.  I define it as a gadget because today it is perceived more as a accessory or a gift than something that is truly useful in accomplishing a task.  There is no tactical advantage to the polished red handle-although that butts into the criticism of a tool (see, this is why it's a little complicated).  I see it as a "key chain that also has a bunch of tools nested inside."

[/lang_en]

[lang_ja]

ガーバーやレザーマンのような物は真剣に実用性を考えて作られていて飾りなどは一切ない。「色んな道具を、ある程度使える感覚以内で集めた」って所だろう。個人的にはガーバーの方が道具としては上手く出来ているって思うんだが、そこらへんは次回に残しとこう。

一方、スイス・アーミー・ナイフって最初は似たような道具として始まったと思う。しかし、現代では実用性よりもアクセサリー感が強いのでガジェットに値すると考える。赤く、つるっとしたハンドルは握りにくいはず。まあ、突き詰めていくと「いい道具かどうか」の話になってしまうだけど（これだから、意味を探すのって難しい）。僕はこれを、「キーチェーンだけど、色んな道具が入ってる」と見る。

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[lang_en]

So the Tool is Better, right? Because it's all function and no extras?

Sometimes, its just kickass to have something that does something else.  Gadget and Gimmick gets a bad connotation, but the trivial and the extraenous are essential to connecting with human happiness. You might not need a hammer.  But you may find enjoyment in a robot that is designed to hit itself.

[/lang_en]

[lang_ja]

だからと言って道具が真剣だからって、ガジェットよりいい訳ではない

道具が必要じゃないのなら、サプライズがあるガジェットをもってる方が楽しいし、一概に昨日を果たす道具がいいとも言えない。なんかガジェットとかギミックって安っぽいニュアンスがあるけど、こうゆう「無駄」や「飾り」ってけっこう人に喜びを与えたりする。トンカチはいらないかもしれないけど、ノックマンが自分をたたくのを見ていると楽しかったりする。

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