When partners and food and beverage producers Ryan Chelak and Jules Lieff went looking for a production space, they came across a building at 98 Vine Street. While the space was larger than they required for their businesses, they decided to take it. Now they are sharing the extra space with Hamilton makers with their first Vine Street Makers’ Market set to take place on March 30.
The two-storey red-brick building was once the home of Hamilton Pure Dairy, which opened in 1907 to provide healthy, safe and pure milk to the community. It has been home to other businesses over the year and now houses Vibe Kombucha and FitOrganiX.
Chelak is the founder of Vibe Kombucha, a craft brewer of raw, organic kombucha tea. Lieff founded FitOrganiX, a daily meal delivery system that uses local, organic ingredients. They will be using the second floor of the building for production.
The main floor will be open to the community as studio and event space. While Chelak and Lieff are still determining exactly how they will use the space, they know they want it to cater to creatives in Hamilton.
“In talking to a number of artists in the community, in Hamilton, there seems to be a need, particularly where we are downtown, for creative space. All of the workshop, event spaces, they're all pricing a lot of these people out of the market,” Chelak explained.
The desire for space can be seen in how the market sold out of vendor space within a day and a half. By providing space at an accessible price point, Vine Street Market is allowing emerging makers the chance to bring their product to the public.
The markets are currently slated to be monthly, but Chelak said that they may change depending on the demand. Starting in May, they will also host a bimonthly thrifted, vintage market.
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However, the main floor will be more than just market space. At the back of the main floor, there will be collaborative work space for artists to work out of. This would also allow artists to have wall space in order to display their work for clients.
Vibe Kombucha and FitOrganiX will also be selling their products at 98 Vine Street. Chelak and Lieff hope to have a cafe counter where people can buy their products, along with food and beverages from other local producers.
Another important use for the space will be the workshops that makers can host. Having gotten into kombucha by giving workshops, Chelak appreciates the opportunity to share skills with others.
“You know sharing that knowledge is really what community is all about, whether it's making something to eat or drink or making… music or arts. People need outlets like that, maybe now more than ever when everything is fast-paced and we're so immersed in technology and our work… [T]hat time to create it is important,” Chelak said.
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The market will provide an opportunity for Hamiltonians to interact with and buy from local makers. While there is no restriction on where the makers hail from, the market will primarily host local creatives.
Chelak believes that the local creatives are leaders in Hamilton’s resurgence. However, more than helping to grow the city, Hamilton artists are also providing a welcoming and collaborative space for emerging artists to develop.
“Hamilton seems to be, from my perspective…, a city that is collaboration over competition… And I think when you have that mindset where you're looking to promote each other and/or share information or opportunities… then people are more apt to do the same back in return and the adage that when you first give and then you'll receive, it's really what it's all about,” Chelak said.
By creating an environment where artists can work together, Vine Street Market is joining the tradition of collaboration within Hamilton’s artistic community. Having this new space for makers to make and sell their art will allow more individuals with small businesses to flourish in this rapidly changing city. In turn, Vine Street Market will grow as well.
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Every aspect of our world is designed in one way or another. From the appliances in our kitchens to the clothes on our backs, every switch and button has been meticulously considered and executed. Design — whether it be in buildings, laptops or can openers — weave through the fabric of our lives.
But things have changed. Today, we live in a throwaway society. We create and consume in abundance, forgoing detail for convenience. The mass production of virtually every product we use has fuelled a capitalist society that cares little for how things are made, only for how much revenue they garner. We gravitate towards products that give us more. The bigger, the better. The more functions, the better. The more we can afford to buy, the better. Gone are the days where good design, rather than cheap design, took centre stage in blueprints and on drawing boards.
In the world of design, there are few who have created as lasting an impact as Dieter Rams. Widely considered as one of the most influential designers of all time, and one of my personal idols, Rams is a visionary like no other. Nearly every product design created by him continues to be considered a classic today. In a society that is in a perpetual state of flux as a result of cultural and technological developments, that’s staying power.
From an early age, Rams was strongly influenced by his grandfather’s role as a carpenter. After training as an architect in Germany in the early 1950s, Rams was recruited by the German electrical products company, Braun, in 1955. Follow the death of Erwin and Artur Braun’s father, Rams was tasked with modernizing the interiors of a company that continued to launch revolutionary products for households across the globe.
Soon, Rams became a star student of the Ulm School of Design and quickly became involved in product design at Braun. Due to his incomparable talent and eye for innovation, he was appointed as the head of design of Braun from 1961 to 1995. Along with the rest of his design team, Dieter Rams became the man responsible for many of the greatest domestic electrical products of the twentieth century.
Braun asserted itself as a leading consumer products company under the expert guidance of Rams. However, in the late 1970s, the designer became increasingly perturbed by the state of the world around him. He began to see his surroundings as “an impenetrable confusion of forms, colours and noises.” Conscious that he was a prominent contributor to that world, he asked himself: is my design good design? He did not want to thoughtlessly feed into a world that was turning design into nothing more than dollar signs. To him, that was dishonest and irresponsible.
Rams wanted to advocate for a purist, almost imperceptible design; products that fit seamlessly into the lives of those who use it. As such, he came up with ten principles for good design. Often referred to as the “ten commandments of good design,” these principles remain as timeless fundaments of design theory and practice today: Good design is innovative. Good design makes a product useful. Good design is aesthetic. Good design makes a product understandable. Good design is unobtrusive. Good design is honest. Good design is durable. Good design is consistent to the last detail. Good design is environmentally friendly. Good design is as little design as possible.
If you have used one of Rams’ products, you would have likely been able to check off the boxes beside each of the aforementioned principles. Each and every one of his creations are aesthetically pleasing, user-friendly and exceptionally practical. They are beautiful without being fashionable, and therefore never appear antiquated. There is no use of big buttons or bold colours or abstract lines; nothing detracts from the product’s function, which is clear and self-explanatory. The inherent simplicity of the design makes the product smart as it is able to express its function by making use of the user’s intuition. Perhaps one of the most important principles of the ten is the one that considers the preservation of the environment. Rams made it his primary goal to offer products to consumers that conserved resources and minimized physical and visual pollution throughout the lifecycle of the product. All ten principles boil down to one thing: less but better. Simplicity allows for products to be elegant, supremely versatile and free of the burden of non-essentials.
Although the current reality is that most companies do not consider good design when pushing out products to the public, there are some that do. Apple is a prime example. Both Steve Jobs, the late Apple co-founder, and Jony Ive, the company’s Senior Vice President of Industrial Design, were outspoken admirers of Rams’ work. If you compare some of Rams’ creations with Apple’s products, the similarities are astounding. It is fascinating to see the parallel between Braun’s speaker and Apple’s iMac. Thankfully, many newer start-ups and up-and-coming companies are now returning to the seeds that Rams had sowed. Unlike big, corporate giants, these new businesses recognize a gap in the market for carefully considered and expertly crafted products that reduce everything to the basics. Some examples that come to mind include Cereal Magazine, a store in Los Angeles called Formerly Yes and Vitsoe, a shelving company that Rams himself designed for. For these owners, Rams’ tenth principle — less but better — is their motto, and simplicity is their aim. They’ve adopted a new kind of social responsibility: to reduce products to their simplest form, thereby providing consumers with the best product possible.
Dieter Rams’ design ethos extends far beyond design — it is a philosophy that also applies to life. With so many new products being offered to us, it has become almost second nature to want more and to buy more. Abundance has become a sign of wealth; new versions of appliances, phones and clothes are readily available at a moment’s notice. We feed into this mindless cycle of producing more, buying more and, as a result, throwing away more. This produces both environmental noise and visual noise, exerting very real and tangible effects on our lives. Rarely does anything in our lives remain permanent anymore.
Consumers have been programmed to jump at the sight of a sale sign, and to scope out deals in order to buy as much as they can. It is therefore unsurprising to me that friends of mine would widen their eyes or even chastise me when I purchase an item of clothing that is more than what they would consider as “a steal.” Buying less clothes but buying better clothes is a way in which I’ve adopted Rams’ principles into my life. Instead of spending a certain amount of money on many articles of clothing, consider spending the same amount (or perhaps saving even more) to invest in one high-quality piece. This will not only ensure that you will love whatever it is you buy, it will also lead to less clutter in your closet and save you time in the mornings when getting ready, reducing the burden of choice.
Buying less and buying better should extend into every part of our lives as consumers. The next time you buy a top, cooking knives or perhaps even a couch, remember Dieter Rams’ ten principles. Good design should be so simple, fluid and considered that they almost camouflage into your surroundings. They should make you feel a deep, lasting satisfaction at the mere thought of owning them. It is not only our responsibility to ourselves, but also our responsibility to society to refrain from perpetuating a harmful consumer mindset that focuses on abundance. In truth, simplicity is something we should adopt into every facet of our busy lives. Less is more, and less is always better.
Photo Credit: Abisag Tüllman
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In the year 2016, companies continue to put new products onto shelves that are distinctly marketed for specific genders. Obviously, this is problematic for many reasons.
For one, unnecessarily gendered products avouch the gender binary. Today, men and women live very similar lives. We grow up together, attend the same universities and work in the same offices. There are few distinctions that require us to constantly think about how our gender dictates our role in society.
But when products that we use in our daily lives fall into two distinct categories, we are reminded that society really does see important differences between male and female. Affirming this gender binary becomes very problematic for those who don’t fit into it. With the silent assimilation of these products onto the shelves of our local stores, we render those who reside outside the typical gender binary invisible.
Obviously, these types of products are most impactful on those whose assigned gender at birth do not conform to their identity. However, it’s a problem for everyone else as well. From what we wear to how we move and talk, we make efforts to act in gendered ways in order to conform to what is expected of us, forcing ourselves to fit into the binary and reinforcing needless stereotypes that further make it difficult for those who do not identify with a certain gender. Often, gendered products not only reinforce the binary, but also suggest that women and men are expected to play unequal roles in society. Consider toys for children: girls are dentists’ assistants and boys are dentists; girls are princesses and men are kings.
In addition, there is a financial disparity that results due to gendered products. While it could be (wrongfully) argued that these products are only things for “emotionally sensitive” people to fuss over, there are real-world consequences as well. It has often been shown that the masculine and feminine version of a product are not priced the same. Typically, the one marketed towards women is more expensive. Due to the distinctions between even the most benign products (e.g. razors), it slowly becomes engrained within shoppers that there is a “right” product for them, that it makes sense to shell out more money to buy a product that most suits their needs as either male or female. However, this is but a marketing ploy; realistically, there are no differences between the two products. Women are therefore paying more for products that aren’t much different besides being the colour pink.
In truth, unnecessarily gendered products are as problematic as they are dumb. Companies often employ the excuse that gendered products are beneficial to shoppers because men and women are fundamentally different. For instance, many of these products advertise that the version for women is smaller than the one for men in order to fit women better. Gendered ear plugs are a prime example of this.
Again, this is an issue for many people who do not fall into the two distinct categorizations. Moreover, to argue against the reasoning behind these products, it would make more sense to create earbuds of various sizes and let the buyer decide what is the best for them instead of making assumptions on their behalf. Gendering ear plugs and having the distinction be “smaller for women, larger for men” is a vast generalization. These types of products make larger women or smaller men feel invisible. In a society that already pushes for women to be small and dainty, we don’t need earbuds to reinforce this outdated notion. The same goes for the stereotypes we perpetuate against men. Companies need to start catching up with the times and realize that what they may think as harmless marketing tactics do cause very real and upsetting ripples in the world they create their products for.
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