Because of regulations, the $3 million Mercedes-AMG ONE will not (officially) be available in the United States or Canada.
We asked Mercedes to clarify whether "customers" refers to people who have expressed interest in buying the AMG ONE but haven't made a down payment or paid in full for a production slot, and a company spokesperson told that it's the latter – "Actual customers for AMG ONE in the United States and Canada."
The Mercedes-AMG ONE has finally arrived in manufacturing form after numerous delays. This may be the most complicated and magnificent hypercar ever created, but according to Mercedes, those roads will not be found in the United States or Canada.
Despite all of the well-deserved excitement around the gorgeous AMG ONE, there was no word on when US customers could expect their cars. Our Editor-in-Chief became aware of this and contacted Mercedes to clarify the matter. Mercedes-hypercar AMG's with the F1-derived 1,049 HP 1.6-liter V6 engine will not be homologated for the US market, they've confirmed.
Mercedes has informed its customers in the United States and Canada that the ONE will not be arriving to North America after all, as of today, June 1, 2022. The whole text of the letter is included below, so sit back and wait for Mercedes to explain why we (or they) won't be getting (or seeing) the hypercar. Mercedes claims that all 275 cars it wants to produce have already been reserved, with net pricing in Europe starting at €2.75 million (about US$2.93 million at today's exchange rates), before country-specific taxes.
"The AMG-ONE was created with one purpose in mind: to provide a straight technology transfer of the World Championship-winning Mercedes-AMG Petronas Formula 1 E PERFORMANCE drive unit to the road." It's the first time a complete Formula 1 drive unit has been integrated into a road car.
Every component of the AMG ONE has been engineered to redefine high performance, with 1,000+ horsepower, four electric motors, and a blazing top speed of more than 217 mph. While the engine's beginnings are in competition, continuous research and refinement has left us with a difficult choice for the US market.
We determined that following US road requirements would considerably damage its performance and overall driving character in order to preserve the distinctive nature of its F1 powerplant. We've made the strategic choice to make the automobile available for road use in Europe, where it complies with all necessary rules."
If this is the first time US customers have heard about it, which it shouldn't be, we understand if it's a bit off-putting. The AMG ONE could very probably be Mercedes' final internal combustion hypercar of this type.
Nonetheless, we wouldn't be surprised if a few make their way to the United States via the federal government's "Show and Display" exemption provision. This legislation permits the importation of automobiles such as the AMG ONE, but only for a total of 2,500 miles per year.
The McLaren Speedtail, the Koenigsegg One:1, and the Bugatti EB110 are among the automobiles that have been imported under this special rule. We just hope we don't have to wait too long to see the ONE in the United States.
More on Lifestyle
Architectural Digest
4 years ago
Take a look at The One, a Los Angeles estate with a whopping 105,000 square feet of living area.
The interiors of the 105,000-square-foot property, which sits on a five-acre parcel in the wealthy Los Angeles suburb of Bel Air and is suitably titled The One, have been a well guarded secret. We got an intimate look inside this world-record-breaking property, as well as the creative and aesthetic geniuses behind it.
The estate appears to float above the city, surrounded on three sides by a moat and a 400-foot-long running track. Completed over eight years—and requiring 600 workers to build—the home was designed by architect Paul McClean and interior designer Kathryn Rotondi, who were enlisted by owner and developer Nile Niami to help it live up to its standard.
"This endeavor seemed both exhilarating and daunting," McClean says. However, the home's remarkable location and McClean's long-standing relationship with Niami persuaded him to "build something unique and extraordinary" rather than just take on the job.
And McClean has more than delivered.
The home's main entrance leads to a variety of meeting places with magnificent 360-degree views of the Pacific Ocean, downtown Los Angeles, and the San Gabriel Mountains, thanks to its 26-foot-high ceilings. There is water at the entrance area, as well as a sculpture and a bridge. "We often employ water in our design approach because it provides a sensory change that helps you acclimatize to your environment," McClean explains.
Niami wanted a neutral palette that would enable the environment and vistas to shine, so she used black, white, and gray throughout the house.
McClean has combined the home's inside with outside "to create that quintessential L.A. lifestyle but on a larger scale," he says, drawing influence from the local environment and history of Los Angeles modernism. "We separated the entertaining spaces from the living portions to make the house feel more livable. The former are on the lowest level, which serves as a plinth for the rest of the house and minimizes its apparent mass."
The home's statistics, in addition to its eye-catching style, are equally impressive. There are 42 bathrooms, 21 bedrooms, a 5,500-square-foot master suite, a 30-car garage gallery with two car-display turntables, a four-lane bowling alley, a spa level, a 30-seat movie theater, a "philanthropy wing (with a capacity of 200) for charity galas, a 10,000-square-foot sky deck, and five swimming pools.
Rotondi, the creator of KFR Design, collaborated with Niami on the interior design to create different spaces that flow into one another despite the house's grandeur. "I was especially driven to 'wow factor' components in the hospitality business," Rotondi says, citing top luxury hotel brands such as Aman, Bulgari, and Baccarat as sources of inspiration. Meanwhile, the home's color scheme, soft textures, and lighting are a nod to Niami and McClean's favorite Tom Ford boutique on Rodeo Drive.
The house boasts an extraordinary collection of art, including a butterfly work by Stephen Wilson on the lower level and a Niclas Castello bespoke panel in black and silver in the office, thanks to a cooperation between Creative Art Partners and Art Angels. There is also a sizable collection of bespoke furniture pieces from byShowroom.
A house of this size will never be erected again in Los Angeles, thanks to recently enacted city rules, so The One will truly be one of a kind. "For all of us, this project has been such a long and instructive trip," McClean says. "It was exciting to develop and approached with excitement, but I don't think any of us knew how much effort and time it would take to finish the project."
Peter Steven Ho
3 years ago
Thank You for 21 Fantastic Years, iPod
Apple's latest revelation may shock iPod fans and former owners.
Apple discontinued the iPod touch on May 11, 2022. After 21 years, Apple killed the last surviving iPod, a device Steve Jobs believed would revolutionize the music industry.
Jobs was used to making bold predictions, but few expected Apple's digital music player to change the music industry. It did.
This chaos created new business opportunities. Spotify, YouTube, and Amazon are products of that chaotic era.
As the digital landscape changes, so do consumers, and the iPod has lost favor. I'm sure Apple realizes the importance of removing an icon. The iPod was Apple like the Mac and iPhone. I think it's bold to retire such a key Apple cornerstone. What would Jobs do?
iPod evolution across the ages
Here's an iPod family tree for all you enthusiasts.
iPod vintage (Oct 2001 to Sep 2014, 6 generations)
The original iPod had six significant upgrades since 2001. Apple announced an 80 GB ($249) and 160 GB ($349) iPod classic in 2007.
Apple updated the 80 GB model with a 120 GB device in September 2008. Apple upgraded the 120 GB model with a 160 GB variant a year later (2009). This was the last iteration, and Apple discontinued the classic in September 2014.
iPod nano (Jan 2004 to Sep 2005, 2 generations)
Apple debuted a smaller, brightly-colored iPod in 2004. The first model featured 4 GB, enough for 1,000 songs.
Apple produced a new 4 GB or 6 GB iPod mini in February 2005 and discontinued it in September when they released a better-looking iPod nano.
iTouch nano (Sep 2005 to July 2017, 7 generations)
I loved the iPod nano. It was tiny and elegant with enough tech to please most music aficionados, unless you carry around your complete music collection.
Apple owed much of the iPod nano's small form and success to solid-state flash memory. Flash memory doesn't need power because it has no moving parts. This makes the iPod nano more durable than the iPod classic and mini, which employ hard drives.
Apple manufactured seven generations of the iPod nano, improving its design, display screen, memory, battery, and software, but abandoned it in July 2017 due to dwindling demand.
Shuffle iPod (Jan 2005 to Jul 2017, 4 generations)
The iPod shuffle was entry-level. It was a simple, lightweight, tiny music player. The iPod shuffle was perfect for lengthy bike trips, runs, and hikes.
Apple sold 10 million iPod shuffles in the first year and kept making them for 12 years, through four significant modifications.
iOS device (Sep 2007 to May 2022, 7 generations)
The iPod touch's bigger touchscreen interface made it a curious addition to the iPod family. The iPod touch resembled an iPhone more than the other iPods, making them hard to tell apart.
Many were dissatisfied that Apple removed functionality from the iPod touch to avoid making it too similar to the iPhone. Seven design improvements over 15 years brought the iPod touch closer to the iPhone, but not completely.
The iPod touch uses the same iOS operating system as the iPhone, giving it access to many apps, including handheld games.
The iPod touch's long production run is due to the next generation of music-loving gamers.
What made the iPod cool
iPod revolutionized music listening. It was the first device to store and play MP3 music, allowing you to carry over 1,000 songs anywhere.
The iPod changed consumer electronics with its scroll wheel and touchscreen. Jobs valued form and function equally. He showed people that a product must look good to inspire an emotional response and ignite passion.
The elegant, tiny iPod was a tremendous sensation when it arrived for $399 in October 2001. Even at this price, it became a must-have for teens to CEOs.
It's hard to identify any technology that changed how music was downloaded and played like the iPod. Apple iPod and iTunes had 63% of the paid music download market in the fourth quarter of 2012.
The demise of the iPod was inevitable
Apple discontinuing the iPod touch after 21 years is sad. This ends a 00s music icon.
Jobs was a genius at anticipating market needs and opportunities, and Apple launched the iPod at the correct time.
Few consumer electronics items have had such a lasting impact on music lovers and the music industry as the iPod.
Smartphones and social media have contributed to the iPod's decline. Instead of moving to the music, the new generation of consumers is focused on social media. They're no longer passive content consumers; they're active content creators seeking likes and followers. Here, the smartphone has replaced the iPod.
It's hard not to feel a feeling of loss, another part of my adolescence now forgotten by the following generation.
So, if you’re lucky enough to have a working iPod, hang on to that relic and enjoy the music and the nostalgia.
Sam Hickmann
4 years ago
The Jordan 6 Rings Reintroduce Classic Bulls
The Jordan 6 Rings return in Bulls colors, a deviation from previous releases. The signature red color is used on the midsole and heel, as well as the chenille patch and pull tab. The rest of the latter fixture is black, matching the outsole and adjacent Jumpman logos. Finally, white completes the look, from the leather mudguard to the lace unit. Here's a closer look at the Jordan 6 Rings. Sizes should be available soon on Nike.com and select retailers. Also, official photos of the Air Jordan 1 Denim have surfaced.
Jordan 6 Rings
Release Date: 2022
Color: N/A
Mens: $130
Style Code: 322992-126
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Boris Müller
3 years ago
Why Do Websites Have the Same Design?
My kids redesigned the internet because it lacks inventiveness.
Internet today is bland. Everything is generic: fonts, layouts, pages, and visual language. Microtypography is messy.
Web design today seems dictated by technical and ideological constraints rather than creativity and ideas. Text and graphics are in containers on every page. All design is assumed.
Ironically, web technologies can design a lot. We can execute most designs. We make shocking, evocative websites. Experimental typography, generating graphics, and interactive experiences are possible.
Even designer websites use containers in containers. Dribbble and Behance, the two most popular creative websites, are boring. Lead image.
How did this happen?
Several reasons. WordPress and other blogging platforms use templates. These frameworks build web pages by combining graphics, headlines, body content, and videos. Not designs, templates. These rules combine related data types. These platforms don't let users customize pages beyond the template. You filled the template.
Templates are content-neutral. Thus, the issue.
Form should reflect and shape content, which is a design principle. Separating them produces content containers. Templates have no design value.
One of the fundamental principles of design is a deep and meaningful connection between form and content.
Web design lacks imagination for many reasons. Most are pragmatic and economic. Page design takes time. Large websites lack the resources to create a page from scratch due to the speed of internet news and the frequency of new items. HTML, JavaScript, and CSS continue to challenge web designers. Web design can't match desktop publishing's straightforward operations.
Designers may also be lazy. Mobile-first, generic, framework-driven development tends to ignore web page visual and contextual integrity.
How can we overcome this? How might expressive and avant-garde websites look today?
Rediscovering the past helps design the future.
'90s-era web design
At the University of the Arts Bremen's research and development group, I created my first website 23 years ago. Web design was trendy. Young web. Pages inspired me.
We struggled with HTML in the mid-1990s. Arial, Times, and Verdana were the only web-safe fonts. Anything exciting required table layouts, monospaced fonts, or GIFs. HTML was originally content-driven, thus we had to work against it to create a page.
Experimental typography was booming. Designers challenged the established quo from Jan Tschichold's Die Neue Typographie in the twenties to April Greiman's computer-driven layouts in the eighties. By the mid-1990s, an uncommon confluence of technological and cultural breakthroughs enabled radical graphic design. Irma Boom, David Carson, Paula Scher, Neville Brody, and others showed it.
Early web pages were dull compared to graphic design's aesthetic explosion. The Web Design Museum shows this.
Nobody knew how to conduct browser-based graphic design. Web page design was undefined. No standards. No CMS (nearly), CSS, JS, video, animation.
Now is as good a time as any to challenge the internet’s visual conformity.
In 2018, everything is browser-based. Massive layouts to micro-typography, animation, and video. How do we use these great possibilities? Containerized containers. JavaScript-contaminated mobile-first pages. Visually uniform templates. Web design 23 years later would disappoint my younger self.
Our imagination, not technology, restricts web design. We're too conformist to aesthetics, economics, and expectations.
Crisis generates opportunity. Challenge online visual conformity now. I'm too old and bourgeois to develop a radical, experimental, and cutting-edge website. I can ask my students.
I taught web design at the Potsdam Interface Design Programme in 2017. Each team has to redesign a website. Create expressive, inventive visual experiences on the browser. Create with contemporary web technologies. Avoid usability, readability, and flexibility concerns. Act. Ignore Erwartungskonformität.
The class outcome pleased me. This overview page shows all results. Four diverse projects address the challenge.
1. ZKM by Frederic Haase and Jonas Köpfer
Frederic and Jonas began their experiments on the ZKM website. The ZKM is Germany's leading media art exhibition location, but its website remains conventional. It's useful but not avant-garde like the shows' art.
Frederic and Jonas designed the ZKM site's concept, aesthetic language, and technical configuration to reflect the museum's progressive approach. A generative design engine generates new layouts for each page load.
ZKM redesign.
2. Streem by Daria Thies, Bela Kurek, and Lucas Vogel
Street art magazine Streem. It promotes new artists and societal topics. Streem includes artwork, painting, photography, design, writing, and journalism. Daria, Bela, and Lucas used these influences to develop a conceptual metropolis. They designed four neighborhoods to reflect magazine sections for their prototype. For a legible city, they use powerful illustrative styles and spatial typography.
Streem makeover.
3. Medium by Amelie Kirchmeyer and Fabian Schultz
Amelie and Fabian structured. Instead of developing a form for a tale, they dissolved a web page into semantic, syntactical, and statistical aspects. HTML's flexibility was their goal. They broke Medium posts into experimental typographic space.
Medium revamp.
4. Hacker News by Fabian Dinklage and Florian Zia
Florian and Fabian made Hacker News interactive. The social networking site aggregates computer science and IT news. Its voting and debate features are extensive despite its simple style. Fabian and Florian transformed the structure into a typographic timeline and network area. News and comments sequence and connect the visuals. To read Hacker News, they connected their design to the API. Hacker News makeover.
Communication is not legibility, said Carson. Apply this to web design today. Modern websites must be legible, usable, responsive, and accessible. They shouldn't limit its visual palette. Visual and human-centered design are not stereotypes.
I want radical, generative, evocative, insightful, adequate, content-specific, and intelligent site design. I want to rediscover web design experimentation. More surprises please. I hope the web will appear different in 23 years.
Update: this essay has sparked a lively discussion! I wrote a brief response to the debate's most common points: Creativity vs. Usability
Victoria Kurichenko
3 years ago
What Happened After I Posted an AI-Generated Post on My Website
This could cost you.
Content creators may have heard about Google's "Helpful content upgrade."
This change is another Google effort to remove low-quality, repetitive, and AI-generated content.
Why should content creators care?
Because too much content manipulates search results.
My experience includes the following.
Website admins seek high-quality guest posts from me. They send me AI-generated text after I say "yes." My readers are irrelevant. Backlinks are needed.
Companies copy high-ranking content to boost their Google rankings. Unfortunately, it's common.
What does this content offer?
Nothing.
Despite Google's updates and efforts to clean search results, webmasters create manipulative content.
As a marketer, I knew about AI-powered content generation tools. However, I've never tried them.
I use old-fashioned content creation methods to grow my website from 0 to 3,000 monthly views in one year.
Last year, I launched a niche website.
I do keyword research, analyze search intent and competitors' content, write an article, proofread it, and then optimize it.
This strategy is time-consuming.
But it yields results!
Here's proof from Google Analytics:
Proven strategies yield promising results.
To validate my assumptions and find new strategies, I run many experiments.
I tested an AI-powered content generator.
I used a tool to write this Google-optimized article about SEO for startups.
I wanted to analyze AI-generated content's Google performance.
Here are the outcomes of my test.
First, quality.
I dislike "meh" content. I expect articles to answer my questions. If not, I've wasted my time.
My essays usually include research, personal anecdotes, and what I accomplished and achieved.
AI-generated articles aren't as good because they lack individuality.
Read my AI-generated article about startup SEO to see what I mean.
It's dry and shallow, IMO.
It seems robotic.
I'd use quotes and personal experience to show how SEO for startups is different.
My article paraphrases top-ranked articles on a certain topic.
It's readable but useless. Similar articles abound online. Why read it?
AI-generated content is low-quality.
Let me show you how this content ranks on Google.
The Google Search Console report shows impressions, clicks, and average position.
Low numbers.
No one opens the 5th Google search result page to read the article. Too far!
You may say the new article will improve.
Marketing-wise, I doubt it.
This article is shorter and less comprehensive than top-ranking pages. It's unlikely to win because of this.
AI-generated content's terrible reality.
I'll compare how this content I wrote for readers and SEO performs.
Both the AI and my article are fresh, but trends are emerging.
My article's CTR and average position are higher.
I spent a week researching and producing that piece, unlike AI-generated content. My expert perspective and unique consequences make it interesting to read.
Human-made.
In summary
No content generator can duplicate a human's tone, writing style, or creativity. Artificial content is always inferior.
Not "bad," but inferior.
Demand for content production tools will rise despite Google's efforts to eradicate thin content.
Most won't spend hours producing link-building articles. Costly.
As guest and sponsored posts, artificial content will thrive.
Before accepting a new arrangement, content creators and website owners should consider this.
Sam Hickmann
4 years ago
Improving collaboration with the Six Thinking Hats
Six Thinking Hats was written by Dr. Edward de Bono. "Six Thinking Hats" and parallel thinking allow groups to plan thinking processes in a detailed and cohesive way, improving collaboration.
Fundamental ideas
In order to develop strategies for thinking about specific issues, the method assumes that the human brain thinks in a variety of ways that can be intentionally challenged. De Bono identifies six brain-challenging directions. In each direction, the brain brings certain issues into conscious thought (e.g. gut instinct, pessimistic judgement, neutral facts). Some may find wearing hats unnatural, uncomfortable, or counterproductive.
The example of "mismatch" sensitivity is compelling. In the natural world, something out of the ordinary may be dangerous. This mode causes negative judgment and critical thinking.
Colored hats represent each direction. Putting on a colored hat symbolizes changing direction, either literally or metaphorically. De Bono first used this metaphor in his 1971 book "Lateral Thinking for Management" to describe a brainstorming framework. These metaphors allow more complete and elaborate thought separation. Six thinking hats indicate ideas' problems and solutions.
Similarly, his CoRT Thinking Programme introduced "The Five Stages of Thinking" method in 1973.
| HAT | OVERVIEW | TECHNIQUE |
|---|---|---|
| BLUE | "The Big Picture" & Managing | CAF (Consider All Factors); FIP (First Important Priorities) |
| WHITE | "Facts & Information" | Information |
| RED | "Feelings & Emotions" | Emotions and Ego |
| BLACK | "Negative" | PMI (Plus, Minus, Interesting); Evaluation |
| YELLOW | "Positive" | PMI |
| GREEN | "New Ideas" | Concept Challenge; Yes, No, Po |
Strategies and programs
After identifying the six thinking modes, programs can be created. These are groups of hats that encompass and structure the thinking process. Several of these are included in the materials for franchised six hats training, but they must often be adapted. Programs are often "emergent," meaning the group plans the first few hats and the facilitator decides what to do next.
The group agrees on how to think, then thinks, then evaluates the results and decides what to do next. Individuals or groups can use sequences (and indeed hats). Each hat is typically used for 2 minutes at a time, although an extended white hat session is common at the start of a process to get everyone on the same page. The red hat is recommended to be used for a very short period to get a visceral gut reaction – about 30 seconds, and in practice often takes the form of dot-voting.
| ACTIVITY | HAT SEQUENCE |
|---|---|
| Initial Ideas | Blue, White, Green, Blue |
| Choosing between alternatives | Blue, White, (Green), Yellow, Black, Red, Blue |
| Identifying Solutions | Blue, White, Black, Green, Blue |
| Quick Feedback | Blue, Black, Green, Blue |
| Strategic Planning | Blue, Yellow, Black, White, Blue, Green, Blue |
| Process Improvement | Blue, White, White (Other People's Views), Yellow, Black, Green, Red, Blue |
| Solving Problems | Blue, White, Green, Red, Yellow, Black, Green, Blue |
| Performance Review | Blue, Red, White, Yellow, Black, Green, Blue |
Use
Speedo's swimsuit designers reportedly used the six thinking hats. "They used the "Six Thinking Hats" method to brainstorm, with a green hat for creative ideas and a black one for feasibility.
Typically, a project begins with extensive white hat research. Each hat is used for a few minutes at a time, except the red hat, which is limited to 30 seconds to ensure an instinctive gut reaction, not judgement. According to Malcolm Gladwell's "blink" theory, this pace improves thinking.
De Bono believed that the key to a successful Six Thinking Hats session was focusing the discussion on a particular approach. A meeting may be called to review and solve a problem. The Six Thinking Hats method can be used in sequence to explore the problem, develop a set of solutions, and choose a solution through critical examination.
Everyone may don the Blue hat to discuss the meeting's goals and objectives. The discussion may then shift to Red hat thinking to gather opinions and reactions. This phase may also be used to determine who will be affected by the problem and/or solutions. The discussion may then shift to the (Yellow then) Green hat to generate solutions and ideas. The discussion may move from White hat thinking to Black hat thinking to develop solution set criticisms.
Because everyone is focused on one approach at a time, the group is more collaborative than if one person is reacting emotionally (Red hat), another is trying to be objective (White hat), and another is critical of the points which emerge from the discussion (Black hat). The hats help people approach problems from different angles and highlight problem-solving flaws.