Rivian has a skunkworks, and earlier this year they created something so potentially impactful that they created a spin-off to bring it to market. They tapped Rivian VP Chris Yu to lead the new company, called Also, who teased what they were working on: "What we're building is easy, intuitive, and tech-enabled in all the right ways," he wrote. "It's a joy in the most childlike sense."Now they've pulled the sheets off. Also is a mobility company designing electric sub-car vehicles "to rethink how we get around in today's world," starting with this TM-B, a modular e-bike. The heart of the bike is this DreamRide drive system, containing the motor and the battery. When you pedal, you're not driving a chain, but are instead driving a generator. The motor then drives the rear wheel via a belt. The battery is "vehicle-grade," the company says, meaning its quality, safety and engineering standards match what you'd find in an EV (the regulations for e-bike batteries are considerably less stringent). The 1 kWH battery can be popped out for charging or to use as a powerbank. As for the modular part: The seatpostwhich they're referring to as the "top frame"--can be popped off of the bike, and you can swap in different ones for different applications. At present they offer a standard Solo frame, a Utility frame for carrying stuff and a Bench frame for carrying a passenger. Both wheels feature full suspensions. The front and rear LED lights are decidedly Rivian-like. There's a 5" touchscreen that can be used for navigation or to display riding data. The bike is said to have a range of 60 to 100 miles. They're currently taking pre-orders for the $4,500 bike and say it will ship in spring 2026.

I think desks without drawers are dumb, but the rise of sit-stand desks and aesthetic trends mean the market is awash with slabs-on-legs. The lack of storage space eventually becomes a problem, so companies start designing remedial storage objects, extra things for you to buy and tack onto your desk.This series of remedial objects is by a company called Tidy Desk. Their "Desk Dock System" is aimed at the minimalist who cannot tolerate the sight of cables. Thus their Invisible Laptop Dock, which has you leave your laptop out of sight beneath the desk (though still cabled to your screen). The Dock is just two plastic brackets. The "system" also includes charging docks for AirPods, Apple Watches and external hard drives. The promise? A clutter-free desk (at a cost of $35 to $39 per docking object). Surely drawers will make a comeback at some point?

Here's what we looked at this week:CalTech attaches a drone to a humanoid robot. This isn't looking good.The floating Transatlantic Studio: For a show in Brazil, French artist Xavier Veilhan is creating the pieces en routeon a sailboat. Hell in a Handbasket: An "emotional companion" smartphone with a built-in gimbal camera.Historically accurate airport dioramas by AV Pro Designs.Sikorsky has made an unmanned, autonomous Blackhawk helicopter. And it's going into production.Canadian designer Jamie Wolfond's screw-mechanism adjustable lamp.A clever use of augmented reality: Tracing virtual art to quickly create murals.Dreamfarm's UpCup is a measuring cup that squeegees itself clean.Architecture firm Blue Temple has designed inexpensive DIY bamboo disaster relief housing that can withstand earthquakes.Forever object: The staple-less Oceanus Brass Stapler, a roaring success on Kickstarter.Twig&Bot's elegant robot-arm-carved guitar holders.Understanding the brilliant design of an automatic center punch.Rivian's skunkworks yields the TM-B, a modular e-bike that will be sold under their Also spin-off.Remedial design: Tidy Desk's decluttering add-on storage objects for slab desks.

In the mid-2000s, Joachim Fiedler was a professional cellist in Germany. A tinkerer by nature, he found himself frustrated by the bow holders inside the lid of a cello case: They were fiddly and required two hands to open, whereas Fiedler wanted to do it one-handed. He thus prototyped and refined a magnetic bow holder. Pressing against a latch released the bow. Despite having played with the Berlin Philharmonic and having toured the world with different orchestras, Fiedler became obsessed with magnetic connections rather than music. In 2007, he hung up the bow and started Fidlock, a company that makes magnetic buckles for bags, helmets, tents, clothes and more.For some examples of the actions, this SNAP pops open at the pull of a strap:This 3-point JUNIOR is for baby carriages:This magnetic ratcheting WINCH is for bags and outdoor gear:This COINTRAP is for bike helmets, and is designed to be easy to use in cold weather, when one is wearing gloves:You can see more of Fidlock's offerings here.

Visual Atelier 8 is an online platform that seeks to expose the general public to talented creatives. They presented this dazzling DEVIATION installation, created by Berlin-based artist Sven Sauer:The piece is a direct comment on the divided state of today's world."The installation stretches across the room like a carpet of glass fragments, woven from shards collected worldwide. Broken glass often feels ominous: shattered windows before earthquakes, shards from riots, or jagged borders meant to keep people out. Today, it can seem as though shards are everywhere, and humanity doesn't always appear in the best light." "Based on texts by historian @RutgerBregman, DEVIATION reveals another truth: in times of crisis, people tend to move closer together, and acts of kindness grow. Negativity may be louder, but history shows cooperation prevails. From certain angles, the processed shards catch light and divide it a hundredfold, turning fragments of destruction into reflections of hope."Above is a condensed version of Sauer's statement. The full copy is below, as well as credit to all of the parties that helped bring this installation to light, no pun intended.

Within industrial design firms and in-house design teams, ID'ers often collaborate with mechanical engineers. Why not introduce them to each other earlier? A recent project at Auburn University did just that, to great success. The school partnered with KYRA, a medical equipment manufacturer, to task an ID and ME student team with designing a surgical device.During arthoscopic surgeries, the surgical sites are kept clean by a flow of saline solution delivered from hanging ID bags. When the bags begin to reach empty, an alarm sounds, and a nurse must quickly swap the bag for a fresh one. Both the alarm and the bag-changing add an element of chaos to the proceedings and can distract the surgeon.To address this, the students designed a device that automatically switches to a fresh bag as each one empties. "It provides a non-disruptive means of managing and monitoring the fluid for surgical procedures," ID professor Shea Tillman explains.If you're wondering how students were entrusted with designing a surgical device: KYRA's president, CEO and co-founder Howard Miller is an Auburn alumnus. By chance he ran into Steve Taylor, Auburn's Senior Vice President for Research and Development, and the two began to talk. With 30 years' experience in the field, Miller understands the importance of both ME and ID in medical device design, and suggested having students from both departments collaborate on the project. "it was incredibly rewarding to see the next generation of engineers bringing a real-world medical device all the way from concept to professional unveiling, and it was great to have industrial design included as well," Miller said.Joseph Freeman, an ME student who worked on the project, agreed. "Working alongside industrial designers from day one was a great learning experience, and I truly believe our success wouldn't have been possible without that integrated approach," he said. "They showed me that usability and ergonomics are just as critical as functionality for a device like this." The students got to unveil their device at this year's Association of Perioperative Registered Nurses' (AORN) conference in Boston. Here's to hoping more schools with both ME and ID combine their departments on real-world projects like this. Practitioners of the two disciplines can only benefit by learning, early on, how to collaborate.

Hailing from Belgium, Brian Brocken is an instrumentation technician specializing in both electromechanics and automation. As a hobby, he picked up a junked robot arm built in 1999so old that the 2-ton arm actually ran on floppy drives. Once used as a welding robot at the Eurostar train factory in Austria, by the time Brocken acquired it, the mothballed machine had dead internal batteries and a defective controller.Using his skillset, he revived it, turning the relic into a workable CNC milling machine. The next question was, what should he use it for? Simple: Build a full-size replica of the DeLorean from "Back to the Future." One that flies. "I saw the 'Back To The Future' movie again one night and thought that would be a great project," Brocken explains. "The model would be made out of EPS foam so it would even be light enough to maybe fly. So I started designing the model and did some calculations and it turns out to be actually feasible." Brocken started the project in 2023, and here's where he's at now:The wheels even freaking tilt!Incredibly, getting the thing to fly wasn't the hard part; by using predominantly EPS, Brocken got the weight of the body down to 14kg (about 31 lbs). Four 3000W motors each driving a 30-inch propellor are enough to get it off the ground. The harder part was much more prosaic: The door hinges, which are driven by a linear actuator. "The automatic door hinge design for the gulwing doors was probably the most complicated design part of the whole build (so far)," Brocken explains. "This is the part I spend the most time on. I didn't want the hinges to show on the roof of the car, I wanted an off-center hinge that's completely concealed inside the roof and door itself, similar to real car doors." Brocken also had to figure out how to allow airflow through the vehicle, so that the propellors could do their thing. He thus designed a system of louvers. "I didn't want 2 gaping holes in the front and the back so I made a flap-system connected to a linear actuator through mechanical linkages. This way the blades are concealed when the flaps are closed and allow air to enter inside when they are open." Brocken has been documenting the project as he goes. Here's his latest build video, where he shows his aluminum rig for flying tests, the louver system, how he got the wheels to tilt, and more:By the end of the project, Brocken better get an invitation for an all-expenses-paid trip to one of those Universal Studios theme parks.

Most museums have massive storage areas, where they store all of the stuff that's not in the exhibition halls. These storage areas are always closed off to the public. But London's Victoria & Albert Museum has done something really cool, and turned the storage area itself into an accessible destination in its own right. It's called the V&A East Storehouse. The space almost reminds me of the Collector's Museum in "Guardians of the Galaxy."It opened earlier this year, and was designed by NYC studio Diller Scofidio + Renfro and British architecture firm Austin-Smith:Lord. Inside you'll find, in addition to books and proper archives, some 250,000 artifacts and objects sitting within curated displays. You can even, by request, handle some of the objects. You can also access a loft overlooking the Conservation Studios, where you can observe curators at work, preparing objects for display. There are even recreations of famous spaces that you can peer into. As two examples, here's Frank Lloyd Wright's Kaufmann Office, and the fabulous Frankfurt Kitchen, the then-radical ergonomic galley concept designed by Margarete Schtte-Lihotzky in 1926. The entire space is four levels, and it looks like you could spend all day there. Note that the floor is a steel grate, so you'll want to consider your choice of footwear.There is a cafeteria, and also a locker room at the entrance, where you're required to leave your bags and coats. (They don't want any artifacts falling into your pockets.) The V&A East Storehouse is free to the public and no reservations are required. You can learn more here.

Something interesting happened during the pandemic: Since real-life Formula One races were shut down, drivers competed in virtual events using racing simulators. No one could have predicted how wildly popular these events would be. Some 30 million people, all trapped in their homes by COVID restrictions, tuned in to 2020's F1 Virtual Grand Prix series.The popularity of the series drove sales of F1 2019, Formula One's official Xbox/PlayStation/PC game. That in turn drove the sales of racing sim set-ups, which have now exploded in popularity; the racing sim market was around $384 million two years before the pandemic; today it's around $500 million; and it's projected to hit almost $2 billion by 2033.All of which explains why PC and gaming perirpherals company Logitech is now selling an official, licensed McLaren Racing Seat for racing sim set-ups. The seat is made of aluminum and padded with ModuFoam; these are modular foam insert pads that the user can place for a custom fit. The seat sits within a high-carbon steel frame, to which the user can attach (non-included) pedals and steering rigs. The seat runs $600 and comes in any color you want, as long as that color is McLaren Orange. Lastly, it's interesting to note the very different fate of another type of sim. Peloton also saw a massive boost during the pandemic, going from $910 million in sales in 2019 to $1.8 billion in 2020but after that, the company fell off of a cliff. Peloton's shares, which peaked at $162, are worth about $8 today. Why the difference in fates, since both offer simulated experiences? Probably because racing sims provide users with a simulation of an experience that they could never have in real life, whether we're under lockdown or not. But once things opened back up, it turns out that cyclists prefer the real thing, and/or doing it at a gym. There's a business lesson in there somewhere.

This post is presented by the K-Show, the world's No.1 trade fair for the plastics and rubber industry. Visionary developments and groundbreaking innovations will again lead the industry into new dimensions at K 2025 in Dsseldorf, Germany. Chris Lefteri: Hi Thomas, thanks for being here. How are the preparations going for the K Show?Thomas Franken: Preparations for K are in full swing, as you can imagine. We have already started to prepare some of our halls where our big exhibitors are placed, especially with the big machines. We are using the entire exhibition center here at Messe Dusseldrf which translates to roughly 180,000 square meters net exhibition space, which is the equivalent of 25 football pitches. That's sometimes easier to get an idea how big the show is!Chris Lefteri: That's incredible. And you're starting to build the K Show three months before, more or less?Thomas Franken: Yes, because we have the big machines in some of the bigger halls like hall numbers 17, 16 and 15, we always have to install extra air conditioning, so for that reason we start roughly three months in advance. Chris Lefteri: The K Show happens every three years which is a good amount of time for you to be able to overview the big changes in the industry. What do you see as the current and future trends, for example, within sustainability or technology, AI that you think are going to become more significant?Thomas Franken: The most important topic currently is the circular economy, which has been evident in the last two or even three editions of the show. And digitalization is part of the circular economy because we always know from the industry that you cannot do the circular economy without digital and AI solutions. I'm also very interested in the reputation of plastics from a sustainability point of view and the responsibility our industry holds in terms of taking care of our people.I'm also very interested in the shortage of skilled workers. We have always been interested in exploring how to attract young talent to the industry, but it has never been the highest priority. For the 2025 edition however it is becoming one of the hot topics. This will be mirrored in our program as for the first time we have a lot of things to attract young talents to the industry. This is something that is quite new and not seen in the previous editions.Chris Lefteri: You mention digitalization, sustainability and circularity. Is there an example of something that you want to highlight as a subject?Thomas Franken: For sure, we have a lot of exhibitors, especially from the recycling sector, coming up with new solutions, like tracking materials, sorting materials, etc. Here AI is one of the key enablers to make the circular economy for plastics happen. I think it's very important to see plastic waste as a resource in the future and not just material for landfill. So, the question then becomes how to really sort the waste. I think the industry has been collecting data for a while and it's now able to really make use of this data with AI. The digitalization is really the enabler to make the circular economy happen. Some of the exhibitors have already announced that they will have some new solutions for especially these kinds of things, let's say, using AI solutions in technology to make circular economy happen.Chris Lefteri: Recycling must be one of the big areas in terms of exhibitors that has been growing?Thomas Franken: Yes. That's the case. As you can see from the layout of the exhibition, we have three different colours and almost two-thirds of the exhibition is in blue, which is technology. We have tried to place all exhibitors coming up with recycling solutions in halls 9 and 10, creating a clear segmentation. This is for sure a growing part of the show and also a growing part in the industry - more and more exhibitors are coming up with new solutions and innovations.Chris Lefteri: Yes, for me, processing innovation is one of the most interesting areas. When I'm walking around scouting for exhibitors to visit for my design tour, you have to really look quite precisely to find some material innovation. In previous years, there's always been the new materials, let's say new waste streams that are being used as fillers. But also, the exhibitors that really got my interest were those with the processing innovation and I think this year recycling is going to be the area that I will focus on. It's the big raw material suppliers that have, let's say, new grades of circular materials or bio-based materials, but I think these are quite well known. The recyclers however are less media-interesting and they are harder to find. Thomas Franken: You're right there. And I think even the recyclate's are somehow a new type of new material and will be used more and more in the future with different kinds of application. Yet it is hard I think how to have a clear standard or quality of these recyclate's because you don't always know where they're coming from. It is different to if you use natural resources such as oil for example. This is becoming one of the tough questions in the industry it is the industry's job to keep the quality and also find more and more applications, where you can use them.Chris Lefteri: I notice the K Show has the slogan The Power of Plastics. So why did you choose that?Thomas Franken: Yes, as you know, for each edition of the K Show we have key themes, chosen as interesting topics and discussion points in the industry. For K 25 however we wanted to frame these three hot topics for the first time with the slogan. The three hot topics are Circular Economy, Digitalization and Caring about People and for that reason we created the slogan, The Power of Plastics. It's meant to underline, or sum up the important role of plastics in shaping the future and where the industry is heading to.Chris Lefteri: For me, The Power of Plastics is about understanding the value, the opportunity and the scale that plastics have. It's very easy to be drawn into catchy stories about, let's say, unusual waste streams but actually, the biggest opportunity is through plastics. Let's say, for example, one single plastic is used to make an entire product. This has much more opportunity for impact because I can recycle it and it's a stream of material that already exists. Yet, plastics is something that people almost don't see as being the opportunity to solve the problem. And what I love about the K Show is finding these very, very niche suppliers who do something really quite incredible that for me as a designer, I interpret in my own way and say, "Oh, but you could use it for this instead!" And they've never thought about it like that.Thomas Franken: You're right. I think people always see plastic as a problem. But without plastics, you cannot really answer the questions in the future. Plastics will play an important role in answering and finding solutions for the challenging times we might have in the future. There are so many real solutions with plastics, if you think about reducing CO2 emissions with lighter vehicles, or using less energy. For instance, packaging is one of the biggest applications for plastics, but plastic packaging is also helping to reduce food waste, which is a positive thing that needs to put more to the public. This is The Power of Plastics tries to underline. Plastic is also helping to solve these questions and matters in future and the easiest answer people find at the moment is to say, "Well, plastic is a problem, and we have to avoid plastic," but plastics will play an important and essential role in the future. Without plastic, it's not possible to.Chris Lefteri: Yes. But like you said, it's these secondary benefits of plastic, like packaging that keeps food for longer, that people forget to look at and see the opportunities and the benefits.What I would like to see, what I hope to see, is what kind of new materials are coming through, like technology that can analyze traditional plastics to formulate bio-based compounds based on existing technologies, using AI. This is where I'm really keen to look this year, to see where that level of technology is going to have an impact and how AI is used, for example, in modeling technology to create surface effects or surface functionality, like staying clean or water resistance or antibacterial. I mean where AI isn't just about the chemicals, but about the surface and creating textures that have some added functionality. For example, the lotus effect as a natural texture. So that's for me where I'll be looking. I'm trying to really look past the, I wouldn't say greenwashing, but "Hey, come on, you've got to back this up!" You've got to show me something a little bit more because I'm going to be quite particular in making sure that they deliver if they say something.I also believe it isn't just about problem solving and functionality, it's also about aesthetic and the story of materials. This is where the opportunity lies as a CMF designer. I go to the Milan Furniture Fair in April every year, because this is where we see the trends. This is where we see the aesthetics. If I then go to the K Show, I can put these two things together. I'd say that's the power of the K Show actually.Thomas Franken: Yes, I also think the material producers and the processors, and the kind of products they're showing, are really interesting for CMF designers. Chris Lefteri: How should people best prepare when visiting the K show? The only thing I personally can say in terms of preparation is to just keep a bottle of water in your bag and wear the most comfortable shoes you have because I don't want to stop. I mean, really, when I go, I don't stop. I don't stop for breaks because there's no time for me and I'm very determined, I'm very much on a mission. For me, it's not just a casual thing. I really want to soak up as much as possible and by the end of it, I'm absolutely, absolutely exhausted. That brings to me the question of the Matchmaking tool to make the visit efficient, which seems like the perfect tool to help with this?Thomas Franken: Yes, what makes trade show so special is that you want to see as much as possible in the short timeframe people often have. I think you can get some general orientation with our exhibitor database and the mapping. We offer a lot of services on our homepage and also in the apps you can browse our exhibitors so that you can find out the exhibitors you want to visit and then ask the system to make the best tour.Chris Lefteri: That's great! So you have a tool that allows me to find the most efficient route between the exhibitors? I didn't know that that existed. Is that on the app or is that on a website?Thomas Franken: It's on both. If you log in as a visitor for the show you can just browse the exhibitor database, choose all the exhibitors you would like to visit and then you can also see where they are placed and then it's like on Google Maps you can plan a route for visiting all the destinations you would like to see.We also have our new matchmaking tool where you can get in contact with our exhibitors. The main aim of this system is to bring together our visitors on one side and exhibitors on the other side, even in advance before the show starts. You can say, "Well, I'm interested in different parts of the industry and I would like to find innovations for a specific topic." And then the system will give you suggestions and recommendations of some exhibitors. If something is really interesting for you, you can even get in contact with the company before the show starts.Chris Lefteri: Yeah, fantastic, fantastic.Thomas Franken: This is also available in the app because for sure you don't want to bring your laptop with you everywhere. If you already arranged meetings with some of the exhibitors, you can directly see it in your app because it's linked to your profile.Chris Lefteri: Yes, when I'm giving talks about resources that designers can go to in order to understand and research materials, even if it's in Asia, where they're not likely to travel to Dsseldorf, I highlight the opportunities that the website has in terms of finding resources and inspiration so you don't necessarily have to go there because there's also a lot of information that's on the website. It's a very rich tool.Here's another question for you. What are you personally looking forward to?Thomas Franken: There are many things I'm really looking forward to, because as you can imagine, if you're preparing a massive show like K, more than two years in advance, everything is in preparation for the final opening moment. This is the most important and exciting point for me, especially on the first day when we're opening the gates and you see that people from all over the world are coming together, it really is an incredible atmosphere. Everyone is really motivated and curious to discover what's new in the industry.Chris Lefteri: Yes, I think you touched on something, which is the feeling that it has. And on the opening day, like you said, literally people are flooding into the halls. That's something that I should have asked at the beginning: what's your general feeling from the plastics industry? We talked about technologies and advancements and trends, but you have a very unique position because you're talking to many exhibitors visiting different countries. So, in capturing the mood of the plastics industry, what do you think the mood is?Thomas Franken: Especially right now, economically speaking, the situation is more challenging than maybe in the past. But something really special in the industry, is that everyone is really optimistic about the future. Everyone wants to be a part of shaping and setting the course for the future for our industry.Chris Lefteri: There must be new types of business models that are developed, let's say, as a result? One, for example, that I worked with, was a company who evaluate the circularity potential of a compound, and they give you a scorecard, like a traffic light. Apart from the recyclers, are there new types of companies that you see have been set up? New types of exhibitors?Thomas Franken: We see that there are a lot of exhibitors coming up with digital solutions for the industry. And maybe also, as you just mentioned, with evaluating these new materials and the recycling part. Especially if I look into the Start-Up Pavilion, you see that the young and dynamic companies are always coming up with new solutions from the digitalization part and also the circular economy.Chris Lefteri: Yes. So again, like you said at the beginning, this connection between the digital and the circular, this is where there is opportunity for new things.Thomas Franken: Is there anything you're really looking forward to?Chris Lefteri: I love German food, I love a beer and a good traditional German meal, which is something I always look forward to! In terms of the K Show, it is this moment of unexpected discovery. Of seeing opportunities that the exhibitor doesn't always see, but through my lens as a designer, as a material CMF designer, I can interpret. Yes, and also being able to get a sense of where the industry is, where plastics is going in the future.So, my last question for you, which is something that I've asked everybody that I have interviewed: what's your strongest memory of a material from childhood, and why?Thomas Franken: I think it's quite funny. I'm thinking of a material like foam or something like that. Something you can really change the shape of, but then it comes back to its original shape. I always thought that was interesting because wood for instance, you can cut it down, but it stays as it is. Foam on the other hand you can really change but then it always goes back to its original form. It was something I remember that was quite special for me when I was three or four years old. Chris Lefteri: Was it a toy?Thomas Franken: I think it was maybe bath sponge, it was in the shape of a boat or something and you could play with it, you could squeeze it, you know, you could put the water in it, but then it always came back to the original design or form. Somehow, I remember that I really liked these kinds of things.Chris Lefteri: Good. Good. Then that's it. Thank you for our conversation. Really looking forward to the K Show!Thomas Franken: Same. Thank you!

The X12, by Chinese mobility company XSTO, is a complete re-think of the electric wheelchair.It features four independently-suspended wheels, each with their own electric motor, and a further ten motors that control the chair's disposition. It also features a unique tread system that allows the user to ascend stairs, albeit backwards.Descending stairs is done in a forward position.The tread system also comes into play in "caterpillar mode," which is used to traverse gaps that a regular wheelchair couldn't handle.The company says they're taking pre-orders and will launch the product later this year. Prices had not been announced at press time.

I first learned about ticket rails as a teenager working in restaurants. I consider them the perfect object: Functional, minimal, and elegant in their simplicity. If you don't know what they are, they're used to hold paper tickets in restaurants. All you do is slide the ticket up into the slot, and it's held fast. You can move the ticket side-to-side or pull it back out with no damage to the paper. The body is just an aluminum extrusion, with the front face angled at the bottom. That's because inside, there are marbles or ball bearings. The angle on the face causes the marbles to press towards the back of the rail, which holds the paper in place. The contact points of the marbles on the paper provide just enough pressure. Plastic caps at the end hold the marbles in place. As an adult I bought two from a restaurant supply store. I use them in my shop, to hold plans and shop drawings. They're way faster than using tape or push pins and they don't mar the drawing.

Most outdoor gear container systems, whether bins, bags or hybrids, are rather tall; they appear to be sized using pickup truck bed walls as a height guide. RUX, the outdoor gear brand started by industrial designer Tony Richardson, produces a flexible, fold-flat outdoor gear container system. They're a hit with overlanders and travelers, particularly their 70L model, which falls into the tall category of containers. User feedback, however, prompted Richardson to design an alternative; not everything is going into the bed of a pickup. Thus the company has rolled out the RUX 40L Gear Box. "Designed with a shorter, carry-on-friendly form factor, it fits where others can't from under-seat truck drawers to overhead bins, boat decks, van builds, and ATV racks." It also, Richardson reckons, makes a good case for quick access to just a single layer of goods, rather than having to dig through a deeper tote or box. Like its bigger 70L sibling, it's completely watertight, and collapses flat when it's not needed. Check out all of its features below:It runs $250.

If you're designing something as important as the call system used in hospitals by nurses, you've got to do heavy end-user research, and make the complicated simple. That's the approach industrial design consultancy Thrive took with their Voalte Nurse Call Station for client Hillrom.Advancing Connected CareHillrom partnered with THRIVE to lead the medical product design for the next-generation nurse call systemthe Voalte Nurse Call Station. This advanced system is the central hub of a connected care ecosystem, empowering caregivers to respond to their patients' before the fall, the cardiac event, and before the code blue. It is the physical face of the new Voalte Platform, which brings together the acquisitions of Voalte and Excel Medical under the Hillrom brand to deliver a single unified approach to care communications technology that is unmatched in the industry.The Voalte Nurse Call Station is designed to be modular and deployed throughout the hospital environment at nurse stations, hallways, and patient rooms. It comprises a touch screen, articulating base, and handset to deliver best-in-class ergonomics with a modern and minimal design that embodies the feeling of precision that end-users expect from a best-in-class medical device. A Vision of the FutureHillrom, a subsidiary of Baxter International Inc., is a medical technology company offering patient support systems, surgical solutions, and front-line care products since its founding in 1929. Hillrom recognized that nurse call systems were overdue for a leap in modernization with fragmented hospital systems and their disparate solutions, making patient, staff, and even device connections complex and inefficient, negatively impacting patient care. There are up to 1 million falls in hospitals in the US each year, with an average cost of $13,316 per fall; that's a $1.3 million increased cost for a 100-bed facility with 179 falls per year. Hillrom's vision was to build an ecosystem of connected technologies to advance hospital care and enhance patient and caregiver outcomes. Hillrom understood that to bring this vision to life, they needed a seamless ecosystem of digital and physical devices and engaged THRIVE to take a human-centered approach to the medical product design of the Voalte Nurse Call Station, the keystone and central hub of the system. Time for ChangeThe team began with extensive in-field research with healthcare professionals to understand their behavior and frustrations with existing nurse call systems. We shadowed Hospital Unit Controllers (HUCs) and Charge Nurses in Pediatric and Rehabilitation units to understand user needs, process flows, desired functionality, work-a-rounds, and any unarticulated needs related to the Hill-Rom Nurse Call Suite. The research informed the development of three experience design principles that informed the overall product design and user experience. Best in Class ErgonomicsWe took a human-centered approach to the Nurse Call Staff Station driven by our in-field insights, focusing on the comfort of Health Unit Coordinators (HUCs) and Charge Nurses, who use the system for up to twelve hours a day on a single shift. The key area of sacrifice was handset comfort, with existing product designs being challenging to hold and uncomfortable on the ear for extended periods. We benchmarked twenty different handsets to determine optimal usability, arriving at an optimal weight range of range 150-200 grams, a 50/50 weight balance between ear and mouth, angled mouth, and earpieces for better face contouring (approx. 15 degrees) with a dished ear cup for improved sound quality, and an hourglass contour to comfortably fit hand sizes from a 5th percentile female to a 95th percentile male. In mission-critical moments, grasping the handset quickly and easily is vital to HUCs and Charge Nurses. Delivering on this need, we adopted an 'open C' configuration to the handset cradle so the handset could be grasped easily from the left or the right side in the center of the handset for optimal balance and control. Hospital environments can be noisy and chaotic, with a multitude of alarms. To ensure caregivers never miss a call, we added a "dome light" to the top edge of the entire unit to provide user-friendly visual notifications as well as auditory ones. The articulating stand enables HUCs and Charge Nurses to operate comfortably from standing and seated positions.A Modern Medical Visual LanguageHospitals are fighting for business. They need to communicate to patients and families that money has been invested in the right placesthat their clinicians and nurses have the best medical-grade equipment money can buy. The Nurse Call Station had to convey precision, efficiency, and excellence at a glance and be fit for purpose, telegraphing that it can deliver in life-and-death situations. In response, we developed a visual design language called 'Human Touch' using softened geometries and subtle, inflated surfaces to humanize the product and make it approachable, friendly, and intuitive, juxtaposed with precise chamfers and edges to communicate precision and accuracy. ---Our research showed that healthcare professionals don't want flashy, non-functional ornamentation. HUCs and Charge Nurses care most about the data displayed on the screen. So, we removed as much extraneous detail from the viewing surface and the surrounding components as possible, adding a strong sense of localized symmetry to communicate simplicity, purposefulness, and ease of use. Another critical insight that informed our industrial design approach was that healthcare professionals view overly expressive products with suspicion and gravitate to simple products with a tight, tailored fit that signifies that products are dependably engineered and manufactured when in hospital environments and can withstand their rigorous conditions. We tightly packaged all the nurse station's components and reduced the overall footprint by removing mass from the phone cradle and articulating base to emphasize the two key interaction areas of the product: the handset and touchscreen. Medical professionals respond positively to products that look like they will fit nicely into their chaotic, crowded, and intense workspaces. We purposely made the station 'clinical' with a white and silver CMF to stand out from the other beige and black boxes that inhabit nurse station desktops, telegraphing its importance to clinical workflow. Execution is EverythingTHRIVE spearheaded all aspects of the mechanical engineering for the Nurse Call Station using our structured ISO 9001 quality management system and design documentation process. This enabled us to meet all regulatory requirements and operate efficiently and effectively with Hillrom's chosen Contract Manufacturing (CM), engaging them throughout the medical product design process as partners to guarantee design suitability for assembly, servicing, and class-leading performance. Our Design and Engineering team worked iteratively, creating a series of proof-of-concept prototypes that were evaluated by end users and continuously improved throughout the development process. We used integrated modeling and THRIVE' moldflow and mechanical finite element analysis simulation capabilities to understand and assess the potential performance of our concepts from early-stage ideation to commercialization. Validating the manufacturability of each component while managing quality control and design aspects to ensure all parts were produced free of defects such as shrinkage, warpage, weld lines, sink marks, and other undesired defects. Our robust design controls and statistical tolerance techniques ensured a seamless transfer of the design intent and fulfillment of all Hillroms requirements. Quality-managed documentation, including CAD data, engineering drawings, assembly instructions, and production specifications, helped guarantee commercialization excellence. Setting A New StandardThe staff station represents a significant leap in modernizing nurse call systems, providing faster processing power, enhanced audio, and a camera to support video-based communications with patients and caregivers an industry first. Since the launch of the Voalte Nurse Call System in 2021, the reception from hospitals has been overwhelmingly positive. One hospital reported reduced response times by 80 percent, another reduced falls with injury by 87 percent, and another reported caregivers spending 30 percent more time on direct patient care.The success of the Hillrom Voalte Nurse Call System has bolstered Hillrom's reputation as a leading medical device maker and innovator in the connected care category, conveying product leadership, market sensitivity, and high value through sophisticated, well-detailed medical product design. It has positioned Hillrom perfectly to capitalize on the forthcoming projected growth in the nurse call systems market (expected to rise from USD 1.18 billion in 2018 to USD 2.79 billion by 2026) owing to the reduction in the nurse-to-patient ratio. You can see more of Thrive's work here.

Here's what we looked at this week:Porsche develops wireless charging for EVs. Drive over a pad, the car lowers itself. These language-translating earbuds can be shared, and use bone conduction for noisy environments.Students at ETH Zurich have invented a rotary metal 3D printer that may make space travel cheaper.A fantastic design feature for accessibility in these Michael Graves Dressers for Pottery Barn.BMW's Motorrad Vision CE is a no-helmet-needed electric scooter concept.Researchers at Northwestern are developing a plastic recycling system that doesn't require sorting.Product designer Igor Daemen's 3D-printed business card embosser.Nendo's helically-mated Rassen chopsticks.Roman Modzelewski's radical RM58 chair, a revived industrial design classic from Poland.While foreign factory engineers are arrested, a humanoid robot quietly put in a 20-hour shift at a car factory.The Dusty FieldPrint is a BIM-driven layout robot that saves time and money.Why Darth Vader's head is on the Washington National Cathedral.More design tricks for tight living spaces: A camper with a sliding bathroom.Peter Donders' astonishing handcrafted Walnut Shelly chair.Design engineer Leigh Aitken is using a robot arm to develop a rotary texturing process.The Dental Pod is an ultrasonic cleaner for retainers, mouthguards or nightguards.Amazon's Zoox, the world's first purpose-designed robotaxi, launches this week in Vegas.The RUX 40L: A compact, collapsible waterproof storage bag.Industrial design case study: Thrive tackles a nurse call system for hospitals.

These days "smart" LED bulbs are all the rage. But for those who'd like lighting that can change color without having to use an app or WiFi, here's a solution made of cardboard and paper:That's the Pop-Up Lamp, by French industrial designer Csar Moncaut. It's in production by Dutch design brand Risette and runs 205 (USD $239), but they'll only ship within Europe.

Viken Detection specializes in harnessing detection technologies for use in security, law enforcement and public safety. To create their Raven product, a handheld X-ray imager, they turned to industrial design consultancy Sprout Studios.Viken RavenSprout partnered with Viken Detection to design the next generation of their handheld imaging device, RAVEN. This compact backscatter X-ray imager is purpose-built for trained law enforcement, security, and inspection professionals who rely on powerful, portable technology in unpredictable environments. With its lightweight frame and advanced imaging capabilities, RAVEN delivers high-resolution scans and exceptional mobility, making it an essential tool for rapid threat detection across a range of operational contexts.The design needed to accommodate a wide spectrum of users and conditionsfrom gloved hands in cold weather to fast-moving, high-stakes inspections. Viken sought a modern aesthetic that communicated ruggedness and clarity of use, integrating tactile controls and a high-resolution screen into a housing that supported both one-handed and two-handed operation. Sprout approached the challenge by grounding our design decisions in human-centered principles and real-world functionality. We developed a robust resin housing that meets IP-54 environmental protection standards without sacrificing portability. The handles were sculpted for intuitive grip, while control surfaces were optimized for usability in complex field conditions. Throughout the project, Sprout worked in close collaboration with Viken's engineering teamholding frequent check-ins to adapt the exterior design in step with evolving internal layouts. The final form marks a purposeful shift forward in Viken's visual languagesleek, durable, and built to integrate seamlessly into the broader product system. A targeted CMF strategy further reinforces the product's identity, drawing from visual cues common in military and law enforcement gear to signal performance, resilience, and tactical intent. The result is RAVEN: a smart, handheld imaging tool that elevates the standard for mobile security operations. It merges cutting-edge detection capabilities with thoughtful, field-ready designempowering professionals to operate with confidence, speed, and precision. You can see more of Sprout's work here.

Here's what we looked at this week:Pizza cutters, from underdesigned to overdesigned. Dutch engineers move massive historic Swedish church three miles away.Elegant solution to a tricky problem: A scale for wild birds.Motorsports mayhem: The Rockford Speedway Figure 8 Trailer Race.Industrial designer Michael Mahle develops unusual wooden connectors for flatpack furniture.Industrial designer Thomas Bentzen'sSketch Toolbox.The return of an industrial, minimalist 20th-century lamp: Astep revives the Model 262, by Gino Sarfatti.Industrial Design student work: Barko, by Denise Merlette of ECAL, finds a use for bark in furniture.Strange furniture design history: A sex scandal, and a sweet update to Arne Jacobsen's No. 7 chair.Kinkfab's sexy air conditioning vents.Rise + Shine, by industrial designer Dan McMahon, is a pneumatically-height-adjustable candleholder. It's a modern-day update to an actual series of objects that existed in the 19th century.RIVR's Swiss application for robot dogs: Delivering mail and meals.Space-saving design tricks in a tiny Parisian apartment, by architecture firm Beth X Episteme.Industrial designer Csar Moncaut's Pop-Up Lamp is a low-tech take on color-changing lighting.Industrial design case study: Sprout Studios designs the Viken Raven, a magic handheld x-ray machine for law enforcement.

A number of older houses across the world will have penciled height marks on the wall, in what was once a child's room. These marks were simple to make, requiring just two already-owned items in the kitchen junk drawer: A tape measure and a pencil.These days, however, we're apparently running out of things to spend money on. Rather than relying on a pencil and tape measure, which most households already own, you can splash out on something far more expensive and ultimately disposable. Companies like Pottery Barn Kids will sell you a $130 piece of MDF with markings on it. (Ironically, you still need a tape measure and pencil to accurately install it; it doesn't start at 0, to accommodate for trim.) You can even order custom versions with your child's name written in Garamond. And in Japan, they have of course solved this "problem" with technology. This Digital Height Meter by Tomica is a toy bus concealing a laser measuring unit. It runs 3,850 (USD $26). But if your child prefers giraffes to buses, no worries: Admittedly I'm not a parent, so it's perhaps not my place to criticize these objects.

Copenhagen-based Bundle Studio was formed to explore the use of bio-based materials in furniture. "We believe designers must redefine material use for sustainability," write founders Jn Hinrik Hskuldsson and Kirstine Nrgaard Sejersen, "and we aim to create functional, aesthetically pleasing products that push the boundaries of sustainable materials and inspire industry change."Messing around with materials in the studio ultimately led to their Bundle chair: "Through extensive experimentation, we developed a stackable, lightweight mono-material chair by thermo-pressing flax fibres and PLA into rigid shells. The chair weighs 2.5 kg, with about half of that weight being bio-based plastic." "The project emphasizes material-driven design guided by creativity and curiosity, using biobased composites to challenge traditional plastic furniture construction. By splitting the chair into smaller components, we improved material efficiency and introduced a craft-like quality uncommon in plastic furniture. The incorporation of flax fibres into a PLA matrix makes the composite both biobased and biodegradable, reducing environmental impact." They then used what they learned with Bundle to create this much more refined Branch chair:"Building on our knowledge of flax fiber/PLA composites, we wanted to explore how the composite could be combined with other materials. The result is a side chair with a beech wood veneer frame and a thermo-pressed composite seat, balancing strength, sustainability, and a refined organic form language. Designed for practicality, Branch is stackable and weighs 4.5 kg." You can see how much work they put into the prototype and creating the molds for it: You can keep abreast of Bundle's work here.