Solos’ new smart glasses are the audio-only AirGo A6 and the second iteration of its camera-enabled glasses, the Solos AirGo V2. The latter was first announced last year as an effort to directly “outshine Meta.” These $299 glasses do just about everything you’d expect from Meta’s new $299 Meta Smartglasses, including photo and video capture, playing music, and interacting with an AI-powered assistant that can see what you see. They can be fitted with prescription lenses and have a 10- to 12-hour battery life.
The AirGo V2 glasses can also be paired with a new Privacy Kit, a set of clip-on accessories that let wearers control what their camera glasses can access. The clip-on privacy shield blocks the cameras from view and from recording the world, allowing you to keep wearing the glasses in audio-only mode. There’s also a clip-on polarized lens, and the full kit of modular options costs $79.
Selling a privacy kit as a clip-on accessory is perhaps not the most effective way to stave off concerns about people running around with small, discreet cameras on their faces. Having to buy a separate item, then clip it on and off every time you want to use or disable the camera, is a lot of extra steps that will likely keep people from bothering with privacy at all. Also, there isn’t anything stopping bad actors from removing the clip-on blockers later in an interaction—say, after entering an event that prohibits camera recording.
Courtesy of Solos Smartglasses
Solos’ first camera-enabled glasses, the Solos AirGo Vision, launched in 2024. WIRED put them in the “Don’t Bother” section of our Best Smart Glasses gallery, citing some decent design choices, albeit ones held back by middling media capture quality, frustrating touch controls, and a power-hungry app that demands too many permissions. All in all, the glasses haven’t quite reached the standard Meta has set with its popular smart glasses.
Meta has been the dominant force in the smart glasses market, but other big companies are trying to fill in the cracks. Google and Samsung have a partnership to build out Google’s Android XR platform, with new glasses arriving later this year from eyewear brands Warby Parker and Gentle Monster. Apple has reportedly been building its own smart glasses as well.
Some smaller companies are adjusting their target markets to counter Meta, like Even Realities and its camera-free glasses. Solos’ reemphasis on privacy comes after a period of widespread criticism of Meta’s glasses. The devices have been called creepy “pervert glasses” and were criticized after the company silently added face recognition code to its glasses, then quickly removed it after public outcry following a WIRED report. Meta hasn’t done itself any favors since then, announcing last week that it will start charging for features on its smart glasses that have previously been free.
Meta has acknowledged that a market for audio-only smart glasses exists, as CTO Andrew Bosworth said in a private Q&A session with media that he thinks there is “market demand for that product for sure.” But Meta hasn’t moved away from its camera-forward spectacles yet. It may very well make audio-only glasses in the future. Until then, companies like Solos are eager to chip away at that market.
Solos’ new smart glasses are the audio-only AirGo A6 and the second iteration of its camera-enabled glasses, the Solos AirGo V2. The latter was first announced last year as an effort to directly “outshine Meta.” These $299 glasses do just about everything you’d expect from Meta’s new $299 Meta Smartglasses, including photo and video capture, playing music, and interacting with an AI-powered assistant that can see what you see. They can be fitted with prescription lenses and have a 10- to 12-hour battery life.
The AirGo V2 glasses can also be paired with a new Privacy Kit, a set of clip-on accessories that let wearers control what their camera glasses can access. The clip-on privacy shield blocks the cameras from view and from recording the world, allowing you to keep wearing the glasses in audio-only mode. There’s also a clip-on polarized lens, and the full kit of modular options costs $79.
Selling a privacy kit as a clip-on accessory is perhaps not the most effective way to stave off concerns about people running around with small, discreet cameras on their faces. Having to buy a separate item, then clip it on and off every time you want to use or disable the camera, is a lot of extra steps that will likely keep people from bothering with privacy at all. Also, there isn’t anything stopping bad actors from removing the clip-on blockers later in an interaction—say, after entering an event that prohibits camera recording.
Courtesy of Solos Smartglasses
Solos’ first camera-enabled glasses, the Solos AirGo Vision, launched in 2024. WIRED put them in the “Don’t Bother” section of our Best Smart Glasses gallery, citing some decent design choices, albeit ones held back by middling media capture quality, frustrating touch controls, and a power-hungry app that demands too many permissions. All in all, the glasses haven’t quite reached the standard Meta has set with its popular smart glasses.
Meta has been the dominant force in the smart glasses market, but other big companies are trying to fill in the cracks. Google and Samsung have a partnership to build out Google’s Android XR platform, with new glasses arriving later this year from eyewear brands Warby Parker and Gentle Monster. Apple has reportedly been building its own smart glasses as well.
Some smaller companies are adjusting their target markets to counter Meta, like Even Realities and its camera-free glasses. Solos’ reemphasis on privacy comes after a period of widespread criticism of Meta’s glasses. The devices have been called creepy “pervert glasses” and were criticized after the company silently added face recognition code to its glasses, then quickly removed it after public outcry following a WIRED report. Meta hasn’t done itself any favors since then, announcing last week that it will start charging for features on its smart glasses that have previously been free.
Meta has acknowledged that a market for audio-only smart glasses exists, as CTO Andrew Bosworth said in a private Q&A session with media that he thinks there is “market demand for that product for sure.” But Meta hasn’t moved away from its camera-forward spectacles yet. It may very well make audio-only glasses in the future. Until then, companies like Solos are eager to chip away at that market.
#Smart #Glasses #Solos #Privacy #Shield #Camerascameras,design,smart glasses,wearables,artificial intelligence,meta">These New Smart Glasses From Solos Come With a Privacy Shield for the Cameras
Smart glasses company Solos has long focused on audio-only smart glasses. On Tuesday, it announced two new pairs of glasses, one of which has a camera—but you can buy a separate accessory to hide the camera for privacy’s sake.
Solos’ new smart glasses are the audio-only AirGo A6 and the second iteration of its camera-enabled glasses, the Solos AirGo V2. The latter was first announced last year as an effort to directly “outshine Meta.” These $299 glasses do just about everything you’d expect from Meta’s new $299 Meta Smartglasses, including photo and video capture, playing music, and interacting with an AI-powered assistant that can see what you see. They can be fitted with prescription lenses and have a 10- to 12-hour battery life.
The AirGo V2 glasses can also be paired with a new Privacy Kit, a set of clip-on accessories that let wearers control what their camera glasses can access. The clip-on privacy shield blocks the cameras from view and from recording the world, allowing you to keep wearing the glasses in audio-only mode. There’s also a clip-on polarized lens, and the full kit of modular options costs $79.
Selling a privacy kit as a clip-on accessory is perhaps not the most effective way to stave off concerns about people running around with small, discreet cameras on their faces. Having to buy a separate item, then clip it on and off every time you want to use or disable the camera, is a lot of extra steps that will likely keep people from bothering with privacy at all. Also, there isn’t anything stopping bad actors from removing the clip-on blockers later in an interaction—say, after entering an event that prohibits camera recording.
Courtesy of Solos Smartglasses
Solos’ first camera-enabled glasses, the Solos AirGo Vision, launched in 2024. WIRED put them in the “Don’t Bother” section of our Best Smart Glasses gallery, citing some decent design choices, albeit ones held back by middling media capture quality, frustrating touch controls, and a power-hungry app that demands too many permissions. All in all, the glasses haven’t quite reached the standard Meta has set with its popular smart glasses.
Meta has been the dominant force in the smart glasses market, but other big companies are trying to fill in the cracks. Google and Samsung have a partnership to build out Google’s Android XR platform, with new glasses arriving later this year from eyewear brands Warby Parker and Gentle Monster. Apple has reportedly been building its own smart glasses as well.
Some smaller companies are adjusting their target markets to counter Meta, like Even Realities and its camera-free glasses. Solos’ reemphasis on privacy comes after a period of widespread criticism of Meta’s glasses. The devices have been called creepy “pervert glasses” and were criticized after the company silently added face recognition code to its glasses, then quickly removed it after public outcry following a WIRED report. Meta hasn’t done itself any favors since then, announcing last week that it will start charging for features on its smart glasses that have previously been free.
Meta has acknowledged that a market for audio-only smart glasses exists, as CTO Andrew Bosworth said in a private Q&A session with media that he thinks there is “market demand for that product for sure.” But Meta hasn’t moved away from its camera-forward spectacles yet. It may very well make audio-only glasses in the future. Until then, companies like Solos are eager to chip away at that market.
Focus and productivity apps abound, all to help you stave off the many distractions coming from your phone. Or the annoying people at your open-office desk. Digital well-being tools can silence notifications, limit apps like TikTok and Instagram, and help you focus on the task at hand. But you can also turn them off very easily as soon as you feel like you haven’t endlessly scrolled enough.
This is where Flipper’s Busy Bar comes in, a hardware clock with an LED screen that doubles as a clock and a dedicated timer. Slap the big button in the middle, and the screen displays a bright red “BUSY” sign or another message that lets the people around you know you’re, well, busy. (Maybe try “GO AWAY” or “GET OUT OF MY ROOM, MOM.”) The bar goes on sale today and costs $249.
“How do you let people know politely, yet firmly, that you don’t want to be disturbed?” says Callum Tennent, a creative writer at Flipper. “We decided the politest way to do it was a massive red light on your desk.”
Courtesy of Flipper Devices
Flipper Devices made the Flipper Zero, a $200 portable hacking tool that got big on TikTok in 2022 for using a Tamagotchi-esque dolphin character to detect wireless frequencies and potentially break RFID-controlled locks. It was a device that raised a variety of security concerns. Canada proposed a ban on the device out of fear that it might enable car thefts. In 2023, the US Customs and Border Protection seized 15,000 Flipper Zero devices, then ultimately released them. Flipper is currently working on another model, the Flipper One, that has even more advanced capabilities.
In between those more controversial devices comes the Busy Bar. The bar also works with the separate Busy app, yet another one of those productivity and focus tools living on your phone. What it doesn’t have is the capability of hacking anything. “It’s being made by us here at Flipper, but there’s no real connection to them,” Tennent says. “They’re totally disconnected products.”
Fundamentally, the Busy Bar is a pricey “On Air” light. It offers many of the same productivity capabilities that are likely already baked into your phone’s operating system—like blocking notifications on your phone. But Flipper is making the case that—much like the Brick, a hardware gadget you tap to block access to certain apps—having a hardware option to shut off the distractions around you is meaningfully different than just trying to use software productivity tools on your device.
Focus and productivity apps abound, all to help you stave off the many distractions coming from your phone. Or the annoying people at your open-office desk. Digital well-being tools can silence notifications, limit apps like TikTok and Instagram, and help you focus on the task at hand. But you can also turn them off very easily as soon as you feel like you haven’t endlessly scrolled enough.
This is where Flipper’s Busy Bar comes in, a hardware clock with an LED screen that doubles as a clock and a dedicated timer. Slap the big button in the middle, and the screen displays a bright red “BUSY” sign or another message that lets the people around you know you’re, well, busy. (Maybe try “GO AWAY” or “GET OUT OF MY ROOM, MOM.”) The bar goes on sale today and costs $249.
“How do you let people know politely, yet firmly, that you don’t want to be disturbed?” says Callum Tennent, a creative writer at Flipper. “We decided the politest way to do it was a massive red light on your desk.”
Courtesy of Flipper Devices
Flipper Devices made the Flipper Zero, a $200 portable hacking tool that got big on TikTok in 2022 for using a Tamagotchi-esque dolphin character to detect wireless frequencies and potentially break RFID-controlled locks. It was a device that raised a variety of security concerns. Canada proposed a ban on the device out of fear that it might enable car thefts. In 2023, the US Customs and Border Protection seized 15,000 Flipper Zero devices, then ultimately released them. Flipper is currently working on another model, the Flipper One, that has even more advanced capabilities.
In between those more controversial devices comes the Busy Bar. The bar also works with the separate Busy app, yet another one of those productivity and focus tools living on your phone. What it doesn’t have is the capability of hacking anything. “It’s being made by us here at Flipper, but there’s no real connection to them,” Tennent says. “They’re totally disconnected products.”
Fundamentally, the Busy Bar is a pricey “On Air” light. It offers many of the same productivity capabilities that are likely already baked into your phone’s operating system—like blocking notifications on your phone. But Flipper is making the case that—much like the Brick, a hardware gadget you tap to block access to certain apps—having a hardware option to shut off the distractions around you is meaningfully different than just trying to use software productivity tools on your device.
#Busy #Bar #Gadget #People #Leavehacks,gadgets,smart home,apps,distractions,productivity,design">The Busy Bar Is a Gadget to Get People to Leave You Alone
Focus and productivityapps abound, all to help you stave off the many distractions coming from your phone. Or the annoying people at your open-office desk. Digital well-being tools can silence notifications, limit apps like TikTok and Instagram, and help you focus on the task at hand. But you can also turn them off very easily as soon as you feel like you haven’t endlessly scrolled enough.
This is where Flipper’s Busy Bar comes in, a hardware clock with an LED screen that doubles as a clock and a dedicated timer. Slap the big button in the middle, and the screen displays a bright red “BUSY” sign or another message that lets the people around you know you’re, well, busy. (Maybe try “GO AWAY” or “GET OUT OF MY ROOM, MOM.”) The bar goes on sale today and costs $249.
“How do you let people know politely, yet firmly, that you don’t want to be disturbed?” says Callum Tennent, a creative writer at Flipper. “We decided the politest way to do it was a massive red light on your desk.”
Courtesy of Flipper Devices
Flipper Devices made the Flipper Zero, a $200 portable hacking tool that got big on TikTok in 2022 for using a Tamagotchi-esque dolphin character to detect wireless frequencies and potentially break RFID-controlled locks. It was a device that raised a variety of security concerns. Canada proposed a ban on the device out of fear that it might enable car thefts. In 2023, the US Customs and Border Protection seized 15,000 Flipper Zero devices, then ultimately released them. Flipper is currently working on another model, the Flipper One, that has even more advanced capabilities.
In between those more controversial devices comes the Busy Bar. The bar also works with the separate Busy app, yet another one of those productivity and focus tools living on your phone. What it doesn’t have is the capability of hacking anything. “It’s being made by us here at Flipper, but there’s no real connection to them,” Tennent says. “They’re totally disconnected products.”
Fundamentally, the Busy Bar is a pricey “On Air” light. It offers many of the same productivity capabilities that are likely already baked into your phone’s operating system—like blocking notifications on your phone. But Flipper is making the case that—much like the Brick, a hardware gadget you tap to block access to certain apps—having a hardware option to shut off the distractions around you is meaningfully different than just trying to use software productivity tools on your device.
Earlier this month, WIRED discovered code in the public-facing Meta AI app, suggesting that Meta was gearing up to debut a face recognition feature in its consumer smart glasses, technology that may have been trained by a company that builds surveillance tools for the US military and police departments. After WIRED’s report, Meta deleted the code, and none of this technology is present in the new Meta Glasses. Ankit Brahmbhatt, senior director of Product Management for AI Glasses at Meta, tells WIRED there are “no plans for facial recognition,” as it’s not the focus for what the company is building here.
Meta’s goal with these glasses is to get them onto more faces. “It’s more than just whether they fit—fit and comfort are extremely critical to get right—but it’s also your personal brand,” Bristol says. “It’s a really important decision if we want people to wear them as daily driver glasses.” If more people start wearing these Meta Glasses, that means more people are using Meta AI.
Bristol and Bosworth both lamented that with many of today’s AI tools, you have to supply the context manually, whether by providing a picture, document, or search query. With smart glasses, the AI assistant sees what you’re seeing, and that’s one less burden on your part. “It’s not that the thing isn’t smart enough—sometimes that’s a problem—it’s the amount of work I have to do to get it up to speed,” Bosworth says.
But making smart glasses comfier is just one step. Many people are still concerned about the privacy oversteps made possible by wearable cameras that can discreetly record the user’s surroundings. Bosworth believes such anxieties are akin to what happened when smartphones first put high-quality cameras in our pockets.
“There’s this social norming thing that has to happen,” he says. “The glasses are very popular … that doesn’t mean we aren’t worried about every corner case.”
The new Meta Glasses arrive at a turbulent time for the company’s relationship with its workforce. Bosworth himself sent an internal memo to employees last week promising better communication, stability, and workplace perks to improve morale, which is at an all-time low.
Earlier this month, WIRED discovered code in the public-facing Meta AI app, suggesting that Meta was gearing up to debut a face recognition feature in its consumer smart glasses, technology that may have been trained by a company that builds surveillance tools for the US military and police departments. After WIRED’s report, Meta deleted the code, and none of this technology is present in the new Meta Glasses. Ankit Brahmbhatt, senior director of Product Management for AI Glasses at Meta, tells WIRED there are “no plans for facial recognition,” as it’s not the focus for what the company is building here.
Meta’s goal with these glasses is to get them onto more faces. “It’s more than just whether they fit—fit and comfort are extremely critical to get right—but it’s also your personal brand,” Bristol says. “It’s a really important decision if we want people to wear them as daily driver glasses.” If more people start wearing these Meta Glasses, that means more people are using Meta AI.
Bristol and Bosworth both lamented that with many of today’s AI tools, you have to supply the context manually, whether by providing a picture, document, or search query. With smart glasses, the AI assistant sees what you’re seeing, and that’s one less burden on your part. “It’s not that the thing isn’t smart enough—sometimes that’s a problem—it’s the amount of work I have to do to get it up to speed,” Bosworth says.
But making smart glasses comfier is just one step. Many people are still concerned about the privacy oversteps made possible by wearable cameras that can discreetly record the user’s surroundings. Bosworth believes such anxieties are akin to what happened when smartphones first put high-quality cameras in our pockets.
“There’s this social norming thing that has to happen,” he says. “The glasses are very popular … that doesn’t mean we aren’t worried about every corner case.”
The new Meta Glasses arrive at a turbulent time for the company’s relationship with its workforce. Bosworth himself sent an internal memo to employees last week promising better communication, stability, and workplace perks to improve morale, which is at an all-time low.
#Metas #Smart #Glasses #Sale #Todaymeta,smart glasses,design,wearables,cameras">Meta’s Very Own Smart Glasses Go on Sale Today for $299
Speaking of, Bosworth says Meta has heard feedback that some folks don’t care for the camera capabilities on its smart glasses and would prefer audio-only glasses. “There’s a market demand for that product for sure.” Bosworth then said, “one thing at a time.”
The Meta Fury.
Photograph: Julian Chokkattu
Earlier this month, WIRED discovered code in the public-facing Meta AI app, suggesting that Meta was gearing up to debut a face recognition feature in its consumer smart glasses, technology that may have been trained by a company that builds surveillance tools for the US military and police departments. After WIRED’s report, Meta deleted the code, and none of this technology is present in the new Meta Glasses. Ankit Brahmbhatt, senior director of Product Management for AI Glasses at Meta, tells WIRED there are “no plans for facial recognition,” as it’s not the focus for what the company is building here.
Meta’s goal with these glasses is to get them onto more faces. “It’s more than just whether they fit—fit and comfort are extremely critical to get right—but it’s also your personal brand,” Bristol says. “It’s a really important decision if we want people to wear them as daily driver glasses.” If more people start wearing these Meta Glasses, that means more people are using Meta AI.
Bristol and Bosworth both lamented that with many of today’s AI tools, you have to supply the context manually, whether by providing a picture, document, or search query. With smart glasses, the AI assistant sees what you’re seeing, and that’s one less burden on your part. “It’s not that the thing isn’t smart enough—sometimes that’s a problem—it’s the amount of work I have to do to get it up to speed,” Bosworth says.
But making smart glasses comfier is just one step. Many people are still concerned about the privacy oversteps made possible by wearable cameras that can discreetly record the user’s surroundings. Bosworth believes such anxieties are akin to what happened when smartphones first put high-quality cameras in our pockets.
“There’s this social norming thing that has to happen,” he says. “The glasses are very popular … that doesn’t mean we aren’t worried about every corner case.”
The new Meta Glasses arrive at a turbulent time for the company’s relationship with its workforce. Bosworth himself sent an internal memo to employees last week promising better communication, stability, and workplace perks to improve morale, which is at an all-time low.
“Some stuff I did myself, like this one. The Svarva lamp we made with the design group Front for the PS 2009 collection. They were quite newly established and so we did an armchair and this lamp. The desire was to do a wooden turned lamp, but you should also be able to twist it, articulate it.”
“I felt that that would be very difficult to do. Along with a colleague in lighting at the time, I went to Hungary to this factory that was producing lamps for us. It was all metal tubes that they were doing, so we were a little bit hesitant whether they should be able to solve this. But they made some mock-ups based on the designer drawings. So we went there to have a look, and it was standing there. It was this floor lamp, and also a table lamp where the wooden beads were going in a circle and then up, like a snake.”
“What we didn’t know was that next to the lamp factory was this factory that was doing the turned wooden beads, the small individual pieces that we put together. None of us knew that. It was just pure serendipity. So they were turning these wooden beads, and the lamp factory was putting them on the metal tubes, just like on a necklace. They had very little to do, so they were happy to get the business.”
A Sinka Cabinet resides in Ejdemo’s hallway.
Courtesy of Johan Ejdemo
PS Sinka Cabinet
“I have another favorite from that PS 2009 collection, it’s in my hallway. The PS Sinka, with the small drawers with a wooden base. Sinka means “dovetail” in Swedish, so the name explaining that construction.”
“But the problem we had with this one was the packaging volume was too big. So what we did was each drawer is slightly shallower. So four drawers stack into each other. And four more drawers stack. There’s a little bit of a stopper in the back when you push them in, so they stop evenly at the front. There’s also a hidden compartment behind the smallest drawer. Really good drawers for all this stuff that is just lying around and getting in the way. In the top one I have all my keys that I no longer know where they go.”
PS Jonsberg Vases
“I have this vase from the PS collection to hold the cables [on my Samsung Serif TV]. It was a set, the Jonsberg vases by Hella Jongerius. There were four of them in different ceramic techniques. I had all four, but the terracotta one broke, which was a pity.” [It certainly is. These $39 vases now sell secondhand for $1,700 for a full set.]
“They’re inspired by different regions, and the different techniques are beautiful. I use the big black one for toilet paper in one bathroom. It’s not disrespect for the design. It’s just such a good design to stand there, and it makes the bathroom beautiful, and it can fit the toilet roll. So, why have something like an ugly stick? It’s nice for that.”
Pax Wardrobes
“Pax. We have to mention Pax. I have Pax wardrobes in a few rooms, but also I’m a little bit peculiar. Like in the kitchen, these veneer doors have been sanded and hand-painted by me, just to make them fit my house, in my space. I repaint them sometimes.”
Chipped Spraka pepper mills.
Courtesy of Johan Ejdemo
Spraka Pepper Mills
“I have these pepper mills. One for white pepper, one for black pepper. That was also in a PS collection. We did these with Marcus Arvonen. These pepper mills are beautiful, and these have been around for, like, 20 years as well. They are pretty tall. A smaller version came later on, but I like these.”
“They have their chips, yes, but this just makes them nicer. It’s age. They’ve been around and are used every day. Everything has a little bit of imperfection. You can spend your whole life bothering about that, but there should be some imperfection in life. Fix it? Then something else needs fixing. It just moves. Leave it, be proud.”
Where’s the Billy Bookcase or Kallax?
“I don’t have a Billy in the house now. But there have been! Kallax? I have owned many. Brilliant piece. Really good for vinyl, because that’s the time they come from. I listen to a lot of vinyl.”
“Some stuff I did myself, like this one. The Svarva lamp we made with the design group Front for the PS 2009 collection. They were quite newly established and so we did an armchair and this lamp. The desire was to do a wooden turned lamp, but you should also be able to twist it, articulate it.”
“I felt that that would be very difficult to do. Along with a colleague in lighting at the time, I went to Hungary to this factory that was producing lamps for us. It was all metal tubes that they were doing, so we were a little bit hesitant whether they should be able to solve this. But they made some mock-ups based on the designer drawings. So we went there to have a look, and it was standing there. It was this floor lamp, and also a table lamp where the wooden beads were going in a circle and then up, like a snake.”
“What we didn’t know was that next to the lamp factory was this factory that was doing the turned wooden beads, the small individual pieces that we put together. None of us knew that. It was just pure serendipity. So they were turning these wooden beads, and the lamp factory was putting them on the metal tubes, just like on a necklace. They had very little to do, so they were happy to get the business.”
A Sinka Cabinet resides in Ejdemo’s hallway.
Courtesy of Johan Ejdemo
PS Sinka Cabinet
“I have another favorite from that PS 2009 collection, it’s in my hallway. The PS Sinka, with the small drawers with a wooden base. Sinka means “dovetail” in Swedish, so the name explaining that construction.”
“But the problem we had with this one was the packaging volume was too big. So what we did was each drawer is slightly shallower. So four drawers stack into each other. And four more drawers stack. There’s a little bit of a stopper in the back when you push them in, so they stop evenly at the front. There’s also a hidden compartment behind the smallest drawer. Really good drawers for all this stuff that is just lying around and getting in the way. In the top one I have all my keys that I no longer know where they go.”
PS Jonsberg Vases
“I have this vase from the PS collection to hold the cables [on my Samsung Serif TV]. It was a set, the Jonsberg vases by Hella Jongerius. There were four of them in different ceramic techniques. I had all four, but the terracotta one broke, which was a pity.” [It certainly is. These $39 vases now sell secondhand for $1,700 for a full set.]
“They’re inspired by different regions, and the different techniques are beautiful. I use the big black one for toilet paper in one bathroom. It’s not disrespect for the design. It’s just such a good design to stand there, and it makes the bathroom beautiful, and it can fit the toilet roll. So, why have something like an ugly stick? It’s nice for that.”
Pax Wardrobes
“Pax. We have to mention Pax. I have Pax wardrobes in a few rooms, but also I’m a little bit peculiar. Like in the kitchen, these veneer doors have been sanded and hand-painted by me, just to make them fit my house, in my space. I repaint them sometimes.”
Chipped Spraka pepper mills.
Courtesy of Johan Ejdemo
Spraka Pepper Mills
“I have these pepper mills. One for white pepper, one for black pepper. That was also in a PS collection. We did these with Marcus Arvonen. These pepper mills are beautiful, and these have been around for, like, 20 years as well. They are pretty tall. A smaller version came later on, but I like these.”
“They have their chips, yes, but this just makes them nicer. It’s age. They’ve been around and are used every day. Everything has a little bit of imperfection. You can spend your whole life bothering about that, but there should be some imperfection in life. Fix it? Then something else needs fixing. It just moves. Leave it, be proud.”
Where’s the Billy Bookcase or Kallax?
“I don’t have a Billy in the house now. But there have been! Kallax? I have owned many. Brilliant piece. Really good for vinyl, because that’s the time they come from. I listen to a lot of vinyl.”
#Ikea #Products #Companys #Design #Chief #Personally #Ownsikea,design,home,furniture,household,interviews">These Are the 12 Ikea Products the Company’s Design Chief Personally Owns
The Svarva lamp can be twisted into different shapes.
Courtesy of Johan Ejdemo
PS Svarva Floor Lamp
“Some stuff I did myself, like this one. The Svarva lamp we made with the design group Front for the PS 2009 collection. They were quite newly established and so we did an armchair and this lamp. The desire was to do a wooden turned lamp, but you should also be able to twist it, articulate it.”
“I felt that that would be very difficult to do. Along with a colleague in lighting at the time, I went to Hungary to this factory that was producing lamps for us. It was all metal tubes that they were doing, so we were a little bit hesitant whether they should be able to solve this. But they made some mock-ups based on the designer drawings. So we went there to have a look, and it was standing there. It was this floor lamp, and also a table lamp where the wooden beads were going in a circle and then up, like a snake.”
“What we didn’t know was that next to the lamp factory was this factory that was doing the turned wooden beads, the small individual pieces that we put together. None of us knew that. It was just pure serendipity. So they were turning these wooden beads, and the lamp factory was putting them on the metal tubes, just like on a necklace. They had very little to do, so they were happy to get the business.”
A Sinka Cabinet resides in Ejdemo’s hallway.
Courtesy of Johan Ejdemo
PS Sinka Cabinet
“I have another favorite from that PS 2009 collection, it’s in my hallway. The PS Sinka, with the small drawers with a wooden base. Sinka means “dovetail” in Swedish, so the name explaining that construction.”
“But the problem we had with this one was the packaging volume was too big. So what we did was each drawer is slightly shallower. So four drawers stack into each other. And four more drawers stack. There’s a little bit of a stopper in the back when you push them in, so they stop evenly at the front. There’s also a hidden compartment behind the smallest drawer. Really good drawers for all this stuff that is just lying around and getting in the way. In the top one I have all my keys that I no longer know where they go.”
PS Jonsberg Vases
“I have this vase from the PS collection to hold the cables [on my Samsung Serif TV]. It was a set, the Jonsberg vases by Hella Jongerius. There were four of them in different ceramic techniques. I had all four, but the terracotta one broke, which was a pity.” [It certainly is. These $39 vases now sell secondhand for $1,700 for a full set.]
“They’re inspired by different regions, and the different techniques are beautiful. I use the big black one for toilet paper in one bathroom. It’s not disrespect for the design. It’s just such a good design to stand there, and it makes the bathroom beautiful, and it can fit the toilet roll. So, why have something like an ugly stick? It’s nice for that.”
Pax Wardrobes
“Pax. We have to mention Pax. I have Pax wardrobes in a few rooms, but also I’m a little bit peculiar. Like in the kitchen, these veneer doors have been sanded and hand-painted by me, just to make them fit my house, in my space. I repaint them sometimes.”
Chipped Spraka pepper mills.
Courtesy of Johan Ejdemo
Spraka Pepper Mills
“I have these pepper mills. One for white pepper, one for black pepper. That was also in a PS collection. We did these with Marcus Arvonen. These pepper mills are beautiful, and these have been around for, like, 20 years as well. They are pretty tall. A smaller version came later on, but I like these.”
“They have their chips, yes, but this just makes them nicer. It’s age. They’ve been around and are used every day. Everything has a little bit of imperfection. You can spend your whole life bothering about that, but there should be some imperfection in life. Fix it? Then something else needs fixing. It just moves. Leave it, be proud.”
Where’s the Billy Bookcase or Kallax?
“I don’t have a Billy in the house now. But there have been! Kallax? I have owned many. Brilliant piece. Really good for vinyl, because that’s the time they come from. I listen to a lot of vinyl.”
The LCVG is the all-important base layer that will keep the crew cool and comfortable while inside the AxEMU and on spacewalks. Cold water is circulated through tubes embedded in the suit to whisk heat away from astronauts’ bodies. And, should the primary system fail, there is a backup, unlike older cooling suits. The LCVG also houses the ventilation system that supplies fresh oxygen to the AxEMU helmet and directs exhaled CO2 to a scrubber for recirculation.
The collaboration between Axiom Space and Prada isn’t the first time NASA has gotten involved with a project that blended high-tech materials and manufacturing with high-fashion design. It also funded the BioSuit concept created by MIT professor Dava Newman with help from renowned architect Guillermo Trotti.
The LCVG is the all-important base layer that will keep the crew cool and comfortable while inside the AxEMU and on spacewalks. Cold water is circulated through tubes embedded in the suit to whisk heat away from astronauts’ bodies. And, should the primary system fail, there is a backup, unlike older cooling suits. The LCVG also houses the ventilation system that supplies fresh oxygen to the AxEMU helmet and directs exhaled CO2 to a scrubber for recirculation.
The collaboration between Axiom Space and Prada isn’t the first time NASA has gotten involved with a project that blended high-tech materials and manufacturing with high-fashion design. It also funded the BioSuit concept created by MIT professor Dava Newman with help from renowned architect Guillermo Trotti.
#NASA #wear #hightech #Prada #long #johns #MoonDesign,News,Science,Space,Tech">NASA will wear high-tech Prada long johns to the Moon
We’ve seen Axiom Space and Prada’s collaboration on the Axiom Extravehicular Mobility Unit (AxEMU) spacesuit. Now the company has revealed the Liquid Cooling and Ventilation Garment (LCVG) that astronauts will wear underneath it when Artemis IV returns humans to the Moon in 2028.
The LCVG is the all-important base layer that will keep the crew cool and comfortable while inside the AxEMU and on spacewalks. Cold water is circulated through tubes embedded in the suit to whisk heat away from astronauts’ bodies. And, should the primary system fail, there is a backup, unlike older cooling suits. The LCVG also houses the ventilation system that supplies fresh oxygen to the AxEMU helmet and directs exhaled CO2 to a scrubber for recirculation.
The collaboration between Axiom Space and Prada isn’t the first time NASA has gotten involved with a project that blended high-tech materials and manufacturing with high-fashion design. It also funded the BioSuit concept created by MIT professor Dava Newman with help from renowned architect Guillermo Trotti.
One of the first casualties, to my dismay, was em dashes—which are a great, and very human form of punctuation, by the way! There’s also the “rule of threes,” which is meant to scan as rhythmic, but often comes across predictable, hackish, and stale. And, of course, there are the clunky grammatical constructions of the “not X, but Y” variety.
Now certain fonts and typefaces—specifically serifs—seem to be defining (and giving away) AI, both in actual software, and in vibe-coded design boilerplates. Some are calling it “tasteslop,” the results of the effort to make generative AI designs seem superficially sophisticated or distinguished.
The shift away from slicker, more conspicuously computerized typefaces is something the San Francisco Bay Area writer, designer, and type practitioner Keya Vadgama has termed “the serif renaissance.” In a recent newsletter, published on her Substack, Vadgama suggests the move is a bid for companies to project more “personality and warmth.”
“It’s not that difficult to discern why AI-native companies in particular are being drawn to serif fonts: AI is inherently cold and without opinion,” she writes. “[Using serifs] signals ‘We’re AI! But real humans use (and made) our product! We swear!’”
“Serifs have an origin in calligraphy,” Vadgama tells WIRED. “It connotes a very human, fluid way of making letterforms.” Vadgama has noticed that Anthropic’s Claude was defaulting to serifs. Other AI companies—Runway, Perplexity, Manus—had also adopted similar typefaces in their UX and branding.
Reached for comment, Perplexity chief communications officer Jesse Dwyer tells WIRED: “Why wouldn’t we have human design? Perplexity is for people.”
Vadgama believes the use of serifs is as much about aesthetics as building confidence between users and brands. Certain font choices signal, even at some preconscious psychological level, trust. Sans serifs (your Arials, Calibiris, Helviticas) are too clean, too computer-y. Good old Times New Roman, and similar typographic designs, can feel a bit more dignified. Recently, Vadgama was doing some branding work with a (since-shuttered) AI startup, which favored the serif text. “A big part of it,” she says, “is, ‘How do we position ourselves in a way that people are not afraid of us?’”
Serifs can help build that conviction, or at least the illusion of it. Times New Roman itself was commissioned in the 1930s by Britain’s Times newspaper. The typeface carries a certain authoritative heft. Books and newspapers are printed using it. It was all but standardized in the decades before screen reading. Perhaps most famously, the Encyclopedia Brittanica—arguably the authoritative compendium of human knowledge, at least pre-World Wide Web—was set in Times.
“In the broad public, a serif carries connotations of scholarship,” says Ali S. Qadeer, chair of graphic design at the Ontario College of Art and Design in Toronto. “Claude is interesting. It’s using this slightly brown background to mirror a book page. It’s sort of emulating the feeling of reading print. And print has deeper associations with trust.”
As reported by The New York Times, even the US State Department has returned to using Times New Roman after Secretary of State Marco Rubio decried Calibri as “informal,” pegging the department’s adoption of the sans serif typeface on some wider, Biden-era DEI initiative.
Both Qadeer and Vadgama see the trend toward serifs as a rejoinder to AI’s perceived (and, indeed, literal) lack of soul, and the wider public suspicion of the technology. They’re not the only ones. Alongside the “tasteslop” discourse, people online have criticized the serification of AI aesthetics as “generic” and “very ugly.”
One of the first casualties, to my dismay, was em dashes—which are a great, and very human form of punctuation, by the way! There’s also the “rule of threes,” which is meant to scan as rhythmic, but often comes across predictable, hackish, and stale. And, of course, there are the clunky grammatical constructions of the “not X, but Y” variety.
Now certain fonts and typefaces—specifically serifs—seem to be defining (and giving away) AI, both in actual software, and in vibe-coded design boilerplates. Some are calling it “tasteslop,” the results of the effort to make generative AI designs seem superficially sophisticated or distinguished.
The shift away from slicker, more conspicuously computerized typefaces is something the San Francisco Bay Area writer, designer, and type practitioner Keya Vadgama has termed “the serif renaissance.” In a recent newsletter, published on her Substack, Vadgama suggests the move is a bid for companies to project more “personality and warmth.”
“It’s not that difficult to discern why AI-native companies in particular are being drawn to serif fonts: AI is inherently cold and without opinion,” she writes. “[Using serifs] signals ‘We’re AI! But real humans use (and made) our product! We swear!’”
“Serifs have an origin in calligraphy,” Vadgama tells WIRED. “It connotes a very human, fluid way of making letterforms.” Vadgama has noticed that Anthropic’s Claude was defaulting to serifs. Other AI companies—Runway, Perplexity, Manus—had also adopted similar typefaces in their UX and branding.
Reached for comment, Perplexity chief communications officer Jesse Dwyer tells WIRED: “Why wouldn’t we have human design? Perplexity is for people.”
Vadgama believes the use of serifs is as much about aesthetics as building confidence between users and brands. Certain font choices signal, even at some preconscious psychological level, trust. Sans serifs (your Arials, Calibiris, Helviticas) are too clean, too computer-y. Good old Times New Roman, and similar typographic designs, can feel a bit more dignified. Recently, Vadgama was doing some branding work with a (since-shuttered) AI startup, which favored the serif text. “A big part of it,” she says, “is, ‘How do we position ourselves in a way that people are not afraid of us?’”
Serifs can help build that conviction, or at least the illusion of it. Times New Roman itself was commissioned in the 1930s by Britain’s Times newspaper. The typeface carries a certain authoritative heft. Books and newspapers are printed using it. It was all but standardized in the decades before screen reading. Perhaps most famously, the Encyclopedia Brittanica—arguably the authoritative compendium of human knowledge, at least pre-World Wide Web—was set in Times.
“In the broad public, a serif carries connotations of scholarship,” says Ali S. Qadeer, chair of graphic design at the Ontario College of Art and Design in Toronto. “Claude is interesting. It’s using this slightly brown background to mirror a book page. It’s sort of emulating the feeling of reading print. And print has deeper associations with trust.”
As reported by The New York Times, even the US State Department has returned to using Times New Roman after Secretary of State Marco Rubio decried Calibri as “informal,” pegging the department’s adoption of the sans serif typeface on some wider, Biden-era DEI initiative.
Both Qadeer and Vadgama see the trend toward serifs as a rejoinder to AI’s perceived (and, indeed, literal) lack of soul, and the wider public suspicion of the technology. They’re not the only ones. Alongside the “tasteslop” discourse, people online have criticized the serification of AI aesthetics as “generic” and “very ugly.”
#Serif #Fontsartificial intelligence,design,ux/ui,art,typography,fonts,chatbots,claude,chatgpt">AI Has Come for Serif Fonts
As public backlash to the seeming omnipresence of artificial intelligence intensifies, the collective quest to weed out—and reject—telltale signs of its use continues.
One of the first casualties, to my dismay, was em dashes—which are a great, and very human form of punctuation, by the way! There’s also the “rule of threes,” which is meant to scan as rhythmic, but often comes across predictable, hackish, and stale. And, of course, there are the clunky grammatical constructions of the “not X, but Y” variety.
Now certain fonts and typefaces—specifically serifs—seem to be defining (and giving away) AI, both in actual software, and in vibe-coded design boilerplates. Some are calling it “tasteslop,” the results of the effort to make generative AI designs seem superficially sophisticated or distinguished.
The shift away from slicker, more conspicuously computerized typefaces is something the San Francisco Bay Area writer, designer, and type practitioner Keya Vadgama has termed “the serif renaissance.” In a recent newsletter, published on her Substack, Vadgama suggests the move is a bid for companies to project more “personality and warmth.”
“It’s not that difficult to discern why AI-native companies in particular are being drawn to serif fonts: AI is inherently cold and without opinion,” she writes. “[Using serifs] signals ‘We’re AI! But real humans use (and made) our product! We swear!’”
“Serifs have an origin in calligraphy,” Vadgama tells WIRED. “It connotes a very human, fluid way of making letterforms.” Vadgama has noticed that Anthropic’s Claude was defaulting to serifs. Other AI companies—Runway, Perplexity, Manus—had also adopted similar typefaces in their UX and branding.
Reached for comment, Perplexity chief communications officer Jesse Dwyer tells WIRED: “Why wouldn’t we have human design? Perplexity is for people.”
Vadgama believes the use of serifs is as much about aesthetics as building confidence between users and brands. Certain font choices signal, even at some preconscious psychological level, trust. Sans serifs (your Arials, Calibiris, Helviticas) are too clean, too computer-y. Good old Times New Roman, and similar typographic designs, can feel a bit more dignified. Recently, Vadgama was doing some branding work with a (since-shuttered) AI startup, which favored the serif text. “A big part of it,” she says, “is, ‘How do we position ourselves in a way that people are not afraid of us?’”
Serifs can help build that conviction, or at least the illusion of it. Times New Roman itself was commissioned in the 1930s by Britain’s Times newspaper. The typeface carries a certain authoritative heft. Books and newspapers are printed using it. It was all but standardized in the decades before screen reading. Perhaps most famously, the Encyclopedia Brittanica—arguably the authoritative compendium of human knowledge, at least pre-World Wide Web—was set in Times.
“In the broad public, a serif carries connotations of scholarship,” says Ali S. Qadeer, chair of graphic design at the Ontario College of Art and Design in Toronto. “Claude is interesting. It’s using this slightly brown background to mirror a book page. It’s sort of emulating the feeling of reading print. And print has deeper associations with trust.”
As reported by The New York Times, even the US State Department has returned to using Times New Roman after Secretary of State Marco Rubio decried Calibri as “informal,” pegging the department’s adoption of the sans serif typeface on some wider, Biden-era DEI initiative.
Both Qadeer and Vadgama see the trend toward serifs as a rejoinder to AI’s perceived (and, indeed, literal) lack of soul, and the wider public suspicion of the technology. They’re not the only ones. Alongside the “tasteslop” discourse, people online have criticized the serification of AI aesthetics as “generic” and “very ugly.”
.jpg?ssl=1 "These New Smart Glasses From Solos Come With a Privacy Shield for the CamerasSmart glasses company Solos has long focused on audio-only smart glasses. On Tuesday, it announced two new pairs of glasses, one of which has a camera—but you can buy a separate accessory to hide the camera for privacy’s sake.Solos’ new smart glasses are the audio-only AirGo A6 and the second iteration of its camera-enabled glasses, the Solos AirGo V2. The latter was first announced last year as an effort to directly “outshine Meta.” These 9 glasses do just about everything you’d expect from Meta’s new 9 Meta Smartglasses, including photo and video capture, playing music, and interacting with an AI-powered assistant that can see what you see. They can be fitted with prescription lenses and have a 10- to 12-hour battery life.The AirGo V2 glasses can also be paired with a new Privacy Kit, a set of clip-on accessories that let wearers control what their camera glasses can access. The clip-on privacy shield blocks the cameras from view and from recording the world, allowing you to keep wearing the glasses in audio-only mode. There’s also a clip-on polarized lens, and the full kit of modular options costs .Selling a privacy kit as a clip-on accessory is perhaps not the most effective way to stave off concerns about people running around with small, discreet cameras on their faces. Having to buy a separate item, then clip it on and off every time you want to use or disable the camera, is a lot of extra steps that will likely keep people from bothering with privacy at all. Also, there isn’t anything stopping bad actors from removing the clip-on blockers later in an interaction—say, after entering an event that prohibits camera recording.Courtesy of Solos SmartglassesSolos’ first camera-enabled glasses, the Solos AirGo Vision, launched in 2024. WIRED put them in the “Don’t Bother” section of our Best Smart Glasses gallery, citing some decent design choices, albeit ones held back by middling media capture quality, frustrating touch controls, and a power-hungry app that demands too many permissions. All in all, the glasses haven’t quite reached the standard Meta has set with its popular smart glasses.Meta has been the dominant force in the smart glasses market, but other big companies are trying to fill in the cracks. Google and Samsung have a partnership to build out Google’s Android XR platform, with new glasses arriving later this year from eyewear brands Warby Parker and Gentle Monster. Apple has reportedly been building its own smart glasses as well.Some smaller companies are adjusting their target markets to counter Meta, like Even Realities and its camera-free glasses. Solos’ reemphasis on privacy comes after a period of widespread criticism of Meta’s glasses. The devices have been called creepy “pervert glasses” and were criticized after the company silently added face recognition code to its glasses, then quickly removed it after public outcry following a WIRED report. Meta hasn’t done itself any favors since then, announcing last week that it will start charging for features on its smart glasses that have previously been free.Meta has acknowledged that a market for audio-only smart glasses exists, as CTO Andrew Bosworth said in a private Q&A session with media that he thinks there is “market demand for that product for sure.” But Meta hasn’t moved away from its camera-forward spectacles yet. It may very well make audio-only glasses in the future. Until then, companies like Solos are eager to chip away at that market.#Smart #Glasses #Solos #Privacy #Shield #Camerascameras,design,smart glasses,wearables,artificial intelligence,meta")
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![These Are the 12 Ikea Products the Company’s Design Chief Personally OwnsThe Svarva lamp can be twisted into different shapes.
Courtesy of Johan EjdemoPS Svarva Floor Lamp“Some stuff I did myself, like this one. The Svarva lamp we made with the design group Front for the PS 2009 collection. They were quite newly established and so we did an armchair and this lamp. The desire was to do a wooden turned lamp, but you should also be able to twist it, articulate it.”“I felt that that would be very difficult to do. Along with a colleague in lighting at the time, I went to Hungary to this factory that was producing lamps for us. It was all metal tubes that they were doing, so we were a little bit hesitant whether they should be able to solve this. But they made some mock-ups based on the designer drawings. So we went there to have a look, and it was standing there. It was this floor lamp, and also a table lamp where the wooden beads were going in a circle and then up, like a snake.”“What we didn’t know was that next to the lamp factory was this factory that was doing the turned wooden beads, the small individual pieces that we put together. None of us knew that. It was just pure serendipity. So they were turning these wooden beads, and the lamp factory was putting them on the metal tubes, just like on a necklace. They had very little to do, so they were happy to get the business.”A Sinka Cabinet resides in Ejdemo’s hallway.
Courtesy of Johan EjdemoPS Sinka Cabinet“I have another favorite from that PS 2009 collection, it’s in my hallway. The PS Sinka, with the small drawers with a wooden base. Sinka means “dovetail” in Swedish, so the name explaining that construction.”“But the problem we had with this one was the packaging volume was too big. So what we did was each drawer is slightly shallower. So four drawers stack into each other. And four more drawers stack. There’s a little bit of a stopper in the back when you push them in, so they stop evenly at the front. There’s also a hidden compartment behind the smallest drawer. Really good drawers for all this stuff that is just lying around and getting in the way. In the top one I have all my keys that I no longer know where they go.”PS Jonsberg Vases“I have this vase from the PS collection to hold the cables [on my Samsung Serif TV]. It was a set, the Jonsberg vases by Hella Jongerius. There were four of them in different ceramic techniques. I had all four, but the terracotta one broke, which was a pity.” [It certainly is. These vases now sell secondhand for ,700 for a full set.]“They’re inspired by different regions, and the different techniques are beautiful. I use the big black one for toilet paper in one bathroom. It’s not disrespect for the design. It’s just such a good design to stand there, and it makes the bathroom beautiful, and it can fit the toilet roll. So, why have something like an ugly stick? It’s nice for that.”Pax Wardrobes“Pax. We have to mention Pax. I have Pax wardrobes in a few rooms, but also I’m a little bit peculiar. Like in the kitchen, these veneer doors have been sanded and hand-painted by me, just to make them fit my house, in my space. I repaint them sometimes.”Chipped Spraka pepper mills.
Courtesy of Johan EjdemoSpraka Pepper Mills“I have these pepper mills. One for white pepper, one for black pepper. That was also in a PS collection. We did these with Marcus Arvonen. These pepper mills are beautiful, and these have been around for, like, 20 years as well. They are pretty tall. A smaller version came later on, but I like these.”“They have their chips, yes, but this just makes them nicer. It’s age. They’ve been around and are used every day. Everything has a little bit of imperfection. You can spend your whole life bothering about that, but there should be some imperfection in life. Fix it? Then something else needs fixing. It just moves. Leave it, be proud.”Where’s the Billy Bookcase or Kallax?“I don’t have a Billy in the house now. But there have been! Kallax? I have owned many. Brilliant piece. Really good for vinyl, because that’s the time they come from. I listen to a lot of vinyl.”#Ikea #Products #Companys #Design #Chief #Personally #Ownsikea,design,home,furniture,household,interviews](https://i2.wp.com/media.wired.com/photos/6a33ff12acc128b064d51d9c/master/w_1600%2Cc_limit/IKEA%2520PS%2520SVARVA%25202.jpg?ssl=1 "These Are the 12 Ikea Products the Company’s Design Chief Personally OwnsThe Svarva lamp can be twisted into different shapes.
Courtesy of Johan EjdemoPS Svarva Floor Lamp“Some stuff I did myself, like this one. The Svarva lamp we made with the design group Front for the PS 2009 collection. They were quite newly established and so we did an armchair and this lamp. The desire was to do a wooden turned lamp, but you should also be able to twist it, articulate it.”“I felt that that would be very difficult to do. Along with a colleague in lighting at the time, I went to Hungary to this factory that was producing lamps for us. It was all metal tubes that they were doing, so we were a little bit hesitant whether they should be able to solve this. But they made some mock-ups based on the designer drawings. So we went there to have a look, and it was standing there. It was this floor lamp, and also a table lamp where the wooden beads were going in a circle and then up, like a snake.”“What we didn’t know was that next to the lamp factory was this factory that was doing the turned wooden beads, the small individual pieces that we put together. None of us knew that. It was just pure serendipity. So they were turning these wooden beads, and the lamp factory was putting them on the metal tubes, just like on a necklace. They had very little to do, so they were happy to get the business.”A Sinka Cabinet resides in Ejdemo’s hallway.
Courtesy of Johan EjdemoPS Sinka Cabinet“I have another favorite from that PS 2009 collection, it’s in my hallway. The PS Sinka, with the small drawers with a wooden base. Sinka means “dovetail” in Swedish, so the name explaining that construction.”“But the problem we had with this one was the packaging volume was too big. So what we did was each drawer is slightly shallower. So four drawers stack into each other. And four more drawers stack. There’s a little bit of a stopper in the back when you push them in, so they stop evenly at the front. There’s also a hidden compartment behind the smallest drawer. Really good drawers for all this stuff that is just lying around and getting in the way. In the top one I have all my keys that I no longer know where they go.”PS Jonsberg Vases“I have this vase from the PS collection to hold the cables [on my Samsung Serif TV]. It was a set, the Jonsberg vases by Hella Jongerius. There were four of them in different ceramic techniques. I had all four, but the terracotta one broke, which was a pity.” [It certainly is. These vases now sell secondhand for ,700 for a full set.]“They’re inspired by different regions, and the different techniques are beautiful. I use the big black one for toilet paper in one bathroom. It’s not disrespect for the design. It’s just such a good design to stand there, and it makes the bathroom beautiful, and it can fit the toilet roll. So, why have something like an ugly stick? It’s nice for that.”Pax Wardrobes“Pax. We have to mention Pax. I have Pax wardrobes in a few rooms, but also I’m a little bit peculiar. Like in the kitchen, these veneer doors have been sanded and hand-painted by me, just to make them fit my house, in my space. I repaint them sometimes.”Chipped Spraka pepper mills.
Courtesy of Johan EjdemoSpraka Pepper Mills“I have these pepper mills. One for white pepper, one for black pepper. That was also in a PS collection. We did these with Marcus Arvonen. These pepper mills are beautiful, and these have been around for, like, 20 years as well. They are pretty tall. A smaller version came later on, but I like these.”“They have their chips, yes, but this just makes them nicer. It’s age. They’ve been around and are used every day. Everything has a little bit of imperfection. You can spend your whole life bothering about that, but there should be some imperfection in life. Fix it? Then something else needs fixing. It just moves. Leave it, be proud.”Where’s the Billy Bookcase or Kallax?“I don’t have a Billy in the house now. But there have been! Kallax? I have owned many. Brilliant piece. Really good for vinyl, because that’s the time they come from. I listen to a lot of vinyl.”#Ikea #Products #Companys #Design #Chief #Personally #Ownsikea,design,home,furniture,household,interviews")
![AI Has Come for Serif FontsAs public backlash to the seeming omnipresence of artificial intelligence intensifies, the collective quest to weed out—and reject—telltale signs of its use continues.One of the first casualties, to my dismay, was em dashes—which are a great, and very human form of punctuation, by the way! There’s also the “rule of threes,” which is meant to scan as rhythmic, but often comes across predictable, hackish, and stale. And, of course, there are the clunky grammatical constructions of the “not X, but Y” variety.Now certain fonts and typefaces—specifically serifs—seem to be defining (and giving away) AI, both in actual software, and in vibe-coded design boilerplates. Some are calling it “tasteslop,” the results of the effort to make generative AI designs seem superficially sophisticated or distinguished.The shift away from slicker, more conspicuously computerized typefaces is something the San Francisco Bay Area writer, designer, and type practitioner Keya Vadgama has termed “the serif renaissance.” In a recent newsletter, published on her Substack, Vadgama suggests the move is a bid for companies to project more “personality and warmth.”“It’s not that difficult to discern why AI-native companies in particular are being drawn to serif fonts: AI is inherently cold and without opinion,” she writes. “[Using serifs] signals ‘We’re AI! But real humans use (and made) our product! We swear!’”“Serifs have an origin in calligraphy,” Vadgama tells WIRED. “It connotes a very human, fluid way of making letterforms.” Vadgama has noticed that Anthropic’s Claude was defaulting to serifs. Other AI companies—Runway, Perplexity, Manus—had also adopted similar typefaces in their UX and branding.Reached for comment, Perplexity chief communications officer Jesse Dwyer tells WIRED: “Why wouldn’t we have human design? Perplexity is for people.”Vadgama believes the use of serifs is as much about aesthetics as building confidence between users and brands. Certain font choices signal, even at some preconscious psychological level, trust. Sans serifs (your Arials, Calibiris, Helviticas) are too clean, too computer-y. Good old Times New Roman, and similar typographic designs, can feel a bit more dignified. Recently, Vadgama was doing some branding work with a (since-shuttered) AI startup, which favored the serif text. “A big part of it,” she says, “is, ‘How do we position ourselves in a way that people are not afraid of us?’”Serifs can help build that conviction, or at least the illusion of it. Times New Roman itself was commissioned in the 1930s by Britain’s Times newspaper. The typeface carries a certain authoritative heft. Books and newspapers are printed using it. It was all but standardized in the decades before screen reading. Perhaps most famously, the Encyclopedia Brittanica—arguably the authoritative compendium of human knowledge, at least pre-World Wide Web—was set in Times.“In the broad public, a serif carries connotations of scholarship,” says Ali S. Qadeer, chair of graphic design at the Ontario College of Art and Design in Toronto. “Claude is interesting. It’s using this slightly brown background to mirror a book page. It’s sort of emulating the feeling of reading print. And print has deeper associations with trust.”As reported by The New York Times, even the US State Department has returned to using Times New Roman after Secretary of State Marco Rubio decried Calibri as “informal,” pegging the department’s adoption of the sans serif typeface on some wider, Biden-era DEI initiative.Both Qadeer and Vadgama see the trend toward serifs as a rejoinder to AI’s perceived (and, indeed, literal) lack of soul, and the wider public suspicion of the technology. They’re not the only ones. Alongside the “tasteslop” discourse, people online have criticized the serification of AI aesthetics as “generic” and “very ugly.”#Serif #Fontsartificial intelligence,design,ux/ui,art,typography,fonts,chatbots,claude,chatgpt](https://i3.wp.com/media.wired.com/photos/6a20d5436a7879400ec4323c/191:100/w_1280,c_limit/culture_ai_serif_font.jpg?ssl=1 "AI Has Come for Serif FontsAs public backlash to the seeming omnipresence of artificial intelligence intensifies, the collective quest to weed out—and reject—telltale signs of its use continues.One of the first casualties, to my dismay, was em dashes—which are a great, and very human form of punctuation, by the way! There’s also the “rule of threes,” which is meant to scan as rhythmic, but often comes across predictable, hackish, and stale. And, of course, there are the clunky grammatical constructions of the “not X, but Y” variety.Now certain fonts and typefaces—specifically serifs—seem to be defining (and giving away) AI, both in actual software, and in vibe-coded design boilerplates. Some are calling it “tasteslop,” the results of the effort to make generative AI designs seem superficially sophisticated or distinguished.The shift away from slicker, more conspicuously computerized typefaces is something the San Francisco Bay Area writer, designer, and type practitioner Keya Vadgama has termed “the serif renaissance.” In a recent newsletter, published on her Substack, Vadgama suggests the move is a bid for companies to project more “personality and warmth.”“It’s not that difficult to discern why AI-native companies in particular are being drawn to serif fonts: AI is inherently cold and without opinion,” she writes. “[Using serifs] signals ‘We’re AI! But real humans use (and made) our product! We swear!’”“Serifs have an origin in calligraphy,” Vadgama tells WIRED. “It connotes a very human, fluid way of making letterforms.” Vadgama has noticed that Anthropic’s Claude was defaulting to serifs. Other AI companies—Runway, Perplexity, Manus—had also adopted similar typefaces in their UX and branding.Reached for comment, Perplexity chief communications officer Jesse Dwyer tells WIRED: “Why wouldn’t we have human design? Perplexity is for people.”Vadgama believes the use of serifs is as much about aesthetics as building confidence between users and brands. Certain font choices signal, even at some preconscious psychological level, trust. Sans serifs (your Arials, Calibiris, Helviticas) are too clean, too computer-y. Good old Times New Roman, and similar typographic designs, can feel a bit more dignified. Recently, Vadgama was doing some branding work with a (since-shuttered) AI startup, which favored the serif text. “A big part of it,” she says, “is, ‘How do we position ourselves in a way that people are not afraid of us?’”Serifs can help build that conviction, or at least the illusion of it. Times New Roman itself was commissioned in the 1930s by Britain’s Times newspaper. The typeface carries a certain authoritative heft. Books and newspapers are printed using it. It was all but standardized in the decades before screen reading. Perhaps most famously, the Encyclopedia Brittanica—arguably the authoritative compendium of human knowledge, at least pre-World Wide Web—was set in Times.“In the broad public, a serif carries connotations of scholarship,” says Ali S. Qadeer, chair of graphic design at the Ontario College of Art and Design in Toronto. “Claude is interesting. It’s using this slightly brown background to mirror a book page. It’s sort of emulating the feeling of reading print. And print has deeper associations with trust.”As reported by The New York Times, even the US State Department has returned to using Times New Roman after Secretary of State Marco Rubio decried Calibri as “informal,” pegging the department’s adoption of the sans serif typeface on some wider, Biden-era DEI initiative.Both Qadeer and Vadgama see the trend toward serifs as a rejoinder to AI’s perceived (and, indeed, literal) lack of soul, and the wider public suspicion of the technology. They’re not the only ones. Alongside the “tasteslop” discourse, people online have criticized the serification of AI aesthetics as “generic” and “very ugly.”#Serif #Fontsartificial intelligence,design,ux/ui,art,typography,fonts,chatbots,claude,chatgpt")