The canine world is an enduring source of inspiration for creatives, as seen with everything from The Gourmand’s annual calendar Dog Eat Dog, in which dogs named after food are photographed with their namesakes, to Jean Jullien’s playful take on man’s pesky best friend in illustrated card game Dodgy Dogs.
As a studio full of dog lovers, getting the opportunity to build a pooch-focused brand from scratch was a dream project for New York based ThoughtMatter – which is exactly what happened when pet care company Kinship approached the team to launch Witzig, a lifestyle brand and community designed for daschund lovers.
Witzig’s site features a range of products and merch for sausage dogs and their owners, which sits alongside content such as helpful how-to guides and personal stories. ThoughtMatter was brought in to create the brand identity and strategy, logo and illustrations, and worked with digital agency Markacy on the website.
“Dachshunds are known for their big personalities as they are usually very smart, clever, and lively,” says ThoughtMatter design director Wednesday Krus. “Everything we heard about dachshunds seemed like they are witty creatures too, so the name Witzig (which means ‘witty’ in German) came to be. It also has a fun, lively sound to it, which felt right for the brand and breed.”
Taking cues from dachshunds’ unique sausage-like body shapes, the identity aims to reflect the more unusual aspects of the breed. The logo is based on a warped font, and has a dachshund illustration hidden in the letterforms. The studio also used a range of illustration, photography styles and colour palettes.
“With this execution we really wanted to convey that the brand understands the unique qualities of dachshunds, their owners, and both of their needs. People see their pets as more than companions, as true family members, so our work had to show that connection,” says ThoughtMatter design director Sam Barbagiovanni.
“To do this, we used an expressive illustration style that showed dachshund owners as reflections of their pets – including long legs, short legs, odd hair, and more – to connect them to the weird shape of dachshunds. We also used an unusual colour palette, pairing brown with bright purple and yellow, and adding cool blues to bring an element of unexpected brightness to the brand.”
Witzig hosted a series of pre-launch events in LA, Houston, and New York City for dachshund owners to meet up, learn about the brand, and have professional photos of their dachshunds taken. The photos were then used to create a sausage dog-themed coffee table book, which is also available on Witzig’s site.
Last year, Ryan Reynolds proved he had as much of a knack for advertising as acting when an ad for the brand Aviation Gin, which he owns, went viral. The spot was a deft mickey take of a recent, desperately cringey Peloton ad, and proved what we all know – that a bit of wit and irreverence can go a long way in advertising.
Reynolds is now bringing the same formula to Mint Mobile, which he bought last November. Last week he released a spot created by his ad agency Maximum Effort Productions, which does a great job of sending up Powerpoint presentations while also managing to give you all the boring information you need to know about the brand.
The joy of the spot is all in the detail – Reynolds’ subtle reference to the virus without actually mentioning it by name, his computer desktop (which is worth a freeze frame), and a guest showing by his mum.
Tammy Reynolds then shows up again in Mint Mobile’s spot for US Mother’s Day, released last Sunday, which has the appearance of being a slightly more schmaltzy affair before the pay off at the end.
It can sometimes feel like we’re in rather hand-wringing times in advertising, with much discussion and analysis of how to reach audiences and break through in our complex media landscape. Yet here comes Ryan Reynolds making it all look pretty easy – take note, agencies.
Are you getting tired of quarantine? Funny how we always wished for work from home and now we are itching to go back to our offices. Suddenly the water cooler chit chat and commute means so much more to us. We don’t have a vaccine yet but soon some of us non-essential workers may have to return to the work lives we knew before the pandemic and it is crucial we still follow the rules of social distancing + wearing PPE so that we are minimizing the risk while still helping rebuild the economy. Romware has designed a wearable gadget that can help us navigate through the new normal safely till we have a vaccine.
Romware’s bracelet helps to reinforce the social distancing guidelines as more of us return to work. The digital device monitors the employees’ location and warns them if they are too close to each other. Initially designed for industries such as construction, logistic, warehousing, manufacturing, and port services, this bracelet can be used by any large company that cannot function remotely and relies on labor. Whenever employees are closer than 6 feet they will feel a vibration that warns them. The bracelet has a geo-fencing feature that allows you to set a limit for how many employees can be in a specific area to ensure there are no large gatherings. One of its most effective features is that it enables contact tracing, so if someone does fall sick the employer can easily track anyone who may have been in contact and take necessary measures.
The employees’ privacy is guaranteed and the bracelet uses Ultra-Wideband which means it doesn’t require a data connection. However, it can be used with data too if there is a need for contact tracing which will access the employee’s location. All data will be deleted after 14 days and it doesn’t require the employees to disclose anything they don’t want to. The personal wearable device is only used for social distancing purposes and to ensure the safety of the workforce as long as the threat of the pandemic still looms over our heads. Romware is doing it’s best to follow ‘prevention is better than cure’ strategy and we agree.
Blocky concrete plinths dominate lighting brand PSLab’s London HQ, which local studio JamesPlumb has designed to evoke “quiet brutalism”.
Tucked down a quiet side street in south London’s Bermondsey neighbourhood, PSLab‘s HQ occupies a Victorian-era tannery – a place where animal hides are processed to produce leather.
The lighting brand, which originally launched in Beirut, tasked JamesPlumb with transforming the historic building into a sequence of “defined yet intertwined” work areas where its staff could easily interact and collaborate.
“We all agreed from very early on that the key was for it not to be an office, nor a showroom – but to become a home for PSLab in London,” said the studio’s founders, James Russell and Hannah Plumb, who had first worked with PSLab on the design of an Aesop store in London back in 2015.
“We admire and respect each other’s ways of working – at the heart of any project is not just the aesthetic – but how it feels to inhabit the environment,” they told Dezeen.
The studio completely stripped back the building to expose its industrial shell, only leaving behind its bare-brick walls, steel columns and a number of sunken pits that would have once been used to dye animal hides.
These pits have been filled with concrete to create a series of different-height plinths, their blocky shape a subtle reference to monolithic structures that Russell and Plumb came across in a book called Bunker Archaeology by French philosopher Paul Virilio.
The plinths provide staff with a casual place to perch and work during the day, but can also serve as auditorium-style bench seating when the brand hosts large-scale events.
Some of them have been topped with slabs of concrete to create more formal work desks, while others have been dressed with linen-covered horsehair cushions to give some areas a cosy, lounge-like feel.
Planters have also been integrated into several of the plinths which, combined with the potted trees and leafy vines that trail from the ceiling, are meant to channel the verdant greenhouses of the Orto Botanico garden in Palermo, Italy.
“The creative direction of the project was informed by a multitude of inspirations,” Russell and Plumb explained.
“Through all of these we developed this sense of what we called a ‘quiet brutalism’, an internal concrete landscape, solid and permanent, yet inviting to the hand and to inhabit,” the pair continued.
“Textures, deliberate imperfections, and intentional subtle misalignments all helped to bring a more human feel.”
Over 350 pieces of black iron were used to build a gantry directly above the plinths. It has been fitted with several spotlights that can be adjusted to create dramatic lighting for talks or product presentations.
“The [lighting] scheme in the space was inspired by our work process, we all wanted the experience of the space to feel in a sense like the experience of working with us,” PSLab’s founder, Dimitri Saddi, told Dezeen.
“The lights are not products showcased on a shelf – it is not a showroom in that sense – instead they are part of the living space itself and the starting point of a dialogue on the possibilities of light and shadow to be tailored to each project.”
A gridded steel framework that displays sample materials, models and lighting prototypes has been erected on one side of the room, acting as a “spine” between the main office floor and the atelier space.
Beechwood drawers run along the bottom, while higher shelves are accessed by a traditional library-style ladder.
Typical factory-style doors close off a private meeting room with almost-black walls, which has been finished with a mustard-yellow bench and seating by Finnish designer Yrjö Kukkapuro.
This is the latest project by south London-based JamesPlumb, which creates design objects as well as interiors.
“I have a feeling it’s going to be like a tsunami of amazingness,” said Furman, a designer based in London. “I was also planning to allocate quite a lot of time to just let myself sink into all the submissions.”
“Rewarding design towards a better world encourages the future generation to think this way” added French architect Mamou-Mani.
The architect, whose Burning Man temple Galaxia was highly commended in the small building category last year, remembers “writing the description of the entry and talking about what the project meant more than what it was” and “why it was a project that matters.”
Mamou-Mani believes that rewarding design that is sustainable and beneficial for the planet will encourage the future generations to “channel their creative energy towards topics that matter”.
The experimental relay conversation also featured British architect Sarah Izod and experience designer Nelly Ben Hayoun.
Winning Dezeen Awards was “absolutely fantastic for the team”
London based interior designer Sevil Peach says that winning interior designer of the year 2019 at Dezeen Awards was “absolutely fantastic for the team”. The London-based architecture and interior design studio was crowned interior designer of the year at Dezeen Awards 2019.
“I think it’s a validation of one’s efforts, maybe talent, and it’s a reward of the team’s hard work,” says Peach. “Our clients like the idea of us winning an award because it becomes a validation for them as well.”
“I would have seriously never thought this, it was a super big surprise”
“I was very surprised when we won the designer of the year award, you’re just working, working, working and whilst the perception of other people is changing, but you don’t really notice that yourself.”
“I would have seriously never thought this, it was a super big surprise,” said Studio Drift’s Lonneke Gordijn.
The Amsterdam-based design studio that won both the designer of the year and lighting design of the year award with their project Franchise Freedom in 2019, explained how meaningful the recognition was whilst it also confirmed a shift in the design community.
“What I liked about winning these awards was that, for me, it felt like a shift, an indication of where design is going,” explained co-founder Ralph Nauta. “I would have expected to maybe see a more traditional practice win.”
Studio Drift specialises in experiential sculptures, installations and performances.
“You have to put yourself in the shoes of the person reading your submission”
London-based experience designer Nelly Ben Hayoun, who judged Dezeen Awards alongside Philippe Starck and Virgil Abloh last year, explained how putting effort into an awards entry is vital.
“You cannot just write your entry from your own perspective with words that only make sense to you,” said Hayoun. “You really do have to make the effort to unpack everything.”
Enter Dezeen Awards 2020
You can enter Dezeen Awards 2020 until Tuesday 2 June, so you still have plenty of time to complete your entry!
If you run into issues or have questions drop us a line at awards@dezeen.com or visit our how to enter page for more information.
“I always feel like the person that didn’t train, that didn’t go to the RCA, and didn’t know what I was doing,” Toogood revealed to curator, Glenn Adamson, in the Design in Dialogue talk.
Dezeen has partnered with New York gallery Friedman Benda to publish a selection of the best conversations with leading creatives from the Design in Dialogue series as part of Virtual Design Festival throughout May and June.
British designer Faye Toogood features in the second of Friedman Benda’s Design in Dialogue talks at VDF. Photo is by Philip Sinden
Toogood is best known as the founder of Studio Toogood, whose work spans a diverse range of disciplines including sculpture and fashion. She has a degree in history of art and started her career as an editor for The World of Interiors magazine.
Her interview with Friedman Benda is the second conversation published as part of VDF, during which she discussed how her lack of a traditional design education impacted her direction as a designer.
“I always feel like the fraud in the room”
She also gave an insight into the stories behind some of her past works, such as Assemblage Five, before discussing her latest collection, Assemblage Six: Unlearning, for the first time.
Toogood discusses her career path and several of her best known works including the Roly-Poly chair. Photo is by Angus Mill
Toogood cites the names of the two furniture collections as examples of her experience of imposter syndrome.
“Someone once asked me why they’re called assemblages,” Toogood explained.
“Because I didn’t train in design, I always feel like the fraud in the room. I didn’t call them collections because I didn’t feel they were worthy of the word collection”.
She also discusses Assemblage Five and how imposter syndrome stopped her from naming it a “collection”
However, Toogood added that she also believes the word assemblage is a truer reflection of her work and the studio’s unique multidisciplinary design approach.
“So I called them assemblages, because that’s sort of what I feel I do, I cut and paste and curate, and edit and put things together.”
“Having studied the history of art, all those references are there for me to kind of cut and paste and create. It’s referenced all in one space.”
Studio is a space for “misfits”
Toogood said that her approach to design of “cutting and pasting” different influences is also reflected in the makeup of the team – referred to by Toogood as The Misfits.
“Along the way I’ve gathered what I call The Misfits,” she explained.
“The group of people have worked either at an architect’s firm, as an artist, or as a fashion designer, graphic designer, sculptor, and they’ve got frustrated working within their environments doing the same thing over and over again.”
Overtime, Toogood has developed the studio into a series of spaces for these creatives to escape convention and experiment.
Toogood also reveals the story behind her latest project, Assemblage Six: Unlearning, for the first time
“I wanted to create a space where we could all just play, essentially,” she told Adamson. “We have a fashion floor, our tool house, a product floor – everyone is working on different spaces and using different materials.”
“You’ll get a coat being painted on one floor and then a clay ball being made on another, and we’re doing it all together.”
She compared this to the process of running a magazine, another influence of her early career.
“I kind of run it like a magazine, there’s different departments, but we’re all working on the same thing,” said Toogood.
“There’s different pages we’ve all got to get out, there’s an issue that’s got to be produced, and we know what the theme is for that issue, and we’re all on the same on the same trajectory to create it.”
Assemblage Six: Unlearning
The studio’s latest collection, entitled Assemblage 6: Unlearning, is a collection of furniture pieces that are larger replicas of rough, playful maquettes that the studio produced at the outset of the project.
This includes a heavy bronze stool that evokes a cardboard box, and a floor light made from resin and canvas that resembles a sculpture made from masking tape.
Assemblage Six features furniture pieces that are modelled on small maquettes. Photo is by Angus Mill
Assemblage 6 was developed by Toogood to challenge all of the studio’s previous work and “unlearn” its typical design process, which involves periods of long and thorough development.
Instead, the collection celebrates the very first moment of creativity and guttural instinct a designer experiences at the beginning of a project.
“I was just desperate to find a geometry that I felt was truly unique and a sense of working that could basically take me over the next few years, that was completely not referential of any work I’d done before,” she explained.
“It was just starting again like a child would if you presented them with a roll of sellotape and some cardboard.”
One of the products is a bronze table that is designed to evoke a cardboard box. Photo is by Angus Mill
According to Toogood, the project is about vulnerability, exposing the studio’s creative process in a way that it has not previously, or other designers would not consider.
“For designers to show maquettes is quite personal, it’s quite a quite a big reveal,” she explained.
“For me, this collection feels very much like it’s about vulnerability, I’m really showing and exposing a process here.”
Design in Dialogue
Toogood’s conversation with Adamson is the second in a series of Friedman Benda’s Design in Dialogue talks we are broadcasting as part of Virtual Design Festival.
The first talk was with pioneering architect James Wines, who said that “all cities are becoming exactly alike” and called out for more buildings that “reach out to people”. Other designers featured in the series include Ron Arad and Misha Kahn.
All photography is courtesy of Friedman Benda and Faye Toogood.
Italian practice Caret Studio has installed the StoDistante installation in an Italian square to encourage social-distancing as a temporary solution for reactivating public spaces after Covid-19 lockdown ends.
The StoDistante installation, which sees the plaza floors painted with white squares in a grid-like format, has been implemented in Piazza Giotto – a plaza located in the town of Vicchio near Florence, Italy.
White, square markers act as visual representations of the distance people should keep from each other in order to slow the spread of the Covid-19 virus.
The installation is based on a social distancing guideline established by the region of Tuscany, which sets the minimum safe distance to be maintained between people as 1.8 metres in order to limit the spread of the virus.
The white squares are made from removable paint, and have been added to the cobblestone floor of the public area in a lattice-like layout to act as a marker of how people can safely navigate around the square.
When the pandemic is over, the water-resistant paint can be easily removed, and the square can revert back to its original configuration.
Matteo Chelazzi, Federico Cheloni and Giulio Margheri, who founded Caret Studio in 2014, describe the installation as a temporary solution for “conscious use” of the public space under the country’s current safety measures.
“During these weeks of quarantine, social distancing and its implications have been a very actual topic, and has made us reconsider some of our routines and the way we use the space,” the designers told Dezeen.
“StoDistante is a reflection on the new forms of social distancing imposed during the spread of the Covid-19 emergency,” they added.
“[The installation] is conceived as a platform for citizens to reclaim and reactivate open spaces through the hosting of a series of initiatives as rules are relaxed in the coming weeks.”
Arranged in a gridded formation, the squares get larger the closer to the centre they are. This “gradient” style is designed to offer different perspectives and interactions within the piazza.
“The idea is to create a temporary infrastructure for a new social life, becoming an opportunity to reflect on the use of public spaces during these times.”
Gatherings are still banned in Italy until 18 May, however some people and children have been using the installation for the past few days to move across the square.
According to the designers, as safety rules continue to be relaxed in the coming weeks there are plans for the community to use StoDistante for other purposes too, such as an open-air cinema, a gym or for church services.
While Stodistante has been applied for the first time in Vicchio, Caret Studio hope it can be installed in other public areas in different towns and cities.
Many designers have been focusing their efforts towards creating concepts that would make life after lockdown safer.
LEGO’s are literally one of the building blocks of our childhood. Artists and designers, however, have elevated this simple brick and used it to create mind-blowing sculptures, moving models to even a drivable car. It is true, if we begin a project, laying one brick at a time perfectly, no matter how complex we want our masterpiece to be, you will get there. So with all the ample time on our hands, this curated collection will inspire you to start with this humble children’s toy and create a masterpiece that showcases your talent and takes your engineering skills to the next level!
Using over 100,000 Lego pieces, designer Ekow Nimako imagines the Kumbi Saleh 3020 CE a Ghanaian metropolis 1000 years in the future. This artwork is the centerpiece for his exhibition titled Building Black Civilizations and showcases details like nothing you have ever seen before, almost reminiscent of the Game of Thrones title sequence! Oh, and if anyone wants a challenge, I truly believe it would be awesome to have a LEGO title sequence for Game of Thrones!
Tesla-fan and LEGO-whiz BrickinNick created a scaled-down model of the Tesla Cybertruck made entirely out of LEGO bricks. The resemblance is admittedly uncanny, so much so that I’m beginning to think the automotive design team at Tesla probably used LEGO pieces to conceptualize the design (I’m kidding!). Probably as indestructible as the real thing (have you ever seen a lego brick break??), the Cybertruck currently sits in LEGO’s Ideas forum, gathering votes from the public. If approved, LEGO may just release their own official kit, but until then, we’ve got this impressive construction by BrickinNick complete with an opening front trunk and rear vault.
Milan Sekiz combines his love for Iron Man, wearable designs, and all things LEGO with this Iron Man suit! The main challenge for Milan to build this Iron Man-inspired MOC was to find a way to improve his mobility while wearing it and of course make it visually appealing at the same time.
I find it almost impossible to say the words ‘Under the Sea’ without breaking into the iconic Little Mermaid song! But this entire structure created by Ryan Van Duzor (@the.bearded.pescador) has me in awe! Displayed at the LEGO House, this complex structure replicates the underwater life with beautiful details, focusing on the littlest fish to a shark, all replicated to scale. It is true, everything’s better when it is wetter, under the sea!
UK LEGO Masters winner Steve Guinness decided to take us on a trip down memory lane with his LEGO typewriter project on LEGO Ideas. He originally designed and built the typewriter, made entirely of LEGO, during the final part of the LEGO Masters TV series, a British reality show where teams compete to build the best LEGO projects. The vintage design is made completely from LEGO and features a working mechanism which is driven by a hand crank. The typewriter was originally fitted with a power functions motor, but Guinness later decided to go with the old school hand crank. Showcasing the versatility and modularity of LEGO, this typewriter would be an adorable accompaniment to any office or home space!
Built from more than a million Lego pieces, the Bugatti Chiron replica isn’t just a standing model, it actually drives too! Weighing over 3,000 pounds, the car can accelerate to slightly over 12 mph… which sounds even more impressive when you realize that the car’s engine is entirely made from Lego too! Two batteries in the car serve as its overall power source… and although there isn’t a gas or acceleration pedal (as the car is driven by voltage level), there is a working pedal for the brake.
A completely working model of a Sheriff’s safe using only LEGO. It all started when designer Il Buono was watching a spaghetti western and wondering how a safe combination lock actually works. That sparked the idea of building one out of LEGO. Now, after endless hours of prototyping, refining, and perfecting, they are confident the result will make any aspiring brick robber reconsider their career path. It’s compact, simple, reliable and smooth to operate. There are 24 possible combinations. You must choose and build your own, preferred, secret code. And of course, it’s all made out of LEGO – no custom parts, no cheating.
This LEGO Pneumatic V6 engine configuration runs at its max speed of approx 800RPM at 4 bar and is designed by Youtuber DrDudeNL. The interesting thing here is it begs the question – can LEGO be evolved to help designers create actual working prototypes, speeding up the production and testing process for product designs?
This new art installation at the Multi-platinum, GRAMMY award-winning artist/DJ/producer Zedd’s home by Dante Dentoni is like an alternate universe full of LEGO’s. He replaced a part of the wall with LEGOs and built in a bunch of little hidden rooms, including Omnia Nightclub, an Overwatch room (Hanamura pt. 2), an alien abduction world and much more!
Memorized by Dominic Toretto in the Fast and Furious franchise, the 1970 Dodge Charger R/T is an iconic car brought to life in all its modified glory by this special LEGO Dodge edition!
And for all the LEGO pieces lying around after you finish building, Studio NINE’s LEGO compatible furniture aims at being a playground for your children. The furniture comes with a machined textured layer that’s all too familiar. Made from Corian, the polymer-based marble substitute, the furniture has a premium feel and a simple design… The purpose of this simple design being twofold. It can either blend well into a house with Scandinavian styling, or can be infinitely decorated by using pieces of Lego that just simply snap onto the furniture’s dot-embossed surface.
Glass walls and perforated metal screens help to blur the boundaries between inside and outside for this house in Beijing by architecture studio TAOA.
Landscape House is a three-storey family home that faces out over a neighbourhood park and lake.
TAOA, led by architect Tao Lei, designed the building to take full advantage of this view. Instead of solid walls, its facade is primarily made up of overlapping see-through surfaces.
Glass planes span floor to ceiling, creating vast window walls, while white-painted steel panels are punctured by dotted panels, giving occupants a degree of privacy as well as views.
Rooms also wrap around courtyards, creating more opportunities for rooms to face outwards.
“The intention of the architecture is to lead the indoor life to the outdoor, so that the owners can enjoy the beautiful environment better,” said the studio.
“Because of its special position facing away from the community, the architecture is designed as a semi-private and semi-open space.”
The starting point for Landscape House was an existing house that stood on the site. TAOA retained some elements of this structure, but others were replaced in order to create more transparency.
The new building consists of two storeys above ground and one basement floor, organised around two distinct courtyards.
One courtyard is at ground level, while the other reaches down to the basement, to allow as much natural light in as possible.
“The sunken courtyard is designed as a sloping field, which integrates the underground space and the second floor into the continuous and three-dimensional landscape system,” said TAOA.
The majority of living spaces are located on the ground floor, so that they can easily spill out onto the terrace, while the basement mostly contains rooms less suited to being on show, like the laundry room and the children’s playroom.
Three bedrooms are located on the top floor and there is also a guest annex on there ground floor to house grandparents.
The perforated steel surfaces feature on both internal and external surfaces, helping to tie both parts together. Their speckled perforations create unusual reflections across the glazed walls.
These materials might have appeared cold, but wooden floors and furniture help to achieve a sense of warmth.
Architecturefirm: TAOA Leadarchitect: Tao Lei Designteam: Tao Lei, Kang Bozhou, Chen Zhen, Zhao Weixin, Zhou Yumuling Engineering consultant: Wang Qinghai Landscape: TAOA Interior: TAOA Construction: Team Sheng Changwei
Charlie Brooker, the creator of popular dystopian sci-fi series Black Mirror said he was taking a hiatus from the show… his reason? The world’s too messed up for him to be able to produce a show that literally depicts messed up worlds. Where’s the boundary between sci-fi and reality when you really can’t tell the difference between the two anymore? Remember the Black Mirror episode titled ‘Metalhead’ with the robot dogs that hunted humans? Well, Singapore’s introduced human-monitoring robot canines to their parks to check on people and warn them to socially distance. Sounds weird? Sounds like something you’d see on TV? Well, that’s life now… and apparently students at Stanford have reverse engineered the popular robotic canine and made their DIY kit open source. For anywhere between $600-$900, you can build and assemble your own bionic pupper… Don’t worry though, this one’s harmless.
The Stanford Pupper Quadriped Robot requires a fair bit of technical expertise, though, and can take anywhere from 4-10 hours to build. The cost of building the robot depends partly on whether you have a few key elements. If you’ve got a Raspberry Pi 4 and a PS4 controller handy, things should be a breeze (resources and code can be found on links available on the Stanford Student Robotics website). You’ll also need a few elements for the frame, like a carbon fiber plate and a few 3D printed PLA parts, although the guys at Stanford make it easy by letting you buy the pre-fab parts from a website. It’s impossible to say if the assembled cyberdog could do your shopping for you, but you could easily have it carry small items like your remote or beer can from one room to another. Just don’t piss it off or turn it sentient.
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