Facetime on your Apple Watch? Wristcam’s new live video-messaging feature brings us one step closer

There are just two trivial things that Apple refuses to do – 1. Put a calculator app on the iPad, and 2. Put a camera on the Apple Watch. The Wristcam hopes to fix one of those things.

Apple has evolved the Watch into a miniature smartphone with even the ability to make calls from it. On the other hand, Apple’s expanded how Facetime works, allowing practically any device to join a Facetime call using a browser link. However, for some absurd reason, those two advancements are mutually exclusive. Today, Wristcam announced its live video-messaging feature within its app, allowing you to experience possibly the closest thing to being able to Facetime from a smartwatch.

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The Wristcam made its debut last year as the only smart camera-band to receive the “Made for Apple Watch” designation. The band, which is compatible with any Apple Watch, comes with not one, but TWO cameras powered by Sony sensors, capable of shooting 4K and 1080p respectively. The front-mounted 8MP camera can shoot images in 4K resolution while recording videos in Full HD. The selfie camera, on the other hand, can be used for clicking selfies, sending video-clips, or even participating in live video messaging, thanks to a new update to the Wristcam’s app. Wristcam’s “live or later” video walkie-talkie experience lets you video chat in real-time with friends and family right from your Apple Watch. Videos get stored in Wristcam’s app and you can even access/edit/upload them through your iPhone.

The Wristcam comes with its own 8GB of storage and a battery good enough for an entire day, according to the company. It’s built to be IP68 water-resistant, which means you can wear it in the pool or at the beach too; and for an absolutely hands-free experience, Wristcam supports Siri shortcuts, letting you snap pics and shoot videos, without ever lifting a finger. For privacy purposes, it even has a built-in LED that lights up when the camera is operational – a single flash indicates picture mode and continuous flashing means the camera is in video mode.

Designer: Wristcam

The Wristcam’s design lets you interchange bands too, and overall weighs a mere 22 grams, so you can wear it all day without noticing the difference… aside from the fact that you’ve now got instant-access cameras on your wrist!

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Siemens' NX visualisation software helps "deliver better products faster and more efficiently"

A wireframe render of a Bosch coffee machine

Dezeen promotion: the NX Render from Siemens Digital Industries Software allows designers to quickly visualise how products will look and function before they are made.

Siemens designed NX Render to enable designers and engineers to streamline their design process and prevent “massive amounts of money being spent on prototype products that will never see it to market”.

According to Siemens, in the traditional visualisation workflow, designers spend a lot of time exporting their 3D data into third-party applications for the rendering process.

When using NX Render, users can create photorealistic renders with one computer model in a single software, removing the need for third-party tools and physical prototypes.

The process can “speed up the time taken to produce your first image by up to 90 per cent,” said Siemens.

A wireframe render of a Bosch coffee machine
NX Render creates photorealistic visualisations

“Visualization and virtual reality are changing the way we all interact with the physical world through an enhanced digital lens,” Siemens said.

“Having the ability to know how something will look and feel before it is actually created is a leap forward for all, especially businesses.”

A render of a silver coffee machine
Siemens used NX Render to model a user’s Bosch coffee machine

“NX software is a flexible and powerful integrated solution that helps you deliver better products faster and more efficiently,” added Siemens.

“NX delivers the next generation of design, simulation, and manufacturing solutions that enable companies to realize the value of the digital twin.”

A visualisation of a silver coffee machine
The NX Render can also be used to create different visual scenes including backgrounds

The first step to using the NX software requires setting up a detailed model of the product and a scene in which to place it. At this stage, Siemens encourages referring to real-life versions of similar products to ensure accurate detailing.

Once the 3D model is made, users can then apply photo-real materials finishes to individual components and surfaces or entire bodies.

A visualisation of a silver coffee machine
Realistic material finishes can be introduced

Once the model is covered, tweaks can be made to the materials and decals – digital stickers for logo or details – can be applied to the surfaces to help bring the scene to life.

Lighting can also be manually adjusted to create more realistic images, or altered using built-in “system scenes” that emulate lighting conditions of specific environments.

“Lighting in NX Render is physically-based – meaning the virtual lights and environments behave in the same way lights do in the real world,” explained the brand.

Detail of a Bosch coffee machine render
Decals or stickers can also be added to surfaces

Alternatively, lighting conditions can be set using “high dynamic range imagery” (HDRI), which works similarly to system scenes but offers a wider range of dark and light shades.

“HDRI’s can add a level of realism that a system scene can’t achieve but may take longer to configure,” Siemens explained.

Detail of a Bosch coffee machine render
Lighting is also alterable to help bring the images to life

To generate the final high-quality renders from the 3D model, users can place a camera within the scene. The placement and lens size of this camera can be altered, allowing users to test angles while also helping them to identify where amendments may be needed.

A “field of view” tool has also been incorporated, which Siemens said generates renders that replicate how the human eye interprets real-life scenes. This enables designers and engineers to take virtual 3D photographs of products before they are made.

“This technique considers peripheral vision and the real-life parameters that happen around us subconsciously,” the company explained.

A render of a Bosch coffee machine
Final renders are generated by placing a camera at different angles

At this final stage, the software guides users through any last-minute tweaks that may be needed before processing. The resolution quality and style of the final render can be adjusted depending on its desired purpose, such as a quick review with colleagues to final presentations.

To find out more about NX Render, start a free trial or watch Siemen’s webinar, visit its website.


Partnership content

This article was written by Dezeen for Siemens as part of a partnership. Find out more about Dezeen partnership content here.

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Oliver Grabes, Head of Design at Braun, Discusses Good Design and How To Shape Tomorrow

Global brand Braun celebrates its 100th anniversary in 2021, a milestone few reach. The company is simultaneously hosting the 21st BraunPrize International Design Competition, an international competition aimed at promoting the work of students and young creatives. This year, young, up-and-coming designers and inventors will be tasked with exploring “good design” to address and solve the challenges of today and “shape tomorrow.” The winners will take share in a total prize value of $100,000 USD.

We sat down with Prof. Oliver Grabes – Head of Design at Braun and the chairman of the BraunPrize since 2012 – for a better understanding of “good design” and why competitions like this matter more than ever.

Oliver Grabes, Head of Design at Braun – image courtesy of Braun

Q: “Good Design” seems like a concept with many possible definitions. What does it mean to you, and why does it matter in the world today?

A: For us at Braun, products need to be useful, simple and built to last. We think this approach of “good design” can apply to many products or concept across categories and product forms, addressing virtually any kind of challenge. That’s why “good design” is the driving principle for the BraunPrize – we aim to improve thoughtful, sustainable design for all categories, and all users.

Q: Growing a brand for a century is no small feat, and likely required Braun apply principles of “Good Design” to your own products and approach in the market. How do you see “Good Design” impacting your future?

A: The mantra of “Useful, Simple and Built to last” has been foundational to our brand, how we design products and what is important to us. We’re celebrating this guiding principle all year, as a way of reinforcing its importance to our future success. We have put together an exciting program of activities across this special anniversary year, one of them being the BraunPrize 2021. The Prize is targeted especially to younger generations, to get involved in ‘good design for a better future’ because, at the heart of it all, Braun is about user-centric design and we want the brand to stand the test of time.

2018 Braun Prize jury members reviewing and discussing entries

Q: How are you using design to stay relevant in a world that evolves rapidly week to week, let alone across a century?

A: With our 100th anniversary, we see the opportunity to do more than celebrate our past; our aim is to bring Braun’s belief that design should be Simple, Useful and Built to last to broader audiences, especially younger generations. As an example, we collaborated with one of today’s foremost designers, Virgil Abloh, to start the conversation around the role of design by reimagining a Braun icon from the past 100 years. To continue the dialogue around good design, we asked Gen Z-ers around the world what challenges they face and how design can help overcome them in the future. The learnings will enable us to build on our design principles and stay relevant for the next 100 years.

Q: How does the BraunPrize fit into this equation?

A: The BraunPrize is a tri-annual celebration of the best and brightest thinkers. Encouraging young creatives to move into this field – and showcasing their best efforts – only serves to benefit us all. Together, international collaboration and competition will bring all of us forward into a future with evermore thoughtful, useful designs that stand the test of time.

Q: How did you come up with this year’s theme, “Shape Tomorrow”? What are you expecting to see from entrants?

A: Good design has a critical role to lay in addressing problems and driving change that betters our lives today and tomorrow. In a recent global study we conducted among 18-25 year-olds, we found Gen Z believes that good design will play a pivotal role in its future. In fact, 4 out of 5 (78%) agreed that accessibility—regardless of age, impairments or skill level—and ease of use are the single most important areas in which design can deliver an impactful change. That’s what we want young designers and creatives to have in mind when they consider our theme of “Shape Tomorrow.” How will their proposed design meaningfully change the way we operate in the world for the better? How will they help promote behavioral change and make an impact on today’s society and the future of our planet? Design that can affect this type of positive social impact is good design at its best.

Q: What is new with this year’s BraunPrize?

A: With our centennial anniversary coinciding with the triennial BraunPrize competition, we’ve increased this year’s total prize value to $100,000 USD. The principles of good design that are embedded in the BraunPrize are also central to our own values – and we want to show that commitment with an even stronger incentive for young designers to enter. We’ve also made additional shifts to make the program more accessible for all, including a move to be all-digital and opening the competition to design ideas and visionary concepts. This year, we will also appoint international design leaders from across the globe to form the BraunPrize Jury Panel and the competition with culminate in a digital award ceremony in November.

Q: Fast forward to October, the winners have been announced. What would have made you particularly proud?

A: I know I’ll be proud when the design ideas and concepts submitted illuminate our path toward shaping a better future. I know we’ll get there, because I continue to be in awe of the creative and unexpected nature of our entries. Young designers and inventors around the world come to us with sharp insights, thoughtful detail and tremendous passion. Having the opportunity to work with them – and ultimately to support their progress in this field – gives me great hope for the future – as this young generation is taking action to shape it.

For more information on how to enter the BraunPrize competition and follower news on the winners, visit www.uk.braun.com/en-gb/braunprize

Industrial Designer Elif Bulut Rethinks Sneaker Packaging Design: Shoebox as Display Stand

Now that sneakers have become coveted objects exceeding their mandate as mere footwear, Istanbul-based industrial designer Elif Bulut has designed packaging for them that reflects their increased status. Her Standbox concept would be used not just for shipping or storage, but for display as well.

“Thanks to its form, [Standbox] is smaller than its counterparts and has the potential to display shoes on top of each other,” Bulut writes. “It provides energy and space savings to its manufacturer, seller, and user during production, distribution, and storage stages. The manufacturer can distribute more products at once so that the carbon footprint drops; the seller and user do not need an extra plastic organizer to store and present the shoe.

“Unlike other shoe boxes, it can be carried on its own without the need for a plastic or paper bag.

“In short, the Standbox is a packaging design that aims to use energy resources less, take up less space than its counterparts, to minimize the need for extra plastic and cardboard.”

The Part of the Plane You Never Get to See, Part 2: The Avionics Bay and Cargo Areas

In Part 1 of “The Part of the Plane You Never Get to See,” we showed you the hidden rest areas that airplane designers have secreted within various fuselages.

Here in Part 2, Swedish airline pilot Bjorn (whose YouTube profile page reads “#bjorntofly”) takes us to more hidden places, these ones rather massive. Hidden beneath the cockpit of the Airbus 350 is the gigantic server farm that is the avionics bay, filled with things it looks like you shouldn’t spill coffee on. There’s also, surprisingly, a hatch that leads directly to the cargo area, another place I’ve never seen.

The cargo hold’s shape does drive home why airline cargo containers have that odd clipped-corner form.

Image by Asiir – CC BY-SA 2.5

Here’s Bjorn’s tour:

Built Environment Summit seeks research that will "embolden governments" to decarbonise architecture

London smog

A summit organised by RIBA and Architects Declare is seeking ideas for reducing carbon emissions from the built environment ahead of the COP26 climate conference in November.

The Built Environment Summit, which takes place at the Royal Institute of British Architects (RIBA) in London just before COP26, aims to alert governments to the need to reduce emissions from the built environment, which account for almost 40 per cent of all greenhouse gas emissions.

Summit to draw COP attention to build environment

The deadline for research that will be discussed at the summit has been extended to 5 July.

“The aim of the summit is to embolden governments to support and work with the international built environment industry to decarbonise construction,” said RIBA.

“We cannot meet the Paris Agreement’s 1.5 degrees Celcius limit above pre-industrial levels without making substantial changes to the way we design, build, operate and adapt our built environment,” it added.

“The Built Environment Summit will bring that message from the international construction industry to governments at COP26.”

Summit taking place ahead of COP26

COP26, or Conference of the Parties, is the 26th United Nations Climate Change Conference. It is set to take place from 31 October to 12 November 2021 in Glasgow.

RIBA and Architects Declare are inviting architects to submit research and documentation of exemplar projects to be used at the conference and to form a report that will be presented at COP26.

The report will aim to demonstrate that the built environment has a significant environmental impact and outline ways in which change can be made to reduce this.

It will also aim to highlight that the built environment requires support from the governments attending COP26 to make change happen.

“Governments can provide the national, international, sector-focused, cross-sectoral regulations, infrastructure, and foresight to support the built environment in making the changes required to meet the 1.5°C target,” said RIBA.

Submissions to the conference and report will be selected by a steering group that includes RIBA president-elect Simon Allford, Buro Happold director of sustainability Maria Smith and architect Andrew Waugh.

The steering group will be supported by a group of industry experts including Arup sustainable buildings lead Mel Allwood, Perkins & Will sustainability director Asif Din, former RIBA president Ben Derbyshire, and CEO of OnePlanet.com Pooran Desai.

Virtual pavilion to highlight built environment’s environmental impact

The research is one of several initiatives taking place to draw attention to the built environment’s role in causing climate change at the coronavirus-delayed COP26 conference.

The UK Green Building Council (UKGBC) has coordinated 100 organisations to create the UK Built Environment Virtual Pavilion that will contain an exhibition showcasing low-carbon projects.

At the request of several organisations including the World Business Council for Sustainable Development (WBCSD) earlier this year, the president of COP26 Alok Sharma agreed to host an official day dedicated to the built environment at the conference. However, no details of the day have emerged.

Built Environment Summit will take place at RIBA London from 28 to 29 October 2021 ahead of COP26, which will take place at SEC Centre in Glasgow from 1 to 12 November 2021. 

See Dezeen Events Guide for all the latest information you need to know to attend the event, as well as a list of other architecture and design events taking place around the world.

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Foster + Partners tops PGA Tour HQ with "generous overhanging roof"

The PGA Tour headquarters is surrounded by a lake

British studio Foster + Partners has completed an office building for the PGA Tour in Florida, which has been topped with an oversized roof.

The headquarters for the PGA Tour was built near natural wetlands alongside the Ponte Vedra Sawgrass golf course, which hosts The Players Championship annually.

The PGA Tour headquarters is next to a lake
Top: the headquarters has a wood-lined ceiling. Above: it is next to a newly made lake

The 187,000 square-foot (17,373 square metres) building for PGA Tour, which organises professional tournament for male golfers in the USA, contains a collection of three-storey structures nestled beneath the large roof.

Set alongside a newly created lake, Foster + Partners explained that nature played a key role in informing its design.

White columns surround the PGA Tour headquarters
Terraces line the exterior of the building

“On our very first visit to the site at Sawgrass, we were inspired by the quality of the landscape, the interplay of light and shade and the water,” said Foster + Partners head of studio Nigel Dancey.

“This led to our very first sketches, maximising light and views beneath a generous overhanging roof that creates shaded external terraces and plaza spaces.”

Cafe area at the Foster + Partners office
It is divided by a central atrium

The building was built on a raised floor designed to protect and future-proof the headquarters without limiting the flexibility of its internal spaces.

Extending from the raised floor, large white columns stretch the height of the structure and support its wood-lined veranda roof.

PGA Tour headquarters has a symmetrical design
Skylights were placed in the veranda roof

The internal three-storey structures are wrapped in glazed facades to allow natural light into the office spaces, while also providing views out to the surrounding wetlands.

An atrium forms the social centre of the headquarters, stretching the length of the building between two blocks of office space.

The blocks are connected by six-metre-wide bridges that aim to encourage meetings and gatherings outside of traditional office space.

Terraces along the side of office spaces extend across the perimeter of the internal structure past the atrium to an outdoor space, covered by the veranda roof.

The veranda roof protects the office building from the sun
It has views across the green golf course

Five large skylights were placed across the wood-lined roof in the atrium and reflect the curved rectangular cutouts between bridges and stairwells.

At the rear of the building, Foster + Partners placed a gym and cafe on the ground floor with views overlooking the green landscape of the neighbouring golf course.

It has white and wood clad interiors
A large atrium was placed at the centre of the building

“The new global home for the PGA Tour has been the product of a true collaboration,” said Foster + Partners senior partner James Barnes.

“Working closely with the fantastic team at the Tour, we have collectively delivered a building that will allow the Tour to flourish and nurture its talent.”

“It has been an incredible opportunity for us to realise a complete vision – from the overall orientation of the building to the interior finishes and detailing.”

A grand staircase stretches between floors at the PGA Tour headquarters
Bridges and walkways connect the buildings different levels

Foster + Partners, the UK’s largest architecture studio, was established in 1967 by Pritzker Architecture Prize-winning architect Norman Foster.

The studio recently unveiled its Apple Tower Theatre store in an abandoned 1920s movie theatre in Downtown Los Angeles and announced its plans to turn the site of a decommissioned power plant in San Francisco into a mixed-use development.

Photography is by Chuck Choi.

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Adam Nathaniel Furman unveils "monumentally joyful" pyramid at King's Cross

Proud Little Pyramid at King's Cross by Adam Nathaniel Furman

Designer Adam Nathaniel Furman has created an installation called Proud Little Pyramid at King’s Cross in London that was unveiled in LGBT+ Pride month.

Created to celebrate the reopening of King’s Cross following coronavirus lockdown, the Proud Little Pyramid is located in Granary Square.

Furman hopes that the structure, which is wrapped in seating, will bring joy to those returning to the area.

Adam Nathaniel Furman
Proud Little Pyramid has been installed in Granary Square

“The idea was to kind of create something that is monumentally joyful,” he told Dezeen.

“So it’s an anti-monument monument. It’s ridiculously fun, over the top, camp.”

Proud Little Pyramid by Adam Nathaniel Furman
It is decorated with Furman’s signature colourful motifs

Built from the recycled structure of a Christmas tree installation that previously stood in Coal Drop’s Yard, the 9.5-metre-high pyramid is covered in Furman’s signature colourful motifs.

Surrounding the pyramid is a mirrored plinth with four corner towers that functions as bench seating.

Seating in King's Cross
A plinth at the bottom can be used as seating

“Fundamentally, it’s a big seat,” explained Furman. “It functions in a really simple way as a place to meet that orientates people around the site.”

“It’s a kid’s version of a huge monumental complex,” he continued. “The whole base is mirrored creating constantly changing ornamentation at the base, which reflects the surroundings and lots of colours that will always be changing.”

Adam Nathaniel Furman's pyramid
It was built from a previous Christmas tree installation

The pyramid form that rises from the base is decorated in a series of motifs that were informed by the surrounding industrial architecture.

It is topped with four emoji-like characters that the designer refers to as “flamboyantly ridiculous”.

“It uses the forms that I like to use, which in this instance come from Victorian architecture and the heritage of the site,” said Furman.

“They are my shapes but composed in a way that references the local context in the super-neon, poppy way that I like to work.”

The bright pyramid opened to the public as part of LGBT+ Pride month and as the name Proud Little Pyramid suggests, was created as a celebration of King’s Cross’ queer history.

“It was designed very much with the intention of it being opened in Pride month as an exuberant, ornamented piece of design fun,” said Furman.

“It references my own work in a typically camp way but also the queer history of the site, which I’ve basically grown up with,” he continued.

“King’s Cross has been the backdrop for so much of my life – I have learnt, loved and laughed here.”

King's Cross pyramid
It was designed by Adam Nathaniel Furman as part of a six-month-long residencey

The installation is the first project to come out of Furman’s six-month-long residency at the King’s Cross estate.

It will be followed by a series of installations around the site, including decorating the hoarding of the construction site for the BIG and Heatherwick Studio-designed Google building.

“In the 90s, I was regular at iconic nightclubs The Cross and the Scala and later a student and then a teacher at Central St Martins,” Furman said,

“Whilst I have taken inspiration for my residency from King’s Cross’ recent queer history, I have also looked back to London’s Victorian heritage in which dramatic monuments of all sizes, from water fountains and public loos to tube stations, memorials and town halls brought accessible decorative art to public spaces,” he continued.

“I want to make history and its complexity instantly present and fun.”

The King’s Cross estate in central London has been developed over the past decade. The pyramid stands near the entrance of the Thomas Heatherwick-designed Coal Drop’s Yard shopping centre and Tom Dixon’s studio and showroom.

Designer Furman previously created a sequence of tiled archways in Granary Square as part of London Design Festival.

Photography is by John Nguyen.

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Yea or Nay? Tomo's Easy-Connect Dog Gear

A startup called Tomo has designed a line of Easy Connect Dog Gear, which they claim is an improvement on the typical fastening methods for dog gear. Rather than using a snap hook on the end of the leash and a D-ring on the collar, their system uses a male protrusion on the collar and a female connector on the end of the leash. The collar itself fastens the same way, rather than using the more common plastic side-release buckles.

Here’s a look at the whole system…

…and how it’s meant to work together:

Because the designers envisioned leash, collar, nametag and dog bag holder working together as a system, they designed the latter two to fit snugly along the flat surface of the former two. I think this is a welcome improvement for the dog bag holder, which I used to connect to the leash handle with a carabiner, which was effective but janky.

However, I actually don’t want the dog’s nametag to not jangle, which is one of the improvements cited by the Tomo team. On this farm we have six dogs, two roaming, and I find the jangling nametag a welcome announcement of our dogs’ locations, as that information is occasionally very relevant.

Overall I am not sure Tomo’s system is an improvement over the incumbent system, and in fact I think it might be a little trickier to attach the leash and collar, because you must first cover the stud with the receiver, visually obscuring it, before clicking it into place.

Beyond that, replacing such an entrenched incumbent system is difficult for reasons of interchangeability. This may not apply to owners of single dogs, but because we have a half-dozen, we can use any leash we have with any collar; I’d never dream of switching one of their collars to a proprietary system, and switching all six would be too expensive. Furthermore, I carry a spare dog leash in the car, in case we encounter an abandoned stray on the road. (That’s the origin story of one of our dogs.)

However, I’m guessing you single-dog owners are more common. Does Tomo’s system appeal to you? Do you think whatever UX improvements it might confer would be worth the switch?

Watch our live talk about water and wellness in design with Zaha Hadid Architects

Amy Frearson, Carlos Bausa Martinez, Woon Hoe Lee and Ratish Namboothiry in live talk for Kohler

In this live talk by Dezeen and American kitchen and bathroom brand Kohler, Zaha Hadid Architects‘ sustainability lead Carlos Bausa Martinez will discuss designing with water to enhance wellbeing. Watch here from 2pm London time.

Dezeen’s editor-at-large Amy Frearson will moderate the panel talk, which will feature Martinez alongside Woon Hoe Lee, the executive director of wellbeing at luxury hotel chain Banyan Tree, and Kohler‘s director of innovation Ratish Namboothiry.

Dezeen editor-at-large Amy Frearson in live talk for Kohler
The talk will be moderated by Dezeen’s editor-at-large Amy Frearson

The talk will explore the relationship between water and wellbeing, and how architects can incorporate water into their designs.

In addition, the panellists will discuss what measures architecture firms and the wellness industry are taking to use this finite resource in a sustainable way.

Carlos Bausa Martinez
Zaha Hadid Architects’ sustainability team lead Carlos Bausa Martinez will be joining the panel

Martinez joined Zaha Hadid Architects as sustainability team lead in 2019 following four years at Foster + Partners as an environmental design analyst.

He is typically involved in the conceptual and schematic stages of each project to simulate different environments and help to produce more energy-efficient buildings.

Woon Hoe Lee in live talk for Kohler
Woon Hoe Lee is the director of wellbeing at Banyan Tree

Based on the Thai island of Phuket, Lee is responsible for creating spaces and experiences to enhance wellbeing in Banyan Tree hotels.

He has a background in sociology and economics from the National University of Singapore and holds a variety of professional diplomas relating to wellness.

Ratish Namboothiry
Ratish Namboothiry is Kohler’s director of innovation for good and sustainability

As Kohler’s director of innovation for good and sustainability, Namboothiry works to embed sustainability into the company’s operations and products.

Ratish also leads Innovation for Good, Kohler’s internal incubator that focuses on social purpose and transforming ideas into products and services.

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