EDC Porn: The Gravity Mag Reel 360

This thing should provoke strong desire amongst the EDC crowd. This Gravity Mag Reel 360, by Japanese accessories manufacturer Root Co., is a “tactical cord reel gear holder” with a built-in magnet.

The projected use cases:

The company doesn’t say what the cord is made out of, just that it will extend up to 85cm (33.4″). The line will support 3.4 kg (7.5 lbs) in weight—with this caveat:

“If you apply a load of 1.5 kg (3.3 lbs) or more while the line is fully stretched, the main body may be damaged causing the line to detach.”

Well, I’ve got the solution! Just order one of those EDC measuring discs, and each time you extend the line, use the disc to carefully measure the precise distance you’re retracting the line!

Runs $40.

Galaxy S24 Ultra by Caviar is a luxurious way to mark the Year of the Dragon

Smartphones are quite expensive these days, especially the fully-featured, high-end premium models, but that might still be enough for a few “well-funded” people. Limited Editions are not uncommon in this industry, but nothing says “limited edition” more than an extremely limited number of devices being made with extremely extravagant materials and designs. Luxury brand Caviar has for years been making these kinds of exquisite variations of already pricey smartphones, and Samsung’s latest flagship is unsurprisingly getting the same treatment. With the launch of the Galaxy S24 series so close to the Chinese New Year, the marque took the opportunity to welcome the Year of the Dragon with a special edition that’s laden not just with gold and jewels but with references to the union of East and West that Samsung’s smartphones embody.

Designer: Samsung x Caviar

Just one look at this Caviar interpretation of the Galaxy S24 Ultra and you can already tell it’s far from being ordinary. That golden Korean dragon is no mere painting or sticker but is a highly-detailed bas-relief covered with 24-karat gold. That dragon is seen descending from the top of the phone, in other words, the heavens, and wraps around the analog watch that is at the center of this design.

Yes, there is an honest-to-goodness mechanical watch on this phone’s back, one that boasts a CVR ELT3350A Tourbillon with a manual winding mechanism and 19 stones. This element does add quite a bit of thickness to the phone’s otherwise slim profile, but its novelty and beauty could very well be worth that price. Curiously, the watch is encircled by the 12 signs of the “Western” Zodiac, not the Chinese roster you would expect from a phone that commemorates the Chinese New Year. These symbols, made of enamel on PVD-coated titanium, represent that mix of European and Eastern culture that is representative of Samsung’s own business.

Every inch of this rather elaborate design was made with meticulous attention to detail and symbolism. The three diamonds in the corner not only mimic a constellation but is actually a homage to Samsung’s original logo, the “three stars” from which the company takes its name. The green color of the watch dial might seem like an odd mix to the prevalent gold and black motif, but it symbolizes rebirth and prosperity, which also happens to be the color and theme of the Year of the Wood Dragon.

If the $15,070 price tag isn’t enough to mark this design as something only the elite can afford, the fact that there will only be 24 such devices made will definitely cement that image. The chances of meeting another VIP holding the same phone would be as low as meeting a mythical Korean dragon, but the prestige of owning a rare and enchanting piece of craftsmanship is all that matters to those who will be scrambling to fall in that very short queue.

The post Galaxy S24 Ultra by Caviar is a luxurious way to mark the Year of the Dragon first appeared on Yanko Design.

This versatile tiny camping trailer for your EV fits in a standard garage or an underground car park

Every new camper trailer – mini, small, or large – breaths fresh air into the camping sector and the buzz it creates is bound to reach us sooner or later. The latest buzzing entry is the Cube 1, a micro-campervan that’s turning heads with its interesting boxy design.

Conceived by the master crafters at the German outfit Sportcaravan, this is one of the tiniest trailers out there. Of course, some serious options have been scaled down to tow behind an e-bike; the Cube 1 with a 320-odd kg body may not be as small, but it is tiny enough to fit in a standard garage or an underground car park.

Designer: Sportcaravan

The Cube 1 measuring just 10.5 feet in length and 5.4 feet high breaks from the conventional micro-caravans and sets new standards with its compact dimensions and ease of use. As Sportcarvan mentions, it does not “require a trailer license and can easily be towed by a small car or an electric vehicle.”

While compactness and comfort are the key takeaways, it’s the camper trailer’s flexibility that wins it the title of “transformer among the mini campers.” Cube 1 is like a usual tiny trailer with an 81 x 51-inch double bed until you pull out the rooftop tent and access it through a campervan-like hatch. This optional roof tent creates more space in the compact body making the trailer apt for sleeping up to four with ease.

Cube 1 thrives on a fully insulated interior that renders it suitable for winter. It makes the trailer your camping companion for all year-round memorable experiences. But such an unforgettable experience is not possible without a kitchen. The Cube 1 thus has a slide-out shelf with a cutting board worktop and portable stove for outdoor cooking at the camp.

The trailer has a host of open shelves for storage, includes airline rails and a hook for holding cups and more. The capable trailer arrives in a basic shell for a starting price of €12,900 (approximately $14,000). The Cube 1 can be customized with an addon for a more capable adventure.

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Suchi Reddy: Design Tangents Episode Ten

Diving into the dance between emotion and logic in the design process with the acclaimed architect, artist, teacher and neuroaesthetics practitioner

Podcast
Design

Suchi Reddy: Design Tangents Episode Ten

Diving into the dance between emotion and logic in the design process with the acclaimed architect, artist, teacher and neuroaesthetics practitioner

Our latest Design Tangents podcast guest, Suchi Reddy has inspired COOL HUNTING writers, editors and readers for years now. The founder of the architecture, art and design firm Reddymade, Reddy is an architect, artist, teacher and a practitioner of the mantra “form follows feeling.” Her roster of perspective-shifting works includes the mesmeric large-scale installation “Look Here” inside Washington DC’s National Building Museum, the immersive “me + you” sculpture for the FUTURES exhibition at the Smithsonian Arts and Industries Building, the beloved “X” pavilion for Times Square Arts and a range of residential and commercial architectural projects including Google’s first retail store. Reddy, a passionate thought leader in creating spaces that make us feel, was the ideal guest to discuss the dance between emotion and logic in the design process; her insights inform and inspire.

The breadth and depth of Reddy’s work is unified by her values and distinct perspective. “I do not look at people’s work and say that’s interesting to me because of a style,” she tells us. “It’s interesting to me because of its substance—because of the idea that’s being explored. People ask if I’m a modernist? Yes, I am. But mostly, however, I’m a serenist. I will make whatever you want—but serene. If you’re a maximalist, or a developer that wants a beautifully energizing space, that’s what I’ll do, because I want to try to understand the feeling of the space or project that I need to communicate.” Reddy wants to direct design conversations around style to that of “the democratic space of the body. I want people to be able to understand spaces through their senses, through their feelings.”

I want people to be able to understand spaces through their senses, through their feelings

Suchi Reddy

For Reddy’s practice, art and architecture work in tandem. Her contributions to the public art space also allow her clients access into her brain. “My practice is quite unusual in that it covers architecture, interior design, public art installations and artistic works. We’re also interested in the research that underpins the workings of neuroaesthetics, a study that looks at how spaces and experiences impact our brains and bodies.” Through neuroaesthetics, Reddy designs an agenda of equity, equality, agency and empathy for all that she creates.

“21 years into doing this, what keeps me going is the fact that I feel this incredible satisfaction when something is made,” she says. Whether her work manifests as a private residence, or a collaboration unveiling at Milan Design Week, it is predicated on an understanding that we build our worlds outward from our bodies—and feelings will always influence our intepretation of everything that we see. Listen to the latest episode to learn more about the ways that form follows feeling.

Subscribe to Design Tangents on all major podcast platforms, including Apple and Spotify, so that when each episode comes out it’ll be ready and waiting in your player of choice.

Design Tangents is presented by Genesis and produced and edited by SANDOW Design Group. Special thanks to the podcast production team: Rob Schulte and Rachel Senatore and to Amber Lin for creating our show art. Discover more design podcasts from SURROUND at surroundpodcasts.com.

Estudio Albar completes cork-clad Casa Eñe overlooking Spanish national park

Casa Eñe by Estudio Albar in Spain

Spanish practice Estudio Albar has used cork cladding to help this home near Madrid blend in with the scrub-like landscape of a neighbouring national park.

Named Casa Eñe, the home is located half an hour’s drive from the Spanish capital and was designed for clients who wanted a home that would have a minimal impact both visually and environmentally.

In order to “unify the plot and the park”, Estudio Albar removed a row of hedges classed as a prohibited species that previously separated the two, opening the site up to dramatic views across the landscape.

External view of Casa Eñe in Spain
Casa Eñe is a Spanish home overlooking a national park

“At the north boundary of the Casa Eñe plot, beyond the great hedge barrier that had been unmaintained for decades, the natural park was located,” said Estudio Albar founder Daniel Lozano.

“Hectares of holm oaks and rockroses, a place where you can cross paths with deer, wild boars, and even wolves just half an hour from Madrid,” he told Dezeen. “We couldn’t block those views, we had to integrate them into the project.”

To allow every space to enjoy these views to the north as well as sunlight from the south, Casa Eñe is organised in a long, narrow plan measuring six by 40 metres and topped by a large rooftop terrace.

Garden view at home by Estudio Albar in Spain
It is clad in cork

Two corridors extend down either side of the home, with living spaces and bathrooms organised in the centre. Sliding doors and curtains allow these areas to be opened up or closed off when greater privacy is required.

On the first floor, Estudio Albar has created an independent “pavilion” containing an office accessed by an external spiral staircase.

Casa Eñe exterior by Estudio Albar
South-facing windows help warm the home during the colder months

The orientation and narrow plan also make Casa Eñe easy to heat and cool, with the south-facing windows helping to warm the home during winter. These are sheltered by vegetation during summer.

While helping the home to blend with its surroundings, the cork cladding also helps to keep it warm thanks to its insulating properties. Cork is a renewable material harvested from the bark of the cork oak tree, which is biodegradable, durable and insulating.

According to Estudio Albar, the home is so well insulated that it meets the Passivhaus standard – a certification given to low-energy buildings with high levels of insulation and airtightness – and requires just three small towel radiators to keep it warm.

Casa Eñe is built from a prefabricated timber frame and finished with white-walled interiors, warmed by pale wooden frames and fittings. The interiors are kept purposefully minimal to focus attention towards the landscape views.

Living space of Casa Eñe in Spain
Pale wood frames the windows

“We believe in simple architecture. We don’t like artifices or the superfluous. If something doesn’t contribute to the architecture, it should be eliminated,” Lozano told Dezeen.

“The elongated shape allows us to create a fluid house. All the communications in the house are taken to the perimeters. Not even when walking around the house did we want to lose sight of the field,” he added.

Bathroom of home by Estudio Albar
The interior is defined by white walls and light wood

Other homes that have recently made use of cork cladding include a pair of apartment blocks in Belgium by Officeu Architects and a “camouflaged” home in Portugal designed by Inês Brandão Arquitectura.

The photography is by Imagen Subliminal.

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Nem Architectes flushes French hillside villa in pink for Lancôme perfumery

Pink villa Domaine de la Rosa for Lancôme by Nem Architectes

Paris-based Nem Architectes has renovated a villa in Grasse, France, transforming it into a bright pink tourist destination named Domaine de la Rose for beauty company Lancôme.

The villa contains lounge and meeting spaces that can host perfume-making workshops, events and exhibitions, designed as a place where visitors can learn about the Lancôme brand and perfumery. Nem Architectes also added a perfume distillery and warehouse underground.

Pink Domaine de la Rosa by Nem Architectes
Nem Architectes covered a building on the Lancôme estate in pink. Photo by Laziz Hamani

Surrounded by floral gardens used to make perfume, Domaine de la Rose is located on the Lancôme estate in Grasse, which is known as the world’s perfume capital.

“The purpose of this design is to create a functional, practical, and sustainable building that can be both beautiful, contemporary and exemplary while showcasing the brand’s luxurious and exceptional heritage and artistry,” Nem Architectes told Dezeen.

Domaine de la Rosa Lancôme villa in France by Nem Architectes
It is located on a hillside in Grasse. Photo by Passage Citron

The studio removed all buildings on the estate except for Domaine de la Rose, which was painted striking pink and reroofed with locally-made pink glazed canal tiles.

The villa is comprised of a pair of two-storey wings connected by a single-storey lobby. The upper levels of both wings open onto the roof of the lobby below, creating a terrace with views of the surrounding hills.

Domaine de la Rosa Lancôme pink villa
A terrace overlooks the surrounding landscape

A path cuts through the centre of the building. One side features a circular tunnel entrance to the lobby, while the other entrance is sheltered by the terrace above, propped up by a column that appears like a stack of rocks.

Nem Architectes described its overhaul of the villa as a monolith, with a vibrant pink interior and exterior that stands out against the lush green landscape.

“It is a bold and striking sight, and it gives a tangible and unique form to the Lancôme brand,” said Nem Architectes.

“The estate can also be seen as a living and sensorial experience for the visitors and guests,” it continued. “Their visual, olfactive and acoustic senses are stimulated throughout the house and the garden, as they would be when using a Lancôme perfume.”

Domaine de la Rosa pink building in Grasse
The building was reroofed with pink tiles

Nem Architectes chose to renovate the existing building rather than build a new one for sustainability reasons.

The studio added lavender and rice straw in timber frames to the exterior, which was closed off with rigid wood fibre insulation boards to improve insulation.

Pink interior of Domaine de la Rosa Lancôme villa by Nem Architectes
Some of the interior spaces were also overhauled in pink

“It was decided early on that the building should be rehabilitated as opposed to completely levelled and replaced with a new one,” said Nem Architectes.

“This decision is in compliance with Nem Architectes and Lancôme’s concern for sustainability, as it saves resources and energy while paying homage to the local architectural heritage.”

Pink interior of Domaine de la Rosa perfumery
Domaine de la Rose was designed as a destination for visitors to learn about perfume-making

Nem Architectes was founded in 2008 by Lucie Niney and Thibault Marca.

Other pink buildings that have been featured on Dezeen include a cultural institution in Lima that was renovated to have pink walls and an apartment renovation in Mexico with arched openings.

The photography is by Cyrille Weiner unless stated.

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The Minimal Phone mixes BlackBerry and E Ink to minimize your phone use

As useful as our powerful smartphones might be, they have also become the bane of modern society. Not only are they the source of most of the distractions that bombard our consciousness day in and day out, they also developed this rather odd scenario of paying more attention to a social circle of virtual strangers than to the people physically present around us. It’s practically too late to go cold turkey and turn our backs on smartphones, regardless of whether we actively use social media or not, which is why there have been attempts to distill the experience down to the essentials, both in software as well as in design. The latest attempt at a minimalist phone, literally called The Minimal Phone, puts a rather interesting twist to that idea by marrying the gentle and almost laid-back nature of an E Ink screen with a QWERTY keyboard that’s long been associated with productivity and busyness.

Designer: Andre Youkhan (The Minimal Company)

You’d be forgiven if you looked at this design and presumed it was a variant of the BlackBerry Passport or a shrunken-down old Kindle with a Keyboard (yes, those existed at one point in time) because that is exactly how this device would look like to those who have seen enough of tech history to know these devices. It’s a hardware combination that has been done before, albeit now in a smaller and more modern style, but the purpose is completely different. Rather than encouraging the use of the device, the design is, in fact, ironically meant to make you use the phone even less.

BlackBerry Passport

While E Ink is great for reading text for long periods of time without straining your eyes as much, their low pixel density, low refresh rate, and lack of vibrant colors would make them terrible for the most distracting uses of smartphones, namely social media, videos, and aimless web browsing. The relatively smaller size and square aspect ratio of the display, something familiar to BlackBerry users, is also less conducive to most online content that presumes a tall smartphone screen. The idea behind The Minimal Phone, then, is to still provide the common smartphone experiences but in an environment that would make you want to just get a reply out quickly or search for the correct information and then stop.

Kindle Keyboard

Strangely enough, The Minimal Phone almost does a U-turn by squeezing a QWERTY keyboard into the design, which would normally make typing and productivity easier. That said, typing on a slow E Ink screen can be an infuriating experience and would be contrary to the mindfulness that the phone wants to cultivate. A QWERTY keyboard offers a faster and more pleasant experience so that users can swiftly peck out a post and then put The Minimal Phone back in their pocket.

While the theory sounds reasonable, there is still a lot about the implementation that is unknown at this point, other than having a 4,000mAh battery that’s promised to last around 4 days. There will be a custom Android-based OS that will take advantage of the unique form factor and objectives of the design, but there’s no guarantee that Google Play will make its way to the unconventional device. A crowdfunding campaign set to launch next month will judge whether the concept will strike a chord with people tired of noisy smartphones or if it will be just another forgotten attempt at curbing our tendency to be distracted by every ping and buzz.

The post The Minimal Phone mixes BlackBerry and E Ink to minimize your phone use first appeared on Yanko Design.

Body Scan Scale

Recent Withings scales have consistently integrated professional level tech into home devices, and when they debuted the Body Scan scale at CES in 2022 we were excited for it to launch. It’s finally available and our review unit has impressed, providing even more reliable data and body composition analysis because of its hand held retractable bar, which provides more specific and more detailed measurements, all of which are stored in your profile for comprehensive, easy review.

"What a mess, I love it" says commenter

Star shaped Serpentine Pavilion 2024

In this week’s comments update readers are discussing the announcement of this year’s Serpentine Pavilion, designed by Mass Studies founder Minsuk Cho.

Named Archipelagic Void, the 23rd pavilion is set to open in London’s Kensington Gardens in June 2024 and will consist of five structures described as “islands”, arranged in a star shape around a central void.

Minsuk Cho Serpentine Pavilion 2024 plans
Minsuk Cho reveals star-shaped 2024 Serpentine Pavilion

“What a mess, I love it”

Commenters weren’t all immediately won over by the design. “Not grabbing me”, was JZ‘s initial reaction. Although they did allow for some optimism, writing “hope it ends up a pleasant surprise.”

In a comment that was upvoted five times, Ati-st suggested “Serpentine should just cancel the pavilion programme and stop wasting building materials if they aren’t committed to doing this properly anymore”.

They continued “it’s been a long while since they had anything inspiring there”.

Souji was much less forgiving, declaring “this is just an eyesore”.

However, JB embraced the designs, exclaiming “what a mess, I love it”. Meanwhile, John argued that Cho’s design was “much better than some in the previous years!”

What do you make of this year’s Serpentine Pavilion? Join the discussion

The Line as part of Neom in Saudi Arabia a risk to birds
The Line megacity “to pose a substantial risk to migratory species”

“Humans are a horrible species”

Another story that got readers talking this week was about the impact that The Line megacity in Neom could have on birds.

The planned city in Saudi Arabia was highlighted as one of the most pressing conservation issues for 2024, due to the scale of The Line along with its planned mirrored facades, which have been highlighted as posing “a substantial risk to migratory species”.

Readers largely shared this concern about the project. “Who knew a giant mirrored wall would have a big effect on wildlife,” mocked Hosta.

Commenter J98A was also in disbelief. “Was this not considered before it was signed off? Or at least before the build began?” they asked. “Stupidly obvious.”

“The first thing I thought about when I saw this design was the birds,” wrote Henry. “Maybe it should be re-rendered to include splatters and bird corpses…or just not built,” they suggested.

For JZ, this all led to the simple conclusion that “humans are a horrible species”.

Do you agree? Join the discussion ›

Komma micro vehicle by Lowie Vermeersch
“Making cars electric is not enough” says Lowie Vermeersch

“Yes yes yes. At last. This is the holy grail”

Also stirring up interest in the comments section was an interview with former Ferrari-designer Lowie Vermeersch about Komma, a new type of micro vehicle designed to take up less space on roads and use less materials to manufacture.

Some readers were on board with the idea. “With climate change, there could be a huge paradigm shift in personal and public transportation,” mused Dik Coates.

Adrian James was impressed by the design, declaring “yes yes yes. At last. This is the holy grail”. Colin MacGillivray agreed and dubbed it “the future of urban transport”.

However, on the other side of the argument, Marc Sicard wrote “almost as much material as a car for the same functionality as a bike”. They concluded, “ridiculous, and no thanks”.

Could this be the future of urban transport? Join the discussion ›

Comments Update

Dezeen is the world’s most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days. 

The post “What a mess, I love it” says commenter appeared first on Dezeen.

"We need to design for human behaviour if we're ever to get rid of single-use plastics"

Packaging designs aimed at boosting recycling rates and reducing the prevalence of single-use plastics are destined to fail unless they help to change people’s behaviour, writes Matt Millington.


No one is particularly happy when they find out there’s plastic waste on Mount Everest, or in the deep oceans, or in human blood. It’s not controversial to say that we need to stop churning the stuff out and throwing it away.

One way for businesses to tackle single-use plastics is to design their packaging to be reusable, but so far efforts have not succeeded at scale.

For example, reusable McDonald’s cups are only getting a 40 per cent return rate from customers in Germany, despite consumers paying a €2 deposit. When Starbucks trialled reusable cups in the closed environment of its Seattle HQ, where returning them is presumably straightforward, the return rate still didn’t exceed 80 per cent.

We weren’t exactly succumbing to dehydration on the streets before coffee shops designed takeaway cups

It’s not that we don’t care: research suggests consumer motivation towards environmentally positive behaviour is high. It’s that as a society we have developed an expectation of convenience: to have what we want, when we want it, without any consequences.

This is entirely unreasonable – we weren’t exactly succumbing to dehydration on the streets before coffee shops designed takeaway cups – but while it persists, consumers are very unlikely to switch to reusable alternatives if it puts them out. And without a high return-and-reuse rate, reusable packaging is usually worse for the environment, owing to the much higher quantities of plastic involved.

This is why we need to design for human behaviour if we’re ever to get rid of single-use plastics. You cannot control what people will do with packaging once it leaves your premises, but you can influence them by factoring behavioural psychology into the design of the packaging itself.

The first step is understanding how consumers interact with the pack, throughout its lifecycle. Where are they and what are they doing when they open it? What’s their headspace? How about when they’re finished with it? There’s a big difference between how someone interacts with a reusable plate after a meal in a cafeteria, and how they interact with the reusable salad bowl they’re gobbling from on the lunchtime rush back to the office.

Then it’s about understanding the levers you can pull to nudge people towards more planet-positive decisions. Behavioural psychology shows there are three factors that work together to drive behavioural change: increasing consumer motivation to recycle or reuse, raising their ability to do so, and providing a trigger to remind them.

Take plastic bags. While usage of single-use bags has dramatically decreased in the UK since legislation requiring retailers to charge for them came into force in 2015, reusable alternatives have had mixed success. According to a report by the Environmental Investigation Agency and Greenpeace, 57 “bags for life” were sold for each household in the country in 2019 – more than one a week.

It’s possible to go too far in signalling that a pack isn’t disposable

Online grocer Ocado uses recyclable bags instead, but it has had success in achieving returns because it pulls all three behavioural psychology levers. Consumers are happy to receive bonus reward points for each bag they give back (motivation).

The bags are straightforward to return and customers know not to throw them away because of their clear messaging and distinct off-grey colour, which follows from not using harmful bleaching agents (ability). And because the driver usually asks for old bags after delivery, they’re unlikely to forget (trigger).

Ability is the key consideration. If you wanted to return the packaging from a takeaway burger meal, it would mean washing and then carrying around a bulky burger box, fries box and cup, and either making a special trip to the restaurant or waiting until you happen upon another branch.

New Zealand start-up FOLDPROJECT has done some interesting work here, trying to make boxes more portable. It’s a simple idea: a machine-washable lunch kit that packs down to a flat sheet. The challenge is that because it is so minimal, its form and material make it look disposable.

One way to ensure a reusable design communicates its intended purpose is through material choice. For example, using explicitly post-consumer recycled plastic could be a visual shorthand to communicate a planet-positive intent, as could using longer-lasting materials like glass or stoneware.

Interestingly, it’s possible to go too far in signalling that a pack isn’t disposable. When McDonald’s introduced reusable packaging in its restaurants in France, it found the packaging kept disappearing, only to reappear on eBay. It looked reusable and on-brand, but was too novel for some, defeating the object.

So long as we have bins on every street that lead directly to landfill, we are going to struggle

Businesses cannot just switch to reusable packaging – even when intelligently designed – and expect results. So long as we have bins on every street that lead directly to landfill we are going to struggle.

We therefore need to think beyond just designing the packaging to be sustainable, and think about how we design systems to be sustainable. In a circular economy that means service and experience design, packaging, industrial design, marketing, data, artificial intelligence and logistics all working hand-in-hand to keep the pack “in the loop”. It will therefore need to be an ecosystem effort.

We’re already seeing innovations that can help make reuse and return viable in the age of convenience. For example, when is a bin not a bin? When it’s a Bjarke Ingels Group-designed TURN system – a remote, digitally connected, RFID-enabled, packaging-asset reclaim and sorting network, which rejects unwanted trash.

Similarly, we’re seeing nudge messaging along the pack journey, and even packs that communicate their status themselves. Scottish start-up Insignia has designed colour-changing labels that reveal how long a pack has been exposed to the environment. Imagine taking this further, with reusable packaging telling you what to do with it, and offering prompts or rewards to encourage you.

Reusability hasn’t hit scale yet, but we should be optimistic that it can, not least because we’ve been there before. Milk deliveries were once the norm, with bottles returned, not discarded.

There’s no reason that we can’t get back to this more sustainable approach across the board, without having to endure too much inconvenience. All that’s required is a little ingenuity, and a lot of collaboration.

The photography is by Jas Min via Unsplash.

Matt Millington is a sustainable-design strategist at PA Consulting.

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