It’s estimated that 7 billion people will live in cities by 2050. With 80% percent of the carbon emission coming from cars on short journeys traversing these urban centers, it’s clear that alternatives are more than necessary and that these new options need to comprise much more than just luxury cars.

Tapping into the growing demand for micromobility is the aptly-named Rivian sub-brand ALSO. It’s just launched TM-B is an easily configured yet durable kit-of-parts electric bike conducive to the changing needs of everyday life.

“Our vision is to bring together the latest technology with fun, thoughtful design to create small EVs that inspire people to adopt these more efficient modes,” says Chris Yu, President of ALSO. “This launch has been years in the making and it is just the beginning of a broader platform we are building that we believe will catalyze adoption globally.”

TM-B is marked improvement on the rudimentary, battery saddled electric bikes we see often zooming around the neighborhood, used to hastily deliver food or other items. Its one-touch, modular frame can be switched out for a wide variety of different size frames, as well as those more appropriate for different types of activity: the transportation of goods; commuting; simply taking a joy ride; or venturing out on the trails.

It can easily transition from being a light cargo hauler to what the Dutch call a bakfiets (children carrier). With a 100-mile range on a single charge, the TM-B can become one’s “everything” vehicle. For commercial use, there’s the TM-Q quad variation – replete with compact trailer – already used by Amazon.

The TM-B runs on ALSO’s proprietary DreamRide drive system. The hyper-customizable technology replaces the conventional direct mechanical connection. The 240 watts battery comes with energy density and USB-C fast charging. The portable digital touchscreen makes navigation and even taking calls a lot safer. An integrated lock system automatically secures the bike as its primary rider walks away.

Leaving no detail to chance, ALSO has “also” launched the Alpha Wave Helmet, fully equipped with a step-change in rotational impact protection release layer system.

“ALSO was created to develop technology and products that challenge existing expectations for what is possible in form factors smaller than a car or truck – I couldn’t be more excited about the potential for ALSO to help drive excitement for new modes of transportation,” says Rivian Founder and CEO RJ Scaringe. “We have built a ground-up technology platform that enables us to deliver rich, personalized experiences that get better over time, through the power of software.”

The ALSO TM-B eBike starts at $4,500 and is available at ridealso.com.

Photography courtesy of ALSO.

Most of the conversations in architecture these days are about place-making – reformulating or creating spaces that better reflect the physical and culturally-ascribed characteristics of their surroundings. For many the term is being quickly cliched; simply used as a marketing ploy: gimmicky solutions that are surface level at best but often permanent. What would happen if this formula was turned on its head and the early modernist notion of modularity – pre-produced kit-of-part components brought to and assembled on almost any site – was reintroduced as a way to better frame these settings, allowing their histories to unfold with almost no tampering.

Cue heritage Italian bathroom brand Agape and its just debuted Pavilion Sei sauna concept. Developed by Michele de Lucchi Studio partner Nicholas Bewick, the “micro architecture” design reflects the brand’s long-held systems thinking philosophy.

First articulated in the 1970s, this ethos centers on the idea that objects don’t exist in inert vacuums and are instead influenced, constantly reshaped, by their implementation: their use but also placement among other objects and spatial elements. Agape’s diverse bathroom collections were all imagined as such: networks of furnishings, fixtures, and luminaires that can be interchanged, and in turn, customized.

This approach has also led to innovations in how typologies one might otherwise take for granted – a tap for instance – could be entirely re-configured, influencing a change in how it is employed. Introducing new materials and processes has also been central to this progressive evolution. Balancing between standardization and the potential of individuality and idiosyncrasy – perhaps a better way to reflect the essence of a locale than so-called “place-making” – Sei serves as a kind of canvas for different experiences, mostly centered on the recently solidified design principle of wellness.

As society moves away from other “harmful” forms of entertainment and respite, the bathhouse and sauna has reemerged as a more health-conscious type of third-place diversion. Specialized facilities are popping up in major urban centers as an antidote to the hustle bustle but also as portable units set up in more rural places. Sei emerges as an easily erected “space” with minimal impact on its environs. Traditional saunas are hermetically sealed. This system opens up to the outdoors.

Developed with sauna brand Effe and interiors solution firm Cesare Roversi, the “plopable” structure consists of a 6 by 6 foot open wooden frame, raised platform, and permeable roof with strategically placed daylighting exposures. Innovative glass partition walls help to contain the heat and steam emitting from the enclosed sauna module. The rest of the space features a Neri & Hu-designed washbasin and bathtub. Depending on the specificity of site or personal need, Sei also comes in two more compact Version B and C iterations. It’s an ideal addition to a backyard, rooftop, shared urban garden, or in the case of Agape’s bucolic Agapecasa HQ, the rolling farmland just south of Mantova, Italy.

The carefully chosen name of Sei derives from three sources. In Italian, it both references the number six – the carefully considered cubic proportioning of the pavilion – but also the notion of being present. In Japanese, the word loosely means life: the notions of nature, rhythm, and regeneration.

It’s standardized but given its sober aesthetic, it can blend-in easily, become part of a place and then be removed if so desired without much impact. The endless configuration of its components makes it far more agile than “placemaking” strategies that are far more set in stone, literally and figuratively.

To learn more about the Pavilion Sei by Nicholas Bewick and Agape, please visit agapedesign.it.

Photography courtesy of Agape.

AI coding bros right now are super-impressed with the latest version of Claude Code. This is a game changer! It’s is the future! You can’t deny it!

And you know. It turns out I can deny it — if they can’t give numbers to back up their claims. Because we can and  have measured AI coding effectiveness. We have a methodology. The AI bros just don’t want to measure. Wonder why that is.

We have one public study of AI coding performance that applied any reasonable methodology to the coding itself. That’s the METR study from July last year.

METR got 16 experienced open-source developers with “moderate AI experience.” The devs fixed real bug reports in their own projects. They used either Cursor with Claude Code or no AI help, at random.

METR actually screen-recorded and timed the work. The devs said they’d worked 20% faster — but they’d actually been slowed down by 19%. [blog post; paper, PDF]

And that’s why you have to measure. Vibe self-reports are wrong. You must measure.

The METR report itself is modest in its claims and lists all its obvious problems, they’re very scrupulous. It’s only sixteen subjects, n=16 — though that beats the usual n=1 anecdote, or n=0 given it’s always just vibes. METR uses early 2025 coding models, and all the bros will tell you the models are so much better three months in the future. (Whatever today’s date is.)

But if you’re not measuring, you’re just wasting everyone’s time spouting vibes.

AI bros keep refusing to understand the concept of measurement. I ask for measurements, they tell me how vibe coding feels so great! They say measuring coding performance just isn’t possible. I say METR literally did it, they say the METR study is outdated — but they do not redo the METR study better. They just want to pretend the METR study never happened.

And by the way, METR are huge AI coding fans. They’re literally AI doomsday cultists from the Effective Altruism subculture, they write studies about AI doomsday. METR were completely surprised by the numbers they got.

I’m not putting forward the METR study as some sort of gold standard. I’m saying that AI bros aren’t even bothering to meet this extremely low bar.

C’mon. Is there really nobody who can do a better job than the AI doomsday nutters?

Measuring your own performance isn’t hard. We talked in September about Mike Judge, who thought AI coding made him so fast — then he looked at the METR study, he measured his own performance properly, and it wasn’t really a big enough sample, but the numbers he had showed the AI had slowed him down about 20%.

Every AI proponent dismisses the METR study — but there doesn’t seem to be a single study since that’s even to that standard of actually measuring the work.

A lot of bros answer, but I just looove vibe coding. Look at all my vibe code! But if you can’t bring numbers, you’re wasting everyone’ s time. The bros are yelling vibes at people like they forgot what measuring is.

I saw one AI advocate put forward the 2025 DORA Report as more up-to-date evidence than the METR report. DORA is a unit of Google Cloud. The AI bros love the DORA report because it’s an unashamed promotion for AI. DORA says: [DORA, PDF, archive]

AI’s primary role in software development is that of an amplifier. It magnifies the strengths of high-performing organizations and the dysfunctions of struggling ones.

So if you get bad results from AI coding, you must be organising wrong!

What was DORA’s methodology?

Drawing on qualitative data and a global survey

DORA didn’t measure coding performance at any point. They asked devs how they felt about it. Then they literally drew graphs of the vibes! They even put error bars on their graphs of vibes! ’Cos that turns vibes into data, right?

Anyone who answers the METR study with the DORA study didn’t understand the question.

DORA did show that AI really speeds up feature delivery! You can tick off so many story points!

But this is well known — AI tools fix bugs, and they also add more bugs. One Jira leaves, three Jiras enter.

AI coding tools have improved. Now, instead of obvious bugs, they create subtle bugs.

In fact, IEEE Spectrum ran a story where an ardent vibe coder notices exactly that: “AI Coding Assistants Are Getting Worse: Newer models are more prone to silent but deadly failure modes.” [IEEE]

A task that might have taken five hours assisted by AI, and perhaps 10 hours without it, is now more commonly taking seven or eight hours, or even longer. It’s reached the point where I am sometimes going back and using older versions of large language models.

I strongly suspect a lot of the noisiest Claude Code fans had it do something for them apparently right, and they were completely one-shotted by it. They will do anything just to get that high one more time.

When these guys insist that Claude is so much better now? Show me the numbers for that. Or I don’t have to take you seriously at all.

• Video — Podcast

L8te was established by multifaceted British lifestyle brand LN-CC as a versatile, event-ready venue for music and performance. In 2025, the London hot spot played host to the company’s We Love Music era program as part of its 15th anniversary celebration. To mark the occasion, LN-CC teamed up with respected Swedish audio gear producer Transparent to develop the Transparent Speaker x LN-CC, a limited edition of 15 speakers emulating the 1970s style interior design of the ever-popular club but that also holds true to the tech company’s guiding ethos of circularity.

The speaker’s main feature: a semi-translucent rippled glass shell directly pulled from L8te but that also reflects Transparent’s philosophy of honest assembly and the sustainable proposition of unencumbered adaptation – the ability to easily change out and upgrade various components. It’s not often that a distinctive architectural feature can become an integral part of music equipment without turning into a digestible gimmick. The marriage of these impetus – both explicitly referential and functional – works well. At L8te, the striated material covers various walls and illuminates in a wide spectrum of colors to create various moods.

With 120W output, the Bluetooth 5.0 ready speaker is no less powerful than other models with Transparent range. All of the pared-back electronics essential to the device’s superior performance are evident – unconcealed and demystified. There’s very little superfluous apparatus and no fused-together material as is more common in other tech products. These elements are often intentionally engineered to be hard to dismantle so that consumers constantly buy new rather than retrofit older devices. Transparent’s approach, in this regard, is not just aesthetic but also substantive.

The experience of listening to music, especially in an ethereal, dimly lit club, can seem fleeting. Holding onto a tangible fragment of that moment is not always feasible. By carefully extracting a physical element – one that is also structurally sound and appropriate in this application – of the space in which that occasion took place is a clever solution. This memento of sorts is refined and efficient, as much as sentimental and even nostalgic.

To learn more or to purchase one of the 15 Transparent Speaker x LN-CC speakers, visit ln-cc.com.

Photography courtesy of LN-CC.

In the coastal terrain of eastern Japan, where salt air drifts through bamboo groves and mandarin orchards slope toward the Pacific, Cubo Design Architect conceived 10M, a residence that makes water its organizing principle. The home features 56,000 square feet of gently inclined land, creating the stage for an architectural project structured entirely around its 65-foot swimming pool, which functions less as recreational amenity than as generator of light, rhythm, and atmospheric presence.

The pool establishes the compositional spine, aligned deliberately with the citrus grove to the south. The architecture unfolds from this axis, all while keeping water as the home’s focus. The surface of the water catches fragmenting sunlight, creating a sparkle perceptible from every interior space. The manipulation of spatial sequence draws directly from Sukiya-zukuri architecture, the restrained aesthetic tradition formed from Japanese tea ceremony spaces. The entry unfolds through compression and release – a cave-like approach tunnel opens to a dim gallery, then through wide doors into the pool-facing expanse. The design forces adjustment of the eyes, amplifying perceived luminosity through controlled contrast.

The embedded tea room pushes this material and atmospheric precision through the function of the residence’s terminus. It borrows views into neighboring bamboo while deploying traditional elements – bark-wrapped columns, natural plaster walls, compositional gestures sourced from the 16th-century tea master Sen no Rikyū – with the architects creating their own reinterpretation.

The pared palette and minimal detailing function as perceptual training, heightening awareness of environmental shifts that richer surfaces might obscure. Wind in bamboo, water ripples, bird calls, and distant surf are framed as primary content rather than backdrop. Supporting this domestic life are functional insertions handled with equal economy – wine storage, guest quarters, fitness space, all subordinate to the larger atmospheric project.

To learn more about 10M and Cubo Design Architect, please visit cubod.com.

Photography by Koji Fujii / TOREAL.

At dMFK Architects’ London headquarters, the team designs for a range of clients, creating interiors for both work and play functions. When leadership decided to convert a former post-production studio, they envisioned a multipurpose hub to help foster connections in an increasingly digital world. “Our new space is a living sample library, opening dialogue internally and outward within our industry,” says Julian de Metz, director at dMFK Architects. “We’ve invited suppliers to bring in materials in development, with interesting sustainable narratives, or ones that haven’t been pushed out into the world yet, so we can test, discuss, and sometimes co-evolve an idea.”

Located at 76 Charlotte Street, the 2,000-square-foot basement-level space, dubbed Downstairs at dMFK, is accessed via a lushly planted mirrored lightwell, which creates the illusion that the space extends under the street. There are 16 workstations, meeting rooms, a kitchen, and a host of other sections that support focused tasks and group work. Vendors were invited to experiment in this ideal setting for their test products, as long as the items complemented the existing aesthetic.

In the materials library, for example, there is a curated selection of samples anchored by a terrazzo bar by Avantgarde Tiling, a company interested in exploring a new technology. Made from Thames flint, a stone that normally doesn’t bond with cement, the table uses a custom calcium sulfoaluminate binder, which securely holds the aggregates and incorporates aluminum by-products. Durable, repairable, and fully recyclable, the installation showcases innovation with material.

Finishes highlight dMFK’s commitment to sustainability. Sphere8’s seamless resin flooring made from castor beans and recycled plastic chippings enlivens the corridor. An absorbent SonaSpray Eco+ ceiling by Oscar Acoustics is made from recycled newspapers – the product’s first installation in London. These surfaces add to the sense of calm in the environment.

The perimeter walls layer texture and acoustic performance. The Collective’s fluted panels line booths, while at the shopfront, Daybreak curtains by Kvadrat’s diffuse sunlight, while the brand’s Divina fabric frames the rear wall and focus area, which forms a soft and cohesive envelope. A reused d&b Audiotechnik system, recovered from Spiritland’s Royal Festival Hall, delivers rich sound for talks, screenings, and other events.

The Living Room is a rotating furniture display curated by retailer twentytwentyone. The inaugural vignette includes William Plunkett’s lounge chair and daybed, upholstered in a textile derived from Anni Albers’ 1925 Wall Hanging. The pieces will be rotated quarterly, each a prime example of craft and form.

For the staff, this is a center of activity that came from a forgotten zone that will now evolve just as their work does. “Downstairs at dMFK was previously a windowless suite and storeroom,” notes de Metz. “The constraints became opportunities, and we knew we could transform it into something special. The space is flexible, and the continual exchange keeps the practice sharp and alive.”

For more information about Downstairs at dMFK by dMFK Architects, please visit dmfk.co.uk.

Photography by Ed Reeve.