At On Labs Tokyo, a unique experience center in Japan’s capital city, the future of sports innovation is on full show. From September 13-21, 2025, visitors can witness a robot spray a complete, ultralight shoe upper in just three minutes. This is not merely a technical demonstration; it’s a peek into how the Swiss sportswear brand On is blending cutting-edge technology with a deep attention for the human element of design. The pop-up space may showcase innovations like LightSpray technology and the Cloudboom Strike LS running shoe, but throughout, activations – from athlete talks and panels to workshops and runs – bring the city’s sports community together to emphasize how the athlete remains at the heart of their design process.

designboom spoke with Pablo Erat, Director of LightSpray, and Johannes Voelchert, Senior Lead for Innovation Technology Exploration, at On Labs Tokyo to explore the brand’s new innovation, athlete-led design, and community engagement.

designboom visits On Labs Tokyo to see LightSpray in action

all images courtesy of On

ON’S LIGHTSPRAY REVOLUTION

On’s design philosophy is rooted in Swiss engineering and a commitment to precision and efficiency. This approach has given rise to LightSpray, a revolutionary manufacturing process that enhances a robot to create ultralight, seamless shoe uppers in a single step. The brand‘s innovative technique sprays a shoe upper in just three minutes, reducing production time and paving the way for localized manufacturing.

‘LightSpray is the future. It is a radical sustainable technology in itself. It has created a shoe upper from just one material. We can develop new designs by manipulating filament into several shapes. There’s a lot to play with, and at On, we wish to be the leader of this material technology,’ begins Johannes Voelchert, Senior Lead for Innovation Technology Exploration.

the revolutionary manufacturing process uses a robot to create ultralight, seamless shoe uppers in a single step

LightSpray also ushers in a new era of sustainability. The process significantly minimizes waste and reduces an upper’s carbon emissions by 75% compared to other On racing shoes. It’s a technology that not only enhances performance but also helps the planet. The first product to feature this innovation, the Cloudboom Strike LS, weighs an exceptionally light 170g and provides a seamless, precision fit that adapts to the foot. This design introduces a completely new look and silhouette to performance footwear.

by spraying a shoe upper in three minutes, the process reduces production time and enables localized manufacturing

While the Cloudboom Strike LS is the first application of this technology, On’s team believes LightSpray has the potential to revolutionize all kinds of wearable products in the future, including apparel and accessories.

‘In the future, accessories and various types of shoe variations might be possible. It is important that On doesn’t produce something just because it can be produced with this technology. As a brand, we are very critical with ourselves. Even in terms of shoe models, we always ask ourselves whether we can significantly improve this product and if it truly solves the customer desire. If the answer is yes, then it makes sense to design and produce. This is what we need to consider for LightSpray,’ clarifies Pablo Erat, Director of LightSpray.

the Cloudboom Strike LS is the first application of this technology

ON ATHLETE, FEEDBACK, AND POWER OF COMMUNITY

Despite the focus on advanced robotics and automation, On’s design team highlights the crucial role of human input. The brand’s innovation is not solely driven by technology; it is sparked by the human body, mind, and environment.

‘Innovation and creativity is made by the friction between your environment and brain,’ explains Pablo. ‘Athletes are definitely a really important source. This is not only about the validation of something that we have developed, but how their ideas and feedback can spark completely new dimensions.’

On Labs Tokyo connects the sports community through activations like athlete talks, workshops, and runs

‘On works in a very human way. This collaboration extends from technological development to athletic performance. The human factor of athletes means we can tailor innovations to those special needs. It is so valuable to work closely and gain their visions,’ notes Johannes.

Athlete feedback is a vital source of inspiration. On works directly with high-performance athletes like Olympic medalist Hellen Obiri and two-time Tokyo marathon winner Sutume Asefa Kebede, who have been wearing development versions of LightSpray shoes in races since April 2025. The rapid prototyping capabilities of LightSpray allow On to test different design variations with athletes and quickly iterate on feedback, a process that can happen from day to day. This collaborative approach ensures that the final product truly solves a problem and meets a specific athlete’s needs.

‘Our interactive design process is a huge advantage,’ adds Pablo. ‘Our lab allows athletes to work directly next to where we work, meaning we can do a 3D scan of their foot, make a prototype that can be tested, and create iterations basically from day to day. This is more important in terms of the early stages of product development. With multiple different athletes, we can do a lot of variation to figure out the best product model for the athlete, develop it, and launch future models.’

visitors can get personalized running analysis, trial On’s latest products, and see LightSpray in action

Community activations, like the one in Tokyo, are essential to this philosophy. On Labs Tokyo is a space where the public can get a personalized running analysis, trial the brand’s latest products, and see technology like LightSpray in action. These events foster a connection between the brand, athletes, and the community, reinforcing the idea that innovation is a shared journey.

In a world increasingly shaped by automation, On’s approach to design stands out. By prioritizing the human element – from the insights of elite athletes to the dreams of its innovators – the brand is proving that even the most advanced technology should be built on a foundation of creativity, community, and a commitment to bettering human performance.

from September 13-21, 2025, On Labs Tokyo connects On, athletes, and sports enthusiasts

the rapid prototyping capabilities of LightSpray allow On to test different design variations with athletes

the experience center emphasizes how athletes remains at the heart of On’s design process

Johannes Voelchert, Senior Lead for Innovation Technology Exploration, led the LightSpray development

project info:

brand: On

event: On Labs Tokyo

location: 6-35-6 Jingumae, Shibuya, Tokyo, Japan

dates: September 13-21, 2025

The post On Labs Tokyo demonstrates human-centric design philosophy in robotic world appeared first on designboom | architecture & design magazine.

SwitchBot unveils AI Pet, a furry robotic teddy bear that talks to people, displays emotions, and ‘grows’ with its users. Revealed during the IFA Berlin 2025, which runs between September 5th and 9th, the device can sit in houses, converse with people, and assist users with their tasks and questions. It has two AI systems: the first one works within the robot, which processes the language. The other works on the internet servers.

This one processes the ‘vision’, which allows the robotic SwitchBot AI Pet to use its cameras as eyes, microphones as ears, and speakers as a mouth. To make it more toy-like, the company dresses up the device with a fuzzy, furry material like fur. It allows the user not to be scared of the moving gadget, especially when it moves, blinks, shows emotions through its eyes, and speaks. Its face can also change colors and make different expressions.

all images courtesy of SwitchBot

Home gadget that can express happiness, sadness, and more

The company says that the robotic SwitchBot AI Pet can show happiness, sadness, loneliness, hunger, and even jealousy, to name a few. Each emotion has its own facial pattern and voice sound, as well as body movement. Because the gadget is driven by AI, it can learn from its users through conversations and remember their faces and names, daily routines, house rooms, and even what they’ve talked about. All of these are stored in its memory data.

The robot has cameras in the face to see its surroundings, and the installed AI system identifies what they see, as well as tracks motion. Because of its microphones, the robotic SwitchBot AI Pet can understand words and create voice responses. The team says it comes with a ‘synthetic’ voice to make the users feel as if they were just talking to a human. The device can answer questions, give advice, sing songs, play games, and even make jokes.

SwitchBot unveils AI Pet, a furry robotic teddy bear that talks to people and displays emotions

responsive assistive device that can roll around

When it comes to its physical movement, the robotic SwitchBot AI Pet can sit on surfaces and turn its head. Its eyes can move left and right, and its body can tilt forward and backward. It is because of the motors installed inside its body, positioned with sensors around them. The gadget can also connect to WiFi networks, which can allow it to send data to cloud servers and receive software updates. Through this, the device can download new features, too.

Material-wise, the exterior of the robotic SwitchBot AI Pet uses soft, synthetic fabric, while the internal frame is wrapped with plastic components. The electronics use silicon chips, and the screen comes with LED technology. The size of the device is compact enough to fit bedside tables or shelves, and it is lightweight enough to be carried. Because of its wheels, it can roll around when the users ask it to go to them. It has an internal battery backup and goes into sleep mode to save power. The robotic SwitchBot AI Pet has been unveiled at the IFA Berlin 2025.

the robotic SwitchBot AI Pet can show happiness, sadness, loneliness, hunger, and even jealousy

each emotion has its own facial pattern and voice sound, as well as body movement

the robot has cameras in the face and body to see its surroundings

users can dress up the device, too

project info:

name: Switchbot AI Pet

company: Switchbot | @theswitchbot

The post switchbot AI pet is a furry robotic teddy bear that talks to people and displays emotions appeared first on designboom | architecture & design magazine.

Shaun Wellens conceives Kriket 3000, a concept humanoid that portrays how people in the 1950s and 1960s used to imagine futuristic robots. In a way, the project brings back the way people imagined the future. In the designer and artist’s work, the retro-futuristic reimagination comes through, from the smooth, rounded shapes of its body and its blinking lights to its chrome and pastel finishes and a face with multiple large ‘eyes’ and screens.

Looking at Kriket 300, the humanoid robot, seemingly AI-equipped, has a small form, and its body uses soft curves and clean lines that feel like classic product design from the 60s. It is much friendlier-looking compared to the modern machines, and its colors use soft tones, similar to white plastic, which can be a common shade in home appliances and some toys. With this, there’s a familiar domestic feeling to the concept humanoid robot, which makes Kriket 3000 more human-feeling rather than a machine.

all images courtesy of Shaun Wellens

Human-like machine equipped with cameras and sensors

There are evidently upgrades in Kriket 3000 which many of the robots back then lacked. The small digital displays around its head flash battery percentage and animations that seem to evoke moving eyes. Cameras surround the concept humanoid robot for detection, and within the body and head, installed sensors can allow it to detect movement and touch. Given the modern technologies, it’s likely that the designer and artist Shaun Wellens imagines Kriket 3000 to operate with AI capabilities, including learning habits from its owners and applying them to tasks.

In the 1960s and 70s, robots were mostly machines used in factories or even in science experiments. They were tasked to mainly build, especially automobiles, and they were mostly automated or arm-like. Take Unimate, dubbed the first industrial robot introduced in 1961. It worked on a General Motors car production line, moving hot metal parts that were too dangerous for people working there. These early robots didn’t have a face or look human-like; they were made of metal and followed uniform instructions. Since the advent of AI and many other new technologies, the faces and features of a humanoid robot seem to fall in line with how Kriket 3000 appears: equipped with sensors and cameras and able to talk to people and complete tasks on its own, to name a few.

project info:

name: Kriket 3000

design: Shaun Wellens | @shaunwellens

The post concept humanoid kriket 3000 draws design from portrayal of robots in 1950s and 1960s appeared first on designboom | architecture & design magazine.

Dmitry Morozov, known as ::vtol::, develops technology-based installations and kinetic sculptures that combine robotics, sounds, coding, and interactive systems. The Moscow-born, Ljubljana-based transdisciplinary artist and researcher centers his practice on electronic installations that react and respond to environmental changes and the proximity of the viewers. They include robotic systems, sound generators, and mechanical devices that operate independently once activated. ::vtol:: presented three of his recent projects at Sónar+D between June 12th and 14th, 2025, during which designboom also hosted a live talk with the artist.

In a recent interview, the artist, who’s the mastermind behind the tattoo-based instrument Reading My Body and wearable mask organ Last Breath, shares with us that when he creates works, he’s creating a form of entities with agencies rather than just tools. ‘Ultimately, I perceive my works as participants in a gigantic performance called technological art. This kind of art is very ephemeral, as the lifespan of any object is quite limited—either the electronics will break down, the software will be updated, or the mechanics will fail,’ he tells us.

view of Last Breath | all images courtesy of Dmitry Morozov, known as ::vtol::

microcontrollers process sensors and control mechanics

::vtol:: constructs his kinetic sculptures, robotics, sounds, and code-driven installations using electronic components, sensors, motors, and custom programming code, and each work includes microcontrollers that process sensor data and control mechanical movements. The systems respond to sound, motion, light, or other environmental inputs, allowing these machines to exhibit unpredictable behaviors that seem to react to the user’s mood and handling methods. The artist applies sculptural methods to electronic construction, too. Instead of following engineering protocols, he treats circuit boards, sensors, and actuators as sculptural materials. 

This approach of ::vtol:: produces kinetic sculptures, robotics, and installations that have personality traits with their operational patterns. Sound generation systems are often a recurring theme in his practice, where mechanical components create acoustic outputs through vibration, striking, or air movement. Electronic circuits process these sounds and feed them back into the mechanical systems, creating feedback loops. The works operate as autonomous performers, and sensors detect audience presence and environmental changes. The systems modify their behavior based on this input data, so different audience interactions produce varying mechanical responses.

side profile of Last Breath

Technology-based artworks that demonstrate lifelike behaviors

::vtol:: shares with designboom that while he creates what may be considered as a ‘set of electronic components and code’, he always puts his soul into these kinetic sculptures, robotics, and installations. After all, he’s partly a sculptor, and not an engineer, as he describes himself. ‘I grew up in the 80s and 90s when half of all devices were still analog. These devices behaved so unpredictably that it seemed to depend even on your mood transmitted in the field around the object. I believe this quality has also transferred to many of my works. Since childhood, I have been accustomed to perceiving devices not just as soulless objects, but as living beings,’’ he explains to us. 

It’s worth noting that he’s not inclined towards esotericism, but the artist admits that there is certainly more for people to discover about how living and non-living objects interact on different levels. As a result, the kinetic sculptures, robotics, and installations of ::vtol:: explore relationships between living beings and technological systems, and he investigates how people interact with machines that demonstrate lifelike behaviors. The installations then respond to human presence in ways that suggest awareness or intention. Below, we continue our conversation with the transdisciplinary artist and researcher, who tells us the beginning of his artistic journey, his creative process, the backstories of the projects he presented at Sónar+D in Barcelona, and the ways he sees the ever-evolving climate of contemporary digital art.

the exhaled air (its pressure and flow rate) activates the generative process

Interview with Dmitry Morozov, known as ::vtol::

Designboom (DB): Your practice spans kinetic sculpture, robotics, sound, and code-driven installations. Can you walk us through your trajectory as a transdisciplinary artist and researcher? What were some of the pivotal moments or turning points that shaped your current approach?

Dmitry Morozov / ::vtol:: : I started my journey as an artist completely unaware that I was one. I understand that this sounds unusual or even strange, but I truly became a media artist before I even realized it myself. Initially, I became very fascinated with electronic experimental music: formless, strange, and endlessly testing new ways of extracting and creating timbres. This led me into the world of electronics as a DIY practice: circuit-bending, DIY synthesizers, and so on. I began building my own synthesizers and strange controllers for creating and manipulating sound around 2006-2007. At that time, I didn’t yet understand that there was a vast scene where interactive art, multimedia, music, and sound art intersected. 

The format of installations, sculptures, or performances didn’t interest me much back then, although many of my early objects were in some way related to them. Everything changed when a few of my more knowledgeable friends in this practice told me that with my skills, I could easily fit into much more prestigious events like exhibitions and contemporary art festivals, unlike the underground noise concerts I was used to. All it took was to make my ‘instruments’ larger and more friendly for audience interaction. I tried it, and I really enjoyed the audience’s reaction; seeing viewers interact with your work is incredibly energizing.

‘топот-м’ explores the concept of an extended body

::vtol:: (continues): By that time, I had already created many instruments for other musicians, such as Aphex Twin, but usually, my instruments ended up in studios and collections, and you rarely receive feedback or get to observe how they are used. With interactive art, everything is quite different; essentially, you witness the act of interaction or observation, which is the artwork itself. It emerges at that moment, not when you finish creating the mechanism. At first, my works only included sound, but very quickly the media expanded – light was added, movement, more complex interactivity; the works became more conceptually thought out, addressing various complex themes – sometimes social, sometimes very abstract or historical (for example, media-archaeological). 

In fact, when you master one technical language as your tool – like electronics or programming – other ‘mediums’ become clearer and easier to learn quickly. The main thing is to understand the logic of data and signals and how they can interact with each other if needed. This rapidly and easily expands your expressive range. Thus, I quickly shifted to kinetic and robotic works, and since programming is necessary for their operation, you begin to see the potential in works that primarily consist of code, regularly venturing into that territory (for example, my project Hotspot poet). I believe that the combination of different media can greatly support each other when revealing a particular concept, especially if it is embodied in a design and visually appealing object.

‘you, me and all these machines’ is a performance for voice and electronic devices

DB: Your projects often carry a strong DIY ethic, open-source tools, hacked hardware, self-built systems. How do science, tinkering, and the ethos of experimentation inform your creative process? What role does risk or failure play in how you develop new work?

::vtol:: : DIY is the most important ideology in my work. I believe that an artist should do as much as possible by themselves and use as little ready-made material or outsourcing as possible. Of course, this approach can lead to absurdity, and one might even start making electronic components themselves (like my project Resistor) or wires, but I am endless in this pursuit, and whatever happens, happens. Essentially, the more that is done exclusively by you in your work, the more it reflects you, although this is not so simple in technological art. This leads to many mistakes – some of them are fatal for the project, while others open new horizons, often turning the meaning of the work 180 degrees. By introducing something into it that is beyond your control, you simply allow it to exist. 

Overall, I subscribe to the concept that ideas don’t belong to their authors; we are just lucky to snatch them from the flow of something and, given the right circumstances, embody them in a piece of art. Therefore, I am always happy to share both ideas and technical components of projects; this even affects their appearance. I rarely hide elements in a case; it is usually immediately clear how everything is made. In the last 5 – 6 years, I have also actively taken up teaching, which is very energizing. You systematize and structure your knowledge to share it more successfully, and this, in turn, inspires new ideas. It’s really cool to see how your students pick this up; you show them some technique that has become clichéd for you, and they suddenly apply it in a very unconventional way.

‘drop’ is a small automatic device consisting of a Geiger counter

DB: A few years back we published two of your projects, Reading My Body and Last Breath, on designboom. Can you take us inside the making of those pieces? What were the conceptual or technical challenges, and how did they evolve during the process?

::vtol:: : Reading My Body was initially inspired by some silly sci-fi movie where people had barcode tattoos that worked as passes to different zones. I liked the idea of a functional design on the body, but instead of control, I wanted it to be something more elegant. At that time, my friends were organizing a sound art festival of performances, and I decided to create a strange performance there – I would get a tattoo and make a robot that would use it as a score. 

Everything happened lightning fast; I drew the tattoo in Photoshop in probably about 20 minutes, then immediately ran to find a salon with an available artist, but it was already evening and everyone was either busy or didn’t want to do such a tattoo. Eventually, in despair, I stumbled into the last salon that happened to be on my way; everything there was in a biker-rocker style, far from what I needed, but they liked the idea when I started explaining it, and the artist did everything very quickly. I didn’t wait for the tattoo to heal and immediately started ‘building’ the object for reading it; a couple of times I touched the tattoo with the details – it was very painful and funny.

there’s a hydraulic system involved in the work ‘drop’

::vtol:: (continues): In the end, it turned out to be a very successful work – when I shot the video and posted the documentation, the project spread all over the internet. I understand that from both a sound and technical perspective, it could have been much more complex or successful, but everything turned out as it did – thanks to the DIY approach and quick decision-making! I was very pleased with myself, and a few years later, I learned that this project inspired experimenters at MIT Media Labs to conduct their research in this direction, creating smart tattoos for medical purposes. So sometimes even DIY artists can be useful to society. As for the project ‘Last Breath,’ it was born when I was in India in 2019 and became seriously ill with some virus. 

COVID was still a whole year away, so I anticipated a trend a year in advance; artists sometimes have good intuition. I was very scared of dying back then, but not because I was afraid for my life, but because I didn’t want to stop creating, playing music, and engaging in creativity. So, I essentially made myself a pre-mortem instrument, in case I could no longer move but would still be breathing. It turned out epic and even a bit brutal. This is, by the way, a good example to illustrate co-participation with a technological object – it cannot exist without me, and I cannot exist without it, but I do not define everything it does; the instrument has its own working algorithm, and all it needs from me is a flow of air. This significantly changes the hierarchy between the instrument and the performer, establishing rather a horizontal connection.

view of j2000.0

DB: This year, you presented a series of projects at Sónar+D’s Project Area. What did you showcase, and how does it build on, or depart from, your previous projects? Are there any shifts in your materials, methods, or conceptual interests that this new work reveals?

::vtol:: : I presented three works, quite different and from different periods of my life. The first work is ‘Drop,’ a small sound sculpture-fountain. The work uses a small Geiger counter that measures radiation levels. It’s a simple but very precise device capable of detecting even individual particles passing through it. There is always a slight background radiation on any point of Earth, which is absolutely normal. 

Each time one of the particles passes through the device, a drop falls from a small tube into a basin equipped with optical sensors that detect the ripples in the water after the drop falls. These sensors control a small synthesizer that produces sounds. The longer the device operates, the more complex its timbre becomes; that is, it is a sound composition developing over time, dependent on a natural phenomenon. It’s quite a meditative device.

iPot is a device for performing a digital tea ceremony

::vtol:: (continues): The second work is ‘Remember Me, Erase Me,’ which, strangely enough, has no sound. Essentially, it’s a selfie machine – anyone can approach it and take their picture simply by pressing a button. But as soon as they take the shot, the photo starts to distort as if it is being forgotten; they need to press another button to stop the degradation and print the photo. So, it’s like memories –  the longer ago something was, the worse the image is preserved, although it remains recognizable for quite some time. The third work is a collaborative project with artist Alexandra Gavrilova called ‘iPot.’ Essentially, it’s a robot for a tea ceremony. The machine heats water and then pours it into a transparent reservoir, above which there is a camera. After that, a small ball of Chinese tea falls from a tube, which looks like a blooming flower during brewing. 

This ball gradually unfolds, and the camera connected to a program tracks this and transforms its movement into digital abstract graphics and sound. After some time, this process stops, and the prepared tea is automatically poured into five small cups offered to the audience. Even in hot Barcelona, viewers were very happy to taste exquisite tea from such an unusual machine, especially after observing the entire process. Despite the fact that these works were created some time ago, they are still quite new, and in response to your question, I would say that the most significant change is a certain lyrical and poetic quality in my works that has become more characteristic of me in recent years. Perhaps long interaction with technology has generated in me a desire to convey increasingly human qualities using non-human agents.

‘reading my body’ is а sound controller that uses tattoo as a music score | read more here

DB: Looking ahead, what excites you most about where digital art is going? Are there any current trends or technologies you find troubling, ethically, politically, or artistically?

::vtol:: : I am closely following how contemporary digital art is changing. There are aspects that I really like – such as the fact that materials and many technologies are becoming increasingly compact and accessible. However, there are other things that I like a bit less – like how everyone has jumped on the AI bandwagon, even when it may not be particularly relevant to a specific project. The technology itself is wonderful and holds endless potential, but I often see its use merely in favor of trends. 

It would be foolish to deny its significance for art, but personally, I use it very little; perhaps that will change in the near future. What I undoubtedly appreciate is that AI has greatly simplified programming for people who have never learned it, and most artists are initially quite distant from programming. The way ChatGPT can skillfully handle code and assist in creating programs of various levels is astonishing; I see how quickly my students are progressing because of this. It opens up new horizons in art.

‘hotspot poet’ distributes wi-fi masked as wireless network

project info:

artist: ::vtol:: | @vtol_

name: Dmitry Morozov

The post inside the world of ::vtol:: and his kinetic sculptures, robotics and code-driven installations appeared first on designboom | architecture & design magazine.

Unitree unveils R1 and Robotera introduces L7, two humanoid robots that act and move more like real people. They are two of the many human-like devices these days that have more degrees of freedom in their movement as well as new technologies installed in them, letting them behave to resemble their living counterparts. Alongside these two, Fourier is also set to release its third model, the GR-3, in August 2025, and the company hints at it being more of a home companion and assistant that can freely move rather than an automated worker in a factory. Their high-performance hardware, real-time control algorithms, and biomimetic joint systems allow them to replicate how people move, even more so with increased agility. Unitree R1 has 26 degrees of freedom, enough to give it flexibility in the hips, knees, arms, and torso and make it walk, run, squat, kick, and even do cartwheels or handstands.

Usually these require coordination and balance across multiple joints, but in the bipedal humanoid robot’s case, it’s thanks to the joint systems and hardware it comes with. With Robotera L7, it’s similar, and its joints support 360-degree spins, jumps, and street dancing, which are some of the activities that normally require quick limb repositioning and core strength. The model uses quasi-direct drive joints so it can respond faster in terms of movement and reduce its own power loss. These humanoid robots from Unitree and Robotera, to name a few, have motors that can generate lots of rotational force, components that are very much needed to support and quickly move their heavy limbs or body parts, especially when they’re running, doing cartwheels, and springing back up.

all images courtesy of Unitree, unless stated otherwise

Assistive robotic devices that can balance themselves

The humanoid robots from Unitree and Robotera can exercise like people, too. For the former’s R1 model, it uses high-torque actuators to execute sudden shifts in weight and movements, so it can squat or step over obstacles while maintaining balance. L7, on the other hand, can adjust its posture in under 0.1 seconds, which the company says gives it the strength and speed needed to perform heavy-load movements, like jumping or lifting up to 20 kilos, without tipping over. Both devices also run real-time motion control systems to stabilize walking, running, and jumping. The R1 features balance control, while the L7 has protective layers and sensors in its joints to let it feel what’s happening at the moment and immediately adjust itself, if necessary, to stay balanced or keep moving.

Unitree and Robotera’s humanoid robots can also see and sense like humans. Unlike people, their visual and spatial awareness is digital and high-tech, with R1’s binocular depth camera and multiple sensors that can detect terrain and obstacles. For the L7, the camera comes with a spherical operational reach using sensors and a wide range of motion in the waist and arms. This allows it to perform delicate tasks like scanning barcodes or drawing curtains, adapting to object position in real time, making the device more ideal for workspaces like factories. They’re not human-like without having conversations with people, so for the R1 model, the team adds a 4-microphone array that lets it locate voices, follow verbal commands, and respond using built-in speakers.

Unitree’s R1 can run and jump like a real human

Modular design for the robotic body parts

The hands and arms of the humanoid robots from Unitree and Robotera are different. The L7 has a motor in each of its fingers with no gears in between, and because of this, it’s easier for it to pick up small tools or parts and use them precisely, just like a human hand. Its arms can sense and react 10 times per second, the company says, which makes it suitable for taking on technical tasks. They can also move in seven different directions, so the robot can reach, twist, lift, or adjust its hand position without moving the whole body. With R1, however, these parts are modular, meaning that it’s up to the owner to attach the extra parts like the arms and hands. 

These humanoid robots are customizable and programmable too. With R1, the user can personalize its walking styles, tasks, or AI behavior with either a software development kit or remote programming. L7 has a removable upper body, so in case the owner wants to use it for industrial tasks, they can choose to just use its upper body for automated tasks. Companies have turned their focus into making humanoid robots, like the ones unveiled by Unitree and Robotera, to act more like humans. They have different purposes, including helping in production, assisting people at home, and, possibly, entertaining humans. Research and improvements by the companies are still ongoing, but in the meantime, their current hardware, joint systems, and use of AI make them behave like real people.

Unitree R1 has 26 degrees of freedom, enough to give it flexibility in the hips, knees, arms, and torso

R1 robot doing cartwheels and exercises

Robotera L7 has motors in each finger, allowing it to move them like real human hands

Robotera L7 is ideal as a manufacturing handy helper

users can use the full body or the robot or only its upper part

the bipedal robot at work

Fourier is set to release its third model, the GR-3, in August 2025

the soft-looking GR-3 robot from Fourier hints at being more of a companion than a general-purpose assistant

the GR-3 also features animated eyes to make it more human-like

project info:

models: R1, L7, GR-3

companies: Unitree, Robotera, Fourier | @unitreerobotics

The post from unitree’s R1 to robotera’s L7, humanoid robots act and move more like real people now appeared first on designboom | architecture & design magazine.

Researchers at Columbia University develop robot metabolism, an idea and a system that allows machines to grow, heal, and even take parts from other robots by consuming them. This concept means that a robot can take materials from around it or from other machines and use them to build or fix itself, which is similar to how living things use food or other parts of nature to grow and survive. It is a new idea and a big step forward in robotics because it gives robots the ability to change, repair, and become better without any help from humans.

The main part used in Columbia University’s robot metabolism is called a Truss Link, a long stick-like part that has magnetic ends. These magnetic connectors are strong and can connect at different angles to other robotic parts. A single Truss Link, then, can grow longer or shorter, and it can also be added to other links to form bigger shapes or full robots. This system is inspired by a children’s toy called Geomag, which uses magnets to build different shapes, but unlike a toy, it is a powerful robot module that can move and change shape. It is 28 cm long when short, but it can stretch to 43 cm, and it weighs only 280 grams, which helps robots move and rebuild easily.

all images courtesy of Columbia Engineering, unless stated otherwise

Self-healing and -growing machines using truss links

Using Columbia University’s robot metabolism idea, machines can build themselves from small parts. For example, 2D shapes can come together and change into a full 3D shape like a tetrahedron, or a triangle-based pyramid, and after forming, the robot can even add more links to become stronger or faster. In one test by the researchers, a robot added one more Truss Link to itself, and the resulting new part worked like a walking stick and helped itself move downhill 66 percent faster. This study shows that the robot became better by growing with an extra part.

Another feature of Columbia University’s robot metabolism idea is the machines’ self-healing abilities. If one Truss Link is damaged, the robot can remove it and replace it with a new one it finds nearby. Sometimes, other robots can help by giving them a Truss Link or helping them connect it so they can survive and become ‘better.’ The robots can also fix their shape if they fall apart. If two parts of a robot are separated, the robot can put them back together, an approach called self-reconfiguration. It is important because most robots today cannot do that without a human.

researchers at Columbia University develop robot metabolism, a system that allows machines to grow

Eventually, robots may be able to build other robots

This robot design is modular so that the machines can rebuild themselves if one part breaks. In this way, there’s no need to produce a whole new robot, and it is easier for the user to repair them given that small parts tend to be mass-produced compared to larger components. The researchers say that the Truss-style modular robots are not new, but their work is the first time that these machines demonstrate how they can grow and improve themselves. Many older designs use cube- or ball-shaped modules, but those can make building big robots hard. 

Truss Links, with their stick shape and free-form connectors, are more flexible and allow for more open designs. The scientists at Columbia University believe the robot metabolism idea could be useful since these machines could be used in places where humans cannot go, such as space or disaster zones. They could build things, fix themselves, or help other robots, and over time, they could learn to survive and work on their own without human help. Eventually, robots may even be able to build other robots, but such a possibility must be approached wisely.

the main part used is called a Truss Link, a long stick-like part that has magnetic ends

these magnetic connectors are strong and can connect at different angles to other robotic parts

A single Truss Link, then, can grow longer or shorter | photo by Creative Machines Lab

this system is inspired by a children’s toy called Geomag, which uses magnets to build different shapes

eventually, robots may be able to build other robots

project info:

name: Robot metabolism: Toward machines that can grow by consuming other machines

institution: Columbia University | @columbia, @columbiaengineering

researchers: Philippe Martin Wyder, Riyaan Bakhda, Meiqi Zhao, Quinn A. Booth, Matthew E. Modi, Andrew Song, Simon Kang, Jiahao Wu, Priya Patel, Robert T. Kasumi, David Yi, Nihar Niraj Garg, Pranav Jhunjhunwala, Siddharth Bhutoria, Evan H. Tong, Yuhang Hu, Judah Goldfeder, Omer Mustel, Donghan Kim, Hod Lipson

study: here

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At Expo 2025 in Osaka, Suntory debuts Lidris, a robot that creates three-dimensional illustrations directly inside liquids using drink-drawing technology.

At Suntory’s Park Café pavilion, a glass of lemonade served at Expo 2025 includes the image of the fair’s mascot Myaku-Myaku suspended within the drink, not printed on the surface but formed directly in the liquid in real time. This unexpected moment is made possible by Lidris, the robot that injects food-safe inks with precise fluid control to transform an ordinary drink into a drinkable illustration.

The system behind Lidris combines elements of robotics, food science, and fluid mechanics. A compact drawing device, about the size of a standard coffee machine, uses a specialized nozzle system to inject colored liquids into a soft drink base, layering lines with enough control to maintain their shape within the fluid. The beverage itself is specially formulated to hold the drawings in place, with the right thickness and flow to keep the image clear and stable. According to Suntory, the resulting images can last over an hour indoors, even if the glass is gently moved or shaken.

images courtesy of Suntory

Customizable Beverages on Demand at expo 2025 osaka

While it may appear like a novelty, Lidris by the Japanese beverage company Suntory, is positioned as a broader rethinking of beverage service. The platform is designed to be flexible and customizable, with adjustable flavors, colors, and alcohol content to suit a wide range of occasions, from birthday parties and seasonal events to more commercial applications like branded drinks or themed entertainment. Serving the drink is intended to be part of the experience, with the machine completing the drawing in real time, allowing customers to watch as the design forms in their glass.

Beyond hospitality, the potential use cases for Lidris extend into education and science communication. The technology can serve as a tool for exploring fluid dynamics, food chemistry, and design in interactive and accessible ways. The pigments used to create the designs are made from natural sources, such as lycopene derived from tomatoes, and the machine is compact enough to be installed in small cafés or event venues, requiring just a 50-centimeter square space and a standard power outlet. Operation is simplified through a manual system designed for part-time staff. While still in development, Lidris offers a glimpse into how food, technology, and user experience might intersect in the near future.

Lidris creates three-dimensional illustrations directly inside beverages

the robot injects food-safe inks with precise fluid control inside drinks

the system behind Lidris combines elements of robotics, food science, and fluid mechanics

the machine completes the drawing in real time, allowing customers to watch as the design forms in their glass

the device uses a specialized nozzle system to inject colored liquids into a soft drink base

the resulting images can last over an hour indoors

the pigments used to create the designs are made from natural sources

project info:

name: Lidris

developer: Suntory | @suntory_jp

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Pollen Robotics introduces Reachy Mini, a programmable and animated desktop robot that can recognize faces, listen to voices, and talk to people. Designed to help users learn and explore robotics, coding, and AI, the device is compact enough to fit on a desk or small table, and it weighs 1.5 kilos, so users can also bring it anywhere, even in their travels. For programmers, the desktop robot Reachy Mini comes as a kit, meaning they can build the device themselves and install their own programs. It is also plug-and-play, so once it’s built, it’s ready to go and help.

In the open-source files, the robotics team gives the users around 15 behaviors so they can make the desktop robot Reachy Mini wave, turn its head, move its antennas, and even react to specific sounds. Because of its motorized head and body, it can move in different directions and ways, and the animated antennas also make the device more alive, as if it were a pet. The team believes that making the programmable desktop robot Reachy Mini animated helps it feel more alive and fun to interact with compared to just having an immobile smart device.

all images courtesy of Pollen Robotics

Animated Device that recognizes faces and answer questions

Pollen Robotics’ desktop robot Reachy Mini can see, hear, and talk to people because of its cameras, microphones, and speakers embedded into the device. The open-source files that the team, composed of Matthieu Lapeyre and Thomas Wolf, has uploaded can help developers of all levels program the device to their needs. With these tools, it can recognize faces, listen to voices, or answer questions, and even respond in a friendly way using AI models. At the time of publishing, the desktop robot Reachy Mini is programmable using Python, but the team says that in the future, it can also work with JavaScript and Scratch. 

There’s a Reachy community where users can download code from others and share their own programs, too. So far there are two versions of the desktop robot Reachy Mini, with the ‘full’ version having its own computer, wireless connection, and battery, so it can run without needing to be plugged in all the time. The team adds that the device has a simulation too, so developers can test and run their programs on a virtual robot before they install them in the actual one. Pollen Robotics has made all the designs, codes, and tools open-source, so anyone can use, see, and improve them. At the moment, the lite and wireless versions of the device are available.

the device can move its head sideways

the animated device can also ‘hide’ as part of its set of behaviors

it is compact enough to fit on a desk or be carried anywhere

the device can see, hear, and talk to people because of the cameras, microphones, and speakers installed

at the moment, the device is programmable using Python

video documenting the uses of the smart device

project info:

name: Reachy Mini

team: Pollen Robotics | @pollenrobotics

files: here

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432 small robotic movers have lifted off and relocated an entire Shikumen complex in Shanghai, China, to make way for the construction of a three-story underground development. Temporarily moved from its original site, the cluster of brick buildings’ location allows the developers to build commercial and cultural facilities, underground parking, and connections to three metro lines (Lines 2, 12, and 13) across more than 53,000 square meters.

To move the buildings, the engineers used 432 small robotic movers, which slowly transported the 7,500-ton complex around 10 meters per day starting May 19th, 2025. It was not a rapid relocation to reduce the structural stress and damage to the historic architecture during transit, and on June 7th, 2025, the complex was already brought back to the original site. The Shikumen complex in Shanghai, China, that was moved by the developers is the Zhangyuan block. The construction of the spaces, parking lots, and Metro connections under it has begun.

image stills via Shanghai Municipal People’s Government

Bringing back Shikumen complex in Shanghai, China

For the relocation and underground project, the engineers use mini robots designed to work in confined spaces. The first set is for drilling: a series of remote-controlled robots that can move through narrow corridors and doorways within the Shikumen complex in Shanghai, China. The next set is the one for the soil excavation, equipped with folding mechanical arms so these robots can operate in narrow passages. These robots use deep learning algorithms to identify the soil types and detect any underground and earth obstacles during the excavation process.

The construction company of Shanghai Construction No. 2 (Group), the one leading the underground development as well as the relocation of the complex, uses point-cloud scanning to capture a 3D model of the site. These scans were then integrated into Building Information Modeling software, and in return, it gave detailed blueprints that showed them any possible problems with the relocation. Bringing back the Shikumen complex in Shanghai, China, to its original site was completed on June 7th, 2025, and the engineers have now begun the construction of the underground project. So far, there’s no news yet on its completion date.

the mini robots under the Shikumen complex in Shanghai, China move the entire cluster of buildings

view of the original site of the block

relocated site of the complex | photo provided to chinadaily.com.cn

project info:

developer: Shanghai Construction Group (SCG)

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From June 16 to 22, 2025, Basel becomes home to the inaugural edition of Digital Art Mile— a new and ambitious initiative by ArtMeta that transforms the historic Rebgasse district into a vibrant epicenter for digital creativity. This week-long event runs in parallel with Art Basel and offers a curated alternative that addresses a conspicuous absence: digital art. Spread across Space25, the 4th Floor, and Kult.Kino Cinema, the fair gathers an international network of artists, curators, collectors, and technologists to explore how digital media reshapes the canon of contemporary art. With exhibitions, robotic installations, and conferences led by global voices in art and culture, Digital Art Mile invites both industry professionals and curious publics to rethink the boundaries of art in a digital age.

For first-time visitors, Digital Art Mile offers a paradigm shift. From interactive to historically rich displays, the fair seeks to challenge preconceptions. ArtMeta seeks to convince the skeptics that digital art isn’t just about speculation and NFTs— it’s about a rich, evolving art form rooted in dialogue and human imagination.

From June 16 to 22, 2025, Basel becomes home to the inaugural edition of Digital Art Mile | all images courtesy of ArtMeta

the fair introduces the digital art mile 

ArtMeta, co-founded by curator and digital art pioneer Georg Bak and digital entrepreneur Roger Haas, is carving out a distinct path for how digital art is experienced, understood, and collected. The platform originally emerged from their mutual desire to elevate digital art beyond novelty, rooting it instead within a broader historical and cultural narrative.

For its 2025 Basel edition, ArtMeta introduces the Digital Art Mile, conceived as a boutique fair with curated exhibitions and educational programming. Unlike conventional commercial events, its focus lies in thematic cohesion and historical dialogue, linking the legacy of early digital pioneers to the cutting edge of blockchain, AI, and Web3. Through its growing curatorial reach, ArtMeta positions itself as an anchor point in the evolving landscape of digital-native cultural production.

Hackatao – PAINTBOX – Primitives (2025)

artists, curators, collectors, and technologists all meet in basel

Digital Art Mile 2025 offers an immersive entry point into the pluralistic worlds of digital art, from generative image-making and robotics to blockchain-based collecting and AI-driven creativity. This edition’s programming explores intersections between human expression and machine logic, between analog legacy and virtual futures. Beyond exhibitions, the fair includes a four-day conference series at Kult.Kino Cinema that brings together leading thinkers such as Christiane Paul (Whitney Museum), Ian Charles Stewart (Toledo Museum Labs), Sebastien Borget (The Sandbox), and Prof. Dr. Thomas Girst (BMW). Through these multi-perspective discussions, the fair aims not only to showcase the state of digital art but also to create frameworks for its institutional integration, economic viability, and cultural resonance.

Bryan Brinkman in the studio of Adrian Wilson

Bryan Brinkman – Love Bytes (2025)

A central highlight at Rebgasse 25 is the ‘Paintboxed’ exhibition, a landmark collaboration between ArtMeta, Objkt, and the Tezos Foundation. It resurrects the Quantel Paintbox, a pioneering digital painting tool from the 1980s, celebrated for its pivotal role in transforming visual culture—from MTV graphics to the iconic posters of ‘Pulp Fiction’ and ‘The Silence of the Lambs.’ Paintboxed positions this forgotten chapter of digital history in conversation with the present.

Artists including Justin Aversano, Grant Yun, Ivona Tau, Hackatao, and Simon Denny were invited to create new works using one of the few remaining functional Paintboxes. Tau even collaborated with ChatGPT to receive step-by-step generative painting instructions, blurring the boundaries between human intuition and AI guidance. These new creations are displayed in lightboxes and paired with NFTs minted on the Tezos Foundation blockchain, allowing collectors to own dual manifestations of the same work—both analog and digital.

Sabato Visconti – Mecha Rosie (2025)

Coldie, Keith Haring – Decentral Eyes (2025)

Located at Rebgasse 31, the 4th Floor reimagines a former warehouse as a future-forward gallery ecosystem, hosting some of the most experimental names in the space. Objkt.com presents ‘We Emotional Cyborgs: On Avatars and AI Agents,’ curated by Anika Meier—a provocative exploration of virtual identity and post-human aesthetics. Robotic artworks take center stage in Bright Moments’ ‘Automata,’ which includes autonomous painting machines creating works in real-time. Historic pioneers such as Waldemar Cordeiro, Manfred Mohr, and Joan Truckenbrod are spotlighted by Mayor Gallery, RCM, and Galerie Charlot, positioning digital art within a longer, often overlooked lineage.

Other participants include The Sigg Art Foundation, Cypherdudes, LaCollection, and Sarasin Foundation, each offering unique vignettes into contemporary crypto culture. A lounge hosted by Tezos Foundation offers a space to engage with the underlying technology.

Exhibition view 2024 – Aleksandra Jovanovic 2 (2025)

Digital Art Mile expands its cultural footprint with a robust conference series held at Kult.Kino Cinema on June 17 and 18. The talks tackle vital topics such as the role of digital art in museums, the evolution of AI-generated creativity, and how corporations are adopting NFTs and digital aesthetics into their branding and storytelling. Notable sessions include ‘Digital Art in Museums’ featuring Christiane Paul and Ian Charles Stewart, and ‘Digital Art in Corporations,’ moderated by designboom, with insights from Miko Hensel – Team Head Tech Banking of Maerki Baumann, DooEun Choi – Vice President and Art Director of Hyundai Motor, Prof. Dr. Thomas Girst – Global Head of Cultural Engagement of BMW Group, and Ulrich Schrauth – Artistic Director of UBS Digital Art Museum. According to Bak, these sessions aim to close the gap between the institutional canonization of digital art and the vibrant discourse happening on social media. A particular point of interest is the integration of crypto culture in legacy institutions and how corporate players like UBS, Arab Bank, and luxury brands are shaping their own digital art narratives.

By building a space where curated exhibitions meet educational discourse, the fair aspires to become the leading marketplace and forum for digital art worldwide. Looking ahead, ArtMeta plans to expand its editorial output and continue fostering deeper conversations across cities and continents.

Adrian Wilson – Team For Hair 1985

Kiki Picasso, Fondateur de Quantel – Peter Michael par Kiki Picasso (2025)

Adrian Wilson – GPB Collage 1986

OMGiDRAWEDit, So Revival, 2025

project info:

name: Digital Art Mile
organization: ArtMeta | @artmetaofficial

dates: June 16 – 22, 2025

location: Rebgasse, Basel, Switzerland

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