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I can tell they care a lot about their customers based on how much effort they put into their products; but more-so, I now know how much they care about and respect the riding community by allowing “us” into their world through you.

In recent months, Sir Jonathan Ive, the forty-seven-year-old senior vice-president of design at Apple—who used to play rugby in secondary school, and still has a bench-pressing bulk that he carries a little sheepishly, as if it belonged to someone else—has described himself as both “deeply, deeply tired” and “always anxious.” When he sits down, on an aluminum stool in Apple’s design studio, or in the cream leather back seat of his Bentley Mulsanne, a car for a head of state, he is likely to emit a soft, half-ironic groan. His manner suggests the burden of being fully appreciated. There were times, during the past two decades, when he considered leaving Apple, but he stayed, becoming an intimate friend of Steve Jobs and establishing the build and the finish of the iMac, the MacBook, the iPod, the iPhone, and the iPad. He is now one of the two most powerful people in the world’s most valuable company. He sometimes listens to CNBC Radio on his hour-long commute from San Francisco to Apple’s offices, in Silicon Valley, but he’s uncomfortable knowing that a hundred thousand Apple employees rely on his decision-making—his taste—and that a sudden announcement of his retirement would ambush Apple shareholders. (To take a number: a ten-percent drop in Apple’s valuation represents seventy-one billion dollars.) According to Laurene Powell Jobs, Steve Jobs’s widow, who is close to Ive and his family, “Jony’s an artist with an artist’s temperament, and he’d be the first to tell you artists aren’t supposed to be responsible for this kind of thing.”

I had previously asked Ive about the rounded corners and edges that have long helped distinguish an Apple product from a ThinkPad or a book. (As Apple’s product range has narrowed to a series of flat rectangles, these transitions have become a surviving zone of pure industrial design.) On a day when Ive was so exhausted that it seemed possible he might fall asleep while talking, he became animated when describing the “primitive” design geometry that was usual before the computer era—essentially, two straight lines joined by a fragment of a circle. He then spoke of the opportunities that now exist, if the material permits, to take a more elegant path from one line to another; he talked of tangency breaks and Bézier surfaces. When I mentioned this to Powell Jobs, she cried out, “Yes! That is such a breakthrough, I forgot about that.” For each product, Jobs and Ive would discuss corners “for hours and hours.” She later noted that she and Ive share a taste for Josef Frank, the Austrian-Swedish designer of rounded furniture and floral fabrics, who once announced, in a lecture, “No hard corners: humans are soft and shapes should be, too.”

Cooke, D. & Kandlikar, S. G. Pool Boiling Heat Transfer and Bubble Dynamics Over Plain and Enhanced Microchannels. Journal of Heat Transfer 133, 052902 (2011).

Imagine you are looking through a sequence of photographs. One image after another, all of empty rooms. On superficial inspection, they all look the same. And they seem to show the same thing: nothing. No furniture, no people. Just empty rooms inside empty apartments. The rooms are clean and white. They look new. The light is diffuse, northern. Even the shadows it throws are soft. In one room is a floor of polished concrete, in another, wooden parquet. Sometimes there is a window visible, a patch of sky, a branch of a tree in leaf, hinting at summer, but not enough information to work out what city it is in. The walls sometimes seem to converge, or fall away from the lens. You look at the photographs a little more carefully. You are used to seeing 90° corners splayed out by wide angle lenses, but these odd angles are no artefact of perspective: these are spaces that are no longer exclusively defined by right angles, and abandoning that assumption leaves you a little displaced. The emptiness of the room is not the “subject” of these photographs, exactly. These are not studies of the geometry of empty spaces, because the images don’t encompass the whole room, but only reveal one corner at a time. Rather than on the void, the emphasis seems to be on thresholds, on openings. There’s often a doorway in front of you, and it’s usually slightly ajar. Cumulatively, the photographs convey the feeling of being in a labyrinth, or a first-person shooter for existentialists. As you flick, or scroll, through the pictures, you move from room to room in your imagination, but you never leave the building. You become disoriented.

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The instrument panel’s strong, horizontal beam is the defining element of the interior architecture of the Range Rover Velar. It rakes back dramatically towards the windshield underlining the vehicle’s dynamic driving characteristics. The slender air vents reinforce its reductive, technology-enabled design approach.

ASI Architectural, which debuted in October, provides visually appealing architectural and acoustical finishes for designers, project managers and high-value décor contractors to create custom designs for any build plan. The company’s sophisticated wall and ceiling systems include linear planks; grilles; microperforated wood and metal absorbers; and ceiling sound reflectors, which are designed to make a space look and sound beautiful.

These photos, which as an archive go by the nickname “the house tour,” were collected from the websites of practicing Swiss architects and then collated by Alessandro Bosshard, Li Tavor, Matthew van der Ploeg, and Ani Vihervaara, the curators of this year’s Swiss Pavilion, Svizzera 240: House Tour, at the Venice Biennale, before being sequenced into a visual essay by the graphic designer Martin Stoecklin.1 The name of the sequence is based on a skit from the comedy Curb Your Enthusiasm, in which Larry refuses to go on Susie’s house tour, because he thinks they’re predictable (“bedrooms, bathrooms, I get it”), and in the process, just as predictably upsets his host. The pictures presented a research problem, or perhaps rather a puzzle: the more that the pictures were examined, the stranger they seemed. Why did they all look so similar? Who are they for? And what purpose do they serve? The images presented a genre without a manifesto, or even a name. There exist no explicit rules for how they should look, and yet they conform to unspoken norms so closely that they could all have been taken by the same photographer.

A refined 180HP four-cylinder Ingenium diesel delivers 317 lb-ft. of torque and will be the model’s fuel efficiency leader8. The diesel engine is joined by a new 247HP four-cylinder Ingenium gasoline engine which enables acceleration from 0-60 mph in just 6.4 seconds5. An even more powerful, 380HP supercharged V6 gasoline engine combines sports car performance with a unique soundtrack and enables the Velar to accelerate to 60 mph from a standstill in only 5.3 seconds before reaching an electronically-limited top speed of 155 mph5.

Alan Dye later described to me the “pivotal moment” when he and Ive decided “to avoid the edge of the screen as much as possible.” This was part of an overarching ambition to blur boundaries between software and hardware. (It’s no coincidence, Dye noted, that the “rounded squareness” of the watch’s custom typeface mirrors the watch’s body.) The studio stopped short of banishing screen edges altogether, Dye said, “when we discovered we loved looking at photos on the watch, and you can’t not show the edge of a photo.” He laughed. “Don’t get me wrong, we tried! I could list a number of terrible ideas.” They attempted to blur edges, and squeeze images into circles. There was “a lot of vignetting”—the darkening of a photograph’s corners. “In the end, it was maybe putting ourselves first,” he said.

By creating in-plane variations in the superheat temperature, the nucleation, growth, and departure of vapor has been substantially affected. Spatial ordering of the flow field allows for the efficient removal of vapor and return of liquid, accelerating the ebullition cycle and promoting the departure of bubbles. The efficient return of replenishing liquid has been seen to delay dry-out and enhance CHF up to a factor of 2x using bi-conductive surfaces. While no formal characterization of the long-term reliability of the samples has been conducted, none of the bi-conductive surfaces tested in this work have shown any mechanical failure or degradation during several hours of testing.