Lapka BAM: How a Breathalyzer Will Become Your New Fashion Accessory

lapka_bam_backLAPKA BAM is a luxury breathalyzer that syncs wirelessly with your iPhone or Android. Made of diamond-ground black ceramic, the device is a perfectly smooth black cylinder, small enough to disappear in a closed fist when you hold it to take a reading. Blow through the device, and you activate a police-grade electrochemical fuel sensor that reads your blood alcohol content. Soundwaves from your breath carry the information to your phone, where the Lapka app displays your reading. The app’s appearance adjusts in response to how high your blood alcohol content is, becoming bigger and simpler the drunker you get.

This is the second device from Lapka, a wearable computing studio led by designer Vadik Marmaledov and developer Sergey Phillipov. The first Lapka is an environmental monitor for iPhone that can read radioactivity and the nitrate levels in organic produce, among other unseen atmospheric factors. Both the breathalyzer and the environmental monitor are elegant fashion accessories that radically expand the measurable terrain of your life.

Besides an uncanny similarity to the new Apple Mac Pro, the form gives away nothing. It’s impossible to know what it is. And there seems to be a connection between the undecidability of Lapka BAM’s form and its stance on getting drunk. The clinical look of existing breathalyzers implies that you have a problem, that you’ve deviated from health and need to get back there. (This is the same principle that makes calorie-counting unglamorous.) Lapka BAM, on the other hand, suggests something much subtler: that like a fine watch, there might be pleasure in having private access to precision.

https://mylapka.com

lapka_bam_device_tube

lapka_bam_front

lapka_bam_device_side

 

By EMILY SEGAL

Related Content

  • Artist Dena Yago Reviews NICOLA, MILAN, a new book by Lodovico Pignatti Morano

    Vaguely employed as a brand strategist in a B-version of the Italian Glamour export economy, the twenty-five-year-old unnamed narrator of Nicola, Milan is an international loner, watch checker, tip leaver, shit-talker, drifting from bar to airport lounge, taxi to hotel foyer, drunk and caffeinated at the same time, trying to explain to you the finer points of how to pitch an idea of Italy to Americans.More
  • Deeper

  • Life Exists: Theaster Gates’ Black Image Corporation

    Theaster Gates' “The Black Image Corporation” presents photographs from the holdings of Chicago’s Johnson Publishing Company, a sprawling archive that shaped “the aesthetic and cultural languages of contemporary African American identity.” Gates approached the project as a celebration and activation of the black image in Milan through photographs of women photographed by Moneta Sleet Jr. and Isaac Sutton – of black entrepreneurship and legacy-making. “Life exists” in the Johnson archive, he says, just as it exists and should be honored in other places of black creativity.More
  • FRIDA ESCOBEDO: The Era of the Starchitect is Over

    Rising Mexican architect Frida Escobedo is relentlessly inquisitive, eschewing stylistic constants in favour of an overriding preoccupation with shifting dynamics. Personal curiosity is the driving force behind her practice, which makes he an outlier in a profession dominated by extroverted personalities keen on making bold assertions. "I think it really is a generational shift," Escobedo says. "The idea of the starchitect making grand gestures with huge commissions is over."More
  • “I live a hope despite my knowing better”: James Baldwin in Conversation With Fritz J. Raddatz (1978)

    Born in Berlin in 1931, editor and writer Fritz J. Raddatz relied on food delivered by African American GIs after the death of his parents. To Baldwin he was an “anti-Nazi German who has the scars to prove it.” Debating his return to the USA after 25 years, Baldwin explores the political climate in America at the end of the 1970s in a conversation at home in Saint-Paul-de-Vence.More
  • House as Archive: James Baldwin’s Provençal Home

    For her new book, Magdalena J. Zaborowska visited the house Baldwin occupied from 1971 to 1987 “to expand his biography and explore the politics and poetics of blackness, queerness, and domesticity”. Here, she narrates her early journeys to Baldwin’s home and proposes a salve for its recent loss: a virtual presentation of Baldwin’s home and effects.More
  • Where are the real investments? Theaster Gates on James Baldwin

    The Chicago-based artist talks to Victoria Camblin about materializing the past, the house as museum, and preserving black legacies. Social and artistic engagement, Gates suggests, may allow the contents and spirit of Baldwin’s home, and others like it, to settle in lived experience.More