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The future looks green for Mikes Red Tacos. The San Diego-based taco restaurant currently has only two locations, but it has caught the attention of the restaurant investors who made Daves Hot Chicken a scorching success. This week, the restaurant announced that it has secured franchise development agreements for more than 200 new locations around the country. Mikes Red Tacos was founded as a food truck in 2021 by Mike Touma, followed by a brick-and-mortar location in 2022. The brand is gaining a fast-growing following on social mediaand now it’s primed for nationwide expansion. Fast casual with a taco twist Mikes Red Tacos specializes in birriaa traditional, slow-cooked Mexican stew dish thats typically made from beef, lamb, or goatwhich has exploded in popularity in recent years, largely due to social media trends. It can now be found, in various forms, on menus at numerous Mexican chains, including Taco Bell, Del Taco, and others. Mikes Red Tacos is receiving support from early-stage investors and advisors Bill Phelps and Andrew Feghali. Phelps is executive chairman of Daves Hot Chicken, cofounder of Wetzel’s Pretzels, and a founding investor in Blaze Pizza. He tells Fast Company that very few restaurants catch his eye, but Mikes ticked all the boxes. I love entrepreneur-started businesses, and guys that have figured things out,” Phelps says. “The product is just amazing. Its so good, its like a breakthrough within a category.” He adds that in the strata of Mexican chains, Mikes sits in the fast-casual lane, closer to a chain like Chipotle, rather than a fast-food chain like Taco Bell. Weve learned over the years how to do the model for a fast-casual rollout in the franchise world, so we were able to put a team together very quickly of people we worked with before. ‘There’s a lot of competition’ Phelps says that he first walked into a Mikes Red Tacos around a year ago, and immediately saw the potential. Thats a relatively rare occurrence. Its been once every five years we see something that looks really great and then we go for it, Phelps says. We like founder-created businesses that have incredible quality, but dont know how to scale themthats what we bring to the party. We make a deal that is great for the founder and for us (investors). He knows success isnt guaranteed, of course. You need to leave your ego at the door,” he says. “Theres a lot of competition. A lot of work to do. You need to work your ass off. A lot of that work will fall on Vincent Montanelli, a seasoned industry executive, who was named the companys president. Previously, he held various leadership roles at Wetzels Pretzels. All told, the 200 or so Mikes Red Tacos locations will be spread across 25 markets around the country, including Seattle, Phoenix, Las Vegas, Austin, Dallas, Chicago, Miami, Boston, and other locations around Southern California. The first new location is expected to open in San Diego in March, with a new, corporate-run location opening in Pasadena later this spring.
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E-Commerce
Corey duBrowa spent much of his career advising some of the worlds most scrutinized leadersfrom Marc Benioff at Salesforce to Sundar Pichai at Google. Now, as CEO of global communications firm Burson, hes helping executives navigate a charged marketplace shaped by AI disruption, ICE activity, and nonstop reputational risk. He explains why reputation remains one of the most powerful (and most misunderstood) assets in business, and how leaders should decide whether, when, and how to speak up. This is an abridged transcript of an interview from Rapid Response, hosted by former Fast Company editor-in-chief Robert Safian. From the team behind the Masters of Scalepodcast, Rapid Response features candid conversations with todays top business leaders navigating real-time challenges. Subscribe to Rapid Response wherever you get your podcasts to ensure you never miss an episode. You and I have talked privately in recent months about how hard it is in this environment for brands and leaders to figure out what to say, where the risks are, and where the opportunities are when so much seems like it’s up in the air. Is that what you’re hearing from your clients? They’re asking, looking, or trying to find that clarity? 100%, Bob. We’re in year two of Trump’s second presidency. And so, there’s renewed protectionism. Certainly, tariffs are one aspect of this. Deregulation, the America First Trade Policy. And so, helping companies to navigate these shifting priorities, and be thinking about global trade, and, frankly, regulatory uncertainty, that’s one thing. There’s been a global shift to the right. There’s a conservative resurgence across Japan, France, Germany, U.K., to name but a few. Helping clients to be able to navigate that volatility, that societal polarization that everybody is dealing with. . . . We, in this country, because we pay attention to our own news, we’ll be focused on things like Minnesota, but you could also point to Iran, Gen Z-led protests across Asia, budget protests in Bulgaria, which were huge, and probably not on most people’s radar here. So, guiding clients through social listening and activist engagement, and brand neutrality. How do you stand for things without necessarily putting yourself in the line of fire? Like, that’s a thing. There’s the global AI governance race. There’s competing rules about how to shape AI’s futures. It was so fascinating, to me, to watch Google, of all companies, a company that has never really lacked for resources, go into the bond market, and raise more than $30 billion worth of 100-year debt. That’s a whole new thing. Yes. Because AI is expensive. And so, how that’s governed and the way that investments work in that world is a whole separate thing. There’s erosion of trust in traditional media. The Washington Post, you and I both have friends at The Post. Yes. A third of their staff is gone . . . at the same time that only 28% of U.S. adults trust mainstream media. . . . This was the Gallup poll that came out last year. That number was in the 70s in the 70s72% in 1972. Even the entities that are financially solvent, people have very strong feelings about. Absolutely. And what we’re observing more and more, Bob, I, certainly, saw it at Davos, and I saw it again with the Super Bowl, 4 in 10 U.S. adults, according to that same Gallup poll, get their news from digital influencers. And I’m not saying influencers are fake news at all. Many of them, frankly, come from the world of traditional media. But the fact that the trust is so upside down now where you have fewer than one in three Americans saying they trust traditional media forms, you realize that company-owned media channels and storytelling are becoming more important than they ever have been. Clients have to navigate all of this at the same time that they’re thinking about things like the erosion of institutional credibility, their own institutions, not necessarily conferring confidence in the AI. For all the advantages that it has, it actually amplifies mis and disinformation at scale. I think there’s a lot for clients to wrap their heads around, and that’s the job that we have is helping them to navigate a very confusing, and, frankly, pretty fragmented landscape. As you go through all of these disruptions and changes, in some ways, it’s a great time to be in the business you’re in, because you’re needed more, and the stakes have never been higher. But at the same time, the pressure’s also never been higher. Right? There is more that is at risk based on the way you communicate than it ever has been before. That’s totally true. For 15 years as a client, I had boards and C-suites asking me like, “Hey, if this thing goes really sideways, what does it cost us?” Or, “If this thing goes really well, this initiative, what’s the upside for us?” And so, we, at Davos, launched a study that proves that corporate reputation actually has quantifiable value, that companies with strong reputations realized almost 5%, 4.78% unexpected additional shareholder returns creating a reputation economy that’s worth almost $7 trillion. The stakes are a lot higher. We knew they were a lot higher, but now we can actually affix a value to those stakes. What defines a strong reputation in this environment? For years, I think we have been told, or it was received wisdom that there was this binary relationship of trust. Like, to be trusted or not trusted. And what I always knew is that reputation was actually comprised of different things. There’s a lab within the University of Oxford that helped us to develop this model. It takes into account eight different levers that comprise modern reputation. Citizenship, the degree of good that a company may or may not do in the world, but also creativity. How creative are your solutions? Governance, the structures and policies and integrity that help the company to be managed. Innovation, how forward-thinking are you? What new technologies or ideas are you putting forth? Leadership, how you manage at scale, the way that you navigate things. Performance, the financial results. Products, the quality, reliability, and perception of your products. And maybe more importantly, although I’m not sure it gets the play that it should, workplace. The culture, the well-being of your employees, the way that you manage talent. So, if you think about how companies manage these eight levers, it’s pretty bespoke. Right? Like, there isn’t a one-size-fits-all model. . . . Like, the way Starbucks would have thought about these eight levers would be pretty profoundly different than the way that Google would think about those eight levers. The lens of this research was around financial impact. But do business leaders have responsibility to think beyond just financial impact? Is there a connection between reputation and courage? Every company has the opportunity, and, frankly, responsibility to think about among these eight levers how they show up. Right? It’s your citizenship, how creative or innovative you are, the products or services you put out in the marketplace. You, as a company, have to determine what is your unique value that you can offer in that space, and the extent to which you really choose to pull that lever hard or don’t pull that lever hard. Because citizenship is one of these eight levers, I think all companies have both an opportunity to think about that, and also some risks attached to that. They have to think about, Are we picking a side? A political side. Or, Are we doing something that may really please our employees, but for our customer base it may be a different thing? This gets into the whole realm of stakeholder management, the way you start to think about how the actions that you take . . . Because you only really get to communicate, Bob, after you’ve taken action. Your actions give you the hall pass to communicate, and those actions . . . sure, they can very well be related to things like corporate citizenship out in the world, but you have to be mindful of the way that people are receiving things. The way that we did things at Starbucks back in the mid 2010s, in a different political environment with a different administration, would be received I suspect in a very different way in this administration, in this year of our Lord 2026, compared to what we did then. Choosing to do exactly the same things. And you might not necessarily choose to do them the same way, because of that environment. Exactly. Or you might choose to communicate about them in a different way. Context matters. Right? I think you have to start thinking about things like context and the actions in that context before you’re thinking about message. The message is almost the last thing that you’re thinking about.
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E-Commerce
If youre tuning in to the Milan Cortina Olympics, you may be one of many spectators whos suddenly invested in the sport of curling. Youre in good company: Swedish designer Gustaf Westman, best known for his chunky homeware, has become so fascinated by the event that he used it as inspiration for his latest design. Curling centers on an object called a curling stone. Using its gooseneck handle, competitors slide the round, 44-pound stone down an ice shuffleboard toward a target zone. Westmans curling bowl, which he debuted on Instagram on February 10, reimagines the object as a snack bowl. The stones handle has been cleverly converted into the perfect slot for a glass of wine, or whatever beverage suits the moment, while its round base has been repurposed into a vessel for chips, crackers, and popcorn. The bowl is not listed for sale on Westman’s website at the time of this writing. Iconic Olympics-related objects like the ceremonial torch, cauldron, and medals may receive the most attention at the Games, but Westmans new bowl gives the curling stone the flowers its owed. View this post on Instagram Designing the curling bowl Before Westman reimagined the curling stone as a receptacle for popcorn and charcuterie, it was already one of the most interesting pieces of sports gear at the Winter Olympics. Since 2006, every single stone thats been thrown at the Games has been manufactured at one factory on the Scottish island of Ailsa Craig. Thats because the islands microgranite is formed by fast-cooling magma, which makes it ultra dense and hardperfectly suited for slamming into other curling stones at speed. Every stone is shaped, weighted, and polished to enable it to slide across the ice like butter, essentially making each a very precisely engineered work of art. View this post on Instagram Like his other designs (see Westmans whimsical collection for Ikea and puzzle-inspired shelf, for example), the bowl is pleasantly chunky, rounded, and colorful. In place of the stones usual handle is a two-pronged appendage that allows a beverage to hover directly over a spot for snacks. Overall, the bowl leans more toward artistic than performance-driven, but it does take after the real thing in one key way: It can slide. In a video posted to his Instagram, Westman tested out his design at what appears to be a local rink, sending it shooting down the ice with potato chips, wine, and several bunches of grapes on board. At home, spectators might use this function to pass hors d’oeuvres down the table while enjoying the Games. “I love being present and commenting on the time we are living in with my design,” Westman told Dezeen. “I also think humor has a big place in designthis is a great example of that for me.
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E-Commerce
In early February, the 22-year-old design brand Areaware announced it will close on May 1 citing tariffs and mounting pressures on the home goods industry in a letter posted to its Instagram account. Every product weve made has been an act of optimisma belief that good design can make our world a little better, the letter said. Lately though, our world has been making that difficult for us to do. Its been a challenging few months for good design brands. In December, Food52, the parent company of Schoolhouse and Dansk, declared bankruptcy; earlier in February, it was stripped for parts and sold at auction. While Areaware and Food52 dont share the exact same business model, both brands were curators and manufacturers that assembled an eclectic mix of goods targeted toward an aspirational shopper who valued design, affordability, and storytelling in everyday objects. Its a type of company that looks like its on its way out. To be both a curatorial voice and a manufacturing voice are two disparate and incompatible forces, says Noel Wiggins, Areawares cofounder and CEO. It is not a great business model. It’s a wonderful creative model. A ‘record label’ for industrial design Areaware has been a fixture in the home goods landscape since launching its first collection in 2005. It established itself as a publisher of stylish, playful, and accessibly priced products that cut across categories. If you wanted to buy something distinctive but tastefula minimalist silver baby rattle, brightly patterned napkins, pastel candles shaped like blobsyou could find it on Areawares website. [Photo: courtesy Areaware] From the start, Areaware primarily licensed pieces from independent designers, who received a 6% royalty fee, and manufactured them. Less than 10% of products were designed in-house. Through this model, it forged an entire ecosystem of design, from product development to manufacturing to wholesale and eventually direct-to-consumer retail, which it began strategically investing in four years ago. By 2024, direct sales accounted for 26% of overall revenue, domestic wholesale was responsible for 64%, and international accounts and global partners made up 10%. [Photo: courtesy Areaware] Artists and designers who wanted to mass produce their work knew they had a partner in the brand, which took care of manufacturer sourcing, marketing, and sales. This included legends like Susan Kare and Tobias Wong along with emerging studios that eventually became heavyweights like RBW, Jason Miller, and Chen Chen and Kai Williams. [Photo: courtesy Areaware] In many ways we function like a small record label, Wiggins says. Theres this kind of sound to that label and its the feeling of ideas coming before function in industrial design. Over the past 22 years, Areaware collaborated with over 50 artists, distributed its products internationally, and produced true icons of design (David Weekss Cubebot, and its many iterations, generated $18.7 million in sales). A fragile ecosystem While most manufacturers specialize in a specific material or one technique, Areaware was more focused on authorship and doing something interesting with an artist who wanted to experiment. This helped Areaware built a loyal following throughout the design community, but it also created issues on the business side. [Photo: courtesy Areaware] The ecosystem was fragile, Wiggins says. This is because the company made so many different types of materially different goodsfrom glass butter dishes to woodbottle openers and stainless-steel flasks. The variety that gave Areaware its creative identity was also a weak business point. [Photo: courtesy Areaware] This multidisciplinary approach created structural challenges, says Roberto Fantauzzi, Areawares chief design officer. Unlike companies focused on a single category, Areaware did not benefit from the same economies of scale or pricing efficiencies. Developing across multiple categories required higher upfront investment, increased tooling and mold costs, and a careful allocation of in-house resources across a range of product types. [Photo: courtesy Areaware] Depending on the type of new product, like a color update of an existing SKU or entirely new object, product development could cost anywhere from a few hundred dollars to several thousand, Fantauzzi says. While the brand was able to pay its bills and not carry debt, margins were always tight. According to Wiggins, Areaware generated $4 million in sales annually on average, but profits vacillated$40,000 one year, zero the next, then minus $20,000. Still, the company was able to manage. That is, until Trumps tariffs entered the picture. Maintaining that balance between design integrity and affordability at times meant operating with slimmer margins, Fantauzzi says. When tariffs took effect in 2025, those margins were significantly compressed, making it increasingly difficult to sustain certain collections and SKUs at the standards and prices the company strives to uphold. It takes around 18 months for Areaware to bring a product into production and the constantly changing landscape made it extremely challenging to plan ahead and manage the risks involved. It wasn’t only the tariffs, which were horrible as they were, but it was the unknown, Wiggins says. You don’t know whether to wait out if the tariffs are going to change. It creates this enormous stall in the system. [Photo: courtesy Areaware] Around 80% of Areawares products are made in China. The rest are mostly produced in Indonesia (mostly furniture), India (cast-iron pieces), Vietnam (candles), and Mexico (silver baby rattles). Wiggins explored manufacturing the Cubebot with a wood toy maker in Vermont, but the extra cost wasnt justifiable. Production would have cost four times more for the toy itself, turning a $10 product into a $30 product for shoppers. These pressures are also particularly challenging since Areawares business model revolves around small product runs. Aside from the Cubebot blockbuster and few products that have sold tens of thousands of units, most pieces sell in the thousands and hundreds. It wasn’t even only price; it was just the ability to make small batch, Wiggins says. We can’t set up a local factory to do small numbers. Another casualty of the attention economy Wigginswho was inspired by the SoHo design emporium Moss, the conceptual Dutch collective Droog, and the Milanese brand Danesecompares the trajectory of design businesses to art movements. They kind of have their generational moment and then it ends, he says. Lisa Cheng Smith, who once served as the chief design officer of Areaware and has developed products for Hay and Design Within Reach, says the brands closure signals a shift in what type of design is most valued today. When the brand started, the job of a product designer meant you made physical objects, but now it means digital experiences. That speaks to me about the status a product or object has in our material consciousness, Smith says. The voices of creatives are more often seen on digital platforms now. It’s like cooking videos, YouTubethat’s how people are accessing culture. It’s less about buying a meticulously thought-through object. [Photo: courtesy Areaware] Wiggins echoes the impact of digitization on his business, particularly how information travels today. Its a lot easier for everyone to directly find what they need. Shoppers can go on any number of social media platforms to find new brands, and designers can go directly to manufacturers without an intermediary like Areaware. You don’t need the gatekeepers as much, he says. Pre-internet, the role of a curator was, in some ways, more important because if you were a store and you had to find neat thing, you couldnt really search for [them] easily. At the same time, the landscape has become noisier than ever and the constant firehose of content drowns out anything that isnt viral, which poses another challenge to Areawares model. Wiggins describes Areaware as a media company that sells three-dimensional stories, and getting customers to listen is tough. Every time theres a piece of Trump news, the attention economy is going towards someone else’s story, Wiggins says. Youre constantly in competition for attention. There’s such a domination of fear in the attention system that it gets hard to get peoples attention in a way that’s sustainable. The business of designers So where do object makers fit into this new landscape? The wholesale model of affordable designer objects cant sustain itself. Meanwhile, few big brands today seem willing to take risks on emerging studios; instead theyre reissuing heritage pieces, which have baked-in fan bases and greater chances of becoming a break-out hit. That leaves out collectible design, which relies heavily on concept and authorship. Its a place where the voice of the designer can really be preserved, Smith says. Beyond sales, licensing is still important to emerging studios. Sophie Collé, a furniture designer based in Brooklyn, licensed one of her earliest designs, a plant stand with an amoeba-like silhouette that she had been making by hand herself, to Areaware in 2022. The Splat table then went on to be sold at MoMA Design Store, the Guggenheim, and Coming Soonplaces that are retailer-curators first and dont typically manufacture their own goods. The deal became an important income stream for her small business, and through it her work reached a wider audience that led to custom commissions, and larger brand deals and collaborations. [Photo: courtesy Areaware] Not only has Areaware done so much for my career, but it really was a support system for emerging designers, Collé says. I honestly don’t really know another company that does what they did with such grace and respect for the designers themselves. Finding manufacturers and fabricators is such a beast, and not every creative has the time or even wants to be doing that side of the business. That is what really makes Areaware irreplaceable in that sense, at least in my eyes. Ellen Van Dusen, founder of the textiles and home goods brand Dusen Dusen, has collaborated with Areaware for eight years on objects that her company isnt able to make in-house. This includes a plywood tissue box cover painted with faces and a night light. They took risks with products that were a little weird and unconventional that became huge successes, Van Dusen says. [Photo: Areaware] Van Dusen adds that the distribution channels brought her work to all corners of the world. People will text me pictures of the pepper grinders in New Zealand, umbrellas on the street in Japan, and the tissue box in Mexico, she says. “We don’t have those same distribution channels in house, so Areaware brought an awareness to Dusen Dusen that I don’t think we would have gotten on our own. They were an integral part of our growth. And I must mention, the tissue box was on Succession. Beyond being a shopping destination Areaware was also an important industry connector, which is important since the design industry runs on relationships. Laura Young, managing director of collectible design gallery the Future Perfect, met many of the artists she represents now through her work at Areaware directing product development. Areaware laid the foundation for my career, she says. And Smith, who now runs Yun Hai, a retail shop and online store specializing in Taiwanese cooking, met many of the manufacturing partners she works with today through Areaware. The way that I do business is based on everything I learned there, she says. Like the reshuffle of Food52, theres a chance some parts of Areaware might not completely disappear. For example, Wiggins is in talks with Weeks to take over production of the Cubebot. Honestly, we’re trying to find someone to take over the arduous and difficult business model, Wiggins says. And because it’s arduous and difficult and very unprofitable, it’s hard to find someone to do that.
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E-Commerce
Ill admit it: I still secretly prefer cooking on a gas stove despite knowing that Im breathing in benzene and adding to methane emissions. What can I say, I like the tactile control of an open flame. But recently I tested an induction range that made my gas stove seem antiquated. Charlie, from the Bay Area-based startup Copper, offers a high-end range that can do everything I expect from my current stoveand more. The appliance, which started to roll out nationally last year, has been called “the Tesla of induction stoves” by The New York Times and lauded by chefs including Christopher Kimball. I wanted to try it out as a home cook with only basic skills. [Photo: Copper Home] An oven thats 30x more accurate Like most electric ovens, Charlie’s performs better than its gas counterparts. But it also surpasses the typical electric version. It preheats to 350 degrees in about four minutes, thanks in part to a large battery hidden at the base of the stove. (More on the battery later.) I tried baking some cookies, which browned up perfectly, and then turned the heat down to 80 degrees to test another unique feature: The oven can hold a steady low temperature, making it possible to proof bread or pastry quickly when needed. Gas ovens tend to cycle heat more aggressively, and even the pilot light alone can push temperatures too high. Standard electric ovens are better, but also cant reliably keep the temperature low enough. Id brought along some chocolate croissants and tried proofing them; the oven worked like a professional proofing drawer, which meant not having to wonder how the temperature and humidity in the kitchen would affect the rise of the dough. [Photo: Copper Home] The oven is incredibly precise. Most ovens fluctuate as much as 30 degrees above or below the set temperature. But incorporating a battery enables Coppers Charlie to use more sophisticated controls, including modern temperature sensors and actuators. Thanks to a recent firmware update, Charlies temperature varies no more than a single degree. Put another way, its 30 times more accurate than a typical oven. The seesawing temperatures in other ovens lead to baked goods with burnt edges, soggy bottoms, or mushy middles. The software updatedubbed Soufflé after the notoriously finicky dish it was designed to mastermakes Charlies baking capability even more consistent. Sure, it might take away some entertainment: Would you watch the Great British Baking Show without the suspense of unpredictable results? But in real life, its the kind of tool that actually makes me want to bake more often. [Photo: Copper Home] The cooktop is intuitive and more precise than gas Unlike some other induction stoves, the cooktop is easy enough to use without turning to the instruction manual. It has knobs, like a traditional range, rather than a touchscreen. When you turn one of the knobs, a display shows how hot the burner is. On the cooktop, to stand in for the visual cue of a gas flame, a bar of lights shows whether youve cranked up the heat a little or a lot. Like other induction stoves, it can boil water incredibly quickly. (The battery gives an extra boost: A pot of 8 ounces of water boils in 4 minutes and 10 seconds.) It can also precisely control temperature. I tried melting chocolate in a pan, something that would normally be a more complicated process with a double boiler on a regular stove, and the steady low temperature helped it melt evenly. Though I didnt try making dinner, the stove seems more than capable of handling anything I might normally prepare. It’s possible, for example, to crank up the heat and stir-fry something in a flat-bottomed wok, as Copper has demonstrated in previous tests; despite the lack of flames, the pan can get hot enough to char noodles for a dish like pad see ew. [Photo: Copper Home] Why theres a battery inside Some induction stoves have an annoying buzz, caused by pulsing AC power from the outlet that creates vibrations that are especially noticeable in tri-ply pans with multiple different kinds of metl. The Charlie stove, by contrast, is remarkably quiet, thanks to its battery. That battery, with 5 gigawatt-hours of energy storage, also means the stove can keep running for days even if the power goes out in a storm (notably, most modern gas stoves wont work if the electricity goes out, since they use electric ignition and electric safety valves). The battery also has other advantages that I didnt get to test. First, it means the stove doesnt require expensive electrical upgrades, something thats necessary with most other powerful induction stoves. The stove needs a large boost of power when it starts, but it can pull that from the battery. Because the battery can charge when power is cheapestfor example, in the middle of the day in California, when the grid has extra solar powerit can help keep customers bills lower. As the network of appliances grows, they form a virtual power plant that can also help the grid itself. A distributed network of batteries in appliances is easier to deploy than larger utility-scale batteries. Copper is now beginning to work with some large manufacturers to design other types of appliances, like heat pumps, that can also add more energy storage to the grid. [Photo: Copper Home] The range is expensive, at around $6,000. But because of the energy and climate benefits, a number of states provide generous incentives. In California, for example, if a homeowner with a gas stove replaces it with Coppers stove, and if the stove was the last gas appliance in the home, they can get a rebate that will cover the entire cost. Some of the first customers include large apartment buildings that want to make the switch away from gas. The New York City Housing Authority is an early adopter, recognizing that the stoves are a way to avoid expensive upgrades to its aging gas infrastructure, to comply with local emission laws, and to improve air quality for residents. It’s a rare case of premium tech scaling up from multiple directions, adopted as much for infrastructure pragmatism as for performance. Whether it’s for public housing or a high-end kitchen, the pitch is the same: cleaner air, better performance, and a new way to support the strained electric grid.
Category:
E-Commerce
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