Situated in the forested hills of Valea lui Enache, the CL02 Cabin by Vinklu beautifully shows us how minimalism can be both inspiring and deeply functional. The first impression is a sense of calm—a dark, understated silhouette softened by the filtered light of the surrounding trees. In this surreal cabin, less isn’t an aesthetic; it is intended to be a deliberate gesture toward finding contentment in simplicity. Every line and every finish supports the idea that a home should serve its inhabitants without demanding attention, quietly enabling the rituals of daily life.

The 55-square-meter structure stands where an earlier project failed, and it’s clear that Vinklu approached this second chance with a sense of reverence. The layout is straightforward: a ground floor with an open living area, a full kitchen, and a bathroom, and an upper level for rest. Each space is compact but never feels cramped, thanks to a vaulted ceiling and panoramic windows that extend the interior outward, inviting the forest in. The circular kitchen window frames a shifting tableau of leaves and light, turning even the most routine meal into an act of quiet observation.

Designer: Vinklu

The full-size kitchen is a luxury, especially in a home of this scale. It’s designed for those who find joy in cooking—ample countertop space, integrated appliances, and just enough storage to keep things tidy. The kitchen’s natural finishes echo the palette outside, blurring the boundary between interior and landscape.

The cabin is clad in dark, weather-resistant timber, allowing it to recede into the forest’s shadows. Inside, pale wood and minimal detailing create a sense of light and openness. There’s restraint in every decision, but also an invitation: to touch, to pause, to notice the subtle changes in the quality of light as the day moves on. The living area is open yet intimate, with just enough room for a small table and a pair of chairs. The focus isn’t on filling space but on creating an environment that feels both nurturing and uncluttered.

 

The CL02 Cabin’s relationship to its site is its most fabulous feature. The structure neither dominates nor disappears; it exists in dialogue with the landscape, responding to its contours and rhythms. Sustainability is embedded in the design—efficient insulation, passive solar orientation, and natural ventilation reduce the need for mechanical intervention. The house feels like a gentle addition to the hillside, its presence marked by sensitivity rather than intrusion.

Living in the CL02 Cabin is an exercise in mindful reduction. It’s not about doing without, but about having enough—and knowing that enough can be generous. There are compromises, of course: storage is limited, and the seasonal design may not suit every lifestyle. But for those drawn to clarity and contemplation, this is a space that offers both refuge and inspiration.

The post This Tiny Cabin Is Designed For Sustainable & Serene Living Amid Romania’s Forested Hills first appeared on Yanko Design.

The Fairphone 6 arrives with a quiet confidence, carrying on the company’s mission to make smartphones that respect both the planet and the people who use them. At first glance, it might look like any other modern device, but every detail tells a different story. This phone is built for those who want more than just the latest specs. It is for anyone who values mindful design and practical longevity, right down to the smallest screw.

One of the most impressive aspects of the Fairphone 6 is the careful choice of materials. Recycled plastics form the backbone of the frame and back cover, while ethically sourced metals like Fairtrade gold and conflict-free tin and tungsten make up the internal circuitry. Even the battery is produced with responsibly sourced cobalt and lithium. By focusing on these thoughtful materials, Fairphone manages to shrink the environmental footprint of each phone, setting an industry example that others will hopefully follow.

Designer: Fairphone

Repairability has always been Fairphone’s hallmark, and the sixth generation stays true to those roots while adding a new layer of durability. The back plate and battery are both removable, not with a quick snap but with a few turns of a screwdriver. It is a subtle shift that gives the phone a more solid feel without locking out the user. If the battery ever fades or a component needs swapping, it is just a matter of unscrewing, replacing, and reassembling; no special tools or trips to a service center required.

Customization is where the Fairphone 6 truly stands apart. The accessory ecosystem is designed with the same sustainable mindset as the phone itself. Instead of relying on sticky adhesives or magnets, everything from cardholders to finger loops and lanyards attaches with sturdy screws. Whether you use them on the bare phone or with the matching protective case, these add-ons are made from recycled materials and built to last through daily use. The result is a phone that feels uniquely yours, down to the smallest accessory.

This screw-based system is more than a clever engineering trick. It ensures that every attachment remains secure and functional over time, avoiding the wear and tear that comes with less robust solutions. It is a design philosophy that values longevity and flexibility, making it easy to update or personalize your phone as your needs change. Each accessory fits neatly into the overall vision of sustainability, blending practical function with an honest, transparent approach to design.

With the Fairphone 6, repairability and sustainability are not just marketing buzzwords: they are woven into every fiber and feature. It is a phone for those who want their technology to reflect their values, proving that innovation does not have to come at the expense of responsibility or individuality.

The post Fairphone 6 Proves Sustainability and Customization Can Go Hand in Hand first appeared on Yanko Design.

A new era of travel begins in Western Sydney with the unveiling of its international airport, a project that redefines what airport architecture can offer both passengers and the broader community. Designed with a focus on seamless movement, natural light, and environmental stewardship, the terminal is a study in how infrastructure can evoke welcome, clarity, and place. Its architecture is marked by an expansive, sculpted ceiling, creating a canopy that diffuses sunlight through the terminal and shapes the traveler’s first impressions of Australia.

Carefully considered circulation routes guide visitors from the curbside through check-in, security, and departure gates with minimal friction. Wide, open sightlines and intuitive wayfinding help reduce stress, while generous glazing throughout ensures that daylight is never far away. The material palette, grounded in warm wood, glass, and metal, brings in a sense of calm and durability. Passengers move through spaces that feel both monumental and approachable, an accomplishment that reflects the project’s ambition to balance the demands of efficiency with an elevated experience.

Designers: COX Architecture and Zaha Hadid Architects

The project employs a modular design that streamlines construction and reduces waste. Energy efficiency is prioritized through extensive use of daylight, high-performance glazing, and passive shading. Natural ventilation systems and water recycling further minimize the building’s environmental footprint. The approach is pragmatic but never clinical—technology serves to enhance comfort, not dictate it.

The sinuous ceiling, a signature gesture, is more than a visual flourish. It references the undulating Australian landscape and modulates the interior environment, providing both shade and a gentle play of light. This design move is echoed in the terminal’s external form, where the building sits low and broad, anchoring itself in the terrain rather than dominating it. The result is a structure that feels rooted, resilient, and unmistakably local.

Public spaces are generous, designed for lingering as much as for passing through. Seating areas are organized around panoramic views, and retail and dining are integrated without overwhelming the journey. For many travelers, this terminal will serve as their first encounter with Australia, and the design team has crafted an experience that is welcoming without being overwhelming, contemporary yet distinctly connected to its context.

Operationally, the airport is built for flexibility, ready to adapt as passenger volumes grow. The terminal is designed to handle 10 million travelers annually at launch, with capacity for expansion as Western Sydney continues to develop. Behind the tranquil experience is an infrastructure system engineered for reliability, efficiency, and future growth. This new gateway is a benchmark for what civic architecture can achieve. It doesn’t rely on spectacle but on thoughtful, human-centric design. Every feature—from the interplay of light and material to the integration of sustainable strategies—serves to create a sense of arrival and belonging.

The post Experience Seamless Travel & Sustainable Design At Sydney’s New Light-Filled International Airport first appeared on Yanko Design.

The intersection of biotechnology and traditional craftsmanship reached a defining moment at Copenhagen’s 3 Days of Design 2025, where MycoWorks’ Reishi biomaterial took center stage in a groundbreaking exhibition that challenges our understanding of sustainable luxury materials.

Curated by: Marie-Louise Høstbo

A Living Material Meets Visionary Designers

“Reishi in the Nordic Light” brought together five of Denmark’s most celebrated design studios in an unprecedented collaboration. Curated by Marie-Louise Høstbo at Galerie MøllerWitt from June 18-20, the exhibition explored how this mycelium-based material responds to the subtle interplay of natural and artificial light that defines Nordic design philosophy.

The timing couldn’t be more significant. As the design world increasingly seeks alternatives to environmentally damaging materials, Reishi has emerged as a genuine contender in the luxury market. More than just an eco-friendly leather alternative, mycelium leather has luxury brands excited because of its remarkable quality. Major fashion houses including Hermès, Stella McCartney, and Calvin Klein are already partnering with mycelium innovators like MycoWorks.

Beyond Traditional Materials: The Science of Sustainable Luxury

Reishi represents a significant advancement in biomaterial technology. MycoWorks has developed a patented mycelium-based technology called Fine Mycelium, resulting in luxury mycelium leather that looks and feels like fine animal leather but with much lower environmental impact. The material meets or exceeds furniture industry benchmarks for flexibility, abrasion resistance, colorfastness and aging, while producing only 6 pounds of carbon dioxide equivalent for every 11 square feet manufactured, far less than animal or synthetic leathers.

The commercial validation is impressive. Reishi recently debuted in a Ligne Roset couch and on the inner door panels of a concept electric General Motors Cadillac. MycoWorks operates a 136,000 square foot plant in Union, South Carolina, using artificial intelligence and robotics to automate production, with materials shipped for tanning to Igualada, Spain.

Masters of Modern Danish Design

The exhibition featured an extraordinary roster of talent, each bringing decades of expertise to this biomaterial exploration. Cecilie Manz, who founded her Copenhagen studio in 1998, has become synonymous with refined industrial design through collaborations with Bang & Olufsen, Iittala, Muuto, and Hermès. Her recent work includes the launch of Bang & Olufsen’s A1 3rd generation speaker in May 2025 and the Maku screen collection, demonstrating her continued relevance in contemporary design. Named Scandinavian designer of the year in 2024, Manz’s participation signals the serious consideration biomaterials are receiving from established designers.

OEO Studio, founded in 2003 by Thomas Lykke and Anne-Marie Buemann, has garnered international recognition for redefining contemporary Scandinavian style. Their recent projects include designing the interiors for Noma Kyoto’s 2024 pop-up, and their work spans from Michelin-star restaurant interiors to medieval hotels in Italy. With pieces in the permanent collection of London’s Victoria and Albert Museum, their involvement with Reishi represents a significant endorsement of biomaterials in high-end design applications.

Maria Bruun brings particular gravitas to the collaboration. The 2022 Wegner Prize recipient also won the prestigious Danish Finn Juhl Prize in 2021, making her one of Denmark’s most decorated contemporary furniture designers. Her approach to working with natural materials, exemplified by acclaimed pieces like the Pioneer stool and Islets table for Fredericia, makes her collaboration with Reishi particularly compelling. Currently participating in the Bruno Mathsson Design Residency 2025, Bruun’s sculptural designs showcase a deep understanding of material properties.

Frederik Gustav, established by Royal Academy graduates Frederik Weber and Gustav Dupont, continues pushing boundaries of construction and materiality from their Amager workshop, while atelier axo, founded in 2019 by Rose Hermansen and Caroline Sillesen, brings a crossdisciplinary approach characterized by poetic and structural sensibility.

Market Forces Driving Change

This Copenhagen showcase represents more than aesthetic experimentation. It signals a broader shift driven by market realities. The mycelium leather market, which reached $12 million in 2024, will soar up to $336 million by 2033, indicating massive growth potential for biomaterials. The global leather goods market exceeded $400 billion in 2021 and is expected to surpass $720 billion by 2030, creating enormous opportunity for sustainable alternatives.

The exhibition’s focus on light interaction reveals another crucial aspect of material design. By emphasizing how Reishi responds to Nordic lighting conditions, the designers demonstrated that sustainable materials can enhance rather than limit creative expression. Each object is designed to capture and diffuse light, emphasizing texture, subtle detail, and emotional resonance.

The material’s versatility was demonstrated across multiple venues during the Copenhagen event. Beyond the main exhibition, Reishi appeared at ADORNO, showcasing the DUK floating side table conceptualized with Studio TOOJ, and at BIG’s Materialism presentation, indicating broad industry validation.

The Future of Conscious Design

What makes this collaboration particularly significant is its demonstration that sustainable luxury doesn’t require compromise. As mycelium leather becomes more accessible, it serves as an excellent choice for designers looking to create quality products with a low carbon footprint. MycoWorks has focused on refining the material’s unique properties rather than attempting to imitate leather, creating what they call “not an alternative material, but a new category altogether.”

For designers and manufacturers watching this space, the Copenhagen exhibition offers a clear message: sustainable materials have moved beyond experimental status to become viable options for high-end applications. When designers of this caliber, from Manz’s industrial precision to Bruun’s material poetry, choose to work with emerging materials, it signals approaching mainstream adoption.

The exhibition ran from June 18-20, 2025, but its impact on sustainable design thinking will likely extend far beyond those three days in Copenhagen. As the design industry continues to grapple with environmental responsibilities, collaborations like this provide a roadmap for how traditional craftsmanship can evolve without losing its essential character and perhaps discover new expressive possibilities in the process.

The post When Nature Meets Nordic Design: MycoWorks’ Reishi Transforms Danish Craftsmanship first appeared on Yanko Design.

I would watch an unboxing video a 100 more times if it used these materials instead of plastic and virgin cardboard. The year is 2025, we’ve unboxed products for decades at this point, and nothing has changed at all. Apart from packages now being smaller and shipping without chargers (we’re looking at you, Apple), we really haven’t advanced much in terms of designing for end-of-life.

A product’s package is literally the most single-use item on the planet. Apart from probably retaining the box for fondness’ sake, nobody keeps the packaging for their Switch, iPhone, iPad, drone, or laptop. These boxes are MEANT to be thrown away 90% of the time – so why are we still using materials NOT made for a single-use mentality? This unique Nintendo Switch packaging from Björn Van Egroo

Designer: Björn Van Egroo

Born from a 3D rendering material experimentation exercise, Egroo’s Nintendo Switch packaging redesign actually taps into something raw and fundamentally game-changing. You don’t need to mold plastic blister shells inside pristine cardboard boxes wrapped with plastic film… a product’s packaging can use materials like compressed coconut fiber, recycled paper, and even sugarcane fiber (bagasse) to create packaging that’s bespoke, filled with character, and shock-absorbing.

Would something like this work for gadgets? Here’s the reality check – yes and no. Yes, it could for a lot of gadgets. But also, no, it couldn’t because the supply chain is way too set in its ways to hard-pivot to an experimental set of materials for millions and millions of gadgets shipped worldwide. This particular concept also has a mild risk of water seepage through the coco fiber, but nothing that can’t be fixed with a little redesign.

I cringe as I have to cut through plastic blister packs every time I order a mouse, or a set of batteries, or a charging cable. Similarly, receiving an almost perfect-looking cardboard box with a Bluetooth speaker inside, only to then throw the box out immediately after unboxing my product, feels just as wasteful. Egroo’s simple material exploration presents a shift that I would HAPPILY endorse.

We’ve got no shortage of recycled and recyclable materials. A simple Google search will tell you that 9 billion coconut husks are discarded annually. Sugarcane pulp, a byproduct of sugar production, is discarded by a factor of 700 million tonnes per year. Paper waste goes into millions of tonnes too. ALL these can easily be rerouted into packaging products instead. Maybe not immediately for tech products (although there are companies using molded pulp instead of styrofoam), but hey… if molded pulp trays are good for eggs (which are way more fragile than your average tech product), then why not for gadgets?

The post Product Packaging still sucks… but this Nintendo Switch biodegradable box presents a radical new path first appeared on Yanko Design.

When Frank Lloyd Wright designed the original Imperial Hotel Tokyo, in 1923, he unknowingly initiated an architectural lineage that would span three generations of Ja, he unknowingly initiated an architectural lineage that would span three generations of Japanese designers and nearly a century of cultural evolution. That lineage reaches its most sophisticated expression in the upcoming Imperial Hotel, Kyoto, where the paradoxical design philosophy of “the oldest things are the newest” guides the transformation of a 90-year-old theater into a 55-room boutique hotel opening Spring 2026.

Design: Frank Lloyd Wright + Tokusaburo Kimura + Mr. Tomoyuki Sakakida

The project represents far more than historic preservation. Under the direction of Tomoyuki Sakakida of New Material Research Laboratory, co-founded with renowned photographer Hiroshi Sugimoto, the hotel embodies an archaeological approach to contemporary design that challenges fundamental assumptions about luxury, authenticity, and cultural stewardship. Their methodology researches and develops “new materials” from ancient and medieval techniques through radical reinterpretation, creating what may be the hospitality industry’s most comprehensive example of circular design philosophy in practice.

The Wright-Kimura-Sakakida Continuum

The architectural DNA connecting Wright’s original Imperial Hotel to today’s Kyoto project flows through Tokusaburo Kimura, the respected Obayashi Corporation architect who designed the Yasaka Kaikan in 1936. Research reveals that Kimura’s work was profoundly shaped by both Louis Sullivan and Frank Lloyd Wright. His Shochikuza Theater in Osaka featured American-made terracotta and evoked Sullivan’s distinctive style, while his Pontocho Kaburenjo Theater in Kyoto incorporated scratch tiles originally brought to Japan by Wright for the Imperial Hotel Tokyo construction.

The Yasaka Kaikan stands as the culmination of Kimura’s architectural evolution, where Sullivan’s ornamental philosophy merged with Wright’s organic principles and traditional Japanese craftsmanship. Both the original Imperial Hotel and the Yasaka Kaikan feature terracotta from Tokoname, manufactured by the same artisans who worked across both projects. This shared material heritage creates an authentic connection that transcends stylistic influence to encompass actual physical continuity.

Ms. Reiko Sakata, General Manager of the Imperial Hotel, Kyoto and a 22-year Imperial Hotel veteran appointed in April 2025, emphasizes this historical depth: “This is a unique property where over a millennium of Kyoto’s cultural heritage enfolds the 135-year legacy of hospitality Imperial Hotel has carefully cultivated.” The hotel’s mission extends beyond exceptional service to preserving the “lasting warmth” that connects guests to place and tradition.

The contemporary interpretation falls to Sakakida, whose New Material Research Laboratory has spent over a decade developing what they term “archaeological architecture.” Founded in 2008 with Sugimoto, the laboratory’s approach treats historical materials and techniques as living resources rather than museum artifacts. Their philosophy advocates for reconnecting the present with bygone eras while extending that connection to the future through thoughtful intervention.

“Your Stage Awaits”: Design as Performance

The hotel’s positioning as a “sanctuary nestled beside the brilliance of Gion’s performing arts” that “begins a new chapter that revitalized, yet deeply rooted in its legacy” establishes a theatrical metaphor that permeates every design decision. The concept of “Your Stage Awaits” transforms hospitality from passive accommodation into active cultural participation, where “comfort takes center stage in every moment you spend.”

This performance-centered approach honors the Yasaka Kaikan’s original function as a “stunning venue originally designed for theatrical performances” while creating new opportunities for guests to engage with Kyoto’s living cultural heritage. The design maintains the building’s dramatic proportions and acoustical considerations, ensuring that public spaces retain the theatrical scale and sight lines that defined the original experience.

The theatrical heritage extends beyond metaphor to material reality. Eaves tiles engraved with the character “歌” (uta, meaning singing) represent the Gion Kobu Kaburenjo’s performance legacy, while the building’s multi-tiered roof and tower-like front section maintain the Japanese-inspired design that has defined Gion’s protected townscape for nearly a century.

Advanced Preservation as Design Innovation

The transformation demonstrates extraordinary technical sophistication through what Obayashi Corporation terms “selective demolition” and “capturing for reuse” advanced techniques that strategically retain key structural and aesthetic elements while enabling comprehensive renovation. The process involved reinforcing existing exterior walls with steel framing during phased demolition, allowing the building’s iconic silhouette to remain intact while meeting contemporary hospitality standards.

Masahiro Inoue, Senior General Manager of Obayashi’s Architectural Design & Engineering Division and leader of the Traditional Architecture and Heritage Project Team, brings international perspective from studying design in the UK, where adaptive reuse is commonplace. His approach emphasizes carrying forward “the memories and history embedded in the building into the future,” treating preservation as creative practice rather than conservation constraint.

The material preservation extends to architectural details that encode cultural meaning. 16,387 original exterior tiles have been preserved using traditional Japanese ikedori or “live capture” techniques, where materials are carefully removed without damage for reuse. Terracotta elements receive particular attention, with pieces in good condition carefully restored and damaged sections scanned in 3D for faithful reproduction using original Tokoname manufacturing techniques.

The preservation of terracotta creates direct material continuity with Wright’s Imperial Hotel, as both buildings feature ceramics from Ina Seito (later INAX, now LIXIL) in Tokoname City. This shared material heritage represents one of the finest examples of Japanese architectural ceramics from the early 20th century, when Western architectural techniques merged with traditional Japanese craftsmanship to create distinctly modern expressions.

Cultural Stewardship Through Design

The hotel’s location within the Gion Kobu Kaburenjo grounds adds layers of cultural complexity that inform every design decision. The Kaburenjo, a nationally registered tangible cultural property completed in 1913, originally served as a temple before adaptation as a theater for maiko and geiko performances. The building has hosted the famous Miyako Odori spring dance since 1873, making it one of Japan’s most significant venues for traditional performing arts.

This context shapes the hotel’s approach to spatial design and guest experience. Rather than treating traditional culture as backdrop for luxury hospitality, the design creates opportunities for authentic engagement with living heritage practices. The seven-story structure will house 55 guestrooms and suites designed to honor the building’s performance heritage while providing contemporary comfort, with public spaces maintaining the dramatic proportions and acoustical considerations of the original theater.

The New Material Research Laboratory’s “archaeological architecture” approach treats the building as a palimpsest—layers of meaning and history that remain visible and integral to the new function. Their methodology researches traditional techniques not as museum artifacts but as living resources that can inform contemporary practice. The approach demonstrates how preservation can enhance rather than constrain contemporary design, creating experiences that feel both rooted in place and relevant to present needs.

The construction team has embraced community engagement throughout the process, participating in local cleanup efforts and cultural events that reinforce the hotel’s role as cultural steward rather than external developer. This approach reflects the broader philosophy of architecture as social practice, where buildings serve communities rather than merely accommodating guests.

International Context, Japanese Expression

Inoue’s experience studying design in the UK informed the project’s approach to adaptive reuse, noting that “in Europe, such adaptive reuses are quite common” and that “new construction and renovation were often handled side by side.” This international perspective positions the Imperial Hotel, Kyoto within global heritage preservation trends while maintaining distinctly Japanese approaches to cultural stewardship.

The project demonstrates how contemporary luxury hospitality can embrace environmental responsibility without compromising guest experience. The preservation-first approach dramatically reduces the project’s carbon footprint compared to new construction, while the retention of original materials maintains the building’s embodied energy and cultural significance.

Dining concepts will showcase Kyoto’s position as Japan’s culinary capital while honoring the building’s role as community gathering place. The signature restaurant and bar maintain the original architecture’s community-focused design while providing luxury dining experiences that reflect seasonal ingredients and traditional preparation methods. The wellness facilities, including spa, swimming pool, and fitness center, incorporate principles of wa (harmony) that emphasize balance between physical wellness and spiritual tranquility.

“Uniting the Finest Artistry and Technology”

The project’s tagline of “uniting the finest artistry and technology, we breathe life into the timeless legacy of Gion” encapsulates the New Material Research Laboratory’s approach to contemporary design. By treating preservation as innovation rather than constraint, the project demonstrates how traditional craftsmanship can inform cutting-edge hospitality experiences.

The hotel will offer comprehensive wellness amenities designed using principles that reference both the building’s theatrical heritage and Kyoto’s temple garden traditions. Water features and spatial design create environments that feel both familiar and extraordinary, honoring the building’s role in Kyoto’s cultural ecosystem while meeting contemporary luxury standards.

As the fourth property in the Imperial Hotel portfolio following Tokyo, Osaka, and Kamikochi, this marks the brand’s first new opening in three decades. The extended development timeline, with construction completion scheduled for October 2025 and opening in Spring 2026, reflects the project’s commitment to getting every preservation detail right while building anticipation among design enthusiasts and cultural tourists worldwide.

The property’s acceptance into The Leading Hotels of the World collection in April 2025 provides international recognition of its unique integration of cultural preservation, sustainable design, and exceptional service standards. This prestigious affiliation positions the hotel within a global luxury context while maintaining its deeply local character and cultural mission.

Setting New Standards for Heritage Hospitality

The Imperial Hotel, Kyoto project challenges industry assumptions about the relationship between luxury and authenticity. By choosing restoration over new construction, Imperial Hotel demonstrates how heritage preservation can enhance rather than constrain contemporary hospitality experiences. The approach proves that guests increasingly value authentic connection to place and culture over generic luxury amenities.

Inoue reflects on the project’s broader significance: “It’s hard to put into words what it feels like to engage with Kimura’s blueprints – almost as if speaking across time. And that is precisely what makes the rebirth of the historic Yasaka Kaikan as a hotel so meaningful for future generations.” This temporal dialogue between past and present architects exemplifies the project’s approach to design as cultural continuity rather than stylistic imitation.

The New Material Research Laboratory’s “archaeological architecture” approach offers a compelling model for future heritage hospitality projects. By treating preservation as creative practice rather than constraint, the methodology demonstrates how contemporary design can honor the past while serving present needs and protecting future possibilities. For Yanko Design’s design-conscious audience, this project represents the future of hospitality design, where preservation and innovation create value greater than the sum of their parts.

The Imperial Hotel, Kyoto establishes a new model for heritage hospitality that honors the past while serving contemporary needs. The project demonstrates that true luxury emerges from authentic connection to place, culture, and craft, principles that Frank Lloyd Wright himself championed and that continue to guide exceptional hospitality design today.

The post Reviving Frank Lloyd Wright’s Legacy: Imperial Hotel Kyoto’s “Old Is New” Philosophy Transforms 90-Year-Old Theater first appeared on Yanko Design.

Floating quietly on the lakes of Dorset, a new breed of houseboat is redefining waterside living. Called Silverlake, these architect-designed residences are the result of a collaboration between design studio Koto and Waterpod, bringing together Scandinavian restraint and a deep respect for nature. The vision is simple: to offer a home that feels both rooted and free, where modern comforts coexist with the gentle rhythms of water and wildlife.

The exterior lines are clean and minimal, echoing the best of Nordic modular architecture. Large windows and natural timber finishes anchor each houseboat in its surroundings, blurring the boundary between inside and out. Every angle is considered, every space intentional. From the deck, the ever-changing play of light on the water becomes part of daily life, offering a sense of calm that’s rare in traditional homes.

Designer: Koto & Waterpod

The layout of the home balances openness and privacy. Living rooms spill out onto terraces, kitchens are compact yet fully equipped, and bedrooms are designed for restful quiet. Thoughtfully built-in maximizes storage without intruding on the aesthetic. Soft, neutral palettes and tactile materials create a welcoming backdrop, inviting residents to shape the space to their rhythms. It’s a home that adapts easily—ideal for full-time living or restful weekends away.

What makes these floating homes unique is their commitment to sustainability. Constructed with responsibly sourced materials, the houseboats rely on energy-efficient systems and low-impact building methods. The floating foundation itself disturbs little of the natural ecosystem, while the design encourages a lighter environmental footprint. Living here is as much about stewardship as it is about comfort, with every detail supporting a harmonious relationship with the water and land.

Flexibility is another key strength. Each residence offers a customizable interior, with options for layout and finishes to suit individual preferences. The moorings at Silverlake provide both privacy and access to a vibrant community, where woodland walks and water sports are steps away. It’s a setting that fosters both solitude and connection, making it an appealing choice for families, couples, or solo dwellers seeking something out of the ordinary.

This collection of houseboats introduces a new standard to the UK market—a rare blend of design, sustainability, and lifestyle. By bringing together modern architectural thinking and a commitment to ecological responsibility, the project creates more than just a place to stay; it offers a way of living that’s attuned to both contemporary needs and the timeless appeal of the water’s edge. For those drawn to the idea of a home that’s as adaptable and inspiring as its surroundings, these floating residences deliver on every front.

The post Luxurious & Sustainable Floating Homes Bring Modern Scandinavian Design To Dorset’s Lakes first appeared on Yanko Design.

PU foam is a petrochemical product that requires isocyanates as a propellant during manufacturing. It is widely used in upholstered furniture and is a big problem in the furniture industry. It off-gases, loses support over time, is flammable and therefore dangerous, has a short lifespan, and poses environmental hazards when downcycled or incinerated. Of course the industry cannot stop producing things like sofas and chairs so it’s better to find an alternative to this material.

The SHRINX Easy Chair marks a groundbreaking milestone in sustainable furniture design. Crafted in collaboration with +Halle® and realized using the innovative SHRINX 4903 fabric from Krall+Roth, this lounge chair eliminates traditional polyurethane (PU) foam entirely and offers a radical rethinking of comfort, aesthetics, and ecological responsibility. It’s a foam-free, sustainable approach rooted in material innovation.

Designer: Boris Berlin

SHRINX 4903 is a patented self‑supporting textile made from 68 % polyester and 32 % polyamide, available in 30 vibrant colorways. Its semi‑translucent mesh enables sharp, precise upholstery while revealing the chair’s structural integrity, reimagining comfort without foam. The material has just the right amount of tension and flexibility, allowing it to conform gently to the body while maintaining its form over time.

What you get by using this material is a lounge chair that feels soft, supports well, and looks crisp but still doesn’t use traditional cushioning. Instead of hiding the inner construction, SHRINX 4903 proudly showcases it which makes transparency into both an aesthetic and ethical statement. It’s a celebration of honest design, where form, function, and sustainability intersect seamlessly.

The comfort that you get from this chair is similar to what you’d expect from traditional foam-padded seats, so the innovative material choice doesn’t compromise on the softness or support users are accustomed to. Instead, it redefines how that comfort is delivered, using tension and intelligent design rather than bulk and padding. Its aesthetic takes cues from classic lounge archetypes, inviting, low-slung, and sculptural, yet it pares these down into a more refined, contemporary form. The slimmer profile reduces visual weight, making it ideal for both modern interiors and public spaces. Meanwhile, the upward-arching curves that wrap around the internal frame not only provide ergonomic support but also express a kind of quiet sophistication, marrying tradition with a forward-thinking approach to sustainable design.

The design and production of the SHRINX Easy Chair signals a paradigm shift when it comes to upholstery. By removing foam entirely and leaning into advanced textile technology, it addresses critical environmental challenges while maintaining a high design standard. It also goes to show that aesthetic quality and ecological responsibility can and should be intertwined.

The post SHRINX Easy Chair removes harmful materials while maintaining comfort and style first appeared on Yanko Design.

In a city where luxury storefronts and urban heat dominate the pedestrian experience, an unexpected structure quietly shifts the atmosphere, both literally and metaphorically. The Climacool Teahouse, a collaboration between architecture firm line+ studio, adidas, and sustainability lab ZERO, emerges as a striking yet serene installation nestled in Chengdu’s Taikoo Li. Temporary in nature but lasting in impact, the teahouse offers a new way to think about architecture’s relationship with climate, material, and culture.

Constructed entirely from bamboo and assembled in just five days, the teahouse is more than a spatial experiment; it’s an environmental gesture. Rooted in the principles of vernacular architecture and adapted through modern techniques, the project proposes a different kind of public space: one that responds to its surroundings with lightness, breathability, and emotional tactility. It’s not built to last forever, but it is built to leave a lasting impression.

Designers: line+ studio

At the heart of the installation is a circular grove of live bamboo, forming the core of the pavilion. These fresh stalks are bent radially inward and fixed between a lightweight ground anchoring system and a digitally fabricated canopy ring above. The effect is immersive: visitors find themselves stepping into a vertical forest, shaded and gently enclosed, while still surrounded by the vibrancy of the city. Hovering above, an LED ring references the movement of air and atmospheric change, subtly illuminating the space and guiding visitors’ visual focus upward.

This design, interestingly, grew from a limitation. The original concept for the pavilion was a suspended, floating structure meant to evoke lightness and air. However, city safety regulations forced a rethinking of the approach, prompting the designers to ground their idea, literally, into something vertical and planted. What resulted is arguably more powerful: a living, growing form that grounds the installation in place, while still playing with notions of suspension and airiness.

The architecture itself is composed of two concentric cylinders: an inner core of living bamboo and an outer shell made of woven bamboo strips that form vertical surfaces, seating, and a subtle interface with the surrounding plaza. The material selection is deeply intentional. Bamboo, a renewable and fast-growing resource, is a nod to both regional craftsmanship and ecological responsibility. It is also the project’s main structural and environmental agent, used not just for aesthetic unity, but for its flexibility, ease of assembly, and climatic performance.

Cooling is an integral part of the design. Integrated misting systems, dry ice, and underfloor fans work together to generate a perceptible level-5 breeze, offering thermal comfort to those within the pavilion and even to passersby in the surrounding plaza. Beneath the central canopy, mist is released downward; around the perimeter, additional nozzles cool the bench zones. Floor-embedded fans create upward air movement, enhancing the effect and mirroring the high-performance qualities of adidas’s Climacool product line, for which the installation was partially conceived.

However, the use of dry ice, while visually dramatic and effective in generating cool air, raises environmental considerations. The release of carbon dioxide may not align with broader sustainability goals, but given the project’s overall low-impact structure and short lifespan, it seems likely the team weighed these factors carefully and minimized their use. The misting and fan systems themselves rely on concealed mechanical and electrical infrastructure, cleverly integrated into the bamboo seating and structure to maintain the installation’s clean, organic aesthetic.

Furniture elements, also made entirely of untreated bamboo, reflect Chengdu’s teahouse culture, grounding the futuristic concept in local tradition. Tables and seating are crafted using traditional methods, and these components extend beyond the installation: after the teahouse’s exhibition period, modular benches will be relocated throughout Chengdu, extending the project’s reach into everyday public spaces. In this way, the pavilion’s life continues long after the bamboo walls are disassembled.

The real brilliance of the Climacool Teahouse lies in its impermanence. Designed to be assembled quickly and taken down just as efficiently, the structure exemplifies the potential of ephemeral architecture to influence how we experience the city. It isn’t a permanent fixture, but a moment of relief, reflection, and reconnection with nature in a highly commercialized setting. It challenges the notion that impactful design must be monumental or enduring; instead, it celebrates architecture as atmosphere, focusing on microclimatic comfort, sensory engagement, and community interaction.

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The term “real estate” often conjures images of market transactions, property values, and investment portfolios. Viewed through the distinctive lens of Yanko Design, the concept shifts. It becomes less about the commodity and more about the crucible of innovation where architecture, interior design, technology, and sustainability converge to shape how we experience space and how we live. While the platform covers a diverse range of design disciplines, from mood lamps to coffee machines, its exploration of property consistently prioritizes design ingenuity, user experience, and forward-thinking solutions.

Even metaphorical uses of the word, such as describing precious screen space on devices, reinforce a core idea: space is opportunity. Whether physical or digital, real estate reflects evolving interactions between people and their environments.

Living Architecture

Yanko Design consistently highlights architecture that goes beyond shelter. These are intentional environments, grounded in context and built to support life with clarity and purpose. They shape routines, stimulate senses, and adapt across generations.

Mid-century homes offer enduring examples. The Mori House in Oregon frames forested views with cedar and a folded roofline that manages rain while pulling the eye upward. In Texas, the Wine Country Courtyard uses limestone and a breezy courtyard layout to regulate heat and encourage outdoor flow. Palm Springs’ Thunderbird House embraces desert logic with terrazzo flooring, deep eaves, and selective apertures for solar control. Each structure distills the same principle: design should work with, not against, its setting.

These homes last because every decision is grounded in purpose. Form follows function and site.

Frank Lloyd Wright’s Integration

The publication frequently revisits Frank Lloyd Wright, whose work underscores what it means to build with organic awareness. His homes, from Prairie to Usonian, follow the terrain, emphasize horizontality, and integrate custom furnishings to reduce visual noise.

Fallingwater, in my view, captures this mindset. Terraces extend over waterfalls. Stone emerges from the terrain. Interiors unfold around light, proportion, and flow. Wright designed for response, not routine. His aim was to align buildings with place and season.

Nature in the Design Language

Biophilic design is a recurring theme. Yanko Design explores how homes embed nature rather than just face it. Projects like the Portland Japanese Garden extension or Singapore’s PARK ROYAL stack greenery, water, and wildlife across vertical layers.

Green roofs cool interiors, filter water, and restore ecology. Internal gardens, such as those in the Slope House, or dense plantings within urban compounds, reshape how people breathe, see, and move through space. Even structures like Easyhome, integrating over 400 trees, show how density and greenery coexist.

In these examples, form is informed by the environment. Feeling follows the light, air, and material connection to place.

Material Integrity

Material decisions tell stories. Yanko Design focuses on how selections reflect climate, purpose, and endurance. Oregon cedar, Texas limestone, recycled bricks in Shanghai, or cross-laminated timber in contemporary cabins, each reveals logic, not luxury.

Tambour wood panels used in hotels and retail interiors bring warmth and curvature to otherwise flat surfaces. Their application blends texture with acoustic and spatial fluidity. In these examples, the material is never incidental. It drives comfort, character, and continuity.

Small Spaces, Big Ideas

Compact architecture features prominently. These aren’t novelties but testbeds for new ways of living. From corner-lot micro homes in Tokyo to off-grid Scandinavian cabins, the common thread is resourcefulness.

Layouts include sleeping lofts, netted lounges, climbing walls, and rooftop decks. Interior storage tucks beneath stairs, and sliding walls reshape rooms throughout the day. These homes offer mobility, self-sufficiency, and adaptability without design compromise.

Constraints prompt clarity. Yanko Design also highlights downsides such as tight quarters and limited privacy, and treats these as factors to weigh, not flaws to ignore.

Modular and Prefab Approaches

The publication covers modular construction closely. Projects like the Folding Dream House or Octothorpe House show how pre-cut timber panels, container modules, or foldable sections can reduce waste, speed builds, and expand access.

These methods shift the building process from onsite improvisation to offsite precision. The result is scalable, reconfigurable housing that responds to shifting needs and locations.

Smart Design, Integrated Tech

Technology is featured with restraint. Yanko Design focuses on how devices integrate into space, not dominate it. Visual harmony matters: brushed finishes, neutral tones, compact profiles.

Smart lighting, climate control, and audio systems remain hidden until needed. Builders pre-plan wiring routes and system upgrades. Even garden systems such as automated irrigation planters support biophilic integration.

Good tech becomes part of the home’s rhythm. It doesn’t interrupt. It augments.

Virtual Frontiers

The future of real estate includes digital terrain. Yanko Design’s coverage of the Liberland Metaverse, designed by Zaha Hadid Architects, explores the idea of virtual plots with physical implications. These spaces propose new models of ownership, interaction, and permanence.

Concept designs extend this thinking. Visualizations depict stacked cityscapes, tunnel-access mountainside retreats, and moss-filled interiors. Some concepts riff on nature’s geometry. Others critique density, automation, or hyper-urban futures. All provoke thought.

Speculative architecture challenges the limits of what buildings can be. It introduces new ways to think about structure, ownership, and design freedom.

Looking Ahead: How Design Shapes the Way We Live

Real estate, as interpreted here, moves away from transactional value and centers on lived experience. It reflects choices in materials, layout, and environmental awareness.

From Wright’s vision to forest-integrated rooftops, tiny homes to prefabricated experiments, the thread remains the same: how we live is shaped by what we build. And what we build, when done with care, reflects the best of how we hope to live.

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Bali. The name alone conjures images of verdant rice paddies, ancient temples, and a spiritual calm that feels almost mythical, perhaps even a touch overplayed in travel brochures. Yet, capturing that elusive essence in architecture, particularly for hotels, remains a profound challenge. Too often, concrete structures land like disconnected objects, disrupting the very tranquility visitors chase. It forces us to ask: how do you build in Bali, harmonizing with its spirit, rather than just building on its land?

Archigods, an Indonesian firm deeply familiar with this context, offers a compelling response. Their concept for a boutique hotel isn’t about imposing scale but fostering a gentle embrace of the landscape. Named the “Blooming Ring,” the design envisions a circular structure cradling a central oasis – a literal sanctuary within a sanctuary. It feels less like an imposing building and more like an organic landform emerging naturally from the earth, whispering integration rather than shouting arrival.

Designer: Archigods

The circular layout is pivotal – Think ancient enclosures or communal gathering spaces; the form inherently turns inward, focusing energy and attention on the lush courtyard. This central space, planned with local flora and calming water features, becomes the hotel’s vibrant, green heart. Guest rooms radiate outwards, offering privacy, yet the core experience constantly pulls you back to this shared, protected haven, fostering a subtle sense of community amidst personal retreat.

Forget predictable smooth render or ubiquitous timber cladding. Archigods proposes embedding crushed pistachio shells within the facade’s plaster. Yes, actual pistachio shells. It’s a wonderfully quirky bit of material alchemy, turning food waste into architectural texture. Imagine the subtle, variegated surface catching the tropical light – tactile, unexpected, and deeply earthy, a far cry from sterile perfection.

This textural innovation sits alongside locally sourced bamboo and timber, materials intrinsically linked to Balinese building traditions. The pistachio shell facade provides a fascinating counterpoint – familiar natural materials meet clever, sustainable upcycling. It’s a statement about resourcefulness, minimizing environmental impact, and creating a building that truly feels rooted, right down to its unique, shell-flecked skin telling a quiet story of reuse.

The design intent clearly targets wellness and sensory rejuvenation. Movement through the space would likely follow the ring’s gentle curve, revealing constant glimpses of the central garden, reinforcing that connection to nature. Natural light is choreographed to flood interiors, while views are carefully framed towards tranquility. The material palette – those intriguing shells, the warm wood, cool stone – aims to create a tactile journey, contributing to a sense of grounded calm.

This project aligns beautifully with the principles of biophilic design, striving to weave nature seamlessly into the built environment. The Blooming Ring feels like a mature, sensitive application, specifically tuned to the Balinese context. It sidesteps flashy architectural gymnastics, prioritizing experiential richness derived from its embracing form, its careful manipulation of light, and that standout sustainable material choice.

Although conceptual, Archigods’ Blooming Ring presents a potent vision for hospitality design in places demanding deep respect for nature and culture. It champions architecture that doesn’t merely occupy space but actively collaborates with the landscape, using innovative, sustainable materials to enhance the restorative escape Bali promises.

The post Sustainably Luxurious Bali Hotel Uses Crushed Pistachio Shells Instead of Concrete first appeared on Yanko Design.

Lamps do more than just illuminate our surroundings. They can very well change the mood in a room, especially ones whose designs are visible to everyone. The lights could give off a cool vibe that encourages productivity, or it could have a warm glow that makes you feel comfortable and at peace. Sometimes the lamp designs themselves turn a room’s narrative in a certain direction, from nature-inspired organic forms to minimalist, modern, and geometric shapes.

Lamp designs don’t have to be elaborate and complicated to have such effects. Sometimes, just the combination of form and materials is enough to be associated with certain themes and emotions. This standing floor lamp, for example, has a simple bar bent at an angle and a textile cover, but these already effectively convey the atmosphere of a city street mixed with the softness of a pasture.

Designer: Amuni Studio

Traditional street lamps cast a unique glow on the world of the night. Given their utility, their light can sometimes be harsh and cold, but it also offers safety and confidence in the dark of night. The shape of these lamps has almost become iconic, and one only needs to see the silhouette to make the association.

Corium is a standing floor lamp design that does exactly that, using the simple shape of a lamp arm bent forward at a slight angle. The lampshade is also nothing more than a long sheet of metal curving over the length of the light element like an arch. A layer of proprietary recycled leather is draped over this shade, adding a touch of organic texture and warmth to the composition.

In a way, Corium represents contrasting elements that find their harmony inside the modern home. There is the street lamp that is a staple of outdoor urban lighting, while leather is more closely associated with nature and fashion. Utility and luxury, coldness and warmth, light and shade all come together in a simple yet striking design that gives light in its own unique way.

Initially designed to be a pendant lamp, Corium is also an experiment in designing and producing a product entirely done in Latin America. In addition to components sourced locally, the talent and manufacturing involved were also done locally. It gives the lamp an even deeper narrative and a value that transcends its surface appearance.

The post Standing floor lamp uses recycled leather to mix urban boldness and cozy warmth first appeared on Yanko Design.

Despite laptops overtaking their towering cousins in market share, these portable computers still lack one vital trait that has kept stationary desktops still relevant today. Desktop computers are, to a very large extent, modular by design, making it easier to upgrade and replace components as needs and technologies change. Sure, some laptops have upgradable RAM and storage, but that’s pretty much all there is to them given certain limitations in design.

Those limitations include the design of the motherboard itself, an all-in-one all-or-nothing object that is pretty much the soul of a computer. Intel, however, is proposing a rather ground-breaking change that will help make these components more repairable and less wasteful. If followed by its partners, it won’t just kick off a new age of modular laptops, it could even give Intel and AMD a huge edge over their Arm-based rivals such as Qualcomm and, of now, Apple.

Designer: Intel

The difference in motherboards between desktops and laptops is like night and day. Desktops follow an industry convention that has been shaped over decades, allowing components from rival companies to be mixed and matched as the consumer desires. Laptop motherboards, on the other hand, are often designed based on brand needs and whims. More importantly, they come as a whole package, with many parts soldered onto the board, including the ones that get worn out faster than others.

Intel’s proposed guidelines try to split the laptop motherboard into three distinct parts, two of which would hold the I/O or input out components such as USB and HDMI ports. The third would be where the core silicon is located, specifically the CPU and the GPU, among others. The modularity would allow different affected parts to be replaced if broken or, if desired, even upgraded, without throwing away the rest of the motherboard.

Those guidelines also have something for mini PCs, which are like the middle child between desktops and laptops. In this matter, the CPU and motherboard are separated from the graphics card and other components, making it easier to swap out GPUs or CPUs in the future. The growing popularity of mini PCs, partially thanks to the Mac mini and Mac studio, could be the driving force behind this initiative. Ironically, Intel itself has given up on the form factor, licensing its “NUC” brand to ASUS.

Designer: Framework

These guidelines might be ideal for reducing e-waste and promoting the right to repair, but it still all depends on whether other players are willing to play ball. Laptop manufacturers might be hesitant to do the work redesigning their laptops, and Intel’s rival AMD might not be keen to cooperate either. It’s still a distant dream, but one can already have a foretaste of the future today with the Framework laptops, proving that it can indeed be done with the right design.

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Graphene batteries are developing into the next big improvement in our everyday devices. As opposed to Lithium-ion, these have the potential to improve the performance of our gadgets, but their disposal (like that of their counterparts) is also going to be a hazardous problem. This is where a new biodegradable fungal battery from the Swiss Federal Laboratories for Materials Science and Technology (Empa) may help.

Courtesy of this breakthrough by Swiss researchers, fungi – which can feed on sugar instead of charging – could be used to power devices in the near future. This is achieved through a 3D printed fungi for battery, which is biodegradable. It can digest itself from the inside once it has served its life purpose, a researcher suggests.

Designer: Empa

The fungal battery is 3D-printed using fungi cells mixed with printing ink (which is nutritious for the fungi and completely biodegradable) that can feed on sugar and be stored in a dried state for transportation and activated by “adding water and nutrients.” This is for the first time, according to the researchers that two types of fungi – yeast fungus for negative (or anode) side and a white rot fungus on the positive (cathode) side – have been combined to create a functioning fuel cell.

“Strictly speaking, the cell is not a battery, but a…microbial fuel cell.” Empa researcher Carolina Reyes informs. The fungi fuel cell has been developed over a period of three years. It does not generate a lot of electricity to maybe power your smartphone today, but can produce enough to “power a temperature sensor for several days.”

So, if you were thinking, these fungi cells are not going to replace the batteries in your everyday devices, instead such batteries when encased in beeswax “can power small sensors to monitor temperature, light, and humidity in agriculture and environmental research in remote areas.” In addition to running devices in the outdoors, these can decompose safely leaving no harmful traces behind. There is no information about making these cells commercially available anytime soon, but the research opens new horizons for the use of fungi to produce electricity and become probable battery alternatives for our portable devices.

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Many of our electronics today rely on batteries, from laptops to phones to smart home appliances to even cars. It’s almost ironic, then, that these critical batteries are also one of the most dangerous things we keep near our bodies, not to mention a hazard to the health of the planet as well. From the way they are made to the unsustainable metals and chemicals they contain, batteries, by nature, seem opposed to life itself.

Green energy like solar and wind can go only as far as recharging batteries, but we still need these volatile objects to power devices directly. This innovative battery, however, attempts to reinvent batteries from the ground up to provide true sustainable power to the point that they can even be broken down as compost. Even more intriguing, they’re made of materials you’d least expect to find in batteries: paper and water.

Designer: Flint

Technically speaking, the batteries aren’t made of the same kind of paper you write on or read from. It actually uses cellulose as the structural backbone and separator of the battery, an abundant material derived from plants and also used in paper, hence the name. As for water, it’s used as the foundation for the electrolytes that actually carry the electrical flow between the zinc-based anode and the manganese-based cathode, both of which are non-reactive, safe, and commonly found everywhere.

This unusual composition for a battery yields many benefits beyond simply being made of sustainable materials. For one, the battery has unbelievable resilience and can still output power even when cut in half, let alone not explode in your pocket when punctured. It’s also impervious to fire since it uses water-based electrolytes. This practically removes the need for those fancy but complicated and expensive cooling systems in phones and laptops, presuming they get used in those devices. The batteries can also be folded and bent safely, finally realizing the dream of flexible batteries.

The Flint Paper Batteries are advertised to have the same performance in terms of output and longevity as typical toxic rechargeable batteries. And yes, they’re rechargeable as well. They won’t live forever, though, and when they’ve finally lost their charge for good, simply removing the vacuum-sealed casing starts the natural degradation process that breaks them down into harmless components.

It all sounds idyllic but the technology is not completely ready for mass consumption just yet. One of the biggest hurdles that still needs to be overcome is mass production, and Flint’s creators are planning on using currently existing lithium-ion battery manufacturing processes in order to minimize production and adoption costs. When that happens, we could finally take a major step forward in running not only on green power but also on safe and recyclable batteries as well.

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Wireless charging didn’t just free us from the tyranny of tangles, it also opened the doors to creative charger designs. Especially with the addition of magnetic force, chargers no longer needed to be stuck to walls or power outlets or even lie flat on charging beds. Of course, these still required the presence of often very conspicuous chargers that may look out of place in some situations, no matter how aesthetic they might be.

Some furniture makers have started integrating wireless charging into their designs but often end up making the areas too obvious, clashing with the otherwise minimalist and luxurious design of the product. This wireless charging innovation, in contrast, is almost completely invisible, save for a very subtle and elegant halo of light enclosing the charging area. In fact, this technology can be integrated into an equally innovative and sustainable stone-like material that transforms kitchen countertops and luxurious tables into futuristic charging spaces for phones.

Designer: Cosentino x FreePower

Imagine going to a bar and never having to worry about your phone dying. Simply put your mobile device down in front of you and have it charge while you sip your martini and make connections with the people around you. Or how about placing your phone on the kitchen table while you prepare dinner and listen to your favorite podcast, confident that your phone’s battery will be full by the time you’re done? All of this without a single wireless charger that stands out like a sore thumb.

FreePower’s technology was already making these James Bond-like scenarios a reality by integrating the wireless charging components in places you’d least expect them, specifically materials like marble and stone that you’d hardly expect to have embedded chargers. Its partnership with Cosentino, however, adds another twist to that dreamy technology, making it available on materials that are both luxurious and sustainable.

Cosentino’s Silestone, for example, is a low-silica mineral surface that uses recycled materials to reduce the amount of crystallized silica used. Dekton, on the other hand, mimics the appearance and texture of porcelain while using carbon-neutral materials that also help improve its durability and scratch resistance. Both materials are also produced using sustainable processes that don’t sacrifice the planet’s health in the name of luxury.

The collaboration between FreePower and Cosentino opens a new avenue for integrating convenient wireless charging spaces into luxurious but sustainable surfaces that can be used in kitchens, bathrooms, bars, conference tables, and even desks. The only drawback to this ideal situation is that these pieces of furniture have to be custom made, as retrofitting existing counters and tabletops is not yet possible at this time.

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IT professionals are emerging as key drivers of sustainability, leading decarbonization efforts and shaping the future of green technology.

There are chairs that look very pretty and artsy but are probably not the most comfortable place to sit on. I’m the kind of person that would care more about a chair’s functionality rather than its design, as long as it’s comfortable and would let me sit on it for a long time. But there are those that also can be both and this new one from furniture brand Heller seems like it is.

Designer: Hlynur Atlason

The Limbo Chair is something that you can use either indoor or outdoor. Its “swooping, sculptural form” makes it look like an art piece you can find at a museum but since it’s a chair foremost, it was also designed to “balance flexibility and support, playfulness and durability.” They say it’s comfortable enough to be able to use it while you’re resting, reading a book, or just sitting without agenda.

The other special thing about this chair is that it is 100% recyclable. It uses a high percentage of recycled plastic polyethylene blend. What percentage of the material this is depends on the color, with black being the highest. It is available in warm and neutral colors like black, bone, sand, terra cotta, wheat, and cantaloupe, to blend in whatever environment you place it in.

The chair seems to be low enough for you to relax in, although I don’t know if I can last in it even though I’m not the tallest person. It will look good though if you add it to your space especially if one of the available colors matches your aesthetics.

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Lexus has collaborated with Bratislava-based research and design studio Crafting Plastics to create an installation that revolves around material objects. Dubbed Liminal Cycles, the creation is inspired by the all-electric Lexus LF-ZC (Lexus Future Zero Catalyst), implementing an abstract installation that explores the various senses and elements of a vehicle. This is in tune with the brand’s AI-driven software.

The mesmerizing kinetic structure is a layered skeletal made out of 3D-printed bioplastic (called Nuatan) in the shape of LF-ZC’s body. This installation designed by Germane Barnes, Michael Bennett (Studio Kër), Suchi Reddy, and Tara Sakhi is on display at the sculpture garden of the Institute of Contemporary Art, Miami. This breathable sculpture acknowledges the adaptability and responsive technology of the developing concepts of SDVs (Software Defined Vehicles) that envision the software-enabled customization of luxury vehicles.

Designer: Lexus and Crafting Plastics

The culmination of automotive technology and global art and design audience, the installation is a first mover advantage in the “bold and uncompromised experiences for the next generation,” according to Lexus’ press release. This 1:1 version of the real thing is not harsh to the environment in any way as the bioplastic material is based on 100% renewable resourcing with no traces of microplastics left behind. To enhance the dynamism of the sculpture it is coated with UV-responsive material skin. Thus, it reacts to environmental stimuli including changing position of lights, the intensity of UV radiations, or the viewer’s proximity. Based on these dynamic changes the sculpture can expand or contract in real-time, just like breath-like movements, thus representing the harmony between nature and technology.

Along with the replica of the LF-ZC, there are three complementing satellite installations that incorporate the design elements of the car to showcase the sensory inputs ranging from audio and visual cues. One of them is a flower-like sculpture representing the futuristic steering wheel of the car in a rugged earthy texture. It reacts to the user’s touch, responding with fluctuation in the volume and intensity of the sound composition. The second complementing installation is a reinterpretation of the headrest that emanates a Lexus-inspired perfume in response to the user’s interaction. The last one is a wind-activated lattice-like sculpture that responds to any active stimuli to reveal the brand’s logo, owing to the sensitivity of the bioplastic material in response to the shift in UV radiation.

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