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Apple’s latest experiment in robotics feels like a love letter to Pixar’s Luxo Jr. The tiny, energetic desk lamp that hops onto the screen before every Pixar film has always been more than just a mascot—it’s a symbol of character-driven storytelling. Now, Apple’s researchers have taken that same playful, emotive energy and brought it into a real-world robotic lamp, designed not just to function, but to interact, express, and even entertain. Researchers at Apple presented a paper titled ‘ELEGNT’ (Expressive and Functional Movement Design for Non-Anthropomorphic Robot) along with a comprehensive video of the lamp in action.

There’s a poetic connection here. Steve Jobs, the man who shaped Apple’s design philosophy, was also the visionary who helped Pixar become an animation powerhouse. The DNA of both companies has always been about creating technology that feels approachable—whether through the friendly curves of an iPhone or the lifelike expressions of an animated toy. Apple’s robotic lamp embodies that same philosophy, proving that robots don’t need to be powerful to be meaningful. They just need to be relatable.

Designers: Apple Machine Learning Research Division

Developed by Apple’s Machine Learning Research division, this robotic lamp is more than an automated light source. It gestures, reacts, and even sulks when it’s left behind. A demonstration video shows it performing tasks in two modes: “Functional,” where it simply executes commands, and “Expressive,” where it adds personality to its movements. The difference is striking. Instead of cold efficiency, the expressive mode makes interactions feel natural—like the lamp is part of the room’s social fabric, not just an object within it.

In one scene, the lamp hears music and starts swaying, an irresistible display of curiosity. In another, it glances outside before describing the weather, as if pausing to check for itself. When it reminds a user to drink water, it nudges the glass forward—not as a command, but as a gentle encouragement. These small but thoughtful gestures tap into something deeply human: the way we naturally ascribe personality to objects that behave in familiar ways.

This is why anthropomorphism in robotics matters. People don’t just want machines that work—they want machines they can connect with. A robot that can convey joy, hesitation, or even mild disappointment is far more engaging than one that simply executes tasks. It’s a lesson we’ve seen play out in animated films for decades, and it’s one that robotics engineers are beginning to embrace. In a way it also helps shed the impression of robots being scary (Skynet, Terminator, Transformers, Ultron) by embracing more delicate, humane characteristics instead.

Apple’s research aligns with earlier reports from Mark Gurman suggesting the company is developing a home robot with an articulating arm and an iPad-like interface. Speculated to launch by 2026 or 2027, it could integrate with smart home systems and even act as a companion device. If Apple is serious about bringing robotics into consumer spaces, this expressive lamp could be a glimpse of what’s to come.

For now, this experiment serves as a reminder that technology doesn’t have to be rigid or clinical to be useful. The best machines aren’t just the ones that perform tasks efficiently—they’re the ones that make us feel something. And if a desk lamp can make you smile just by hanging its head in disappointment, Apple might be onto something special. You can read the entire research paper on Apple’s website here.

The post Apple Researchers Built A Pixar-Style Robot Lamp That Moves And Emotes Like A Living Creature first appeared on Yanko Design.

This truly exciting and ambitious project is an initiative to repurpose an abandoned brutalist water tower. Over four years, a dedicated family collaborated to transform the 1960s relic into an sophisticated vacation getaway. The interior is artfully crafted to fit the tower’s circular architecture while offering breathtaking views of the surrounding landscape. It stands at a maximum height of 75 feet (23 meters) and was originally designed by Edmund Percey in 1964. It was built to store 50,000 gallons (almost 230,000 liters) of fresh water for the nearby villages of Tonwell and Sacombe Park in Hertfordshire, England.

Designer: Matthew Grey

The transformation was handled by industrial designer Matthew Grey, with the support of his wife Ali and their children. The project was selected for Airbnb’s OMG! Fund. The family put together 10,500 lb of windows, 7.38 US tons of plasterboard, and 1.1 miles of metal framing to convert the reinforced concrete structure into a home, not to mention a whole bunch of blood, sweat, and tears.

“First we cut concrete,” said Grey. “Then we scaffolded to the first story and built the floors above, off the floors below. We purchased a 21-m [68-ft] scissor lift. We fixed the roof and renovated the superstructure. We installed [structural] steels, cut more holes and demolished. We ran the services. We built a 20-m [65-ft] staircase, by hand, step by step; then we built another. We lifted everything, first on ladders, then on ropes, then on a hoist, and finally on the scissor lift; loading everything we could, as soon as we could, and then we closed up.”

The interior of the water tower is thoughtfully arranged to make the most of its distinctive structure. The lower floors function as practical living spaces, including a home office, storage area, laundry room, reception area, and bedrooms, all designed to utilize the available space efficiently. As you move up the tower, you reach the star attraction of the conversion – an expansive open-plan living area that combines the kitchen, dining, and living spaces on the fourth floor, where the old water tank once resided. This level features generous floor-to-ceiling glazing, which elegantly frames the panoramic 360-degree views of the surrounding landscape.

The decor throughout the tower is tasteful and sophisticated, skillfully blending original period Danish and British furniture with modern conveniences such as a projector TV and a high-quality stereo system. The tower includes energy-efficient features like triple glazing to enhance insulation, a Daikin air filter, a heat pump, underfloor heating, and a robust “weapons-grade” fire system that prioritizes safety. These modern amenities combined with the aesthetic charm of classic furnishings, create a unique living experience that offers some history with contemporary luxury.

One glaring issue we can notice in the building is that the spiral stairs aren’t suitable for someone with disabilities. However, the designer is exploring a custom elevator system to address this issue in the future.

The post An Abandoned Water Tower From The 1960s Was Converted Into A Brutalist & Luxurious Holiday Home first appeared on Yanko Design.

Richard Mille is generally known for fascinating timepieces that are apparently robust and intriguingly complex. This time, to kickstart the new year, the brand has launched a brutalist architecture-inspired RM 16-02 Automatic Extraflat, which is a modern take on the RM 016, Richard Mille’s first rectangular automatic watch, an embodiment of ergonomic perfection and minimalist aesthetics.

If there is one architectural style that has influenced watchmaking more than others, it has to be Brutalism. Since its buildup in the 1950s, the brutalist style – characterized by blocky forms and geometric shapes – has found its way into the best of watches including a Patek Philippe, a Vacheron Constantin, and even a Richard Mille. The RM 16-02 Automatic Extraflat reflects on the architectural style, while staying aesthetically within the RM’s signature style: so apparently what we get is a rectangular-shaped, skeletonized watch that resembles Ariadne’s thread, by an intricate maze on the dial.

Designer: Richard Mille

Even though the fit and ideology of the original RM 16-02 are upheld, the new iteration of the watch excels in its interpretation of the rectangular shape and the complex, skeletonized dial that screams with brutalist boldness. Richard Mille has made the new RM 16-02 Automatic Extraflat available in two vibrant colorways:  Terracotta Quartz TPT and Titanium Creamy White Quartz TPT.

Made in about 10 percent smaller size than the original RM016, the new RM 16-02 measures 36mm in width, 45.64mm in length, and 9.5mm thick. Retaining its curvature reminiscent of Richard Mille watches, it comprises a full-grade 5 titanium case in the first model, while it’s the interesting new Terracotta Quartz TPT model that catches the eye, not only because it’s a first for RM but also for its process of achieving the color. The unique color is achieved by infusing 45 microns of thin silica threads in a colored matrix and then subjecting them to high temperature and pressure.

Of course, both the color variants of the 2025 RM 16-02 Automatic Extraflat captivate with their aesthetics and rectangular cases, their story is not limited to appearance. The watches are powered by a new in-house CRMA9 calibre skeletonized automatic movement with hours and minute hands on the dial. The movement measuring 26mm wide, 31.25mm long, and 4.12mm thick – specially made for the watch – helps maintain the RM 16-02’s slim profile and provides it with up to 50 hours of power reserve. Richard Mille watches, we have come to understand, don’t sell for affordable rates. Somehow the company has tried to keep the RM 16-02 watches within the range of affordability for most collectors. To ensure that, RM 16-02 Automatic Extraflat Terracotta Quartz TPT is priced at $156,000 and Titanium White Quartz TPT is retailing for $134,000.

The post Richard Mille RM 16-02 Automatic Winding Extraflat is brutalist take on vibrant watchmaking first appeared on Yanko Design.

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