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 Waterbridge House shows us what it means to live both inside and out. Set amid the pines of Pebble Beach, this glass-clad sanctuary floats above the landscape, a calm, geometric silhouette that is as much an homage to nature as it is a feat of architecture. Designed by a local artist, the home’s spirit is rooted in the Japandi style, where Japanese calm and Scandinavian restraint meet the warmth of the California coast.

Staggered concrete steps emerge from the hillside, guiding you toward the house’s signature feature: a glass corridor that bridges a tranquil pool. This floating link is more than an entryway. It’s a threshold—a moment of pause between the everyday and the restorative energy within. The two wings that it connects speak to both privacy and togetherness.

Designer: Emily Yang Bauer

One wing features a spacious open-plan kitchen, living room, and dining area—perfect for gatherings and everyday living. The opposite wing is dedicated to privacy, offering a primary suite that opens onto a generous deck, a separate den or office, and two additional en-suite bedrooms. Below the common area, a separate guest suite with its own kitchenette and private entrance provides comfort and autonomy for visitors.

Waterbridge House’s minimalist form delivers a thoughtful complexity. The facade is a study in contrasts: bare white stucco, punctuated by vertical frameless windows, melts into entire glass walls that slide open to expansive decks. The effect is seamless. Indoors and outdoors blend, and natural light pours through the space, transforming at every hour. Here, the forest is never just a backdrop—it’s invited in, echoing along every surface and reflecting off the pool below.

Central to the home’s philosophy is its relationship with water and landscape. The glass corridor doesn’t only serve as a bridge – it is a calm vantage point, suspended between sky and pool, framing the shifting patterns of light and shade. It’s no wonder the house earned its name: Waterbridge. On quiet mornings, you might cross this bridge with coffee in hand, watching fog drift between trees and sunlight skip over ripples below.

The inspiration for Waterbridge House traces back centuries and continents. The staggered layout and bamboo-accented calm draw from the Cui Linglong, an 11th-century building in Suzhou, China. That legacy is felt most strongly in the home’s floating tea house—a conceptual pavilion accessed by its own set of concrete steps, perfect for contemplation or quiet gatherings. This gentle nod to history grounds the home’s modern lines, adding a layer of serenity and depth.

The house is blessed with light-filled spaces and a connection to nature, creating an atmosphere that is both calming and invigorating. The design offers privacy without isolation, and the floating glass bridge is a daily reminder of the home’s unique vision. The few cons—perhaps a less urban location or a minimalist palette that may not suit maximalist tastes—are far outweighed by the sense of peace and spaciousness.

The post Japandi-Inspired Home Showcases Floating Teahouse, Glass Bridge, & Sunlit Spaces In California first appeared on Yanko Design.

Los Angeles has long been at the epicenter of America’s housing crisis, with high costs and limited inventory making homeownership unaffordable for many. The multiple fires this year have also made the situation worse. This year, a new wave of optimism and hope arrived with the “Small Lots, Big Impacts” initiative, a collaboration between the City of Los Angeles, UCLA’s CityLab, and advocacy group LA4LA.

Their design competition invited architects to reimagine starter homes for city-owned small lots, challenging the notion that space is the primary barrier to affordable, family-friendly housing. The result is a collection of inventive, buildable homes that could reshape the city’s housing landscape. The competition was divided into two categories, “Gentle Density” and “Shared Future,” each encouraging creative approaches to maximize livability on minimal footprints.

Designers Featured: WORD, SSK, Light & Air & Olsun Kundig

One of the entries is Shared Steps, designed by California architecture studios WORD and SSK. Responding to the challenges of infill development, the team devised a composition of stepped buildings that reads as a single, cohesive residential facade from the street. Behind this unified exterior, however, are three separate, three-storey buildings, each accompanied by its accessory dwelling unit (ADU).

Also in the Gentle Density category, Brooklyn-based studio Light and Air presented 4X4X4, a scheme that brings four three-level houses to a single lot, each with the capacity for ground-floor ADUs. The design uses precast concrete panels punctuated with generous cutouts, allowing for floor-to-ceiling glass and expansive terraces. These features cultivate an indoor-outdoor lifestyle that resonates with Los Angeles’ climate and culture, while the stacked format delivers the density required to make a real impact on housing availability.

Nationally recognized firms also made their mark on the competition. Olson Kundig’s entry envisions a “vertical neighbourhood,” using a scalable mass-timber structure clad with solar panels. This design weaves together three primary buildings with shared amenity spaces, and its modular units can be removed or reconfigured to carve out outdoor spaces as needed. The flexibility of this plan is particularly valuable in a city as dynamic and diverse as Los Angeles, offering the possibility for custom-tailored community spaces and a sustainable, adaptable housing model.

What ties these projects together is their blend of density, flexibility, and a deep sensitivity to context. Rather than imposing generic solutions, the designs respond to the unique qualities of Los Angeles’ neighborhoods and the economic realities of its residents. These refreshing and impressive concepts leverage small lots and innovative design strategies, and could help unlock thousands of new homes, making the dream of affordable homeownership and vibrant, walkable communities more attainable for all Angelenos.

The post Innovative Starter Home Concepts Are Designed To Tackle Los Angeles Housing Crisis 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.

For a company that single-handedly revived transparent tech, the Headphones (1) have absolutely no transparency in their design. If you saw this video dated a month or so ago, it was Nothing literally confirming that they were due to debut their first over-ears. The internet’s been asking for Nothing to build AirPods Max ‘killers’ for a while, and it seems like Carl Pei finally had his cards in place to make this play…

However, images from a private preview earlier last week showed what the headphones looked like – and the internet has thoughts. A lot of people on Reddit can’t help notice the odd shape, commenting on how it looks different from what they expected… and that’s a good thing. Subverting expectations is great if you can create a design that’s somehow received more positively than the consumer’s expectations. The problem is that Nothing’s ardent fan base now always has the highest expectations. And as a fan, I did too.

Designer: Monica Bhyrappa

Call me pedantic, but Nothing’s entire design DNA was transparency. Whether it was the earbuds or the phones, there was always an element of ‘see-through’ in their tech. Not so much in the phones, given how densely components are packed inside, but the Ear (1), Ear (a), and Ear (open) all had a transparent outer housing that let you peer into the electronics below. While the ‘alleged’ Headphones (1) do have a transparent shell, the design is FAR from actually transparent. In fact, it’s entirely opaque, except for one can-hugging outer shell that doesn’t really let you ‘peer into the headphones.’

That’s when I stumbled upon the ‘Spectrum’ headphones by Monica Bhyrappa. These phones were especially designed for wearers with autism, allowing them to experience less sensory load as compared to other humans. Autistic people experience the world very differently, and an overload of sensory input can easily overwhelm them. The Spectrum are a specially-tuned pair of noise-canceling headphones designed to phase out too many noises, allowing wearers to focus on audio that actually matters.

The design brief is spectacular, and I’m all for accessible tech, but I couldn’t help but also notice one of Monica’s concept renders, which featured a set of transparent cans… and the second I saw them, I knew exactly what I wanted the Nothing Headphones (1) to look like.

Nothing’s ethos is broadly to make tech fun again – not through awkward shapes, but through an eye-catching design that boasts transparency. You have a broader appreciation for tech if you know what’s inside it, or at least that’s what I personally believe. Beats by Dre had this entire scandal following a teardown that revealed metal cubes inside the headphones, added with zero purpose other than to make them feel ‘heavier’ and therefore ‘premium’. Nothing’s transparent tech was supposed to be an open challenge to that.

Are the upcoming Headphones (1) ‘fun’? I’m sure there’s a set of people who love the design, and a set of people who think it’s funky, but not specifically for them. That isn’t the point I’m trying to make. What I personally wish is that the headphones adopted the ‘transparency’ design direction more aggressively. Headphones aren’t like phones. They’re thicker, have more air gaps to allow for vibrating components and air-based resonance. This inherently allows for headphones to have a lot of empty space on the inside – empty space that is PERFECT for beautifully showcasing through transparency.

No, I don’t want glyphs on my headphones. But I do wish they looked a little different. I wish they championed transparency more than they currently are… because let’s not deny that Monica Bhyrappa’s Spectrum headphones do look absolutely gorgeous!

The post Here’s the Nothing Headphones (1) we wish existed instead first appeared on Yanko Design.

Remember when musical instruments were simply tools for creating sound? That era is rapidly disappearing as technology transforms our relationship with music. The E-Zither by Jade Inno exemplifies this evolution, taking the traditional Chinese guzheng (a 2,500-year-old zither) and catapulting it into the 21st century with a design that would make Dieter Rams nod in approval. The swooping streamline structure and undulating surface create a sculptural silhouette that appears to float before the performer, simultaneously honoring traditional imagery while completely redefining its expression. What makes this concept particularly fascinating is how it manages to blend technological innovation with cultural preservation, something we rarely see executed with such thoughtful precision.

This isn’t some half-baked concept destined for perpetual “coming soon” status either. Jade Inno has already completed small-scale trial production and plans to release the E-Zither in the Chinese market first. The instrument represents the first implementation of the brand’s new design language, establishing a visual and structural framework for future products. Its sleek, minimalist aesthetic disguises a wealth of functionality that transforms the traditional playing experience. The crystal zither pegs add both visual elegance and practical lightness, while the acoustically optimized perforation pattern underneath enhances sound diffusion for a more immersive tonal experience. Each design element serves both form and function, creating a cohesive whole that feels simultaneously familiar and revolutionary.

Designers: Qi Liu & Ou Sheng

Under its elegant exterior, the E-Zither packs serious technological muscle. The instrument integrates 12 distinct functions including a tuner, drum machine, wireless microphone, Bluetooth speaker, and dynamic atmosphere lighting. Eight built-in high-fidelity speaker units deliver 300W peak power, while an NXP DSP chip with acoustic master tuning technology ensures pristine sound reproduction.

The one-key switching between eight different tones allows for unprecedented versatility, giving musicians the ability to shift sonic palettes instantly. That circular control knob isn’t just pretty either; crafted from CNC anodized aluminum with a fine matte finish, it houses controls for tone switching, volume adjustment, and Bluetooth pairing. The 360° dynamic surround lighting system moves with the music, creating what the company calls a “4D immersive experience” that extends beyond mere sound.

The practical considerations are equally impressive. Lightweight, detachable legs make assembly, transport, and storage remarkably straightforward, addressing a common pain point for traditional guzheng players who struggle with the instrument’s typical bulk and weight. This adaptability makes the E-Zither equally suitable for professional stage performances and teaching environments.

The dual-purpose nature of the instrument as both a professional musical tool and entertainment device opens it to a broader audience than traditional zithers could ever reach. For musicians looking to bridge ancient tradition with modern capability, this electronic guzheng offers a compelling vision of how cultural instruments can evolve without losing their soul. I’ll be watching closely to see if Jade Inno can successfully bring this striking concept to global markets after its initial Chinese release.

The post This E-Zither turns the ancient Chinese Guzheng into a 300W Bluetooth Shred-Machine first appeared on Yanko Design.

Amnesia House, designed by Edmonds + Lee Architects, introduces an uncommon sense of calm in the wilds of Northern California. Conceived as a minimalist retreat, the home steps away from the city’s demands, offering a space that feels both elemental and contemporary. Its structure responds not only to the shifting light and landscape, but also to the pressing realities of fire resilience, integrating function without sacrificing a certain quietude. The home’s geometry is simple, its palette muted, expressing a belief that beauty emerges from restraint.

Entering the Amnesia House, one notices how openness defines the experience. Expansive glass frames the forest, letting daylight move freely across polished concrete floors and white oak millwork. The main living space is open and uncluttered, anchored by a kitchen that blends seamlessly into the architecture. While every detail feels deliberate, nothing distracts from the view or the sense of escape. Amnesia House is not an exhibition of excess but a distillation of what’s necessary for rest and reflection.

Designer: Edmonds + Lee Architects

The architects created this design with a clear intention: to build a counterpoint to their celebrated Remember House in San Francisco. Where the urban project is layered and gallery-like, Amnesia House is more monastic, favoring horizontality and understatement. The roofline is crisp, echoing the brush of the landscape, while deep overhangs provide shelter from both sun and wildfire embers. This sensitivity to the environment is present in every aspect, from the fire-resistant materials to the way the building settles into its site.

Living here is about engaging with the elements rather than shutting them out. Windows slide open to the breeze, and the main terrace extends the living area outdoors, blurring the distinction between interior and exterior. The furniture is minimal, the art sparse, leaving room for the changing light and the sounds of the forest to become the home’s true adornments. There’s a deliberate absence of distraction that encourages a slower pace, a deeper connection with the landscape.

The plan of the home is efficient—two bedrooms, a flexible guest suite, and a main living core that adapts to both solitude and gathering. Every finish is chosen for durability and ease of maintenance, reflecting an understanding that a weekend retreat should never become a burden. The firewise strategies—metal roofing, non-combustible siding, minimal landscaping close to the house—are integrated so seamlessly that they become part of the architecture’s overall serenity.

Amnesia House champions an approach to living that finds luxury in simplicity and resilience. Rather than striving for spectacle, the architects frame the essentials: light, shelter, and a connection to place. The result is a home that fosters reflection and comfort, offering its owners not just a retreat from the city but a gentle reminder of the elemental pleasures of quiet design. In this way, Amnesia House serves as both a functional refuge and a subtle meditation on the art of living well.

The post Ultimate Fire-Resilient Minimal Retreat In California Is Designed For Modern Weekend Living first appeared on Yanko Design.

After months of testing Yarbo’s Core module in my challenging 5,700-square-foot yard and experiencing firsthand the exceptional build quality that impressed me during the initial unboxing, the announcement of the Lawn Mower Pro module represents a quantum leap forward. ‎⁢turn0search0 My Yarbo recently completed mowing my entire property with only a couple of minor hiccups, proving its capabilities in what industry experts warned might be too difficult for robotic mowing technology. Yarbo just dropped something that changes everything about autonomous lawn care.

Designer: Yarbo

My yard presents a formidable challenge for any robotic mower. It features 32 massive oak trees that have stood for decades, predating even my 35-year-old house. These enormous, established oaks create dense canopies and extensive root systems throughout the property. When I first considered getting a robot mower, conventional wisdom held that heavily shaded yards remained incompatible with robotic mowing technology. The Yarbo proved that wisdom wrong.

Yarbo Mower Pro

The new Lawn Mower Pro module builds upon the solid foundation I’ve come to appreciate in the Core system, but amplifies every capability to professional levels. Where the original system demonstrated impressive engineering and reliability in my testing, navigating between tree trunks, avoiding exposed roots, and maneuvering around garden features with awareness that anticipates problems before they occur, the Pro module scales these capabilities for properties that would make most robotic mowers surrender immediately.

Dual 300-watt cutting motors deliver a combined 600 watts of continuous power, spiking to 2,500 watts when the going gets tough. Having experienced how the Yarbo’s sophisticated sensor array handles shadows and bright spots that confuse purely visual systems, I can appreciate how this power increase addresses the mulching demands of larger properties. The ultrasonic sensors, binocular stereo camera, and six ultrasonic radars providing 360-degree coverage that impressed me in testing now support significantly more cutting power.

The real breakthrough lies in the advanced mulching system that builds on capabilities I’ve witnessed firsthand. These specialized mulching blades handle wet grass, tall overgrown sections, and thick vegetation that would jam conventional systems. Having dealt with the seasonal nightmare of managing debris from those 32 massive oaks, watching the Yarbo methodically work through my challenging yard demonstrated how effective autonomous mulching becomes at scale. The Pro module’s enhanced system chops everything into fine mulch that feeds the soil naturally, eliminating the endless cycle of raking, bagging, and disposal across six full acres. No more weekend battles with leaf blowers and collection bags, multiplied across vastly larger territory.

The AI-powered mapping assistant that helped identify lawn edges during my initial setup, creating accurate boundary definitions even where GPS precision was compromised under tree canopies, now scales to handle the complex terrain mapping required for six-acre properties. This intelligent mapping capability ensures the mower maintains awareness of operational boundaries when navigating solely through vision and odometry across extensive landscapes.

The autonomous operation represents a significant leap beyond the already impressive capabilities I experienced with the original system. Press start and the Pro module takes over completely, navigating around obstacles, adjusting cutting height based on grass conditions, and returning to charge when needed. The intelligence extends to weather adaptation, automatically adjusting operation based on moisture levels and grass growth patterns. Six acres become manageable territory rather than an overwhelming expanse, with the same methodical precision I observed in my tree-filled yard.

Properties that previously required dedicated groundskeeping staff or expensive service contracts can now maintain professional-quality results through autonomous operation. The modular design integrates seamlessly with existing Yarbo Core systems, preserving the investment in the platform while transforming capability. For homeowners with heavily treed properties or extensive acreage, the Yarbo’s sophisticated navigation systems, powerful computing, and intelligent technology create a genuinely valuable tool that maintains entire yards without constant supervision.

Having witnessed how the Yarbo solved fundamental limitations that have plagued robotic mowing technology in challenging environments, the Pro module’s six-acre capacity and enhanced power systems represent the natural evolution of this breakthrough. The Lawn Mower Pro module handles challenging conditions and large-scale maintenance that previously required professional crews. Properties with extensive acreage, mature tree coverage, and varied terrain finally have an autonomous solution that matches their needs.

The beast has awakened, building on the solid foundation that conquered my tree-filled yard, and it’s ready to tackle whatever your property can throw at it.

The post The Beast Has Awakened: Yarbo’s Lawn Mower Pro Tackles Six Acres of Pure Chaos first appeared on Yanko Design.

In an age where touchscreens and voice assistants dominate a child’s interaction with the world, one product dares to turn the page, literally and figuratively, on how kids experience stories. Enter the Children’s Storyteller, a delightfully nostalgic yet forward-thinking audio device shaped like a miniature vinyl record player. At once a design homage and a functional piece of children’s tech, it reimagines storytelling as a tactile, visual, and auditory experience.

At first glance, the Children’s Storyteller is a clear nod to the classic vinyl era. But instead of dusty grooves and grown-up jazz albums, this reinterpretation speaks to the wide-eyed wonder of youth. Its square body, softened by rounded edges, comes wrapped in a vibrant yellow shell, chosen not just for aesthetic cheer but for its psychological associations with joy, energy, and friendliness, qualities crucial in early childhood development.

Designer: Kai Xia

A perforated top adds texture and visual rhythm while subtly improving sound diffusion, a clever intersection of form and function. The central disc, inspired by the vinyl record itself, features story-themed illustrations like the beloved Tortoise and the Hare, grounding the abstract idea of “audio stories” in something children can see and recognize.

What elevates this product beyond gimmick is its well-thought-out interaction design. The tonearm, a familiar sight to any record lover, is reimagined here in yellow and black, echoing the traditional stylus but functioning as a purely visual and symbolic element. It’s a brilliant design gesture, educational, whimsical, and deeply rooted in the narrative the product tells.

The orange control buttons, play, pause, and skip, are intuitive, bright, and perfectly sized for small hands. A black rotary knob likely manages volume, offering a tactile contrast and a pleasing moment of analog interaction in a digital world. Every touchpoint is designed with a child’s comfort, autonomy, and curiosity in mind.

This storyteller isn’t just another toy on the shelf. It’s a cultural bridge. For children, it’s an invitation into the magical world of storytelling. For adults, it’s a sweet echo of the past. By borrowing the design language of a bygone audio era, it plants seeds of appreciation for legacy formats, all while functioning as a thoroughly modern digital audio player.

The result? A hybrid product that feels less like an educational device and more like a playful heirloom, the kind of thing that doesn’t just entertain, but stays in memory long after the stories end.

Designed for children aged 3 to 8, the storyteller is ideal for environments where imagination thrives, bedrooms, playrooms, or even outdoor spaces (with portability as a potential future upgrade). As part of a bedtime routine, it gently ushers kids into dreamland with familiar narratives. During playtime, it becomes an interactive storytelling station, promoting both independent listening and collaborative learning.

In every sense, this product exemplifies what good design can do: speak to its users without overwhelming them. It creates a sensory-rich experience through simplicity, familiarity, and warmth. Most importantly, it creates a dialogue between generations, between stories and listeners, and between old media forms and new technologies.

For designers, educators, and parents alike, the Children’s Storyteller is a quiet revolution, one that proves nostalgia and innovation can coexist, especially when the goal is as timeless as telling a story.

The post A Retro-Inspired Audio Device Redefining Storytime for Modern Kids first appeared on Yanko Design.

Là où les banques centrales mettaient autrefois des décennies à s’entendre sur les devises, les Américains n’ont mis que 6 mois pour s’entendre sur une régulation concernant les Stablecoins. En effet, le GENIUS Act vient d’être voté et je pense que ça va secouer plus fort qu’un bear market.

68 voix contre 30, c’est donc le score du vote historique du 17 juin 2025 au Sénat américain et pour la première fois dans l’histoire des États-Unis, les stablecoins ont désormais un cadre légal fédéral officiel. Ça représente quand même de plus de 150 milliards de dollars de tokens qui passent du statut de “zone grise réglementaire” à “légal et encadré”.

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 Stamp

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

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

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’ve seen a lot of transparent tech in my day, but this Sony Walkman-meets-Blade Runner recorder is the kind of object that makes me want to empty my wallet immediately while simultaneously wondering if I’ve wandered into some alternate timeline where tech actually looks cool again. The transparent cassette recorder concept perfectly captures that rare intersection of nostalgia and futurism that’s currently dominating design circles. While Nothing’s transparent earbuds and phones have been teasing us with glimpses of circuitry for years, this concept goes full exhibitionist with its mechanics, letting you watch those gears and rollers work their analog magic through crystal-clear housing. The device is unapologetically retro-futuristic, combining the tactile satisfaction of physical media with the aesthetic of something you’d find in Ghost in the Shell.

The execution here is particularly striking because it doesn’t just slap a clear case on old tech and call it a day. The top-mounted mechanical elements with their perfectly visible gear systems remind me of luxury watches, where the movement becomes the centerpiece. That digital display nestled among analog components creates a delicious tension between old and new technologies. The pixel-perfect UI elements visible through the clear housing suggest this isn’t just a dumb playback device but something with computational intelligence. Those tiny control buttons along the top edge look deliberately reminiscent of 80s Sony recorders, hitting that sweet spot between tactile satisfaction and miniaturization.

Designer: M Fresnel

Whoever designed this clearly understands why cassettes are having their second (or is it third?) cultural moment. Vinyl’s comeback was about sound quality and large-format art, but cassettes? They’re about the mechanical ritual, the satisfying click when you press record, and watching the spools turn. This concept leans hard into that physical experience by making it visual as well as tactile. The industrial design shows remarkable restraint, too – the corners are precisely chamfered, the proportions maintain that perfect handheld dictaphone form factor (roughly 4×2.5 inches if I had to guess), and there’s just enough technical detailing to give it character without veering into gaudy territory.

Timing couldn’t be better for something like this to hit production. With Teenage Engineering’s TP-7 field recorder selling out despite its $1,200 price tag and cassette sales growing 28% year-over-year, there’s clearly an appetite for premium recording devices that buck the “just use your phone” mentality. What makes this concept particularly clever is how it bridges generations – boomers recognize the form factor from their reporting days, Gen X gets nostalgic about mixtapes, millennials appreciate the vaporwave aesthetic, and Gen Z gets another analog format to discover and fetishize on TikTok. If this actually hit production with decent specs (24-bit/96kHz recording would be my baseline expectation), I’d wager it could command $400-500 easily in today’s premium audio market.

The ultimate irony? This gorgeously transparent device reveals everything except whether it will ever make it past the concept stage. And that’s the cruelest tease of all.

The post Transparent Sony Walkman Concept merges Blade Runner style with Retro Cassette Nostalgia 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?

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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.

Source: New Material Research Laboratory

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.

Source: New Material Research Laboratory

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.

Source: New Material Research Laboratory

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.

Source: New Material Research Laboratory

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.

The post Climacool Teahouse in Chengdu Redefines Cool with Bamboo, Mist, and Urban Serenity first appeared on Yanko Design.

Vous en avez marre de réécouter 50 fois la même vidéo YouTube pour prendre des notes, en ratant systématiquement les passages importants ? Alors vous n’êtes manifestement pas au courant qu’il existe un petit outil Python qui extrait automatiquement tous les sous-titres d’une vidéo en 3 lignes de code.

Spoiler : ça marche même avec les sous-titres auto-générés par YouTube (et c’est souvent plus précis que vos grosses oreilles fatiguées).