Bamboo canopy and CLT gathering space feature at Design Pavilion in New York

NYC Design Pavilion by Michael Bennett

A “sacred space” made from CLT panels and a cloud canopy made from strips of woven bamboo are among the pavilions being shown at New York City’s Design Pavilion event.

Created by Shanghai-based studio llLab and designer Michael Bennett of Studio Kër, the two pavilions display sustainable building materials and techniques. The structures are on show for Design Pavilion, an event by NYCxDesign, part of the programming for the city’s yearly architecture festival, Archtober.

a pavilion made of woven bamboo
Two pavilions that explore sustainable materials have been installed in New York City for Archtober

“This is about materials,” said NYCxDesign executive director and founder of Design Pavilion, Ilene Shaw. “They’re both about materials. They’re about strong, durable, sustainable architectural building materials.”

Located in Gavensvoort Plaza in Manhattan’s Meatpacking District, the exhibitions sit side by side.

a pavilion made of woven bamboo
Bamboo Cloud by architecture studio llLab consists of amorphous forms installed on structural columns

llLab’s Bamboo Cloud pavilion is a continuation of a previous project installed in the city of Guilin, China, where the studio created a series of canopies and inhabitable pods using strips of woven bamboo for shelter from rain.

In New York City, the pavilion takes a similar form, consisting of two amorphous “clouds” of bamboo supported by structural columns that run into silver-coated, organically shaped benches at each base.

a pavilion made of woven bamboo
The uppermost structure were made using strips of bamboo

“While still retaining the beauty of a handcrafted basket with its woven structure, the installation breaks the conventional boundaries of the material by boldly showcasing its strength,” said the team.

“Composed of bamboo strips woven into a porous surface, the pavilion naturally uses its internal force for form finding and eventually stabilizes as a hollow space, which is structurally resilient with the potential to be used at building scale.”

the top of woven bamboo pavilions installed during NYC Archtober
A hand-woven technique was used to create them

The uppermost structures were created with a hand-woven technique used by local populations in China, which the llLab team learned in order to create and assemble the pavilion.

llLab founding partner Hanxiao Liu told Dezeen the general shapes of the bamboo forms were created by local weavers “who understand bamboo”.

woven bamboo pavilions
The technique makes the bamboo structure strong, while letting light filter through

Liu explained that while in Guilin, the pavilion was intended to connect people with nature, and for the Design Pavilion exhibition, introduces passersby to the materiality of bamboo as well as provides a community space for the neighbourhood.

“The most important thing is to make the neighbourhood enjoy the space,” Liu said. “To make people feel the thing itself.”

CLT panels create a pavilion in a nyc square with small chairs
Designer Michael Bennett used CLT panels to create a space for community

llLab worked with the lighting design studio L’Observatorie International to illuminate the pavilion at night, which is lit from underneath with a warm glow.

For the Public Display pavilion, designer Michael Bennett created a community space using large-scale cross-laminated timber panels.

A pavilion made of CLT panels for Archtober
The pavilion was constructed using just two panels

One panel creates a structural wall, while the other rests against it at a gentle angle. A semi-circle of wooden chairs faces the vertical panel and a bench was installed on the other side, beneath the sloping CLT.

Thin, rectangular cut-outs were interspersed throughout the structure, with a large, central opening cut into the angeled panel.

a pavilion made of CLT panels with small chairs
Seating was installed around the CLT structure

“[It’s] an opportunity to take the material and show it in its purest form,” Bennett told Dezeen. “Not to do too much with it, is the idea. I could shred it and make something crazy, or I can show it in a way that’s just enough so people can feel sacred space and also to get to interact with the material.”

The installation also explores community and sacred spaces as a place of refuge, with nods to environments like a church.

“Can you be in a space that’s surrounded by calamity but still feel a sense of clarity?” asked Bennett. “That’s something I think about a lot.”

Also part of the Design Pavilion exhibition is a series of animated digital portraits projected onto the four sides of the World Trade Center Podium, which spans 200 feet (60 metres).

A CLT panel resting against another with square cut outs
Rectangular cut-outs let in light

Conceptualized by artist Marjorie Guyon as part of the ongoing I Was Here project, with video and animation co-created by Marc Aptakin, Roy Husdell, and Yoel Meneses of Yes We Are Mad, the animations depict “ancestor spirit portraits”.

“When I was three, I took the ferry and climbed to the very top of Lady Liberty to see the land and sea through her eyes,” said Guyon.

Like the Statue of Liberty, the Ancestor Spirit Portraits of the I Was Here project are iconic – their presence allowing our city, our country, and our world to see through their sacred, ancient eyes,”

a digital screen projected onto world trade centre podium
I Was Here by Marjorie Guyon was projected on the World Trade Center Podium. Photo is by Joshua Steen

Design Pavilion is part of the NYCxDesign programming, which hosts the NYCxDesign Festival in May.

For the festival this past year, local designer Jean displayed birdhouses, seating and other public architecture at the Naval Cemetery Landscape and salvaged furniture found in New York’s public parks were displayed in an abandoned Chinatown building for an exhibition by Marta Gallery.

The photography is by Jennifer Trahan unless otherwise stated.

Bamboo Cloud and Public Display will be on show at Ganesvoort Plaza in NYC from 12 to 19 October, with I Was Here running through 22 October. For more exhibitions, talks and events during New York’s design week, visit Dezeen’s dedicated NYCxDesign guide.

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Sumac + Chili Spritz

For those who like their alcohol-free drinks to still pack a punch, Ghia’s latest Le Spritz flavor combines sumac and chili for a slightly sour and hot beverage that’s extremely refreshing. Made with yuzu juice and white grape juice concentrate, it contains the extract of elderflower, chili pepper, sumac berry, rhubarb root, orange, rosemary and ginger. Ultimately it’s a tangy and spicy drink that can be enjoyed in place of a cocktail or any time throughout the day. Price is for a 12-pack.

Dezeen Agenda features Europe's tallest modular residential tower

HTA Design College Road Croydon

The latest edition of our weekly Dezeen Agenda newsletter features the completion of Europe’s tallest modular residential tower. Subscribe to Dezeen Agenda now.

HTA Design has completed College Road, a 163-meter-tall apartment building in Croydon, UK, which it claims is “Europe’s tallest residential building to be completed using volumetric construction methods”.

The structure is comprised of two adjoining 50 and 35-storey towers, wrapped in a pleated ceramic facade.

We Design Beirut logo
We Design Beirut postponed due to Israel-Gaza conflict

This week’s newsletter also included the rescheduling of We Design Beirut due to the ongoing Israel-Gaza conflict, the death of Italian architect and designer Andrea Branzi and an opinion piece on the built environment by Talia Radford.

Dezeen Agenda

Dezeen Agenda is a curated newsletter sent every Tuesday containing the most important news highlights from Dezeen. Read the latest edition of Dezeen Agenda or subscribe here.

You can also subscribe to our other newsletters; Dezeen Debate is sent every Thursday and features the hottest reader comments and most-debated stories, Dezeen Daily is our daily bulletin that contains every story published in the preceding 24 hours and Dezeen In Depth is sent on the last Friday of every month and delves deeper into the major stories shaping architecture and design. 

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Apple Pencil stealthily integrates USB-C at a discount

Apple finally announced a new Apple Pencil, and to get it out of the way early – no, it’s not the long-awaited Apple Pencil 3. Instead, the newest Apple Pencil is more like a mid-gen refresh with a few missing features and a seemingly tighter, more compact design at 6.1 inches in length and 0.29 inches in diameter (according to Apple Insider). The most important difference between this new Apple Pencil – which Apple is calling the Apple Pencil USB-C – and previous iterations is the notable price cut.

This new USB-C powered Apple Pencil is priced at $79 MSRP, which makes it more approachable for iPad users who don’t want to shell out $99 for the arguably less impressive first-gen Apple Pencil or the $129 Apple Pencil 2. Still, there are a few catches; the USB-C model doesn’t include pressure sensitivity, meaning it lacks one of the most important Apple Pencil features for artists who would normally be able to draw or paint with bigger or smaller lines, relative to the amount of pressure applied. It also lacks the Apple Pencil 2’s double-tap and wireless pairing and charging features.

Designer: Apple

You’re also going to want to make sure your iPad is equipped with a USB-C port, otherwise your Apple Pencil USB-C won’t be able to pair properly. Specifically, according to Apple, you’ll want to own one of the following: “iPad (10th generation), iPad Air (4th and 5th generations), iPad Pro 11-inch (1st, 2nd, 3rd, and 4th generations), iPad Pro 12.9-inch (3rd, 4th, 5th, and 6th generations), and iPad mini (6th generation)”.

If that’s not a concern, the new Apple Pencil USB-C is an extremely sleek-looking accessory that should make iPad usage more convenient and enjoyable across the board. Its stealthy sliding cap design hides away the device’s integrated USB-C port, making it easy to plug in and charge, then store comfortably on the side or on top of your iPad once you’re finished charging. Much like the Apple Pencil 2, it attaches to the iPad magnetically.

iPad Pro owners equipped with an Apple Pencil USB-C also get another Apple Pencil 2 feature via Apple Pencil hover, which lets you see, for instance, the effect a selected tool (like a paint bucket) will have on a canvas before you actually apply it.

Apple Pencil USB-C will become available via Apple Store for $79 in early November, but it sounds like it will be discounted to just $69 for educational purposes. Apple describes its educational pricing as being available to “current and newly accepted college students and their parents, as well as faculty, staff, and home-school teachers of all grade levels.”

The post Apple Pencil stealthily integrates USB-C at a discount first appeared on Yanko Design.

Industrial Design Student Work: A Good Example of Thorough Investigation and Documentation

I think it’s important for students in Industrial Design programs to explore the properties of physical materials in order to solve problems. Sometimes it doesn’t even matter if the problem is valid, because students will encounter no shortage of real-world problems after graduating; and they can hopefully draw on their investigative experience with materials to tackle the real thing.

Also, I look at a lot of Industrial Design student work, and am often frustrated with poor documentation. But this Flat Furniture project by Raya Azar, done while pursuing her Master’s at the Royal College of Art, is a fine example of both thoroughly investigating materials and maintaining excellent documentation.

“Introducing Flat Furniture, a groundbreaking project that redefines the concept of space optimization in urban living. These transformative carpets offer a dual-functional solution, seamlessly transitioning from stylish floor coverings to comfortable sitting furniture. Designed with city dwellers in mind, they provide a practical and efficient way to maximize living areas without compromising on comfort or aesthetics. With Flat Furniture, clutter becomes a thing of the past, replaced by an organized and functional living environment that embraces convenience, style, and the joy of space utilization.”

The Stool / Carpet

The Bench / Carpet

The Chair / Carpet

Process

• Polypropylene 5mm test

• Polypropylene 3mm test

• Product shape test on 3mm polypropylene

• Fabric as a live hinge – Leather

• Film Sheet as Live Hinge

• Locking Mechanism Explorations

• Fabric Material Explorations

• Stitching Exploration

• Future Product Explorations

• Stool Process Making

• Binding Fabrics Together

• Bench Process Making

• Chair Process Making

Flat Furniture was a four-month project, and Azar really put in the work!

Rever & Drage extends sloping slate viewpoint into Sundshopen lake

Man at Sundshopen by Rever & Drage

Architecture studio Rever & Drage has created a stone jetty that slopes into the water of the Sundshopen lake as the latest viewpoint on one of Norway’s national scenic routes.

The studio updated the previously under used and poorly maintained bathing spot on the Norwegian Scenic Route Helgelandskysten in the north east of the country, to create an intriguing visitor attraction that is served by an aluminium toilet with a “modern aesthetic”.

View of Sundshopen viewpoint
The viewpoint is located along a scenic route

Rever & Drage was informed by traditional sloping jetties to create the structure, which is both decorative and aims to provide a variety of functions.

“A jetty, or vorr in Norwegian – which means protecting – was traditionally built along the coast of Norway near the boathouses, to protect the boats from waves,” Rever & Drage architect Tom Auger told Dezeen.

Viewpoint at Norwegian jetty
Rever & Drage drew on traditional designs for the jetty

“At the same time, the fixed sloping deck lets you embark and disembark boats regardless of tides,” he continued.

“At Sundshopen the jetty is multifunctional as recreation, exploring the water, fishing, diving, kayaking, getting out to deep water and more, as well as being an important motif on the beach.”

Jetty in Norway
It features larger stones at its end

The jetty was constructed from a timber framework, with pine used for the framing in the parts that would remain mostly dry and unbarked aspen in the parts that will be covered by the lake water.

The timber framework was filled with smaller stones, with 20-centimetre thick slate slabs, which were sourced from a local quarry, placed on top to form the walkway.

Person walking on Sundshopen jetty
A timber framework holds the stones of the jetty

At the end of the jetty, larger stones jut out from the water, creating an eye-catching detail that can be used for jumping off.

“The bigger stones at the end, where the deep water begins, are both used for sitting and for jumping or diving out in the water and function as a barrier for younger kids,” Auger said.

“The bigger stones are also visible as a motif at the end of the perspective as you approach the beach through the woods,” he added.

As well as the jetty, the studio created a toilet building. Made from sandblasted aluminium, the block sits at the entrance to the beach and has a monolithic feel that .

Aluminium-clad toilet in Norway
The studio also designed an aluminium toilet

“Aluminum was chosen for the construction of the toilet building for its modern aesthetic and durability,” Auger explained. “The aluminium cladding is sandblasted with chalk to give it an even and clean expression.”

“This expression is especially important at the start of the pathway to make people curious about what lies behind,” he added.

Toilet in Norwegian woods
It was sandblasted with chalk to give it its light colour

The studio also created five benches from pine heartwood with milled grooves mounted on steel structures with triangular profiles. The refreshed area has become popular with visitors, according to the studio.

“The area opened just before summer and it seems to be well-received by both the local population and visitors,” Auger said.

“The upgrades to the area and the addition of modern amenities like the toilet building, have made it an attractive destination for swimming, fishing, kayaking, picnics and local gatherings.”

Benches in visitor area
Five benches provide seats for visitors

Other recent projects by Rever & Drage include a timber holiday cabin and a triangular toilet for another of Norway’s Scenic Routes.

The photography is by Tom Auger.


Project credits:

Architects: Rever & Drage
Landscape: Rever & Drage AS feat. Eirik Dalland, Grindaker AS
Design team: Tom Auger, Martin Beverfjord, Eirik Lilledrange
Built by: OK Kristoffersen, Idar Flostrand, Torbjørn Prytz, Steinar Jørgensen

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Yamaha's Self-Balancing Motorcycle Seeks to Push Human-Machine Interface

When developing a new motorcycle, Yamaha Motor’s ideal outcome, called Jin-Ki Kanno, is lofty: “To deliver users the seductive exhilaration felt when they truly become one with their machine.”

To achieve this, they reckon the bike, not just the rider, ought have some autonomy. Thus in 2017, the company built a wild self-balancing concept bike called the MOTOROiD. They developed a technology called AMCES (loosely, “Active Mass Center Control System”) that runs a diagonal axis through the bike, on which the front and rear halves can twist independently of each other:

“The machine’s attitude control is handled by rotating parts of the machine like the battery, swingarm and rear wheel around the AMCES axis that runs through the center of the vehicle (see figure) in order to control its center of gravity.”

“During rotation, the battery moves either right or left, acting as a counterweight that enables the machine to maintain balance and remain upright at a standstill. The inner frame unit area rotates around the AMCES axis via electronic control.”

This year they refined the design further, and have designed this even wilder-looking MOTOROiD 2:

“What will human–machine interfaces actually be like in the future? This experimental model melds mobility with intelligent technologies in order to study that question. Yamaha Motor hypothesized that achieving a closer relationship between rider and machine in which they resonate harmoniously with each other like partners would lead to new forms of Jin-Ki Kanno, and since unveiling the MOTOROiD in 2017, the Company has since continued its R&D into technologies, designs, and more based on that concept.”

Like the first MOTOROiD, there’s a camera in the front that uses facial recognition to identify the owner upon approach. It then hails him or her with this mechanical demonstration:

“As a further evolution of the original MOTOROiD, MOTOROiD2 is also a vehicle for personal mobility that can recognize its owner, get up off its kickstand, and move alongside its rider, but also has a distinctly lifelike feel when somebody is riding on its back and has a presence more like a lifetime companion.”

I understand the appeal of having a bike that can follow you, rather that you having to push it. What’s less clear is how Yamaha intends to incorporate the technology during actual riding. We’ll have to wait for the company to release a demo video.

Kongjian Yu wins 2023 Cornelia Hahn Oberlander award

Kongjian Yu portrait

Chinese landscape architect Kongjian Yu has been awarded the 2023 Cornelia Hahn Oberlander International Landscape Architecture Prize for his contributions to the field.

Yu is the second recipient of the prize, which is awarded by the Cultural Landscape Foundation (TCLF) for global contributions to the field of landscape architecture.

The citation from the jury called Yu “a force for progressive change in landscape architecture around the world”.

It added that he has moved landscape architecture away from “destructive confrontation with nature” and toward “a more optimistic position of cooperation and adaptation”.

View of renewed river in China
Turenscape founder Kongjian Yu has been awarded the Cornelia Hahn Oberlander prize. Photo is of Sanya Mangrove Park by Turenscape

Yu, who founded the Chinese landscape architecture studio Turenscape, is known for his work in ecological architecture and his advancement of the “sponge city” concept, a way of urban planning that seeks to manage the way that cities shed and retain water.

Born in Jinhua, Zhejiang Province, Yu attended Beijing Forestry University in 1980 and completed his masters degree in 1987.

In the 1990s, Yu was a part of the landscape studio SWA Group in California before returning to China in 1997 to found his own studio, which has completed more than 600 projects internationally in the last 25 years.

Sanya Dong'an Wetland Park
The prize is awarded to those who have contributed to the field of landscape architecture. Photo is of Sanya Dong’an Wetland Park by Turenscape

Yu’s work has been influenced by the devastation that monsoons caused to cities in China, and in 2014 the government adopted his sponge city concept as a “guiding theory” for future urban development.

Yu also founded the department for landscape architecture at Peking University and still leads the program there.

“Kongjian Yu is operating at an ambitious scope and scale reminiscent of Frederick Law Olmsted, Sr, the person who founded the landscape architecture profession in the US,” TCLF CEO Charles A Birnbaum told Dezeen.

“Yu, like Olmsted, is an advocate, activist, inventor of new landscape typologies, influencer, and design visionary who takes a holistic approach to human and ecological systems without compromising design excellence.”

Thai landscape by Turenscape
Yu created a theory of urban water management known as “sponge cities”. Photo is of Benjakitti Forest Park in Thailand by Turenscape

Yu’s projects with Turenscape have ranged from small urban parks and gardens to large-scale revitalisations of landscapes within cities and in exurban environments.

The studio transformed a river and surrounding wetlands in Liupanshui, Guizhou Province, creating terraced pools along the river as well as a winding, colourful bridge to connect the two sides of the river.

In Chengtoushan, the studio created a series of elevated walkways over wetlands that contain an archaeological site, a project that was awarded the World Landscape of the Year Award in 2017.

Other large-scale projects in China include the decontamination and redesign of a 168-acre (68-hectare) in Sanya, Hainan Province, and the conversion of a former dumping site into a wildlife preserve and recreation site in Nanchang, Jiangxi Province.

Turenscape has also completed projects abroad, including a number in the United States, such as Chinatown Park in Boston and Hing Hay Park in Seattle, both smaller urban renewal projects geared towards the local Chinese-American communities.

This year, Yu won a Cooper Hewitt National Design Award for his contributions to the field of landscape architecture and in 2020, he won the Sir Geoffrey Jellicoe Award.

Cornelia Hahn Oberlander International Landscape Architecture Prize is a biennial award and its winner receives a $100,000 prize (£81,898).

Hing Hay Park Seattle
Yu’s studio Turenscape is responsible for hundreds of projects. Photo is of Hing Hay Park in Seattle by Miranda Estes

The seven-member jury awarding the prize in 2023 included MASS Design Group senior principal Christian Benimana, West 8 founder Adriaan Gueze and University of Toronto professor Jane Wolff. It was chaired by University of Technology Sydney School of Design dean Elizabeth Mossop.

The inaugural prize was given to American landscape architect Julie Bargmann of D.I.R.T Studio in 2021. It is named after the late German-Canadian landscape architect Cornelia Hahn Oberlander.

Other recent prizes in architecture include British architect David Chipperfield winning of the 2023 Pritzker Prize, the highest accolade in architecture.

The cover photo is by Barret Dohery. All images courtesy of The Cultural Landscape Foundation. 

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OBSBOT Tail Air AI-powered 4K PTZ Streaming Camera Review: It Doesn’t Get Easier Than This

PROS:

  • Impressive tracking accuracy even for small objects
  • Supports 4K 30fps video recording
  • NDI|HX3 support for multi-cam setup

CONS:

  • No iOS app yet as of this writing (coming soon)
  • Smart remote control and NDI keys per unit are separate purchases

RATINGS:

AESTHETICS
ERGONOMICS
PERFORMANCE
SUSTAINABILITY / REPAIRABILITY
VALUE FOR MONEY

EDITOR’S QUOTE:

With fast and accurate AI auto-tracking, 4K 30fps recording, and a powerful mobile app, the OBSBOT Tail Air PTZ camera brings pro-level streaming quality in a sleek and affordable package.

Live streaming has proven to be more than just a passing fad. It has become a way of life for many, while some even make their livelihood from this form of media. While anyone with a smartphone can get started with live streaming, decent and professional-quality videos require a bit more effort and investment in the right tools. Unfortunately, many of the “pro” tools come in bulky, expensive, and complicated packages, widening the gap between famous stars and aspiring influencers. Fortunately, there are also brands that aim to empower content creators from all walks of life, delivering tools that will allow them to do more with less, such as the new OBSBOT Tail Air streaming camera that promises a ton of smart features in such a small package. Naturally, we had to check it out to see for ourselves if the 4K PTZ camera’s unassuming appearance belie the power it possesses.

Designer: OBSBOT

Aesthetics

Cameras designed for capturing action live and transmitting the video in real-time come in a variety of shapes and sizes. The boxy forms of action cameras are common these days, while the thick sticks of gimbals still look awkward in public. These small cameras, however, are engineered more for capturing fast-paced movement, both of the target and especially of the user. Cameras for live streaming, on the other hand, are often placed in a single spot and have a different set of problems to tackle, particularly that of tracking their targets. Because of their different purpose, they also tend to have different designs, most of which seem to take more after action cams and security systems.

The OBSBOT Tail Air embodies the principle of simplicity and minimalism in its design, bearing no more than what’s necessary for it to function. There are no buttons other than one for power, and the connection ports are so subtle you might find yourself squinting to see them, especially in the dark. The main body is a simple and unadorned truncated cone, with a camera arm rising from one side. The design is compact and lightweight, making it easy to carry around in the provided case.

The OBSBOT Tail Air shaves a few grams off its weight by using plastic materials for its chassis, but that choice by no means makes the device look or feel cheap in any way. It actually feels solid and sturdy, and the matte texture gives it a stylish finish. All in all, the streaming camera has enough visual presence to look presentable in any environment without being distracting, allowing you to focus on the actual act of creating content rather than fussing over the device’s details.

Ergonomics

In addition to being lightweight, compact, and portable, the OBSBOT Tail Air’s usability comes from its ease of use. After the initial setup, you could almost just leave the camera running and forget about it, leaving it to the AI to follow you around and adjust the focus as needed. Of course, you’ll want to select some angles or framing, which is as easy as a single tap, but you can also just set up and go for a quick and short stream.

As mentioned earlier, there are no physical controls on the device itself, which is both a boon and a bane for its usability. Everything is controlled remotely, primarily through the OBSBOT Start mobile app, but there are also other options. On the one hand, that means you won’t be fussing over buttons and sliders on the camera when you should be focusing on recording. On the other hand, it also means you’re at the mercy of an external device or remote control, as well as wireless connectivity.

Although the app offers all the bells and whistles you can think of when recording and directing a video, you’re unlikely to be fiddling with a smartphone in the middle of a live stream. Fortunately, you won’t need another person to do that for you, at least not for basic camera controls. The OBSBOT Tail Air’s AI can recognize a few hand gestures that will make it lock on or unlock from a target, zoom in manually or dynamically, and, of course, start and stop recording. These gestures, on top of the camera’s excellent tracking, turn you into a one-man camera team, which is what most budding live streamers are.

This advanced gesture control does have a disadvantage when you have more than one OBSBOT Tail Air setup. All these cameras will be recognizing those same gestures, and you won’t have a way to remotely control one camera at a time. For multi-camera configurations, you’ll need OBSBOT’s Bluetooth remote control and, unfortunately, you’ll have to buy it separately from the cameras, or as part of a bundled offer if those are available.

Performance

With so many cameras today promising creators and streamers to take their output to the next level, it might be difficult to pick one out from the crowd. Fortunately, the OBSBOT Tail Air has a few tricks up its sleeves that easily set it apart, starting with the ability to shoot in 4K resolution at 30 fps rates, making it one of the few streaming cameras with this capability. This feature will come in handy with one of the camera’s AI features that lets you choose the framing of the scene with just a single camera.

The OBSBOT Tail Air’s headlining feature is, of course, its AI-powered tracking system. It can lock onto targets, even when those targets go out of frame for a few seconds, and follow that target at a speed of 120 degrees per second. It can do this from three axes, which is where it gets its PTZ or “Pan, Tilt, Zoom” label. That’s true not only for humans and objects but also for select animals such as cats, dogs, and, soon, horses. Tracking is fast and accurate, even for small objects like a teaspoon, which makes the camera also suitable for dramatic close-ups of objects, such as when you’re doing a product review.

AI powers many of the camera’s impressive features, including the innovative AI Director Grids available on the OBSBOT mobile app. The grid presents different frames of focus that you can select with a single tap, letting you easily switch from a close-up up facial shot to a full body shot, all with just one camera. The trick here is that OBSBOT Tail Air actually records video in 4K and then crops it up to a 1080p frame in real time. Considering most live streams are done in 1080p anyway, you aren’t really sacrificing much in terms of quality for the sake of some impressive framing.

There might come a time when you will want to actually work with multiple cameras, and the OBSBOT Tail Air has you covered as well. It supports the latest NDI or Network Device Interface technology that lets you hook up three of these cameras together and control them from a single computer that acts as mission control for the recording session. There’s a bit of initial setup involved, including buying one NDI access key per OBSBOT Tail Air camera and making sure they’re connected to the same local Ethernet network. Once those are out of the way, however, you have full control of an advanced yet easy-to-use multi-cam camera system to really take your live streams to the next level.

For most cases, especially with a single camera, you will be using the OBSBOT Start mobile app instead. It has everything you need to tweak the video recording settings, from those Director Grids to exposure and balance, pretty much like a standard digital camera. At the moment, this powerful app is available only for Android, but OBSBOT is already working on making an iOS version available soon. The one disadvantage to relying on an app for almost all of the controls is that you need a network connection with the OBSBOT Tail Air camera. That’s no problem when stable Wi-Fi is available, but you’d be forced to use a cellular connection when it’s not. That’s true even if you’re recording directly to the device’s microSD card instead of live streaming, so you’ll have to be aware of potential data charges. That’s what makes the Bluetooth remote control almost a necessity, even if it’s a separate purchase.

Aside from its excellent auto-tracking, the OBSBOT Tail Air’s video output is actually impressive as well, even when there’s little light around. That’s thanks to the 1/1.8-inch CMOS sensor with a large 2-micrometer pixel and an equally large f/1.8 lens aperture. Of course, it does its best with bright lighting, but low-light scenarios still deliver decent videos, though with some hiccups in tracking and autofocus. The camera’s gimbal performs the minimal required stabilization, but it becomes immediately clear that this isn’t an action camera. Yes, it can record and stream sports scenes and the like, but it’s best when it’s put on a stable and non-moving platform rather than in your hand. The camera’s internal battery gives you about two hours of use, shorter when doing 4K, and an hour and a half to charge, though you could continue using the camera while charging to minimize downtime.

Sustainability

Action and streaming cameras are relatively new product categories, though they have been around for a few years now. There’s quite a good number of them around, even, which makes their presence also a cause for concern when it comes to the environment. As with any fast-growing consumer electronics segment, there is bound to be plenty of waste during the product production and lifecycle, not to mention increased use of non-sustainable materials, components, and processes. However, that also means there’s plenty of room for improvement and growth, and hopefully, this young company will also set itself apart from its peers in this regard.

Unfortunately, there’s also not much that can be said about the product’s longevity and repairability. As a “static” live streaming camera, it seems that the OBSBOT Tail Air was designed with indoor use primarily in mind, which could explain the lack of any dust or water resistance guarantee. The repair policy is also pretty standard, which means it only covers a small subset under warranty and has to be shipped back to the manufacturer if they do qualify. Repairing them by yourself is pretty much out of the question.

Value

In a world of advanced smartphone cameras and action cams, does a dedicated streaming camera like the OBSBOT Tail Air still matter? The answer is a resounding “yes!” especially considering how much it offers without too much cost. It offers an excellent video recording and streaming experience that you’d be hard-pressed to find without having to buy separate products, like a gimbal, monitor, and additional sets for a multi-camera setup. In other words, the OBSBOT Tail Air crams all those desirable features in a single package, one that starts at around $478.

That price includes a 4K camera that can produce impressive videos even in low light, an excellent AI-powered target tracking system, out-of-the-box support for a multi-cam setup, and an intelligent mobile app that puts you in total control of the stream’s direction. What it doesn’t include, however, is a remote control that is honestly almost essential rather than an add-on, not unless you get it as part of the crowdfunding reward or a bundle. You’ll also need a separate NDI authorization code for each OBSBOT Tail Air device, which you need to buy for $98 if you ever want to have a multi-cam live stream. OBSBOT could have thrown these into the basic package for a slightly higher price tag, but it’s also understandable why it didn’t. Not everyone will have a multi-cam setup, so they might not want to pay for something they’ll never use. Shipping a remote control with each camera when that remote can connect to as many as three will also be wasteful. Hopefully, OBSBOT will offer bundles that include these when the product becomes available on shelves.

Verdict

Some will definitely roll their eyes, but there are definitely people who consider being a live streamer, YouTuber, or “influencer” to be their dream job. Whether it’s for earning money, sharing knowledge, or just having fun, there’s no denying that live streaming is already a major part of our culture today. It’s definitely easy to get started as long as you have a smartphone, but it’s not that easy to step up your game without devices or at least some accessories that give your streams a professional quality.

That’s the kind of assistance that the OBSBOT Tail Air 4K PTZ Streaming Camera is bringing to the table, especially for solo steamers. With reliable AI-powered tracking that accurately follows even small objects, an impressive 4K camera that performs admirably in both bright and dim environments, and a no-fuss easy-to-use mobile app, this streaming camera is basically all you need for pro-level content. And when you’re ready to graduate to a multi-camera setup, the built-in NDI support will let you easily expand and control up to three OBSBOT Tail Air cameras from a single computer to direct your best production yet, helping you on your journey to Internet stardom.

The post OBSBOT Tail Air AI-powered 4K PTZ Streaming Camera Review: It Doesn’t Get Easier Than This first appeared on Yanko Design.

A Wall Desk with a Semi-Circular Drawer (and a UX Challenge to Solve)

This wall-mounted Revolver desk is by Portugal-based Teixeira Design Studio.

It offers a novel way to provide a bit more surface area when needed:

Novelty aside, with no handles, I think operating the rotating sections might require a bit of futzing. You’d have to push a section on one edge, then pull from another edge to draw it out—it would drive me nuts in no time. However, this isn’t in production yet (the listing on TDS’ website says “available soon”) so it’s possible the design might receive further refinement.

It is an interesting problem. If you were the designer, what modification would you add so that a section could be smoothly manipulated in one go, without requiring push + pull? I’m assuming knobs would spoil the intended aesthetic. A hole drilled through the drawer face (if aesthetically acceptable) would solve it for the drawer, but wouldn’t work for the remaining sections. Any ideas?