Hasta La Ideas

Continuing the Dezeen Jobs: How We Recruit series, Dezeen talks to Studio Piet Boon’s chief design officer Roland Kokkeler and studio manager Tim Vogel about the changes in skills required to work in the design industry.

Sophie Chapman: Can you discuss your recent and upcoming projects?

Roland Kokkeler: As a multidisciplinary design studio, we are involved in interior, architecture and product design, undertaking a wide variety of projects and product launches throughout the year.

Currently, we are engaged in 40 ongoing studio projects, ranging from inner-city apartments, hotel projects and freestanding villas. This year, we launched a diverse outdoor collection at the Salone del Mobile, and at the beginning of October, we revealed an extensive rug collection with CC-Tapis called Layers.

We are currently in the process of developing several new furniture items for the Piet Boon collection, which will be unveiled at the upcoming Milan fair. Additionally, we have an exciting collaboration with another well-known Italian brand that we will be announcing shortly.

Sophie Chapman: What do you think has changed with recruitment throughout the last 10 years?

Tim Vogel: Our recruitment strategy has evolved significantly over the past decade. Studio Piet Boon now has five different design teams, each working on different projects, including a specialised team dedicated to product design and creating items such as furniture.

This transformation is all about fostering creative cross-pollination, which has resulted in a better definition of internal divisions and job roles due to our broad scope. We remain multidisciplinary, embracing cross-functional tasks as needed throughout the year.

We also prioritise self-starting and ownership among our team members and support employee wellbeing – offering free lunches, exercise at the office and flexible working options with the aim of giving more responsibility to our employees to “get the job done”.

In a nutshell, our current recruitment strategy reflects Studio Piet Boon’s spirit, where creativity and collaboration thrive, and we highly value our unique team.

Sophie Chapman: Have these changes had more of an impact on specific roles?

Roland Kokkeler: The designer’s role has evolved significantly due to our studio’s growth and the impact of IT developments. Designers now work in a more complex digital environment and have expanded their skill set to cover architecture, interior design and furniture.

This transformation enables our designers to contribute across various disciplines, enhancing their adaptability and versatility in the ever-changing design landscape.

Sophie Chapman: Are there any skill sets that you don’t need candidates to have anymore and why?

Tim Vogel: Our evolution from a local Dutch studio to a global design firm has brought about significant changes in the skill sets we prioritise.

In the past, we heavily relied on analogue design, where handcraftsmanship and manual sketching were fundamental. However, as the industry has shifted towards digital design, these traditional skills are no longer a primary requirement for our candidates.

Today, we are looking for professionals who can seamlessly adapt to our international and high-end environment. Effective communication and collaboration at a high-end level have become crucial, especially when working with clients and partners from different parts of the world.

We seek candidates who can thrive in this diverse, dynamic and demanding landscape, where a strong grasp of digital design tools and the ability to work within a global context takes precedence over the traditional analogue skills of the past.

Sophie Chapman: How multidisciplinary is your team at the moment?

Roland Kokkeler: At Studio Piet Boon, we embrace a multidisciplinary approach, which is essential as our studio has expanded into various design fields.

While we’ve introduced more defined roles, our commitment to all-around skill development remains strong, spanning from FF&E to architecture. This adaptability is central to our practice’s success.

Moreover, we highly value-focused specialisation in certain roles to lead in design innovation compared to other studios. Our team maintains a strong, family-like unity, ensuring our multidisciplinary approach is effectively realised.

It’s also worth noting that, alongside our multidisciplinary focus, we have well-defined product design roles.

Our practice thrives on a multidisciplinary approach, the balance of specialisation in certain roles, and the strong unity of our team, all of which collectively define our identity and drive our success.

Sophie Chapman: Looking into the future, where do you see recruitment heading?

Tim Vogel: In the future, we anticipate a shift in recruitment towards a greater emphasis on soft skills and the ‘fit’ within our team.

Our focus extends to building long-term relationships, not just acquiring talent. We aim to attract and challenge our existing team members, emphasising talent retention and providing comprehensive support for their growth and development.

Sophie Chapman: Is there anything you’re doing differently during the interview and application process compared to 10 years ago?

Tim Vogel: Yes, our interview and application process has evolved over the past decade. With our international scope, we now utilise digital tools like video calls for initial assessments, which has been successful. However, for the final decision, in-person conversations remain crucial.

AI allows us to scan job sites for specific keywords, particularly during talent scarcity, enabling us to proactively approach potential new team members who are the right fit for our studio – making our recruitment process more efficient, diverse and adaptable.

Once we receive a portfolio, we focus on understanding a candidate’s individual contributions to their showcased projects, providing a more comprehensive assessment.

Sophie Chapman: What advice can you give people looking for a role in the company?

Tim Vogel: For those looking to join our company, we advise focusing on gaining experience and all-around skills, as our current designer roles are heavily experience-based.

Alongside traditional hard skills, soft skills have become increasingly important – collaboration, leadership, presentation skills and emotional intelligence, for example.

Building up the experience takes time and dedication. As a new designer, be a ‘sponge,’ absorb knowledge from experienced team members and commit to long-term learning and growth.

We invest significant time in aligning new team members with our studio’s DNA, aiming for lasting relationships. Understanding what it takes to create Studio Piet Boon designs can take years, so we look for individuals with commitment and ambition to learn and contribute to our design philosophy.

Find out more about Studio Piet Boon by visiting its website.

View current and future vacancies by checking their company profile on Dezeen Jobs.

Dezeen Jobs: How We Recruit series

This article is part of Dezeen Jobs: How We Recruit, a series of interviews to mark Dezeen Jobs turning 15, which explores changing hiring practices and future recruitment needs for companies around the world.

The post “Our focus extends to building long-term relationships, not just acquiring talent,” says Studio Piet Boon appeared first on Dezeen.

Dutch architecture practice Studio RAP has designed a “wave-like” facade from ceramic tiles for a boutique store in Amsterdam using 3D-printing and algorithmic design.

Located on the PC Hoofstraat shopping street, Studio RAP designed the facade to stand out within its historic surroundings by digitally reinterpreting the silhouette of the original frontage.

The material strategy was informed by the extensive ceramics collection at the nearby Rijksmuseum art gallery and the legacy of glazed ceramic art and architecture in Amsterdam.

“The idea arose to design a facade that was completely clad with 3D-printed ceramic tiles in such a way [that] it amplifies the identity of a high-end fashion store,” Studio RAP co-founder Lucas ter Hall told Dezeen.

Each ceramic tile was designed and individually 3D-printed to echo the details and textures of textile.

“We took inspiration from the art of knitwear, integrating its intricate layers, like the elegance of its creases, the interloping yarn and the stitch pattern, and translated that into the final facade design,” Ter Hall said of the project, which was designed for real estate company Warenar.

“The result is a unique architectural expression that seamlessly merges the historical significance of ceramics with the visual appeal of knitwear-inspired details,” he added.

The facade was broken into a tripartite structure to continue the characteristic visual order of the street and resonate with the scale of the building’s neighbours.

“We put extra attention to the connection of flushes between the new facade and the facade of the neighbouring building on the right,” Ter Hall said. “By 3D-scanning the original and neighbouring facade the new flushes were accurately aligned.”

At ground level, the tiles were glazed in a pearlescent white with hints of yellow by pottery company Royal Tichelaar, while the upper levels were composed of 3D-printed “bricks” glazed in three shades of red and held in place by laser-cut steel cassettes.

“We collaborate with Royal Tichelaar, one of the Netherlands’ oldest companies, for glazing, [which adds] an intriguing dynamic to our work by blending modern technology with traditional expertise,” Ter Hall explained.

The tiles were configured to create a rippling rhythm that changes a viewer’s experience of the facade depending on the approach.

“The closer you get, the more details start to unfold,” Ter Hall explained. “From a far distance the facade blends with the legacy of the street, [but] closer you see the pearl stitch pattern occurring and you recognise that every square millimetre was designed.”

“We always aspire to design a certain layeredness and timelessness,” Ter Hall continued. “Every time you pass by there’s something new to discover.”

To Studio RAP, the project embodies its mission to redefine the role of the architect and continue developing large-scale in-house manufacturing and advanced robotic processes.

“This project challenges conventions, embodying a fresh architectural style that reflects our commitment to inject greater excitement and diversity into the world through innovative design,” Ter Hall said.

Based in Rotterdam, Studio RAP explores architecture with a focus on computational design and digital fabrication. It has previously completed an archway of 3,000 unique 3D-printed ceramics tiles and a robotically fabricated building in the Netherlands.

The photography is by Riccardo De Vecchi and Studio RAP.

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Bespoke scalloped edges and a Verner Panton S-Chair feature at the Pops holiday apartment in Kraków, which Furora Studio designed to be more playful than a permanent home.

Named Pops after lollipops, the dwelling was conceived by Diana Żurek and Gutek Girek of Polish firm Furora Studio.

“The project is a temporary apartment for anyone who wants to spend time in an attractive and very sugary interior,” said the designers.

Spread across one level of a multi-storey building in central Kraków, the rental home includes an open-plan kitchen and living room.

This space was dressed with a velvety salmon-pink curtain, which stretches the length of one of two of the walls, and a central display cabinet finished in pistachio green and “crowned with frills”.

Much of the furniture and other design elements were custom-made by Furora Studio and follow the same toy-like geometry as the cabinet – a combination of round and wavy motifs created in pastel pinks, greens and creams.

For example, a white and turquoise pendant light with scalloped edges was suspended above a circular dining table, while a ribbed half-moon alcove was created as a backdrop for the wall-mounted television.

“First and foremost, we aimed to find suitable forms,” said Żurek, describing the studio’s starting point for the project.

“Most of the elements were custom-made because we wanted to maintain the coherence of the interior while ensuring proper functional arrangement,” she told Dezeen.

“Essentially, each element was its own small project. The selection of shapes, milling, small details, and perfecting the form – all of these were important considerations.”

An olive-hued, L-shaped sofa was tucked into one corner of the living space and echoed by the kitchen splashback, finished in the same green colour.

Żurek described the apartment’s double bedroom as “a pink box with a whimsical headboard and an abundance of pillows”.

In one corner, a light green built-in desk was positioned in front of a sculptural Verner Panton chair.

The iconic S-shaped seating was originally designed by Panton in the early 1960s and recently influenced the furniture created for the Dreamhouse at the centre of the set design in this year’s Barbie film.

“We rarely have the opportunity to be in interiors that evoke memories of earlier years, when as children, we had few responsibilities and sought joy and playfulness,” noted Żurek.

“But this is not about returning to preschool or infantilising the space,” stressed the designer.

“It’s about positive energy. We sought solutions that would more literally create a colorful space, full of rounded patterns, light colours and a sense of relief,” she added.

The bathroom is also awash with pattern, featuring a jumbo scalloped-edged cabinet and pink and brown terrazzo tiles.

Bulbous pendant lighting illuminates the space, which contains a walk-in shower.

Summarising the holiday apartment, Żurek called it a place to “have fun and cuddle”.

“Certainly, there are many enthusiasts of such candy-like solutions, but this interior may not be for everyone, especially for long-term use, such as in the case of a private home,” reflected the designer.

“For short-term rentals, I believe most people would be tempted to experience how it feels to be in such a vibrant interior,” she added.

“These projects allow for the use of [design] solutions that might be somewhat tiring on a daily basis, but spending a brief moment in such a place opens us up to new experiences, feelings of peace and relaxation.”

Elsewhere in Kraków, London-based office Studio Mills transformed an apartment at a converted monastery into a family home. Polish practice Projekt Praga created a bar with a self-service beer fountain within the taproom of a centuries-old brewery just outside of the city.

The photography is by ONI Studio. 

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Before its younger (and taller) sibling stole its thunder, the Burj Al Arab was the jewel of Dubai’s skyline. Sitting on its own private island right beside the Palm Jumeirah, the Burj Al Arab is recognizable by its unique ship-inspired design. The design directly borrows from the sail seen on J-class yachts, standing at a staggering 321 meters tall (that’s just 60m shorter than the Empire State Building in New York). Completed in 1999, the seven-star hotel was designed by Tom Wright of WS Atkins, boasting the world’s tallest atrium which occupies more than half of the building’s height.

As iconic as the Burj Al Arab is, it’s worth wondering what it would look like if designed by other legendary architects. This collection, put together by Imagined Architecture, shows what the boat-shaped hotel would look like in the vision of 10 of the greatest architects of our time. Ranging from the unique Art Noveau styles of Gaudi to the cutting-edge aesthetic of Bjarke Ingels, this collection transforms the Burj Al Arab into a veritable catalog of global architecture movements across a span of roughly 100 years!

Image Credits: Imagined Architecture

1. Frank Gehry

A titan of contemporary architecture, Frank Gehry is lauded for his avant-garde approach that challenges the very fabric of architectural norms. His work is often associated with deconstructivism, characterized by a sculptural technique that involves fragmented and dynamic forms. Gehry’s masterpieces, such as the Guggenheim Museum Bilbao, often feature undulating shapes and use unconventional materials that give his structures an almost animate presence.

In this reimagined Burj Al Arab, one can observe the echoes of Gehry’s distinctive style. The building retains its original, sail-like silhouette but is infused with Gehry’s signature element of movement. The facade seems to undulate with a life of its own, giving the impression of a fabric caught in a gentle sea breeze. The asymmetric windows and the disjointed placement of structural elements offer a sense of controlled chaos, a hallmark of Gehry’s design ethos. There’s also a playful use of form in the balconies and the building’s apex that adds to the whimsical, yet sophisticated character typical of a Gehry design.

2. Zaha Hadid

The late Zaha Hadid, a visionary architect known for her radical deconstructivist designs, left an indelible mark on contemporary architecture with her dynamic and innovative approach. Her style was characterized by sweeping fluid forms, often resembling waves or wings, that defy conventional architectural norms. Hadid’s buildings are frequently described as futuristic, emphasizing movement and complexity with an eloquent yet powerful use of curvilinear geometries.

This conceptual rendition of the Burj Al Arab reimagined by Zaha Hadid captures her essence perfectly. The building’s iconic sail-like structure has been transformed into a sinuous form that seems to flow and twist upwards, looking more fluid than the original and harking to the fabric nature of a boat sail. Hadid’s signature style of fluidity is present in the smooth, uninterrupted lines that wrap around the building’s facade, giving the impression of a structure in motion. The blend of glass and white elements pays homage to her frequent use of stark contrasts and reflective surfaces, which create a dynamic interplay with the surrounding environment. This interpretation of the Burj Al Arab retains the original’s bold statement of luxury while infusing it with Hadid’s distinctive futuristic language, suggesting a seamless merge of form and function in a way only she could envision.

3. Le Corbusier

One of the most visionary pioneers of modern architecture, Le Corbusier (born Charles Edouard Jeanneret-Gris) was renowned for his belief in the house as a “machine for living,” favoring functionality and a stark aesthetic that emphasized plain surfaces and the use of materials such as steel and reinforced concrete. His designs often featured an open floor plan, pilotis (supportive columns), horizontal windows, and roof gardens, all elements that signified a break from traditional architectural designs and a step towards a new, modernist ethos.

The image presents a striking interpretation of the Burj Al Arab, as if reimagined through Le Corbusier’s vision. The iconic sail-like structure of the building maintains its sweeping curvature, a bold departure from Le Corbusier’s penchant for rigid geometric forms. However, the influence of Le Corbusier is discernible in the stark white facade, a hallmark of his palette, which speaks to his minimalist approach. This hybrid design could be seen as a nod to both the building’s symbolic status and Le Corbusier’s principles, blending the luxury and symbolism of the Burj Al Arab with the functionalism and simplicity characteristic of Le Corbusier’s work.

4. Oscar Niemeyer

Oscar Niemeyer was a celebrated Brazilian architect who loved to use curves in his designs, often drawing inspiration from the beauty of nature. He was famous for using concrete to create bold, fluid shapes that made his buildings look smooth and organic, much like the curves of a wave or a hill.

Looking at the Burj Al Arab imagined by Niemeyer, we see this love for curves come to life. The building sweeps up into the sky with a graceful bend, like a wave that’s reaching for the clouds. It’s painted in a crisp white, standing out against the blue sky, a favorite approach of Niemeyer to make his designs pop. The curves seem to play with the light and the building almost looks like it’s moving, capturing the essence of the ocean it overlooks. The windows and balconies interrupt the curves just enough to draw your eye without disrupting the overall flow. This version of the Burj Al Arab combines Niemeyer’s vision of blending architecture with nature, creating a structure that’s both a piece of art and a part of the landscape.

5. Walter Gropius

A trailblazer in modern architecture and one of the biggest proponents of the Bauhaus movement, Walter Gropius emphasized simplicity, rationality, and functionality in design. His architectural philosophy was rooted in the absence of ornament, the use of industrial materials, and the integration of technology and art. Gropius’s style often featured clean lines, glass facades, and an aesthetic that underscored the purpose of each building.

In this creative interpretation of the Burj Al Arab as designed by Gropius, we see the hotel’s silhouette simplified. The sail-like form is reimagined with a cleaner, more geometric shape, embodying Gropius’s less-is-more approach. The facade showcases large, unadorned glass panels that invite natural light, a nod to Gropius’s use of transparency to dissolve boundaries between interior and exterior spaces. While the original structure’s exuberance is toned down, this design retains a sense of elegance through its unembellished form and clear lines. It speaks to Gropius’s belief in the beauty of function and the potential of modern materials to redefine luxury. This conceptual Burj Al Arab marries the building’s iconic status with the Bauhaus ideals of simplicity and practical beauty, transforming it into a beacon of modernist design.

6. Frank Lloyd Wright

With over 1000 structures and a 70-year career under his belt, Frank Lloyd Wright’s legacy precedes him. Wright was an iconic American architect whose designs were groundbreaking for their integration with the natural environment and their organic architecture philosophy. He believed in designing structures that were in harmony with humanity and their surroundings. Wright’s work often featured strong horizontal lines, overhanging eaves, a central hearth, and a deep connection with the landscape, all meant to promote a sense of calm and organic simplicity.

In the image, the Burj Al Arab reenvisioned by Wright maintains its towering presence but adopts a more pronounced integration with its environment. The building’s profile, while still sleek and soaring, includes Wright’s signature horizontal lines that echo the horizon where sea meets sky. The tiers of the building resemble the stratified layers of earth, a subtle nod to Wright’s practice of drawing inspiration from the land. The terraces and balconies extend outward, reminiscent of Wright’s overhanging eaves, suggesting shelter and openness simultaneously. The organic architecture of Wright is reflected in the building’s gentle curvature, which seems to rise naturally, like a formation shaped by wind and water rather than by humans. This conceptual design marries Wright’s philosophy with modern luxury, offering a unique interpretation of the Burj Al Arab as a serene yet grandiose dwelling place in harmony with the vast seascape.

7. Antoni Gaudi

Renowned Spanish architect, Antoni Gaudi left an indelible mark on the world of architecture through his profound connection to the Catalan Modernisme movement. Gaudí’s architectural masterpieces are celebrated for their vibrant hues, rich textures, and organic designs inspired by the beauty of nature. His creations frequently feature the incorporation of mosaic tiles, intricately twisted iron sculptures, and innovative, sinuous stonework, boldly departing from conventional lines and forms.

The image of the Burj Al Arab reimagined by Gaudí shows a playful and imaginative twist on the iconic structure. The hotel’s sail-like facade is transformed with Gaudí’s distinctive style – it features the whimsical curves and organic motifs that are signature to his work. The incorporation of intricate patterns and textures adds depth and a tactile quality that invites close inspection, a stark contrast to the building’s original smooth facade. The use of white for the exterior is a modern touch that aligns with Gaudí’s love for light and reflection, which often played a significant role in his creations. This conceptual design brings together the elegance of the Burj Al Arab with the fantastical and nature-inspired elements of Gaudí’s work, resulting in a building that could be both a functional hotel and a piece of living art.

8. Tadao Ando

Tadao Ando, a self-taught Japanese architect, is celebrated for his minimalist designs that blend physical and metaphysical elements. His work is distinguished by the creative use of natural light and the incorporation of natural elements into his structures. Ando’s buildings often feature clean lines, large expanses of unadorned concrete walls, and elements of water, which harmonize the structures with their surroundings.

The image illustrates the Burj Al Arab as envisioned by Ando. It reflects his minimalist approach, stripping away the original structure’s ornateness to reveal clean, unembellished surfaces. The stark white facade, a departure from Ando’s characteristic concrete, still conveys his preference for simplicity and geometric clarity. The building’s sweeping form is accentuated by the strategic placement of windows that allow for a play of light and shadow, a tribute to Ando’s mastery of illumination. The result is a unique reinterpretation of the Burj Al Arab that mirrors Ando’s ethos of serene simplicity and thoughtful integration with the environment, culminating in an architectural statement that is both contemplative and bold.

9. Bjarke Ingels

Bjarke Ingels, the founder of BIG (Bjarke Ingels Group), is acclaimed for his architecture that challenges convention with a focus on sustainability and sociability. His notable works, like the Mountain residences in Copenhagen and VIA 57 West in New York, merge functionality with a unique aesthetic that often incorporates elements of nature and futuristic design.

This AI-generated image reinvents the Burj Al Arab through Ingels’ lens, transforming the building into a structure that speaks to modernity and playfulness. The building’s form is mildly undulating, with a lean that suggests movement and a sense of whimsy. This is aligned with Ingels’ preference for architecture that surprises and delights. The façade includes large glass windows, maximizing natural light and offering expansive views, a common feature in Ingels’ designs to bring the outdoors in. The sleek white exterior and clean lines maintain the luxury feel of the original structure but with a modern twist that’s both striking and playful. The overall design captures a balance between the building’s iconic status and the innovative, people-focused approach that Ingels is celebrated for, creating an inviting and sustainable architectural landmark.

10. Jeanne Gang

Jeanne Gang, the founding principal of Studio Gang, is renowned for her innovative approach that interweaves architecture with ecological and social issues. Her work often emphasizes sustainability and community, with projects like Aqua Tower in Chicago showcasing her use of distinctive organic forms and responsive design that creates a dialogue with the environment.

The image envisions the Burj Al Arab with the architectural sensibilities of Jeanne Gang. It embodies a sleek elegance while adopting new, flowing lines that suggest a seamless connection with the surrounding seascape. The building’s form appears more integrated with its environment, reflecting Gang’s commitment to creating structures that enhance their settings. The design emphasizes transparency and light, with broad expanses of glass that echo the striated exteriors of Aqua Tower, allowing for natural light to penetrate the building while offering panoramic views. This reimagined Burj Al Arab maintains the iconic silhouette of the original but introduces a fluidity and grace that speaks to Gang’s architectural ethos of harmonizing with nature.

The post Dubai’s Burj Al Arab gets Redesigned by 10 Iconic Architects using AI first appeared on Yanko Design.

You wouldn’t be the first to think this was a Quest 3, but in fact, this headset comes from Finland-based VR/XR hardware company, Varjo. Although it does share a slight visual similarity with its passthrough camera placement on the front, the XR-4 isn’t your average mixed reality headset. Varjo’s XR-4 series, which includes the base XR-4, the XR-4 Focal Edition, and the XR-4 Secure Edition, is the company’s latest offering in the PC-powered mixed reality headset space. Its highlight, Varjo mentions, is a virtual/mixed reality experience so immersive that it’s “practically indistinguishable from natural sight.” To drive that home, Varjo boasts a client base of more than a quarter of Fortune 500 companies who employ their headsets to “train astronauts and pilots, radically shorten automotive production timelines, power medical breakthroughs, and render stunning 3D visualizations for architects and designers.”

Designer: Varjo

The XR-4 series aims to create perhaps the most believable high-fidelity virtual/mixed reality experience that goes way past the uncanny valley of tech. This is achieved through advanced features like dual 4K x 4K mini-LED displays, which offer a resolution of 51 pixels per degree and a 120 x 105-degree field of view. The displays boast double the brightness at 200 nits and a wider color gamut, covering 96% of the DCI-P3 color space. Additionally, the XR-4 series incorporates dual low-latency 20-megapixel cameras for high-fidelity, real-time photorealistic video pass-through mixed reality. Enhanced with new ambient light sensors and an 8x improvement in LiDAR resolution over its predecessor, the XR-3, these headsets seamlessly blend real and virtual elements.

One of the standout features of the XR-4 Focal Edition is its gaze-directed autofocus cameras, quite similar to the foveated rendering feature demonstrated by Apple during its Vision Pro launch back in June. These cameras are specifically beneficial for training simulations requiring interaction with real-world objects, such as in cockpit-based applications. The XR-4 Secure Edition, meanwhile, caters to government and defense organizations with stringent security requirements.

The XR-4 series is powered by NVIDIA GPUs and is integrated into NVIDIA Omniverse, enabling developers and industrial users to render photorealistic scenes and unlock ray tracing in mixed reality. This potent combination far surpasses the computational power achievable with a mobile chip, making it a game-changer for developers. The headsets are compatible with over 100 third-party PC applications and 3D engines, including Unreal Engine and Unity, ensuring their integration into demanding workflows across various sectors like training and simulation, design, engineering, and healthcare.

Despite these advancements, the XR-4 headsets are bulky and weigh a little over two pounds, making them heavier than the Quest 3 as well as Apple’s own Vision Pro that was questioned for its heavy aluminum body. However, this isn’t a significant concern for Varjo’s target customers, who typically use the headsets for limited periods, such as in training scenarios. The pricing of the XR-4 series starts at $3,990 for the base model, which may seem high for consumers, but not for the specialized industries that can absolutely benefit from the XR-4’s unique offering. In fact, consumers wouldn’t even be able to get their hands on the XR-4 given that Varjo deals exclusively with enterprise and military industries for now. The XR-4 Focal Edition, on the other hand, has an eye-watering starting price of $9,990 while the XR-4 Secure Edition, designed for government-level encrypted use, doesn’t even have a price listed online.

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