Hasta La Ideas

Stronger than steel but 5x lighter, PITAKA’s MagEZ cases use the same aramid fibers (also known as Kevlar) found on bulletproof vests and spacecrafts.

It isn’t often that you find a case that looks better than the phone itself, but that’s an art PITAKA seems to have perfected. The company’s woven aramid MagEZ cases look like haute-fashion for your phone, but give them durable protection within a lightweight design. The added benefit, however, is also the fact that these MagEZ cases give your phone MagSafe compatibility, allowing you to easily snap magnetic accessories (including PITAKA’s own products) right to the back of your phone. The MagEZ cases for Samsung’s newly launched Galaxy S24 come in three styles – a default black/grey weave, along with a gorgeous Sunset and a sublime Moonrise variant that look like woven sweaters for your smartphone. These just also happen to be bulletproof.

Designer: PITAKA

Click Here to Buy Now: $62.99 $69.99 (10% off with coupon code “S24-10%YD”). Hurry, deal ends in 48-hours!

The MagEZ Case 4 holds this unique distinction of ticking all the ‘good design’ boxes. It’s equal parts eye-catching, protective, lightweight, and just flawlessly impressive on a technological level. Most smartphone cases come molded out of plastic… but the MagEZ cases are woven. Built using PITAKA’s Fusion Weaving technology, the cases are woven using 600D aramid fibers, known for their incredible strength-to-weight ratio. The designs/patterns you see on the cases aren’t prints, they’re weaves that wrap around your phone, protecting every corner of your device from impact while giving it a uniquely fashionable aesthetic that you probably won’t get with any other smartphone case.

Even at their thickest point, the MagEZ cases are a mere 1.27mm thick (with a minimum thickness of 1.14mm), with an overall weight of 18.9 grams or 0.66 ounces. The cases are so thin that they sit around your phone almost like a second skin. However, their woven pattern gives them a tactile grip that allows you to hold your phone with confidence that it won’t accidentally slip out of your grasp, and even if it does, it’s protected by features like the protective camera lip that’s made from recycled aramid fibers left over from the case-making process.

As their name rightfully suggests, the MagEZ cases boast MagSafe capabilities, allowing even Android users to take advantage of the features and the convenience of MagSafe. The cases feature a highly discreet ring of magnets on the inside that fit snugly within their ultra-slim profile, allowing you to easily snap on PITAKA’s range of MagSafe accessories including the MagEZ Grip, MagEZ Card Sleeve, and MagEZ Slider 2.

The cases come in the three aforementioned colors for the S24, S24 Plus, as well as the S24 Ultra. They’re lightweight, wear-resistant, corrosion-resistant, highly grippy, and give your smartphone a gorgeous fascia that doesn’t feel like a compromise (unlike most boring-looking phone covers). The added benefit is that they’re practically indestructible, giving your cutting-edge smartphone the supersuit it needs to survive in this fast-paced world!

Click Here to Buy Now: $62.99 $69.99 (10% off with coupon code “S24-10%YD”). Hurry, deal ends in 48-hours!

The post PITAKA’s Aramid Phone Case for the Galaxy S24 boasts a Gorgeous Woven Pattern + MagSafe features first appeared on Yanko Design.

People deep in the Apple ecosystem have a very good reason not to look elsewhere. So, what if it goes beyond the ecosystem of your nerdy world? Level 2 autonomy Apple Car might still be way beyond the horizon, having painstakingly waited for more than a decade, with another hope of a 2028 release. So, what else a set of wheels could you think of including in the Apple bandwagon?

How about an Apple Tractor Pro mowing down your golden fields during the golden hours? Created by a fan as a concept, this design imbibes the good bits of the MacBook and iPad. If you see those relatable elements of the Apple Vision Pro, then you are not alone. The contoured body is well complimented by those Macbook’ish wheels and the light bars at the front will for a moment make you forget about the Apple Car. Those light bars as well as the tinted black upper cabin are designed to automatically light up in low light environments.

Designer: Sergiy Dvornytskyy

Of course, the thing is powered by an electric powertrain developed in collaboration with Foxconn/Monarch who are renowned for their MK-V electric tractor. The lightweight body frame looks to be crafted from more robust titanium material, but I’d prefer it to be crafted out of stainless steel as the Cybertruck is a good example of how tough car body frames can be.

Not only on the looks part but the technology aspect is taken care of as well in this outlandish concept. The farmers can control and monitor the Apple Tractor Pro right from the comfort of their homes using their Apple devices. All this is done with advanced sensors and in-built AI that knows what tasks to do autonomously. So, would you actually want to see something like this crawling in the vast expanse of an Apple fanboy’s estate?

The post This absurd parody Apple Tractor concept heralds the future of agriculture! first appeared on Yanko Design.

In the ever-evolving landscape of technology and design, the fusion of functionality and artistic expression continues to yield groundbreaking innovations. One such marvel is Oloïd, a sustainable acoustic luminaire born from the collaborative synergy of Impact Acoustic; a provider of sustainable acoustic solutions, and the esteemed design studio atelier oï. This unique lighting fixture not only delivers exceptional sound absorption but also redefines the way light and sound interact, creating a transformative experience that enhances the ambiance of any space.

Designer: Impact Acoustic,  Atelier oï

At the heart of Oloïd’s revolutionary design lies Archisonic Felt, a high-performance sustainable acoustic absorber crafted from upcycled PET bottles. This versatile material demonstrates outstanding sound absorption capabilities and embodies a commitment to sustainability and responsible material sourcing. The Cradle to Cradle certification and LEED accreditation of Archisonic Felt underscore its eco-friendly credentials, aligning with the growing demand for environmentally conscious design solutions.

Oloïd distinguishes itself by offering a transformative lighting experience that seamlessly integrates functionality with artistic expression. The collaboration between Impact Acoustic and Atelier oï is not merely about illuminating a space but about creating an immersive environment where light and sound harmonize effortlessly.

Aurel Aebi, a key figure at Atelier oï, highlights the creative process that brought Oloïd to life. “At atelier oï, we often begin our creative process with an encounter with the material,” Aebi explains. “Our goal was to find a way to make the sustainable material speak in a new way.” This innovative approach involved working with the material’s stiffness and flatness to create organic shapes that redefine conventional luminaire design.

Oloïd is available in a stunning array of 32 colors, presenting a curated selection from the Archisonic Felt range. This diversity empowers users to personalize their spaces, allowing for the creation of bespoke environments that reflect individual tastes and preferences. The luminaire’s design seamlessly integrates the organic shapes derived from the unique qualities of Archisonic Felt, transcending two-dimensional panels into captivating three-dimensional entities.

Sven Erni, co-founder of Impact Acoustic, expresses his fascination with the collaborative process that transformed their material. “The collaboration fascinated us as we witnessed the metamorphosis of our material,” Erni notes. “This was made possible using a distinctive cutting technique at specific angles and the skillful folding of the panels. This creative approach seamlessly transformed the two-dimensional panels into fascinating three-dimensional entities, transcending surfaces to tangible bodies.”

Oloïd not only sets a new standard for sound-absorbing luminaires but also stands as a testament to the potential of sustainable design in reshaping our surroundings. With its commitment to responsible material usage, innovative design, and the seamless integration of light and sound, Oloïd emerges as a beacon of eco-conscious creativity, inviting us to reimagine the possibilities of our illuminated spaces.

The post A Sustainable Lighting Solution That Redefines The Interaction Between Light And Sound first appeared on Yanko Design.

Local architecture studio Bockus Payne has renovated a 1970s commercial skyscraper in Oklahoma City, reformatting its interiors and landscape and completely replacing its exterior glazing.

The tower, which was initially completed in 1971, had fallen into disrepair and gone into receivership. Local bank BancFirst bought the structure and employed Bockus Payne to carry out the renovation.

Bockus Payne completely revamped the facade of the 36-storey skyscraper – currently the second tallest in the city – replacing the bronze-coloured glazing with blue glass to reference the brand colour of the bank.

“This was instrumental in making the tower feel modern and lightweight,” said Bockus Payne.

On the top of the skyscraper, 14-foot-long (four-metre-long) LED strips were placed along the crown of the building, as well as large signage displaying the company logo.

Near the ground floor, the studio made changes to make the entry program more open. This included removing the vertical mullions of the curtain wall on the ground floor and installing clear glass.

“The renovation process also involved a peeling-back of superfluous design details and enhancing transparency,” said the studio, which removed what it considered “superficial” details in the interior lobby, including every other column and its concrete cornice detailing.

The team took further steps to make the lobby interior feel less “cave-like”. Beyond opening up the space through subtraction and adding more glass, the team also reoriented its restaurants and shops – a gallery, a deli and a cafe – to better utilise the ground-level space.

Oak finishes and marble accents in the lobby were included to create a “timeless” effect that also refers to the local economy and history.

“The interior design details draw inspiration from all things Oklahoma: waving wheat and bright wide-open skies, reminiscent of the Oklahoma prairies,” said Bockus Payne.

Behind the central reception desk, the wood was arranged in a diagonal slatted pattern to directly reference stalks of wheat “waving in the wind”, a common site on the farmlands of Oklahoma.

Beyond the symbolic, live plans were included in the lobby renovation.

Bockus Payne also revamped the landscaping of the exterior plaza, remaking the circulation paths and installing native plants and trees between them.

A series of tree wells on the site extended down to an underground concourse. The studio took these “dark-windowed spaces” and installed LED lighting and fitted glass, which create a “lantern-like” effect from above and below, bringing more light into the levels below the plaza.

“These lanterns transform the underground by bringing natural daylight into the space during the day and glow at night by employing color-changing LED light fixtures cast onto fritted glass,” said the studio.

“What was once an inward void has become an outward projection that provides ‘light’ both day and night.”

The studio also renovated the spaces of the underground concourse, which include a restaurant and a BancFirst branch. It included new tiling and wood detailing and placed a break room for bank employees directly underneath one of the “lanterns” in the plaza.

Other projects in Oklahoma City include a colourful restaurant with “eccentric” detailing.

Recently, architecture studio AO and developer Matteson released plans to build a skyscraper that if completed will be the tallest in the United States. This gestures towards what Bockus Payne said was an “ongoing renaissance of downtown Oklahoma City”.

The photography is by Justin Miers. 

Project credits:

Structural: Wallace Engineering
MEP/lighting: Alvine Engineering
Civil: Smith Roberts Baldischwiler
Curtainwall consultant: CDC

The post Bockus Payne renovates 1970s skyscraper in Oklahoma City appeared first on Dezeen.

As we celebrate the 40th anniversary of the Apple Macintosh, we reflect on how this technology has transformed our lives. The Macintosh changed how we interact with computers and redefined our relationship with technology. In 1984, Apple introduced the Macintosh, a computer that put the future at our fingertips. It embraced the philosophy of human-centric design long before it became a popular term in design circles.

Designer: Apple Computer, Inc.

Its graphical user interface (GUI) was a significant departure from the cumbersome command-line interfaces of the time. Using icons, windows, and a friendly desktop metaphor made technology accessible and approachable. This leap was not solely about technology but also about how humans interact with it.

On January 24, 1984, Steve Jobs famously unveiled the first Macintosh by dramatically pulling it out of a bag. The personal computer boasted a 9-inch black and white display powered by an 8MHz Motorola processor and 128KB of RAM. In classic Steve Jobs style, he then produced a 3.5-inch floppy drive and inserted it into the computer, much to the delight of Apple shareholders. Jobs had famously said, “We want to put an incredibly great computer in a book that you can carry around with you and learn how to use in 20 minutes.” At its launch, the original Macintosh cost $2,495.

Design Aesthetics: More Than a Machine

The all-in-one design of the Macintosh broke the mold. Its compact, boxy frame, complete with a built-in 9-inch screen, was an object of desire – sleek, stylish, and something you wouldn’t mind having on your desk. Looking back, it was more than a machine; where multiple layers of innovation and thoughtful design choices distinguish it from anything else of its time, it was a piece of art that complemented the user’s space.

The Macintosh computer differed from the early personal computers as it didn’t have a bulky, segmented design with separate units for the monitor, CPU, and keyboard. Instead, it had a compact, all-in-one design. This unique design of integrating the monitor and computer into a single unit was not only space-efficient but also symbolically significant. It represented a unified, holistic approach to computing, aligning with the philosophy that technology should seamlessly integrate into people’s lives without complicating them.

The friendly beige plastic casing, rounded edges, and compact size make it appear warm and approachable. The designers wanted to communicate that technology can be pleasant and welcoming rather than intimidating and alienating. Steve Jobs, known for his attention to detail regarding aesthetics, believed that good design was integral to the user experience. He famously said, “Design is not just what it looks and feels like. Design is how it works.” He believed good design, not just a superficial veneer, was essential to make things look good.

Did you know that the Macintosh had some fantastic design elements? One of the most unique features was the handle on the computer’s top. Not only was it functional, but it also represented portability and personal ownership. It made you feel like the Macintosh was your personal computer, one you could take charge of and create your own. This feature reflected a shift in how we see computers, from impersonal corporate machines to personal tools for creativity and expression.

The Macintosh’s 9-inch screen may seem tiny now, but it was a big deal in the day. It’s what made the Mac look so cool and funky. The cool thing about it was that it showed graphics and text in a way that had never been seen before. It was like a window into the heart of the Macintosh, showing everyone what made it unique and innovative.

Bridging Human and Machine: The Mighty Mouse – A Closer Look

When Apple Macintosh introduced the mouse, it wasn’t just another peripheral device. It changed the way we interact with machines. This tiny device played a massive role in connecting the digital world with its users. It transformed the personal computer from a specialized tool to an accessible and creative medium.

The mouse, tailored for the human hand, turned physical gestures into digital actions. Its design was simple yet effective – a small, palm-sized device with a single button, embodying the principle of simplicity and ease of use. This approachability was crucial. It invited users who might have been intimidated by the complexity of computers to explore this new world. Steve Jobs, ever the proponent of intuitive design, understood this connection, emphasizing, “We made the buttons on the screen look so good you’ll want to lick them.” The mouse was an extension of this philosophy, making the digital environment tangible and inviting.

Before the Macintosh, interacting with computers mainly involved typing commands – an efficient method for experts but alienating for novices. The mouse changed that, making computing a more intuitive, point-and-click experience. This change was akin to learning a new language where actions and commands became visual and direct. The mouse demystified the computer, aligning its use more closely with natural human behavior and less with the need to learn complex command languages.

The mouse was integral to the success and functionality of the Macintosh’s GUI. It allowed users to navigate the interface easily, interact with icons, open windows, and use menus. This ease of navigation made the computer’s advanced capabilities accessible to a broader audience, fostering a more inclusive digital culture. The mouse and GUI combination was a powerful duo that set the standard for future user interfaces, influencing the design of operating systems and software for decades. Applications became more visually oriented, focusing on ease of use and accessibility. Programs like MacPaint and MacWrite showcased what was possible with this new form of interaction, allowing users to create graphics and documents in previously unimaginable ways on a personal computer.

Over the years, the mouse has evolved, gaining more buttons, adopting new technologies like laser tracking and wireless connectivity, and even transforming into touchpads and touchscreens in modern devices. However, the core principle remains: technology should adapt to human needs, not vice versa.

In celebrating the 40th anniversary of the Macintosh, the significance of the mouse in bridging humans and machines cannot be overstated. It was a bold step towards making technology more personal, intuitive, and human. The Macintosh’s mouse was a harbinger of a future where technology becomes an extension of ourselves, seamlessly integrated into our daily lives, facilitating creativity, productivity, and exploration in the digital realm.

Echoing Steve Jobs’s vision, he said, “It’s in Apple’s DNA that technology alone is not enough — it’s technology married with liberal arts, married with the humanities, that yields us the result that makes our heart sing.”

The Macintosh made our hearts sing then, and forty years on, its legacy continues to inspire.

The post Celebrating 40 Years of the Apple Macintosh: A Beacon of Human-Centric Design first appeared on Yanko Design.