The see-through aesthetics of the Nothing earbuds and then the Phone (1) have inspired numerous concept designs. All these products spill the transparency of consumer electronics hardware into forms we never thought of, but love. CMF By Nothing is a more accessible brand that carries the same design philosophy and we’ve not seen many CMF-inspired designs until now.
Meet the CMF Clock concept that reimagines the reliable ticker on your wall in modern attire. The design leverages the harmonious integration of color palettes, material choices and surface finishes to mimic the CMF’s philosophy. According to the designer, this ensures the final product is a true reflection of the brand and timeless design sensibilities.
The aspiration for this project is to elevate the status quo of the good old wall clock, creating a balance between both form and function. Also, the vision of the concept is to pen down a design that functions as a timepiece and elevates the aesthetic appeal of any interior space – whether it’s your home or office. The depth of perception is portrayed via the shorter seconds hand while the hours and minute hands are signified by the semi-circular shaped disks running along the diameter of the clock dial.
The color palette chosen is a balanced Sierra of white, grey, black and the signature orange. The concept is imagined in three different color variants – one emphasizing the whites, the other the blacks, and the last one going for an overpowering orange look. While the design here looks gorgeous for a geeky den, we longed for an integrated functional approach that is aligned with modern needs. Things like connected features for showing important notifications, calendar updates, schedules, or preferred pings from social media apps.
The technology to superimpose a thin smart display on top and connected hardware modules like WiFi or Bluetooth will enhance the overall appeal of such a consumer product.
When we talk about modern architecture these days, you instantly get a vision of tall glass skyscrapers! Modern architecture is characterized by skyscrapers and glass structures. However, a growing trend is slowly making its place in the world of architecture, and that is – Concrete architectural designs. Concrete structures have a unique appeal to them. Raw, rustic, and organic, these real and unfiltered architectural structures immediately catch your eye. If you love concrete buildings, then you will approve of the Shire!
Designed by Atelier Matias Mosquera, the Shire is a one-of-a-kind and exceptional home that beautifully merges into its surrounding landscape. The home is self-sufficient in terms of power, water, and food. The home is inspired by the Shire by Tolkien’s iconic books, as its name suggests. It is tucked away in a rural space in Buenos Aires and is built mainly from concrete. The surrounding landscape is lush and green, which perfectly complements the greenery on top of the home. The greenery provides insulation from the heat and cold, while wooden slats offer shade from the sun as well.
The interior is made up of exposed concrete and wood, including the bathroom which contains a unique stone-like bathtub. The home occupies around 200 sq m and houses three bedrooms, a living room, a kitchen, a library area, and a bathroom. It is surrounded by lush and detailed landscaping, which includes a swimming pool, as well as multiple pathways that let you walk on top of the structure.
“Instead of buying and throwing goods away, the idea is to produce, consume as needed, and then recycle,” said Atelier Matias Mosquera. “There would be no more garbage since the system would be self-sufficient. It generates its own electricity, heating, water, and, above all, food.”
The home runs off-grid as well since it is powered by solar panels, which are linked to a battery array, which makes sure the lights are on even when the sun isn’t shining too bright. It features a rainwater capture system which can be connected to the water tanks and a vegetable garden, to offer sustainable food production. The Shire was built to help the owner live near nature, providing a much-needed break from the hectic city life.
Changing a flat tire is a routine task for many, but when dealing with larger vehicles like trailers, it can become a significant challenge. The sheer size and weight of these vehicles make traditional tire-changing methods cumbersome and time-consuming. That’s why the Camco Curved Trailer-Aid was designed, a brilliant solution that promises to make tire changes on dual-axle trailers a breeze, all without the need for a jack.
The Camco Curved Trailer-Aid stands out for its clever design, offering a practical and efficient way to change a flat tire on a dual-axle trailer. Unlike traditional methods that require jacking up the trailer, this innovative tool allows you to simply drive over it with the wheel adjacent to the one needing attention. Once in position, the yellow curved aid is choked in place using the included black chock, which features a rubber base pad for added friction and stability.
One of the standout features of the Trailer-Aid is its use of a honeycomb structure in its design. This not only minimizes the amount of material needed, thereby reducing weight and cost but also offers significant structural advantages. Honeycomb designs are known for their excellent compression and shear properties, providing high specific strengths while maintaining a low density. This means the Trailer-Aid is not only lightweight but also incredibly durable and capable of handling the heavy loads typical of trailers.
With a lift of 6.5 inches, the Trailer-Aid offers more than enough clearance to safely remove and replace a tire, even if the target axle has sagged. This added height ensures that the wheel can be removed without any hassle, making tire changes quicker and easier.
The Camco Curved Trailer-Aid is designed for trailers weighing up to 20,000 pounds and can accommodate tires up to 32 inches in diameter. Its heavy-duty construction supports up to 9,000 pounds, making it suitable for a wide range of dual-axle trailers. The product measures 10 inches tall, 19 inches wide, and 5 ¾ inches deep in its in-use overall dimensions, providing a stable and reliable platform for tire changes.
Adding to its practicality, the Trailer-Aid is made of durable plastic with UV inhibitors, ensuring it can withstand the rigors of outdoor use. It also features a convenient carry handle for easy transport, allowing users to quickly store and retrieve it as needed. For those concerned about cost, the Camco Curved Trailer-Aid is reasonably priced at $55, making it an affordable addition to any trailer owner’s toolkit.
Designed by Fabien Cappello, the new Toto lamp comes in three sizes and many colors. Covered entirely in fabric, it gives chic Seventies vibes in a modern form and pop palette. It dresses up or down and is flexible enough to bring some whimsy into your room or mix right in to a more subdued setting. Price is for the small lamp, larger sizes vary in price up to $559.
When you’re caught in the line of duty or are stranded in the wilderness and things suddenly begin to get serious, a knife can be your friend to carry out survival tasks like splitting firewood, starting a fire, skinning game, or opening a can. This is why survivalists do not compromise on what knife they carry in their backpacks. Cut, chop, dig whatever it is, a folding knife is a second choice against the fixed blade options owing to its complexity in design and risk of failure in hardcore tasks.
While many blade makers would settle for this perception, Benchmade in the US is redefining the wheel with a folder that is positioned to become a hardcore warhorse for camping tasks and survival experiences. Benchmade PSK, short for Personal Survival Knife, is an efficient and ambidextrous folding knife, engineered for outdoor enthusiasts inside-out.
I think it would be unfitting to back all the claims, but from the looks of this stunning folder, you wouldn’t want to write it off either. The corrosion-resistant CPM MagnaCut blade with a black Cerakote coating is the first instant heartwinner. For those who wouldn’t know, CPM MegnaCut is Crucible Industries’ premium steel that boasts toughness, corrosion resistance, and most importantly edge retention. The Cerakote finish enhances this quality manyfold, which the survivalists would leverage.
The interesting blade, measuring only 3.4 inches, houses – when folded – within a black G10 handle with a textured carbon fiber bolster. It also comes in a choice of carbon fiber handle. Measuring a total of 8.4 inches, the PSK, which tips the scale at slightly over 5 ounces, is built sturdy with a set of full liners. The “palm-filling” foldable knife features a quick and reliable AXIS Assist opening and locking mechanism.
Provided with a striking choil at the base of the blade to light a fire with a Ferro rod, this pocket-friendly survivor knife is a comfortable EDC you’d definitely want to try. It should be hand-washed and kept dry and lubricated, the maker notes. The Benchmade PSK retails for $450 in its carbon fiber model.
Design studio General Assembly has used a wide material palette to transform an apartment on New York City’s Upper West Side, decorating it with marble and travertine stone and adding wood for a lighter feel.
The studio completely transformed the layout of the 3,050-square-foot (284 square metres) flat, which was designed for a young family.
Social spaces are located at the centre of the home
“The floorplan has been completely reimagined,” General Assembly co-founder Sarah Zames told Dezeen.
“We moved all the walls and most of the plumbing in order to better accommodate the needs and lifestyle of the clients – we felt it was important to organize the spaces based on the way they used the space.”
A travertine side table contrasts a wooden table in the living room
One side of the flat was designed to be quieter and family-focused and houses the bedrooms and family room, while social areas can be found at the centre of the apartment.
Guest spaces are contained in a third area, which was designed using warmer materials and has a more intimate scale.
The bedrooms are located on a “quieter” side of the flat
Located in an early 20th-century stone building by Italian-American architect Gaetano Ajello, the studio drew on the surrounding architecture when designing the apartment interior.
“We were inspired by the grandness of the New York pre-war building,” Zames said.
“We loved its deep columns and beams and wanted to work in a way that honored these kinds of details while balancing them with softer textures and quieter moments.”
The kitchen features a marble island
General Assembly worked with many different materials for the apartment, whose walls are clad in Venetian plaster in a nod to the fact that it’s the material that would have been used for the original walls.
“We chose to finish many of the spaces with Venetian plaster because it created a subtle shadow and depth on the walls and ceilings,” Zames explained.
“We liked the way it reflected the natural and decorative lighting without overwhelming the space – the movement and texture of the wall is so minimal, that on first glance you may not realize that it is even plaster,” she added.
“But, as you watch the day progress, the light shifting becomes more apparent.”
Wood was used throughout the flat
The studio decorated the kitchen and bathrooms with dramatic marble surfaces and also placed a side table in solid travertine in the living room.
“We felt that stone, a material that lends itself to the nature of the pre-war building, was such a natural choice for this project,” Zames said.
“We wanted to emphasize its weight, designing voluminous pieces and detailing to emphasize these qualities.”
Brass and metal details add texture to the living room
To contrast the stone, wood was used for much of the furniture and for the sliding doors leading into the kitchen.
“The wood was just as important in the design because it provided a counterpoint to the heaviness of the stone and the architecture of the building,” Zames said.
“Not only was the wood lighter in color, but the details in the wood finishes feel lighter to the touch and slightly more delicate.”
General Assembly added built-in features to the apartment
Throughout the flat, built-in shelves and cabinets maximise storage and reference the original design of the flat.
To create the right ambience within the apartment, General Assembly used earthy colours for the interior.
“We drew predominantly on earthy hues complimented by jewel-toned accents,” Zames said.
“We wanted to go with a comforting and quiet palette that evoked feelings of permanence. We always use natural and living materials in our projects, wherever possible – so many of these finishes will patina over time and add further to the depth of the design.”
Swirly marble clads one of the bathrooms
Pieces by independent designers were also used for the space to give it more character and personality.
“The clients were really open to bringing in more independent designers, many of whom we also carry at our shop, Assembly Line,” Zames said.
“That gave us the ability to do a lot of customization and freedom in how we designed and outfitted the space.”
General contractor: ALL Construction Structural engineer: Jim Moore and Associates A/V and lighting: Fiks Consultants for AV and Lighting Infrastructure Upholstery & window treatments: Fernando Guaman for Custom Upholstery and Window treatments
A symbol of the 1980s and cinematic nostalgia, the DeLorean is making its comeback… not as a relic but rather as a forward-thinking electric vehicle. Lynx Motors, a brand known for its dedication to reviving classic sports cars, has announced the launch of the DMC-EV. This modern reimagining of the iconic DeLorean DMC-12 combines the car’s legendary design with the latest in electric vehicle technology, offering a unique blend of retro appeal and futuristic innovation.
The exterior of the DMC-EV stays true to the original design by Giorgetto Giugiaro, with sleek lines that instantly evoke memories of the 1980s classic. However, Lynx Motors has made several updates to bring the car into the modern era. The most noticeable changes include LED lighting at the front and rear, as well as larger, transparent panels that give the car a more contemporary look. The badging on the car has been updated to include both the Lynx and DMC-EV logos, signaling the car’s transition into the electric age. The vehicle also features larger wheels, and owners will have the option to customize the side skirts and bumpers, allowing for a personalized touch that departs from the stainless steel finish of the original DMC-12.
The interior of the DMC-EV, however, has been completely overhauled to meet modern standards. The centerpiece of the cabin is a large touchscreen display that spans the width of the dashboard, providing the driver with all the necessary information at a glance. The seats are upholstered in high-quality leather, adding a touch of luxury to the vehicle. The center console now features a wireless phone charger and a large rotary dial, making it both functional and aesthetically pleasing. The steering wheel has been redesigned as well, featuring a sporty look with carbon fiber accents and perforated leather, further enhancing the driving experience.
Under the hood, the DMC-EV draws power from four high-output in-wheel electric motors, delivering all-wheel drive and ensuring optimal performance on the road. These motors are supplied by a 70kWh CATL battery pack, which provides a range of approximately 402 kilometers on a single charge. The DMC-EV is capable of accelerating from 0 to 60 mph in under four seconds, a feat that underscores its high-performance capabilities. Additionally, the vehicle is equipped with Tesla’s NACS charging port, allowing it to access Tesla’s extensive Supercharger network in the United States, making long-distance travel more convenient for its owners.
Lynx Motors has opened reservations for the DMC-EV, with a starting deposit of $2,500 USD. While the exact pricing of the vehicle remains somewhat ambiguous, with figures ranging between $249,999 and $299,500 USD, the demand for this reimagined classic is expected to be high. Deliveries are slated to begin next year, and the DMC-EV will join Lynx’s lineup alongside the GT1e, another electric restomod based on the 2005 Ford GT.
A hotel in an Oklahoma skyscraper by Frank Lloyd Wright is set to close amid reports that the current owner has sold a number of historical items without “review or approval” from the Frank Lloyd Wright Conservancy.
“You have all of these costs,” Copper Tree Inc CEO Cynthia Blanchard told local outlet News on 6. “And you’re running at 40 per cent occupancy for the hotel. You can’t sustain that.”
Completed in 1956 and located in Bartlesville, Oklahoma, Price Tower is one of two high-rise buildings realised by American architect Frank Lloyd Wright. It was under the ownership of a non-profit until its sale to private buyer Copper Tree Inc early last year.
A hotel in the Price Tower by Frank Lloyd Wright is set to temporarily close. Top photo by Lane Pearman
Originally, it served as the headquarters for the Price Company and contained residential apartments before it was restored and converted into a hotel, restaurant and gallery space, which has been its most recent use.
In Spring 2024, local news outlet Bartlesville Examiner-Enterprise reported that Copper Tree Inc had sold “multiple items” to a Dallas-based design dealer, including a historical gate designed by architect Bruce Goff that was donated to the tower as well as Wright-designed furniture pieces.
According to the easement-holding Frank Lloyd Wright Conservancy (the Conservancy), these sales included several items protected by an easement donated to the Conservancy in 2011 by the building’s then proprietor, the non-profit Price Tower Arts Center (PTAC).
At the time, the Conversancy reportedly refrained from taking legal action against the sales, “hoping to achieve a positive outcome without taking legal action” against the new owner.
The closure follows sales of historical objects that reportedly breached a conservation easement
“The Conservancy immediately reminded the owner that, under the terms of the easement, they were not permitted to sell easement-protected items without the Conservancy’s consent,” said the Conservancy.
“These items were sold without the Conservancy’s review or approval.”
Protected items in the sale included a directory board, an armchair and copper relief panels designed by Wright for the building.
“We’re not aware of any other example of Wright ever designing a directory board,” the Conservancy preservation programs director John Waters told Dezeen. “It’s for the Price Tower, so it is completely unique and one of a kind.”
“That is an object that we would have never agreed to the sale of.”
A directory board, chair and other custom furniture were included in the sale
The Conservancy also noted it would “seek legal recourse against any purchaser of items” covered by the easement moving forward.
Blanchard told local radio station Bartlesville Radio that she had sold the items “to raise cash to pay bills” and that the previous ownership had also sold items for similar reasons.
The building is one of Wright’s two built skyscrapers
Waters noted that the Conservancy “did not encourage it, but we had conversations with them around these items,” regarding previous sales.
He also said the sold items “lose something” when removed from the context in which they were created.
“These items are of particular importance when they remain in the context for which they were designed,” said Waters. “They lose something when they are taken from that context. And the site loses something.”
According to New on 6, the 19-room hotel will close for the time being, but the property will remain open for historical tours. It is unclear if the restaurant on site will remain open.
Copper Tree Inc did not respond to Dezeen’s request for comment.
The new design week, Design Week South Africa, will be hosted in both Cape Town and Johannesburg and intends to showcase “a new wave” of local talent.
The festival seeks to continue the legacy of Cape Town’s Design Indaba, a global design conference that hasn’t been held since the coronavirus pandemic.
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American studio ZGF Architects has completed an expansion to the main terminal at Portland International Airport, installing a massive mass-timber roof that was prefabricated to keep the airport operational.
The airport’s giant roof was made from metal and glued-laminated timber (glulam) that forms over 400,000 square feet (37,161 square metres) of beams and lattice and spans nine acres, according to the studio.
ZGF has completed an airport with a mass-timber roof in Portland
The main terminal has opened, marking a major phase in the renovation of the airport, which has been underway for the last decade. ZGF Architects was tasked with essentially doubling the operational space, unifying facilities and mechanical systems that have been built in different phases since the 1950s.
Draped over the entirety of the central terminal, which includes an entry program, ticket counters, concessions, and gates, the roof features an undulating pattern with 49 skylights.
With a nine-acre span, the roof features skylights and an undulating pattern
ZGF likened the structure to the “overstory” of a forest – the top level of branches that creates the protective layer at the canopy level of a forest ecosystem.
“Undulating in a basket weave of arches and scalloped shapes, a 400,000-square-feet glulam beam and lattice ‘overstory’ is supported by a grid of 34 Y-shaped columns that branch upwards 36 feet above the terminal floor,” said the studio.
“The lattice is comprised of nearly 35,000 three-by-six-inch pieces of Douglas fir.”
The structure is technically hybrid, with the wood affixed to a series of six-foot-deep (1.8 metre) steel girders, set 20 feet (six metres) apart, that span 150 feet (45 metres). The largest timber beams are 80 feet (24 metres) long, and the lattice is affixed to these larger mass-timber components.
The roof was assembled on-site to allow for uninterrupted operations during the construction
To keep the airport operational during renovations, ZGF opted to prefabricate the massive, arching roof on a separate area on the airport property, away from the terminal. It used machines to suspend it for construction and wheel the separate parts into place, before affixing them to 34 massive concrete Y columns and fastening them together.
Skylights and mechanical components were all completed during the prefabrication process.
ZGF worked with landscape architecture studio Place on the plantings
ZGF Architects also said that the wood used for the engineered timber roof was sourced within a 300-mile (482 kilometres) radius of the airport, emphasising the importance of local supply chains in mass timber production.
According to the studio, building in place and using local supply chains afforded a 70 per cent reduction in the building’s embodied carbon footprint.
Wood from local sources was also used in the flooring and in feature walls, which are interspersed through the main open portion of the building and its wings.
A series of concessions, lounges, and hallways were divided into sections informed by the “human-friendly scale” of Portland’s short city blocks, surrounded by glass enclosures.
The airport lounges and concessions were divided into smaller portions informed by Portland’s neighbourhoods
These areas were set up in a modular way with wooden concession stalls that can be moved depending on the needs of the administrators.
Furthering the sylvan themes in the idea of the “overstory” noted above, the experience of the airport was designed to resemble walking through a forest, according to the studio.
Wooden details were used in flooring and some modular concession structures
ZGF Architects worked with landscape studio Place to install 72 large trees – some as tall as 25 feet (7.6 metres) – and 5,000 plants.
Many of the plantings were configured as “hanging gardens” with vines hanging over large expanses of glass to dampen the light.
“The volume of greenery offers biophilic stress relief while reflecting Oregon’s native flora,” said the studio.
“Abundant natural light, a consistent interior environment, simple irrigation systems and maintenance protocols, ensure plant life will remain healthy.”
In addition to the reduction in embodied carbon offset by local fabrication, the structure also features electric heating and high-quality glazing that reduces the operable carbon.
“The project’s sustainable design sets a new standard for airports worldwide,” ZGF Architects said.
“The main terminal doubles capacity while achieving a 50 per cent reduction in energy use per square foot with a highly efficient, all-electric ground-source heat pump,” it added.
“Resilient design strategies enable the terminal to withstand a 9.0 magnitude earthquake in the Cascadia Subduction Zone.”
It is part of a general renovation and expansion of the airport
The last phases of the project are expected to be completed in 2026.
ZGF Architects has several offices across North America. It was involved in some of the earlier work on the Portland International Airport and has carried out a number of sustainable architecture projects in recent years.
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