Using freeweights is a low-tech way to work out. But Chinese manufacturer Julu Smart Tech reckons changing the weights on dumbbells is too onerous, and that technology is the answer.
Their Smart Adjustable Dumbbells contain a proprietary internal mechanism that attaches the weights for you.
The dumbbells sit within a cradle with an LCD panel on the front of it. You’re meant to punch in the desired weight, and the mechanism snags the correct number of plates. And, while this is being marketed in America, the weights come in six pound increments, rather than the more common five.
The mechanism is battery-powered, so you’ve got to charge the base, by the way. The company says “The battery can last for up to two weeks on a full charge with regular use,” but I don’t know how you can quantify “regular use” with something as diverse as people’s workout regimens. And if you’d like to insert more technology into the equation, you can choose to change the weight amounts using the company’s app.
I think this approach is the wrong way to go. It’s inserting technology as a middleman for a relatively simple mechanical operation. It also asks the user to adjust to the company’s preferred weight increments, which are irregular within this market. I don’t doubt that some people will find this object cool, but ultimately I think it solves more of the company’s problems than the users’.
And as always with these types of objects, I wonder: What do you do when it breaks?
If this is your thing, they’re on Kickstarter (and have already been funded) at $240 for a single dumbbell.
Dezeen Showroom: subtle and minimalist designs feature on the Belgian flooring brand Modulyss‘s First carpet tiles, intended to give interiors space to breathe.
The First carpet tile collection brings together six designs, each of which is based on the idea of clean lines and understated elegance. Modulyss considers the collection a way to start a spatial design with a timeless canvas.
The First carpet tile collection centres subtle designs
The collection features three colour-led designs – First Forward, First Decode and First Streamline. These allow designers to put colour first or create a base from which to add in more graphic patterns.
Three further designs – First Define, First Straightline and First Sway — are pattern led.
The options include patterns such as First Sway
Straightline is laced with fine pinstripes that create a sense of forward momentum, while Sway has a more soft and meandering pattern, as if created by the moves of a dancer.
“First invites you to embrace a mindful approach to design, where simplicity and dynamism intertwine, creating spaces that breathe with a sense of openness and vitality,” said Modulyss.
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A huge steel spiral staircase has been installed on top of a warehouse in Rotterdam, the Netherlands, as part of the Fenix Museum designed by Chinese studio MAD.
The final phase of the installation of the sculptural staircase, called Tornado, took place today marking the topping out of the museum.
The installation marks the topping out of the building
Rising 30 metres through a former warehouse, which is being transformed in collaboration with conservation studio Bureau Polderman, the sculptural form is clad in 297 highly polished stainless-steel panels.
The canopy that sits at the top of the staircase, which was made in Groningen, was craned into place today after it was transported by boat to Rotterdam.
It is clad in polished-steel panels
The staircase will form part of the Fenix Museum, which is described as the “first museum in the world dedicated to stories of migration”.
It will contain a 550-metre-long, double-helix wooden staircase that leads to a viewpoint with views across the harbour and city.
According to the studio it was designed to represent “unexpected journeys” taken by migrants, while connecting the past and the future.
The museum will have a viewpoint of the harbour
“When we were asked to work on Fenix, we knew we had to create a dialogue with the existing building and its surroundings – and with a past containing so many stories of migration, memories, and uncertainty,” said MAD founder Ma Yansong.
“In designing a new structure, we had to show this dialogue between the future and the past, and so continue the story of the building,” he continued.
“The Tornado is all about the future, but it’s rooted in the past,” he added.
“For me, it’s a metaphor for the journeys of migrants who passed through this building.”
The Fenix Museum will open next year
The building, which is set to open in 2025, is the latest museum developed by MAD.
This Evolv vehicle is by Astheimer Design, a UK-based industrial design firm. The idea was to design a last-mile electric delivery vehicle from the ground up. There’s a real purity to the minimalist design: It’s a box maximized for storage, with a driver’s compartment attached.
To save space, the driver’s seat has been placed in the center; in this position, the footwell does not interfere with the suspension and steering system. This allows for a shorter wheelbase and a crazy-tight turning radius of 7.8m. It also gives the driver fantastic visibility. And “by positioning the driver behind the front axle, the vehicle can also be engineered to meet N1 (small van) passive safety standards including front, side, and roof crash [figures].”
The box is sized to carry a 1.6m-tall Euro Pallet, and has an overall volume capacity of four cubic meters. The vehicle falls in Europe’s L7e category, meaning it’s technically a quadricycle, not a delivery truck. The minimalist construction means it comes in “around half the weight of a compact van with equivalent load volume.”
“The vehicle is the most efficient in its class, in terms of cost and energy per unit volume of goods per mile.”
The design may look like a concept, but it’s going into production. Astheimer Design has partnered with Prodrive, a motorsports technology company, to form a joint venture called Elm Mobility. Elm aims to get the Evolv on the market by 2028.
Modeled on the mythical Apple of Eden orb from the smash hit game series Assassin’s Creed, this limited-edition speaker from Gravastar comes with a gorgeously grungy design, and even sports the assassin hood on top to complete the visual metaphor. I was walking by at IFA 2024 when my eyes first saw the Gravastar booth – known for its beautiful steampunk tech designs, the company’s booth was sure to impress. I walked over, and the first thing my eyes saw was this almost sentient-looking orb facing my way, playing music. As a passionate gamer myself (I just finished replaying AC Odyssey a few months ago), the speaker instantly stood out. It had a piercing personality, with an oxidized metal finish well known in the game, given its ancient Greek origins.
The special-edition speaker is a variant of the company’s existing Mars Pro, but uplifted with a special colorway, an assassin hood, and a special Assassin’s Creed box. Announced just months ago, the speaker is limited to just 1000 units, of which the company says only 20 or so are left.
Inspired by the Apple of Eden, the speaker’s golden, orb-like shape features intricate patterns and glowing LEDs that could easily make you feel like you’ve uncovered a piece of ancient tech from the Assassin’s Creed world. Its sharp aesthetic isn’t an afterthought either—it’s a deliberate tribute to the game’s rich lore, which will resonate deeply with fans.
Built from a zinc alloy, the Mars Pro has a solid, hefty feel with a meticulously hand-painted exterior to give it that grunge appeal. This metal build not only makes it durable, but it also minimizes vibrations, ensuring the sound stays clear even at higher volumes. And, of course, there are GravaStar’s signature tripod legs that make the speaker look more like a futuristic drone than a traditional Bluetooth speaker. The legs provide excellent stability and elevate the design, making it more of a centerpiece than a background device.
Under the hood, the speaker packs a 20W system with a built-in subwoofer and two full-range drivers, providing rich, immersive sound. Whether you’re blasting out action-packed game soundtracks or mellow acoustic tracks, the Mars Pro handles a wide range of frequencies with precision.
Bass is strong but balanced, thanks to a dedicated passive bass radiator at the back (visible if you take off the hood). This makes it ideal for a variety of listening experiences—from gaming marathons where you need to hear every in-game detail to casual music sessions. It also supports Bluetooth 5.0, offering a stable connection with minimal lag. You’ll have no problem streaming high-quality audio from your phone, laptop, or other devices. Battery life is solid, too, with a 6,000mAh battery that provides up to 15 hours of playtime, perfect for long listening sessions without needing to recharge constantly.
What makes this edition truly special is its limited availability. GravaStar has a history of releasing attention-grabbing, limited-run designs, and this Assassin’s Creed collaboration fits right into that mold. Fans of the franchise will appreciate the thoughtfulness behind the design, while collectors will want to grab it for its exclusivity alone. With only a limited number of 1000 units being produced, this speaker feels more like a piece of memorabilia than just an everyday Bluetooth speaker.
Even the packaging has been designed with the collector in mind, featuring Assassin’s Creed-themed artwork and presentation that further highlights its appeal. From unboxing to placing it on your shelf, it feels like you’re handling a genuine artifact from the game.
All in all, the Mars Pro Assassin’s Creed edition serves as a fine example of how gaming culture and high-end audio can blend seamlessly. With a $329.95 price tag, it’s both a collector’s dream and a speaker that delivers on its promises. Sure, it might not unlock ancient secrets or manipulate time, but it will make your playlist sound legendary.
In its third edition, Homo Faber proves to be the international benchmark for quality craftsmanship. As with its first two editions, this biennial—organized by the Michelangelo Foundation—is being held at the enchanting Giorgio Cini Foundation. This year, artistic direction was deftly handled by director Luca Guadagnino (who concurrently presented his latest film, Queer, at the Venice Film Festival) and architect Nicolò Rosmarini. This year’s theme, The Journey of Life, is explored through 10 installations, ranging from Birth to Afterlife. Further, this year introduces not only European handicrafts but products from all continents. As a result, visitors can admire more than 800 objects made by over 400 artisans from 70 countries, representing 105 different crafts.
Many objects in the exhibition look like one thing, but, in fact, are deceptive. One example is the three-dimensional embroideries of Youmeng Liu, who can recreate everyday foods such as vegetables, ice cream or cake slices—but with a simple thread. During the opening days, the British embroiderer, who is also very popular on Instagram, demonstrated her technique live before visitors’ eyes. Similarly, Julia Obermaier‘s illusions play with everyday life. The erasers she presents at Homo Faber look ready-made but are actually crafted from natural gemstones such as Quartz, Opal, Agate, Lapis lazuli, or resin and pigment.
Courtesy of Youmeng Liu
Throughout, we find classic crafts such as silverware and blown glass, as well as original interpretations of ancient ceramic techniques. The latter describes the work of Claire Lindner, whose glazed stoneware sculptures are reminiscent of soft, floating underwater creatures and time-encrusted surfaces with bright colors that are perfect for the digital world. New York-based artisan Ayako Hirogaki‘s glassware is inspired by the human body and uses an ancient Japanese technique to represent physical and emotional pain. Her sculptures appear to float lightly but are actually solid, complex glass objects.
Manila-based multidisciplinary artist Leeroy New creates intricate masks using all kinds of materials. For Melt Mask, he used elastic silicone that looks like a metamorphosis of a robotic entity, something pretty far from what we’d expect from the tradition of craftsmanship but nevertheless absolutely incredible.
The section of the exhibit dedicated to love is, perhaps unsurprisingly, full of flowers, showcasing crafts such as jewelry and embroidery. The most interesting artifacts, however, are made with unusual materials. Take, for example, the featherworks of Prune Faux, the wax flowers from Mona Oren, the polyester fabric orchids from Permaflora, the silicon bouquets by Gigliola Scagliotti, and the tiny brass daisies by Hyejeong Ko. Each petal is artificial, each leaf is man-made, each flower is an exquisite trompe-l’oeil
Courtesy of Prune Faux
Ceramics also hold many surprises in store at Homo Faber. Philip Kupferschmidt creates functional objects that seem to melt and become imaginary creatures. The effect of Bertozzi & Casoni‘s objects is quite different but just as magical, as ceramics are transformed into still lives full of spoiled food and shattered objects.
Courtesy of Philip Kupferschmidt
As with previous editions, one can also admire live artisans at work in the exhibition’s main venue. These range from independent workers to employees from great maisons such as Buccellati, Santoni and Lesage. If that were not enough, the Homo Faber in Città circuit allows visitors to discover 70 artisanal workshops across Venice.
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The longlisted projects, which are in the running for awards in 15 different architecture categories, were created by studios located in 40 different countries including Bangladesh, Nigeria, Taiwan, Chile, New Zealand and India.
All Dezeen Awards 2024 longlists revealed this week
All the projects longlisted for Dezeen Awards 2024, in partnership with Bentley, will be revealed this week. The interior longlist will be announced tomorrow, followed by the design longlist on Wednesday and the sustainability longlist on Thursday.
“We’re proud to continue our partnership with Dezeen in celebrating architectural and design excellence,” said Chris Cooke, Dezeen Awards judge and head of design collaborations at Bentley.
“Delving into this year’s longlist, the standard is higher than ever. In particular, a strong focus on cultural sensitivity and adaptive reuse shows a deep commitment to preserving heritage while pushing the boundaries of modern design.”
Top image: Central Control Building by Bilgin Architects. Photo by Egemen. Above: Santuario De La Salle by Caza. Photo by Rory Gardiner
Longlisted projects were selected from over 4,130 entries from 82 countries for the seventh edition of our awards programmes, which continues to champion design excellence and showcase innovation from architects and designers around the globe.
Our 90 judges will determine the projects that feature on the shortlists, which will be announced in October. A further round of judging by our master jury will determine each winner, the overall project of the year winners, and the Bentley Lighthouse Award winner.
Dezeen Awards 2024 party tickets on sale
Winners will be announced at the annual Dezeen Awards party in London on 26 November. Tickets for the party are now available to purchase. Click the link here to find out more and get your tickets now!
Read on for the full architecture longlist:
13a by Gró Works. Photo by Fionn McCann
House (urban)
› 13a, Dublin, Ireland, by Gró Works › An Nhiên House, Da Nang, Vietnam, by Alpes Green Design & Build › Bangalow Road, Byron Bay, Australia, by Son Studio › Beyond-the-family Kin, Madrid, Spain, by Ignacio Galán and OF Architects › Casa 13, Tulum, Mexico, by AHÁ › Casa Franca, Paris, France, by Déchelette Architecture › House of Courtyards, Dubai, United Arab Emirates, by Studio VDGA › Life Down a Lane, Richmond, Australia, by Tom Robertson Architects › Mireia and Toni’s house, Barcelona, Spain, by Vora › Northcote House, Melbourne, Australia, by LLDS › Reciprocal House, London, UK, by Gianni Botsford Architects › RK Residence, Wellington, New Zealand, by Seear-Budd Ross › Robin House, Mount Martha, Australia, by Wolveridge Architects › Shed House, Sydney, Australia, by Breakspear Architects › Toca House, São Paulo, Brazil, by Arkitito arquitetura
Humo House by Ivan Bravo Arquitectos. Photo by Baro
House (rural)
› Barneys Ruins, Maghera, UK, by Patrick Bradley Architect › Caochan na Creige, Isle of Harris, Scotland, by Izat Arundell › Casa Attico, Sao Miguel do Gostoso, Brazil, by Atelier Matteo Arnone › Casa de mi Luna, Karlštejn, Czech Republic, by Studio Circle Growth and Terra Sylva Construction › Casa Ladera, O’Higgins Region, Chile, by WMR Arquitectos › Dom Las / Forest House, Kashubia, Poland by Studio Onu › Frame House, Szeged, Hungary, by Théque Atelier › Gutter House, Baía Formosa, Brazil, by Atelier Daniel Florez › Hale Kiawe, Hawaii, USA, by Walker Warner › Humo House, Futrono, Chile, by Ivan Bravo Arquitectos › Konsum Karwe, Neuruppin, Germany, by Meyer-Grohbrügge Planer › Kontigo Project, Guerrero, Mexico by Manuel Cervantes Estudio › Mapleton House, Queensland, Australia, by Atelier Chen Hung › New House with Old Mill, Trenčín, Slovakia, by RDTH Architekti › Telescope House, Sedona, USA, by Wendell Burnette Architects › Tiny Farm Fort, Rishikesh, India, by Tiny Farm Lab
J-House by Malik Architecture. Photo by Bharath Ramamrutham
Housing project
› Appleby Blue, London, UK, by JTRE London and Witherford Watson Mann › Citizens House, London, UK, by Archio › Cosway Street, London, UK, by Bell Phillips › Hortus Ludi, Nijmegen, the Netherlands, by Studio Architectuur Maken › J House, Mumbai, India, by Malik Architecture › Landskronhof, Basel, Switzerland, by HHF Architekten › Malling Dampmølle, Malling, Denmark, by CEBRA › Michoacán 49, Mexico City, Mexico, by Donis › Paris Athletes Village Lot E2B, Paris, France, by Cobe Architecture et Paysage › Park Street, Melbourne, Australia, by Breathe Architecture › Root, Eindhoven, the Netherlands, by Levs Architecten › Sunday Mills, London, UK, by Assael Architecture › The Residences, Sandford Lodge, Dublin, Ireland, by Shay Cleary Architects › The Sierra, Lancaster, USA, by Kadre Architects › Tonalá 15, Mexico City, Mexico, by CRB Arquitectos › Timber Tower Le Berlier, Paris, France, by Moreau Kusunoki
Azabudai Hills by Heatherwick Studio and BIG. Photo by Raquel Diniz
Mixed-use project
› Azabudai Hills, Tokyo, Japan, by Heatherwick Studio and BIG › Calwer Passage, Stuttgart, Germany, by Ingenhoven Associates › Canal Hub 1958, Wuxi, China, by Shenzhen Huahui Design › DER Derendingen Mitte, Derendingen, Switzerland, by Ern+Heinzl Architekten › Forskaren, Stockholm, Sweden, by 3XN › Grande Armée, Paris, France, by Baumschlager Eberle Architekten › Karlatornet, Gothenburg, Sweden, by Skidmore, Owings & Merrill › Mercado Groningen, Groningen, the Netherlands, by Loer Architecten › Nami To Tsuki, Mito, Japan, by Ryohei Tanaka and G Architects Studio › Nantou Hybrid Building, Shenzhen, China, by Urbanus › Pong, Paris, France, by SAS Bond › Ray Philly, Pennsylvania, US, by Leong Leong › Seed Plaza, Zhejiang, China, by BLUE Architecture Studio › The Campus Flats, Tokyo, Japan, by Kokyo › The Tannery, London, UK, by Coffey Architects
Dezeen Awards is the ultimate accolade for architects and designers across the globe. The seventh edition of the annual awards programme is in partnership with Bentley as part of a wider collaboration to inspire, support and champion design excellence and showcase innovation that creates a better and more sustainable world. This ambition complements Bentley’s architecture and design business initiatives, including the Bentley Home range of furnishings and real estate projects around the world.
Located in Wanghu village on the site of several mud buildings once used for cultivating mushrooms, the project is part of a drive to encourage the revival of the area for both residents and tourists.
UAD has completed a concrete visitor centre in Zhejiang Province
The Architectural Design and Research Institute of Zhejiang University (UAD) looked to create a structure that would highlight the farming history of the village alongside a tea room and events space.
“The design is focused on answering a question about the current situation,” the studio explained. “How should architecture respond to the natural environment and historical relics of a village?”
The new building sits behind the remaining fragments of mud walls
“Currently, public activity spaces in the village are generally scarce and unable to meet the needs of preserving collective culture and the material culture of the villagers,” UAD added.
“The functional-oriented space brings about a new lifestyle, transitioning from a productive space to a social public venue. It also represents a reconstruction of the relationship between architecture and community.”
The centre is defined by gabled exposed concrete forms
Positioned on the footprint of the old mud houses, the gabled exposed concrete forms of the visitor centre were designed as a modern reinterpretation of the area’s traditional wooden folk houses.
The new concrete buildings are positioned behind the remaining fragments of mud wall to appear as if they are “growing” from them, with the original openings framing views of the spaces behind.
A tea room and function hall overlook a central courtyard
“The new building and the old walls complement each other, creating a harmonious interplay of visibility and invisibility,” said the studio.
“Some remnants of the old walls expose glimpses of the past, while the new walls create an abstract blank background, highlighting the traces of time on the old walls.”
Inside Villagers’ Home, the tea room and function hall overlook a central courtyard through full-height glazing and the surrounding village through smaller, square openings that mirror those in the historic wall sections.
This courtyard is framed by glazed corridors that connect the two wings of the centre, reminiscent of traditional courtyard houses.
To the east, the activity room features a full-height window housed in a sloping form that protrudes out of the roof, framing views of an adjacent wooded area.
The courtyard is framed by glazed corridors
UAD is an architecture firm established as part of Zhejiang University in 1953.
Other recent projects by the studio include a sports centre for Shaoxing University, which is topped by a running track and sports field elevated on large concrete vaults.
The photography is by Zhao Qiang unless otherwise stated.
Dezeen can exclusively reveal photos of technology company Apple‘s new events venue, which is built into the hillside at the Apple Park campus in California.
Set to officially open later today, The Observatory is the most significant building to be completed on the campus since the Steve Jobs Theater opened in 2017.
Designed “as a contemplative space”, the subterranean building will be used for launch events and to showcase the brand’s latest technology.
The Observatory opens today at the Apple Park
“When we built Apple Park, we wanted the entire campus to be seamlessly integrated into the landscape, and this building follows that same approach,” Apple global head of design (real estate and development) John De Maio told Dezeen.
“With its stunning views of the campus greenery and the mountains ringing the horizon, The Observatory truly is an extension of Apple Park, showcasing the best of California and the best of the natural environment around us,” he added.
“The building brings in the natural stone, terrazzo and wood elements that are featured in The Steve Jobs Theater and across Apple Park. It’s a design that complements both the landscape and its neighboring buildings on campus.”
The entrance space is topped with an oculus
The building is located to the south of the circular, Foster + Partners-designed main building in the meadows near the Steve Jobs Theater.
And much like the theatre, The Observatory is embedded into the landscape with around 90 trees removed from the site and then replanted following the building’s construction.
To enter the building, visitors travel down a curved path that leads to a domed entrance hall topped with a circular, three-metre-wide oculus, which is open to the sky.
From this antechamber, a stone sliding door leads to the main events space, which opens onto a large terrace with a “portal-like opening” that frames a view of the Apple Park landscaping and the mountains beyond.
Along with being a space for product demonstrations, Apple hopes that the building will be a space for contemplation.
“Embodying its name, The Observatory was designed as a contemplative space, optimally placed for observing the natural landscape at Apple Park and the hills beyond,” explained De Maio.
“We designed the building and its surroundings to be a welcoming space for visitors to share a wide range of new experiences,” he continued.
“Every detail of The Observatory has been carefully considered — from the materials used inside the building to the preservation of the meadow landscape. We wanted to bring care and creativity to every detail of this space, and we hope visitors can sense that when they come to enjoy Apple Park.”
The main space opens onto a large terrace with a “portal-like” opening (show top)
Designed to complement the Foster + Partners-designed main building and Steve Jobs Theatre, The Observatory has a material pallet of natural stone, terrazzo, timber and glass. Like the other buildings on the campus, it is powered by renewable energy .
“Like all Apple spaces, The Observatory embodies Apple’s rigorous design approach to materiality and detailing,” explained De Maio.
“The Observatory builds on Apple’s commitment to sustainability and biodiversity, which is factored into every aspect of Apple Park. As with all Apple facilities, The Observatory is powered by 100 per cent renewable energy, including on-site solar,” he continued.
“From the selection of the concrete to the air filtration system to rainwater capture, every decision was made with the environment in mind.”
The Observatory is the latest building on the campus, which opened in 2017. The heart of the campus is the giant ring-shaped main office complex designed by Foster + Partners.
It is surrounded by 9,000 oak, redwood and other native and drought-resistant trees and other buildings, including the Apple Park Visitor Center and Steve Jobs Theater, which were also both designed by Foster + Partners.
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