Architecture studio Foster + Partners has designed a pair of 180-metre-tall residential skyscrapers named Regent Residences Dubai, which will be bridged together by a swimming pool at the penthouse level.
Set to be built on the Marasi Marina in the Business Bay area of the city, Regent Residences Dubai will contain 60 apartments, each on its own level, to provide panoramic views of sunrises, sunsets, and the nearby Burj Khalifa.
Foster + Partners has designed a pair of residential skyscrapers on the Dubai waterfront
The apartments will have private pools on staggered outdoor terraces, which will rotate around the building facade to give the appearance of cascading water.
A penthouse on the top floor will connect the two skyscrapers, complete with a swimming pool that bridges over the space below.
A penthouse with a swimming pool will connect the two skyscrapers
“Regent Residences Dubai’s dynamic twisting form and articulated facade will make it a distinctive new addition to Business Bay and the wider city,” said Foster + Partners head of studio Gerard Evenden.
“Our design harnesses connections to nature, with generous shaded terraces and optimised views of the waterfront.”
The two skyscrapers will be built on a podium that will include green space, water features, restaurants, a gym, retail space, and a series of indoor and outdoor pools for residents.
Foster + Partners designed the podium exterior to complement the neighbouring buildings and retail spaces along the Marasi Marina promenade.
Regent Residences Dubai will be located in the Marasi Marina
Millions of you read Dezeen each year and tens of thousands of comments are left under stories debating and discussing the finer details of a project, an opinion or interview, or the news itself.
Readers left nearly 400 comments under the news as it developed across the year, including concerns in early December about the tower’s impact on the safety of flights, which were submitted to the Federal Aviation Administration (FAA).
Dezeen readers decried the project, named Legends Tower, as a “white elephant” and “completely delusional – especially for Oklahoma” but the architects, in an interview with Dezeen, said that they “didn’t want it to be crazy or gaudy”.
Also igniting the comments section was architecture firm Studio Libeskind‘s The Atrium at Sumner Houses project, an afforable housing block with 190 apartments for seniors in Brooklyn, New York.
The full-height central atrium, which gives the building its name, was what most enflamed commenters, with one capturing the majority of reactions, good or bad, by posting “this project induced a visceral reaction in me”.
Both sides of the debate called it alternatively a “gorgeous prison” but also “a remarkable and surprisingly friendly” piece of residential architecture.
Many found it plain “puzzling” and responded with questions, asking “apart from some quirky angles, where’s the liveability, the joy, planting, human scale?”
The athletes’ village was built to be cooled via a geothermal cooling system, so long as occupants followed simple rules such as keeping window-blinds shut during the day.
Faith in this technology wavered, and many teams, including those from Britain, Japan and the US, elected to buy portable air-conditioning units, demonstrating – Mordak argued – the scale of the challenge we face in gaining acceptance for sustainable building technologies.
Their hypothesis was arguably proved right in the comments section, with one reader posting “screw eco-friendly, I would rather not roast”, while others argued that “air-conditioning is very sustainable when nuclear- or solar-powered, and modern units don’t emit harmful chemicals”.
In a more measured comment, which other readers upvoted, it was suggested that “the question we need to ask is not just how do we live with compromise, but how do we find solutions that are truly acceptable?”
We covered 11 Heatherwick stories in 2024 that garnered more than 600 comments between them. The two most explosively debated were the latest from his Humanise campaign and the unveiling of his designs for a university in Bogotá, featuring undulating columns informed by indigenous weaving practices.
The colourful renders of the latter prompted one commenter to call the designer “the Gaudi of today”, while others found them “embarrassing and gimmicky”.
When not piling in on his designs, commenters were elsewhere keen to discuss Heatherwick’s Humanise campaign, which this year published “boring” versions of historic UK landmarks including Buckingham Palace and Edinburgh Castle.
It triggered one of Dezeen readers’ favourite debates in the comments: modernism versus classicism.
“A more compelling exercise would be to generate classical versions of brutalist buildings,” argued a commenter, with another agreeing that “replacing historic buildings with carefully selected modernist tropes with no reference to culture, history or society is just plain silly”.
The most talked-about rebrand of the year generated hundreds of comments across our coverage, with our design readers mostly concerned about the “awful mixture of upper and lower case letters”.
Commenters dismissed the progress, commenting “it’s longer, but still no concrete poured”. One person even said they were “just here to view the delightfully entertaining comments”.
Readers rushed to the comments section to express their lack of surprise at the news. “Just another line in the sand,” quipped one, while another joked “not the line then, just a dash”.
A more serious commenter posted: “Neom will stand as a monumental and uncompleted folly to Saudi hubris”.
Commenters broadly contested Slessor’s argument, asking “why would one stop if they are enjoying what they are doing?” and “if the guy wants to keep working and clients want to keep hiring him then who are you to dictate what he can and can’t do?”
While many readers thought the gist of the article was ageist, one balanced commenter contributed to the debate: “it isn’t ageist to say these people should retire, it’s logistics. If they haven’t cultivated their own replacements by now, they’ve failed their organisations, and failed as mentors to the next generations.”
More than 50 readers took the to comment section to debate plans from design studio Oxman for a system called “ecological programming” to optimise green architecture, demonstrated with conceptual plans for a skyscraper with multiple planted platforms.
Many readers thought it showed a fundamental lack of understanding of root systems, commenting “it takes 10 seconds to check the depth of earth needed for a tree to thrive” and wondering “why don’t we just make it a park?”
Others thought it proved a good example of why the profession might resist the impact of artificial intelligence (AI), calling the project “some dystopian AI monument”.
Readers were largely unimpressed by news that the actor Chris Pratt had torn down a home by mid-century architect Craig Ellwood in LA. Commenters punned on the actor’s last name and decried the behaviour of “uncultured vandals”.
Prompted by the news, conservation group Docomomo, speaking to Dezeen, said unprotected modernist houses are at risk of demolition as land often holds greater value than architectural heritage.
Not everyone agreed in the comment section ,with one commenter counter-arguing: “I don’t see many century modern-style homes being built today. The fad was very niche in its day, and not what most people want now. What is considered beautiful to one may be ugly to another. They wanted the property, but not the house. It’s their right to demolish it if they wish.”
In a somewhat similar story, news broke in June that the musician Ye, formerly known as Kanye West, had removed the windows and gutted the interior of a concrete home in Malibu by Japanese architect Tadao Ando. Commenters were unimpressed, calling it “an act of disgraceful waste”.
Others joked that “the house has vastly improved” and that it “is not one of Ando’s best works”.
Ambient lighting brings warmth to a pared-back interior scheme inside the Bar Ton listening bar in Bucharest, Romania, created by local designers Anda Zota and Muromuro Studio.
Set on the ground floor of a communist-era apartment block in Bucharest, the space previously functioned as a music shop before being adapted into a hi-fi bar.
Bar Ton‘s interior was intended to be a contemporary reinterpretation of the building’s socialist-modernist style, blending its historical context with modern functionality.
Bar Ton is a listening bar set on the ground floor of a communist-era apartment block in Bucharest
“We wanted to pay homage to the building itself,” said Muromuro Studio.
“It was the first socialist-modernist building from the communist era that originated in Bucharest and not Moscow, so when it was built it was a landmark of Romanian modernism,” the studio continued.
“We tried to keep as much of the building as structurally intact as possible – we kept the flooring and the pillars, plus you have the original facade and finishings.”
Rough, textured materials are contrasted with more refined finishes
Materiality was a key focus of the design, with rough, textured elements such as raw concrete walls and marble mosaic floors contrasted against more refined finishes like the polished stainless steel bar and birch plywood detailing.
The combination of materials culminates in a minimalist, utilitarian space, that aims to also “evoke a sense of warmth and simplicity”.
A folding mechanical glass facade opens Bar Ton up to the street
While the building’s facade walls couldn’t be altered, a folding, mechanical glass wall with metal framing was added.
This dynamic feature was designed to increase the connection between the inside and outside, encouraging interaction with the surrounding neighbourhood.
“It became the ‘living facade’ because whenever you pass by you see people sitting on the bench and moving around – it’s the first layer of curiosity and makes you want to see what’s inside” Zota told Dezeen.
Four original structural pillars were incorporated into the design
Restrictions caused by existing structural features influenced the interior layout, with four large concrete pillars extending through the centre of the space, as well as a concrete ventilation shaft for the floor below left in place.
The designers coated two of the concrete pillars with polyurethane with a timber unit added between them to hold the main DJ booth.
The other two were lined with oiled birch plywood and fitted with pockets to display records. Meanwhile, the concrete ventilation shaft was turned into a bench.
Otherwise, Bar Ton was designed to be a largely open-plan space, with the music program placed at its centre and features such as the stainless steel bar and bathrooms located around the periphery.
“The point was to create a space that offers a communal listening experience,” said Muromuro Studio. “This resulted in us putting the music booth right at the centre of the space – so that people are around the point of interest.”
“The overarching concept was about putting the music at the centre both physically and conceptually,” added Zota.
A large stainless steel bar runs along the side wall of the space
According to the designers, special attention was paid to the lighting design, which was developed in collaboration with Romanian brand Greentek Lighting.
The adaptive lighting system has two different settings for day and night that can be adjusted to suit the mood. A custom-made lamp illuminates the central music program, lit in an orange hue at night.
Warm adaptive lighting systems illuminate the space
Zota explained that the aim was to create an inviting atmosphere that prioritises the listening experience, with lighting tailored to illuminate the space itself rather than directly illuminating the people within it.
“We wanted people to be able to hide and feel out of focus to intimately experience the space without being highlighted,” said Zota.
Drapes discreetly conceal a “room-within-a-room” of wooden acoustic panelling
Large beige drapesdiscreetly conceal the bar’s acoustic systems, with a “room-within-a-room” constructed using a wooden frame. This acoustic panelling serves to reduce the potential echo and ensure a high sound quality, with around 37 cubic metres of sound insulation incorporated in total.
Built-in wooden banquette seating wraps around the perimeter of the space, complete with integrated wooden tables.
Ambient lighting brings warmth to a pared-back interior scheme inside the Bar Ton listening bar in Bucharest, Romania, created by local designers Anda Zota and Muromuro Studio.
Set on the ground floor of a communist-era apartment block in Bucharest, the space previously functioned as a music shop before being adapted into a hi-fi bar.
Bar Ton‘s interior was intended to be a contemporary reinterpretation of the building’s socialist-modernist style, blending its historical context with modern functionality.
Bar Ton is a listening bar set on the ground floor of a communist-era apartment block in Bucharest
“We wanted to pay homage to the building itself,” said Muromuro Studio.
“It was the first socialist-modernist building from the communist era that originated in Bucharest and not Moscow, so when it was built it was a landmark of Romanian modernism,” the studio continued.
“We tried to keep as much of the building as structurally intact as possible – we kept the flooring and the pillars, plus you have the original facade and finishings.”
Rough, textured materials are contrasted with more refined finishes
Materiality was a key focus of the design, with rough, textured elements such as raw concrete walls and marble mosaic floors contrasted against more refined finishes like the polished stainless steel bar and birch plywood detailing.
The combination of materials culminates in a minimalist, utilitarian space, that aims to also “evoke a sense of warmth and simplicity”.
A folding mechanical glass facade opens Bar Ton up to the street
While the building’s facade walls couldn’t be altered, a folding, mechanical glass wall with metal framing was added.
This dynamic feature was designed to increase the connection between the inside and outside, encouraging interaction with the surrounding neighbourhood.
“It became the ‘living facade’ because whenever you pass by you see people sitting on the bench and moving around – it’s the first layer of curiosity and makes you want to see what’s inside” Zota told Dezeen.
Four original structural pillars were incorporated into the design
Restrictions caused by existing structural features influenced the interior layout, with four large concrete pillars extending through the centre of the space, as well as a concrete ventilation shaft for the floor below left in place.
The designers coated two of the concrete pillars with polyurethane with a timber unit added between them to hold the main DJ booth.
The other two were lined with oiled birch plywood and fitted with pockets to display records. Meanwhile, the concrete ventilation shaft was turned into a bench.
Otherwise, Bar Ton was designed to be a largely open-plan space, with the music program placed at its centre and features such as the stainless steel bar and bathrooms located around the periphery.
“The point was to create a space that offers a communal listening experience,” said Muromuro Studio. “This resulted in us putting the music booth right at the centre of the space – so that people are around the point of interest.”
“The overarching concept was about putting the music at the centre both physically and conceptually,” added Zota.
A large stainless steel bar runs along the side wall of the space
According to the designers, special attention was paid to the lighting design, which was developed in collaboration with Romanian brand Greentek Lighting.
The adaptive lighting system has two different settings for day and night that can be adjusted to suit the mood. A custom-made lamp illuminates the central music program, lit in an orange hue at night.
Warm adaptive lighting systems illuminate the space
Zota explained that the aim was to create an inviting atmosphere that prioritises the listening experience, with lighting tailored to illuminate the space itself rather than directly illuminating the people within it.
“We wanted people to be able to hide and feel out of focus to intimately experience the space without being highlighted,” said Zota.
Drapes discreetly conceal a “room-within-a-room” of wooden acoustic panelling
Large beige drapesdiscreetly conceal the bar’s acoustic systems, with a “room-within-a-room” constructed using a wooden frame. This acoustic panelling serves to reduce the potential echo and ensure a high sound quality, with around 37 cubic metres of sound insulation incorporated in total.
Built-in wooden banquette seating wraps around the perimeter of the space, complete with integrated wooden tables.
Remember that time when Apple removed the Function keys from its MacBook Pro laptops and replaced with with a long screen instead? It definitely earned its share of critics, but the Touch Bar offered a kind of versatility that was probably ahead of its time. Apple has since then gone back to a traditional row of keys, but there are definitely fans of the technology that felt it could actually become a useful tool with the right design.
Introducing Flexbar, the ultimate touchscreen strip that revolutionizes how you interact with technology. This versatile 10-inch strip brings the convenience and flexibility of the MacBook Pro Touch Bar to everyone, offering a fully customizable experience for power users, streamers, gamers, and content creators. Whether you’re managing complex workflows or executing intricate gaming strategies, Flexbar ensures you stay focused, in control, and connected across both Windows and Mac systems.
Flexbar is a joy to use in every way. Its compact, sleek, and portable design makes it a seamless plug-and-play addition to desktops, laptops, iPads, phones, and even MacBook Pros. With its ability to adapt to any scenario, it becomes an indispensable tool for content creators managing Adobe Premiere timelines, streamers controlling OBS layouts, and gamers executing complex in-game macros. Flexbar gives you a tool that adjusts to your needs, whatever they may be, not the other way around.
What sets Flexbar apart is its deeply integrated extension toolbar for your most-used apps. Thanks to its third-party API support, Flexbar provides advanced, native-like controls for highly interactive professional software applications. It learns to automatically switch between relevant interfaces based on your current task window, ensuring a seamless and efficient workflow. The Workspace function lets you record and recreate your favorite layout, getting you started in a blink.
Flexbar’s one-click macro recording feature is a game-changer. It learns your moves and effortlessly replays them through simulated raw mouse and keyboard inputs, automating repetitive tasks instantly. It also features sequence execution where you can set up advanced sequences with delays, loops, and custom configurations, all through FlexbarDesigner’s intuitive drag-and-drop interface. This capability not only saves time but also enhances productivity by eliminating manual repetitions.
What makes the Flexbar’s customization capabilities possible is the innovative FlexbarDesigner, the software that powers every level of personalization. From preloaded shortcuts and combos to icons you can customize to your aesthetic tastes, the companion app gives you the freedom to tailor Flexbar to your specific workflow needs effortlessly. Discovering and using designs created by others becomes incredibly convenient and time-saving. Whether it’s a shortcut combo for your favorite software or a unique layout idea, you can explore, download, and apply shared templates in just a few clicks.
In addition to its powerful functionality, Flexbar collects all hardware performance metrics from your PC and displays them in stunning, real-time graphs. This feature is particularly useful for gamers and content creators who need to monitor system performance closely. The vibrant 10-inch 2K AMOLED touchscreen offers a crystal-clear display, ensuring that every detail is visible and easy to read.
Flexbar is designed to feel just as good as it works. In addition to an aluminum alloy body that gives it a premium personality, it’s strong haptic feedback makes every touch feel substantial and significant. It also comes with an aluminum magnetic stand, providing optimal ergonomics and convenience. Put it on your desk behind the keyboard or put it on top of your laptop while on the go. The stand ensures that Flexbar is always positioned perfectly for ease of use no matter the situation you’re in.
Despite its simple appearance, the Flexbar offers a revolution in how we interact with technology. Its versatility, customization options, and powerful features make it an essential tool for anyone looking to enhance their digital workflows. For streamers, gamers, content creators, and power users, Flexbar offers a tailored experience that keeps you focused, in control, and connected. Embrace the future of interaction with Flexbar, and transform the way you work and play.
Promotion: lifestyle brand Cybex has opened a beige, monochrome flagship store in Paris as part of its continuing retail expansion strategy – nearly 20 years after the brand was founded.
Located on the prestigious Rue Saint-Honoré near the Louvre museum in central Paris, the store has “a unique monochromatic design DNA”.
Cybex has opened a flagship store in central Paris
The 359-square-metre store, which is spread across two floors, was finished in various muted beige, cream and taupe tones, with cement-finished walls.
Within the space Cybex’s various child-focused products are arranged on back-lit shelving and low-level plinths. The store showcases the brand’s product range, encompassing strollers, car seats, baby carriers, among other related baby-related home products and accessories.
The store’s interior represents the brand’s DNA
“This flagship reflects the luxury design aesthetic of our brand values in one unified sophisticated space,” said Cybex senior director of corporate architecture, Andreas Skotnik.
“The muted tones, soft architectural shapes and intimate ambience are designed to reduce any sense of contrast and be the most complimentary in highlighting our products.”
The store is the brand’s first physical location in Paris and follows openings in Prague, Tokyo and Amsterdam as it continues to expand with flagship stores.
The Paris store follows openings in Prague, Tokyo and Amsterdam
“Paris was a natural next step,” said Cybex founder Martin Pos.
“The French capital is one of the most elegant and dynamic cities in the world, with a target demographic and industry maturity and sophistication which are perfect for us,” he continued.
“Parents and families in Paris are extremely cultured, elevated, and attentive to the highest quality products that can perfectly fit into their lifestyle, which is something I am proud to say we can deliver at best.”
The Paris store is part of the brands expansion into physical stores
Founded by Pos in 2005, the German brand aims to produce comfortable and safe products for the juvenile market.
With its move into retail, it is aiming to give its customers an experience aligned with more traditional luxury brands.
Parenting should be the most emotionally luxurious experience in life,” said Pos. “And we want to give parents the opportunity to experience this with us in a space which not only represents the brand vision, but heightens the sense of luxury and service we provide.”
“Our mission is to give parents a one-stop solution and be the best concierge possible for them to maintain their lifestyle without compromises,” he continued.
“We do not want to be perceived simply as a juvenile brand and that is also why each store location and most specifically in Paris in in Rue Saint-Honoré, we are part of the ecosystem of the most of the luxurious brands on earth.”
The photography is by Ivan Mathie.
Partnership content
This article was written by Dezeen as part of a partnership with Cybex. Find out more about Dezeen partnership content here.
As a child, the act of sharpening pencils was both a routine and a creative delight. The delicate, spiraling shavings often ended up as “flowers” in arts and crafts, their intricate beauty born from the friction of a mundane process. This yoga deck borrows from that same poetic analogy: finding beauty and purpose in effort. Just as sharpening a pencil produces elegant shavings, practicing challenging yoga asanas strengthens the body and mind, yielding a longer, healthier life.
The yoga deck’s roof is the most striking feature, mirroring the delicate forms of pencil shavings. Constructed from wood and bamboo, the roof gently curves outward, resembling those iconic spirals while providing practical shade over the deck. The choice of bamboo and cane as primary materials enhances the structure’s connection to nature, creating a serene environment that harmonizes with the surrounding landscape.
Two central bamboo pillars act as the spine of the structure, holding the roof aloft. Meanwhile, the woven cane walls evoke a traditional jaali aesthetic, with their intricate patterns allowing gentle breezes to pass through. This clever design naturally cools the space, a thoughtful adaptation to the tropical climate.
Every element of this deck is designed to heighten the yoga experience. The open structure brings practitioners closer to nature, while the interplay of light and shadow through the woven walls adds to the tranquil atmosphere. The materials’ earthy tones blend seamlessly with the lush greenery, fostering mindfulness and focus.
At night, recessed floor lights outline the deck’s circumference, creating a soft, inviting glow. This feature not only highlights the deck’s architectural beauty but also ensures its functionality extends into the evening, perfect for twilight or moonlit yoga sessions.
This yoga deck is more than a functional space; it is a metaphor for resilience and balance. The process of sharpening pencils mirrors the effort and discipline required in yoga, while the resulting “flowers” symbolize the beauty that emerges from such endeavors. The choice of natural materials and the clever use of ventilation reflect a respect for the environment and an emphasis on sustainability.
Named the Hee House, this little holiday cabin features a hat-shaped aluminum roof to”trigger curiosity”, and provide protection from the wild surroundings. The cabin is designed by Studio Ellsinger and is located on Sweden’s west coast. Since it is situated near the beach at Heestrand, it has been named Hee House. It is designed to be a second home for a young family who were happy to experiment with a home that maximizes the small property it has been placed on.
The cabin occupies around seven meters by seven meters, and it is meant to “grow upwards”. It is topped with a steep-pitched roof and gables that have been clad with untreated aluminum to offer some protection against the wind and rain. It draws inspiration from the home of the founders of Studio Ellsinger – Villa Ellsinger. The villa is clad with aluminum and supported by stilts.
“Our house aimed to leave the ground and its surroundings as untouched as possible, as well as triggering curiosity,” said studio co-founder Mikael Ellsinger. “The clients had bought a very rural and wild plot on the west coast of Sweden, and they wanted a similar approach. This resulted in a home with a tiny footprint where the spaces were allowed to grow upwards, making it possible to fit a lot of surprises in a very small building,” he concluded.
The cabin’s roof forms a spacious living space, with a loft on one side. This floor includes a children’s sleeping section, a sofa bed, and a workspace that can be separated with a large curtain. While the ground floor holds the living and kitchen areas with large windows offering views of the pines. A massive bookshelf functions as a room divider, and provides support to the loft above. It also frames a custom-built wood-burning stove.
The roof is unique and consists of two parts. One has a narrow and high section, while the other has a wide and low section, creating an intriguing hat-like appearance. The cantilevered canopy offers protection from the sun and the rain. “One of the challenges was to solve the steep roof construction without any beams that normally stop the outer walls from falling out,” said Ellsinger. “This was solved with a giant glulam frame that lies on top of the outer walls and that is visible from the outside.”
The interior showcases a cladding of untreated pine, creating an ambiance that is simple and warm. The wooden atmosphere is contrasted with red tiles on the kitchen floors. The loft windows and the front door have been incorporated with circular “prisms”, which is an interesting maritime reference.
“On the old sailing ships, they used glass prisms in the deck to spread light before electricity. The prisms in the door are the same sort that spreads light into the otherwise dark entrance hall,” said Ellsinger.
Remember when we all agreed that GenAI tools were going to be used to scam people with fake images of unreal scenarios or fake products? Well, this isn’t one of those times. Images of a Porsche 911 backpack began circulating on the internet, and although sure, the image is absolutely 100% AI generated, turns out that there are actually prototypers and manufacturers working on a real version of the product.
Remember the Gorilla Couch phenomenon? If you’re hearing it for the first time, try searching the words “Gorilla Couch” and seeing what the internet throws up. The story goes like this – someone generated images of a gorilla-shaped couch and it instantly picked up online with people wanting to buy it. However, rather than it being a fake scam, manufacturers (some in China) actually reverse-engineered the images and MADE the couch, selling it online. The internet basically WILLED an AI product into existence, and now gorilla couches are even available on Amazon.
The Porsche 911 Backpack’s story is somewhat similar. The lifestyle image above is clearly AI-generated, but hey, sometimes the AI generates some pretty neat images, right? So someone just decided to turn the images into a real product. You can see the prototyping below in action, from someone who clearly works in the vacuum-molded luggage space. It makes sense to vacuum-mold the outer -facade, giving the backpack a hard outer shell, although where one would put the zip is still anyone’s guess. Maybe the backpack opens like the car’s boot?!
The backpack’s design is a great example of form NOT following function, though. A car like the Porsche 911 is truly iconic, but its shape applies to automotives, not necessarily to fashion. The result is an odd backpack that has tremendous visual appeal, but I honestly don’t know what its shape would hold. It won’t fit any tech like a laptop for sure, but maybe you could carry a lunchbox, a book or two, and maybe a few clothes in it. The backpack does, however, fulfill its need to look fashionable. It’s gorgeous (even if it isn’t practical), and the spoiler mounted on top literally feels like a cherry on the cake!
It isn’t entirely clear where the product will be sold (I found these images on Instagram), but it sure as hell won’t be available at your nearest Porsche dealership. I see the Porsche logo molded into the back too, so that’s definitely a lawsuit waiting to happen. Try AliExpress or Temu, maybe? I’d say for $120, chances are the backpack will either be of dubious quality, or probably won’t ship at all. Does it still look cool? Oh yes, for sure.
There are some notable names in the watchmaking sphere that have a different take on the concept of timepieces with their larger-than-life dials. URWERK and MB&F particularly have this idea of watchmaking that distinguishes their watches from the others at the first gawk. What really is stuck with them are darker hues, but this one particular time, URWREK is actually making a detour from that overpowering love for black and gray-toned cases.
The Swiss watchmaker has unveiled the second iteration of its 230 series with the launch of this UR-230 Polaris, which in its white exuberating self, ventures on an unceasing quest to rethink the basics of the series’ design whilst preserving its aesthetics and strength. Following the success of the UR-230 Eagle constructed from a block of fiberglass-enhanced ceramic in white comes the UR-230 Polaris.
The new white-colored model comes in a 44.81mm-sized ceramic-based composite case and brings a new perspective to URWERK’s interesting lineup. The radiant white encompassing an all-black UR-7.30 caliber movement gives the watch a nice panda effect. The dial is uniquely laid out with white numerals and satellite complication and it rests within a 53.55mm long and 18.38mm thick trapeze-shaped case elongating toward 6 o’clock.
The new UR-230 Polaris provides a very legible and unobstructed view of time in its futuristic design overpowered by a three-armed carousel with four-hour numerals. The current hour is prominently displayed on a semicircular section running along the watch base spanning 4 to 8 o’clock.
It is not only the façade marked by the white ceramic case that really stands out about the UR-230 Polaris, the watch is equally exciting on back reverse side as well. It features a contrasting black DLC titanium caseback and comes paired with a vulcanized rubber strap – again in a white hue with the black accent at the buckle. The UR-230 Polaris is strictly limited to only 35 examples that the interested can bag for 150,000 CHF (approximately $169,000).
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
