NASA’s Ingenuity Mars Helicopter was a groundbreaking piece of equipment that was able to be the first human-made object to fly to a different planet back in 2021. And while it crashed in January of this year, it was still able to make 72 flights in under three years. Now that it’s not functioning anymore, NASA is looking at building the next object that will give us a peek into another planet.
Designer: NASA
They have unveiled the early design renderings of the Mars Chopper, their proposed follow-up to the Ingenuity Mars Helicopter. It’s a huge leap from the original as this one is the size of an SUV with six rotor blades to help it fly across the planet. It will be able to carry up to 11 pounds of science payloads across 1.9 miles per Mars day.
The initial renders show the three-legged drone gliding over the supposed landscape of Mars. Since Ingenuity was much smaller, this will hopefully be able to surpass its achievements and give us an even better view and understanding of Mars. It should be able to help scientists in studying Martian terrain and at a faster rate.
While it’s still in its “early conceptual and design stages”, there is already anticipation in how the Chopper can give us a glimpse into the previously inaccessible areas. It’s not clear though if it will actually be sent to Mars.
The photos reveal the progress on the 60,000-square-metre structure, which is being built on the artificial island Yumeshima in Osaka Bay in time for the international fair in April.
Sou Fujimoto Architects has released construction photos of The Grand Ring
According to the event organisers, the structure is intended to serve as a symbol of unity between the 161 participating countries.
The vast wooden structure will encircle the pavilions at Expo 2025 Osaka
In a recent interview with Dezeen, the studio’s founder Sou Fujimoto said the event will be a chance for “wonderful unity” amid global instability.
“Expos bring all the wonder of each different country and then stay there for six months,” he said. “And this format I thought is very precious, especially in this crisis of the global situation.”
Its design references traditional Japanese timber construction
Once complete, The Grand Ring will have a circumference of two kilometres and a diameter of 700 metres.
While acting as a symbol of connection and togetherness, it is intended as a contemporary interpretation of traditional Japanese timber construction, such as that used to construct the Kiyomizu-dera temple in Kyoto.
It will also serve as the event’s main circulation route, a visitor shelter and an observation deck.
Within the circle, Sou Fujimoto Architects will divide the site into three zones, named Pavilion World, Water World and Green World, across which the pavilions will be organised.
Indian architecture studio 3dor Concepts referenced flowing, pleated cloth when designing the undulating white walls of this minimalist home in Kerala.
The home, named Nyori after a Malayalam word for the pleats in traditional clothing such as sarees and mundu, was designed for a family who sought a “peaceful retreat” away from the city in the village of Wayanad.
3dor Concepts has completed Nyori house in Kerala
Local studio 3dor Concepts enclosed the home in sweeping white walls that act as a “barrier from the outside world”, creating a more secluded external area for the family’s children to play.
“The design was shaped by the clients’ desire for a simple, peaceful life away from the city,” explained the studio.
Sweeping white walls enclose the home
“The flowing, wave-like lines on the facade, which evoke the graceful movement of pleats in traditional Indian clothing, create a sense of softness,” 3dor Concepts added.
“They also integrate the modern design with the natural surroundings, enhancing the house’s tranquil, retreat-like atmosphere.”
A large arched opening leads to the front of Nyori
A large arched opening leads from a driveway at the front of Nyori into the semi-private external space, where a small concrete porch steps up to the entrance.
The shelter offered by the external curved wall allows for large expanses of glazing in the home’s inner volume behind it, providing the living and dining area with views out over the children’s play area.
An additional buffer for these fully-glazed spaces is a set of translucent curtains and thin metal louvres that filter light into the minimalist, white-walled interiors.
The kitchen and bedrooms are organised at the darker rear of Nyori, with a small courtyard to the south bringing light into a study space.
The walls draw from the pleats in traditional Indian clothing
“White surfaces and metal elements, including the intricate metal window louvres, are central to the design,” said 3dor Concepts.
“The use of natural light through sheer white drapes and the recurring metal patterns in interiors tie the spaces together and enhance the light, airy feel.”
Translucent curtains and thin metal louvres filter light into the interiors
A central staircase leads up to the first floor, where the main ensuite bedroom opens out onto a private garden terrace.
This terrace is screened from the street by curving metal bars designed to mirror the form of the external wall.
A central staircase leads up to the first floor
Founded in 2013, 3dor Concepts is a studio led by architects Muhammed Jiyad CP, Ahmed Thaneem Abdul Majeed and Muhammed Naseem M.
Life Cycles: The Materials of Contemporary Design spotlighted objects such as bricks and lamps made from fungi and manure, encouraging visitors to think about alternative uses for waste materials.
The work of more than 50 global artists was on display at London‘s Barbican this year, in an exhibition presenting tapestries and textiles that depict and explore themes of oppression and power, identity and community.
The exhibition featured more than 100 pieces of various scales, materials and colours, addressing the use of textiles beyond domestic spaces.
Dezeen was a media partner of Unravel: The Power and Politics of Textiles in Art.
Arab Design Now was the largest exhibition in the Design Doha 2024 programme, celebrating the inaugural edition of the biennial festival.
Curated by Rana Beiruti, the exhibition aimed to spotlight the heritage of Middle Eastern, Asian and North African regions through contemporary design and traditional crafts.
The exhibition included the work of designers Abeer Seikaly, Anne Holtrop (pictured), Omar Chakil and Sama El Saket.
Curated by Rossella Menegazzo for the ADI Design Museum in Milan, the Origin of Simplicity: 20 Visions of Japanese Design exhibition displayed over 150 designs.
The showcase focused on simple designs, each an interpretation of quintessential Japanese design.
I Will Follow the Ship was Malta‘s pavilion contribution to the Venice Art Biennale 2024, created by artist Matthew Attard and curated by Elyse Tonna and Sara Dolfi Agostini.
The installation aimed to contrast cultural heritage, referencing Mediterranean chapels, with modern technologies such as virtual reality (VR).
Works by Chinese-American architect IM Pei are on display at this retrospective at M+ Museum in Hong Kong, including models, sketches, photographs and videos.
The exhibition explores Pei’s 70-year-long career through six categories: Pei’s Cross-Cultural Foundations; Real Estate and Urban Redevelopment; Art and Civic Form; Power, Politics and Patronage; Material and Structural Innovation; and Reinterpreting History through Design.
The exhibition spotlighted the brand’s new material, named Ceraluminum, showcasing furniture, lighting and installations incorporating it, as well as its Zenbook laptop.
Included in Design You Can Feel was a specially commissioned piece by design and research studio Future Facility.
Photo by Matt Crossick, courtesy of the Design Museum
The Design Museum in London is currently exhibiting the World of Tim Burton, exploring the universes of the characters created by the director and artist.
The display includes installations, sculptures, paintings, drawings, photography and video from the sets and costumes of Burton’s films.
This ongoing exhibition held at V&A Dundee aims to demonstrate the relationship between architecture and land through Scotland‘s Highlands, Lowands and islands.
The exhibition was first displayed at the 2023 edition of the Venice Architecture Biennale, created to follow the festival’s theme Laboratory of the Future.
About Dezeen Events Guide
Dezeen Events Guide is our guide to the best architecture and design events taking place across the world each year. The guide is updated weekly and includes virtual events, conferences, trade fairs, major exhibitions and design weeks.
Inclusion in the guide is free for basic listings, with events selected at Dezeen’s discretion. Organisers can get standard, enhanced or featured listings for their events, including images, additional text and links, by paying a modest fee.
In addition, events can ensure inclusion by partnering with Dezeen. For more details on inclusion in Dezeen Events Guide and media partnerships with Dezeen, email eventsguide@dezeen.com.
In this week’s comments update, readers are discussing Dior’s concept store in Bangkok, wrapped in golden facades modelled on the fashion brand’s Paris headquarters.
Named Dior Gold House, the single-storey mirror-clad store is entirely surrounded by a false facades covered in one million golden tiles.
Dior wraps Bangkok concept store in golden replicas of HQ facade
“Looks like a coffin about to be buried”
Stefanos S branded it “ugly as ugly can be”. They added that “the Dior shops looks like a coffin about to be buried”.
For Operacreep it was “almost a statement on the hollow nature of the world of ‘luxury’ – a showy, but false, gilded surface for others to gawp at”.
Eve was similarly despondent. “The world needs so much help right now, imagine these funds being spent on something that really makes a difference,” they reflected. “Dior, this is really poor taste”.
However, Pims saw things in a different light, writing “such bad taste it actually becomes attractive”.
“Just as I thought the year couldn’t get any dumber, Dubai doesn’t disappoint,” scorned Whateverandeveramen.
Tamara Glenny agreed and suggested “that arial photo looks as if someone asked AI to design the perfect dystopian urban nightmare”.
Other commenters couldn’t pass up on the opportunity for irony. “Sustainable, but has ‘30,000 square metres of urban space!'” exclaimed The Discreet Architect. “They must be using the same sustainability consultants/spin doctors as Neom” they mocked.
However, reader Andrew Tait staunchly defended the plans, arguing “Dubai is a teenage city trying to work out what’s best – it should be applauded for the ambition and trying something new”.
Some commenters weren’t too keen. “Why so bleak?” asked Souji.
“We don’t need architects for this,” determined Joop de Gee. “Any builder can make such a design within a few minutes,” they claimed.
However, The Discreet Architect chimed in to defend the project. “It may not be to everyone’s tase, and it certainly isn’t what I would do, but there’s a refinement to the selection of materials, the layout and detailing which would never be achieved if the project was led by a builder,” they said.
Dezeen is the world’s most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days.
Photographer Paul Tulett has toured Japan to publish a book documenting the country’s vast collection of concrete edifices. Here, he spotlights nine unusual examples featured in it.
The book, fully titled Brutalist Japan: A Photographic Tour of Post-War Japanese Architecture, has been published with Prestel to showcase the diversity of the country’s brutalist buildings.
It was the result of Tulett‘s growing interest in the style of architecture, which he said has a “unique tactility” in Japan thanks to its links to the country’s traditional carpentry and craftsmanship.
Paul Tulett has documented brutalist architecture across Japan
“Upon arriving in Japan, I was struck by the abundance of brutalist buildings, their refinement and the fact that no one was really covering the style here,” he told Dezeen.
“I quickly became interested in brutalism’s links to traditional Japanese architecture,” Tulett continued. “The refinement in Japanese brutalist construction is due to the amazing timber formwork seen here. It results from incredible expertise in carpentry within the nation.”
All the buildings featured in the book were photographed by Tulett over the last five years and selected to showcase the range of styles that fall within Japanese brutalism.
One of Tulett’s favourite examples is the brutalism in Okinawa, where he is based, which he said incorporates traditional breezeblocks to mimic chinibu – a traditional perforated wall used to provide both ventilation and protection from harsh sunlight.
“I wanted to present the diversity of Japanese brutalism in terms of function, size, style, design and age,” Tulett explained. “From large civic and governmental buildings to small barber shops and public toilets, the diversity of function is not seen elsewhere.”
Tulett’s aim was for the book is to spark interest in the style of architecture, which he said is “too often demolished based on the subjective opinion of a few individuals”.
“Many brutalist buildings across the world are slated for demolition at a time when there is increasing fascination with the style – particularly amongst younger generations,” said Tulett.
“Brutalist buildings in Japan, even the grandest, are not immune to talk of demolition. These include Hiroyuki Iwamoto’s sublime National Theatre in Tokyo, Kenzo Tange’s incredible Kagawa Prefectural Gymnasium and the fantastic Nago City Hall in Okinawa.”
“I aim to inspire an appreciation for the aesthetic beauty of these structures while fostering discussions around their preservation. Ultimately, I advocate for the continued recognition and preservation of this often misunderstood architecture.”
Read on for Tulett’s picks of nine unusual buildings featured in Brutalist Japan:
Kagawa Prefectural Gymnasium, 1964, by Kenzo Tange
“Concurrent with Kenzo Tange’s creation of Tokyo’s mammoth Olympic structure for the 1964 Summer Games, a humbler athletic vessel was birthed further west.
“Between 1962 and 1964, the Kagawa Prefectural Gymnasium arose in Takamatsu, with a brutalist silhouette strong enough to renounce any kinship with its neighbours.
“An oval hull is hoisted by four titanic columns, extending its form in a defiant cantilever that bestows upon it the visage of a seafaring leviathan, mirroring both the formidable might and grace of an Olympian.”
Kyoto International Conference Center, 1966, by Otani Sachio
“Enshrined amidst Kyoto’s venerable aura, the Kyoto International Conference Center straddles the architectural zeitgeist of its time.
“This edifice stirs a lively discourse: does it belong to the brutalist canon, or does it bear the hallmark of metabolist architecture? The centre’s silhouette, a composition of bold geometric lines and the stark honesty of exposed concrete, channels the brutalist ethos.
“Its colossal, forthright forms stand in sharp relief to Kyoto’s delicate tapestry, an assertion of brutalism’s unapologetic gravitas. Yet, within its robust frame, the structure nurtures the flexible, organic essence of metabolism.”
Nago City Hall, 1981, by Team Zo (Elephant Design Group)
“This tumbling agglomeration of colonnades, pergolas and terraces set upon a floor plan resembles the outline of a B-2 stealth bomber.
“The colonnades are formed of porous vermillion and grey concrete blocks. Tilted concrete screening slats set within the pergola roofs absorb ambient moisture and provide a breeding ground for moss.
“The whole structure exudes an earthy pungency that is tempered by the fragrance of weaving bougainvillaea. Drinks vending machines aside, the place smacks of an undiscovered jungle ruin.”
Nago Civic Hall And Center, 1985, by Shiro Ochi
“This is a U-shaped complex of civic centre, public halls and general welfare centre. Recognisable modernist features contrast with its mad tree-hugging neighbour – the City Hall above – and evoke a Corbusian rationality triumphing over nature.
“Reminiscent of Mayan architecture, a sharply terraced escarpment is carved down to the northern and western flanks of what would otherwise be a trapezoidal behemoth.
“The exterior austerity is juxtaposed by intricate interior precast trusses and sublime modulated concrete slabs on either side of the stage. These emanate a peachy hue that compliments the velvety seating.”
Mixed-use complex, 1994, by Kuniyoshi Design
“Darth Vader’s holiday home? Nah. This striking complex features affordable housing stacked above a ground-floor elderly daycare centre.
“It models Okinawa’s social aspect of planning, more characterised elsewhere by the interests of private developers. This planning philosophy seeks to create urban spaces that nurture community bonds and ensure equitable access to resources.
“That said, a friend of mine had the opportunity to move into one of the apartments but his wife declined, arguing it wasn’t close enough to a convenience store. Definitely grounds for divorce.”
Keihan Uji Station, 1995, by Hiroyuki Wakabayashi
“In the shadow of tradition, where the air hums with tales of ancient temples and the crackle of fireworks over the Uji River, Keihan Uji Station emerges like a scene from a sci-fi odyssey.
“This architectural spaceship, helmed by visionary captain Hiroyuki Wakabayashi and launched in 1995, defies its historic backdrop with a daring leap into futurism.
“The design is audacious, a semicircular cocoon that dares to embrace both the circle’s zen-like simplicity and the boundless possibilities of the cosmos. It is quite possibly my favourite building.”
Kihoku Astronomical Museum, 1995, by Takasaki Masaharu
“Clearly in the throes of his Smack My Bitch Up phase, architect Masaharu took inspiration from the moon crab on The Prodigy’s The Fat of the Land album cover.
“From certain angles, this Cancerian creature seems to be embracing the stars in rave-like rapture or wondering where it left its whistle and helium balloon.
“Actually, the design slightly predates The Prodigy’s third album. More cerebral appraisals cover Masaharu attempting a cosmic connection between Earth and the universe. A participatory approach allowed for the local community to showcase the potency of the region’s mushrooms.”
Okinawa Prefectural And Art Museum, 2007, by Ishimoto and Niki Associates
“The Naha Prefectural Museum appears as both a cascading, multi-tiered limestone waterfall and immovable monolith – the result of a geological phenomenon aeons ago.
“Its appearance borrows from ancient Okinawan fortresses, or gusuku, yet is simultaneously futuristic with gentle curves, rectilinear geometry and stacked forms.
“A look of natural stone is achieved through the use of white cement – local limestone as the coarse aggregate and coral sand as the fine aggregate. Doctor Who fans might see a Dalek and the more domesticated an upturned laundry basket. I see it as my muse.”
Matsubara Civic Library, 2019, by Maru
“Beside a tranquil pond, the Matsubara Civic Library rises like a tome from the annals of time, its spine crafted from 600-millimetre-thick concrete.
“The architects, in a stroke of narrative genius, penned a story of integration rather than erasure, allowing the library to float out into the water like a literary ark.
“Inside, the seismic-resilient walls have inscribed freedom into the library’s chapters, with split levels that unfold storeys upon storeys, where readers perch like characters in a plot, poised between lines of text and water.”
Traditional and contemporary South Korean crafts are experiencing growth, according to a panel of experts at a filmed talk hosted by Dezeen and Bentley in Seoul.
The talk brought together a panel of designers and design experts to discuss crafts and luxury in design at the Bentley Cube, the brand’s showroom and clubhouse in Seoul.
The event was filmed by Bentley and can be watched above.
Teo Yang is a South Korean designer and studio founder
The panellists discussed how interest in local crafts was growing amid the global explosion of interest in South Korean culture and society known as the “Hallyu,” or “Korean wave.”
“We’re using new design with old techniques of craft, using local materials and really showing something new to the design world,” said panelist Teo Yang, a local designer and founder of Teo Yang Studio.
“Craft has been considered as something that’s from the past, but now people are really trying to use craft to create new business and ways of introducing new aesthetics into the design scene,” he continued.
The talk, moderated by Dezeen’s editorial director Max Fraser, was the third in the Lighthouse series of panel discussions hosted by Dezeen and Bentley exploring the future of luxury. It was held at the Bentley Cube space in Gangnam, Seoul, in October 2024.
Titled Contemporary Crafts: Preserving Heritage in Luxury Design, the discussion also explored how the once-separate worlds of art and craft were merging.
Chris Cooke is head of design collaborations at Bentley Motors
“There was a really strong division between craft and art,” said Lee. “Art was seen as very luxurious and important, but compared to that, craft was only found in very small shops. People were not really interested in craft before.”
“As lifestyles change and the Korean economy is developing and growing, I think people start to look at traditional Korean values,” she added. “I think we can witness the moment craft and art start to engage in a very amazing way.”
Cook, who appeared in two previous Dezeen x Bentley Lighthouse talks in Milan and London, went on to describe the importance of craftsmanship in Bentley’s designs.
“Craftsmanship and Bentley have gone hand in hand for many years,” he said.
He also spoke of Bentley’s enduring appeal, referencing the materials and handmade features found in Bentley’s cars.
“People do really appreciate and resonate with working with their hands and trying to fine-tune something to get it to an absolute state of perfection,” Cook concluded.
Partnership content
This video was produced by Dezeen as part of a partnership with Bentley. Find out more about Dezeen partnership content here.
Eindhoven studio Dutch Invertuals challenged 14 designers to rework one of its chairs for its Specimen exhibition, with the results including tree branches, copper fossils and LCD-style graphics.
Fourteen designers and studios created a version of Dutch Invertuals’ chair
Each designer or studio was asked to create a version of the chair that reflects their design expertise.
Founder Wendy Plomp initiated the project to mark the 15th anniversary of Dutch Invertuals, a studio known for its research-based approach to interior and exhibition design.
Chairs by Scheublin & Lindeman and Max Lipsey explore different use of textiles
Dutch Invertuals unveiled the 15 chairs – the original and the 14 remixes – in an exhibition at its studio during Dutch Design Week, which took place in October.
The name, Specimen, gives the project a sense of a scientific experiment.
“The project showcases each designer’s expertise, craftmanship and personal style,” said the studio.
The original chair features cross-shaped corners and projecting T details
“Like biologists collect specimens to understand evolution, Dutch Invertuals invited 15 designers, highlighting each designer’s evolutionary process,” the studio added.
Plomp originally designed the armchair for an office interior at 5Tracks, a major new mixed-use development currently under construction in the Dutch city of Breda.
The chair comprises four artificial-leather cushions set into an ash plywood frame.
The interlocking details of this frame give the chair distinct details, including cross-shaped corners and projecting Ts at the points where the seat meets the sides.
Onno Adriaanse crafted his chair from oak
Rachel Griffin of Rotterdam-based Earnest Studio translated these details into laser-cut aluminium, while Japanese designer Sho Ota created a version in solid hardwood.
Eindhoven-based designers Onno Adriaanse and Willem van Hooff worked with tree branches, one with oak and the other with maple, while Copenhagen-based Elly Feldstein created a woven seat with hemp rope.
Myeonga Seo experimented with hydro-dipped wood and metal
Design Academy Eindhoven graduate Myeonga Seo experimented with hydro-dipped wood and metal, while Dutch designer Jeroen Wand added his Re-veneer, a surface covering made from offcuts of wood veneer.
The most unusual chairs came from German designer Anna Resei, whose design took cues from digital graphics, and Joost van Bleiswijk, who made his from neon-painted plywood shards.
Jeroen Wand’s chair features a surface covering made from offcuts of wood veneer
A curved base turns the design by Eindhoven-based Edhv into a rocking chair, featuring copper buttons cast from fossils, while Kiki van Eijk used wax crayons to add colour to her design.
Joost van Bleiswijk made his chair from neon-painted plywood shards
Dutch Invertuals often stages exhibitions for Dutch Design Week, as well as in Milan.
Past examples include Slow-motion Flow, a fountain for a single drop of water, and Fundamentals, an archive of 800 objects.
For the Specimen exhibition, the studio also created an animation featuring all of their exhibitions from the past 15 years, as well as digital versions of all the chairs.
Accuracy is a curious thing—ubiquitous in daily life but often overlooked until a tool falters. A warped tape, an unreadable screen, or an imprecise laser can turn a simple task into a source of frustration. Measurement tools are expected to work seamlessly, yet few truly adapt to the evolving demands of their users. The XTAPE1 Digital Laser Tape Measure enters this space with quiet confidence, bridging classic utility with modern expectations in a way that feels natural, not forced.
Designed to outwardly look like some sci-fi hacker weapon/gadget, the XTAPE1 is the most capable instrument in any architect/engineer/designer’s tool arsenal. Its unique shape is like nothing you’ve seen before, merging accuracy and adaptability in ways that feel both natural and overdue. At its heart lies a pairing of traditional and modern measurement methods—digital tape and laser—each tuned to exacting standards. The tape delivers accuracy down to ±1/32-inch, while the laser extends that reliability across 330 feet at ±1/16-inch. It’s almost the year 2025 and standard measuring tapes officially feel old-school.
The XTAPE1 combines three key measuring features into its novel design. It has a tape measure, a laser measure, and even a green laser alignment, pretty much allowing you to work with linear distances, angles, areas, and volumes while relying on accurate digital accuracy all along the way. It all starts with the XTAPE1’s unique design, which combines minimalism, sci-fi detailing, and modularity into one compact, handheld package. The entire gizmo splits into two parts – the upper component with the laser measure and the IPS display, and a lower grip that houses the device’s laser alignment tool along with its metal measuring tape. Dock the two halves together and you’ve got your all-in-one tool, capable of conquering nearly any kind of distance-based measurement.
Based on the task at hand, the XTAPE1’s various features come in handy. Want to rely on analog measurement, the measuring tape unfurls outwards, with a highly durable carbon-steel construction that doesn’t warp or deform even with years of usage, and the digital screen on top that records accurate measurements on the device instead of you having to scribble them down. If you crave something more advanced, switch to the laser measuring tool, capable of measuring distances up to 330 feet or 100 meters in seconds. Units are clearly not a problem as the digital display lets you easily swap between metric and imperial systems, depending on what you need.
A good tool is only as good as the human using it – because machines don’t account for human error. However, the XTAPE1 prevents it, thanks to a bright green laser alignment tool that ensures you’re measuring distances at the exact right angle. The laser alignment tool helps align your XTAPE1 before taking measurements, as well as lets you use it to ensure objects like paintings, wall-mounted shelves, or switch boxes are all in line, rather than being askew. Aside from being a stickler for accuracy, the alignment tool also helps you measure angles, with the digital display calculating accurate angular changes for you, so you know that your corners are 90° or that the 37° angle staircase in your plan actually translated to the accurate degree in reality.
Speaking of accuracy, the XTAPE1 maintains that strict standard throughout. The digital measuring tape offers a pinpoint ±1/32-inch accuracy, and the laser maintains ±1/16-inch accuracy across its range. Whether aligning cabinetry or mapping a room, this device provides measurements you can trust, with fewer chances for costly mistakes. Patented technologies like the Super OptiTracking reading sensor that powers the digital tape, or the AccuMeasure calibration system ensure that accuracy isn’t a feature on the XTAPE1, it’s the very foundation.
The built-in IPS display makes measuring activities extremely intuitive. Rather than guessing readings, the display shows them to you down to the 10th of a decimal. Measurements get automatically saved on board the XTAPE1 so you don’t have to rely on memory or scribbled notes. The device also lets you calculate areas and volumes in seconds going beyond simple point-to-point measurements… and the XTAPE1’s companion app makes things even easier, transforming the tool into a powerful project planner. Users can collect, store, and analyze data in real-time, making angle measurements, layout adjustments, and tracking projects intuitively.
The modular design plays a unique role in longevity. While most all-in-one measuring tools are fairly monolithic, the XTAPE1 separates its two key parts just in case they need replacing. If your tape wears out, simply swap the older tape module for a newer one. Even though the entire system is modular, makers at MILESEEY are fairly confident the XTAPE1 can weather any sort of rough use. The AISI 1060 carbon steel blade withstands heavy use, while the magnesium-aluminum frame and DuraShield hardshell protect the device from the wear and tear of demanding environments. From job sites to home workshops, it’s built to endure while maintaining its accuracy.
What you’re eventually left with is a powerful tool that does a fairly good job of leaving nothing to chance, and leaving no room for compromise. The XTAPE1 is feature-packed, easy to use, modular, compact, and frankly, futuristic-looking enough to make others walk over and admire the instrument just the way people walk over to admire sports cars up close. While being fairly expansive in its feature list, the XTAPE1 is still ergonomic and portable, allowing you to slip it into your backpack to carry to and back from your site.
The XTAPE1 feels less like an upgrade from older measuring systems and more like a rethinking of what measurement tools should be. It doesn’t rely on novelty to stand out, but rather, finds relevance in meeting practical, often overlooked needs. By combining reliability, adaptability, accuracy, and eco-conscious design, it becomes a tool that fits seamlessly into the workflows of builders, woodworkers, architects, and DIY enthusiasts.
Called the Escapade Silverstone, this incredible new residence offers a view of the iconic British race circuit Silverstone. It is designed by Twelve Architects, and includes around 60 residences. The building was first unveiled in 2020, and the residences have been arranged in three rows with an attractive design that draws inspiration from slipstreaming. The first row is 40 feet away from the racetrack.
“The articulation of their form and appearance is inspired by the concept of ‘slipstreaming,’ where a vehicle follows closely behind another, traveling in its slipstream and awaiting an opportunity to overtake,” said the studio. “To capture this, the front-row residences consist of two modules, stacked on top of one another and slightly rotated, so the massing of the upper floors are splayed in plan.
“They cantilever outwards from a landscaped bund, towards the track and pedestrian walkway, creating a dramatic and dynamic frontage to the site. Each residence has been carefully positioned at different angles along the front row, creating a sense of movement, as though each building has been swept along in the tailwind of the cars speeding past,” the studio concluded.
The other residences have been placed behind the front row, and they offer views of the track and the surrounding country, or only the countryside depending on the location. The homes host between two and four bedrooms, and are quite flexible. They can be separated into smaller suites with the help of sound-insulated, moveable walls.
Guests can book some time on the track on non-race days as well, so they can experience the iconic circuit themselves. The property also includes a clubhouse with a restaurant, bar, swimming pool, and a “driver-focused” gym. The homes are designed to provide a boutique hotel experience, and a few of the homes are available for sale. Currently, there is no information about the pricing, but it would be on the heftier side for sure.
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reading sensor that powers the digital tape, or the AccuMeasure
