Hasta La Ideas

Tsuboe, the maestro of Japanese handcrafted graters, has unveiled the Sakura Petal Grater—a piece of functional art that honors the 100th anniversary of the Ōkōzu Diversion Canal. Seamlessly blending Japanese heritage and masterful craftsmanship, this limited-edition tool elevates everyday cooking into an experience worth savoring.

Click Here to Buy Now: $25

The Flood That Sparked a Legacy

A century ago, the Ōkōzu Diversion Canal transformed the Echigo Plain. This monumental project, completed over 22 years with the labor of 10 million workers, redirected the Shinano River’s destructive floods, protecting lives and livelihoods. The scale of the effort was staggering, and the impact, profound—turning a once-vulnerable region into a place of stability and growth.

Cherry blossoms were planted along the levees to celebrate this achievement, becoming enduring symbols of renewal and hope. Today, the Sakura Petal Grater draws inspiration from these blossoms, honoring both the engineering marvel and the enduring beauty of sakura.

Crafted for Precision, Designed to Impress

With over 100 years of expertise, Tsuboe continues to uphold Tsubame City’s rich tradition of metalworking excellence. The Sakura Petal Grater is shaped through a meticulous 10-step process that blends traditional techniques with cutting-edge innovation:

• Material Selection & Pressing: High-quality copper and aluminum alloy are pressed into the sakura shape, shielded by a vinyl layer to prevent imperfections.
• Blade Formation: Precision-engineered blades are individually raised using a custom NC machine, ensuring seamless grating with minimal effort.
• Polishing and Final Inspection: Each piece undergoes rigorous finishing and inspection to meet Tsuboe’s exacting standards.
• Laser Marking (Silver Edition): A premium touch of understated branding enhances the grater’s exclusivity.

This process ensures a tool that’s not only visually stunning but also a joy to use—sharp, durable, and built to last.

A Grater Tailored for the Table

The Sakura Petal Grater is designed for precision and convenience, making it ideal for grating small amounts of fresh ingredients directly at the table. Whether it’s a touch of ginger for a steaming bowl of miso, a dash of citrus zest to brighten a dessert, or freshly grated wasabi to accompany sushi, this grater delivers the perfect finish without the need for larger, bulkier tools.

Its individually raised blades offer exceptional sharpness, ensuring smooth, efficient grating. The gently rounded sakura shape and contoured handle provide a comfortable grip, making it easy to use while dining or cooking. Compact and elegant, it transitions effortlessly between the kitchen and the table.

A Tale of Two Petals

The Sakura Petal Grater is available in two striking variations:

• Pink Edition: Crafted from lightweight aluminum alloy, its vibrant anodized finish evokes the delicate beauty of cherry blossoms in full bloom.
• Silver Edition: Made from tin-plated copper, this edition combines luxurious heft with a timeless metallic sheen.

Both versions are engineered for durability and precision, with blades that retain their sharpness over time. A perfect fusion of form and function, these graters elevate both your kitchen’s aesthetic and your culinary game.

Turning the Everyday Into Artistry

Whether grating a pinch of garlic to enhance a dish or adding fresh zest to a cocktail garnish, the Sakura Petal Grater transforms these moments into rituals of refined artistry. Its design invites you to bring it to the table, where its compact size and stunning appearance can be appreciated as part of the meal.

Encased in bespoke packaging commemorating the Ōkōzu Diversion, it’s not just a utensil but a keepsake. For culinary enthusiasts and design aficionados alike, it’s a thoughtful gift or a personal indulgence.

Click Here to Buy Now: $25

The post A Touch of Cherry Blossom Petal: The Elegant Table-Side Grater Gift first appeared on Yanko Design.

Don’t dismiss the Vision Pro just yet. Sure, rumors have been swirling that the company has pretty much halted all production of their flagship spatial computing device, but Bloomberg’s Mark Gurman has some interesting updates. His scoop? Apple and Sony, are reportedly in talks to integrate PlayStation VR2’s Sense controllers with Apple’s Vision Pro headset. This partnership, if realized, could reshape how we think about virtual and mixed reality experiences, seamlessly blending gaming prowess with Apple’s signature design ethos.

The Vision Pro, Apple’s first foray into spatial computing, debuted as a device with lofty ambitions. Relying on gaze-and-pinch interactions paired with hand-tracking, its interface felt futuristic yet restrained when stacked against the tactile immersion offered by physical controllers. While its approach works wonders for casual gaming and productivity tasks, the absence of tactile input left a gaping hole in its potential for more dynamic, fast-paced VR gaming. Enter Sony, whose PS VR2 Sense controllers are heralded for their precise tracking, haptic feedback, and adaptive triggers. It’s easy to see why Apple would tap into Sony’s expertise to elevate Vision Pro’s gaming and interactive experiences.

Gurman, a well-known source of tech scoops, shared that Apple initiated discussions with Sony earlier this year, targeting the seamless integration of the Sense controllers into the Vision Pro ecosystem. The collaboration promises to extend beyond just gaming, allowing users to navigate visionOS interfaces using Sony’s controllers. For Vision Pro, this move is not just a band-aid solution but a strategic decision aimed at capturing a more serious gaming demographic. The absence of robust gaming support has been a sticking point for Vision Pro since its announcement. Adding PS VR2 Sense controllers could be the olive branch Apple extends to hardcore gamers who’ve so far been unimpressed by its current offerings.

What’s particularly intriguing is the potential ripple effect this partnership could have on the gaming industry. Sony has been fiercely protective of its PS VR2 ecosystem, even to the extent of not selling its Sense controllers separately. Yet, this exclusivity might soften if Sony and Apple push ahead with making these controllers available through Apple’s sales channels. Imagine walking into an Apple Store, purchasing a PS VR2 Sense controller, and unlocking new gaming experiences on a Vision Pro. It’s a scenario that positions both companies as collaborators rather than competitors—an unusual but potentially brilliant strategy.

But could this partnership lead to something even bigger? Some speculate it might pave the way for a broader gaming alliance between Apple and Sony. Such a move would undoubtedly send shockwaves through the gaming industry, especially with Microsoft’s Xbox looming large as the primary rival. While Apple could technically develop its own controllers tailored to the Vision Pro, partnering with Sony allows them to sidestep years of R&D and leverage Sony’s established credibility among gamers.

Beyond gaming, this partnership could also enhance Vision Pro’s value proposition for non-gaming applications. The tactile advantages of Sony’s controllers could transform how professionals interact with 3D models, designers manipulate virtual canvases, or filmmakers storyboard immersive scenes. By broadening its use cases, Apple has a shot at making Vision Pro more than a niche device for early adopters or AR enthusiasts.

Yet, as with any ambitious endeavor, there are potential roadblocks. Gurman notes that the announcement, initially planned for weeks ago, was delayed—possibly signaling internal hiccups or last-minute refinements. Whether it’s technical integration challenges, supply chain constraints, or plain old corporate hesitance, there’s always a chance this partnership could stall or be scrapped altogether.

However, the timing of this rumor feels strategic. Vision Pro’s early reviews have highlighted its groundbreaking potential while pointing out areas where it falls short. Apple knows that it must demonstrate more than technological novelty to justify the $3,500 price tag. Teaming up with Sony to bring richer gaming and interactive experiences could be the shot in the arm Vision Pro needs as it prepares for its full release next year.

For now, Apple and Sony remain tight-lipped, but the possibility of this partnership is tantalizing. It paints a picture of a future where Apple’s minimalistic design philosophy meets Sony’s immersive gaming technology, creating an ecosystem that’s not only expansive but compelling. If nothing else, it underscores Apple’s willingness to think beyond its walled garden—a refreshing shift for a company known for keeping things close to its chest.

So, will this be the start of a beautiful friendship between Apple and Sony, or just another chapter in the rumor mill? Only time will tell. But for now, the idea of navigating visionOS with a PS VR2 Sense controller is enough to keep tech enthusiasts and gamers alike dreaming of the possibilities. And if this collaboration does take off, maybe it’s time to rethink that Xbox subscription—just saying.

The post Apple and Sony are apparently working on PlayStation VR2 Gaming Controllers for the Vision Pro first appeared on Yanko Design.

A garden tops the rounded wedge-shape of the Tonalá 15 apartment building in Mexico City, which was clad in orange-toned concrete by local studio CRB Arquitectos.

The 13-storey complex is located in the Roma neighbourhood and stands out from its surroundings due to its colour while integrating well into the dense urban environment with other blocky midrise apartments.

“The project actively seeks the revitalization of the urban area, aiming to generate a positive impact both on the local economy and on the quality of life of the community’s inhabitants,” CRB Arquitectos told Dezeen.

“This approach not only emphasizes the aesthetic and functional importance of architectural design but also underscores its crucial role in creating environments that promote social connection, contributing to the sustainable development of urban areas and increasing the area’s value.”

Completed in 2023, the building sits on a 350-square metre (3,770-square foot) lot, shaped roughly like a triangle.

“The entire structure of the building is constructed using pigmented exposed concrete in an earthy tone, which gives it the ability to age, allowing the project to gain more character over time,” the team said.

“This material is also used for its malleability to shape all the curves of the project, demonstrating its versatility and ability to adapt to the demands of architectural design.”

On the ground floor, a small plaza holds the northern tip of the triangle and serves as the interface to the public. Two commercial spaces stretch across the width of the plan – connecting with the avenues that surround the property – while the residential lobby forms a corridor in the center of the plan with two half-rounded staircases and two elevators.

The public spaces are clad in granite and recinto stone with wood panelling on the walls.

The concrete structure is canted slightly inwards on the ground floor, pulling in from the sidewalk to allow for a planter to wrap the perimeter.

“The design takes advantage of the building’s concrete structure to create a clean and simple grid on the facades facing the avenues, with floor-to-ceiling windows and tilting the columns on the ground floor towards the interior of the building, creating a gesture of openness towards the street,” the team said.

Below ground level, a basement holds bicycle parking, encouraging residents to utilise public transportation and green mobility to reduce carbon emissions.

The 11 residential levels range from 50 to 54 square metres (538 to 581 square feet) but hold four compact apartments that each prioritise simplicity and functionality – particularly for short-term renters. The northern staircase reaches a rounded studio and a linear one-bedroom unit, while the southern staircase provides access to two blocky studios.

In a collaboration with Estudio M:A, the apartment interiors feature New Navona marble, beige textures and tones appear in the furniture and lighting, while wicker basketry and domestic wood add a welcoming Mexican essence for visitors to the area.

Tonalá 15 is topped with a green-framed public area that is divided into a seated garden space and an open terrace that overlooks the city.

“The building has a rainwater harvesting system for an alternative hydraulic system, betting on sustainability in the project,” the team said. “Likewise, as a passive strategy, a ‘vertical oasis’ was created thanks to the public plaza, planters on different floors, and the roof garden, contributing to the generation of clean air for the city.”

Two other Mexico City residential blocks were recently designed with orthogonal geometry softened by curves. HGR Arquitectos constructed a six-story, triangular apartment complex with a rounded atrium to protect against seismic activity, and Jsa and Mta+v teamed up to carve a triangular building into soft petal-like wings around a spiral staircase.

The photography is by César Bejar.

Project credits:

Design Team: Sebastián Canales, Javier Rivero Borrell, Regina Kuri, Carmen Alfaro and Alejandra Álvarez.
Structure: Ubando Ingeniería and Amador Terán
Construction: Secuencia
Interiors: Estudio M:A

The post CRB Arquitectos rounds triangular apartment building in Mexico City appeared first on Dezeen.

In a letter addressed to the FAA, local airport director Jeff Mulder has expressed concern about the height and safety of the proposed Legends Tower supertall skyscraper in Oklahoma City.

Designed by architecture studio AO and developed by Matteson Capital, Legends Tower would be the tallest building in the United States at 581 metres (1,907 feet) high if completed, and is part of a mixed-use development set to be built in downtown Oklahoma City.

Mulder wrote in the letter that the height of the tower would “increase travel time” for passengers, cause “adverse changes” to departure schedules and “create the safety of flight issues” in the greater metropolitan area.

Airport authority raises safety concerns around Legends Tower

This would be due in part to an increase in the minimum victory altitude (MVA) in the city – meaning planes would take longer to descend – and the tower’s proposed location, which infringes upon the airspace of not only Will Rogers World Airport (OKC) but other airports in the city such as Tinker Air Force Base, Wiley Post Airport and Max Westheimer Airport.

According to KOCO News 5 ABC, which published the letter, Mulder stated the letter is a routine process and it is “not in support or against the project”, although the FAA has yet to respond, which has caused delays.

Developer and Matteson Capital founder Scot Matteson also told the outlet that he “expected some pushback”.

“We expected some pushback from them,” Matteson said. “We’re waiting for the full report from the FAA, which we are supposed to get by the end of this month,”.

It may be “a little shorter”

He also told News on 6 that the tower will be a “little shorter” if needed, though the skyscraper currently has “unlimited” height approval from local government, approved earlier this year.

While the developer seems hopeful, a number of other large-scale developments proposed in Oklahoma have recently faced delays, according to The Oklahoman, including an oil refinery, an amusement park, a solar panel factory and the Legends Tower development.

“Indeed, reporting by the Oklahoman shows the stalling and delays involve a mix of unrealistic expectations, politics, government red tape and shaky economic confidence due to unrest overseas,” said reporter Steve Lackmeyer.

According to the outlet, the first phase of the project is to begin in early 2025, although it will not include Legends Tower.

Previously, AO partner Bruce Greenfield told Dezeen the height of Legends Tower “is not something that’s necessary”.

The images are courtesy of AO.

The post Aviation authority concerns delay US tallest skyscraper plans appeared first on Dezeen.

Works by designer Mathieu Lehanneur, architect Javier Senosiain and artist A$AP Rocky were among those shown at the Design Miami fair, which was curated by New York-based writer Glenn Adamson during Miami art week.

The show, which took place last week, featured more than 40 galleries and brands arranged in booths in a tent across from the Miami Beach Convention Center and was organised around Adamson’s theme of “blue sky thinking”.

For Adamson, the concept connotes the “imaginative leap intrinsic to the design practice” as well as the current need for “optimism in the face of a challenge”.

“What makes design different from fine art – or even poetry, music, other disciplines – is that designers need to not only imagine the future, but they need to build it in a very practical way,” he said.

“So the functionality and the materiality of the objects that you see throughout the fair, whether they’re historical or contemporary, are in an extremely powerful combination with that idea of the limitless imagination,” Adamson added.

The fair was organised into two primary sections: gallery and curios, with a number of special projects spread through the thoroughfares and gathering areas.

Outside, a large-scale installation based on jewellery design by designer Nicole Nomsa Moyo was shown – part of an installation that was also on show in the Miami Design District.

Inside the front entrance was an installation by Lehanneur, who designed the torch for the 2024 Paris Olympics. Directly referencing Adamson’s theme, it featured a wall covered in hand-crafted ceramic tulips wrapping the entrance to the fair.

Further along, California-based design duo the Haas Brothers showcased a massive tree called the Strawberry Tree as part of New York-based gallery R & Company‘s booth, which also featured work by artist Katie Stout.

The Strawberry Tree was made from bronze with thousands of Venetian beads woven together to resemble natural patterns. Originally commissioned by the Nasher Sculpture Center, the work represented a “return” for the brothers after having explored the art world.

“This is where we grew up, inside of Design Miami,” Nikolai Haas told Dezeen.

“And for us to come back around and represent ourselves with the work that was the largest commission that we’ve made so far, it just made a lot of sense, to bring it back home.”

Another noteworthy special project was the design for the talks stage, which was formulated by Swiss brand USM to resemble a listening room, with speakers by Devon Turnbull’s audio brand Ojas and chairs by LA designer Willet.

The gallery section of the show saw a mix of industrial and decorative works, past and present.

American gallery Friedman Benda won the Best Gallery award for its showing, which included a collection of colourful tiled furniture created on a commission basis by Senosiain.

It also featured an oversized, minimalist wooden lamp by Italian design studio Formafantasma and a cabinet by Bentley Light House Award 2024 winner Fernando Laposse.

A number of well-known institutions who had never shown at Design Miami before also took part, such as Anna Karlin from New York and Blunk Space from Los Angeles.

Blunk Space, which was founded to honour artist JB Blunk, featured a number of works directly informed by Blunk’s work, including a series of panelled shelves made from salvaged redwood by London-based designer Rio Kobayashi, informed by Blunk’s home. The booth won the Best Curio award.

The city of Barcelona sponsored a booth curated by Illacions Gallery that featured a series of conceptual and functional furniture meant to represent the design scene of that city, including a bent aluminium chair with an internal spring by Spanish studio Kutarq that combined principles of lounge and rocking chairs.

California designer Sam Klemick showed at Objective Gallery alongside other US-based designers such as Jack Simonds and Luke Malaney as well as Jeff Martin from Vancouver.

Klemick, who showed at Alcova Miami in 2023, said Design Miami’s layout made the space feel “bigger”.

Fashion brand Fendi exemplified airiness with its booth, spreading just a few “patchwork” wooden furniture pieces by London-based designer Lewis Kemmenoe across its massive booth.

Nearby, Italian furniture manufacturer Gufram teamed up with A$AP Rocky’s brand Hommemade to create a series of blow-up skylines and a large multi-media console with a space-age vibe.

There were also some interactive and playful designs, such as a concrete ping-pong table in the booth of James De Wulf that was used by visitors to the fair.

Another crowd favourite was a chair made from rubber constructed with leather techniques by India-based Chamar Studio, showcased at the Aequo booth, which aimed to combine traditional Indian craft with contemporary design.

Beverage company Saratoga Spring Water partnered with colour company Pantone and designer Emilie Baltz to create a multi-sensory installation featuring Saratoga’s signature blue. This recently became an official colour for Pantone, which also released its Color of the Year last week.

The photography is by Kris Tamburello unless otherwise stated.

Design Miami took place from 3 to 8 December. For more global events in architecture and design visit Dezeen Events Guide. 

The post The “idea of limitless imagination” drove this year’s Design Miami appeared first on Dezeen.