Junya Ishigami turns “tougher” materials into light and airy furniture

When you think of furniture made from materials like rattan, wood, leather, and steel, it evokes ideas mostly of sturdiness and toughness. And most of the designs we see seem to have varying degrees of rigidness and structure. You don’t normally associate adjectives like airiness, lightness, or delicacy with those that use these unless they’re mixed together with other materials that add something new to the design and the actual product.

Designer: Junya Ishigami

Japanese architect Junya Igashami has a design language that veers more towards simple, elegant, and delicate pieces. With his newest furniture series presented by Belgian gallery Maniera, he is still able to maintain this aesthetic but this time using the aforementioned “harder” materials: rattan, wood, leather, steel, and with the addition of glass materials as well. The designer used thin lines as a common theme for the various pieces so that you get a light and refreshing reimagination of the materials used for the furniture line.

The Ame low glass table seems to slightly float off the floor with its stainless steel and glass structure while the Maru-Shikaku Atelier table adds a rattan element. The Ame Isu line has different chairs including a rocking chair, a caster chair, a zaisu chair, and a “regular” chair and all of them use stainless steel with rattan, leather, or wire. The Bou Light fixtures include a table lamp and a pendant while the Ami Kabe line has small and large partitions.

This entire furniture line will be on exhibit at the Parc of the Villa Bagatti Valsecchi at the Milan Design Week until April 21. Some of the pieces included were actually created for projects like the House & Restaurant in the city of Ube in Japan (Zaisu chair and Ame low glass table) and the still being constructed House project where Ishigami’s mother will eventually reside (atelier table and other chairs).

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Core77 Weekly Roundup (4-15-24 to 4-19-24)

Here’s what we looked at this week:

Startup Humane has debuted their Ai Pin, to damning reviews. The UI/UX design is just insane.

Form follows function: NASA’s zero-gravity drinking cup, prototyped in space.

Some wonderful scans from “The Function of Colour in Factories Schools & Hospitals,” a British book published in 1930.

DeWalt’s Carbon Fiber Staple Gun weighs 50% less and can take a beating.

Whole lotta welding going on with architect/furniture designer Leif Jørgensen’s LJ Spider Chair.

Form follows function: This no-tools-required hanging hook from the early 1900s.

The PSF1 is a stylish folding e-bike by Taiwanese manufacturer BESV.

Here’s a bit of weirdness: A Japanese automotive supplier has successfully Kickstarted a titanium cutting board.

There are some unusual design details in this Hans J. Wegner sewing table.

Nendo’s mesmerizing ’50 Manga Chairs’ animation, inspired by the visual representation of kinetic energy.

Porch piracy deterrent: A security camera that fires paintballs and tear gas. What could go wrong?

This one-legged desk design, from 1970s France, would make sense for a resource-poor environment.

From the “Walking Sticks & Canes” exhibit at the Triennale Milano, here are four experimental walking stick designs that seek to increase functionality.

Wera’s Screw Gripper holds non-magnetic screws on the tip of your driver.

This Lee Bench, by experimental designer Marco Campardo, is a Nakashima-inspired walnut bench with unusual details.

Cloche, by industrial designer Guillaume Bloget, is a low-tech, designey food smoker.

Surprisingly this Tove Lounge Chair, a beautiful Mid-Century design by Madsen and Schübell, features a sprung reclining mechanism.

Boston Dynamics unveiled their new Atlas robot, which features some pretty inhuman movement capabilities.

Packaging design case study: Zenpack’s sustainable solution for coffee pods.

Nothing Ear and Ear (a) Buds Review: It’s Nothing To Scoff At

PROS:

  • Vibrant and more ergonomic Nothing Ear (a) design
  • Beautiful, eye-catching design with a competitive price tag
  • Quality audio output with plenty of convenient smart features

CONS:

  • Nothing Ear only available in Black or White options
  • Nothing Ear (a) case only has IPX2 water resistance

RATINGS:

AESTHETICS
ERGONOMICS
PERFORMANCE
SUSTAINABILITY / REPAIRABILITY
VALUE FOR MONEY

EDITOR’S QUOTE:

The Nothing Ear and Ear (a) builds on an already successful formula without straying from the brand’s design identity.

It’s not unusual to see a company take a different direction after it launches a successful product or two. Improvements have to be made, of course, but there are times when upgrades turn into almost completely different products that seem to stray away from what made those successful designs successful. By renaming its earbuds to a simple “Ear” and dropping the number after it, some might think that Nothing has gone back to the drawing board to rebrand and redesign. Fortunately, there’s nothing to worry about since the new Ear and Ear (a) look almost exactly the same, so we give it a test to see, or rather hear, if its beauty is skin deep or if it’s something you’ll want to listen to.

Designer: Nothing

Aesthetics

At its birth, Nothing made bold claims and used Apple-like language to describe its design philosophy, and for the most part, it has been able to prove its words. It has established a distinct aesthetic not just with the Nothing Phone at also with all iterations of its Ear wireless buds. Technically the fourth generation after two numbered Ears and one Stick, the new Ear and Ear (a) thankfully retains that transparent stem design paired with opaque buds, staying true to form and keeping what its customers love about its products.

Of course, that does also mean that you won’t be able to distinguish the new Ear from the Ear (2), at least not visually. All of the changes are internal, which you can technically see because of the transparent design but not recognized. You get the upgraded experience and new features without losing the Ear’s eye-catching design, nor do you miss out on the quality materials that give the buds and its case their premium character.

If you want something fresh, you’ll have to look at the Nothing Ear (a) instead. While the buds themselves remain the same, the case transforms into a more rectangular shape that still has a transparent cover like the regular Ear. The new case also has a few important usability improvements, which we’ll get to later. The biggest difference between the Ear and Ear (a), however, is the bright new yellow color available only for the Ear (a) model. The choice of color wasn’t simply based on a whim, as Nothing compares it to its design philosophy of transparency, stripping away unnecessary colors and leaving only the primary hues. Perhaps it’s a hint that future Ears will be available in Cyan and Magenta.

In terms of aesthetics, Nothing has thankfully stayed true to both the spirit and the application of its design philosophy. You have an elegant and minimalist earbud design that embodies transparency literally and figuratively. The Ear (a) takes that a bit further in the direction of joyful play with a bright yellow finish. It would have been great if both Ear and Ear (a) shared the same color selection, but it’s understandable that Nothing wants to target different groups with different designs while still holding true to its core design values.

Ergonomics

One of the benefits of sticking to a tried and tested design is that you don’t have to worry about whether it works or not. In this case, the Nothing Ear’s usability has already been proven since the first generation, so you can be sure that you will be enjoying a tight seal and a comfortable fit like others before it. That said, there will always be exceptions, especially for those with ear shapes that the included tips don’t support. Unfortunately, Nothing has yet to provide a solution to that problem, like with extra tips to fit less common ears.

Since the case of the Nothing Ear hasn’t changed in the slightest, its ergonomics remain the same as the Ear (2). You still have a compact square shape that opens up like a clamshell, complete with that odd dimple that lets you precariously use the case as a fidget toy. It almost means, however, that the new Ear’s case still bears the same shortcomings as well, which the Ear (a)’s case thankfully fixes.

The rounded rectangular case of the Nothing Ear (a) has softer edges that make it more comfortable to hold in the hand. More importantly, however, you can clearly see its orientation so you won’t have to pause for a second to figure out which direction it opens. And unlike the Nothing Ear case, this yellow bubble-like container has markings to make it easy to see which bud goes in which slot. The red dot matches the dot of the same color on the right Ear (a) bud, while white is the color for the left bud. It’s a trivial addition but one that has a significant impact on the product’s usability.

Performance

You’ve undoubtedly come across designs that are so captivating yet fail to impress when it comes to functionality. That is fortunately not the case for the new Nothing Ear and Ear (a), and this is where the earbuds really prove to be worthy upgrades. Suffice it to say, you won’t be disappointed by the sound that you will hear, especially when you consider how much the buds cost.

The Nothing Ear and Ear (a) both boast new 11m drivers, though the higher-end model uses a ceramic material for even better audio clarity. In practice, this means that both buds are nearly equal in terms of audio output, producing clear, bold sounds with depth, especially when you turn on the bass enhance setting on the Nothing X app. Admittedly, it’s not going to compete with premium earbuds that cost nearly twice as much, but you won’t find both Ears lacking either. You get a well-balanced audio performance that makes listening to music, especially to classical music, a joy.

You can, of course, tweak the experience with the equalizer available in the mobile app, but the Nothing Ear does one thing more than the Ear (a). You can create a personalized sound profile by going through a series of tests so that you can be assured of the best quality possible given your ear shape and the tips you’re using. It takes the Ear’s performance to the next level, but not all people will be willing to pay the literal price for advanced features they may or may not even notice.

The good news is that, for all intents and purposes, the two new Nothing earbuds have the same feature set and perform quite similarly in that regard. Active Noise Cancellation, which has three levels of sensitivity, is quite effective, though definitely not on the same level as those more expensive brands. You can also set the app to automatically switch between ANC levels depending on the amount of ambient noise, which doesn’t always kick in immediately. There’s also a transparency mode that works in the opposite direction to let external sounds in, useful when you need to talk to someone or be aware of your surroundings.

Another trait the two share in common is dual connectivity, where you can pair the buds to two devices at the same time. They will switch between the two depending on which device is active, so you can take a call on your phone and then resume listening to music from your laptop afterward. In-ear detection is also automatic, and it will pause or resume playback when you remove and put back one or both of the buds in your ear.

Battery life is also one of the key upgrades in this generation of Nothing earbuds. The Ear can last a little over 5 hours with ANC on, while the Ear (a) somewhat ironically lasts longer over 5.5 hours in the same condition. Those figures nearly double if you turn ANC off, and the cases can charge the buds around three more times for extended use.

Sustainability

Nothing has always been a strong proponent of sustainable practices from the get-go, and the Ear and the Ear (a) thankfully don’t diverge from that path. The buds themselves might not be made from recycled materials, aside from the 100% recycled tin solder paste, but everything else about their manufacturing and packaging takes positive steps towards taking care of the environment. In addition to plastic-free packaging and carbon footprint labels, Nothing also uses renewable energy in the final assembly of the earbuds.

Given their size, the tendency to lose at least one of the pair, and their fragile designs, many earbuds have become almost disposable accessories, even if you’d cry over their price tag. The Nothing Ear and Ear (a) are thankfully built to last, though not exactly on equal footing. Both buds are IP54 dust and water-resistant, but only the Ear’s case enjoys an IP55 rating. The Ear (a), unfortunately, can only claim IPX2 water resistance, so you’ll probably be more careful that the yellow box doesn’t meet accidents.

Value

Despite the upgrades, the Nothing Ear doesn’t change its price tag from the $149 of its predecessor. The Nothing Ear (a), on the other hand, introduces a new $99 option in between the Ear and the $79 Ear (stick). Given its impressive performance and eye-catching design, those prices are quite a steal. The bigger question, however, is which of the two you should grab.

Unfortunately, things don’t seem to be in favor of the Nothing Ear. Yes, it has more features like a personal sound profile, a slightly better audio quality, and a more durable case, but not all of these will be deal breakers. In contrast, the Ear (a) offers comparable performance, a slightly longer battery life, a more ergonomic case, and a new yellow color option in addition to the typical white and black, all for a $50 lower price tag. There is a chance that the majority of buyers will prefer the Nothing Ear (a), especially the yellow option, but more discerning audiophiles won’t go wrong with the higher-end Nothing Ear.

Verdict

At first glance, the Nothing Ear seems like a simple rehash of an old design. It does, however, invite us to look deeper to go beyond what the eyes can see, and the product’s transparency is exactly a metaphor for that mindset. It brings together a familiar, stylish design and quality performance without extraneous features that distract you from the essentials. Best of all, it doesn’t even ask for more despite the noticeable improvements in the overall experience.

The Nothing Ear (a) sends a slightly different message with its vibrant color and more playful shape. It still clearly has Nothing’s design DNA but mixes it up with a fun identity that doesn’t skimp on the important bits. It says that you don’t have to go overboard, both in features and in price, to have a good time, and both the Ear and Ear (a) offer a delightful design that not only gets the basics right but goes above and beyond for a truly memorable experience each time you put them on.

The post Nothing Ear and Ear (a) Buds Review: It’s Nothing To Scoff At first appeared on Yanko Design.

Packaging Design Case Study: Zenpack's Sustainable Solution for Coffee Pods

Zenpack is a packaging design firm with a key difference from competitors: They also handle fulfillment, bringing design and manufacturing under one roof to offer clients a turnkey solution.

They were recently hired by coffee retailer Cambio Roasters. “When Cambio Roasters was getting ready to launch their organic coffee pods to the k-cup market, they needed a sustainable packaging solution to match their mission,” the firm writes. Here’s their case study of how they tackled the project:

The Problem

Keurig coffee makers are now a kitchen counter staple for many homes throughout the world. Simple and fast, it doesn’t get much easier to make yourself a morning cup. Some coffee pod brands, however, have their drawbacks like coffee quality, worker equity, and pod recyclability. The founders of Cambio noticed these issues and responded by starting their own coffee company committed to “Eco-Friendly, People-Powered, Profit-Sharing Coffee Pods”. The next step was finding a packaging material that would encourage customers to recycle the pods.

The Outcome

The Zenpack design team engineered a molded pulp container and lid, secured with a glue-free paper belly band. Once customers open the packaging and start using the pods at home, it transforms into a convenient countertop recycling bin. It’s a simple reminder to collect Cambio’s new pods that were redesigned for easy recycling. When they’re ready to dispose of the bin, customers can toss the pods and bin into the recycling, or use the paper pulp bin in their at-home composting or curbside composting program.

Challenges

We all know that changing habits can be an uphill battle, especially when it comes to simple tasks like throwing things away into the right recycling bin. Some cities are single stream while others require separation before pickup. But once the waste arrives at the local facility, there’s a good chance it’s not being recycled as intended. Experts estimate that only 9% of all plastic ever produced has been recycled—the other 91% is incinerated or left in the landfill to leach into the earth.

As coffee drinkers across the world fell in love with their coffee pod machines, landfills welcomed yet another plastic shape. Most coffee pods are very difficult to recycle because they’re made from multiple types of plastic, including a thin lid that’s heat sealed onto the pod, making it difficult to remove and dump out the grounds.

Perfect for coffee pod machines, but terrible for the environment, to the tune of over 30 million pods in the landfill per day. Before Cambio even put their coffee inside a pod, they knew they had to make a better version. They developed and patented a proprietary pod using only two materials, #5 polypropylene plastic and aluminum.

Cambio did their part; now it was our turn. We love a sustainability challenge, so we poured our energy (along with many cups of coffee) into figuring out how to encourage customers to quickly and easily recycle Cambio’s new pod. Our heart was set on molded pulp container, but even the most versatile materials present challenges. The Zenpack engineers would need to focus on rigidity and stack-ability while the branding team would figure out the best way to brand the Cambio family of roasts.

Solution

While molded pulp is just water and paper fiber, it requires specific structural engineering to achieve maximum functionality. In this case, we needed more rigidity, so we added vertical ribs to provide more structure. We then put the container through various stacking and fitment tests to determine the optimal wall thickness to keep lids tight during shipping. The resulting container can hold 10 pods, remains strong during shipment, and continues to be useful long after delivery.

The pulp bin is universal, meaning that Cambio can use it for every product. To distinguish the roasts, we designed a glue-free belly band with a tear strip. It’s a visually effective system, but we encountered color-matching challenges under the constraints of the 4-color lithographic printing process.

We worked closely with Cambio’s graphic designer to develop a method for setting up the artwork. This color management process helped to reduce color shifts, resulting in accurate, vibrant colors.

When a Cambio delivery arrives, customers open the cardboard shipper, pull the belly band tear strip, and start brewing. Once the pod has cooled down, they pull the aluminum tab, compost or discard the grounds, and toss the pod and lid into the recycling bin. For many, the paper pulp bin becomes a mini recycling bin. When it’s full, they can toss the entire thing into their larger receptacle. And since paper pulp is an ideal brown ingredient for composting, some customers use it as a temporary compost bin where they can discard the grounds and other kitchen scraps.

Result

We delivered an efficient packaging system for six products using the same container with belly bands printed specifically for each SKU. The result is a cohesive family of coffees that has helped Cambio expand their customer base to all 50 states in only six months. With the rapid growth, they can continue making good on their mission to contribute 20% of profits to Cambio coffee-farming families across the world. In 2024, the iF Design Awards recognized Zenpack and Cambio with honors in the Beverages Packaging category. Zenpack will continue working with Cambio for their next generation packaging as they keep on changing the coffee world, one pod at a time.

You can see more of Zenpack’s work here.

Renzo Piano unveils Boca Raton cultural centre topped with viewing box

Renzo Piano cultural centre

Architecture studio Renzo Piano Building Workshop has unveiled render of its concept for a three-storey cultural centre in south Florida, USA.

Located in downtown Boca Raton, The Center for Arts & Innovation will contain public event and education spaces and have a capacity of 6,000 guests.

People walking around plaza
Renzo Piano Building Workshop has unveiled images of a cultural centre in Florida

Plans for the center were announced late last year and the building is one of just two to three new commissions accepted by Renzo Piano annually, according to the studio.

The design phase for the project will continue over the next 18 months, allowing the project “to transcend its impact far beyond South Florida”.

People in a plaze
It will contain public performance, event and education spaces over three floors

“When you’re designing a conceptual plan as an architect, you’re often designing something that you don’t know, yet, exactly what it will be,” said Renzo Piano Building Workshop founder Renzo Piano.

“It’s about inventing. It’s about starting and working and seeing,” he continued. “We’re at the beginning and so what you see in these early designs – it’s not printed in stone. Rather, it’s the beginning of what we’re inventing and of something really unique.”

People entering a glass fronted building
Glass encloses the base of the building, while the third story is opaque and sits on top

The building’s programming will take place across three storeys, with one section of the building dedicated to a large multi-purpose event and performance space that will “merge seamlessly” with an outdoor piazza.

The remaining space will contain a public lobby, working spaces, a maker space, creator residences, a startup incubator, food services and social areas.

People standing around for a concert
A central plaza will host outdoor events

Renderings show a wedge-shaped building wrapped in a glass facade with a large plaza at its centre, protected by sunshades that span its width.

A third floor, clad in an opaque material, sits on top. In some areas, it is affixed to the glass base while in others it is hovering just above it, supported by thin pillars.

People underneath textured ceillings
Renderings show a double-height lobby with a textured ceiling

This third-floor space will host food and beverage services, along with 100,000 square feet (9,290 square metres) of solar panels to provide electricity and hot water.

A red, rectangular viewing box will be suspended above the third-floor roof, accessed by a staircase, and will be used  as an additional space for events.

“Above the roof, there will be a special 100-person capacity panoramic space, known as the Belvedere, dedicated to both public and special events with 360-degree views of the city, ocean, and beyond,” said the team.

People in a glass encased box
A viewing box suspended above the the third floor will host additional event space

Interior renders show a textured ceiling, with floor-to-ceiling glass enclosing a double-height lobby that is outfitted with brightly-coloured furniture and an exposed, skeletal staircase.

Based on the “four societal pillars” of arts, education, business and community, the project aims “to pioneer a new approach to how the world designs, imagines, programs, utilizes and embraces its cultural infrastructure” according to the team.

“Innovation is like beauty – you don’t just say someone is beautiful for their exterior, they’re also beautiful because of their mind,” said Piano.

“The same sentiment will apply to the center. It’s not about being a beautiful building; the beauty is in what will be created and invented inside the building.”

People milling about in a render
The design phase will continue over the next 18 months

As of last year, groundbreaking is scheduled for 2025, with a date still to be determined for a finalized design.

The studio recently completed a Toronto justice building to house criminal courtrooms and a museum in Turkey wrapped in a “fish-scale” facade.

The images are by Renzo Piano Building Workshop

The post Renzo Piano unveils Boca Raton cultural centre topped with viewing box appeared first on Dezeen.

ASUS ROG Mjolnir solar power station is shockingly real, but is it worthy?

One of the worst days to announce or tease a new product is April 1st. Most people already presume that the majority of “news” going out that day is a hoax, especially if it’s about something outlandish or unbelievable. Then again, it might also be the best time to get as much attention, even if it means being doubted until the product actually lands on store shelves. That’s the kind of situation that ASUS’ Republic of Gamers created when it teased one of the weirdest-looking yet also most interesting portable power stations to grace the industry, only to reveal that, no, it is no April Fool’s joke. But is this Mjolnir-lookalike worthy to be wielded by gamers and enthusiasts or is it just a dastardly plot by Loki to have a laugh at everyone’s expense?

Designer: ASUS ROG

Myeu-muh? What’s a Myeu-muh?

Even if you’re not a comics or movie buff, you’re most likely to already be familiar with the icons of Marvel’s Cinematic Universe given the media over-saturation. This is especially true for the most popular icons and their paraphernalia, such as Captain America’s shield, Iron Man’s mask, and Thor’s hammer. That hammer has a formal name, even in the original Norse mythology, though few will probably be able to utter Mjolnir’s properly unless they watched the first Thor film. It’s MYOL-neer or MYOL-nur, by the way. You’re welcome.

That hammer is the subject of today’s speculation. On the 1st of April, probably one of the trickster god Loki’s favorite days, ASUS’ gaming brand teased and then announced Mjolnir, not as a weapon but as an electrifying computer accessory. It’s a power station that indeed resembled the movie prop to some extent, with a large rectangular box whose sides tapers a bit, and a rod extending from the body acting as a handle. ROG was quick to point out that it’s a real thing, not a hoax, but that in itself could be the joke. But maybe it would have been better if it remained hidden from mortal hands.

What We Know So Far

To be fair, there’s not much we know other than what ROG itself has revealed, but there’s quite a bit already available. The most important is that this power station can be charged using solar energy, drawing power from the sun instead of lightning. How it does that, however, is still anyone’s guess. The teaser showed a dark rectangle on the station’s front that could be a tilting solar panel, though that would be too small to supply the power that this large box needs and was probably just a placeholder graphic.

On the front, you will see an assortment of ports typically found on power stations. There are four AC outlets, two full-sized USB-A ports, and two USB-C ports. There’s an LCD display above these ports that shows important information about the input, output, and remaining battery capacity. Noticeably missing here, however, are DC and car charging ports, which hints that this power station might not have outdoor adventures in mind.

The teaser also mentions that the ROG Mjolnir can illuminate your path with the light it summons, but it unsurprisingly doesn’t say how. That panel on the back could be a very bright flood light, but the better theory is that the handle itself is some sort of lighting component. Either the handle lights up or, more likely, it’s a removable flashlight, which is a better design for a part that would otherwise simply be a cosmetic detail that gets in the way.

Cracks in the Hammer

There’s no denying that the ROG Mjolnir has an interesting design, one that will appeal to a large segment of the market, especially the brand’s gaming audience. Its upturned hammer shape sets it apart from other portable power stations, if the ROG branding doesn’t already make sure of that. The bigger question, however, is whether that design is actually good for the product’s usability or hinders it.

That handle is going to be the biggest point of contention, with a tall rod sticking out from the top of the box. If it acts as a removable flashlight, then it’s not as big of an issue. But if it’s permanently fixed in that position, it will become a problem when storing or moving the power station. It’s not like you can carry the Mjolnir using its handle for real. But if that handle were removable, it also introduces a different kind of problem, one of durability and reliability. There’ll be a hole where the handle connects to the body, which means an opportunity for dust and liquid to get into the sensitive electronics. Definitely not a smart design.

It doesn’t look like the power station is designed for easy carrying either. Depending on how much battery it’s packing inside, this power station can end up being a bit heavy to carry with one hand without a handle. You’d have to hold it with both hands, but there doesn’t seem to be any grips to make that convenient. Admittedly, it doesn’t look too big beside a smartphone, but that’s just a render that might not reflect the product’s actual size.

True Power

There’s admittedly not much we know about the ROG Mjolnir Solar Power Station yet, including its specs, its price, and whether it’s really an actual product or ROG has just been pulling our leg and chuckling at the buzz going around their vaporware. Then again, it’s a pretty niche design as far as a power station is concerned, anyway, and there are plenty of other options in the market, albeit with less sensational aesthetics.

When it comes to solar portable power stations, the BLUETTI AC2A comes with all the bells and whistles, including proven product quality and durability. There are only two AC outlets, yes, but it makes up for it with a wider variety of input and output ports. You will need to plug in a solar panel, but that might also be the case for the ROG Mjolnir anyway. The BLUETTI AC2A is indeed designed more for outdoor use, though it can be an emergency backup for computers at home as well. As far as we know, the ROG Mjolnir is primarily designed to serve gamers’ needs, with rather questionable outdoor survivability.

Designer: BLUETTI

Is the ROG Mjolnir Power Station going to sell? It will probably have a few fans, especially those who will readily throw money at cool-looking and unique designs. It is going to be a practical and usable product? It’s definitely too early to say, and ROG might still end up surprising us, or completely disappointing us with the harsh reality of a month-long joke. Either way, we don’t expect the ROG Mjolnir to be a ground-breaking new design beyond its unique aesthetics, and if you’re looking for truly gamer-ready power solutions, you don’t have to wait for the truth to be revealed.

The post ASUS ROG Mjolnir solar power station is shockingly real, but is it worthy? first appeared on Yanko Design.

Wera's Screw Gripper for Non-Magnetic Screws

This screw gripper, designed and manufactured by Wera Tools, is for holding non-magnetic screws on the tip of your driver. It slides over cylindrical and hexagonal shafts with a diameter of 4.5mm to 6mm.

Made of soft plastic, they won’t mar the surface of your workpiece as the screw reaches home.

They also have an insulated version, sold as a pair; this includes the 4.5mm-to-6mm-sized unit and a larger one that can handle 6mm to 8.5mm.

They run $6 and $12, respectively.

Asko designs kitchen appliances "with a better future in mind"

Promotion: a sleek “hood-in-hob” extractor fan, designed as an alternative to an overhead device, is among the minimalist kitchen products created by Swedish brand Asko.

Know for creating understated cooking appliances informed by Scandinavian minimalism, Asko recently unveiled the Elevate “hood-in-hob”, which combines an automatic tower extractor fan and an advanced induction hob.

When activated, the tower automatically rises from the centre of the hob, providing a clutter-free alternative to an obstructive overhead appliance.

Hood-in-hob appliance by Asko
Asko has created a “hood-in-hob” with an automatic tower

The extraction tower includes five different extraction levels as well as automatic and manual clean air functions. According to the brand it has “superior, near-silent performance”.

“What really lifts Elevate above the rest is its user-friendly design,” continued the brand.

“By removing the extractor from the wall or ceiling, Elevate lets you view the kitchen from a completely new perspective – a blank canvas where anything is possible.”

Celsius Cooking hob sytem
Another appliance is the Celsius Cooking hob system

Elevate has been developed using the latest induction cooking technology, featuring the Celsius Cooking system.

A series of add-ons are available – such as a smart pan, pot and a thermometer, which communicate via Bluetooth and work to ensure that food on the hob is cooked at the right heat for the optimal time.

“Home chefs can finally – and confidently – say goodbye to undercooking, overcooking or overboiling,” said Asko.

Wine Climate Cabinets
Wine Climate Cabinets is Asko’s “personal sommelier”

Described as a “personal sommelier”, Wine Climate Cabinets is Asko’s smart solution to a traditional wine cellar.

Available in four different variants, the vibration-free cabinets are controlled by smart technology, which optimises the light conditions, UV light protection and humidity monitoring of the wine they store.

The contents of the black-hued cabinets can be managed using an interface connected to a camera, an app and a “Vivino” database.

Wine cabinet by Asko
The product comes in four iterations

The company calls its ASKO DW60 “the world’s most reliable and responsible dishwasher”.

The steel model uses UV light to eliminate 99.9 per cent of bacteria, fungi and viruses on crockery, according to the brand. 

With a loading height of up to 58 centimetres, the dishwater has “the world’s tallest loading-height and the largest loading capacity”, explained Asko.

ASKO DW60 can accommodate 17 place settings that can be cleaned and dried, while users can also stay connected to their dishwasher via the Connect Life app – the same technology used by the Wine Climate Cabinets.

Fridge by Asko
The brand has also designed a refrigerator

The brand has also designed a freestanding refrigerator characterised by the same fluid design features as the rest of its products.

Asko’s fridge was created to store more food for longer and reduce waste as a result of its automatic humidity control function.

A cooling system, called Cool Flow+, ensures that the fridge’s temperature is rapidly restored even after opening and closing the door.

There is also the option to separately control the temperature of individual drawers – adding “unbeatable flexibility” to the model.

“This is a fully automated process that prevents fruits and vegetables from drying or decaying,” said the brand.

The fridge’s freezer compartment can also be converted into a fridge, depending on the user’s preferences.

Finished in either stainless steel, white or black steel, the product was created to be flexible around different interior settings.

“Our products are made to save energy, reduce emissions and increase recycling and reuse,” concluded the brand.

“Asko kitchen appliances are made with a better future in mind.”

For more information on Asko, visit its website here.

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This article was written by Dezeen for Asko as part of a partnership. Find out more about Dezeen partnership content here.

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Ten products and furnishings launched during Milan design week 2024

Pop lighting collection by Nahtrang for Rakumba

Dezeen Showroom: a collection of console tables and benches informed by kimonos are included among products on Dezeen Showroom that were presented during Milan design week.

Leading designers and brands unveiled products and collections during this year’s event, including a series of undulating lighting, an office chair with a deliberately bent metal structure and a credenza with dramatic proportions and refined materials.

Milan design week took place from 15 to 19 April, attended by 300,000 visitors, and is a significant event in the global design calendar, featuring installations and events based in hundreds of venues throughout Milan’s multiple design districts.

Visit Dezeen’s dedicated digital guide for a comprehensive list of the installations, exhibitions and talks that took place as part of this year’s edition.

Read on to see our top picks of products, furnishings and homewares that launched during the week that were listed on Dezeen Showroom.


Andromeda credenza by LSM for UniFor

Andromeda credenza by LSM for UniFor

Italian furniture company UniFor presented its Andromeda furniture collection at Milan design week, which was designed by architecture and design studio LSM.

One of the pieces in the series is the Andromeda credenza, which shares the wider collection’s stately proportions and refined materials – it comprises an aluminium base with options for other materials including glass, travertine, wood and travertine.

Find out more about Andromeda credenza ›


Pop lighting collection by Nahtrang for Rakumba

Pop lighting collection by Nahtrang for Rakumba

A snaking modular lighting fixture is at the centre of Spanish design studio Nahtrang lighting collection, created for Australian brand Rakumba.

Floor and table lights as well as wall lamps are also included in the Pop lighting collection, which comes in a selection of playful colourways and metallic finishes.

Find out more about Pop ›


Photo of the New Marquina Bamboo stone finish by Antolini cladding a kitchen island

New Marquina Bamboo stone finish by Antolini

Verona-based Italian stone brand Antolini has pioneered a new type of surface finish called New Marquina Bamboo, which has long, vertical etched lines that mimic the appearance of tall sheaths of bamboo.

The finish has a distinctive, textural quality and can be applied to a spectrum of natural stone in order to enhance the appearance of organically occurring striations.

Find out more about New Marquina Bamboo ›


Origata collection by Nao Tamura for Porro

Origata collection by Nao Tamura for Porro

Italian furniture brand Porro worked with Japanese designer Nao Tamura on a duo of furniture items that are based on the meticulous process of cutting out material for kimonos.

A console table and bench make up the Origata collection, both of which are made from aluminium sheets that are crimped to resemble folds of a kimono garment.

Find out more about Origata ›


Typo office chair by AMDL Circle for Mara

Typo office chair by AMDL Circle for Mara

Furniture brand Mara has created a task chair with a playful spine-like structure characterised by purposefully crimped metal.

The Typo office chair comes in a selection of finishes and colourways for the frame and seat.

Find out more about Typo ›


Gubia cabinet by Gordon Guillaumier for Alf DaFrè

Gubia cabinet by Gordon Guillaumier for Alf DaFrè

Italian furniture company Alf DaFrè has created a distinctive wooden cabinet defined by its mottled surface, created using a carpentry tool called a gauge chisel.

The Gubia cabinet has concealed handles and doors and is supported by four slim, tubular legs at each corner.

Find out more about Gubia ›


Poetica furniture system by Scavolini

Poetica furniture system by Scavolini

Italian design brand Scavolini has presented a range of its furnishing systems at Milan design week including Poetica, which aims to create a homely and comfortable atmosphere thanks to its use of wood.

The system combines base and wall cabinets that can be used in bathrooms, kitchens and living areas.

Find out more about Poetica ›


Frammento tiles by Marazzi

Frammento tiles by Marazzi

Italian tile company Marazzi has designed a series of floor coverings that mimic the distinctive appearance of traditional terrazzo but are made using an AI program.

Frammento tiles have a multicoloured, flecked finish which was created using AI through a process that included scanning reference material.

Find out more about Frammento ›


Pietra Tiburtina tile collection by Casalgrande Padana

Pietra Tiburtina tile collection by Casalgrande Padana

Casalgrande Padana‘s latest surface collection features a duo of tiles, one with naturalistic striations and one with a cloudy pattern, both reminiscent of different cuts of travertine stone.

The Pietra Tiburtina tile collection can be used on walls and floors as well as to create countertops, washbasin and furniture.

Find out more about Pietra Tiburtina ›


Spoon XL bathtub from Agape

Spoon XL bathtub by Benedini Associati for Agape

Italian bathroom company Agape has released a new version of its Spoon XL bathtub that is made out of travertine, a popular material for furniture and buildings since ancient Rome.

The Spoon XL bathtub has a characteristically curved half-egg shape, and this version has naturally-occuring details and inclusions.

Find out more about Spoon XL ›

Dezeen Showroom

Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.

Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.

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A Beautiful Mid-Century Chair, Occasionally with a Surprise Mechanism

This Tove Lounge Chair was designed by Arnold Madsen and Henry Schübell*, a 20th-century Danish design duo.

Produced in the 1950s and ’60s, it’s finely designed and made, with a well-balanced blend of curves and straight lines. The frame is Oak and the sculpted armrests are made of Teak, and the transitions between the two have been beautifully done. The armrests flow gracefully into the front legs, and are joined to the rear legs via wedged tenon.

Looking at the underside, you can see this piece has been repaired at some point. The telltale is the screws that attach to the seat. The pair of larger slotted screws are undoubtedly the originals; the smaller Pozi-head screws are practically swimming in the original countersinks.

Below is a rare variant of the Tove chair with a mechanical feature. From the left side and the rear, it looks like an ordinary Tove…

…but from the right you’ll spot this lever with a knob.

This variant incorporated a sprung reclining mechanism. It provided eight different angles of recline.

It’s hard to spot in the photos above, but in the shots below, you can see that this reclining version of the chair does not have the wedged-tenon joinery where the armrest meets the rear legs.

There was a companion footstool that could also be tilted.

Looking at the underside of this specific chair, it also appears to have been repaired; while it’s possible that the clunkily-integrated piano hinge was used, the support pieces look to be stained, and I have a hard time believing a manufacturer would go to the trouble of staining unseen pieces, in a different color no less. My guess is the repairer had these pieces on hand.

*Note: The Tove was designed by Arnold Madsen and Henry Schübell. On numerous vintage sites I’ve seen it attributed to Ib Madsen and Acton Schübell, which is incorrect.

Ib Madsen was Arnold’s son, and the two did eventually go into business together–years after the Tove design was introduced. Henry Schübell had sons named Flemming and Preben, and Flemming eventually worked for his father, but there’s no Acton that I can find a record of. So I’m not sure where the “Acton” attribution comes from…unless it’s Danish for “Hank?” (Flemming, who was still alive as of 2021, is known as Flemming.)