Dec 09

Adaptations exhibition intends to "celebrate and inspire creative thinking"

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A photograph of a brown wooden workbench with a storage unit built into it. There is another storage unit beside it in tones of green, structured by silver beams. Behind them both is a white wall with green text on it.

London’s Aram Store has unveiled the Adaptations exhibition, in partnership with Swiss modular furniture brand USM, at its own gallery in Covent Garden.

The exhibition, which is taking place at the Aram Gallery in London, presents work by 10 studios and practitioners who used components from USM’s Haller modular system – normally used to create storage and display designs – to form different types of furniture.

The resulting pieces range from designs for the workspace to furniture for the home, and include a bookshelf and coffee table as well as storage for a camping van.

A photograph of a frame in tones of black, structured by silver beams, and a coffee table in the same colours with a vase of flowers on it. On the right there is a rectangular banner hanging in tones of green with white text on it.
Aram produced the Adaptations exhibition in partnership with USM

Aram selected the exhibiting studios and creatives based on what they could each individually bring to the project, with disciplines spanning architecture, art, textiles, interiors and product design.

“It was important to have people from a wide variety of creative practices as we wanted each piece to have its own distinct point of view,” Aram creative manager Grace Eden told Dezeen.

“Each exhibitor was chosen because we felt that they would understand and engage with the system.”

A photograph of three blue stools with structured by silver beams, with a brown wooden picnic table behind them.
The exhibition exhibits pieces from 10 studios and practitioners at Aram Gallery in London

Design studio Mitre & Mondays utilises processes that prioritise disassembly, reuse and repair in its work, which holds similarities to USM Haller.

The studio constructed folding stools, designed to enhance its group lunches when working onsite in narrow London streets, from USM Haller components and textile slings for the exhibition.

A photograph of silver drawing boards with white paper on them, displaying pencil drawings.
All pieces in the exhibition were constructed with pieces from the USM Haller modular system

Artist Issi Nanabeyin, meanwhile, adapted the Haller system by bending its shelf component and incorporating a laser-cut wheel and aluminium round tubes.

For Adaptations, he produced ResearchObject, a mobile bookstand designed to encourage collaboration, and DesignObject.

This is an adjustable drawing board that pivots from 10 to 40-degree angles to fit different needs within creative processes.

“We felt confident [Nanabeyin] would engage with the technical aspect of USM in a singular way,” said Eden. “His pieces were created to aid his artistic practice, but also mirror it in that they are highly articulated and moveable.”

A photograph of a storage unit coming out of a white wall – illustrated around it in black is a camper van, detailing how the storage unit it intended to be a pull out feature of the van.
Each piece intends to aid each practitioner’s home or work life

Studio Rhonda founder Rhonda Drakeford created a pull-out storage unit for her Volkswagen campervan, identifying a similarity between the modularity of the USM Haller products and camping engineering.

The multi-functional shelf includes repurposed handles from the Haller trolley to hang utensils from, along with hand-burnished USM chrome frames to match the van’s interior surfaces.

“We felt Studio Rhonda would be sympathetic to USM Haller’s inherent values whilst also designing a striking piece,” Eden said.

“Her pull-out unit for her campervan was a perfect expression of the brief.”

A photograph of a storage unit in tones of black and silver, against a glass wall with yellow beams.
Holly Rollins created a storage unit with a built-in seat to assist her practice

Another practical design on show was the tool chest trolley by architect Jennifer Dyne, which slots into her existing workbench and was entirely composed of USM Haller pieces.

Designer Holly Rollins created Research Buereau, a multi-purpose workstation that integrates storage and seating, featuring a swing-out desk that uses the USM modular furniture ball as a pivot.

A photograph of a chair constructed of silver beams and beige fabric, beside a silver clothing rail with two blue drawers at its base.
A chair and clothing rail by David Searcy provide storage in the home

As well as objects designed for work environments, the exhibiting designers also created furniture and interior pieces for the home.

Designer David Searcy’s chair featured clothes rails that were integrated into its armrests for storage, while designer Si Hyun Park created a frame to present her drawings of London scenes.

A photograph a rectangular lamp, structured with silver beams, with a yellow and blue textile covering and a dark green drawer at its base. There is a green rectangular banner to the left of it with white text on it.
Also included is work by textile artist Mair Cook

A lamp by textile artist Mair Cook featured a handwoven lampshade that wraps around a USM storage structure, designed to create soft lighting suitable for Cook’s baby daughter.

“My daughter spent her first month in the neonatal intensive care unit, so I find I am grateful for the normalcy of touch and togetherness we were denied,” she said.

“The night feed is a sacred, quiet time of bonding for us, and the lamp will accompany us through the drowsy hours.”

A photograph of a rectangular lamp, with a white lampshade and structured with silver beams. There is a yellow bookshelf to the right of it, also structured with silver beams.
Livia Lauber’s floor lamp and bookshelf are for both the home and her studio

Designer Livia Lauber designed pieces for both the workplace and the home using USM Haller, creating a bookshelf and a floor lamp.

The bookshelf – titled Bockself – was intended for her studio and constructed using custom-length diagonal support tubes. It features smaller shelves at the top and lower, sturdier shelves for heavier books.

The Usmo lamp has a hanging shade made of Japanese washi paper, creating a soft contrast to the Haller metal frame.

A photograph of two chair-like objects, structured by silver beams. One is orange and one beige. Between them is a hanging rectangular green banner with white text on it.
Kengo Horikoshi’s work explored the concept of a chair

London-based designer Kengo Horikoshi took a more conceptual approach in his response to the brief.

Experimenting with the concept of a chair, Horikoshi explored the idea of a piece that evolves and adapts alongside its user, utilising Haller’s modular format and range of components.

A photograph of a brown wooden workbench with a storage unit built into it. There is another storage unit beside it in tones of green, structured by silver beams. Behind them both is a white wall with green text on it.
The exhibition is on until 14 December in London

Aram hopes that the exhibition can inspire visitors’ creativity whilst highlighting the possibilities of the USM Haller system.

“The wider intention of Adaptations is to celebrate and inspire creative thinking and instinctive, functional design,” said Eden.

Adaptations takes place at Aram Gallery in London from 8 November to 14 December 2024. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Dec 09

Japanese joinery and 3D-printed wood waste combine to form The Warp pavilion

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Modular tiles, 3D printed using sawdust leftover from CLT production, were joined together without additional fixings to create this pavilion showcased by Japanese firm Mitsubishi Jisho Design at Dubai Design Week.

The Warp is a teahouse pavilion developed by architects Kei Atsumi and Motoya Iizawa from Mitsubishi Jisho Design’s Tokyo headquarters, along with Singapore-based Vibha Krishna Kumar from Mitsubishi Jisho Design Asia.

The Warp by Mitsubishi Jisho Design
Mitsubishi Jisho Design showcased a teahouse pavilion at Dubai Design Week 2024

The project showcases a production system developed by the architecture firm called Regenerative Wood, which uses a filament made from wood waste mixed with bioplastic to 3D print building components and furniture.

The pavilion is constructed from approximately 900 panels, each with a different shape, that fit together using special joints based on traditional Japanese woodworking techniques.

Tea ceremony The Warp by Mitsubishi Jisho Design
The structure is assembled by hand without additional fixings

The individually numbered components can be slotted together by hand without the use of nails or additional fixings, making the structure easy to disassemble and reassemble at different locations.

“The Warp is more than just a pavilion, it is a statement about the future of architecture and design,” said Atsumi. “By blending ancient carpentry with modern 3D printing, we have created a new language of architectural expression.”

“The pavilion demonstrates that technology can breathe new life into age-old traditions, offering a vision of a future where innovation and sustainability go hand in hand.”

Components of The Warp by Mitsubishi Jisho Design
The pavilion is made up of around 900 panels

The Regenerative Wood system utilises sawdust leftover from the production of wooden building elements, which is transformed into a raw material that can be 3D printed with high precision and strength, according to Atsumi.

The components are suitably sized both for printing and for packing in standard-sized cardboard boxes to facilitate easy shipping.

Interior of The Warp by Mitsubishi Jisho Design
The components are individually numbered

For Dubai Design Week 2024, The Warp was used as a teahouse that invited visitors to experience a traditional Japanese tea ceremony.

Occupying a compact 32-square-metre site, the pavilion was positioned on a platform next to a Japanese garden with a stone path leading to its narrow entrance.

The design references low, square openings called nijiriguchi that are typical of traditional Japanese teahouses.

Once inside, the structure’s organic, twisting curves create a vortex-like effect that is intended to represent what the designers called “a leap through space and time”.

The shape expands outwards and upwards, creating a space that is large enough for a tea master to prepare and serve guests while looking out towards Dubai’s futuristic skyline.

The Warp by Mitsubishi Jisho Design
The Warp has an undulating form

The Warp is the third prototype developed as part of the Regenerative Wood programme, following a curving reception counter and partition, as well as another pavilion called the Tsuginote Tea House.

The project is part of a network created to utilise waste from MEC Industry, which belongs to the Mitsubishi Estate Group and provides the construction industry with products such as processed and cross-laminated timber (CLT).

By creating a closed-loop system where waste is reused to create new products, the company aims to achieve a goal of zero waste during lumber processing while supporting an increase in wood-based construction.

Exterior of The Warp by Mitsubishi Jisho Design
It was used as a teahouse during Dubai Design Week

Other experiments in 3D printing with regenerated wood range from small-scale projects like Yves Béhar’s Forust homeware collection to a floor cassette panel that can rival the strength of steel.

Mitsubishi Jisho Design can trace its history back to the establishment of the Marunouchi Architectural Office in 1890 by the Mitsubishi Company. It became an independent company in 2001.

Previous projects by the studio include another experimental teahouse made from food waste at the Venice Architecture Biennale and an 11-storey hybrid timber hotel in Sapporo, Japan.

The photography is by DUA Photography.

Dezeen was a media partner of Dubai Design Week 2024, which took place from 5 to 10 November. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Dec 09

Top 3 Long-Term Trends in Product Design You Shouldn’t Ignore

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We’re just weeks away from 2025, and sure, we could recap the year gone by – but more notably, we could also understand what the future holds for the design field. What shifts will shape the industry over the next decade? What skills and tools will define success for designers in the long term? And what trends will stick around rather than fading away like temporary fads?

KeyShot, a leader in 3D rendering software, offers unique insights into these questions. With two decades of experience working alongside freelancers, design teams, and major corporations, KeyShot’s expertise reflects the industry’s evolution. Their recent focus on a Product Design-to-Market approach connects design and go-to-market teams, streamlining workflows, reducing costs, and fostering innovation. This holistic strategy, complemented by tools like KeyShot Hub and KeyShot Dock, underscores how design processes are becoming more integrated and efficient.

Here’s a look at some of the trends that KeyShot predicts will shape the product design landscape for the next few years – from the rise of 3D visualization to the increasing importance of seamless team collaboration.

Download the KeyShot Product Design-to-Market Whitepaper Here

Trend 1: 3D Renderings will take the Front Seat over Product Photography or AI

Traditional product photography—while effective—often creates bottlenecks. Equipment costs, travel for on-site shoots, and dependency on finalized prototypes slow marketing timelines and inflate budgets. Compounding this challenge is modern consumers’ expectation of interactive visuals, like animated and 360-degree views, before making a purchase.

Enter 3D product renderings. By repurposing design-stage assets, marketing teams can drastically reduce costs and time-to-market. For instance, Oliver Yu, who managed imagery for a gaming accessories manufacturer, turned to KeyShot Studio after restructuring left his team stretched thin. He found it far more efficient than producing physical samples for photography.

With KeyShot Studio, “All of this can be done digitally before a single sample has ever been made, allowing all the stakeholders to have a photorealistic visual of the products, ultimately saving hundreds of thousands of dollars annually in sampling costs,” Yu said. Various KeyShot customers have shared that they save anywhere from $500,000 to over $10 million annually by using product renderings instead of photos.

Similarly, Randolph Engineering, known for high-end eyewear, revolutionized their workflow with KeyShot Studio. Previously, capturing product images was a laborious process due to the reflective nature of glasses. Art Director Jeff Davidson found that digital renderings not only saved time but also fostered closer collaboration with the engineering team, as they could refine materials like frame finishes and lenses together.

The financial and logistical benefits are clear, but perhaps the most compelling advantage is sales impact. A Shopify study revealed that 3D visuals outperform static images, boosting online conversion rates by 94%. This data underscores why more brands are turning to tools like KeyShot to stay competitive in e-commerce.

Trend 2: “Faster & Cheaper” Digital Prototypes Will Replace Physical Models

In product development, budget constraints and tight timelines are constant challenges. Physical prototypes, while valuable, can drain resources and slow innovation. Increasingly, designers and engineers are adopting digital prototypes—hyper-realistic 3D renderings that simulate physical models.

Neil O’Connell, a veteran product developer for companies like Microsoft and Lenovo, highlighted the efficiency of this approach. “Instead of spending weeks or months and thousands of dollars on physical prototypes, digital prototypes are faster, cheaper, and often lead to better design decisions,” O’Connell said.

Digital renderings also make complex concepts accessible to non-technical stakeholders. By using animations, exploded views, and cross-sections, engineers can communicate ideas effectively to executives, enabling quicker, more informed decisions.

At Sonos, 3D renderings play a vital role throughout the product lifecycle. Former design lead Stefan Reichert noted how KeyShot visualizations speed up cross-functional collaboration, ensuring clear communication across engineering, acoustic, and wireless teams. Razor, the globally recognized scooter brand, also relies on KeyShot renderings at every stage of development, from ideation to production.

Trend 3: Design Teamwork Will Become Less Manual and More Efficient

While design is inherently creative, many designers find themselves bogged down by administrative tasks like managing files, tracking revisions, or consolidating feedback. These inefficiencies not only waste time but also stifle innovation.

KeyShot addressed this challenge with KeyShot Hub, a platform designed to simplify collaboration and asset management. Acting as a central repository, Hub ensures all team members have access to the latest file versions, eliminating duplication and reducing miscommunication or wasted productivity. In fact, KeyShot’s developers even designed a tool to ‘measure’ this waste, providing a rough estimate of lost productivity and revenue caused by these logistical inefficiencies. You can try the free tool out here!

KeyShot Product Manager Garin Gardiner noted that Hub is particularly valuable for material management. Teams can work from a unified material library, making updates instantly accessible across the organization. Additionally, automated tagging of assets—like Model Sets or Camera Views—saves time during file searches.

Gardiner also shared that companies often underestimate how much time they lose to inefficient workflows. Yanko Design even interviewed Gardiner to know about how the new KeyShot Hub was built specifically to address the logistical challenges faced by design teams. Gardiner has also provided a full walk-through of Hub, including its integration with KeyShot Studio, on YouTube.

The Future of Product Design Is More Connected/Collaborative Than Before

The trends driving product design emphasize connection—between tools, teams, and processes. KeyShot’s commitment to a Product Design-to-Market strategy exemplifies this holistic approach, equipping designers with the technology to work smarter and collaborate seamlessly.

Whether it’s the rise of 3D renderings in marketing, the efficiency of digital prototypes, or the streamlining of collaborative workflows, the future of product design is defined by tools that empower creativity and communication. KeyShot’s suite of solutions is setting the stage for this evolution, helping designers not just keep up but lead the way.

For a deeper dive into KeyShot’s Product Design-to-Market approach, check out their free whitepaper here.

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Dec 09

LEGO’s Gorgeous Brick-based Wreath is Easily the Perfect Holiday Centerpiece

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LEGO’s Botanical Collection has always had a knack for transforming nature’s beauty into something delightfully brick-built, and the 10340 Wreath doesn’t miss a beat. It’s a blend of creativity and festive spirit, delivering an experience that’s as much about the build as it is about the final product. While everyone’s decking the halls with boughs of holly that will wilt or brown in a week’s worth of time, this LEGO wreath stays intact for years, keeping that holiday charm going even after the holidays are over.

This isn’t LEGO’s first foray into wreath-making—2020’s Christmas Wreath 2-in-1 was charming, but it pales in comparison to the grandeur of this release. With twice the piece count and a design rich in detail, the 10340 Wreath is nothing short of a holiday masterpiece. It’s adorned with cleverly crafted pinecones, printed orange slices, and cinnamon sticks that are so realistic they might make you crave mulled wine. From the box art alone, you can almost smell the festivities.

Designer: LEGO

The build itself is a thoughtful blend of simplicity and depth. The base structure, assembled from four sub-units, provides a sturdy foundation for the magic to come. Once the groundwork is laid, the real fun begins—layering foliage in a way that’s both repetitive and rewarding. Using palm tree elements, new sand-green recolors, and a variety of leaf pieces, the design mimics the textures of a real wreath with surprising accuracy. Each layer adds depth, transforming a pile of bricks into something that looks alive.

Moments of surprise are scattered throughout the build. What looks at first glance like a clever assembly turns out to be a stroke of brilliance—minifigure flat caps stacked to mimic the scales of a real pinecone. These little moments of surprise are what LEGO does best, rewarding builders not just with a finished model but with a sense of discovery along the way. It’s a feeling that keeps you reaching for the next piece, eager to see what other secrets are hidden in the build.

The flexibility of the design ensures it fits into more than one tradition. Whether you’re hanging it on a door or laying it out as a table centerpiece, the wreath adapts effortlessly. Swapping between the two configurations is quick, adding to its charm as a versatile seasonal piece. It’s a model that seems determined to give you options, making it feel like an even greater value.

There are challenges, of course, but nothing that takes away from the fun. As the layers stack up, visibility becomes tricky, and placing pieces can feel like solving a puzzle in dim light. But there’s something satisfying about the small effort it demands. Adjusting the foliage, tweaking the positioning—it’s a process that invites you to slow down and engage, offering a meditative rhythm amidst the holiday bustle.

Once complete, the wreath’s presence is undeniable. Its lush, textured form radiates festive warmth, whether hanging in the hallway or gracing the dinner table. From the matte finish of the leaves to the vibrant pops of color in the berries and citrus, every detail feels meticulously considered. It doesn’t just decorate a space; it transforms it, wrapping your home in holiday cheer.

At $99.99, this set sits at the premium end of LEGO’s holiday offerings. For some, the lack of a licensed theme might make the cost harder to swallow. Yet when you step back and consider what you’re really paying for—a decoration that lasts, a joyful building experience, and a touch of holiday magic—it starts to feel less like a splurge and more like an investment. Unlike real wreaths that shed needles and fade, this one stays vibrant year after year.

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Dec 09

Lexus Liminal Cycles is a multisensory installation based on the LF-ZC luxury EV

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Lexus has collaborated with Bratislava-based research and design studio Crafting Plastics to create an installation that revolves around material objects. Dubbed Liminal Cycles, the creation is inspired by the all-electric Lexus LF-ZC (Lexus Future Zero Catalyst), implementing an abstract installation that explores the various senses and elements of a vehicle. This is in tune with the brand’s AI-driven software.

The mesmerizing kinetic structure is a layered skeletal made out of 3D-printed bioplastic (called Nuatan) in the shape of LF-ZC’s body. This installation designed by Germane Barnes, Michael Bennett (Studio Kër), Suchi Reddy, and Tara Sakhi is on display at the sculpture garden of the Institute of Contemporary Art, Miami. This breathable sculpture acknowledges the adaptability and responsive technology of the developing concepts of SDVs (Software Defined Vehicles) that envision the software-enabled customization of luxury vehicles.

Designer: Lexus and Crafting Plastics

The culmination of automotive technology and global art and design audience, the installation is a first mover advantage in the “bold and uncompromised experiences for the next generation,” according to Lexus’ press release. This 1:1 version of the real thing is not harsh to the environment in any way as the bioplastic material is based on 100% renewable resourcing with no traces of microplastics left behind. To enhance the dynamism of the sculpture it is coated with UV-responsive material skin. Thus, it reacts to environmental stimuli including changing position of lights, the intensity of UV radiations, or the viewer’s proximity. Based on these dynamic changes the sculpture can expand or contract in real-time, just like breath-like movements, thus representing the harmony between nature and technology.

Along with the replica of the LF-ZC, there are three complementing satellite installations that incorporate the design elements of the car to showcase the sensory inputs ranging from audio and visual cues. One of them is a flower-like sculpture representing the futuristic steering wheel of the car in a rugged earthy texture. It reacts to the user’s touch, responding with fluctuation in the volume and intensity of the sound composition. The second complementing installation is a reinterpretation of the headrest that emanates a Lexus-inspired perfume in response to the user’s interaction. The last one is a wind-activated lattice-like sculpture that responds to any active stimuli to reveal the brand’s logo, owing to the sensitivity of the bioplastic material in response to the shift in UV radiation.

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Dec 09

This e-trike micro camper loaded with smart features is a handful to drive around

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Campers provide a haven to continue your adventures, no matter the weather conditions or terrain. We’ve seen innumerable examples of stellar off-road campers, ones fitted with luxury that would put any apartment to shame, and some that break the convention with their innovative design.

Meet the T1 micro camper by Michigan-based startup Grounded, which is an odd combination of an e-trike and tractor-trailer. This has to be a one-of-a-kind micro camper, and Grounded’s claim as the world’s first trike camper cements the fact. The concept is based on the company’s flexible camper module that can be towed with a range of vehicles. This contraption for electric tricycle hauling is one of them.

Designer: Grounded

The micro camper is 44 inches wide which makes the interiors crammed for room but still good enough for short adventure trips to places that don’t warrant enough space for big or even normal-sized campers. Standing height of 6.7 feet up to the ceiling should however be roomy enough for tall people. The camper should be good enough for a single person or a couple given the interior carpet area is around 280-cu-ft. Driving the thing around isn’t going to be a rosy ride as the driver is seated outside the cozy interiors of the camper. Keep inclement weather conditions and safety in mind.

360-degree panoramic windows on all sides keep the space well-lit and airy, and the wide door entry somewhat compensates for the cramped interior space. For two people the micro-camper comes with a full-length double bed that doubles as a two-person dining table. Opposite this convertible bed is a compact kitchenette that has its own induction cooker, fridge and sink. Grounded also gives the users the option to fit the thing with an optional dry flush toilet and outdoor shower. For quality-of-life additions, the maker fits the camper with a full range of electronics controlled via the companion app.

T1 micro camper comes with 500 Watts roof-mounted solar panels, and boasts an overall range of 150 miles on a single full charge. The 15-kWh battery feeds all the camping amenities and of course the trike’s 750-W electric drivetrain. The electric drive system creates 390 lb-ft of torque for respectable muscle while pulling the loaded trailer. However, the top speed of 15 mph will keep you limited to the city outskirts. Grounded has opened a $100 preorder booking for the micro camper, and confirms that the T1 micro will launch in the Northern Hemisphere in spring 2025. The starting price of $30,000 should call out all solo travelers who want to explore city limits.

 

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Dec 08

“Living Hell” San Quentin Prison Is Getting A Pleasant Nordic-Inspired Makeover With A Campus-Like Design

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San Quentin is one of the USA’s most infamous prisons. It was described as a “living hell” by Johny Cash, but recently it underwent a Nordic-style makeover that focuses on creating an atmosphere of rehabilitation and peace. Now coined the San Quentin Rehabilitation Center, the prison is one of the oldest in California, and originally opened back in 1852. The makeover is being led by Danish studio Schmidt Hammer Lassen in collaboration with McCarthy Building Companies and local firm DLR Group.

Designer: Schmidt Hammer Lassen, McCarthy Building Companies & DLR Group

Currently, there is a single render that showcases a lovely green garden area that is filled with lush nature. It looks quite warm, inviting, and pleasant when you consider it is a US prison. The aim was to create a peaceful and relaxed campus-like experience for the population. A pre-existing warehouse on the site was demolished, and one of the three stone walls was removed to create three educational buildings and a perimeter entrance.

The available classroom space will be tripled, and it will include a library, a technology and media center, a cafe, and a store. There will also be an upgrade in housing and a town-style square area, as well as family visit areas. The project is currently in progress and will be completed in early 2026. It has a budget of US$240 million.

“California is transforming San Quentin – our state’s most notorious prison – into the nation’s most innovative rehabilitation facility focused on building a brighter and safer future,” says California Governor Gavin Newsom. “We are literally tearing down walls to reimagine our prison system, incentivize true rehabilitation, and end cycles of violence and crime. Brick by brick, we’re building a new future that will make all of us safer,” said Governor Gavin Newsom.

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Dec 08

YDR Studio organises house in Mexico around stargazing courtyard

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Casa Suna by YDR Studio

A circular courtyard for gazing up at the stars sits at the centre of this stone-clad holiday home in Mexico, which has been designed by Guatemalan practice YDR Studio.

Named Casa Suna, the 700-square-metre home sits between the sea and mountains in La Ribera, and has been finished in a palette of pale stone and timber in order to visually complement the surrounding, sandy landscape.

Exterior view of Casa Suna in Mexico
YDR Studio has completed a stone-clad holiday home in Mexico

“The core concept for the design was to create a seamless integration with its diverse landscape, which includes beach dunes, desert vegetation, and mountains,” YDR Studio founder Yolanda De Rueda told Dezeen.

“The design emphasised a seamless flow between indoor and outdoor spaces, using materials that complemented the local environment,” she added.

Outdoor space within holiday home by YDR Studio
Stone and timber were used to complement the sandy landscape

Set back from the road, the home is accessed via a pale concrete path that leads between a service house and garage and across a large, “desert-inspired” courtyard planted with cacti.

The axis of this path leads directly into the heart of the home, where the circular courtyard features a stepped seating area around a central fire pit and connects to a living, dining and kitchen area through a large set of folding wooden doors.

Facing the beach, a wall of full-height windows provides this living area and the main bedroom with panoramic views, as well as access onto a concrete terrace finished with seating and hammocks and a stepping-stone like patio and swimming pool.

Courtyard interior within Casa Suna in Mexico
The home’s central courtyard features a fire pit and circular sofa

“A distinctive circular patio serves as the home’s centrepiece, featuring a fire pit and circular sofa for relaxation, meditation, and social gatherings. Its open design frames the night sky, creating an ideal setting for stargazing,” Rueda told Dezeen.

“The front of the property extends to the beach with a spacious terrace where sculptural concrete cubes form the pool, jacuzzi, and steps that lead directly to the sand, ensuring a seamless transition between indoor and outdoor living.”

“These sculptural blocks, reminiscent of playful beach memories, unite the house with the sea in a fun and functional manner,” she added.

The bedrooms wrap two sides of the central courtyard, positioned to offer views both towards the beach and across the courtyard at the front of the home.

The gently sloping roof of Casa Suna is punctured by several small, round skylights that pull light into the bathrooms and bedrooms, while a roof terrace above the living area provides panoramic views out towards the mountains.

Dining space interior within holiday home by YDR Studio
The living spaces are backed by panoramic views towards the beach

The neutral tones of the home’s local stone and concrete exterior are carried through to the interiors, with pale painted walls, stone finishes in the bathrooms and dark wood accents.

“Local stone and beige concrete reflect the natural hues of the sand, while warm wooden accents echo the desert environment. Travertine marble in the bathrooms adds an elegant touch, ensuring consistency with the overall material palette,” said Rueda.

Bedroom space within Casa Suna
Neutral tones similarly feature throughout the home’s interior

Other homes recently completed in Mexico include a secluded retreat by Carlos H Matos, finished with thick, sculptural walls of ochre-coloured concrete.

The photography is by Luz Imelda Castillo.

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Dec 08

Nothing Fold (1) Could Launch In 2025, Boosting the Folding Phone Market before a Folding iPhone

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Meet the Nothing Fold (1), a new chapter for the company that brought us the Phone (1), Phone (2), and Phone (2a), disrupting the smartphone landscape.

The London-based startup is in a uniquely advantageous position. They’ve launched 3 (ish) new phones in one year, with 3 more to come in the following year. The company has seen a meteoric rise in popularity, with tech reviewers and global audiences all paying attention to what Carl Pei announces next. Their next phone, or at least one of their next phones, should be a foldable.

The Nothing Fold (1) has the potential of creating a big splash that the foldable market needs. Samsung has pushed out its fair share of foldables, most Chinese brands are either joining or overtaking Samsung (Huawei launched a tri-fold phone just two months ago), and it seems like Apple is working on a foldable but with no realistic timeline. Folding phones are experiencing a lull right now because they’re A. Expensive, and B. Boring – two areas that aren’t a problem for Nothing.

Designer: Sarang Sheth

So behold the Nothing Fold (1) concept, a folding phone running the coveted Nothing OS 3, boasting a 6.5-inch screen on the front, and an expansive 8.37-inch screen on the inside. The kicker? There’s a Glyph Interface on the back as well as the spine. Boot the phone up and the Glyph spells out the number 1 (for Fold (1)), and once your phone’s booted, the interface transforms into a ‘third’ screen of sorts, delivering notifications not just through glyphs but through a dynamic ticker-tape monochrome display running along the spine of the phone.

The Fold (1) concept is clearly flagship material – besides boasting two screens, it boasts three cameras, including a main shooter, an ultrawide, and a telephoto/macro. Two more additional cameras sit within their respective hole punches on the front and the inner displays, giving you a whopping total of 5 cameras. On the inside, a MediaTek Dimensity 9400 5G chip brings powerful processing chops to the foldable, boasting an 8-core CPU, 12-core GPU, and even an NPU to assist with AI tasks. A whopping 5,500mAh battery powers the phone, giving it over a day’s worth of battery thanks to the chipset’s power efficiency.

The Fold (1) is the first to ship with Nothing’s new OS 3 built right in, boasting better performance, a wider widget catalog to choose from, and a few more notable UI upgrades that just make the foldable seamless. Samsung, Huawei, Xiaomi, Oppo, all these brands have had to deal with exciting hardware that’s let down by boring software – the Nothing Fold (1) doesn’t have that problem. Aside from looking stunning and measuring a mere 6.3mm thin when open and 14mm thick when closed (including the camera bump), it has a seamlessly minimal and ruthlessly efficient operating system that complements the hardware beautifully.

Speaking of hardware, the Fold (1) has all the hallmarks of the Phone (2), Nothing’s last ‘flagship’, including that gorgeous gray finish that really allows the phone’s transparent back to shine. The wireless charging coil makes its reappearance after disappearing in the Phone (2a), and the Glyph Interface gets a minimal makeover, featuring 6 individual glyph bars as well as the Glyph Ticker on the spine of the phone, visible both in open and shut modes.

A metal outer structure feels premium, while the glass front and back give the phone its elite edge, unlike the Phone (2a) which opted for plastic instead of glass. Strategically placed volume and power buttons allow you to access them comfortably in closed or open formats, and the under-display fingerprint on the main screen helps unlock the device. Of course, the Fold (1) sticks to the same eco-friendly approach with recycled materials and biodegradable packaging – that’s a given.

The cameras experiment with a new layout, following the profile of the phone’s corner. Many have compared past Nothing phones to iPhones given their size, camera layout, and uncanny ability to fit perfectly into iPhone cases – with the Fold (1) beating the folding iPhone, it doesn’t have to live in the shadow of any such device. The Fold (1) has an identity of its own, something that Nothing’s loyal fan base loves about the brand.

Aside from being visually exciting (and bringing fun to the foldable category), the Fold (1) can uniquely position itself as a flagship foldable that doesn’t break the bank. Huawei’s tri-fold nearly hits the $3,000 mark, and most foldables average at $1,200, but the Fold (1) – should it be serious about its role as the hottest folding phone on the market – needs to maintain a budget-friendly price tag. A £799 ($1014) foldable would absolutely cement the phone as the most coveted piece of tech from the UK-based phone maker.

Image Credits: Sarang Sheth

The post Nothing Fold (1) Could Launch In 2025, Boosting the Folding Phone Market before a Folding iPhone first appeared on Yanko Design.

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Dec 08

White Arkitekter completes sculptural water tower "that will stand for centuries"

Posted in: Uncategorized
Våga Water Tower by White Arkitekter

A wave-like reservoir made of concrete and elevated on nine columns forms Våga Water Tower, which Swedish studio White Arkitekter has created in Varberg, Sweden.

Situated on a hill in the village of Träslöv, Våga Water Tower has been built to meet the increasing water demand of the municipality, which has experienced rapid population growth since the year 2000.

Våga Water Tower by White Arkitekter
White Arkitekter has created a sculptural water tower in Sweden

White Arkitekter‘s primary goal for the tower was to create a functional yet sculptural landmark for the area, given the visibility of its elevated site from the E6 motorway and nearby houses.

The studio said it hopes this will showcase “a new way to design water towers”, which are typically cylindrical in shape, and demonstrate that infrastructure can also have aesthetic value.

Varberg landscape
Våga Water Tower is designed as a landmark for the area

“Våga holds a prominent place in the landscape, but the tower is also designed to be appreciated up close,” said studio architect Agnes Orstadius.

“Our ambition was to create a structure that will stand for centuries and always remain beautiful.”

Varberg in Sweden
The visibility of its elevated site led the studio to develop a sculptural form

White Arkitekter first revealed its design for Våga Water Tower in 2018 after winning an invited competition held by the municipal water company Vivab.

The competition called for a landmark structure that could be built entirely of concrete and hold 10,000 cubic metres of water – five times the capacity of the original tower.

Våga Water Tower by White Arkitekter
The tower is constructed from concrete

White Arkitekter’s design was selected for its long undulating form, which measures 187 metres in length and nine in width, and pays homage to the coastal setting of Varberg.

The studio appropriately named it Våga after the Swedish word for wave, which can also mean dare.

Varberg landscape
Its wave-like form nods to the coastal setting of Varberg

“The sleek, elongated form represents innovative thinking about what a water tower can be while maintaining functionality and ease of maintenance,” said Vivab representative Margareta Björksund-Tuominen.

Våga Water Tower’s undulating, concrete reservoir is supported by nine slender columns, with the central one slightly widened to house an elevator and staircase.

Drone photo of Våga Water Tower by White Arkitekter
The reservoir is split into eight segments

The reservoir itself is divided into eight segments each with a concave facade, designed to create decorative play of light and shadow over the day.

“All these elements – the slender shape, wave motif, concave facade and interplay of shadows – make the tower appear entirely different depending on the time of day and viewing angle,” said lead architect Per Hultcrantz. “This dynamic ensures the tower never ceases to surprise.”

The concrete structure was cast against form-plywood sheets to achieve a smooth finish, with all the joints deliberately and carefully aligned “for a harmonious overall impression”.

This clean-cut aesthetic is furthered by plugs in the holes left from the formwork ties, which the studio said helps with “eliminating unwanted shadow effects”.

Wave-like infrastructure
Each segment has a concave profile

Våga Water Tower sits beside an existing land plateau, which has been retained to create an accessible viewpoint of the structure, where visitors can also enjoy distant views out to sea.

Completing the project is a landscape of wildflowers, sown beneath the tower with Varberg’s municipal ecologist, while the service road takes the form of a deliberately simple gravel path.

People beside Våga Water Tower by White Arkitekter
The studio said it is designed to “stand for centuries”

White Arkitekter was founded in 1951 in Gothenburg by Sidney White. Today it is headed up by Alexandra Hagen, who has overseen recent projects by the studio including a hyperboloid observation tower in Sweden and the regeneration of a London housing estate.

Other water towers featured on Dezeen include a mesh-covered structure supported on angular legs by V+ and Mathias Klotz’s funnel-shaped reservoir in Chile.

The photography is by Anna Kristinsdóttir and the drone photography is by Joacim Winqvist.

The post White Arkitekter completes sculptural water tower “that will stand for centuries” appeared first on Dezeen.

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