Hasta La Ideas

It also might be the ONLY mainstream Android VR headset after ‘Google Cardboard’.

It really goes to show that Nothing struck a chord with the global tech community, given how everyone’s speculating about what the company will launch next. Sure, the Nothing Phone (3) is in the works and plans on debuting early next year, but it’s fun asking questions like “What if they launched a Nothing foldable phone? (Hint: it would be awesome) Or as designer Ratan Pande asks – What about a VR headset?

Honestly, both the foldable phone and the VR headset would be great areas for Nothing to disrupt. Why? Because they’re both fairly declining industries and the only reason they are is that there’s a lack of exciting products in the area. In comes Nothing. The VR headset, designed by Pande, was created as an aesthetics exercise to see how one company’s design DNA would translate onto a product category that the company isn’t in. The result is fairly interesting, with the Glyph Interface making its way to the front of the VR headset, among a few other pretty cool details!

Designer: Ratan Pande

The Nothing VR Headset is outwardly simple, wowing with aesthetics and that transparent-ish design language that we’ve come to know and love. The form factor isn’t too different from, lets say, the Meta Quest, with a white block strapped to the front of your head. The front panel is transparent, revealing a fair bit of circuitry underneath (probably faux components designed just for the aesthetic), along with two front-facing pass-through cameras, and a few other lenses along the sides possibly for proximity awareness and obstacle detection.

The Glyph Interface is what the eye instantly notices. Borrowing from the Phone (1) and (2a)’s glyph patterns, the two sets of LED strips (one around each eye) help serve as notification lights – not for the wearer, but for people around the wearer. Given the conceptual nature it isn’t really fair to speculate what each individual glyph does, but one can imagine it glows when pass-through is switched on, so people around know that the wearer is aware of their surroundings. The glyphs could possibly do a light-dance when you’re playing a game and you score a point too. Oh, and there’s a red LED indicator when the wearer is recording their surroundings.

Along the back, the design has a setup that all VR headset wearers are all too familiar with. A simple padded eyepiece, with a three-strap system that keeps the headset in place. On the inside, fresnel lenses power the VR experience, providing immersive clarity without too much of a price tag.

It’s fun to speculate what this device could potentially cost. Given that Nothing usually enters a product category with an incredibly competitive price tag, this one would have to easily be under $300 to really squeeze some market share out of Meta. As perhaps the only Android manufacturer to build a VR headset, it could tie in perfectly with the Android ecosystem, relying on a tried-and-tested OS and a total of well over 3 billion Android handsets that will pair VERY well with the VR headset, allowing you to access apps, play games, browse social-media, watch movies, and even engage in a bit of productivity! Will Nothing launch a VR headset? Probably not for a while, given how they’re still trying to establish themselves as a dominant player in the phone category… but one can hope, no?

The post This Nothing VR Headset Concept Might Be The Only Virtual Reality Device with a Glyph Interface first appeared on Yanko Design.

Arizona architecture studio I/Thee has created a public installation in an Iowa park composed of furniture affixed into two rammed earth walls that were made to look eroded by applying water pressure.

The Dining Room is the first of six pavilions planned to encircle Lake Petocka in Bondurant, Iowa for the ARTocka Trail Loop. It was created to offer a public gathering space for park-goers, as well as an opportunity to engage with its materiality.

Located off a path surrounding Lake Petocka, the Dining Room pavilion consists of a large blue picnic table and bench encased in the ruins of two rammed earth walls.

I/Thee constructed the walls out of locally sourced sand, clay, and gravel, mixed on-site and compacted. The team then used a high-pressure water sprayer to create the wall’s eroded appearance.

“The pavilion features two rammed earth walls intentionally eroded to reveal playful public infrastructures that intersect and protrude from the volumes – giving the impression natural forces have slowly excavated them over centuries,” said the team

The table and bench were then designed to fit into the gaps using 3D scanning and timber scribing, a carpentry technique used to fit wood or other material around a complex shape.

The composition of the pavilion imitates the results of natural processes and is “not static” according to the team.

“The installation is not static,” it said.”Strategic erosion breaks were set into the walls to allow them to evolve over time, inviting the environment – and time itself – to become co-creators in the design process.”

According to the team, the Dining Room is “one of Iowa’s first public rammed earth projects” and draws attention to the material, showcasing the potential of rammed-earth construction to the broader community.

It is the first of six pavilions by I/Thee set to encircle the neighbouring lake, each of which plays upon different rooms in a house. Set to be built over the course of several years, the series will include a “foyer”, “gallery” and “garden”.

Similarly to the Dining Room, the construction of each pavilion will “strive to bridge the gap between human-made and natural objects” and will integrate natural elements, such as water and weather, into the design.

This first pavilion is meant to act as the “heart” of the series.

“This community-sized table creates new ways to engage with the site, whether through a serendipitous conversation or a birthday celebration stretched across the structures; the Dining Room becomes the heart of the park’s spatial network,” said the team.

Recently, Dezeen explored the sustainability credentials of rammed earth, while MASS Design Group used the material to create a university building in Rwanda.

The photography is by Neal Lucas Hitch

Project credits:

Project leads: Neal Lucas Hitch, Kristina Fisher, Martin Hitch
Project team: Varun Gandhi, Riley Wines, Claire Leffler
Collaborating companies: Schlaich Bergermann Partner (Engineering)

The post I/Thee places seating within “intentionally eroded” earthen walls for Iowa park appeared first on Dezeen.

My bags aren’t even packed yet, and my mind is ready and set to absorb every bit of innovation on display at CES 2025. I’m always drawn to this global event because it serves as a reliable preview of what will shape our lives in the years ahead. Discovering grand unveilings or flashy booths drives the excitement of this event. Discovering ideas with lasting impact drives the essence of this event. Covering it for Yanko Design means I’ll see how fresh perspectives translate into real experiences. Hisense’s presence this year promises to be one of the most impressive highlights, particularly with the unveiling of their Urban Governance Platform.

Designer: Hisense

Before diving into CES 2025, it’s worth stepping back to appreciate Hisense’s groundbreaking showcases at CES 2024 and IFA 2024.

During CES 2024, Hisense captivated audiences with Automotive Laser Displays featuring the award-winning TriChroma triple-laser projection system. Their holographic AR-HUD systems and immersive rear passenger displays showcased the transformative potential of laser projectors for automotive innovation.

At IFA 2024, Hisense’s ConnectLife ecosystem demonstrated seamless smart home integration. Harnessing AI-driven connectivity, it provided practical solutions for effortlessly managing appliances and household systems.

Hisense Showcases Innovative Scenario-Driven Tech Solutions at IFA 2024 to Transform Everyday Living Experiences

These milestones set the stage for CES 2025 innovations, like the Urban Governance Platform. Designed to reshape urban living, this platform leverages adaptive AI to optimize traffic flow, streamline public transit, and improve disaster prevention. By dynamically responding to real-time data, it enables smoother operations across city infrastructure.

In Qingdao, the platform has proven its capabilities. Train schedules adapt dynamically during peak hours, traffic lights respond to pedestrian movements, and bus routes adjust automatically to meet shifting demands. These features illustrate a vision for smarter, adaptable cities where technology enhances daily life.

Hisense’s booth at CES 2025 will highlight these advanced solutions, emphasizing urban functionality and prioritizing citizens’ daily needs.

Hisense’s Smart Automotive Technology for 2025 builds on its CES 2024 debut. Innovations like laser holographic HUDs and immersive rear passenger displays captivated audiences, setting a new bar for automotive design.

The suite of connected car features includes holographic heads-up displays, projection screens, and custom climate systems made possible through their Sanden acquisition. These developments represent the next wave of thoughtful vehicle design. Future cars will redefine traditional transportation by enhancing journeys with advanced features, prioritizing safety, delivering real-time insights, and adapting dynamically to the environment.

IFA 2024 highlighted Hisense’s smart living solutions, demonstrating intuitive AI integration across home appliances. This approach highlighted how AI could transform daily routines by simplifying appliance management and improving energy efficiency. These innovations provided a practical glimpse into the future of smart living.

As CES 2025 approaches, the focus sharpens on how these advancements will evolve. Hisense aims to demonstrate how the principles of seamless connectivity and intuitive operation showcased at IFA will scale up to larger, interconnected ecosystems, reshaping not only individual homes but entire urban environments.

Now, advancements in Smart Medical technology aim to set new standards for imaging and precision healthcare. Accurate and vivid displays for surgeons and medical professionals are essential. Hisense’s Mini-LED backlighting and 4K Ultra HD imaging solutions promise better diagnostics and treatment outcomes. The HME8C32U endoscope monitor offers unprecedented levels of color and detail, making a real difference in critical moments.

The brand’s efforts—spanning the Urban Governance Platform, Smart Automotive Technology, and cutting-edge medical displays—align seamlessly with the AI Your Life theme.

At CES 2025, the Hisense booth is expected to demonstrate how its displays enhance experiences across diverse environments. Whether in a living room or an operating room, these technologies aim to maintain simplicity while delivering efficiency. The ULED and ULED X displays, highly anticipated for their immersion and clarity, will be a major focus of this year’s showcase.

CES offers a glimpse into the future of industries. This year, I’m heading into the exhibit halls with high expectations for impactful innovations from Hisense. From enhancing urban living to advancing healthcare and simplifying travel, their vision seeks to make a tangible difference.

I’m eager to explore the booth, engage with the team, and experience these innovations firsthand. This year feels pivotal for Hisense’s developments, and I’m thrilled to capture it all for Yanko Design.

The post Hisense at CES 2025: Transforming Urban Living, Consumer Experiences, and Smart Mobility first appeared on Yanko Design.

Australian architecture studio Bates Smart has referenced Australia’s emerging architectural culture and the “monolithic forms” of its landscape for the design of an embassy in Washington DC, cladding it with glass and copper.

The building replaces a 1960s embassy constructed by Bates Smart McCutcheon on the same property, bringing the mid-century facility into the 21st century.

“The progression from the 1967 international style embassy to the new architecture is emblematic of Australia’s emerging art and culture identifying and celebrating what is uniquely Australian,” Simon Swaney, the former managing director of Melbourne-based Bates Smart, said.

Completed in 2023, the 9,890-square metre (214,094-square foot) complex completes Scott Circle at the intersection of 16th Street and Massachusetts Avenue and transitions from a residential neighborhood to a commercial district. The building’s main entrance is oriented south toward the White House.

“The embassy’s monolithic form is inspired by Australia’s iconic landscape and embodies the essence of an ancient and vast continent inhabited by the world’s oldest continuous living culture,” the team said.

The rectangular form – with the southwestern corner cut off at a slant to accommodate the radial street organization – is clad in alternating vertical bands of reflective glass and folded copper that create “varying degrees of openness”.

“The appearance of the building changes throughout the day depending on the perspective of the viewer,” the team said.

“A striking tectonic quality, where large shadow line joints define a series of aggregated forms, creates a dialogue between positive and negative space.”

At the entrance, the copper bands run down the facade and bend back upwards to form cantilevering fans next to a thin awning. Inside, the entryway transitions to a large atrium that runs along the north-south axis of the building and connects the ground to the sky.

The atrium is wrapped in bands of Australian timber that transition from rough to smooth – mirroring the “protective qualities of the bark during the eucalypt forest’s cycle of growth, burn and regrowth”.

While the ground floor is primarily for public functions, the second and third staff levels are divided into social and work zones, separated from the public realm but a security screening area.

The second floor contains a large informal bar and a series of breakout spaces linked by a feature staircase. Meanwhile, the upper level is more flexible with a large U-shaped open plan that can adapt to agency requirements.

Key social and offices are marked by intricate metallic filigree screens that mediate both light and privacy.

Bespoke rugs designed after Australian First Nations artworks, handcrafted furniture – that was selected through a partnership with the Design Institute of Australia – and a display of Australian and Indigenous artworks complete the interiors.

The embassy is targeting a LEED Gold rating and Green Building Council of Australia’s Greenstar rating.

Recently Bates Smart completed a skinny skyscraper in Melbourne that measures just 11.5 metres wide and proposed a football stadium suspended above Sydney’s Central Station.

The photography is by Joe Fletcher.

Project credits:

Developer: DFAT OPO
Architect and Interior Designer: Bates Smart
Architect of record: KCCT
General contractor: Clark Constructions
Project manager: Jacobs
Cost consultants: Rider Levett Bucknall
Structural and facade engineer: Aurecon/SGH
Mechanical, electrical, fire, hydraulic, vertical transport, AV, Security/communications consultants: Aurecon/Interface
Fire engineering, acoustic, ESD consultant: Aurecon/Arup
Signage: Ongarato
Traffic consultant: Wells & Associates
Civil consultant: Aurecon/Sorba
Kitchen consultant: Chris Live Design/Culinary Advisors
Landscape consultant: TCL Wiles Mensch
Lighting consultant: Electrolight/ONE SOURCE
Townplanning consultant: Holland & Knight
DDA/OHS consultant: du Chateau Chun

The post Bates Smart creates “uniquely Australian” monolithic embassy in Washington DC appeared first on Dezeen.

Dezeen School Shows: as 2024 comes to a close, we’ve selected 12 of the most intriguing design and architecture projects that have been published on Dezeen School Shows this year.

These projects are from both undergraduate and postgraduate courses, ranging from textile design to architecture, covering topics which span social themes and concepts through material exploration and technical skills.

Included in this roundup is a design for sustainable prayer mats, a proposal for a creative community centre and an electric vehicle charging port made from natural materials.

The selection of projects comes from students on object design, architecture and industrial design courses from both UK-based and international institutions including University of Melbourne, University of the Arts London and Lucerne School of Design, Film and Art.

Atlas of Extraction by Michaela Prunotto

Michaela Prunotto produced Atlas of Extraction whilst studying on their Master of Architecture Design Thesis course at the University of Melbourne.

Published on Dezeen School Shows in January, the project explores the concept of ‘terrascapes’ – a scene of significant geological disturbance, caused by colonial extraction and expansion.

“As the beginning of an open project, this atlas explores four terrascapes: the Beech Forest Quarry (where sandstone was extracted), the Westgate Lakes (a former sand mine), the Birrarung River (subject to dredging) and a disused car factory (which has petrochemical soil contamination),” said Prunotto.

“Each corresponding proposition bares dirty histories for confrontation, while also proposing a programmatic ethic of care and renewal.”

Student: Michaela Prunotto
School: University of Melbourne
Course: Master of Architecture Design Thesis

View the full school show ›

The Alternative Space by Amit Arbiv

In Feburary, The Alternative Space by Interior and Furniture Design student Armit Arbiv was published on Dezeen School Shows.

Designed to be a space to aid stress, Arbiv identified necessary guidelines for creating a relaxing environment, identifying four components that should be implemented in the design process.

“The project has no specific location and its principles can be implemented in various locations as long as the guidelines are applied,” Arbiv said.

“In the process, I learned about the important things in interior design that can assure relaxation and de-stress people, such as colour, lighting and shapes.”

Student: Amit Arbiv
School: Istituto Europeo di Design
Course: IED Firenze – Three-Year Course in Interior and Furniture Design

View the full school show ›

Upcycled Sajada by Tika Pratiwi Sufyan

Design student Tika Pratiwi Sufyan produced Upcycled Sajada, which was published on Dezeen School Shows in March.

The project explores the possibilities of creating eco-friendly prayer mats, through methods such as upcycling, aiming to reflect values of sustainability within Islamic beliefs.

“The Upcycled Sajada brand holds three core values – to repurpose production, reflect on sustainability and Islamic values and reconnect with communities and individuals,” said Sufyan.

Sufyan also aimed to promote “awareness of sustainability values in young practising Muslims.”

Student: Tika Pratiwi Sufyan
School: University of the Arts London
Course: MA Design Management

View the full school show ›

Deconstructing Muqarnas by Yashraj Chauhan and Arefin Chisty

In April, Yashraj Chauhan and Arefin Chisty’s project Deconstructing Muqarnas was published on Dezeen in New York Institute of Technology’s School Show.

Produced whilst studying Fabrication and Robotics, the project is a proposal for a lighting installation which explores utilising computational design for traditional craftsmanship techniques.

“The prototype proposes a lighting installation that combines both light and shadow interactions with folded aluminium sheets,” Chauhan and Chisty explained.

“The Muqarnas in this case is treated as a deconstructed component that manifests in three different forms; the first form is the wooden component that acts as a structural column, the second form are translucent resin 3D pieces and the third form is the deconstructed unfolded metal components.”

Student: Yashraj Chauhan and Arefin Chisty
School: New York Institute of Technology
Course: Fabrication and Robotics

View the full school show ›

Haeckel by Mo Ramadan

In this School Show published in May, Industrial Design student Mo Ramadan created Haeckel, an electric vehicle charging point inspired by the illustrations of Ernst Haeckel.

As Haeckel’s style is inspired by details of the natural world, Ramadan ensured to use materials that “age gracefully”, honing in on their maturing qualities that occur over time.

“Just as Haeckel found beauty in the complexity and order of biological forms, this design aims to capture the subtle yet profound transformation that materials undergo with age,” Ramadan said.

“The intersection of Haeckel’s artistic vision with the natural patina of ageing materials was a deep source of inspiration for this piece, guiding the creation of a design that honours nature’s transient yet timeless aspects.”

Student: Mo Ramadan
School: University for the Creative Arts
Course: Industrial Design

View the full school show ›

The Loop Collective by Emily Kajdi

Architecture student Emily Kajdi produced The Loop Collective, a creative community centre focused on furniture design, with workshops for woodworking and upcycling and a collection system for discarded furniture items.

Published on Dezeen School Shows in June, the project aims to provide a space for like-minded designers to connect and collaborate.

“The design of the facility is focused on using sustainable local materials where possible and keeping furniture for as long as possible,” said Kajdi.

“The project aims to reduce fly-tipping and educate local communities on the value of furniture-making and upcycled furniture.”

Student: Emily Kajdi
School: BA (Hons) Architecture (full-time)
Course: London South Bank University

View the full school show ›

Fibræ by Mattia Gagliano

Mattia Gagliano’s project Fibræ was published on Dezeen School Shows in July, utilising the material of flax to show its versatility.

“The traditional material is being used more and more in various products and industries, albeit often in combination with composites that have a negative impact on their recyclability,” Gagliano said.

“My goal is to demonstrate the versatility of flax as a plant, to abstain from combinations with non-compostable material and to retain flax’s natural characteristics.”

Student: Mattia Gagliano
School: Lucerne School of Design, Film and Art
Course: Bachelor Object Design

View the full school show ›

Flooding: The Anatomy of Propaganda by Aleksandra Lemieszka

Flooding: The Anatomy of Propaganda by Engineering and Architecture student Aleksandra Lemieszka was published in The Bartlett’s School Show in August.

The project proposes repurposing an old meat market into a printing hall for unbiased, free media.

“The suspended printing machine, visible to museum visitors, symbolises transparency, as it rises above the flood of propaganda,” said Lemieszka of the design.

“Journalists remain anonymous to prevent leaks and undue influence, with newspapers dispatched through secret canal passages, delivering on the project’s goal of preserving truthful and independent media.”

Student: Aleksandra Lemieszka
School: Engineering & Architectural Design MEng (ARB/RIBA Part 1 CIBSE JBM), Unit 4
Course: The Bartlett School of Architecture

View the full school show ›

Mursell Council Estate by Charlie Smale

Architecture student Charlie Smale produced Mursell Council Estate, which was published on Dezeen in the University of Brighton School Show in September.

Proposing moveable market stalls to be used in a council estate in London, UK, the project intends to encourage community activities and events amongst locals.

“The market pods work independently as shops, food vendors and community facilities, but can also be attached to create larger social spaces that allow for larger community events,” explained Smale.

“The pods can be easily changed by the residents to suit their needs facilitated by the bolted glulam structure which can be easily dismantled; this ensures that interventions can be adapted as required.”

Student: Charlie Smale
School: University of Brighton
Course: BA (Hons) Architecture L6

View the full school show ›

Concrete Need, Concrete Greed by Andrea Verdant

In October, Textile Design student Andrea Verdant’s collection Concrete Need, Concrete Greed was featured on Dezeen School Shows.

The collection explores post-war social housing, specifically focusing on tower blocks and council estates in East London.

“The work aims to amplify the voices of underrepresented people, highlighting their vital role in society and drawing attention to their overlooked experiences,” Verdant said.

“Evidence of aggressive regeneration highlights the lack of upkeep in these spaces, capturing imagery of overlooked architectural features, hostile architecture and signs of deterioration as injustice has become further rooted into the UK housing system.”

Student: Andrea Verdant
School: Loughborough University
Course: BA (Hons) Textile Design

View the full school show ›

Pequeña Quebrada by Luis Fabricio Martínez Salinas

Featured in Instituto Tecnológico y de Estudios Superiores de Monterrey’s School Show in November, student Luis Fabricio Martínez Salinas produced Pequeña Quebrada, a candleholder which honours the people of Acapulco.

“This set of candle holders is made from a biomaterial of sand and starch, which gives a rough look that simulates the rock formations of the famous Quebrada site in Acapulco,” Salinas explained.

Student: Luis Fabricio Martínez Salinas
School: Instituto Tecnológico y de Estudios Superiores de Monterrey
Course: Inédito Universitario: Elemental y Cotidiano, 4th semester Campus Estado de México

View the full school show ›

Utopia by Melinda Doktor

In this December School Show, design student Melina Doktor’s project Utopia was featured, which focuses on utilising algae as a superfood via small-scale cultivation.

“The vision includes creating an algae biofarm designed for human-scale functionality, seamlessly integrating into both contemporary urban environments and speculative future scenarios,” said Doktor.

“Through research and design, processing methods are examined, compatible materials and the overall usability of algae for food purposes, showcasing its versatility through innovative recipes.”

Student: Melinda Doktor
School: Moholy-Nagy University of Art and Design Budapest (MOME)
Course: Designer-Maker MA

View the full school show ›

Partnership content

These projects are presented in school shows from institutions that partner with Dezeen. Find out more about Dezeen partnership content here.

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