wildflower studios: bjarke ingels group opens vertically-stacked film studio in new york

bjarke ingels group brings wildflower film studios to nyc

Located in Astoria, New York, Wildflower Studios is a new vertical film production complex designed by Bjarke Ingels Group. The development is led by Robert De Niro and establishes a new urban typology for filmmaking in Queens’s dense industrial landscape.

Film studios are traditionally organized across expansive ground-level lots, each stage accessed directly by truck. In Queens, where space is constrained, Bjarke Ingels Group condensed that familiar model into a vertical arrangement — stacking sound stages and production spaces to form what the architects describe as a ‘studio village.’ The design rethinks the logistics of production, integrating movement, delivery, and collaboration within a reduced footprint that reflects the spatial realities of the city. See designboom’s previous coverage here!

images © Laurian Ghinițoiu

a vertically-stacked building of eleven modules

The program is composed of eleven studio modules, each containing a large-span stage, vertical transport, and support spaces including dressing rooms and scene shops. Organized in two-story rows within a single volume, the modules are connected by a central spine that acts as the building’s internal street. This shared corridor forms the social core of the complex, linking stages with offices and communal terraces while drawing daylight deep into the structure.

One entire floor of Wildflower Studios is dedicated to office and production support, while additional spaces like cafés and fitness areas encourage collaboration among actors, writers, and technical crews. This hybrid environment creates a working community among the practical infrastructure of filmmaking.

Wildflower Studios rises in Astoria, Queens as a new vertical model for film production

a ‘floating village’ in astoria

Clad in precast concrete panels, the 145-foot-tall building changes character as sunlight shifts across its angled facade. Two open-air terraces cut into the envelope, offering framed views toward the Manhattan skyline and a direct connection to the waterfront. The roof supports a 150,000-square-foot solar array, supplying power and demonstrating the project’s environmental intent.

BIG lifts the structure above the floodplain, allowing service vehicles to operate beneath the building and freeing the street edge for public access. The site design extends this openness with a walkway along the creek, creating a connection between the industrial block and the riverfront. The overall form is described by the architects as a ‘floating village.’

Folded planes in the facade open the building to daylight and break down its massing, linking interior circulation routes to the outdoor terraces and public realm. Within, the continuous envelope creates a sense of cohesion across the various stages and workspaces.

BIG reimagines the traditional horizontal sound stage as a compact stack for the city

the modules form a dense production village tailored to the spatial constraints of New York City

the building integrates cafés and lounges to encourage collaboration among production teams

the structure is elevated above the floodplain, creating sheltered loading areas and a public walkway below

project info:

name: Wildflower Film Studios

architect: Bjarke Ingels Group | @big_builds

location: Astoria, Queens, New York, NY

previous coverage: September 2019, February 2022

photography: © Laurian Ghinițoiu | @laurianghinitoiu 

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five rotating modules reconfigure to form interactive segmented house of the future

Michael Jantzen’s Interactive Segmented House of the Future

The Interactive Segmented House of the Future is a conceptual design proposal by Michael Jantzen for an adaptive, self-contained dwelling that can alter its configuration in response to environmental conditions and user needs. The structure consists of a central living space surrounded by five movable segments. Each segment can rotate manually or automatically around the core to adjust for sunlight, wind, rainfall, and views. This rotation enables the house to warm itself through solar exposure, cool naturally through air circulation, collect rainwater, and continuously reshape its overall form.

Constructed primarily from lightweight steel, the proposed design incorporates photovoltaic cladding to generate electricity for internal systems. The glass floor supported by a steel frame allows for visual continuity and spatial fluidity, enabling occupants to experience a full 360-degree connection with the surrounding environment. Openings in the floor permit air to circulate after being captured by the adjustable wind scoops integrated into the outer segments.

all images courtesy of Michael Jantzen

Five rotating movable segments shape the conceptual house

Each segment shares the same geometric profile but can perform multiple functions depending on orientation. Some feature windows that rotate 360 degrees to direct sunlight or frame specific views, while others act as rainwater collectors or wind channels. The modular system allows the segments to operate independently or in coordination, offering precise environmental control.

Inside, furnishings are stored within semicircular cabinets concealed beneath the glass floor. These units can be raised and unfolded for use, keeping the main living area open and adaptable. Additional segments could be added to expand the structure’s size and functionality. The Interactive Segmented House of the Future project by designer Michael Jantzen explores how dynamic geometry can redefine domestic architecture by integrating environmental responsiveness, flexibility, and user interaction into a single transformable system.

Michael Jantzen’s Interactive Segmented House of the Future explores adaptive residential design

the concept envisions a self-contained structure responsive to environmental conditions

five movable segments surround a central living core

each segment can rotate manually or automatically to adjust to its surroundings

the rotating modules respond to sunlight, wind, rainfall, and views

lightweight steel frames form the primary structure of the house

each segment shares a consistent geometry with flexible performance

openings allow air captured by wind scoops to circulate through the interior

rotating windows direct sunlight, frame views, and shape interior lighting

the open-plan interior emphasizes adaptability and minimal spatial obstruction

a glass floor supported by steel enhances transparency and spatial flow

project info:

name: The Interactive Segmented House of the Future

designer: Michael Jantzen | @michael.jantzen22

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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wing-shaped magnesium battery case keeps electric motorcycle FF.S6 cool on off-road rides

electric motorcycle FF.S6 has wing-shaped battery case

Royal Enfield’s Flying Flea introduces FF.S6, an off-road and city electric motorcycle that comes with a wing-shaped magnesium battery case to keep itself cool. Presented at EICMA 2025 in Milan, Italy, the vehicle follows the brand’s goal to build lightweight electric vehicles designed for both city use and off-road conditions. The design and concept of the FF.S6 take inspiration from the original Flying Flea motorcycles used during World War II, which were small, portable bikes made for easy transport and flexible use on different terrains. It is powered by an electric motor that delivers high torque suitable for different surfaces and uses a chain final drive, a USD front fork suspension, and wheels sized 19 inches at the front and 18 inches at the rear. 

This setup helps balance handling for both city roads and off-road paths. The bike also includes a long, enduro-style seat made for comfort during extended rides. A main feature of the electric motorcycle FF.S6 is its magnesium battery case, made to reduce weight while helping the battery stay cool. It includes fin-shaped structures that serve both a technical and symbolic role. The front fins stand for new technology, while the rear fins refer to the company’s history. The fins meet at the center to form a shape similar to wings, which represents the Flying Flea name. Another feature is the circular touchscreen display, called the ‘true round TFT cluster.’ It combines a traditional round speedometer form with digital functionality, with the display providing real-time data and able to show navigation, music, and other connected features.

all images courtesy of Flying Flea

Flying flea develops parts of the two-wheeler in-house

Aside from the magnesium battery case, the design team develops parts of the electric motorcycle FF.S6 in-house, including the electric powertrain, battery management, and user interface. The main operating system runs on a Qualcomm Snapdragon QWM2290 processor, a chip made for two-wheelers. This processor enables 4G, Bluetooth, and Wi-Fi connectivity and allows riders to connect their phones and manage the vehicle in real time. Because of this, the two-wheeler includes a Voice Assist button for hands-free control. Riders can use voice commands to start navigation, play music, or check the bike’s status. Safety systems include traction control, navigation support, and lean-angle sensing ABS (the ABS system can be switched off for off-road riding).

The electric motorcycle FF.S6 uses microcontrollers to manage its energy use and adjust performance automatically based on how the vehicle is being used. The vehicle also supports multi-device connectivity, meaning that riders can connect through a smartwatch or a mobile app. This system enables remote functions such as unlocking the bike, checking the charging level, choosing ride modes, and viewing diagnostics. Through this, riders can activate the over-the-air (OTA) updates, so the ride’s software can be improved without visiting a service center. After its unveiling at EICMA 2025, a motorcycle exhibition that runs between November 6th and 9th, Royal Enfield’s Flying Flea plans to release the electric motorcycle FF.S6 with a wing-shaped magnesium battery case by the end of 2026.

Royal Enfield’s Flying Flea introduces FF.S6, an off-road and city electric motorcycle

the vehicle comes with a wing-shaped magnesium battery case to keep itself cool

the two-wheeler follows the brand’s goal to build lightweight electric vehicles

the ride is designed for both city use and off-road conditions

side profile of the electric motorcycle FF.S6 with a wing-shaped magnesium battery case

detailed view of the front tire

detailed view of the rear

project info:

name: FF.S6

companies: Royal Enfield, Flying Flea | @royalenfield, @flyingflea

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is THE LINE still becoming reality as saudi arabia reimagines its architectural future?

Saudi Arabia’s futuristic megacity ‘the line’ faces a new reality

Once hailed as the most radical experiment in twenty-first-century urbanism, THE LINE, (find designboom’s previous coverage here), a 170-kilometer-long mirrored megacity slicing through the desert, stands at the center of Saudi Arabia’s shifting architectural agenda. Conceived as the backbone of NEOM, the $500-billion development in the country’s northwest, it promised a car-free, carbon-neutral city contained within two parallel walls rising 500 meters high, an ambitious vision that faces an unexpected test of endurance.

According to multiple recent reports, Saudi Arabia is entering a period of reassessment for its vast Vision 2030 portfolio, a suite of architectural megaprojects valued at more than $1 trillion. Behind the futuristic renderings and bold rhetoric, officials have acknowledged that the pace and cost of construction have become unsustainable amid falling oil prices and growing budget deficits. THE LINE, once envisioned to stretch 170 kilometers across the Tabuk desert, has now reportedly been scaled back to a few miles of initial construction as the government redirects resources and timelines across its development landscape.

all images courtesy of NEOM unless stated otherwise

rethinking Futuristic Urban Ambitions Amid Spiraling Costs

According to Reuters, the kingdom’s $925-billion sovereign wealth fund is redirecting its focus after construction delays and spiraling costs across the country’s so-called gigaprojects. Insiders cited in The Sunday Times describe a ‘course correction,’ with THE LINE reportedly scaled back to only a few miles of construction, a fraction of its original length. The slowdown signals a broader reconsideration of Vision 2030, Crown Prince Mohammed bin Salman’s master plan to diversify the economy beyond oil and to recast Saudi Arabia as a global hub for innovation, tourism, and culture.

Architecturally, THE LINE was designed to condense urban life into a single continuous structure, a stacked ecosystem of housing, public space, vertical farms, and transport systems, all linked by high-speed transit. Renderings released by NEOM in 2022 showed the glistening mirrored facade of the structure reflecting the surrounding desert and sea. The project’s radical linear geometry challenged conventional city planning, proposing density without sprawl and mobility without cars.

a 170-kilometer-long mirrored megacity slicing through the desert

Investment Into AI, Gaming, and Future-Ready Cities

Yet as oil revenues fall and public spending tightens, other megadevelopments, including the Trojena mountain resort, planned host of the 2029 Asian Winter Games,, the Sindalah luxury island, and the $50-billion New Murabba district in Riyadh, have also faced delays or scaling back. ‘We spent too much,’ one official admitted to The Sunday Times. ‘We rushed at 100 miles an hour. We need to reprioritise.’ The Independent notes that the slowdown does not signal cancellation but rather a moment to ensure that the architectural ambition of the kingdom aligns with economic reality.

Amid this recalibration, Saudi Arabia is channeling new investment toward sectors like artificial intelligence, gaming, and data infrastructure, technologies that may still influence NEOM’s evolution. Jerry Inzerillo, CEO of the $63-billion Diriyah heritage redevelopment, described THE LINE not as a failure but as ‘a laboratory for what quality of life might look like in 2040.’ 

conceived as the backbone of NEOM

the project promices a car-free, carbon-neutral city

contained within two parallel walls rising 500 meters high

NEOM Stadium | image courtesy of Saudi Arabia FIFA World Cup 2034 bid

the slowdown signals a broader reconsideration of Vision 2030

the project is set to reach a fraction of its original length

Oxagon

the Trojena mountain resort has also faced delays or scaling back

project info:

name: THE LINE

location: NEOM | @discoverneom, Saudi Arabia

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snøhetta sculpts hangzhou’s riverfront art museum to mimic shifting tides

hangzhou riverfront to be sculpted with fluid art museum

In Hangzhou’s Xiaoshan District, Snøhetta has won the international competition to design the Qiantang Bay Art Museum, the cultural center of the city’s new Future Headquarters development. The project sits at the meeting point of the Qiantang River and the Central Water Axis, where the city’s expanding downtown begins to open toward the water. Framed by this convergence, the 18,000-square-meter museum will serve as both civic anchor and threshold.

The scheme interprets the museum’s setting as a study of time and flow. The rhythm of the tides and the layered histories of the river become spatial motifs. Snøhetta’s design translates these influences into a sequence of fluid volumes and open rooftop terraces to create a building that’s embedded in the earth and feels to be in motion.

visualizations © ATCHAIN, Snøhetta

a continuous landscape by snøhetta

Two wave-like forms define Snøhetta’s Hangzhou Art Museum, rising and dipping across the site to link all public routes into a central gateway. From the ground plane, a series of paths meander upward, drawing the landscape into the architecture. Visitors can walk along shaded promenades or follow gentle ramps that ascend toward the rooftop terrace, where sweeping views extend from the cultural corridor to the river’s wide expanse.

This landscape approach by the architects transforms the museum into a civic terrain. The movement between indoors and outdoors blurs at key points, allowing light, sound, and breeze to filter into the experience. Each turn offers a new visual alignment — toward the water, the skyline, or the artworks inside — reminding visitors of their place between the two.

Snøhetta wins the competition to design the Qiantang Bay Art Museum in Hangzhou

a Gateway and Gathering Place

At the heart of the Hangzhou Art Museum, Snøhetta designs a central gateway which frames a direct view to the Qiantang River. This gateway is more than just an entrance. It functions as a spatial link between the urban edge and the waterfront, and a place to slow down and observe the landscape. The gateway’s ceiling and walls curve subtly, modulating the acoustics and light as visitors transition from open air to enclosure.

Inside, the galleries occupy the core, while social and educational spaces line the periphery. Spacious circulation areas invite pauses and informal gatherings. The architecture ensures that movement throughout the building remains intuitive, implying an echo of the waterways that inspired its form.

The material palette reinforces this sense of continuity. Smooth concrete, local stone, and glass are composed in layers that catch and diffuse light throughout the day. The surfaces shift with the weather, sometimes reflective, sometimes opaque, echoing the tidal variations of the Qiantang River.

two flowing volumes shape the architecture as a continuous landscape

paths and terraces invite movement between the river and the city

a central gateway aligns sightlines toward the Qiantang River

project info:

name: Hangzhou Qiantang Bay Art Museum

architect: Snøhetta | @snohetta

location: Hangzhou, China

client: Hangzhou Xiaoshan Qianjiang Century Development and Construction Co., Ltd.
collaborators: The Architectural Design & Research Institute of Zhejiang University Co., Ltd., Buro Happold

size: 18,000 square meters
status: Competition Win
visualizations: © ATCHAIN | @atchain, Snøhetta

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google plans to build AI data centers in space using solar-powered satellites

data centers in space to meet demands of AI use on earth

Google explores building data centers in space using constellations of solar-powered satellites to meet the computing demands of AI machines and models on Earth. Named Project Suncatcher, the research project expects to use the energy directly from the sun to run the data centers equipped with solar panels, which, as a result, can handle more computing power and energy used by machine learning systems and language models on Earth.

The proposal describes an AI space-based data center made of many small satellites, each equipped with solar panels, computing chips, and communication systems. These satellites would orbit the Earth in a formation, creating a cluster that works like one large computer network. The system would use Google Tensor Processing Units, which are chips made for machine learning and have already been tested for radiation and can survive about five years in orbit without permanent damage. The design includes solar arrays to collect energy, heat pipes and radiators to control temperature, and free-space optical communication links to connect the satellites.

image courtesy of NASA, via Unsplash

Google’s project suncatcher uses solar-powered satellites

An additional design element for Google’s AI data centers in space includes optical links that use light instead of radio waves to send data for faster communication between satellites and reduce delay. Each satellite would fly close to others in a formation about one kilometer wide, and the formation would be managed by machine learning models that control position and movement to avoid collisions. The satellites would orbit in constant sunlight to help the solar panels collect power without interruption, and the position also reduces the time needed to send data back to Earth (but the company says some delay in communication might still happen depending on ground locations).

Cooling is a major part of the design. Because space has no air, heat from the chips must move through solid materials to the radiators, releasing heat into space, so the team plans to use advanced thermal interface materials to transfer heat efficiently without mechanical parts. The plan also focuses on modular satellite design by building smaller satellites instead of one large structure to reduce the risk and costs. If one satellite fails, others can continue operating. Launching smaller units is also cheaper, as future launch costs to low-Earth orbit are expected to fall to about 200 USD per kilogram by the 2030s. The research describes building AI data centers in space as a milestone since they could perform like a normal Earth-based data center. Later on, Google plans to test real satellite communication and flight control and, over time, improve each part, including better cooling, stronger chip protection from radiation, and automated fault recovery.

image courtesy of Allison Saeng, via Unsplash

image generated on Gemini using the prompt ‘solar-powered satellited’

image courtesy of Ian Battaglia, via Unsplash

project info:

name: Project Suncatcher

company: Google | @google

research: here

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over 30 large-scale installations form creative landscapes during dubai design week 2025

DUBAI DESIGN WEEK’S 11TH EDITION ELEVATES UAE’S CREATIVE ECOSYSTEM

The 11th edition of Dubai Design Week (DDW) is set to amplify the dynamic creative landscape of the Middle East, running from November 4 to 9, 2025, at the Dubai Design District (d3), the city’s global creative ecosystem. The festival offers a multidisciplinary program that acts as a vital platform for dialogue, experimentation, and progress, spanning architecture, interiors, furniture, graphic design and major activations like the showcase by Iris Ceramica Group. 

Anchoring the week is Downtown Design (DTD), which returns to the d3 Waterfront Terrace from November 5 to 9 as the Middle East’s most significant platform for high-quality contemporary design. As a central pillar of the fair, The Forum once again convenes a lineup of global and regional voices for its flagship talks program. Headlining the conversation series is British design icon Tom Dixon in his Dubai debut, who will be joined by internationally acclaimed figures like Lee Broom and David Hicks, alongside regional design leaders including Rabah Saeid and Pallavi Dean.

Dubai Design Week returns for its 11th edition | all images courtesy of Dubai Design Week

CROSS-CULTURAL CREATIVITY AT DUBAI DESIGN DISTRICT

Dubai Design Week 2025 is presented in strategic partnership with Dubai Design District and supported by Dubai Culture & Arts Authority to nurture a distinctly native design narrative and provide a dynamic platform for both regional creatives and global brands. Powerful collaborations and innovative commissions underscore the festival‘s commitment to cross-cultural exchange. The automotive partner, BMW Middle East, returns with an installation developed with Jeddah-based architecture studio BrickLab, and Swiss watchmaker Jaeger-LeCoultre hosts an immersive pop-up that traces the history of the Reverso timepiece through the lens of design, architecture, and the culinary arts. Furthermore, the IQOS Curious X platform in partnership with Italian design brand Seletti reimagines the traditional Italian piazza with a multi-sensory installation featuring immersive soundscapes, digital art, and varying scents.

Tom Dixon makes his Dubai debut, headlining conservations at The Forum

THE FESTIVAL’S PROGRAM AND DOWNTOWN DESIGN HIGHLIGHTS

Beyond these major collaborations, the festival offers a comprehensive program from high-design showcases to crucial launchpad commissions that champion regional makers and materials. Abwab is a yearly program that supports designers from across West, South, and East Asia, as well as the African continent, by commissioning installations or pavilions thematically remodelled each year to reflect relevant global and regional contexts. For the 2025 edition, practitioners were invited to respond to the theme ‘In the Details,’ exploring material intelligence, precision, and cultural nuance through the lens of ornamentalism. 

Separately, the Urban Commissions design competition provides a platform for architects and designers to experiment with ideas for the public realm. In 2025, the competition centres on the courtyard, a spatial typology rooted in the region yet resonant across many cultures, encouraging proposals that investigate how design can enrich civic life.

IQOS Curious X and Seletti reimagine the traditional Italian piazza with a multi-sensory installation

DDW 2025 also places a strong emphasis on fostering talent, launching the d3 Awards, a regional design award championing emerging talent from the Middle East and North Africa (MENA) region. The inaugural edition is focused on architecture with the winner receiving a financial prize of AED 100,000 and a mentorship session with an industry leader. Furthermore, the UAE Designer Exhibition, supported by Dubai Culture, returns with an expanded curatorial scope to bolster mentorship opportunities and visibility for emerging UAE-based designers.

Visitors can also experience enriching exhibitions and activations, such as the d3 Architecture Exhibition in partnership with the Royal Institute of British Architects (RIBA), which showcases works by leading international and regional architectural firms centred on the theme of community. L’ÉCOLE Middle East, School of Jewelry Arts supported by Van Cleef & Arpels, is set to unveil a world premiere exhibition at their campus in d3, presenting a unique dialogue between the West and East through the art of jewellery, alongside local heritage and museum artifacts.

Designlab Experience by Hibah Albakree, Mootassem El Baba, Marwan Maalouf at Dubai Design Week 2025

Finally, the DDW’s hands-on learning hub, the Maker Space, made by Mart®, features over 60 expert-led workshops and masterclasses throughout the six-day festival. Hosted in a dedicated space, the program is designed to inspire and elevate skills across design disciplines, welcoming professionals and aspiring creatives of all ages and levels of experience. Sessions are led by professors from leading institutions such as the University of the Arts London (UAL) and the Massachusetts Institute of Technology (MIT), as well as UAE-based, regional, and international creatives and cultural institutions.

The DTD fair’s flagship talks platform, The Forum, is headlined by one of the most influential figures in contemporary design, Tom Dixon, making his Dubai debut with a keynote that will explore material innovation and the evolution of global design narratives. The event promises to be a vital nexus for cross-cultural dialogue, setting the course for the next era of design defined by the MENA region’s growing influence.

National Pavillion UAE by Pressure Cooker

Ithra x Izaskun by Chinchilla Architects

L’ÉCOLE Middle East, School of Jewelry Arts Exhibition at Dubai Design Week 2025

ARDH Collective by Alhaan and Alyina Ahmed

Downtown Design (DTD) returns to the d3 Waterfront Terrace from November 5 to 9

project info:

name: Dubai Design Week 2025 | @dubaidesignweek

dates: November 4-9, 2025

location: Dubai Design District (d3)

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nothing beats smartphone price range with phone (3a) lite in black & white

nothing introduces Phone (3a) Lite

Nothing has announced the Phone (3a) Lite, an exciting smartphone that brings the brand’s signature transparent design and playful technology to a wider audience. Designed in London and built for release, the device combines expressive design, intuitive software, and accessible pricing. Starting at £249 / €249, the Phone (3a) Lite aims to make the Nothing experience, previously seen in its previous models, available to more people than ever before.

Available in timeless White and Black, Phone (3a) Lite comes with a 6.77-inch AMOLED display that dazzles at 3000 nits brightness and glides at a 120 Hz refresh rate. Its 50 MP triple camera system with TrueLens Engine 4.0 captures lifelike detail, while the Glyph Light adds personality through custom notifications, making these specs just a few of the many that enable a smooth, all-day performance.

Nothing Introduces Phone (3a) Lite, bringing innovative design and innovation to more users | all images courtesy of Nothing

Phone (3a) Lite reimagines Nothing’s signature transparent design with an understated yet confident styling. Encased in glass, it balances classic playfulness with everyday practicality, feeling crafted rather than manufactured. Built for durability, the company‘s smartphone boasts IP54 dust and water resistance, ensuring it’s ready for everyday life. An internal aluminum frame further strengthens its core, offering exceptional longevity.

At the centre of the experience lies a 6.77-inch flexible AMOLED display that feels distinctly high-end. Delivering FHD+ resolution (1080 x 2392), 10-bit color depth, and 3000 nits peak brightness, the screen reproduces 1.07 billion colors with stunning precision. The 120 Hz adaptive refresh rate ensures smooth scrolling, gaming, and video playback, while 2160 Hz PWM dimming reduces eye strain in low-light conditions. The result is a display that feels flagship despite the Lite label.

Phone (3a) Lite combines heavy-hitting features and a seamless software experience at an accessible price

Built around a 50 MP main sensor with a 1/1.57-inch Samsung sensor, the triple-camera system is powered by Nothing’s TrueLens Engine 4.0, the same image pipeline used in the previous Phone (3). It captures 64% more light than typical sensors in its class, ensuring detailed, true-to-life shots even in challenging conditions.

Photography modes such as Ultra XDR, Portrait Mode, Night Mode, and Motion Capture offer flexibility for creators. The 16 MP front camera handles selfies and video calls with clarity, while the main camera records 4K video at 30 fps and 1080p slow-motion at 120 fps. Together, they deliver an experience that blends professional control with everyday ease.

the smartphhone reimagines Nothing’s signature transparent design with an understated yet confident styling

Moreover, Phone (3a) Lite introduces Glyph Light, a refined interpretation of Nothing’s celebrated Glyph Interface. Drawing inspiration from classic notification lights, it communicates subtly through illumination. Users can enable Flip to Glyph for silent notifications, set Essential Notifications for key contacts, or use Camera Countdown for perfectly timed group shots. Customizable light sequences synced with Nothing’s ringtones add personality to functionality—making the Glyph Light both sleek and purposeful.

Running on Nothing OS 3.5 powered by Android 15, the interface is clean, expressive, and minimalist. Personalisation options include monochrome themes, Smart Drawer for automatic app organization, and Private Space for safeguarding files. The Essential Key and Essential Space integrate AI tools for capturing and managing content—from voice notes to images—while Essential Search allows instant access to saved material without an internet connection. Nothing promises three years of major Android updates and six years of security patches, with Nothing OS 4.0 arriving in early 2026.

Under the hood, the MediaTek Dimensity 7300 Pro 5G processor built on TSMC’s 4 nm process powers a fast, fluid experience. Its eight-core CPU (up to 2.5 GHz) handles multitasking with ease, aided by 8 GB RAM and up to 8 GB virtual RAM for a combined 16 GB. Storage options of 128 GB or 256 GB are expandable via microSD card up to 2 TB, ensuring generous capacity for creative projects. Connectivity includes Dual 5G, WiFi 6, and Bluetooth 5.3, offering smooth streaming, gaming, and lag-free audio. A liquid cooling system maintains performance during intensive tasks.

The 5000 mAh battery keeps the Phone (3a) Lite running for nearly two days of mixed use, supported by 33 W fast charging that reaches 50% in around 20 minutes. 5 W reverse wired charging can power accessories or another device on the go. Thanks to Battery Health technology, charging cycles are optimized for long-term performance, reducing wear over time and extending the device’s life span.

encased in glass, it balances classic playfulness with everyday practicality, feeling crafted rather than manufactured

built for durability, Phone (3a) Lite boasts IP54 dust and water resistance, ensuring it’s ready for everyday life

an internal aluminum frame further strengthens its core, offering exceptional longevity

prices start at £249 / €249 (8 GB + 128 GB) and £279 / €289 (8 GB + 256 GB)

Nothing Phone (3a) Lite is available in Black and White at nothing.tech and select retailers. Prices start at £249 / €249 (8 GB + 128 GB) and £279 / €289 (8 GB + 256 GB), positioning it as one of the most design-conscious smartphones in its price range.

project info:

name: Phone (3a) Lite

company: Nothing | @nothing

launch date: 29 October 2025

availability: nothing.tech

price: £249 / €249 (8 GB + 128 GB) and £279 / €289 (8 GB + 256 GB)

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one-kilometer red line land art installation by gregory orekhov spans across california desert

El Mirage: a red line path unfurls across the California Desert

El Mirage is a site-specific installation by artist Gregory Orekhov, located on the dry lakebed of El Mirage in California. The work consists of a one-kilometer (3,000-foot) red polypropylene strip, unfurled along an east–west axis that mirrors the path of the sun from sunrise to sunset. The land art installation establishes a precise geometric intervention within the desert’s cracked surface. By tracing a linear path through the open terrain, the work creates a direct visual and spatial dialogue between human scale and the vastness of the surrounding landscape. Throughout the day, the appearance of the red line changes in response to shifting light conditions. At sunrise, it appears sharply defined; at midday, its edges soften against the reflective surface; and by evening, it catches the low sun, taking on a luminous quality. These temporal variations emphasize the connection between the work’s orientation and the cyclical movement of natural light. Photographers Rafael Gamo and Studiolandon capture the installation’s shifts throughout the day.

all images by Rafael Gamo unless stated otherwise

Gregory Orekhov’s red line reinterprets the passage of time

The project extends Orekhov’s ongoing exploration of linear form and spatial continuity. The red line serves as both a measurable element within the landscape and a marker of duration, a physical representation of passage across time and terrain. El Mirage also relates to the artist’s earlier installation Nowhere (2022), presented in Malevich Park, where a red line extended across a snow-covered forest. While both works share a formal simplicity, their contexts alter the perception of the gesture: in the forest, the line was a temporary trace fading into white; in the desert, it becomes a structural axis that defines orientation and presence. El Mirage positions the landscape itself as a central component of the composition. The installation bridges environmental observation and conceptual expression, reflecting on how a single line can redefine perception of distance, direction, and human relationship to space.

a one-kilometer red line stretches across the dry lakebed of El Mirage, California

the installation by Gregory Orekhov follows an east–west axis aligned with the sun’s path

the red polypropylene strip forms a geometric gesture across the cracked desert floor

a dialogue emerges between human scale and the expansive horizon

by midday, heat and light blur its edges into the shimmering surface

at sunset, the strip glows with reflected light, merging with the horizon

the project explores how natural light transforms perception throughout the day | image by Studiolandon

the red line operates as both a physical and temporal marker in the landscape | image by Studiolandon

El Mirage continues the artist’s study of linear form and spatial continuity

the simplicity of form contrasts with the complexity of its environmental context

the surrounding landscape functions as an integral part of the composition

project info:

name: El Mirage

artist: Gregory Orekhov | @gregory.orekhov 

location: El Mirage, California, USA

photographer: Rafael Gamo | @rafael_gamo, Studiolandon | @studiolandon

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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canyon-like yidan center by zaha hadid architects tops out in shenzhen’s cultural quarter

Yidan Center by Zaha Hadid Architects reaches full height

Construction reaches full height on the Yidan Center in Shenzhen, China, designed by Zaha Hadid Architects (ZHA). The 165,815-square-meter complex is set to serve as the international headquarters of the Yidan Prize and the home of the Chen Yidan Foundation, advancing its mission to promote lifelong learning and innovation in education. Rising within the fast-developing cultural quarter of the city, alongside the new Qianhai Museum, the Yidan Center is set to become a landmark destination for research and culture.

Zaha Hadid Architects conceives the Yidan Center as a fluid, interconnected environment shaped by Shenzhen’s topography. Informed by the canyons and valleys of the region, long used as natural routes of travel and exchange, the design introduces a central outdoor ‘canyon’ that connects the different levels of the complex. Terraces and balconies open toward this void, promoting collaboration and interaction.

all renderings by Atchain

an open, inclusive landscape for learning in Shenzhen

Founded by Dr. Charles Chen Yidan, a core founder of Tencent, the Chen Yidan Foundation champions the diversification of education systems as a path toward sustainable development. Since establishing the Yidan Prize in 2016, Dr. Yidan has sought to build a global network of educators, researchers, and innovators dedicated to improving education worldwide. The new Yidan Center translates this vision into architecture, offering facilities for research, exhibitions, and community programs that bring together education and culture under one roof.

Visitors approach the building through verdant public gardens that descend to the canyon’s base, where a large oculus skylight draws daylight deep into the interior spaces. This immersive spatial sequence, moving from shaded gardens to light-filled atria, expresses the center’s ambition to create an open, inclusive environment for learning. At its lower levels, the YiPai community hub will host a diverse program of workshops and cultural events designed to empower people of all ages to pursue lifelong learning.

Sculptural Facade Unites Light, Air, and Energy Efficiency

In parallel with its social mission, the Yidan Center is designed to achieve the highest three-star rating of China’s National Green Building Program and LEED Gold certification. The layered system of external louvers on the facade provides solar shading while allowing natural light and views toward Qianhai Bay. Insulated double-glazed units, hybrid natural ventilation, and a variable air volume (VAV) system ensure optimal thermal performance in Shenzhen’s humid subtropical climate. Photovoltaic panels and integrated rainwater collection further reduce the reliance of the building on municipal energy and water networks.

The project team at Zaha Hadid Architects was led by Principal Patrik Schumacher and Project Director Manuela Gatto, supported by a multidisciplinary group spanning architecture, sustainability, interior, and workplace design. Together, they have shaped an architecture that embodies transparency, connection, and knowledge sharing, values that lie at the heart of the Yidan Foundation’s mission. As it nears completion, the Yidan Center aims to create a global ecosystem where education, innovation, and collaboration converge to shape the future.

image by ZHA

image by Kris Provoost

image by Xue Liang

image by ZHA

image by Xue Liang

image by Xue Liang

project info:

name: Yidan Center

architect: Zaha Hadid Architects | @zahahadidarchitects
location: Shenzhen, China

area: 165,815 square meters

client: Chen Yidan Foundation
principal: Patrik Schumacher
project director: Manuela Gatto

sustainability: China National Green Building Program (three-star), LEED Gold certification
ZHA team: Shao-wei Huang, Houzhe Xu, Massimo Napoleoni, Kutbuddin Nadiadi, Takehiko Iseki, Yevgeniya Pozigun, Armando Bussey, Besan Abudayah, Bowen Miao, Catherine McCann, Haohao Chen, Haoyue Zhang, Ignacio Fernandez De Castro, Jessica Wang, Jonathan Zisser, Jose Pareja Gomez, John Simpson, Kate Hunter, Laizhen Wu, Marco Vanucci, Maria Avrami, Mauro Sabiu, Nelli Denisova, Ningxin Zheng, Othmane Kandri, Sandi Nurpeissova, Thomas Bagnoli, Veronica Erspamer, Yaniv Hatiel Pini, Yun Yu Huang, Zixin Ye, Ziyuan Gao
competition team: Manuela Gatto, Paulo Flores, Aiste Dzikaraite, Ben Kikkawa, Berkin Islam, Bogdan Zaha, Carolina Lopez-Blanco, Catherine McCann, Evgeniya Yatsyuk, Houzhe Xu, Igor Pantic, Jessica Wang, Jinqi Huang, Jose Pareja Gomez, Karoly Markos, Kate Hunter, Kutbuddin Nadiadi, Li Jin, Marco Vanucci, Marko Margeta, Martin Gsandtner, Nelli Denisova, Olga Yatsyuk, Rachelle Spiteri, Sven Torres, Taras Kashko, Vincent Yeung, Yevgeniya Pozigun
sustainability team: Carlos Bausa Martinez, Aditya Ambare, Aleksander Mastalski
interior team: Kar Hwa Ho, Bidisha Sinha, Afsoon Eshaghi, Anna Adebayo, Aysu Aysoy, Chhavi Mehta, Sonia Renehan
workplace planning team: Ulrich Blum, Lorena Espaillat Bencosme, Philipp Siedler
graphic design: Alex Turner

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