Nov
4

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microphone with sound effects by teenage engineering gives singers robotic and fairy voices

Category: Design Boom

teenage engineering unveils handheld microphone ‘ting’

 

Teenage Engineering releases handheld microphone EP–2350 Ting that gives singers a robotic or fairy voice. Built-in with sound effects, the compact device allows performers to modify their voices in four ways. The first is echo, which repeats their sounds. Then, there’s echo + spring, or a combination of the echo effect with a spring-like tone. The next is the pixie, which adds a high-pitched modulation to the users’ voice as if they were fairies, and lastly, the robot to give them a mechanical sound while performing live.

 

The body of the handheld microphone by Teenage Engineering includes a lever and motion sensor that control how the effects change in real time, meaning users can tilt or move the mic to adjust the intensity of the effect. On the side, there are four buttons that trigger preloaded sound samples such as air horns and lasers, which are commonly used in reggae and dancehall sound systems. Ting works as both a vocal mic and a simple sampler for live shows and can connect directly to a sampler through a line input or to any sound system.

all images courtesy of Teenage Engineering

 

 

Sampler ‘riddim’ makes reggae, dub, and dancehall tracks


Speaking of samplers, the handheld microphone isn’t the only recent release from Teenage Engineering. In fact, the team reveals its sibling in the name of EP–40 Riddim, which is based on earlier Teenage Engineering models, such as the EP–133 K.O. II and the EP–1320 Medieval. This time, the sampler, as well as the mic, is designed to make reggae, dub, and dancehall tracks. Riddim introduces a new play mode called LOP, which lets users control loops and create live remixes. The interface includes pads that can mute or unmute sounds during playback, allowing the DJs and producers to build and rearrange rhythms quickly during performance. Inside, the sampler includes a built-in synth engine called Supertone, the mastermind behind the bass and lead sounds with adjustable parameters. It also has three pressure-controlled dub siren tones, and the soundbank includes more than 300 samples. 

 

These consist of drums, percussion, bass, keys, melodica, guitars, and vocal shouts, samples made specifically for reggae, dub, and dancehall. Riddim also includes music and samples made by reggae and dub artists, who provided sound files such as bass lines, melodies, drum parts, and effects. The list includes King Jammy, Mad Professor, Mafia & Fluxy, Dre Skull, MPC, Rigo Fuego, Mighty Crown, and Baby G. Both the sampler and handheld microphone by Teenage Engineering are designed to connect and work together, with the Riddim handling the loops, samples, and rhythms, while the Ting adds vocals and live sound effects. The two units can be linked with cables for synchronized use. Riddim has ports for line input, line output, power, and MIDI control. Ting connects through a standard audio jack and draws power directly from the device it connects to.

there are four buttons that trigger preloaded sound samples

the compact device allows performers to modify their voices in four ways

Teenage Engineering also releases the sampler EP–40 Riddim for reggae and dancehall tracks

rear view of the sampler

the handheld microphone can be connected to the sampler

Riddim lets users control loops and create live remixes

the mic includes a lever and motion sensor that control how the effects change in real time

the sampler interface includes pads that can mute or unmute sounds during playback

the sampler includes a built-in synth engine for the bass and lead sounds

 

project info:

 

name: EP–2350 Ting, EP–40 Riddim

company: Teenage Engineering | @teenageengineering

The post microphone with sound effects by teenage engineering gives singers robotic and fairy voices appeared first on designboom | architecture & design magazine.

Nov
4

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Insane Australian Invention: The Snowtunnel, a Skier’s Version of a Wave Pool

Category: Core77

Did you know that you could actually go skiing/snowboarding in Australia? I didn’t. The country/continent actually has an established ski industry in their southeast, where the Australian Alps are located. (I also didn’t know they had Alps.)

Their season is short and peaks in July and August. It relies heavily on manmade snow. But now an Australian startup called Snowtunnel is launching a plan to let Australians enjoy wintersports year-round.

What these maniacs are working on is a massive rotating cylinder that’s 12m/41′ in diameter (about four stories tall) and 16m/52.5′ long. Manmade snow is blown into it, and they’ve worked out a proprietary way for the snow to stick to the cylinder, so it doesn’t all just stay piled up at the bottom as the cylinder rotates.

A skier or snowboarder can then carve their way from side to side along the tunnel; it’s something like a wave pool for surfers. The company reckons the 52.5′ length is about the width of an alpine run. The rotation speed can be modulated, maxing out at 31 mph for seasoned skiers and snowboarders.

The company is planning to build multiple Snowtunnels around the country, and says they’ll have their first opening in 2027.

Nov
4

By

Smart Design: The MagMaster Universal Tool Holder

Category: Core77

Most tools are made out of ferrous metals. Mechanical engineer and inventor Joshua Hartung exploited this truth to design the MagMaster, a better design for a tool holder.

Tradespeople who carry a lot of tools often wear toolbelts and/or suspender rigs. These are typically kitted out with tool-specific leather holsters, hammer loops, fastener pouches, et cetera. Hartung took a different approach, drawing on his own experiences working in construction. His chief observation was that not every task requires the same set of tools—for instance, if transitioning from rough framing to finer trim work, sheetrocking or painting—and that a universal tool holder would be better than dedicated object-specific ones.

Thus the MagMaster. It’s a super-strong magnet that clips to a belt, and can be used to hold virtually any tool. This makes it easy to swap tasks without having to reconfigure one’s tool belt.

The MagMaster is in production by Hartung’s company, Holstery. And it has stablemates. Hartung has re-thought tool belts entirely, developing a modular tool carry system based on a series of simple, clever and lightweight belt designs:

The MagMaster and Holstery’s gear draws rave reviews from tradespeople.

Nov
4

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This North Face x Bialetti Collab Is Peak Coffee Culture

Category: YankoDesign

There’s something beautifully absurd about combining outdoor gear with coffee culture, and the new collaboration between The North Face and Bialetti hits that sweet spot perfectly. It’s the kind of partnership that makes you wonder why it didn’t happen sooner, bringing together two iconic brands that have been fueling adventures in their own ways for decades.

The TNF x Bialetti Moka Set is exactly what it sounds like: a limited-edition coffee kit that packages Italian espresso tradition in North Face’s signature Summit Gold and black colorway. At the heart of the set is a three-cup Moka Express, the classic aluminum stovetop coffee maker that’s been gracing Italian kitchens since 1933. This version comes emblazoned with both brands’ logos and The North Face’s “Never Stop Exploring” slogan, because apparently your morning caffeine ritual is now an expedition.

Designer: The North Face x Bialetti

But here’s the thing about this collaboration, it’s not trying to be some ultralight backpacking essential. Despite the marketing suggesting it’s built for explorers and designed to be taken on the road or trail, this is really more about bringing style to your coffee routine than revolutionizing camp cooking. The set comes in a fairly large box and includes two stainless steel cups (one in Summit Gold, one in Bialetti black), matching spoons, and a 100-gram tin of pre-ground Bialetti coffee. It’s comprehensive, coordinated, and honestly quite handsome, even if the portable claims are a bit optimistic.

What makes this collaboration interesting isn’t its practicality for wilderness expeditions. It’s the cultural collision it represents. Bialetti’s Moka Express is a design icon in its own right, as recognizable in Italy as The North Face’s logo is on college campuses worldwide. Both brands carry serious nostalgia and street cred in their respective spheres. Bialetti revolutionized home espresso making with a design so perfect it hasn’t fundamentally changed in nearly a century. The North Face turned technical mountaineering gear into everyday fashion statements. Together, they’ve created something that speaks to coffee nerds, design enthusiasts, and brand collectors equally.

The color scheme is where this collab really shines. That Summit Gold is instantly recognizable if you’ve ever owned or lusted after a vintage North Face jacket, and seeing it on a Moka pot feels both surprising and completely right. The black and gold combination gives the entire set a premium, cohesive look that transcends either brand’s individual aesthetic.

Now let’s address the elephant in the room: the price. At $220, this isn’t exactly an impulse purchase. You can get a standard Moka Express for a fraction of that cost. But you’re not just buying a coffee maker here. You’re buying into a collaboration between two heritage brands, complete with the matching cups, spoons, and that perfectly branded tin. It’s collectible merch that happens to make excellent coffee, or an excellent coffee setup that happens to be collectible merch, depending on how you look at it.

The reality is that this set probably makes more sense sitting on your apartment’s kitchen counter or at your glamping setup than it does in your actual hiking pack. And that’s perfectly okay. Not every outdoor-branded product needs to summit Everest. Sometimes it’s enough to add a little adventure aesthetic to your morning routine, to have that moment of enjoying rich Italian espresso while wearing your Nuptse jacket and dreaming about trails you’ll hike someday.

This collaboration taps into something broader happening in design culture right now: the blurring of boundaries between function and lifestyle, between genuine outdoor gear and urban fashion, between coffee equipment and collectible objects. It’s the same impulse that puts Supreme on Coleman coolers or sees luxury brands creating camping gear. We want our everyday objects to tell stories about who we are or who we want to be.

Whether the TNF x Bialetti Moka Set is worth the investment depends on how much you value that intersection of coffee culture, design heritage, and brand storytelling. If you’re someone who gets excited about limited-edition collaborations and appreciates when iconic designs get reimagined, this might be calling your name. Just don’t expect it to revolutionize your backpacking coffee game.

The post This North Face x Bialetti Collab Is Peak Coffee Culture first appeared on Yanko Design.

Nov
4

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Top 5 Complex LEGO Sets For Advanced Builders In 2025

Category: YankoDesign

The landscape of premium LEGO construction has evolved far beyond childhood nostalgia into sophisticated engineering challenges that demand patience, precision, and genuine building expertise. Today’s most complex sets push the boundaries of what brick-based construction can achieve, incorporating intricate mechanical systems, massive piece counts, and revolutionary design techniques that transform static displays into interactive experiences.

These builds represent months of dedication, combining traditional construction skills with modern engineering concepts. Each set on this list exceeds 2,000 pieces and requires an advanced understanding of structural integrity, gear systems, or complex assembly sequences. They’re designed for builders who view LEGO not as toys but as sophisticated construction systems capable of replicating real-world mechanical marvels and architectural achievements.

1. LEGO Icons Tropical Aquarium

The Icons Tropical Aquarium represents LEGO’s bold move into kinetic sculpture territory, transforming 4,154 pieces into a living mechanical ecosystem. Unlike traditional display sets that remain frozen in time, this aquarium breathes with movement through carefully engineered dial and crank systems that animate marine life. The November 13 release at $479.99 positions this as LEGO’s most ambitious attempt at merging engineering precision with artistic expression.

What sets this aquarium apart isn’t just its impressive piece count but its arrangement flexibility that transforms builders into underwater curators. Four model fish move through varied coral structures alongside animated seaworms, while an oyster shell reveals a hidden pearl through mechanical action. Every placement decision affects visual balance and movement patterns, requiring builders to think beyond simple assembly into spatial composition and kinetic choreography.

What we like

Revolutionary kinetic movement system brings static display to life.
Arrangement flexibility allows for personalized underwater compositions.

What we dislike

High price point may limit accessibility for casual builders.
Mechanical complexity requires ongoing maintenance for optimal movement.

2. LEGO Sun Earth Moon Orrery

Marian’s stunning 2,303-piece Sun Earth Moon Orrery elevates LEGO construction into the realm of precision scientific instrumentation. This kinetic marvel doesn’t simply replicate planetary movement but accounts for Earth’s axial tilt, tracks lunar phases, and demonstrates both solar and lunar eclipses with astronomical accuracy. The 70 Technic gears create a mechanical symphony that transforms abstract cosmic concepts into tangible, hands-on learning experiences.

The orrery’s ornate design philosophy mirrors Da Vinci’s mechanical aesthetics while delivering modern engineering precision. The 10.6-inch twelve-faced base celebrates the calendar year, expanding to 20.9 inches when accounting for the moving celestial bodies. Manual hand-crank operation offers meditative building rhythm, while optional RC motor integration provides automated cosmic ballet that runs continuously for educational display purposes.

What we like

Astronomically accurate planetary movements provide genuine educational value.
Dual control options (manual/motorized) offer versatile display possibilities.

What we dislike

The complex gear system requires precise calibration for smooth operation.
Large footprint demands significant display space for proper appreciation.

3. LEGO James Webb Space Telescope Replica

The LEGO James Webb Space Telescope replica tackles one of modern engineering’s most complex achievements through brick-based construction that mirrors the actual satellite’s intricate folding mechanisms. This build captures the telescope’s launch-critical ability to fold into a compact configuration before unfolding in space, requiring builders to understand both structural engineering and the precise mechanical sequences that made the real JWST mission possible.

Every major subsystem finds representation in this meticulous replica, from the eighteen iconic hexagonal mirrors that form the light-gathering array to the layered sun shield that protects sensitive instruments. The secondary hinged mirror, science instruments, propulsion systems, and communications arrays all function through LEGO’s mechanical systems, creating an interactive educational experience that illuminates the genuine complexity behind space exploration’s latest triumph.

What we like

An authentic folding mechanism provides hands-on understanding of complex engineering.
Comprehensive subsystem representation offers deep educational insight into space technology.

What we dislike

Extreme complexity may overwhelm builders without a technical background.
Delicate folding mechanisms require careful handling to prevent damage.

4. Life-Size LEGO Formula 1 Steering Wheel

Vince_GT’s life-size Formula 1 steering wheel replica demonstrates how LEGO construction can perfectly capture the absurd complexity of modern racing technology. Real F1 wheels feature 9-12 rotary dials and over 12 buttons controlling everything from brake bias to differential settings, all packed into a rectangular profile that allows drivers clear sight lines over the wheel’s top edge.

This LEGO interpretation nails those authentic proportions within the 260-300mm diameter range used by Mercedes and Red Bull teams. Transparent dark teal accent pieces on the outer grips provide visual distinction, while the central display panel features customizable designs centered around a prominent “N” logo. The rectangular profile challenges traditional wheel construction assumptions, requiring advanced building techniques to achieve proper ergonomics and visual balance.

What we like

Life-size proportions create an authentic racing simulation experience.
Customizable display panel allows for personalized racing team branding.

What we dislike

Complex button and dial integration may lack full functional capability.
Specialized racing context limits appeal to a broader audience.

5. LEGO Titanic

The LEGO Titanic stands as a monument to both historical tragedy and construction ambition, stretching 54 inches from bow to stern with 9,090 precisely engineered pieces ᅟᅟ. This 1:200 scale recreation required LEGO’s designers to solve unprecedented challenges in structural integrity and historical accuracy, creating the longest LEGO set ever produced while maintaining the authentic proportions that made the original ship both magnificent and ultimately vulnerable.

Beyond mere scale, this set demonstrates advanced construction techniques through its multi-section assembly approach that mirrors actual shipbuilding methods ᅟᅟ. The detailed interior spaces include the ship’s bridge, promenade deck, and swimming pool, while working propellers and mechanical details bring maritime engineering to life ᅟᅟ. The building experience itself becomes a 25-hour journey through maritime history, requiring builders to understand both the ship’s grandeur and the engineering compromises that led to its tragic fate.

What we like

Record-breaking length creates an impressive display piece with historical significance.
Multi-section construction teaches authentic shipbuilding assembly techniques.

What we dislike

Massive size requires dedicated display space and careful structural support.
High piece count and lengthy build time may overwhelm casual builders.

The Evolution of Complex LEGO Construction

These five sets represent the cutting edge of what LEGO construction can achieve when freed from traditional toy constraints. Each pushes different boundaries: kinetic movement, scientific accuracy, space technology replication, motorsport simulation, and historical recreation. They demand not just building skills but a genuine understanding of the real-world systems they represent. Their complexity reflects LEGO’s recognition that adult builders seek challenges engaging both hands and minds.

What makes these builds truly advanced isn’t just their piece counts or assembly time but their ability to teach genuine skills. The Aquarium’s kinetic systems introduce mechanical engineering concepts while the Orrery provides hands-on astronomy education. These sets offer immersive educational experiences that transform abstract concepts into tangible understanding, creating conversation-sparking displays that demonstrate remarkable sophistication within LEGO’s seemingly simple building system.

The post Top 5 Complex LEGO Sets For Advanced Builders In 2025 first appeared on Yanko Design.

Nov
4

By

“Know this designers – your work is actually a huge inconvenience”

Category: Design Week

One of the invigorating aspects of working in the branding industry is reviewing the work that other agencies do.

There are numerous examples where I think “smart, well executed” and nod approvingly. There are others where my heart sinks as the industry at large piles in to express contempt, usually with no knowledge of the landscape in which the work was created.

And then there are examples where I am open mouthed with admiration for the work I’m looking at.

This is often a response to the clarity of the idea, but increasingly I find my admiration is rooted in something else – the understanding of the huge amount of work that went into enabling that idea to be realised.

“In reality, while the idea is crucial, it is not a golden ticket.”

A rebrand comes with the hope to refresh, reposition, and future-proof against a specific challenge, or to build on a certain opportunity.

And yet I’m consistently amazed by the popular view that once the agency has cracked the idea, the hardest part is over. That the job is to deliver something bold, brilliant, and my least favourite of all, “brave.”

And if the client, or more likely their stakeholders, don’t buy it, well that’s on them.

In reality, while the idea is crucial, it is not a golden ticket. It’s the start of a journey preserving and protecting the idea through the lengthy, complex, and often dispiriting journey it must go on before it sees the light of day.

Critically, this is a journey that we must go on in partnership with our clients, not a lonely quest we send them on alone. It is our job to arm the CMO with all the weapons they need to deliver the great work, and to be by their side through that process.

It must begin by acknowledging that what we bring to the table – our strategic, unmistakable design solution – presents a risk and an inconvenience for many people inside that business. It costs money. It creates work. It disrupts processes.

As a result, it reasonably invites scrutiny from very senior stakeholders who are not in the room when the idea is first presented, and who may not fundamentally value or recognise the role of design to their business.

These are the unglamorous realities that rarely make it into that beautiful case study, but if we ignore them, we fail in our duty of care to the client and to the creative idea.

So, how do we protect the work, and give it the best possible chance of success? There are some clear principles to smooth this process from the start, and they begin long before you get anywhere near the creative presentation…

Read the room and read the brief. It’s not just about your immediate client; it’s about building a deeper understanding of the shape of the business they work in. It’s about recognising the job that you really need to do, and where there will be pitfalls, so you can adequately prepare.

Build a case for consensus. When working with large organisations, there are often many valid, but conflicting, points of view. Finding solid ground, a foundation where everyone is aligned, and building from there, will more likely lead to future buy-in.

Pick your battles. It can become a matter of pride to get hung up on every detail, to romanticise resistance. But sometimes it’s better to let small things go, to then be able to celebrate the big wins, the ones that really matter.

Make it real. As the sell-in process continues, there’s a lot of power in bringing the idea to life with an event or showcase that engages the most left-brain audiences, because, after all, “everything you can imagine is real.”

Listen and adapt. The design process is lengthy, and it cannot be static to the evolving circumstances that surround it. Being inflexible in the face of change rarely serves the work or the client.

And perhaps most crucially, remember the stakes. People’s jobs and businesses are on the line. Our responsibility, to the best of our ability, is to do the right thing.

This means respecting and trusting our client’s knowledge of their brand, making a case for design that takes every detail into consideration, listening to, and patiently addressing the most frustrating of concerns, and being an ally to the finish.

Almost nothing makes me prouder than the moment a great new piece of work is unveiled.

Not simply because the idea was brilliant, but because together we fought for it, made it work for the brand, and gave it the chance to thrive – together.

Georgina Leigh-Pemberton is managing director of Turner Duckworth.

Source

Nov
4

By

Hypershell’s Elegant Leg Exoskeleton for Running, Cycling, Hiking, Etc.

Category: Core77

China has spent decades shedding their design piracy image, and there’s still work to be done. But with that much industrial might, it’s just a matter of time before their original homegrown products start to outclass what the U.S. is producing. They’ve already stolen the march on EVs and solar panels. Now exoskeletons are next.

This elegant X Ultra leg exoskeleton was designed by Chinese ID firm Suosi Design, and it’s in production by Shanghai-based Hypershell, a Shanghai-based exoskeleton company. And unlike American competitors in the outdoor exoskeleton space, like Skip and Ekso Bionics, Hypershell has had their product third-party validated by SGS, in order to prove the product lives up to its claims. (SGS is the global testing, verifying and certifying organization used by Apple, BMW, Nike, Sony, etc.)

As for what it can do: The X Ultra provides “a significant 39% reduction in physical exertion when cycling and 20% less physical exertion when walking,” the company says. “Hypershell X Ultra features long-lasting batteries, providing 42,000 steps per battery. With two batteries included, the walking range extends to an impressive 60 km, a substantial leap from the previous generation’s 17.5 km.”

The frame is made of titanium alloy. The unit weighs 3.9 lbs and the batteries 1.6 lbs each, for a total weight of 5.5 lbs. That’s light, with competing products weighing in closer to 10 lbs. And the design is both visually elegant and substantially different from competing products: Rather than distributing weight across the legs, it places the motor and drivetrain at the lower back, which reduces hip strain, improves stability and allows for natural movement, particularly when ascending and descending slopes.

The company says their single-frame design works well with a wide variety of body and clothing types, and is easy to don and doff.

Most damningly for the competitors, this thing is in production and already shipping, globally. And the company only got started four years ago!

Nov
4

By

How “two lads in a WeWork” built Koto New York

Category: Design Week

It’s three years since branding agency Koto opened its studio in New York. It’s led by executive creative director Arthur Foliard, who’s been with Koto since 2017, and Alex Monger, who was hired to be the new managing director after stints at BBH New York and Wolff Olins.

In recent months, the studio has released a stream of eye-catching work for big clients, including Amazon, Lyft and Tripadvisor. But it hasn’t always been plain sailing.

We sat down with the pair to discuss big wins, tough times, and why they always trust the process.


Why did Koto set up in New York back in 2022?

Arthur Foliard: There was a business decision, and there was an emotional decision.

It made a lot of sense to go to the East Coast, because we’re so successful on the West Coast, in LA and Silicon Valley. And we were smashing it in Europe.

But it felt like to be seen as a global studio, you almost had to be in New York. It’s a different beast – probably the most competitive space, with the best agencies. And there were projects we were losing because we weren’t in New York.

The emotional component comes down to me. I always wanted to come out here, to fight and win against the big guys.

I was communicating that to the founders, and I think they were like, ok let’s let him go, because he’s going to give everything to make it work.

They offered me the job in December 2020, between waves of Covid. And so it took a long time, almost 18 months, to get the visa sorted.

That was probably for the best, because it gave me 18 months to understand what the fuck I was doing.

Are there things about running an agency in New York that are different to the West Coast, or Europe?

Alex Monger: The main thing is how hyper-competitive it is.

There are so many agencies that we really respect and admire, both agencies that have been around for decades and been pioneers in our industry, but there are also new agencies all the time here. That creates very high standards you have to set and maintain.

Agencies always go through that cycle – they’re good for two years, and then they’re crap for five. That’s something you have to really be vigilant against in New York.


https://d3faj0w6aqatyx.cloudfront.net/uploads/2025/11/Koto_Tripadvisor_LinkedIn_01.mp4

And everybody has moved here to do something. There is a shorthand to getting business done that exists in New York. It moves fast. We’ll have an RFP from a client, and two weeks later we’ll be starting work.

It’s very quick to get to ok, how can we help each other? That entrepreneurial spirit feels quite heightened. You know what we do. We know your goals. Let’s get going.

One of you was new to the business, and one of you was steeped in Koto lore. How did you decide what to keep, and what to reinvent?

Alex Monger: We’re building the studio in the image of Koto, but with our own take on it.

We had lots of early conversations around what are the things that we want to maintain from Koto? And what are the things we want to do, either to be more culturally attuned to what’s needed in New York, or just what Arthur and I have always wanted to build in our own studio?

We definitely wanted to keep that excellence culture, striving for the best possible creative work. As an outsider, I really appreciated the sense of humour that exists in Koto, and wanted to maintain that. Because it’s not just banter – it allows people to be really honest and open with one another.

Arthur Foliard: Something I was trying to find, which was really strong in London, is that partnership among the founders. You want to have that same ambition, that same entrepreneurial spirit.

So we want to make the best work, and hire the best people, and work with the best clients. But I also want to feel that if I need to call him at 11pm, because something isn’t going well, I could do that.

You both talk about that entrepreneurial spirit. Practically, how do you build that into a culture?

Alex Monger: People might think entrepreneurial spirit means the people making revenue for the agency. But what it really means is that we look for people who are excited to build something with us.

So not somebody who’s coming into Koto and expecting that everything’s already figured out. Rather, somebody who really wants to put their fingerprints on the place, and is excited to see the impact their work will have. We want to see that spirit in everyone.

Koto New York’s studio

We have a Monday morning meeting, and at the end, we spin a wheel that picks who’s going to take the trash out for the week, and who’s going to do the dishes. We call it the wheel of death.

Obviously, we could pay for somebody to come and do that for us. But we’re always going to keep that wheel of death, because the expectation is that everyone cares about the place as much as we do.

Arthur Foliard: When we moved to New York, we started in a small WeWork, a three desk office.

We took things step-by-step and we came in with this very humble mindset, which is no-one cares if Koto is in New York or not. No-one gives a fuck.

So we worked harder than anyone else – we were always pushing that little bit more, to show people that we were the right partners.

It sounds like the founders (James Greenfield, Caroline Matthews and Jowey Roden) gave you quite a lot of freedom to build this studio. That might surprise people given that Koto was successful already when you launched…

Alex Monger: They’ve done a great job of that, creating flexibility within the framework. All five studios have clear KPIs that we report on every quarter. And we have global policies, so some things are consistent.

But they really empower the leaders of each studio to go and do the right thing for that market.

Since I’ve been in New York, I’ve worked in agencies that are global, but with a New York outpost. And it felt like we were either being controlled by HQ, or by the holding companies.

So it was refreshing to have this relative autonomy. As long as, and this is something I had to learn, you’re communicating. You have to bring the rest of the Koto world along, explain your decisions, and make sure it’s not this little black box.

Arthur Foliard: They strike the right balance between empowerment, giving you the tools to feel like you’re in control, but also being very present when you need something.

Was there one project that made it feel like you’d arrived?

Arthur Foliard: The first project we won here was for Dentee, which is software for dentists. We were in that small WeWork when we found out, and we literally jumped on the table and started dancing.

It felt like, oh my god, Koto New York is real.

Koto New York’s work for De-Extinction

Alex Monger: For me it was a project for De-Extinction that we won in my first couple of weeks here. It felt like a validation.

At that time, we heard that another agency was referring to Arthur and I as, “Two lads in a WeWork.” Later we won some pitches against them, which was very nice.

Winning Amazon must have been a pretty big moment too?

Arthur Foliard: It was incredible. We’d been heads down, working so fucking hard. And it hadn’t been easy – there was a lot of disappointment along the way.

And it felt like, if we can win Amazon, we can win anything. But the thing I like about us as a studio, is that we’re excited for five minutes. And then it’s like, ok. How do we do this?

We have to make sure that we don’t fuck it up, because that would be worse than actually losing it.

Alex Monger: Amazon was a complete high – one of the best feelings I’ve ever had in my life. But it was a reward for the first 18 months, which were tough.

There was a moment that we went for a walk around the block in Williamsburg. We’d lost some money and new business clients were ghosting us. And I remember that conversation, where we decided, we’re just going to keep going. We’re going to keep striving, and it’ll turn.

Arthur Foliard: The entrepreneurial spirit really kicked in here. We’re going to take anything. Small $20k projects. Charity work. We’ll take it all.

We almost hit the lowest of the low, but we always trusted the process. And you struggle and you struggle, but you keep doing the same thing. You keep going the extra mile. And you keep your head just above water.

And then it works for Amazon. You’re like see! Trust the process.

Koto’s new work for Amazon

Did the pressure at that time come from the founders, or were you putting it on yourselves?

Alex Monger: On ourselves, but it was a positive pressure. We wanted it to be a success, and we never lost motivation.

Arthur Foliard: During those dark times, the founders were really good at telling us to keep going. They could see how hungry we were to make it work. If they saw us waiting, being passive, it might have been a different conversation.

From the outside, it seems the studio is on a bit of a roll. Is that how it feels from where you’re sitting?

Arthur Foliard: We’re doing better, but we are very ambitious. We want to create a legacy. And you don’t create a legacy with a few projects, however great they are. It’s all about consistency.

If you tell yourself that you’ve made it, you’re going to fail.

We’re trying to be so conscious that it could be different tomorrow. So how do we build on this success, and re-invent ourselves to make sure that we’re still relevant?

Koto New York’s work for Fluz

Along with success comes criticism – you see references now to the Koto-ifcation of branding, or Koto-core. How do you feel about that?

Arthur Foliard: It makes us laugh more than anything. We use Koto-core on Slack quite a lot.

But it proves that we’re becoming even more relevant. There are always going to be haters.

Alex Monger: We work hard to make sure that our work is always fresh and different. What’s consistent – whether it’s for a B2B SaaS company, or for a museum, or for Amazon – is that optimism.

You see that optimism, that confidence, and that bold style in our work.

I think that’s what people are now seeing as Koto-core. But when you actually go deeper, every project is different.

Arthur Foliard: At the end of the day, what’s really important is that clients are happy and proud of the work, and that we had a good time doing it. A sense of empowerment and growth.

When people look back in 20 years, we want them to remember this as a great place to work. That’s what will stay with them, not, was the logo the right vector?

Koto New York’s team

Source

Nov
4

By

Nike’s Cherry Blossom Air Force 1 Is Peak Spring Mood

Category: YankoDesign

There’s something about cherry blossom season that makes you stop in your tracks. Maybe it’s the pink petals floating through the air like confetti celebrating nature’s comeback, or the way entire neighborhoods transform into Instagram-worthy backdrops overnight. Nike gets it, and their latest Air Force 1 ’07 PRM “Cherry Blossom” turns that fleeting springtime magic into something you can actually wear.

Dropping in spring 2026, this isn’t your standard AF1 colorway. Nike’s taking the iconic silhouette and giving it a dual personality. The sneaker features a removable cherry blossom shroud that drapes over the entire shoe, laser-cut with delicate floral petals that mimic the way sakura flowers blanket the ground during peak bloom. It’s like wearing a piece of that magical moment when Washington D.C.’s Tidal Basin or Tokyo’s parks become pink wonderlands.

Designer: Nike (photos from snkr_collector123c)

But here’s where it gets interesting. This is essentially two sneakers in one. Remove that floral overlay, and you’re left with a completely different vibe: a soft hairy suede base in a two-tone color story mixing light grey and pale pink. The toebox and side panels get that blush pink treatment, while the toe, lace panel, heel, and tongue rock the grey. A crisp white leather Swoosh and steel grey midsole keep things grounded. The color palette reads like a spring sunset: Malt, Light Soft Pink, Particle Rose, and Mauve Grey. These aren’t your basic bubblegum pinks. They’re sophisticated, almost dusty tones that feel elevated rather than loud. The kind of colors that work just as well with vintage denim as they do with a flowing midi skirt or tailored joggers.

Nike’s been on this nature kick lately, and honestly, it’s working. This Cherry Blossom release follows their “Autumn Leaves” (also called Leaf Camo) edition that used the same removable shroud concept but with fall foliage. It’s part of a larger narrative Nike’s building around turning their heritage models into wearable seasonal art. The Air Force 1, which has been a street style staple since 1982, keeps proving it can evolve without losing that essential cool factor that made it iconic in the first place.

What makes this release particularly smart is the cultural resonance. Cherry blossoms carry deep symbolism around renewal, beauty, and the transient nature of life. In Japanese culture, hanami (flower viewing) is an entire tradition built around appreciating cherry blossoms. By tapping into this imagery, Nike’s doing more than just making a pretty shoe. They’re connecting to something bigger, a cross-cultural appreciation of nature’s cycles that transcends geography.

The construction stays true to what makes Air Force 1s workhorses. You still get that padded collar and cushioned midsole that made them basketball legends before they became streetwear essentials. The perforations on the toe box keep breathability in check. These aren’t just for show; they’re built to be worn daily, which is crucial because the last thing anyone wants is a beautiful sneaker that sits in a box.

At $130, the price point sits in that sweet spot where it feels premium without requiring you to enter raffles or battle bots on release day. It’s Nike acknowledging that great design should be accessible, especially when you’re celebrating something as universally appreciated as spring’s arrival. The removable shroud feature is genius from a practical standpoint too. Start your day with the full floral drama, then strip it down to the suede base for a more subtle evening look. It’s versatility baked right into the design, giving you styling options without needing multiple pairs of kicks cluttering your closet.

Nike’s turning seasonal transitions into collectible moments, and the Cherry Blossom Air Force 1 might be their most poetic attempt yet. It captures that brief window when everything feels possible, when winter’s weight finally lifts and the world remembers how to bloom. That’s a lot of meaning to pack into a sneaker, but when it looks this good, who’s complaining?

The post Nike’s Cherry Blossom Air Force 1 Is Peak Spring Mood first appeared on Yanko Design.

Nov
4

By

common integrates microbakery and pizzeria within flexible hybrid interior in berlin

Category: Design Boom

Common blends microbakery and pizzeria inside a hybrid space

 

Located in Berlin’s Neukölln district, Common is a hybrid hospitality space that functions as a microbakery by day and a pizzeria by night. Designed by Thalea Schmalenberg, the interior supports the project’s dual identity through adaptable spatial organization, natural materials, and a subdued tonal palette.

 

Founded by Maximilian Korrenz Lemke, Common merges craft, community, and design into a single environment. The concept draws on Lemke’s experiences in Naples, Copenhagen, and Berlin, combining traditional baking methods with a focus on slow processes and local sourcing.

Common is located in Berlin’s Neukölln district | all images by Clemens Poloczek

 

 

Warm monochrome shades of burgundy envelop the interior

 

During the day, the space operates as a bakery offering long-fermented rye bread made from two types of rye flour and seven seeds, alongside Scandi-inspired cardamom buns and Berlin-roasted coffee. In the evening, it transitions into a pizzeria centered on slow-fermented sourdough. The menu features seasonal combinations such as blood sausage, Käsekrainer and Brussels sprouts, or fermented potatoes with wild garlic capers. Locally sourced flours and produce link the culinary offering to the regional context.

 

The interior concept by designer Thalea Schmalenberg accommodates this daily transformation. In daylight, the bakery emphasizes openness and the sensory presence of fresh pastries and bread. As night falls, lighting and materials create a warmer, more intimate atmosphere suited to dining. The design employs warm monochrome tones, handcrafted woodwork, and lighting elements from Danish and German manufacturers, establishing a cohesive environment that balances functionality and comfort.

the space functions as a microbakery by day and a pizzeria by night

designed by Thalea Schmalenberg, the interior adapts to shifting daily uses

the project combines hospitality, craft, and design in one setting

Common explores the connection between tradition, locality, and slow production

natural materials and subdued colors define the spatial atmosphere

handcrafted woodwork and warm monochrome tones define the design language

Danish and German lighting fixtures contribute to the evening atmosphere

the design balances openness, intimacy, and daily adaptability

the layout supports fluid transitions between daytime and evening service

coffee roasted in Berlin complements the daytime offering

as night falls, lighting and materials transform the mood of the interior

Common presents a cohesive environment where food, design, and community intersect

 

project info:

 

name: Common | @common.berlin
interior designer: Thalea Schmalenberg | @thaleaschmalenberg
location: Karl-Marx-Straße 176, 12043 Berlin, Germany

founder: Maximilian Korrenz Lemke
press & marketing: Courtney Allis
photographer: Clemens Poloczek | @clemenspoloczek

 

 

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

The post common integrates microbakery and pizzeria within flexible hybrid interior in berlin appeared first on designboom | architecture & design magazine.

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