Oct
30

By

This 3D-Printed Soufflé Lamp Is Rising to the Top in Paris

Category: YankoDesign

You know that magical moment when a soufflé rises in the oven, all light and airy and impossibly delicate? That’s exactly the energy Paris-based AEREA STUDIO captured with their Soufflé Ceramic lighting design, and honestly, it’s the kind of piece that makes you want to rethink everything on your shelves.

AEREA STUDIO is both a design studio and Parisian brand creating collectible design pieces that blend innovation with artisanal craftsmanship. Founded by designer Camille, the studio draws inspiration from the golden age of design, specifically movements from the 1940s to 1970s, with a focus on creating pieces that combine quality, durability and innovation. But here’s where it gets interesting: they’re not just looking backward for inspiration. They’re using cutting-edge 3D printing technology to create pieces that feel simultaneously retro and futuristic.

Designer: Aerea Studio

The Soufflé Ceramic comes in multiple configurations, including table lamps and pendant versions, each one a sculptural object that commands attention even when switched off. The exterior features that signature matte, pale celadon finish with horizontal striations that are the telltale mark of 3D printing. These aren’t flaws to be hidden but rather design elements celebrated for their rhythmic, organic quality. Each ridge catches light differently, creating subtle shadows that shift throughout the day.

But the real surprise happens when you turn it on. The piece reveals a glossy, jewel-toned interior in vibrant shades of pink, red, orange, and purple that contrasts beautifully with the understated exterior. It’s like cracking open a geode to discover brilliant crystals inside. The colored glaze creates this warm, saturated glow that transforms the ceramic shell into something almost alive. When lit, concentric ripples on the interior become visible, spiraling inward toward the light source like a vortex of color.

What makes AEREA STUDIO’s approach so compelling is how they’re merging old and new. Their sculptural objects play with optical effects and unique textures to transform perception and redefine functionality, all within a sustainable design approach. In an era when “sustainable” often means compromising on aesthetics, they’re proving you can have both innovation and environmental consciousness without sacrificing beauty.

The 3D printing process they use allows for textures and forms that would be nearly impossible to achieve through traditional ceramics methods. Those horizontal ripples, the irregular edges, the way each piece feels both controlled and spontaneous? That’s the magic of computational design meeting artisanal sensibility. And because each piece is printed on demand, there’s minimal waste in the production process. The technology enables walls thin enough to let light pass through while maintaining structural integrity, something that would require exceptional skill and patience with hand-thrown ceramics.

The Soufflé Ceramic’s form itself is worth examining. It’s bulbous and asymmetrical, with gentle waves and peaks that make it look like it’s mid-rise, caught in that perfect moment before it collapses. Some versions are more rounded, others taper to a point like an onion dome. The opening reveals just enough of that brilliant interior to intrigue, creating a sense of discovery. It’s sculptural furniture that happens to be functional, rather than lighting that happens to look nice.

For collectors and design enthusiasts, pieces like the Soufflé Ceramic represent an exciting intersection of technology, craft, and artistry. They’re collectible not just because they’re beautiful or limited, but because they capture a specific moment in design history when digital fabrication became truly accessible and expressive. Twenty years from now, early 3D-printed ceramics from studios like AEREA will be the mid-century modern pieces of their generation.

If you’re looking to add some sculptural lighting to your space, or you just appreciate innovative design that pushes boundaries while staying grounded in craftsmanship, the Soufflé Ceramic deserves a spot on your radar. It’s proof that the future of design isn’t about choosing between technology and tradition. It’s about finding ways to make them rise together.

The post This 3D-Printed Soufflé Lamp Is Rising to the Top in Paris first appeared on Yanko Design.

Oct
30

By

A Gen-Z-Targeting Transparent Bluetooth CD Player

Category: Core77

Not bad for a company barely two years old. Kickback, an NYC-based electronics startup, makes this RETRADISC, a Bluetooth-enabled CD player. It came out last year, and has already been picked up by the MoMA Design Store.

The transparent player is aimed at the Gen Z and Millennial set who fully grasp the evils of smartphones, and would prefer to reach for something not connected to anything except their ears.

“Perfect for phone breaks,” the company writes. “CDs are your escape hatch from the digital chaos. With RETRADISC, you can finally put your phone down and let the music do what it does best – transport you somewhere else entirely.”

The anti-skip CD player runs $99.

Oct
30

By

1X Now Taking Pre-Orders for NEO, a Humanoid Servant Robot

Category: Core77

Well, it’s happening. This week California-based 1X Technologies started taking orders for their NEO, a humanoid robot that acts as a household servant.

The 5’6 ‘bot can do laundry, tidy up the house, fetch objects, carry groceries, water plants, open doors for guests and more.

The robot is fully autonomous. For any task it doesn’t already know how to do, buyers can have a 1X employee remotely control the thing–it’s got cameras for eyes–and “teach” NEO to perform the task. (Of course, that also means you’ve got a stranger eyeballing your space.)

It also listens and talks, so you essentially have a walking ChatGPT. You can ask it to identify things (reading a label on a bottle that you can’t make out, for instance) or have it teach you a foreign language. And if you’re out and about, you can use your phone to remotely see what the robot is doing, through its own eyes. (I can only imagine how the horror film genre will use this convention.)

It can even charge itself.

I find all of this deeply unsettling.

The company says the ‘bot is safe, as its components are wrapped in a “deformable 3D lattice;” I assume that means you’re protected from accidental bumps. Its lifting capacity is 154 pounds but it can only carry 55 pounds, so while it could conceivably body slam some adults, it can’t carry them off.

You can either buy the ‘bot outright for $20,000, or “subscribe” to it for $500 a month. Deliveries start next year.

If you purchase it outright, it comes with a three-year warranty. Which makes me wonder: What do you do with this thing in three years, when more capable, cheaper models will surely be on the market? The ‘bot seems a bit more difficult to recycle than a smartphone. Perhaps in the future we’ll be trading these robots in or leasing them like cars.

Oct
30

By

5 Best Tiny Homes Of October 2025

Category: YankoDesign

October 2025 has been absolutely incredible for tiny home enthusiasts. We’ve seen designs that push boundaries, challenge conventions, and prove that small spaces can deliver big on style and functionality. These aren’t your typical cookie-cutter tiny houses cramming everything into a loft bedroom. Instead, we’re looking at homes that solve real problems and create genuinely livable spaces.

What strikes me most about this month’s standout designs is how each one tackles a different challenge in tiny living. Whether it’s making homes accessible for everyone, creating space for creative work, or bringing genuine luxury to compact living, these five homes show just how far the movement has come. Each represents a different philosophy about what tiny living can be.

1. Mark VI – VIC

Finally, someone gets it right. The Mark VI – VIC is the first tiny home I’ve seen that truly prioritizes accessibility without treating it as an afterthought. Sonic Steel deserves serious credit for recognizing that climbing into a loft bedroom isn’t realistic for everyone. This single-floor design opens tiny house living to people who have been shut out of the movement entirely.

Walking through this converted shipping container feels surprisingly spacious despite the constraints. The central living room works brilliantly as both a gathering space and a natural room divider between the bedroom and kitchen. What really impressed me is how they’ve managed to fit full-sized appliances without making the kitchen feel cramped. The fridge, oven, induction cooktop, and even a microwave are all here, along with storage that actually makes sense for daily living.

What we like

• Single-floor accessibility opens tiny living to seniors and people with mobility challenges who’ve been excluded from loft-based designs.

• Full kitchen with proper appliances means you can actually cook real meals instead of surviving on microwaved food.

What we dislike

• Container width feels restrictive when you’re trying to move around, especially with two people.

• No vertical storage means you really have to commit to minimalism, whether you want to or not.

2. Nouvelle Danse

Baluchon continues to blow my mind with their attention to detail, and Nouvelle Danse might be their masterpiece yet. This isn’t just a tiny house with a sewing corner tucked in somewhere – it’s a purpose-built creative studio that happens to be a beautiful home. The fact that they’ve managed to integrate a full sewing workspace into a two-bedroom layout without everything feeling cramped is nothing short of architectural wizardry.

The exterior alone makes this home worth talking about. That interplay between natural wood and matte black trim creates visual drama that photographs beautifully but also works in person. Inside, light pours through every window, creating the kind of bright, inspiring atmosphere that creative work demands. The workspace integration feels seamless rather than forced, which is exactly what you want when your home doubles as your studio.

What we like

• Purpose-built creative workspace proves tiny homes can accommodate specialized professional needs without compromise.

• Natural light flooding every corner eliminates that cramped, tiny house feeling.

What we dislike

• Specialized design limits appeal to people who don’t need a dedicated creative workspace.

• Baluchon’s premium craftsmanship comes with a price tag that puts it out of reach for many buyers.

3. The Escapada

The Murphy bed concept isn’t new, but Tiny Tect has executed it flawlessly in the Escapada. This is exactly the kind of flexible thinking tiny homes need more of. Instead of accepting that bedrooms are dead space during the day, they’ve created a room that transforms based on what you actually need. Office in the morning, yoga studio in the afternoon, guest room when friends visit.

At just 20 feet long, every design decision matters, and Tiny Tect has made smart choices throughout. The kitchen doesn’t feel like an afterthought – there’s room for a proper oven, cooktop, and cutouts for full-sized appliances. Those wraparound windows are genius for making the narrow width feel more spacious. The optional loft keeps storage options open without dominating the design like most tiny house lofts do.

What we like

• Murphy bed transforms the bedroom into whatever space you need throughout the day.

• Smart appliance cutouts mean you can have a washing machine and a full-sized fridge without sacrificing functionality.

What we dislike

• Setting up and breaking down the bed daily could get old fast for some people.

• Narrow width creates traffic flow challenges when two people are trying to move around.

4. The Homesteader

Family living in 272 square feet sounds impossible until you step inside the Homesteader. Nordic & Spruce has created something special here – a home that proves families don’t need massive houses to live well together. The Scandinavian design philosophy shines through every detail, creating spaces that feel calm and intentional rather than chaotic and cramped.

What sets this apart is how the design promotes wellbeing alongside functionality. Those clean lines and natural materials create a sense of serenity that’s genuinely beneficial for family mental health. The ANSI and NOAH certifications give peace of mind about structural integrity, which matters when you’re making this kind of lifestyle change with kids involved. This home works for families ready to embrace intentional living.

What we like

• Proves families can thrive in small spaces when design prioritizes flow and functionality over square footage.

• Scandinavian aesthetic creates a calming atmosphere that supports family wellbeing and intentional living.

What we dislike

• $75,000 price point challenges the affordability goals that draw many families to tiny living.

• Successful family living requires major lifestyle changes and significant downsizing of possessions.

5. The Harper

The Harper takes tiny home design into luxury territory without apology. Those curved walls alone set it apart from every other tiny house on the market. Paired with architectural birch plywood and rich oak flooring, this feels like a boutique hotel suite rather than a compromise on space. The 2.5-meter kitchen with Caesarstone countertops proves that tiny doesn’t have to mean cheap materials or finishes.

Every storage solution feels considered and elegant rather than purely functional. The built-in lounge seating hides storage without looking like furniture designed around storage needs. That queen bed with integrated storage and curved sanctuary walls creates a bedroom that rivals luxury hotels. Floor-to-ceiling windows ensure the space never feels closed in or dark.

What we like

• Premium materials and curved architecture create a genuine luxury experience that rivals high-end conventional homes.

• Thoughtful storage integration maintains elegant aesthetics while maximizing every available space.

What we dislike

• Luxury features and custom curved construction likely price this out of reach for most tiny home buyers.

• Sophisticated materials and unique design elements may require specialized maintenance and repairs.

Where Tiny Living Is Headed

These five homes represent different visions of what tiny living can become. We’re seeing the movement mature beyond basic shelter into sophisticated architecture that often delivers better living experiences than conventional homes. Size constraints aren’t holding designers back – they’re pushing them to create smarter, more thoughtful spaces that actually improve how we live daily.

From accessibility-focused designs to creative workspaces, family-friendly layouts to luxury finishes, October 2025 shows tiny living continuing to evolve while staying true to its core values of sustainability, affordability, and intentional living. The future of tiny homes looks brighter and more diverse than ever.

The post 5 Best Tiny Homes Of October 2025 first appeared on Yanko Design.

Oct
30

By

from chicken-like shelters to spiky wooden huts, hello wood’s cabin fever lands in czechia

Category: Design Boom

Cabin Fever 2025 explores architecture as Shared Social Act

 

Cabin Fever 2025, organized by Hello Wood, took place in Česká Kamenice, Czech Republic, on the grounds of a former textile factory and wartime labor camp. The event combined an international summer school and design-build festival under the theme ‘Quality Time – Connection to Each Other.’ Participants from across the world collaborated with Arthur Mamou-Mani [UK], Geoffrey Eberle – Entropic [ES], Mjölk architekti [CZ], and Hello Wood [HU] to construct experimental cabins exploring how spatial design can support intimacy, dialogue, and collective experience. Powered by VELUX, the event marks the first phase of a three-year program dedicated to architectural collaboration and education. Each edition investigates the intersection of material experimentation, craftsmanship, and social engagement, framing the act of building as both a technical and cultural practice.

all images by BoysPlayNice

 

 

Hello Wood promotes hands-on architectural education

 

Founded in 2010, Hello Wood is a Hungarian architecture studio recognized for its emphasis on hands-on learning and community-based projects. Cabin Fever summer school and festival extends this approach internationally, merging architectural education with socially oriented design. The 2025 edition, developed in partnership with VELUX, focused on the role of light and spatial quality in shaping human interaction. The collaboration reflects a shared design philosophy between Hello Wood and VELUX, that architecture should integrate environmental responsibility, material awareness, and sensory experience. The program encourages participants to consider how built environments can generate meaningful social and spatial relationships through thoughtful use of structure, material, and light.

 

Held from July 23rd – July 31st 2025, the event was hosted in Česká Kamenice, a site of layered industrial and historical significance. Participants were invited to investigate the site’s physical and cultural context, translating it into architectural responses that address both memory and renewal. Students, emerging designers, and architects worked alongside established studios, including Arthur Mamou-Mani x FAB.PUB [UK], Geoffrey Eberle – Entropic [ES], Mjölk architekti [CZ], and Hello Wood [HU], to design and construct cabins and small-scale installations. Three winning proposals from an international open call were also realized during the workshop, expanding the dialogue between design, construction, and collective learning.

The Chicken and The Splinter

 

 

Hello Wood’s Cabin Fever 2025 lands in Česká Kamenice

 

Hello Wood’s arrival in Česká Kamenice follows the studio’s earlier initiatives in Csóromfölde, Hungary, where the Project Village program (2015–2017) transformed an abandoned rural site through collaborative building. Similar international workshops in Argentina and San Francisco later extended the model, reinforcing Hello Wood’s interest in connecting design education with site-specific cultural and environmental contexts. In partnership with local architects, Hello Wood identified Česká Kamenice as a location suited for a new cycle of long-term collaboration. The town’s historical background, natural setting, and local revitalization goals provided the foundation for the next three-year program. Through Cabin Fever, Hello Wood continues to develop a framework for architecture as a collective and situated practice, one that prioritizes cooperation, shared learning, and the capacity of design to foster social connection.

The Splinter

 

 

Eclosion

 

Eclosion invites visitors to connect to inner spaces and distant places. Like the warp and weft of woven fabric, this project recollects the complex histories of the site and interweaves them into a pavilion where people and place meet. The installation pulls inspiration from various layers of the site’s histories, textile craft, aerospace manufacturing, and the cocoon of the Meta menardi spider. Interwoven layers of natural and human history in one space. Upon visiting this site, the audience is constantly being woven through the fabric of space and time, becoming part of the ever-changing fabric of the site, emerging transformed, an eclosion of new perspectives and shared memories.

The Chicken

 

 

The Chicken

 

The Chicken, a playful yet functional structure, reimagines one of the world’s most familiar birds as both shelter and observation point. Designed to reflect the life of the forest’s birds, it invites visitors to lie back inside its chicken-shaped neck, using an internal mirror to watch the canopy and nesting birds in comfort. The moss-covered exterior doubles as a living habitat for insects and birds, merging architecture with nature. Its whimsical form is a reminder that design is not only about straight lines; it can also bring joy, curiosity, and a deeper connection to the world around us.

Eclosion, The Chicken, and The Splinter

 

 

The Splinter

 

Like a piece of wood that’s broken off from the forest itself, this slender, vertical cabin stands sharp and distinct among the treetop canopies. From the outside, The Splinter shows a bold, spiky character, unique and striking against the natural backdrop. But step inside, and it reveals a warm, inviting space designed to bring people together, where natural materials and cozy design create the perfect setting for quality time. On and above the ground, this sheltered retreat balances solitude and connection, ruggedness and comfort, offering a place to unwind, share stories, and truly connect with both nature and each other.

Eclosion

 

 

Živa

 

Like a seed stirring beneath the forest floor, Živa awakens as a living pod where nature and learning meet. Its intricate geometric form mirrors the balance and harmony found in the wild, while its mossy surroundings invite quiet reflection. Step inside, and the space transforms into a classroom in the trees, a warm, collaborative haven where ideas take root. Živa is more than shelter; it’s a shared act of creation, a symbol of growth, and a place where people, craft, and nature flourish together.

Eclosion

 

 

LOOM

 

LOOM pays tribute to the site’s textile-making heritage, reimagining the mechanics of a loom in architectural form. Vertical timber columns and horizontal beams echo the warp and weft of woven fabric, while stretched textile threads create a raised platform for rest and reflection. Set on the grounds of a former factory, LOOM becomes both shelter and symbol, a tactile reminder of craft, memory, and transformation.

LOOM and Živa

Živa

Živa and LOOM

The Chicken and The Splinter

LOOM

LOOM

Eclosion, The Chicken, The Splinter, Živa and LOOM

 

project info:

 

name: Cabin Fever 2025

organizer: Hello Wood | @hellowood

location: Česká Kamenice, Czech Republic

photographer: BoysPlayNice | @boysplaynice

main sponsor: VELUX

 

Eclosion:

designers: Dorottya Kiss [HU], Matthew McArthur [CA]

workshop leaders: Dorottya Kiss [HU], Matthew McArthur [CA]

builders: Balázs Csépi [RO], Caroline Mann [AT], Dániel Attila Bedrossian [HU], Ella Kullered [SE], Eszter Bärnkopf [HU], Marta Bautista Useros [ES], Steeven Isaac Pilla Barroso [EC]

 

The Chicken:

designer: Mjölk architekti [CZ]

workshop leaders: Jan Mach – Mjölk architekti [CZ], Igor Nesterov – Mjölk architekti [CZ]

builders: Ábel Fenyvesi [HU], Adam Schwarz [CZ], Anna Maršálková [CZ], Daniela Ondřejová [CZ], David Haňkovský [CZ], Ester Moretto [IT], Filip Cerha [CZ], Filip Thuma [CZ], Jolana Dubová [CZ], Marieke Béroff [FR], Marina Pyzhianova [CZ], Martina Thýnová [CZ], Nikola Žuchová [CZ], Tereza Podzimek [CZ], Tobiáš Hrabec [CZ], Veronika Richterová [CZ], Vilmos Hermann [HU]

 

The Splinter:

designer: Entropic [ES]
workshop leaders: Geoffrey Ebere – Entropic [GB], Magdalena Mróz – Entropic [PL], Jan Dobeš [CZ]
builders: Boglárka Fábián [HU], Dylan Joel Jacome Castillo [EC], Evangelia Kalevea [GR], Fernando José Valle Proaño [EC], Idil Kocak [TR], Jan Ptáček [CZ], Martin Zima [CZ], Merlin Summers [GB], Omarian Millings [GB], Petr Jahelka [CZ], Petr Zeronik [CZ], Sara Vasilj [HR], Sebastian Salijević [CZ]

 

Živa:

designer: Arthur Mamou-Mani [GB]
workshop leaders: Giovanni Panico – Arthur Mamou-Mani x Fab.Pub [UK], Rae Woods [GB]
builders: Eliska Fuentes Pérez [EC], Jose Julian Salas Celleri [EC], Martín Alberto Montero García [EC], Natálie Demuthová [CZ], Natálie Dvořáčková [CZ], Saif Bashir [GB], Santiago Arroyo [EC], Tomáš Kadaňka [CZ], Zoe Mirkovic [CH]

 

LOOM:

designer: Zak Underwood [GB]
workshop leader: Zak Underwood [GB]
builders: Emma Szász [DE], Isabel Monserrath Quisingo Gaibor [EC], Kristýna Matýsková [CZ], Måns Sjöwall [SE], Marcos Israel Fiallos López [EC], Sofía Carolina Chávez Ortega [EC], Sohye Yeom [KR], Vendula Zíková [CZ]

 

lecturers and workshop leaders: Arthur Mamou-Mani x FAB.PUB [UK], Entropic [ES], Mjölk architekti [CZ], Hello Wood [HU], Dorottya Kiss [HU], Matthew McArthur [CA], Jan Dobeš [CZ], Rae Woods [GB], Zak Underwood [GB]

 

workshop participants:

Hello Wood board: András Huszár, Dávid Ráday, Krisztián Tóth

project leader: Dávid Nagy

project coordinator: Sára Lőrincz

project architect: Maja Balogh

lead carpenter: István Komjáthy

organization partner: Martin Šolc

workshop team: Attila Sztankovics, Kinga Németh, Katalin Kitti Kiss, Bálint Pörneczi

procurement manager: Zsolt Hodgyai

electrical safety: Norbert Verpulácz

content & press: Dávid Nagy

kitchen: Zsolt Dunszt, Ildikó Dunsztné Pataki

graphic designer: Bercel Hegyessy

 

 

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 from chicken-like shelters to spiky wooden huts, hello wood’s cabin fever lands in czechia appeared first on designboom | architecture & design magazine.

Oct
30

By

recycled 3D printed rooftop homes explore adaptable urban living at 2025 venice biennale

Category: Design Boom

Tiny Penthouses: adaptive Architecture by Hedwig Heinsman

 

Tiny Penthouses is an ongoing art and architecture project by Hedwig Heinsman that investigates how recycled materials and additive manufacturing can generate adaptable forms of housing. Presented at the 19th International Architecture Exhibition – La Biennale di Venezia, curated by Carlo Ratti, the project remains on view until November 23rd, 2025.

 

Developed as a prototype for compact, 3D printed rooftop homes, Tiny Penthouses proposes a model for urban densification through reuse and circularity. Each unit is fabricated from recycled materials, including sawdust and consumer plastics, which can be shredded and reprinted into new configurations. This process enables buildings to evolve over time in response to changing social and spatial needs, positioning architecture as a renewable and regenerative practice. The exhibition includes scale models, facade sections, and full-size mock-ups that demonstrate the spatial and material logic of the design. The pieces operate as both architectural research and sculptural installation, emphasizing light, texture, and structural geometry. The project frames architecture as a temporal medium, something that can adapt, transform, and return to material origin without loss of value.

all images courtesy of Hedwig Heinsman unless stated otherwise

 

 

3D printed rooftop homes that ‘reincarnate’ into new designs

 

Tiny Penthouses also examines underused urban sites as potential host locations for new housing typologies. One proposal envisions student residences installed within the truck lift of Amsterdam’s Stedelijk Museum, testing how overlooked spaces can accommodate small-scale, flexible living environments.

 

The project builds on architect Hedwig Heinsman’s broader exploration of circular construction. As co-founder of Aectual, a platform specializing in large-scale 3D printed architecture made from recyclable materials, and former co-founder of DUS Architects, she has developed multiple structures designed for disassembly and reprinting. These precedents inform Tiny Penthouses as a continuation of material research and sustainable design methodology. Following its presentation in Venice, Tiny Penthouses is set to tour cultural institutions and European cities through 2026, contributing to the ongoing discourse on adaptable architecture and circular urban growth.

Tiny Penthouses by Hedwig Heinsman explores adaptability through recycled materials and 3D printing

Tiny Penthouse visualization reimagines Stedelijk Amsterdam Museum’s entrance

 

the project is presented at the 19th Venice Architecture Biennale, curated by Carlo Ratti

3D printed forms can be shredded and reprinted into new configurations

architecture envisioned as an evolving, circular system

scale models demonstrate spatial logic and material precision | image by © Francesco-Russo

full-size mock-ups showcase light, texture, and geometry

material reuse becomes both a design strategy and research method | image by © Francesco-Russo

each unit is fabricated from sawdust and recycled consumer plastics

underused urban sites are reimagined as potential housing locations

small-scale dwellings test flexibility within dense urban contexts

3D print in process

recycled materials can be printed, shredded, and reprinted in an ongoing circular process

 

project info:

 

name: Tiny Penthouses – Reincarnating Architecture
architect: Hedwig Heinsman | @hedwigheinsman

proposal location: Amsterdam, Stedelijk

exhibition: 19th International Architecture Exhibition of La Biennale Di Venezia | @labiennale

curator: CRA–Carlo Ratti Associati | @crassociati

photographer: Hedwig Heinsman, Francesco-Russo | @francescorussophoto

 

 

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 recycled 3D printed rooftop homes explore adaptable urban living at 2025 venice biennale appeared first on designboom | architecture & design magazine.

Oct
30

By

electric bubble car for kids drives them to places on its own and without adults on board

Category: Design Boom

Toyota unveils mobi at japan mobility show 2025

 

Toyota reveals mobi during Japan Mobility Show 2025, an electric bubble car for kids that takes them anywhere on its own and without adult supervision on board. On view at the event between October 30th and November 9th, the prototype forms part of the company’s Mobility for All project, which aims to create vehicles that can transport anyone, regardless of age or ability. In this case, it’s the children with the concept vehicle’s playful colors, micro size, and LED blinking eyes at the front to make it look as if it were interacting with them firsthand.

 

The electric bubble car for kids is shaped like a small, spaceship-inspired pod. The adults come in when they open the door, which swings upward, and let their child step in and sit. The prototype uses AI to drive itself, and the system controls the direction, speed, and movement in the traffic. As soon as the child is strapped in, they can talk to the AI assistant called UX Friend, which gives the young driver friendly instructions on how to ‘drive’ the autonomous pod as well as talk to them throughout the ride.

Toyota’s Kids mobi car at Japan Mobility Show 2025 | image © designboom

 

 

No adults on board for electric bubble car for kids

 

Parents who would like to entrust their kids and their safety on the road to AI can try Toyota’s electric bubble car, mobi. As the company shows it during the Japan Mobility Show 2025, the round and closed shape of the vehicle can allow it to protect the child inside it during the ride. The seat is covered with fuzzy material to make the child feel at home, and the interiors are wide enough to accommodate them comfortably. 

 

While the company has yet to state the complete specs, the outer likely uses lightweight plastic or composite materials, while the sensors and cameras are placed around the electric bubble car so it can detect motion and obstacles nearby and guard the kids on the road. At the event in Japan, visitors can roam around and study the prototype of Toyota’s Kids mobi car, which they can do between October 30th and November 9th, 2025. So far, the company has yet to announce when it will conduct road or driving tests for the prototype with a kid in it.

the door swings upward | image © designboom

the seat is covered with fuzzy material to make kids feel comfortable | image © designboom

there are LED blinking eyes at the front | image © designboom

the outer shell of the electric bubble car for kids has a matte skin | image © designboom

rear view of the micro vehicle | image © designboom

mobi is part of Toyota’s Mobility for All project

the roof has ‘ears’ for a playful look

the vehicle is driven by an AI system

rear view of the vehicle

so far, the project is still a concept with a prototype

 

project info:

 

name: mobi

company: Toyota | @toyota_jp

event: Japan Mobility Show 2025 | @jama_jpn

dates: October 30th and November 9th, 2025

The post electric bubble car for kids drives them to places on its own and without adults on board appeared first on designboom | architecture & design magazine.

Oct
30

By

Keycaps Shaped Like Tiny Retro TVs Take 47 Hours to Handcraft

Category: YankoDesign

For anyone who spends hours at a keyboard, the desk becomes more than just a workspace. It’s a personal canvas for self-expression and creativity. Keyboards are no longer just tools for typing, but a way to express personality, nostalgia, and a love for design in the smallest details. Every keycap, color, and texture tells a story about who you are and what you value in your daily environment.

Jelly Key’s Retro TV Series – First Frame artisan keycaps are a tribute to that spirit of personal expression and craft. Inspired by the golden age of home computing and the original Macintosh 128K from 1984, these miniature TVs bring a playful, handcrafted touch to any keyboard setup. They’re tiny works of art that celebrate the intersection of technology and nostalgia.

Designer: Jelly Key

Each keycap is shaped like a retro television, with a 65-degree angled front screen for perfect viewing when mounted on a keyboard. Details like floppy disk drives, power switches, and transparent or frosted back panels reveal intricate miniature “circuitry” inside, echoing the design language of vintage computers that defined an era. The angular, squared-off profile feels both classic and contemporary.

Every keycap is meticulously handmade using resin casting and multilayer coloring, not 3D printing or mass production. The process involves up to 47 hours of work from start to finish, with every component polished, assembled, and quality-checked by hand. Circuit traces measure just 0.3mm wide, requiring razor-sharp precision. Any flaw means starting over from scratch.

The TV screens feature pixel art, pop culture nods, greetings like “hello,” and sci-fi themes, all layered in resin for dimensional depth and vibrancy. With over 200 quirky variations and 12 case designs ranging from crystal clear to vintage frosted, no two keycaps are exactly alike. Themes include “HAL Eye,” “Comic Burst,” “Space Odyssey,” and “Galactic Intro,” among many others.

Transparent and frosted panels allow keyboard backlighting to shine through, illuminating the miniature “circuit boards” and components inside the keycap. This adds a new dimension to your typing experience, especially at night when the glow highlights every intricate detail. The effect is both functional and mesmerizing, turning your keyboard into a light-up showcase.

Each keycap is individually numbered and comes in a wooden box with a medal dog tag and a collectible sticker for authenticity. Orders of 12 or more unlock limited-edition designs and the full sticker set, making these keycaps as much about collecting as about customization. The MX stem ensures compatibility with most mechanical keyboards, while the hand-finished resin offers a unique tactile feel that’s satisfying to touch.

Swapping in a Retro TV keycap turns a routine typing session into a moment of nostalgia and delight, sparking conversation and adding personality to your desk instantly. For designers, writers, and anyone who loves a bit of retro flair mixed with modern craftsmanship, these keycaps are a daily reminder that art and technology can coexist beautifully in the smallest spaces we interact with every day.

The post Keycaps Shaped Like Tiny Retro TVs Take 47 Hours to Handcraft first appeared on Yanko Design.

Oct
30

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Technics SL-1200 Final Edition: Only 2,410 Gold Units Worldwide

Category: YankoDesign

Some legends never really die. They just get better with age, more refined, and sometimes, a little bit of gold. That’s exactly what Technics is doing with their latest drop: the SL-1200GME Master Edition, a turntable that’s equal parts tribute and technological tour de force. If you’ve ever spent time in a recording studio, DJ booth, or just scrolling through vinyl Instagram, you know the SL-1200 isn’t just a turntable. It’s an icon. And now, Technics is giving it one last proper send-off before closing the chapter on the G series.

Let’s talk about what makes this Master Edition worth all the attention. At its heart is Technics’ ΔΣ-Drive motor control system, a tech upgrade pulled straight from their pricier models like the SL-1200GR2 and SL-1300G. This isn’t just marketing speak. The Delta Sigma Drive actively works to reduce motor vibrations and improve rotational accuracy, which is basically turntable language for “your records will sound cleaner, smoother, and more precise than ever.” When you’re dealing with vinyl, even the tiniest wobble or inconsistency can throw off the entire listening experience. This system keeps things dead steady.

Designer: Technics

Then there’s the power supply situation. Technics equipped these Master Editions with a Multi-Stage Silent power supply, the same one used in their reference-grade SL-1000R turntable that costs a cool $27,000. It combines low-noise switching with active noise canceling to keep electrical interference from creeping into your audio. For audiophiles who can hear the difference between a good power cable and a great one, this is the kind of detail that matters.

The build quality is exactly what you’d expect from a brand that’s been perfecting this design for decades. We’re talking about a four-layer chassis construction featuring aluminum die-cast, BMC (Bulk Moulding Compound), heavyweight rubber, and a 10mm brushed aluminum top plate. That platter? Three layers of aluminum die-cast, vibration-dampening rubber, and a 2mm brass top plate. The whole thing weighs nearly 8 pounds with the rubber mat included, and each platter is individually balanced on dedicated machines to eliminate any unevenness. This is the kind of engineering that separates a good turntable from one that’ll last you a lifetime.

Visually, the Master Edition stands out in all the right ways. Technics added gold-painted accents throughout the design: the tonearm, headshell logo, top panel logo, a numbered badge that proudly states “Master Edition,” and even the dust cover logo sheet. It’s subtle enough to feel classy but distinct enough that anyone who knows turntables will immediately recognize this isn’t your standard model. The SL-1200GME comes in silver, staying true to the original SL-1200 aesthetic, while the SL-1210GME offers a black finish for those who prefer something sleeker.

Here’s the catch: these aren’t going to be around forever. Technics is limiting production to just 2,410 units worldwide. That breaks down to 1,200 units of the silver SL-1200GME and 1,210 of the black SL-1210GME. Each one comes with a numbered badge, so you’ll know exactly which piece of history you’re getting. The price tag reflects the exclusivity too. UK pricing is set at £5,000 (around $6,638), with North American pricing to be announced closer to the launch. These will start shipping in January 2026 in Europe and February 2026 in North America through authorized Technics retailers.

For anyone who’s been following vinyl’s resurgence over the past decade, this feels like a full-circle moment. The SL-1200 helped define DJ culture, shaped the sound of hip-hop, and became a staple in homes where music wasn’t just background noise but a way of life. Now, Technics is closing out the G series with a version that honors that legacy while pushing the technical limits of what a direct-drive turntable can do. Whether you’re a collector, a serious listener, or someone who just appreciates beautifully designed tech, the Master Edition is the kind of piece that reminds you why analog still matters in a digital world.

The post Technics SL-1200 Final Edition: Only 2,410 Gold Units Worldwide first appeared on Yanko Design.

Oct
30

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galerie philia activates two brutalist landmarks in grand paris for its 10th anniversary show

Category: Design Boom

Design meets brutalism in Galerie Philia’s tenth-anniversary show

 

To celebrate its tenth anniversary, Galerie Philia presents STRATES, a large-scale exhibition staged across two of France’s most emblematic brutalist landmarks: Jacques Kalisz’s Mont d’Est car park and Ricardo Bofill’s Espaces Abraxas in Noisy-le-Grand, Grand Paris. On view until November 30th, 2025, the show reflects on a decade of curatorial exploration that has seen the gallery bring contemporary design into conversation with architecture, philosophy, and civic life.

 

Since its founding in 2015, Galerie Philia has become known for situating contemporary design within charged architectural settings, from Le Corbusier’s Cité Radieuse in Marseille to Oscar Niemeyer’s MAC Niterói in Brazil. STRATES continues this approach by transforming Kalisz’s monumental car park into an experimental exhibition space, reinterpreting the raw concrete geometry of the site through design. ‘Our curatorial approach has always been to place contemporary design in dialogue with charged architectural sites rather than neutral white cubes,’ says Philia’s co-founder Ygaël Attali. ‘When we encountered Jacques Kalisz’s Mont d’Est car park, we felt the same shock of recognition: an extraordinary piece of brutalist architecture, at once monumental and fragile, whose latent potential could be reactivated through design.’

all images by studio brinth

 

 

STRATES reimagines grand paris’s ruins as living narratives

 

Originally conceived as a vision of futuristic living on Paris’s periphery, Noisy-le-Grand continues to reflect the remnants of its post-war utopian ideals, lending symbolic weight to Philia’s decision to situate the STRATES exhibition there. ‘Our aesthetic often oscillates between brutalist geometry and wabi-sabi imperfection,’ Attali comments. ‘Noisy-le-Grand embodies this duality in a unique way: Ricardo Bofill’s Espaces Abraxas, just next door, are monumental, almost operatic — a vision of the future as a utopian theater. Jacques Kalisz’s Mont d’Est parking, by contrast, is raw, infrastructural, and today in a visibly fragile state. That fragility makes it even more compelling to us: the cracks, stains, and erosion of the concrete are not defects but traces of time, revealing the human destiny of the structure.’

 

Far from treating the site as a neutral container, STRATES uses its imperfections as material. ‘For us, beauty lies not only in form but in narrative,’ Attali explains. ‘The Mont d’Est car park offers both: its helicoidal ramps and raw textures are visually powerful, but equally important is the story it tells of collective ambition, decline, and potential rebirth.’ This approach continues the gallery’s long-standing refusal of the white cube model. ‘We do not mute or mutilate the site; we embrace it as part of the proposition itself,’ he adds. ‘In Noisy-le-Grand, this means that the traces of time on Kalisz’s structure are not erased but activated, allowing the works of design to resonate within a larger reflection on modernity, fragility, and continuity.’ Across the street, Bofill’s Abraxas ensemble, still layered with cinematic mythology, forms a counterpoint. ‘It offers a different yet complementary vision — monumental, theatrical, and still inhabited — forming a dialogue across the neighborhood that amplifies the resonance of the exhibition,’ Attali notes.

Galerie Philia presents STRATES, a large-scale exhibition staged across two brutalist landmarks

 

 

Site-specific commissions and dialogues with architecture

 

While the exhibition retraces Philia’s decade-long journey through key works from its roster of artists, several new commissions respond directly to the architecture. ‘Morghen Studio has developed a monumental light installation echoing the spiral geometry of the ramps, transforming circulation into a luminous journey,’ shares Attali. ‘Lucas and Tyra Morten have created seating elements that directly engage with the car park’s structural language. And Milla Vaahtera has designed a lamp that departs from her typically poetic and enchanted vocabulary, embracing instead a colder and more geometric expression.’

 

STRATES also forms part of a wider civic and cultural shift in Noisy-le-Grand, where the city and local public development company SOCAREN are rethinking how its monumental modernist fabric can evolve. ‘Noisy-le-Grand is emblematic of the late-20th-century ambition to create self-sufficient urban satellites around Paris,’  Attali points out. ‘Today, it is undergoing a process of revaluation: local officials are seeking to revitalise these iconic but underused spaces, making them more accessible to cultural and civic life.’

 

The exhibition is also rooted in community, involving local residents in its organization and guided visits. ‘We wanted the show not to be parachuted in from outside but truly integrated into the local fabric,’ Philia’s co-founder reflects. ‘In five years, I imagine this neighborhood as a place where architectural heritage is not demolished but reactivated, where the extraordinary vision of architects like Kalisz and Bofill becomes the foundation for new forms of urban vitality.’

Bofill’s Abraxas ensemble is still layered with cinematic mythology

the show reflects on a decade of curatorial exploration

Silver Light by Henry Wilson

Galerie Philia has become known for situating contemporary design within charged architectural settings

transforming Kalisz’s monumental car park into an experimental exhibition

Nautile by Elsa Foulon

several new commissions respond directly to the architecture

Folds by Laura Pasquino

the exhibition is also rooted in community, involving local residents in its organization and guided visits

STRATES also forms part of a wider civic and cultural shift in Noisy-le-Grand

 

 

project info:

name: STRATES – Galerie Philia’s 10th Anniversary Exhibition

dates: October 28th – November 30th, 2025

locations: Espaces d’Abraxas & Parking Jacques Kalisz (Mont d’Est), Noisy-le-Grand, Grand Paris, France

curation: Galerie Philia | @galerie.philia (Ygaël and Yaïr Attali)

The post galerie philia activates two brutalist landmarks in grand paris for its 10th anniversary show appeared first on designboom | architecture & design magazine.

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