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This Japanese Architect Just Designed Dubai’s Most Poetic Museum

Dubai has never been shy about big statements. We’ve seen the tallest building, the largest mall, and artificial islands shaped like palm trees. But something different just emerged on the waters of Dubai Creek, and honestly, it’s making me think about museums in a completely new way.

Japanese architect Tadao Ando has unveiled the design for an art museum in Dubai, which will be housed in a rounded, twisting building overlooking the emirate’s natural saltwater creek. If you’re not familiar with Ando, imagine someone who speaks through concrete and light the way poets speak through words. He received the Pritzker Architecture Prize in 1995, which is basically the Nobel Prize for architects, and his work has this incredible ability to make you feel something before you even understand what you’re looking at.

Designer: Tadao Ando

The Dubai Museum of Art, affectionately called DUMA, does something I find completely captivating. Its distinctive silhouette draws on the sea and pearls and will be raised on a circular platform that extends over Dubai Creek. There’s something romantic about a museum that literally floats above water, especially in a city that was built on pearl diving long before it became synonymous with skyscrapers and luxury.

What strikes me most about Ando’s design is how it refuses to scream for attention. Renders of the five-storey Dubai Museum of Art reveal a curving building finished with white walls, punctuated by triangular windows as they swoop and twist upwards. It’s like watching fabric caught in a gentle wind, frozen mid-movement. The white exterior isn’t trying to compete with Dubai’s glittering towers. Instead, it seems to whisper while everything else shouts.

The interior is where Ando’s signature magic happens. Gallery spaces will be located on the first and second floors, illuminated by a central circular skylight designed to cast light with a pearl-like shimmer. Can you imagine walking through an art gallery where the light itself feels like part of the collection? That shimmer effect, mimicking the pearl that inspired the building’s shell, creates this dreamy atmosphere where contemporary art and natural light dance together.

What I love about this project is how deeply it connects to Dubai’s actual history, not just its futuristic ambitions. The museum’s distinctive, curved shell represents the pearl, a symbol of Dubai’s heritage and its historic relationship with the sea. Before oil, before the towers, Dubai’s wealth came from pearl diving in these very waters. Ando didn’t just design a building. He designed a memory.

Designed by Pritzker Prize-winner Ando for Dubai-based conglomerate Al-Futtaim Group, Dubai Museum of Art, also known as DUMA, is hoped to become a cultural landmark for artists and art enthusiasts. And it’s not just for looking at pretty things. The museum will feature artist talks, panel discussions, educational programs, and even art fairs. There’s also a library and study rooms specifically designed to nurture the next generation of creative minds. Omar Al Futtaim, CEO of the group behind this project, spoke beautifully about choosing Ando for this vision. He expressed pride in working with the renowned architect, noting how Ando’s work captures something intangible through light, silence, and emotional depth. For Dubai, this museum represents a peaceful conversation between the natural world, water, and human creativity.

There’s this gorgeous tension in Ando’s work where massive concrete structures somehow feel delicate and contemplative. At sunset, the building’s surface absorbs the shifting amber tones of the sky, softening its engineered geometry into something quietly atmospheric. I can already picture collectors and art lovers sitting in that third-floor restaurant, watching the creek turn golden, surrounded by walls that change color with the light.

What makes this museum feel important isn’t just its design or its floating platform. It’s what it represents for Dubai. Sheikh Mohammed bin Rashid Al Maktoum, Dubai’s ruler, emphasized how this cultural addition strengthens the city’s ambition to become a global center for creativity and culture while establishing its significance in the contemporary art world. The city is evolving from a place you visit for shopping and spectacle into somewhere you go for culture and contemplation.

The Dubai Museum of Art proves that the most powerful architecture doesn’t need to be the tallest or the flashiest. Sometimes it just needs to tell a story, capture light beautifully, and create a space where art and humanity can have a meaningful conversation. Ando has done exactly that, and I can’t wait to see this pearl shimmer above the creek.

The post This Japanese Architect Just Designed Dubai’s Most Poetic Museum first appeared on Yanko Design.

These $300 Bamboo Houses Just Effortlessly Survived A 7.7 Earthquake In Myanmar

When the ground started shaking on that March morning in 2025, residents across central Myanmar braced for the worst. The 7.7-magnitude earthquake that tore through the region left destruction in its wake, toppling buildings and shattering lives. But in Mandalay, something remarkable happened. A cluster of 26 bamboo houses refused to fall, standing defiantly against nature’s fury just 15 kilometers from the epicenter of the earthquake.

These weren’t your typical bamboo huts. They were part of Housing NOW, an ambitious project that began in 2019 when Yangon-based studio Blue Temple set out to tackle Myanmar’s housing crisis. Originally designed for families displaced by conflict, these lightweight structures had become an unexpected testing ground for innovative construction. The earthquake proved what the architects had hoped all along—that bamboo could be transformed into structurally interlocking frames capable of absorbing seismic shocks.

Designer: Blue Temple

Innovation in Construction

Behind this breakthrough stands Raphaël Ascoli, founder of Blue Temple, whose journey into bamboo architecture began in corporate boardrooms in Japan. Leaving that world behind, he moved to Myanmar with a vision of community-centered building that would use local materials in revolutionary ways. When Myanmar’s military coup struck in February 2021, Housing NOW evolved from a housing initiative into something more urgent—a modular bamboo system engineered specifically for emergency and conflict situations.

The magic lies in the details. Ascoli and his team discovered that small-diameter bamboo, abundant and largely overlooked, could be bundled and engineered into something extraordinary. The cost? About the same as a smartphone for an entire house. But this wasn’t just about affordability. Each modular home takes less than a week to assemble, with families working alongside Blue Temple’s technical team in a process that builds both houses and communities.

Building for the Future

The numbers tell their own story. Seventy-nine units now dot conflict-affected regions across Myanmar, while 500 DIY Bamboo Manuals have found their way into communities, empowering people to build their own safe homes. The international community has taken notice, too—MIT Solve recognized the project in their Ecosystems and Housing category, and UNICEF Innovation30 named Ascoli one of their Young Innovators Shaping the Future.

What started as a local solution is becoming something bigger. Blue Temple is planning a 550 square meter bamboo workshop in Bago city that could prefabricate hundreds of houses annually, while the technology itself is crossing borders—engineers are already applying lessons learned in Myanmar to construct larger buildings in Madagascar. That March earthquake wasn’t just a test of structural integrity; it was validation that innovative approaches to ancient materials can provide modern solutions for the world’s most pressing housing challenges.

The post These $300 Bamboo Houses Just Effortlessly Survived A 7.7 Earthquake In Myanmar first appeared on Yanko Design.

This Massive Robot Wants To Replace An Entire Restaurant

Inside a seven-square-meter glass enclosure, two robotic arms move with startling precision. One retrieves ingredients from climate-controlled silos, another works over a heating element, and within minutes, a perfectly assembled, hot meal is delivered to a collection window. There are no chefs, no line cooks, and no human intervention whatsoever. This is the Circus Autonomy One, a robot designed with a single, ambitious goal: to automate every step of the food production process, from inventory management to cooking and even cleaning. It’s not a kitchen assistant; it is a full-stack replacement, and it represents one of the boldest attempts yet to redefine what a restaurant can be.

The company behind this, Munich-based Circus SE, is pushing the narrative that this solves labor shortages and boosts efficiency. They are not wrong, but that is an incredibly sanitized way of looking at what is essentially a job-elimination machine. The CA-1 is a marvel of industrial design, a self-contained unit powered by a proprietary AI called CircusOS that makes adaptive decisions in real time. With its pilot program already running in German REWE supermarkets, this isn’t some vaporware concept sitting in a lab. It is a commercially deployed system that is actively taking orders and feeding people, and that means we need to talk about what it is actually doing.

Designers: Gustavo Kemmerich and Circus SE Team

Seven square meters is the entire footprint. You could barely fit a decent-sized walk-in closet in that space, yet the CA-1 can pump out 120 dishes an hour from it. That breaks down to a meal every 30 seconds, a rate of production that most human-staffed kitchens would struggle to match without breaking a sweat. The whole operation is a sterile, closed loop of logic. Ingredients are tracked and stored in smart silos, the robotic arms handle the assembly and cooking, and an integrated Winterhalter commercial dishwasher cleans up after. From an engineering perspective, it is a cold, hard box of ruthless efficiency designed to extract maximum value from minimum space.

You do not achieve that level of optimization without a body count, metaphorically speaking. Forget the sanitized PR about “solving labor shortages.” The CA-1 is designed to eliminate labor, period. It replaces the prep cook, the line cook, the expeditor, and the dishwasher in one fell swoop. This is not a collaborative robot, or “cobot,” built to assist a human worker. It is a fully autonomous system engineered from the ground up to make a whole class of kitchen staff obsolete. For every one of these units installed in a supermarket, hospital, or university, a handful of jobs simply evaporate. The efficiency it provides comes at a direct and obvious cost.

So what we are really looking at here is a ghost kitchen in a box, a blueprint for the future of automated food service. Its successful deployment in a major European supermarket chain is a powerful proof of concept, and you can bet that fast-food executives and large-scale catering operators are paying very close attention. Circus SE even lists the defense sector as a potential market, which is its own can of worms. This machine is a stark reminder that automation doesn’t ask for permission. The CA-1 is a brilliantly engineered answer to a question that maybe we shouldn’t be so eager to ask.

The post This Massive Robot Wants To Replace An Entire Restaurant first appeared on Yanko Design.

Polestar Kairos unifies space travel and daily commutes into one intriguing concept

We all know that space is the next major frontier that remains to be conquered by humans, sparked by Elon’s ambitions to colonize Mars. Previously, NASA and now SpaceX are spearheading the dreams of space tourism and ultimately moving beyond planet Earth’s nurture. These developments have triggered inspiration for countless concept vehicles that envision what the future could be like.

This future-forward concept overshadows most of them with its unique idea of connecting Earth and space travel without all the strings attached. The idea is to make a seamless transition from driving on the highways to traveling beyond the stratosphere within just a few hours. Meet the Polestar Kairos, a hypertravel vehicle that comes with a normal driving mode and a space transfer mode to dock with a spacecraft that’s destined for space.

Designer: Kim Ye-rin

The front section of the hypercar, made out of reinforced lightweight material, is stronger than the fuselage of an airplane for structural integrity. Transition from the car mode to the docked spacecraft version is seamless, indicating how we could travel in space in the coming decades. Sure, it sounds like science fiction, but we are talking of a time ten years down the line when traveling to Mars would be a usual affair. This concept is based on the Polestar’s DNA and design physics, thereby explaining the industrial look.

The compatible spacecraft will be capable of docking two Kairos hypercars, transporting them to the other habitable planet in the solar system. When docked with the spacecraft, the hypercar unit transforms into an ultra-low temperature sleep chamber. This chamber is loaded with amenities for life maintenance during extended space trips. Since space travel can have a toll on mental and physical conditioning, the module is equipped to handle that too. The spacecraft will essentially be a carrier for people who want their loved ride to stay with them even beyond the limits of Earth.

From a pure four-wheeler perspective, the Kairos concept arrives at a time when Polestar is sharpening its focus on electric mobility and design-led sustainability. While the brand’s recent concepts, such as the Precept, have already charted its future direction, Kairos brings new aesthetic and experiential ideas to the table, melding dynamic proportions, refined materials. The Hypercar is low, wide, and sculpted, with crisp surfaces that emphasize tension and purity. The roofline sweeps seamlessly into the rear haunches, giving the car an almost coupe-gravity despite a potentially four-door or high-performance nature. The front face carries Polestar’s signature front “Thor’s Hammer” lighting graphic while a stubby profile reinforces a performance posture.

Inside, the Kairos concept highlights the brand’s commitment to premium yet sustainable materials. Natural-fiber composites, recycled textiles, and minimalist interfaces dominate. The cabin layout puts the driver firmly in command: clean surfaces, clear lines, and a restrained palette convey calm focus rather than techno-clutter. The floating center console, integrated display architecture, and expansive glazing underline a sense of openness and precision.

The post Polestar Kairos unifies space travel and daily commutes into one intriguing concept first appeared on Yanko Design.

Nothing Phone 3a Lite or CMF Phone 2 Pro? The Choice Is Just Glyph vs. Zoom

Glyph Light, more like Glyph Gaslight… Nothing just dropped its fifth phone this year, the 3a Lite, and the instant I looked at it, I was first shocked… then confused. Shocked because the phone looks exactly like Nothing’s CMF Phone 2 Pro. No seriously, the camera placement is EXACTLY the same, the chipset is the same, the battery, screen, most of its internals are the same. It took me a full minute for my shock to subside before it was replaced by confusion. Why? Why would Nothing introduce a ‘new’ phone into its lineup when it’s selling the exact same phone (for the exact same price) under its sub-brand?

I have no definite answers (we’re waiting for Carl Pei to reveal his underlying strategy), which is why it honestly feels so confusing. Two phones, practically twins (with probably just 2 small differences), and arguably running the same software on the same hardware for the same price. It goes against Nothing’s entire vision of disrupting the tech space by producing game-changing tech that injects fun into itself. Tech that builds a design-centric audience. Tech that prides itself on transparency. The fact that the Nothing Phone 3a Lite is just a ‘rebadged’ (and I use that term in the most calculated capacity) version of the CMF Phone 2 Pro feels like the opposite of transparent.

Designer: Nothing

Here’s where the phones are identical. They both have the same screen – a FHD+ 6.77″ AMOLED running 120Hz at 300 nits max brightness. They both have the same chip too, a MediaTek Dimensity 7300 Pro with 8 cores. Both phones run 8GB of RAM and max out at 256GB of storage. The OS is the same too, Nothing OS 3.5 (with a 6-year software update promise)… and even the battery is exactly the same, a 5,000mAh cell with 33W fast charging and 5W reverse wired charging. No wireless charging on either of the models. As far as the cameras go, the placement (if you look below) is the same too. Two of the three lenses in the camera array are the same, a 50MP main and 8MP ultrawide. The front has a 16MP shooter on both. And both phones pack that Essential button on the side that Nothing began rolling out this year. On paper, it’s as if you were looking at a Xiaomi vs Redmi phone, or a Huawei vs Honor phone. The same build, barring a few minor cosmetic changes.

The changes aren’t drastic, but they’re worth noting. For starters, the third camera on both the CMF Phone 2 Pro and the Nothing Phone 3a Lite are different. While the CMF gizmo packs a nifty 50MP telephoto lens, the 3a Lite swaps that out for a 2MP macro lens. That’s while keeping the price exactly the same, so make of that what you will. Meanwhile, look above and you’ll notice that the flashlight gets moved just a couple of notches downwards on the 3a Lite, so I’d assume most cases for the Phone 2 Pro will work seamlessly on the 3a Lite if they have a running cutout for the camera and the flashlight. Barring these two features, the design (obviously) is the most noticeable difference. The CMF phone sports a plastic back, with the customizable modular design, while the Nothing phone resorts to its thematic transparent rear, with a glass back. The 3a Lite also has the Glyph, although instead of an interface it’s just a tiny little dot on the bottom right corner. The final difference lies in the offerings – the CMF Phone 2 Pro comes in 4 colors and one single spec variant – a 256GB model. The Nothing 3a Lite comes in just Black or White options, although you can choose between a 256GB model, or a lower 128GB model that’s just €30 cheaper.

So why exactly did Nothing go down this road? All I can do is speculate, but the more I do, the more I’m inclined to believe that this is a diversity play rather than an innovation play. The company wants to corner the market with as many phones across a price range. Currently, the 3a and 3a Pro represent a budget range, but not the sub $300 category. People who are fans of the transparent phone design wouldn’t want to splurge on a CMF phone, even though it’s objectively better out of the two we’re comparing here today. If you told me I had to choose between a glass back and a small blinking LED, versus a plastic-back phone that packs a 50MP telephoto camera, the choice wouldn’t be a tough one at all.

The post Nothing Phone 3a Lite or CMF Phone 2 Pro? The Choice Is Just Glyph vs. Zoom first appeared on Yanko Design.

Water Purifier Faucet Looks Like a Designer Lamp and Fits in 135mm

Most water purifiers are hidden under the sink or banished to a corner of the kitchen, their bulky shapes and blinking indicator lights clashing with the clean lines of a modern, carefully designed space. For anyone who values both wellness and aesthetics in equal measure, finding a purifier that actually enhances the space rather than detracting from it is a rare treat worth celebrating when you finally discover one.

Lumos reimagines the water purifier as a sculptural centerpiece that deserves to be seen and appreciated. Designed by SAQ Design Consulting for Livingcare, this built-in faucet-style purifier features a lighting-inspired form, compact footprint at just 135mm wide, and touchless controls that bring both clean water and calming ambient light to any kitchen without requiring significant counter space or compromising visual appeal.

Designer: SAQ Design for Livingcare

Lumos’s upright, cylindrical body and translucent top look more like a designer lamp or modern art piece than a typical kitchen appliance. Available in metallic silver, matte gray, and bold orange finishes, it fits seamlessly into minimalist and contemporary kitchens alike, adapting to different design languages without looking out of place. The lighting fixture inspiration makes it a natural focal point rather than something to hide.

The built-in LED light activates gently as you approach the faucet, thanks to a RADAR sensor that detects your presence before you even reach for the controls. This provides a soft, welcoming glow for late-night water runs without the harsh glare of overhead fixtures that shock you awake when you’re trying to stay sleepy and relaxed during nighttime hydration breaks.

At just 135mm wide, Lumos is the smallest built-in water purifier on the market according to the iF Design Award, making it perfect for apartments and small kitchens where counter space is at a premium and every centimeter counts. The purifier installs directly into the countertop, replacing a standard faucet and eliminating the clutter of separate dispensers or bulky filtration units sitting on valuable surfaces.

Clean lines, intuitive touch controls on the top panel, and integrated filter and lighting mean fewer gadgets competing for attention in your kitchen environment. Lumos uses thermoelectric cooling technology, which is significantly more energy-efficient than traditional compressor systems used in typical hot and cold water purifiers. This technology eliminates refrigerants and harmful chemicals entirely, reducing both electricity bills and environmental impact for households.

Multi-stage filtration removes bacteria, chlorine, heavy metals, and microplastics from tap water reliably, while the touchless RADAR sensor ensures hygienic operation without requiring you to touch surfaces with dirty hands during cooking or meal preparation. The ambient light creates a calming atmosphere for nighttime water breaks, and the purifier’s sculptural presence enhances the kitchen’s overall visual appeal beyond pure function.

For modern kitchens that prioritize both performance and presentation, Lumos offers a compelling vision where clean water, energy efficiency, and beautiful design work together seamlessly. The compact form and lighting-inspired aesthetic make it equally suitable for small apartments or spacious homes, bringing wellness and ambiance to the heart of daily life without sacrificing counter space or visual harmony.

The post Water Purifier Faucet Looks Like a Designer Lamp and Fits in 135mm first appeared on Yanko Design.

When Trays Become Magic: Bo Zhang’s Shadow-Dancing Lightware

You know those moments when something so simple makes you stop and stare? That’s exactly what Bo Zhang is doing with his latest collection, and honestly, it’s kind of mind-blowing. Lightware is a series of transparent glass trays that don’t just sit there looking pretty (though they do that too). They actually play with light and shadow to create this ever-changing visual experience that transforms depending on where you stand, how the light hits them, and what surface they’re resting on.

If you caught wind of Zhang’s previous work, the Ripples collection, you already know he’s got a thing for messing with our perception. But where Ripples played with color-shifting optical illusions through hexagonal folded forms, Lightware takes a completely different approach. This time, it’s all about harnessing the science of polarizing film and glass to create what I can only describe as shadow choreography.

Designer: Bo Zhang

The genius here is in the subtlety. Zhang, who founded his studio Desz Office in New York back in 2019, has always been about creating pieces that interact with people on both visual and emotional levels. With Lightware, he’s tapping into something we usually take for granted: the way light moves through transparent objects. By layering polarizing film within the glass structure, these trays generate dynamic geometric patterns that shift and dance as you move around them or as the light source changes throughout the day.

Picture this: you set one of these trays on your coffee table in the morning. The sunlight streaming through your window casts one pattern. By afternoon, with the light coming from a different angle, it’s transformed into something completely new. Move it to another surface, and the shadows beneath it create yet another composition. It’s like having functional art that never gets boring because it literally never looks the same twice.

What’s really cool is that Zhang isn’t just making pretty objects for the sake of it. His design philosophy revolves around the idea that good artwork should have a soul, not be a cold entity. These trays are practical (you can actually use them to hold your keys, jewelry, or whatever), but they’re also conversation starters, meditation pieces, and honestly just really satisfying things to look at.

The recognition is rolling in too. Lightware recently won the NYCxDesign Awards 2025 Honoree in the accessories category, adding to Zhang’s growing list of accolades that includes being named one of UNESCO’s “100 Future Artists” and getting featured in Design Miami’s DMBX project. The design world has definitely been paying attention to what he’s doing, with features in publications like Vogue, Interior Design magazine, and Design Milk.

What I love about this collection is how it bridges the gap between tech-savvy innovation and accessible design. You don’t need to understand the science of polarization to appreciate these trays (though if you’re curious, polarizing film works by filtering light waves in specific directions, creating those mesmerizing patterns). You just need to be someone who appreciates when everyday objects transcend their basic function and become something more.

Since we live now with a lot of digital stimulation, there’s something refreshing about analog magic. Lightware offers this quiet, contemplative kind of wonder. It reminds us that transformation doesn’t always have to be loud or flashy. Sometimes the most captivating changes happen slowly, subtly, right in front of us, as naturally as light moving across a room.

Zhang’s work with Lightware proves that innovation in design isn’t always about reinventing the wheel. Sometimes it’s about looking at something as fundamental as a tray and asking, “What if this could do more?” The answer, in this case, is a collection that turns functional objects into portals of perpetual surprise, where shadows become art and transparency reveals hidden complexity.

The post When Trays Become Magic: Bo Zhang’s Shadow-Dancing Lightware first appeared on Yanko Design.

This Thunderbolt 5 Dock Finally Gives Apple Silicon Macs 3 Displays

Most docking stations are either a tangle of cables or a bland box you hide behind your monitor out of shame and embarrassment. For creative pros and MacBook power users, finding a dock that keeps up with demanding workflows while actually looking good on your desk is a rare win that deserves celebrating. Most people settle for function over form, accepting ugly tech as the unavoidable price of modern productivity.

The iVANKY FusionDock Max 2 changes the game with a design that’s as visually striking as it is functionally capable. With Thunderbolt 5, native triple-display support for Apple Silicon Macs, and a chassis built for both performance and aesthetics, it’s a dock you’ll want to show off front and center on your desk, not hide away beneath it in shame.

Designer: iVANKY

The FusionDock Max 2 is machined from a single block of aluminum using a 2,000-ton extrusion press, giving it a dense, premium feel that most plastic or stamped-metal docks simply can’t match. The matte dark finish, copper-alloy midframe for efficient heat dissipation, and bold orange accent lines create a modern, professional look that stands out in any workspace without screaming for attention.

The floating chassis design and visible fan vents aren’t just practical engineering choices—they’re deliberate aesthetic statements that celebrate the dock’s industrial elegance and functional beauty. The elevated base allows air to flow naturally underneath, while the integrated fan remains whisper-quiet during operation. The orange accents frame the port array, turning functional connectivity into visual interest that enhances rather than detracts.

With Thunderbolt 5 and a dedicated DisplayPort-Alt chip working together seamlessly, the FusionDock Max 2 is the first dock to offer native triple-display support for Apple Silicon MacBooks without adapters, dongles, or driver headaches. Video editors, developers, and designers can finally spread their work across three external monitors while keeping their MacBook lid closed for a cleaner, more organized setup.

The dock packs 23 thoughtfully chosen ports selected specifically for professional workflows rather than just chasing numbers. Five 10Gbps USB-C ports, four 10Gbps USB-A ports, dual HDMI 2.1, DisplayPort 1.4, 2.5G Ethernet, SD 4.0 and microSD 4.0 card readers with 312MB per second transfer speeds, optical audio, and a security lock slot cover virtually every professional need imaginable.

Thunderbolt 5 delivers up to 120Gbps bandwidth—triple that of Thunderbolt 4—enabling smooth 6K displays, lightning-fast file transfers, and zero-compromise workflows for creative professionals. The dock powers your MacBook Pro at a steady 140W even with every single port busy and drawing power, while a separate 30W USB-C port handles phones and tablets without stealing power from the host machine.

Active cooling with a copper midframe and floating chassis keeps the dock up to 20 degrees Celsius cooler than typical Thunderbolt 5 docks during sustained full-load operation. This thermal management prevents flickering displays, dropped connections, and performance throttling that plague lesser docks when you push them hard during intensive video rendering, large file transfers, or multi-monitor coding sessions.

The FusionDock Max 2 is designed to be seen, appreciated, and admired rather than hidden from view. Its industrial elegance, compact footprint, and thoughtful cable management make it a natural centerpiece for creative studios and home offices that value both performance and presentation equally in their workspace design.

The post This Thunderbolt 5 Dock Finally Gives Apple Silicon Macs 3 Displays first appeared on Yanko Design.

Wheelhome turns Tesla Model 3 into ultimate electric rooftop camper with Dashaway eRC

You don’t necessarily need a van or a pickup truck to have a camping rig capable of going off-grid for weeks on end. Wheelhome believes Tesla’s popular Model 3 is an ideal candidate to transform into a camping legend with a roof camper that fits seamlessly against its curving roofline.

The British manufacturer has been building compact camper cars and tiny caravans for more than three decades, but this latest conversion (or installation, rather) gives EV campers something entirely new to think about. With no modifications required to the car per se, Wheelhome has been able to turn the Tesla Model 3 into an electric rooftop camper complete with a sofa cum bed, an equipped kitchen, a sink, and a portable toilet, all within the camper’s full standing room and naturally lighted interior.

Designer: Wheelhome

The entire setup is made possible by mounting the Wheelhome Dashaway eRC (electric roof camper) onto the roof of the Model 3. Designed to sit on an additionally purchased Tesla roof rack and towbar, the Dashaway pop-up camping rig starts at about £23,400. It is a rooftop camper with a fast set-up time and an elevating roof, which adds roughly 150 kg of dead weight and turns the Tesla into a campervan-like facility for up to two people to share.

Dashaway eRC is a practical solution for the top of a Model 3 because, unlike the hard-sided rooftop tents, it has a nice standing height inside. The pod with a window and a mesh door offers ample natural light inside, while its fiberglass pop-up top keeps the construction lightweight and durable. The spacious interior cabin is good to sleep a couple and also cater to their daytime requirements with a two-seat rear-facing bench (that converts into a bed), plenty of storage just ahead.

The series of cabinetry is topped with a sink and a hideaway porta-potty (portable toilet). The folding counter and cabinets make space for a full-fledged kitchen, which can be packed with an induction cooktop, oven, microwave, and air fryer. Interestingly, the camper’s Water supply, compressor fridge, and the power bank reside behind the driver’s seat (converting the back into a two-seater bench). Behind the folding seats is Model 3’s boot, which is provided with storage containers (two of them a meter long each) for storing and transporting supplies.

You don’t need to be hooked up to a campsite for power; the camper’s battery can be powered by the car’s own low-voltage system, and the campsite electric grid can be used to charge the car battery, when required. The Wheelhome Dashaway eRC on the roof of the Model 3 is completely dismountable. According to the makers, it’s effortless, even a one-person can easily set up and remove the rooftop camper. Of course, you could wonder about the drag and range limitation with the Dashaway on the roof. Early tests suggest there are very few performance issues; yes, the speed takes a dip, but the camping solution doesn’t add more than 10 percent loss of the car’s range.

The post Wheelhome turns Tesla Model 3 into ultimate electric rooftop camper with Dashaway eRC first appeared on Yanko Design.