By

DIYer builds world’s smallest FPV drone capable of stable flight

What you are seeing here could be the smallest FPV quadcopter drone on the planet, measuring just 22.3 millimeters. That is comparable to the width of a coin, making the thing really tiny. The challenges in creating such a small drone are incomprehensible, right from aerodynamics to fitting the complex electronics inside a small frame. That’s the reason this flying machine ditches the landing gear and shielding.

Created by Hoarder Sam, a YouTuber who’s a DIY engineer, the microdrone brings the capabilities of a commercial 65-millimeter model inside a housing that’s one-third the size. You can literally fit it inside a Pringles without anyone even assuming. According to the DIYer, making anything smaller than 22 mm is currently not feasible, as the drone would be unstable in flight, have degraded efficiency, and would be hard to control. As a matter of fact, the PFV community deems 65 mm as the smallest practical size for flight, which in itself is an achievement for this DIY quadcopter.

Designer: Hoarder Sam

By adopting the right design approach, Hoarder managed to overcome all challenges and prove the community wrong with the world’s smallest FPV drone. It all started with the teardown of BetaFPV Air65 drone, which is regarded as one of the most compact FPV drones out there. He salvaged the brushless motor system, integrated a 5.8 GHz analog video transmitter, a high-precision ICM42688P gyroscope, and the STM32 G473 microcontroller. For such a miniature size, the body of the quadcopter needed to be durable and millimeter-precise. The best option is obviously a custom 3D-printed frame that manages to fit the mini electronics in a compressed layout.

For the frame, he employed the Bambu Lab A1 Mini desktop 3D printer to achieve the finer details with the 0.12-millimeter layer resolution. This helped eliminate overhangs and bridges, which is vital in achieving the intended small size without compromising the functionality. Tinkering around with the placement of the electronics meant the firmware had to be updated as well, since the current configuration is not calibrated for the new positioning of the flight control components. Sam went for the Betaflight Configurator software to fix this by rewriting the control parameters and tweaking the flight stability. After performing numerous flight tests and calibration, the drone took stable flight as intended.

The overall weight of the quadcopter is kept down to 25 grams, which helps in power efficiency and controlled maneuverability. That’s a feat in itself, considering the flying craft has a small camera and teeny little battery. The aircraft manages a flight time of under three minutes, which is impressive considering it falls just 30 seconds short of the larger counterpart. Landing and take-off are a bit stressful as the drone is vulnerable to damage, given it has no protection for the propellers.

The post DIYer builds world’s smallest FPV drone capable of stable flight first appeared on Yanko Design.

By

3D Printing Just Built a Shelter in -30°C Desert Heat

Picture this: you’re a volunteer in the middle of Inner Mongolia’s Tengger Desert, planting trees under a relentless sun in temperatures that can swing from 45 degrees Celsius in summer to minus 30 in winter. You’re there to combat desertification, planting forests that will lock the desert in place and prevent sandstorms from spreading eastward. It’s heroic work, but let’s be real, the conditions are brutal.

Enter Desert Ark, and suddenly this story gets a whole lot more interesting. Created by Chinese design studio designRESERVE, Desert Ark is China’s first 3D-printed concrete structure in an extreme desert environment, and it’s basically a game changer for anyone working in hostile landscapes. The project is a modular shelter system consisting of nine separate units that include everything volunteers need: a shower room, dining area, and sleeping quarters. Think of it as a base camp that was literally printed into existence.

Designer: designRESERVE

The whole setup spans 150 square meters, with the individual modules arranged in a circle around a central communal space. It’s smart design that creates both private functional areas and a shared hub where volunteers can gather, which is essential when you’re dealing with the psychological challenges of working in such an isolated, extreme environment.

But here’s where it gets really cool from a tech perspective. These structures weren’t built in a traditional way. They were 3D-printed using robotic construction technology with a sand-based concrete material. The walls feature a distinctive wavy external shape that’s not just aesthetic, it’s engineered to better withstand the punishing desert winds. And that layered texture you see from the printing process? It actually helps the structures blend seamlessly into the sandy landscape, like they were always meant to be there.

The designers also tackled the temperature extremes head-on. The walls incorporate built-in cavities that provide insulation, offering relief when it’s scorching hot or freezing cold. This kind of thoughtful detail makes the difference between a structure that merely exists and one that actually protects the people using it.

What makes Desert Ark particularly fascinating is how it sits at the intersection of multiple urgent conversations happening right now. There’s the environmental angle: since the early 1990s, a non-profit organization has been working to plant trees on the desert’s fringe to contain its eastward expansion. These reforestation efforts are part of creating what’s called a “desert-locking forest,” and they’re essential for combating desertification and reducing sandstorm risks.

Then there’s the technology story. 3D printing construction isn’t exactly new, but applying it in such an extreme environment, with limited resources and tight timeframes, demonstrates the potential for rapid, resilient, and low-impact building. The fact that they pulled this off in one of the harshest places on Earth is a proof of concept that could influence how we think about emergency shelters, remote research stations, and disaster relief structures.

And if you want to get really ambitious with it, the designers themselves suggest that Desert Ark could serve as an architectural prototype for future extraterrestrial habitats. It sounds like science fiction, but when you think about it, the challenges are similar: extreme temperatures, limited resources, the need for rapid construction, and isolated locations where traditional building methods are impractical.

The project has been gaining recognition in the design world, earning a spot on the shortlist for Dezeen Awards China 2025. But more importantly, it’s functioning right now, providing real support to volunteers doing essential environmental work. What’s particularly refreshing about Desert Ark is that it doesn’t feel like technology for technology’s sake. This isn’t about showing off what 3D printing can do. It’s about solving a genuine problem for people doing difficult, important work in a place where conventional construction methods would be prohibitively expensive and time-consuming.

As climate challenges intensify and extreme environments become places where more human activity is necessary, whether for restoration, research, or resource management, we’re going to need more solutions like this. Desert Ark suggests that the future of sustainable construction might not just be about building smarter in cities, it’s about building smarter anywhere, even in the middle of a desert where nothing else can survive.

The post 3D Printing Just Built a Shelter in -30°C Desert Heat first appeared on Yanko Design.

By

This Solar Textile Turns Buildings Into Giant Energy Harvesters

Imagine a world where buildings don’t just sit there consuming energy but actually generate it through their very fabric. That’s exactly what Dutch designer Pauline van Dongen has created with her stunning Umbra Pavilion, and honestly, it might just change how we think about architecture forever.

The installation features a sky blue kite-like canopy made from Heliotex, a material that combines recycled polyester yarn woven with 150 organic photovoltaic solar cells. Think of it like wrapping a building in a smart, energy-generating skin that’s as functional as it is beautiful. The pavilion spans 40 square meters with nearly 10 meters in height, housing 147 solar modules and an energy storage capacity of 3,000 watts.

Designer: Pauline van Dongen

What makes this particularly genius is how van Dongen is rethinking where we put solar panels. Instead of those heavy, rigid panels we’re used to seeing on rooftops, Heliotex weaves organic solar cells directly into fabric, making the material flexible in form and variable in color, pattern and density. It’s basically the difference between slapping a bulky case on your phone and having protection built seamlessly into the device itself.

The designer has been working on this solar textile technology for years, first developing it for wearable fashion like her Solar Shirt that could charge your phone. Now she’s taken that same innovation and scaled it up to architectural proportions. Her studio has collaborated with Tentech over the past four years on developing this solar textile, which is now being applied for the first time on an architectural scale. Here’s where it gets really interesting from a practical standpoint. Van Dongen suggests that buildings that aren’t climate-neutral could get a second skin facade, and if made from textile, it could be a translucent mesh so you could still look out windows without any problems. It’s like giving older buildings a sustainable makeover without the demolition and reconstruction nightmare.

The performance specs are worth noting too. The woven panels currently produce 53 watts of energy per square meter, which is about a fifth of what traditional silicon solar panels can produce. Before you dismiss that as underwhelming, van Dongen has a smart response. She explains they’re applying this textile in places where traditional solar panels wouldn’t be used anyway, so they’re not competing with them. And the efficiency is already improving. Researchers from a Danish university have already doubled that output per square meter in their tests. That’s the thing about emerging technology, it only gets better from here.

The material itself has been engineered to actually work in the real world. Heliotex was designed to resist weathering and UV radiation and is fire-retardant, and van Dongen specifically avoided using toxic PVC in the coating process. So it’s sustainable on multiple levels, from the recycled materials to the non-toxic finishes.

The Umbra Pavilion, unveiled at Dutch Design Week in Eindhoven, isn’t just a proof of concept sitting in a lab. By day, it offers cooling shade and a place to pause and reflect while its woven solar cells harvest the sun’s energy, then as evening falls, the stored energy returns, enveloping the pavilion in atmospheric light. It’s functional art that actually works. Van Dongen envisions this technology going far beyond pavilions. The technical textile is suited for shading cloths and shade structures for public spaces, building facades, and canopies or tents for festivals. Think about it: every festival tent, every outdoor market canopy, every building facade could be generating clean energy while doing its regular job of providing shade or weather protection.

What’s particularly exciting about this project is how it makes renewable energy visible and accessible. Instead of hiding solar technology on rooftops where we forget about it, the pavilion offers a glimpse of a future where solar energy is woven into daily life, tangible, shared, and accessible to all. That’s a future worth getting excited about.

The post This Solar Textile Turns Buildings Into Giant Energy Harvesters first appeared on Yanko Design.

By

weaving light: eugene kangawa and A-POC ABLE ISSEY MIYAKE turn photograms into fabric

Eugene Kangawa and A-POC ABLE ISSEY MIYAKE’s Paris exhibition

 

Japanese artist Eugene Kangawa joins forces with A-POC ABLE ISSEY MIYAKE for TYPE-XIV Eugene Studio project, a collaboration debuting in Paris during Art Basel. The presentation, conceived by architect Tsuyoshi Tane and hosted at Lycée Turgot, marks a three-year exchange between Kangawa and A-POC ABLE’s designer Yoshiyuki Miyamae. Centered on a groundbreaking textile that translates the artist’s ongoing series ‘Light and shadow inside me’ (2022–), the exhibition situates the meeting point of art, design, and material research within a single woven surface. From the slow burn of sunlight on paper to the precision of woven threads, Kangawa and A-POC ABLE ISSEY MIYAKE’s collaboration transforms the immaterial into form. 

 

‘Light and shadow inside me’ is a body of work made entirely through light. Earlier iterations comprised sheets of paper brushed with dye, folded into geometric shapes, and left to fade under sunlight for weeks, while later versions evolved into monochrome photograms made by exposing folded photographic paper to artificial light. ‘The idea that all things, by the very fact of their existence, simultaneously possess both light and shadow — countless fronts and backs — is central to who I am and my practice,’ Kangawa explains to designboom. ‘My goal was to create a work of art that embodies and enacts this coexistence.’ The series was born from what he describes as a moment of revelation. ‘It all began one winter day when I found a sun-faded box at home. In that moment, everything connected, and the idea grew into these works,’ he tells us.

images © ISSEY MIYAKE INC.

 

 

Transforming Photographic Concepts into Fabric Form

 

TYPE-XIV Eugene Studio traces back to Kangawa’s solo exhibition The New Sea at the Museum of Contemporary Art Tokyo, where Miyamae first encountered the artist’s ‘green paintings’, sheets of watercolor paper coated with dye, folded like origami, and left to fade under sunlight for a month. Kangawa later adapted this technique to photographic paper, producing monochrome photograms that captured the tension between exposure and concealment. ‘These works were created by applying a single-color dye onto one sheet of paper, folding it—without cutting—and exposing it to sunlight,’ he explains. ‘When unfolded, the light had become both the brush and the memory.’

 

It was this process that fascinated Miyamae and his team, leading to a series of workshops and experiments at A-POC ABLE ISSEY MIYAKE. ‘What was most surprising about this collaboration was that Miyamae and his team spoke of ‘weaving a new language’ — starting completely from scratch to create the textile in an entirely new way,’ Kangawa recalls. ‘Their garments are beautiful, yet what struck me most was that they think not in terms of surface, but from structure itself.’

Eugene Kangawa joins forces with A-POC ABLE ISSEY MIYAKE

 

 

Weaving Becomes an Act of Illumination

 

The result is a technically groundbreaking ‘bit-level’ textile, in which tonal gradients from black to white emerge solely from variations in weave density without any dyes or colored threads. The team drew analogies between the intersection of threads and the microscopic silver particles that make up photographic paper, transforming light’s material absence into the tactility of fabric. Miyamae describes the process as a return to fundamentals. ‘We returned to the smallest unit of fabric: a single thread. Using only black and white threads, we explored light and shadow through variations in weave patterns and density, translating the phenomena of photographic paper and light into the language of cloth,’ A-POC ABLE’s designer shares.

 

For Kangawa, the collaboration resonates deeply with Issey Miyake’s human-centered design philosophy. ‘Issey Miyake’s philosophy connects closely with my own work, particularly in exploring existence,’ he says. ‘Light and shadow inside me began as a meditation on loss, peace, and nature—the idea that light can be both beautiful and fearsome. In Japanese sensibility and history, light has always carried this duality. Some people even say the works evoke associations with the nuclear.’

the exhibition positions the textile within a broader study of Japanese material culture

 

 

The Global Journey of a Light-Born Work

 

The exhibition design by Tsuyoshi Tane, renowned for his projects such as the Estonian National Museum and the Al Thani Collection at Hôtel de la Marine, positions the textile within a broader study of Japanese material culture. Alongside the new fabric, visitors encounter test pieces, tools, and archival materials, including an Edo-period book on origata (traditional paper folding) whose patterns unexpectedly echo those found in Kangawa’s photograms. ‘When we were preparing for the exhibition, we were surprised to find within the book a folding pattern strikingly similar to those created in ”Light and shadow inside me,”’ Kangawa recalls and tells us.

 

Following its Paris debut, the project will travel to Tokyo and Osaka, extending the collaboration across contexts. Meanwhile, ‘Light and shadow inside me’ will find a permanent home at the forthcoming Eugene Museum in Tabanan, Bali, opening in 2026. Designed by Andra Matin, the museum will host over fifteen of Kangawa’s works in a complex surrounded by UNESCO-protected rice terraces. Visitors will be invited to stay overnight and experience the shifting qualities of light that underpin the artist’s practice.

alongside the new fabric, visitors encounter test pieces, tools, and archival materials

the project will travel to Tokyo and Osaka

for Kangawa, the collaboration resonates deeply with Issey Miyake’s human-centered design philosophy

‘Light and shadow inside me’ is a body of work made entirely through light

the show is centered on a groundbreaking textile that translates the artist’s ongoing series

Kangawa and A-POC ABLE ISSEY MIYAKE’s collaboration transforms the immaterial into form

a body of work made entirely through light

TYPE-XIV Eugene Studio traces back to Kangawa’s solo exhibition The New Sea

Miyamae first encountered the artist’s ‘green paintings’ at the Museum of Contemporary Art Tokyo

monochrome photograms capture the tension between exposure and concealment

 

 

project info:

 

name: Light and shadow inside me — Eugene Kangawa x A-POC ABLE ISSEY MIYAKE
artist: Eugene Kangawa / EUGENE STUDIO | @eugene_studio_official
designer: Yoshiyuki Miyamae, A-POC ABLE ISSEY MIYAKE | @apocableisseymiyake_official
spatial design: Tsuyoshi Tane / ATTA | @ateliertsuyoshi_tanearchitects
location: Lycée Turgot, 40 Rue Volta, 75003 Paris, France

dates: 24th – 26th October 2025

The post weaving light: eugene kangawa and A-POC ABLE ISSEY MIYAKE turn photograms into fabric appeared first on designboom | architecture & design magazine.

By

This $66 Video Doorbell Has 6-Month Battery and Scares Off Thieves

Most video doorbells are either a pain to install or stick out awkwardly on your front door. For renters, apartment dwellers, or anyone who wants security without drilling holes or hiring electricians, the search for a good-looking, easy-to-use doorbell can feel endless. Most options force you to choose between installation simplicity and actual performance.

The Wyze Battery Video Doorbell addresses these frustrations with a minimalist design, flexible installation, and smart features that make porch protection as simple as it is stylish. At just $65.98, it brings high-resolution video and AI-powered detection to any front door without requiring technical skills or permanent modifications.

Designer: Wyze

The doorbell’s slim, vertical body and matte black finish blend seamlessly with modern and traditional exteriors. Its understated look means you don’t have to hide it or compromise your home’s aesthetic. The clean design with illuminated ring button feels premium without drawing unnecessary attention or clashing with your door hardware.

Install it wire-free with the built-in rechargeable 6400mAh battery, good for up to six months on a single charge. Alternatively, hardwire it to existing doorbell wiring for continuous power. The included mounting hardware and corner plate make installation straightforward, whether you own or rent. USB-C charging keeps recharging simple when battery life eventually runs low.

With a 1536 by 1536 HD+ resolution and a 150-degree horizontal and vertical viewing angle, the doorbell captures everything from head to toe, porch to street. The square aspect ratio provides genuinely wide coverage that eliminates blind spots. You’ll see visitors’ faces, packages tucked against the door, and kids coming home from school, all in crisp detail.

Color night vision ensures clear footage even after dark, so late deliveries or nighttime visitors remain visible. The wide view angle means no more missing important details because someone stood too close to the camera or packages were left just outside the frame that traditional rectangular doorbells create.

Motion-activated voice deterrence plays a “You are currently being recorded” message when someone approaches, which studies show can deter break-ins by up to 60 percent. Two-way audio lets you greet guests, give delivery instructions, or chat with friends from anywhere through the Wyze app without opening the door.

Quick responses make communication even simpler. Press a button to play preset messages like “Please leave the package by the door” when your hands are full, your baby is napping, or you just don’t feel like shouting instructions through the closed door during dinner or work calls.

Rated IP65, the doorbell handles rain, snow, and sun without failing or fogging up like cheaper models. Local recording with a microSD card up to 256GB ensures you never miss footage, and the device integrates with Alexa, Google Assistant, IFTTT, and Wyze Automations for complete smart home control.

The Wyze Battery Video Doorbell delivers smart home security without the usual complications, technical headaches, or aesthetic compromises that plague most affordable options. The combination of flexible installation, wide-angle coverage, and genuinely useful features creates a front porch solution that works for homeowners and renters alike. At less than $70, it brings peace of mind and a little design harmony to any entryway.

The post This $66 Video Doorbell Has 6-Month Battery and Scares Off Thieves first appeared on Yanko Design.

By

Core77 Weekly Roundup (10-20-25 to 10-24-25)

Here’s what we looked at this week:

CalTech attaches a drone to a humanoid robot. This isn’t looking good.

The floating Transatlantic Studio: For a show in Brazil, French artist Xavier Veilhan is creating the pieces en route—on a sailboat.

Hell in a Handbasket: An “emotional companion” smartphone with a built-in gimbal camera.

Historically accurate airport dioramas by AV Pro Designs.

Sikorsky has made an unmanned, autonomous Blackhawk helicopter. And it’s going into production.

Canadian designer Jamie Wolfond’s screw-mechanism adjustable lamp.

A clever use of augmented reality: Tracing virtual art to quickly create murals.

Dreamfarm’s UpCup is a measuring cup that squeegees itself clean.

Architecture firm Blue Temple has designed inexpensive DIY bamboo disaster relief housing that can withstand earthquakes.

Forever object: The staple-less Oceanus Brass Stapler, a roaring success on Kickstarter.

Twig&Bot’s elegant robot-arm-carved guitar holders.

Understanding the brilliant design of an automatic center punch.

Rivian’s skunkworks yields the TM-B, a modular e-bike that will be sold under their Also spin-off.

Remedial design: Tidy Desk’s decluttering add-on storage objects for slab desks.

By

X-BAT VTOL jet could be the real-world batwing we’ve been waiting for

Over the years, the skies of innovation have seen a quiet but steady invasion of VTOLs promising to redefine how we think about flight. From urban air taxis to hybrid combat drones, each concept seemed to inch closer to what once felt like science fiction. But every now and then, a creation comes along that feels straight out of Gotham. A machine so darkly sophisticated it blurs the line between military technology and cinematic imagination. Shield AI’s X-BAT is that machine: a stealthy, autonomous VTOL jet that looks and behaves like Batman’s next aircraft, only it’s very much real.

The X-BAT’s form is as functional as it is menacing. Designed for vertical take-off and landing, it eliminates the need for long runways, lifting off from ships, mountain outposts, or hidden bases with surgical precision. At about 26 ft in length and a 39 ft wingspan, the aircraft’s compact frame makes it deployable from virtually anywhere. Three of them could fit in the deck space of a single legacy fighter jet. Its range exceeds 2,000 nautical miles with a service ceiling near 50,000 ft, giving it the reach of a manned fighter but the adaptability of a drone.

Designer: Shield AI

What truly sets it apart, however, isn’t its shape, but what’s running the mind. Shield AI has built the jet around its Hivemind autonomy system, an artificial intelligence capable of autonomous combat navigation even when GPS or communication links are jammed. This means the X-BAT can fly, fight, and return without a pilot or external control, essentially thinking for itself in hostile skies. It’s a digital wingman, one that doesn’t fatigue, hesitate, or depend on real-time commands to survive.

Under the hood, the jet packs a fighter-class powerplant comparable to what drives an F-16, hinting at immense thrust and agility. Its stealth-optimized frame conceals internal weapons bays for air-to-air and air-to-surface missions, while external hardpoints can handle heavier payloads. Shield AI’s design philosophy captures a sense of radical independence: to “make the Earth our runway.” It’s about decentralizing airpower; removing the need for runways, refueling tankers, or sprawling bases, and instead creating a fleet of mobile, intelligent, and lethal aircraft that can be launched from unexpected corners of the world.

From a distance, its silhouette evokes something cinematic, a black-winged jet slicing through the night, soundless and untraceable. But behind the allure is a clear military purpose. The X-BAT is envisioned as a fighter-class autonomous aircraft for the next generation of contested environments, where adaptability and autonomy will decide outcomes more than raw power. Shield AI expects first VTOL tests in 2026, with full production targeted by 2029, signaling a serious commitment to making this concept operational.

The dynamic VTOL is less about replacing pilots and more about redefining their reach. It’s the latest in a lineage of machines that make imagination tangible, a reminder that the future of flight might not just look like the Batwing; it may very well be it, rising from hidden launch pads to patrol the skies of tomorrow.

The post X-BAT VTOL jet could be the real-world batwing we’ve been waiting for first appeared on Yanko Design.

By

Remedial Design: Tidy Desk’s Decluttering Add-On Storage Objects

I think desks without drawers are dumb, but the rise of sit-stand desks and aesthetic trends mean the market is awash with slabs-on-legs. The lack of storage space eventually becomes a problem, so companies start designing remedial storage objects, extra things for you to buy and tack onto your desk.

This series of remedial objects is by a company called Tidy Desk. Their “Desk Dock System” is aimed at the minimalist who cannot tolerate the sight of cables. Thus their Invisible Laptop Dock, which has you leave your laptop out of sight beneath the desk (though still cabled to your screen).

The Dock is just two plastic brackets.

The “system” also includes charging docks for AirPods, Apple Watches and external hard drives.

The promise? A clutter-free desk (at a cost of $35 to $39 per docking object).

Surely drawers will make a comeback at some point?

By

Rivian’s Skunkworks Yields a Modular E-Bike

Rivian has a skunkworks, and earlier this year they created something so potentially impactful that they created a spin-off to bring it to market. They tapped Rivian VP Chris Yu to lead the new company, called Also, who teased what they were working on: “What we’re building is easy, intuitive, and tech-enabled in all the right ways,” he wrote. “It’s a joy in the most childlike sense.”

Now they’ve pulled the sheets off. Also is a mobility company designing electric sub-car vehicles “to rethink how we get around in today’s world,” starting with this TM-B, a modular e-bike.

The heart of the bike is this DreamRide drive system, containing the motor and the battery. When you pedal, you’re not driving a chain, but are instead driving a generator. The motor then drives the rear wheel via a belt.

The battery is “vehicle-grade,” the company says, meaning its quality, safety and engineering standards match what you’d find in an EV (the regulations for e-bike batteries are considerably less stringent). The 1 kWH battery can be popped out for charging or to use as a powerbank.

As for the modular part: The seatpost—which they’re referring to as the “top frame”–can be popped off of the bike, and you can swap in different ones for different applications. At present they offer a standard Solo frame, a Utility frame for carrying stuff and a Bench frame for carrying a passenger.

Both wheels feature full suspensions.

The front and rear LED lights are decidedly Rivian-like.

There’s a 5″ touchscreen that can be used for navigation or to display riding data.

The bike is said to have a range of 60 to 100 miles.

They’re currently taking pre-orders for the $4,500 bike and say it will ship in spring 2026.

By

This Japanese Data Center Uses Snow and Wind to Stay 100% Green

Here’s something you don’t hear every day: a data center in Ishikari, Japan that was completed in 2024 is using Hokkaido’s freezing winter air and renewable energy to run completely emission-free. Not just low emission or carbon neutral through offsets, but legitimately zero emission in real-time operation.

The Zero Emission Data Center (ZED ISHIKARI) sits in Ishikari city on Japan’s northernmost island of Hokkaido, where temperatures can plunge to minus 5 degrees Celsius in winter. Instead of fighting this cold with conventional air conditioning, TAISEI Design Planners Architects & Engineers embraced it as a free cooling system. The location was chosen specifically because the Ishikari Bay New Port industrial park has a “100 percent renewable energy area” commitment which requires all companies who build in the area to power their facilities with renewable energy.

Designer: TAISEI Design Planners Architects & Engineers (Photos by Katsumasa Tanaka)

What makes this facility brilliant is how it leverages geography and climate as infrastructure. From October through May, when temperatures stay consistently low, the data center “can be fully operated without backup air conditioners” by simply blowing that icy Hokkaido air through the server rooms. Traditional data centers gulp massive amounts of electricity to keep their servers from overheating, but ZED ISHIKARI essentially has a natural refrigeration system running for more than half the year.

The building’s design treats the entire structure as one large air handling system rather than installing expensive ductwork throughout. Cold air flows in through strategically placed ventilation systems in the ceilings and walls, absorbs heat from the servers, and gets vented back out. That expelled heat isn’t wasted either. Heat from the machines is channeled to systems that keep roads around the facility ice free, solving two problems with one elegant solution.

When natural cooling isn’t enough, the site is connected by a private powerline to nearby solar and wind power plants that each provide 2MW of power to the data center. KCCS, the company operating the facility, has also partnered with a biomass plant to ensure every kilowatt comes from renewable sources. ZED ISHIKARI has established its own electricity supply and demand control system that utilizes storage batteries and AI technology to match carbon-free power on an hourly basis, making it the first data center in Japan to achieve 24/7 carbon-free operation.

This approach isn’t just good for the planet. Compared to its Tokyo data center, the operator “reduced power use by around 40% by locating it in a cold climate”. That’s a massive operational cost saving on top of the environmental benefits. And given that data centers are massive energy consumers, particularly as AI and cloud computing demand skyrockets, finding ways to reduce their power consumption is becoming urgent.

Japan’s Environment Ministry is betting big on this model. They’re subsidizing up to 50% of the cost of building zero-carbon data centers or upgrading existing facilities as part of their climate initiatives. The government recognizes that lifestyle changes and digital transformation have resulted in surging power use, and data centers are one of the major energy consumers they need to address. What’s particularly clever about ZED ISHIKARI is that it doesn’t rely on futuristic technology or massive capital investment in experimental systems. Instead, it works with what’s already there: cold air, wind, sunshine, and biomass. The facility opened on October 1, 2024, proving that zero-emission data infrastructure isn’t some distant dream but an achievable reality right now.

This project shows how thoughtful design and location choices can turn environmental challenges into solutions. While most of us will never visit a data center, the servers that power our streaming, cloud storage, social media, and AI tools live somewhere. Projects like ZED ISHIKARI prove those servers don’t have to come with a carbon cost, especially when you’re willing to build them where winter isn’t something to fight against, but something to harness.

The post This Japanese Data Center Uses Snow and Wind to Stay 100% Green first appeared on Yanko Design.