Sep
11
Belgian designer Peter Donders is a real materials maniac. This Shelly chair was made by producing a 3D print, making a mold around the print, then casting the chair in bronze.
Then he went and, just for the hell of it, made this bonkers handcrafted (not cast, obviously) version of the chair in freaking Walnut:
The latter chair is called, as you might guess, Walnut Shelly. And no, it most certainly is not headed for production.
Sep
11
Furniture design has become increasingly focused on mass production and disposable aesthetics, but some designers are pushing back against this trend with thoughtful, sustainable alternatives. Caroline Chao, an architect turned object designer, represents this movement toward more meaningful, personal furniture that tells a story about materials, function, and our relationship with everyday objects. Her Roll-up Chair for G-STAR RAW challenges traditional furniture conventions while exploring the untapped potential of reclaimed denim.
Chao’s journey from designing skyscrapers to crafting intimate furniture pieces reflects a broader shift in design thinking toward human-scale objects that invite personal connection. Trained at Harvard and the University of Pennsylvania, she brings architectural rigor to smaller projects, finding meaning in the space between soaring structures and intimate interiors. Her work explores how objects can challenge perspective and provoke thought, whether through literal reflection using mirrors or figurative contemplation through reimagined furniture forms.
Designer: Caroline Chao
The inspiration for the Roll-up Chair came from reading about objects designed to be disassembled and reassembled, particularly camp and military furniture that prioritizes portability and function over aesthetics. Chao saw a fascinating parallel between these utilitarian objects and denim itself, which evolved from pure workwear into a fashion statement while retaining its functional DNA. She wondered whether overlooked camp furniture could be reimagined as art, creating something that provokes conversation about what furniture could be in our increasingly mobile, space-conscious world.
The chair’s construction reflects this philosophy through its innovative use of materials and modular design approach that prioritizes sustainability and adaptability. The seat and backrest consist of padded rolls made from deadstock G-STAR denim, creating a tactile, comfortable surface that references both sleeping mats and the aging qualities of raw denim. Silver snap buttons borrowed directly from jeans secure the cushions, reinforcing the connection between garment construction and furniture assembly while adding functional hardware that feels authentic to the material’s heritage.
The structural frame uses steel components typically found in handrail systems or electrical conduit, sourced from industrial suppliers who normally work with electricians and contractors rather than furniture designers. This choice exemplifies Chao’s interest in finding unexpected applications for existing materials, reducing waste while creating something entirely new. The entire chair can be fully disassembled and hung on a wall like a garment, transforming from functional furniture into sculptural art depending on your needs and space constraints.
Despite its conceptual nature, the Roll-up Chair maintains genuine functionality through careful attention to ergonomic principles and user comfort. Chao emphasizes that as long as seat and backrest proportions support the body where needed, the fundamental requirements for comfortable seating are met. While not designed for eight-hour workdays, the chair provides surprising comfort for shorter periods, with many users noting how the padded denim rolls feel more supportive than their sculptural appearance suggests.
The sustainability aspect extends beyond just material reuse, touching on the broader implications of modular, disassemblable furniture for urban living. In cities like New York, where space is precious and people move frequently, furniture that can be easily taken apart, stored, and reassembled offers genuine practical value. The chair’s ability to transform from functional seating to wall-hung art makes it particularly relevant for small spaces where every object needs to serve multiple purposes.
The Roll-up Chair embodies a new approach to furniture that values material history, environmental responsibility, and conceptual depth alongside basic function. Chao’s use of deadstock denim and industrial components creates an object with embedded stories and traces of its past, while the modular design addresses contemporary needs for flexibility and space efficiency. This kind of thoughtful, sustainable design thinking represents exactly the direction furniture needs to move as we reconsider our relationship with objects, materials, and the spaces we inhabit.
The post Caroline Chao’s Roll-up Chair Turns G-STAR Reclaimed Denim Into Modular Furniture first appeared on Yanko Design.
Sep
11
September 2025 has actually delivered some genuinely exciting tech releases that push boundaries in unexpected ways. From premium audio collaborations that bring automotive racing DNA directly to your ears, to compact powerhouse PCs that refuse to compromise on performance, this month showcases innovation at its absolute finest. These aren’t incremental upgrades or minor spec bumps. Instead, we’re seeing bold partnerships, radical design changes, and genuinely new approaches to solving old problems that have frustrated tech enthusiasts for many years now.
Each brings something unique to the table, whether it’s McLaren’s racing DNA infused into premium earbuds or AR glasses that could fundamentally change how we see and interact with the world around us today. What makes these four devices particularly interesting is how they represent completely different philosophies of innovation. Some focus on refinement and premium materials, others prioritize modularity and adaptability, while others push the boundaries of what’s possible in compact form factors or truly immersive augmented reality experiences.
When two obsessive engineering cultures collide, magic happens. The Pi8 McLaren Edition represents more than a simple brand collaboration; it embodies the shared DNA of companies that refuse to compromise on precision. The galvanic grey and papaya orange colorway isn’t just aesthetically striking; it tells a story of racing heritage translated into acoustic excellence. Every curve and surface treatment speaks to aerodynamic principles adapted for ergonomic comfort during extended listening sessions.
The three-microphone adaptive noise cancellation system works like a Formula 1 telemetry system, constantly analyzing your acoustic environment and making real-time adjustments. This isn’t passive noise blocking; it’s active sound sculpting that creates intimate listening experiences regardless of external chaos. The spatial audio capabilities transform your daily soundtrack into an immersive concert hall experience, while the signature McLaren attention to detail ensures every component performs at its absolute peak throughout extended use.
The adaptive noise cancellation creates a consistently pristine listening environment that intelligently responds to changing surroundings.
The McLaren design collaboration produces genuinely unique aesthetics that stand out in a crowded premium earbud market.
The premium pricing reflects the luxury positioning, making these inaccessible to budget-conscious audio enthusiasts.
The bold papaya orange accents might clash with more conservative personal style preferences or professional environments.
The compact gaming PC market has been waiting for someone to crack the performance-versus-size equation, and ASUS delivers with surgical precision. The 2025 ROG NUC abandons previous generations’ conservative approach, embracing aggressive styling that actually serves functional purposes. Sharp edges improve airflow dynamics, while the translucent panel showcases AURA Sync RGB lighting that doubles as system status indication. This isn’t just aesthetic bravado; it’s purposeful design that communicates serious gaming intent.
The Intel Core Ultra 9 275HX processor and RTX 5080 Laptop GPU combination delivers desktop-class performance that seemed impossible in this form factor just two years ago. The tool-less chassis design represents a philosophical shift toward user accessibility, eliminating the technical barriers that previously made compact PCs intimidating for mainstream users. This democratization of high-performance computing means enthusiasts can finally have their cake and eat it too: uncompromised gaming power in a space-conscious package.
The RTX 5080 integration delivers genuine desktop gaming performance without the massive footprint of traditional gaming rigs.
The tool-less upgrade system makes maintenance and component swaps accessible to users regardless of their technical experience level.
The premium components and engineering complexity result in pricing that approaches full-sized gaming desktop territory.
The aggressive gaming aesthetic might feel excessive for users seeking more subtle design language in their workspace.
AI Representation based on Pavel Zhovner’s Schematics
The Flipper team learned hard lessons from regulatory battles, transforming potential defeat into an innovative victory through a modular design philosophy. Rather than fighting government restrictions, they’ve created a platform that works within regulatory frameworks while expanding functionality beyond the original Flipper Zero’s capabilities. The modular approach eliminates compliance headaches by allowing users to add only the wireless capabilities they need, when they need them, with proper regulatory approval.
This represents a fundamental shift from fixed-function devices toward adaptable platforms that evolve with user needs and regulatory landscapes. The Linux Foundation provides unlimited customization potential for security professionals while maintaining legitimate use cases that satisfy government concerns. The modular ecosystem transforms what could have been a compliance nightmare into a sustainable business model that benefits users, regulators, and the security research community through transparent, controlled functionality expansion.
The modular design philosophy allows precise functionality customization while avoiding the regulatory complications that limited previous models.
The Linux platform foundation provides unlimited expandability for legitimate security research and penetration testing applications.
The modular approach increases total ownership costs since each radio module requires a separate purchase and regulatory compliance.
The base unit lacks the immediate functionality of integrated alternatives, requiring additional investment to achieve comparable capabilities.
Oakley’s approach to augmented reality sidesteps the fashion-forward stumbles of previous AR attempts by embracing protective eyewear functionality. The goggle-inspired design isn’t just an aesthetic homage; it provides legitimate eye protection while housing sophisticated display technology and sensors. This practical foundation makes AR integration feel natural rather than forced, creating a product that serves dual purposes without compromising either function.
The Gemini AI integration transforms voice interaction from novelty to necessity, enabling hands-free operation that feels conversational rather than robotic. The heads-up display provides contextual information without overwhelming your natural vision, while activity recording capabilities offer valuable performance insights for active users. This isn’t AR for AR’s sake; it’s augmented reality designed to enhance real-world activities rather than replace them with digital alternatives.
The Gemini AI voice interface provides intuitive, conversational interaction that feels natural during active use scenarios.
The protective goggle design offers practical eye protection while seamlessly integrating advanced AR display and sensor technologies.
The goggle form factor limits everyday wearability, restricting use to specific activity contexts rather than all-day functionality.
The conceptual status creates uncertainty around availability, pricing, and final specifications for potential early adopters.
September 2025’s smartwatch landscape gets disrupted by Nothing’s philosophy of intentional design over feature bloat. The CMF Watch Pro 3 demonstrates that premium experiences don’t require premium pricing, delivering a 1.43-inch AMOLED screen with crisp 466 x 466 resolution that rivals watches costing twice as much. The signature orange accents against the metal case create instant brand recognition while maintaining sophisticated aesthetics that work in both casual and professional settings.
The real genius lies in the interface design, where Nothing applied its minimalist philosophy to create genuinely intuitive navigation. Clean typography and logical menu structures make this feel like a mature product rather than a budget compromise. The 120+ watch face options provide extensive customization without overwhelming users, while IP68 water resistance covers daily activities confidently. The 675-nit brightness works well indoors but reveals limitations in bright outdoor environments where visibility becomes challenging.
The premium AMOLED display quality rivals significantly more expensive smartwatches while maintaining accessible pricing.
Extensive watch face library offers genuine personalization options without cluttering the user experience with unnecessary complexity.
Brightness limitations in direct sunlight affect outdoor visibility during activities like running or cycling.
Swimming restrictions, despite an IP68 rating, limit the watch’s appeal for fitness enthusiasts who need aquatic activity tracking.
These four devices collectively represent September 2025’s most significant technological achievements, each addressing different aspects of our evolving relationship with consumer electronics. They prove that innovation thrives when companies step outside traditional boundaries, whether through cross-industry partnerships, space-defying engineering, regulatory problem-solving, or practical AR implementation. Each product solves real problems while establishing new benchmarks for design excellence and functional integration in its respective category.
The broader implications extend beyond individual product success stories. These devices demonstrate how collaborative innovation, adaptive design thinking, and user-focused engineering can overcome seemingly insurmountable challenges. Whether it’s McLaren’s racing DNA enhancing audio experiences, ASUS proving compact doesn’t mean compromised, Flipper transforming regulatory obstacles into opportunities, or Oakley making AR practical rather than gimmicky, each represents a masterclass in thoughtful innovation. They collectively point toward a future where technology serves users more intelligently and seamlessly.
The post 5 Best Tech Gadgets of September 2025 first appeared on Yanko Design.
Sep
11
The new headquarters of a Taiwanese solar‑energy firm, dubbed “Solar Locus,” stands as a striking example of how light can become both symbol and material in modern office design. Conceived by the collaborative studios Air Matters and 16 ARCH, the five‑story building is presented as a solid concrete cube that quietly anchors itself in the bustling urban fabric of Taiwan. At first glance the façade appears hermetic, its raw‑concrete skin giving the impression of a closed, weighty mass. Yet the design invites visitors to move beyond this surface and discover a transparent glass volume that rises within, creating a dialogue between heaviness and lightness that defines the entire structure.
The façade’s curving motifs are more than decorative gestures; they trace the daily journey of the sun from sunrise to sunset, echoing the company’s core mission of harnessing solar power. Small circular apertures puncture the concrete, allowing sunlight to filter in, fragment, and diffuse across interior spaces. This filtered light creates a constantly shifting play of shadows that animates the interior, reinforcing the idea that the building itself is a “container of light.”
Designer Names: Air Matters and 16 ARCH STUDIO
A breathable intermediate zone separates the concrete skin from the glass mass, acting as a conduit for air and illumination. This space not only improves environmental performance but also offers a visual transition that softens the contrast between the solid exterior and the airy interior. At ground level, an arched opening frames a public plaza and a side garden, inviting the community to gather and interact with the building. The arch creates a sense of openness and accessibility, turning the headquarters into a civic landmark rather than a closed corporate enclave.
Higher up, a second curved opening aligns with the rooftop garden, allowing the sky garden to engage directly with the surrounding cityscape. From this elevated perspective, occupants can enjoy panoramic views while the garden’s greenery provides a natural counterpoint to the urban environment. The design thus establishes a continuous dialogue between nature, light, and the built environment, embodying the company’s ethos of reconnecting humanity with the natural world.
Inside, the glass volume houses flexible workspaces bathed in natural light, reducing reliance on artificial illumination and supporting sustainable energy consumption. The interplay of light and shadow not only enhances aesthetic appeal but also contributes to employee wellbeing, as studies show that exposure to daylight improves productivity and mood.
Solar Locus demonstrates how a corporate headquarters can transcend conventional office typologies, becoming a living illustration of the very energy it promotes. By treating light as both narrative and structural element, the architects have created a building that tells the story of solar power through its form, materiality, and spatial experience. The result is a landmark that stands as a testament to innovative, environmentally conscious design, inviting both occupants and passersby to pause, look up, and appreciate the subtle dance of sunlight across concrete and glass.
The post Solar Locus building in Taiwan is a “Container of Light” first appeared on Yanko Design.
Sep
11
Music creation has always felt like an exclusive club with steep entry requirements, demanding years of practice, expensive equipment, and deep theoretical knowledge just to play a simple chord progression. Most synthesizers and music gear reinforce this barrier with complex interfaces, intimidating arrays of knobs, and workflows that assume you already know what you’re doing. HiChord from Pocket Audio takes a radically different approach, asking what would happen if making music felt as natural and immediate as humming a tune.
The device itself reflects this philosophy through thoughtful industrial design that prioritizes approachability without sacrificing quality or functionality throughout the user experience. The CNC anodized aluminum chassis measures just 100mm x 71mm x 28.65mm, making it genuinely pocket-sized while feeling substantial and durable in your hands. Rounded edges and a minimalist layout create an object that invites interaction rather than intimidating users with technical complexity, while the integrated OLED display and built-in speaker ensure standalone operation.
Designer: Pocket Audio
What makes HiChord particularly clever is how it handles chord generation through the Nashville Number System, where seven buttons are mapped to diatonic chords in your selected key. This means you can trigger full, harmonically balanced chords instantly without knowing complex fingerings or music theory that typically takes years to master. The patented chord mapping ensures that everything you play sounds musically correct, eliminating the fear of hitting wrong notes that keeps many people from experimenting.
The joystick for real-time chord modifications adds dynamic control that transforms static button presses into expressive musical performance throughout your creative sessions. You can shift between major and minor, add suspended tones, or extend chords with 7th and 9th intervals simply by moving the joystick. This level of harmonic flexibility creates 6,048 different chord voicings across 12 keys, which would normally require extensive keyboard skills but becomes accessible through intuitive physical gestures.
The dual-track looper and drum machine capabilities turn the device into a complete songwriting tool rather than just a chord player for basic accompaniment. You can layer chord progressions, add rhythmic elements with quantized finger-drumming, and build full arrangements using the three built-in drum kits. The 12-oscillator digital synth engine provides multiple waveforms, FM synthesis, and built-in effects like tremolo, delay, and LFO modulation, ensuring your creations sound polished rather than toy-like.
USB-C MIDI output enables seamless integration with professional studio setups, allowing HiChord to control software synths or hardware while maintaining its standalone functionality for portable use. The rechargeable battery and robust aluminum construction mean you can take it anywhere for spontaneous creative sessions, whether that’s a park bench, coffee shop, or airplane seat during a long flight where inspiration strikes unexpectedly.
HiChord treats music creation as play rather than work, removing technical barriers while maintaining the depth needed for serious musical expression and professional applications. The device proves that accessible doesn’t have to mean limited, offering enough harmonic sophistication to satisfy experienced musicians while remaining approachable for complete beginners. By combining thoughtful design with powerful technology, HiChord opens music creation to anyone curious enough to press a button and discover what sounds emerge.
The post HiChord Pocket Synth Makes Music Creation Effortless first appeared on Yanko Design.
Sep
11
Emblematic architect and designer Pietro Derossi passed away on September 5, 2025, at the age of 92. A pioneering figure of Italian radical design, the Turin-born visionary shaped contemporary culture with works ranging from the playful Pratone seat for Gufram to the influential nightlife interiors of the 1960s and 1970s. To honor his legacy, designboom looks back at Derossi’s life and career — from his formative years to the milestones and iconic works that continue to inspire today.
Born in Turin in 1933, Pietro Derossi (find more here) tudied at the Faculty of Architecture at the Polytechnic of Turin, where he graduated before beginning a lifelong dialogue between design practice and academic research. Early in his career, he combined professional projects with teaching, becoming a full professor of architectural design at the Polytechnic of Milan and later holding visiting and contract positions at leading institutions including the Architectural Association in London, Pratt Institute and Columbia University in New York, the Polytechnic of Lausanne, and the Hochschule der Künste in Berlin. His writings and projects were widely published in both Italian and international journals, establishing him as a voice of influence within the architectural discourse of his time.
portrait of Pietro Derossi | image via @randcompanynyc
From the mid-1960s, Derossi’s career took on a radical and collaborative direction with the founding of the Strum Group, alongside Giorgio Ceretti and Riccardo Rosso. They approached architecture and design as forms of social and political participation, challenging the conventions of modernism with an experimental and irreverent spirit. Derossi channeled this approach into the Italian nightlife scene, transforming venues such as the Piper Club in Turin and L’Altro Mondo in Rimini into radical laboratories of sound, light, and space. These clubs were more than entertainment venues — they became platforms where architecture intersected with politics, art, and youth culture during a period of profound upheaval. Dissatisfied with the limits of post-war modernism, Derossi and his peers in the Radical Design movement — alongside groups like Superstudio, UFO, and Gruppo 9999 — turned discotheques into experimental stages for multimedia environments, reconfigurable furnishings, and immersive technologies. In doing so, Derossi helped define a new kind of architecture that dissolved disciplinary boundaries and transformed nightlife into a theater of creativity and collective participation.
At the same time, Derossi extended his radical ethos into furniture design. Together with Ceretti, Rosso, and artist Piero Gilardi, he pioneered the use of polyurethane foam to create provocative, anti-design objects for the Italian manufacturer Gufram. Among these, the iconic PRATONE (1971) remains one of the most emblematic pieces in contemporary design. A playful field of oversized, yielding ‘grass’ stalks, the seat reimagined sitting as a surreal and communal experience, blurring the lines between nature and artifice. PRATONE quickly became a global symbol of radical design, appearing on the cover of the catalogue for MoMA’s landmark 1972 exhibition Italy: The New Domestic Landscape. Now part of the collections of the Vitra Design Museum, MoMA, and other international institutions, PRATONE has been celebrated as a masterpiece of irreverence and imagination — a status reaffirmed in 2021 with the SUPERPRATONE, a towering inflatable installation in Milan commemorating its 50th anniversary.
In 1994, Derossi further expanded his architectural practice with the founding of Derossi Associati, alongside Paolo and Davide Derossi. The studio went on to complete major projects including housing for the 2006 Winter Olympics in Turin and numerous public and cultural buildings, cementing Pietro Derossi’s lasting influence on Italian architecture and design.
The post in memory of pietro derossi: look back at the late architect and designer’s radical legacy appeared first on designboom | architecture & design magazine.
Sep
11
AVATR unveils the Vision Xpectra at IAA Mobility 2025, a concept car with a prismatic glass cabin and a living AI-powered vortex that learns the driver’s needs and behaviors. Driven by ‘emotional intelligence’, the series of sensors, cameras, and artificial intelligence software monitor the driver, passengers, and the vehicle’s environment. As an example, these motion sensors detect the driver when they approach the car and light up before they even reach it. It creates a wake-up sequence where the car seems to come alive.
Outside, the team applies what they describe as diamond-cut precision, which creates sharp, geometric surfaces reminiscent of cut gemstones. The prismatic glass cabin uses advanced glazing technology that allows light to refract and the outsiders to see the inside. In the cabin of the AVATR Vision Xpectra car sits a combination of nubuck leather, which is a type of sanded leather with a soft texture, three-dimensional knitted fabrics, and inflatable components that can change shape based on user preferences or driving conditions.
all images courtesy of AVATR
Still inside the vehicle, the central control system, called the Vortex, functions as the middle system between the driver and the car. This AI learns from user behavior patterns over time, similar to how streaming services learn your preferences and suggest content. The system processes voice commands with a Voice Personal Assistant (VPA) that analyzes creates personalized responses using visual particles, lighting effects, and customized sound environments.
The cabin also features what AVATR describes as the Alabaster Shimmer concept, which combines multiple textures and materials to create a comfortable environment. Lavender glass elements throughout the interior refract light in specific ways, creating atmospheric effects, and when doors open, mechanical lamellas (thin strips or fins) extend outward, physically expanding the interior space and creating a bridge between inside and outside environments.
AVATR unveils the Vision Xpectra at IAA Mobility 2025, a concept car with a prismatic glass cabin
The AVATR Vision Xpectra car has multiple layers of lighting systems. Shadow lights embedded beneath body panels create subtle illumination that follows the car’s geometric lines. Then, dynamic ambient lighting inside the cabin adjusts color, intensity, and pattern based on occupant mood, external conditions, or vehicle status. This lighting system connects to the AI, allowing the car to express different emotions through color and movement patterns.
Between the driver and front passenger, the central Vortex can switch the vehicle from assisted driving to fully autonomous cruising mode. It manages these transitions using touch and gesture controls. In front of the driver, the dashboard features a panoramic transparent display that displays the driving information, and the steering wheel has a steel-like reflective surface similar to the futuristic theme of the cabin. So far, AVATR has introduced Vision Xpectra as a concept car during the IAA Mobility 2025 in Munich.
the motion sensors detect the driver when they approach the car and light up
the geometric surfaces are reminiscent of cut gemstones
aerial view of the vehicle with the living AI-powered vortex
glimpse inside the cabin
the headrests have embedded lighting
the center console can switch the vehicle’s mode from assisted driving to fully autonomous
the AI-powered vortex can create custom lighting effects and personalized responses for the users
view of the steering wheel with a reflective surface
project info:
name: Vision Xpectra
company: AVATR | @avatr_design
The post AVATR introduces vision xpectra concept car with prismatic glass cabin and living ‘vortex’ appeared first on designboom | architecture & design magazine.
Sep
11
In the course of my career, I have seen a lot of design talks. But none have shaken me quite like Indy Johar’s presentation at yesterday’s World Design Congress in London.
It all started innocently enough, as the architect joked about the challenges of keeping people’s attention in the dreaded pre-lunch speaker slot. Pleasantries duly dispatched, Johar went all-in.
“We have to look the future in the eye in a much more realistic way,” he said. Climate change is here, and it’s happening. If, as current projections predict, we end up with a planet that is about three degrees warmer, “the cascading effects are numerous.”
What Johar did, with a precision that was paradoxically even more terrifying, was show how a hotter planet will fundamentally change society. It goes so far beyond people having to move away from coastal areas.
And I know that for many people closely, deeply engaged with the climate crisis that isn’t news. But Johar brought it to life with chilling reality. Crime, health, inequality – everything changes when the world heats up.
“The rest of us are at the mercy of what you decide to do with your imagination.”
There are practical consequences – did you know, for example, that our railway network here in the UK buckles at 39 degrees? But more than infrastructure challenges, the pillars we count on as humanity, without even realising it, start to crumble. “You lose predictability,” Johar warned.
And again, maybe it’s just me, but I feel like I don’t come across this brutal brand of honesty enough. Much of the discussion at the conference, which was convened and hosted by the Design Council, focused on solutions, tactics, optimism.
And that’s great. But Johar set the stakes.
“We need ideas and practices that change how we, as humans, relate to the world,” he told the audience. Ignoring the climate crisis, he warned, “means you’re an active operator in the genocide of the future.”
It doesn’t get much starker than that.
And yet, there was hope in his talk, and his vision of the future where designers can, must, should, get to work tackling this existential threat.
Design’s role, Johar believes, is “desire manufacturing,” not just creating a greener and more sustainable world, but rewiring society to want and expect that version of the future. It will be hard. It will require radical thinking. But that’s the work that needs doing.
“These are beautiful and interesting and dangerous and clever questions we’re going to need to engage with,” Johar said.
Designers, he believes, “need to break away from legacy institutions and languages, and embrace a really incredible world that is waiting to be built.”
He ended with an invitation, couched in a critique. Designers must not just embrace “Post-it workshops” but develop “new competencies” that shape the future.
At a panel discussion later in the day, COLLINS co-founder Leland Maschmeyer picked up the theme. He argued compellingly for design to up its ambition. “I think we fundamentally misunderstand design,” he said. “It’s not the icing on the cake – it is the cake.”
Aesthetics, he argued, is just one strategy for designers to employ – “A very powerful strategy, but just one of many.”
Design, he suggested, is about, “What do we want to do? What do we want to become? How do we get there?”
And picking up the baton so thrillingly thrown down by Johar, Maschmeyer said we should be thinking more about “ontological design” which he defined as “facilitating the jump from one fishbowl to another.”
We name and define the times we are living in, he pointed out. So design’s role should be shaping what we want the world to become.
“We need to make another reality as real as possible,” he said, “inspired by new context and the potential that holds.”
His fellow panellist Sarah McCullough, who led Selfridges’ huge sustainability commitments, added a neat analogy. When we want our kids to eat more vegetables, do we put up posters admonishing them for the dietary choices? Or do we try and make vegetables fun and interesting?
“We need more joy,” McCullough said.
Closing the conference, Design Council CEO Minnie Moll quoted two speakers who encapsulated the opportunity, and the responsibility, facing the design industry.
“It’s a phenomenal time to be a designer,” Kate Raworth said.
But as climate activist Tori Tsui said, “The rest of us are at the mercy of what you decide to do with your imagination.”
Challenge accpeted?
Sep
11
Kodak revives the retro point-and-shoot photography and vintage filters with the miniature keychain digital Charmera. A modern twist on the brand’s first signature single-use camera, the KODAK Fling, the device brings back the throwaway cameras from the 1980s, now able to save and transfer photos and videos using a USB-C cable and without using any film rolls. The compact and portable device functions as both a digital camera and a collectible item. It is so small that four of these can fit in the user’s hand.
The Kodak digital Charmera with a keychain includes seven different retro-style filters replicating the nostalgic film and vintage photography aesthetics. Alongside these, there are four different Kodak-branded frames that add decorative borders to images and the return of classic photography elements like film sprocket holes or vintage camera branding. A date stamp feature allows users to mark their photos with shooting dates, which is a common feature from film cameras of earlier decades.
all images courtesy of Kodak
Inside the compact case sits a digital image sensor that captures both still photographs and video recordings. The camera processes images through built-in software that applies vintage-style filters and frames automatically. There’s no need for them to develop any film; it is all digital. The Kodak digital Charmera with a keychain also connects to external devices through a USB-C port for file transfers without needing WiFi connections. The device requires a micro SD card to store the images and videos, another feature that now seems unusual in personal gadgets.
Kodak offers its digital Charmera with a keychain in seven designs, and one of them comes with a transparent shell so users can partly see the components inside. When they flip the device, a small screen allows them to see the pictures and videos they’ve taken. Another stunt that the brand pulls is the ‘blind box’ selling, meaning users don’t know what kind of design they’re getting until they open the box. Retro photography appeals to the new(er) generation, and Kodak hopes to contribute to the trend through its digital Charmera with a keychain.
Kodak revives the retro point-and-shoot photography and vintage filters with the miniature keychain digital Charmera
view of the device with keychain
it is so small that four of these can fit in the user’s hand
Kodak offers its digital Charmera with a keychain in several designs
one of the designs comes with a transparent shell so users can partly see the components inside
users don’t know what kind of design they’re getting until they open the box
the device also connects to external devices through a USB-C port for file transfers
project info:
name: Charmera
brand: Kodak | @kodakfilm.reto
The post kodak’s miniature keychain digital ‘charmera’ brings back retro point-and-shoot photography appeared first on designboom | architecture & design magazine.
Sep
11
Kaku-Kaku Kanadel, designed by Takeshi Hosaka, is a courtyard house in Tokyo, Japan, conceived for a family of three who are also practicing artists. The residence balances individual creative spaces with shared areas, creating a domestic environment that accommodates both private work and family life.
The house is composed of four interconnected volumes, each defined by distinct roof forms. Together, they create a small village-like configuration, linked by gardens, terraces, and passageways. This arrangement establishes a network of outdoor and semi-outdoor spaces that encourage both separation and encounter, recalling the atmosphere of alleys and courtyards.
all images by Yamamori
Each family member is provided with a dedicated wing: one for scriptwriting, one for illustration, and one for musical practice. A shared living room anchors the plan, serving as the central space for gathering. The architectural team at Takeshi Hosaka organizes the spatial layout in a way that allows simultaneous activity across the household while maintaining visual and spatial connections through the open courtyards and terraces.
The project’s name derives from the Japanese words kaku, 書く, (to write), kaku, 描く, (to draw), and kanadel, 奏でる, (to play music), reflecting the creative practices that define the household. The architecture translates these three modes of making into spatial form, where roofs express individuality while the arrangement of buildings and paths creates a collective identity.
Kaku-Kaku Kanadel is a courtyard house in Tokyo designed by Takeshi Hosaka
the residence is conceived for a family of three practicing artists
distinct roof forms give each volume its own identity
the arrangement recalls the character of village-like clusters
gardens, terraces, and passageways link the separate wings
outdoor and semi-outdoor spaces encourage movement and encounter
the house establishes a rhythm of separation and connection
the design allows simultaneous activity in different wings
a shared living room anchors the floor plan
one wing accommodates illustration work
one wing is dedicated to scriptwriting
one wing is designed for musical practice
courtyards create visual and spatial continuity across the house
project info:
name: Kaku₋Kaku Kanadel
architect: Takeshi Hosaka / Takeshi Hosaka Architects | @takeshi_hosaka_official
location: Tokyo, Japan
area: 83.2 sqm
structure: Nawakenji-M Kenji Nawa
photographer: Yamamori
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 four interconnected volumes enclose courtyard house for family of artists in tokyo by takeshi hosaka appeared first on designboom | architecture & design magazine.