Sep
11

By

Burstner Habiton modular camper van features sliding bathroom and collapsable dinette

Category: YankoDesign

If there’s been a single moment when you have thought of scaling your camp days down to a van, this is your perfect moment. I say this solely because the Bürstner Habiton concept camper van (should be available by the time you’ve really made up your mind) has a modular interior permitting residents to change the layout during the day and night, all without making the interior feel cramped or overdone.

The highlighting feature of the Habiton, based on a Mercedes-Benz Sprinter, is its sliding bathroom. Based on the embedded rails, the sliding bathroom and collapsible dinette can move forward (toward the cabin) to make enough room for a longitudinal folding bed on its side to stretch out fully. FYI, the camper van has two full-length single beds in the rear and the option to add a pop-up roof for additional accommodation.

Designer: Burstner

The Habiton resides on the short-wheelbase 593-cm-long (5.93 m) chassis of a Sprinter that has been designed with all onboard amenities to feel like a home on wheels. The idea with this camper van, the German motorhome manufacturer informs, was to design a “vehicle that offers real living comfort for four people in under 6 meters.”

To this accord, Bürstner brought the sliding bathroom concept within the van prototype to the recently concluded caravan salon Düsseldorf. The van design with the centrally placed sliding wet bathroom focuses on everyday usability and a compact camping experience that’s not really seen in the camper van segment before. Ideally, to accommodate a full-fledged bathroom and kitchen behind the cabin, transverse beds are used in the rear. The Habiton is changing the notion and doing it gracefully with the inventive layout that moves the bathroom compartment and front dinette back and forth at will.

The moving compartment doesn’t change its usability. The bathroom still accommodates a toilet, sink, and shower. That said, it’s not devoid of modularity either. The sink drops down when needed, while the toilet seat below slides back into the wall to fit underneath the bed platform (on the other side of the wall). When both the sink and toilet fold away, the space is opened up for the shower.

Just opposite this interesting bathroom compartment (on the passenger side) is the kitchen with a dual-burner stove and sink. The 69-L compressor fridge resides just below. The collapsible dinette (with two-seat bench and retractable table) is adjacent to the bathroom and houses a 95-Ah battery pack underneath. As an option, you can upgrade the electrical system to a 150-Ah battery, connected to 150W solar panels.

The pricing structure of the Burstner Habiton modular camper van is pretty interesting. The van home will start at €72,999 (approx. $85,500). An option based on a Sprinter AWD would set you back €86,999 ($102,000). Both Habiton models can be provided with an all-weather pop-up roof that sleeps two. The addon price starts at €6,990 (approx. $8,200).

The post Burstner Habiton modular camper van features sliding bathroom and collapsable dinette first appeared on Yanko Design.

Sep
11

By

Industrial Facility’s Hiroi Chair uses thoughtful, minimalist design

Category: YankoDesign

When looking at chairs, whether to buy one or just to sit in one, I’m not particularly picky about design. If I’m buying, as long as it’s affordable and comfortable, I’m sold. If I’m just sitting down to rest or work, I’ll take whatever’s available (as long as it’s comfortable), without caring about its appearance or materials. Yet there are furniture designers who pour tremendous thought into their creations. Some stand out so distinctly that we can’t help but appreciate the intention behind their work.

The Hiroi Chair is a small, good-natured wooden chair designed by London studio Industrial Facility for Ishinomaki Laboratory and SCP. It’s a stunning example of how simplicity and functionality can come together to create a timeless piece of furniture. Built with square-cut boards, exposed fixings, and a single steel arc for back support, it’s the kind of chair you grab without thinking and end up keeping for years.

Designer: Industrial Facility

Industrial Facility’s design follows an honest brief: use common boards, keep cuts simple, and let the construction show. The result is a chair that feels sturdy yet light, with proportions that do the heavy lifting. Slightly wider than it is deep, the Hiroi sits planted without feeling bulky. A single steel tube curves gently at the back, providing just enough support where your shoulders need it before fading into the background. Materials vary by region, including Noto cypress in Japan, Douglas fir in the UK, and early versions in western red cedar, but the design remains consistent in its practicality and charm.

There’s a deeper story behind the Hiroi’s straightforward look. Ishinomaki Laboratory was founded after the 2011 earthquake to teach communities to build furniture using basic tools and off-the-shelf materials. The Hiroi embodies that spirit. You can buy it finished, which helps fund more workshops, or learn to make one yourself. The exposed screws and brackets aren’t just aesthetic. They make repairs easy and reveal how the chair comes together. Compact enough to tuck under counters, the Hiroi is ideal for small spaces, and the steel back doubles as a handle when you need to pull it out for unexpected guests.

Living with the Hiroi is effortless. You hear the soft scrape of wood as you move it, sit down, and forget it’s there until you stand again. The edges are smoothed where hands rest, the grain develops a quiet sheen over time, and small dings feel like part of its story rather than flaws. Whether in a kitchen, studio, or café, the Hiroi does its job without fuss. It’s steady, unassuming, and ready to blend into the rhythm of daily life.

The post Industrial Facility’s Hiroi Chair uses thoughtful, minimalist design first appeared on Yanko Design.

Sep
11

By

Why Darth Vader’s Head is on the Washington National Cathedral

Category: Core77

In the early 1980s, Washington’s National Cathedral was losing relevance with the younger generation. In an effort at outreach, they partnered with National Geographic to hold a “Draw-a-Grotesque” competition for schoolkids. (A grotesque is a gargoyle, without the water-draining feature; it’s purely decorative.) The winning designs would actually be carved in stone and installed on the cathedral.

The Grand Prize winner was of a toothy man; the first and second runners-up were of a girl and a squirrel. But it’s the third runner up that today is most notable. Thirteen-year-old Chris Rader of Nebraska submitted his drawing of Darth Vader’s head. “I read that grotesques are often demons or monsters,” Rader explained. “Darth Vader is a lot like a demon. He’s evil, so I thought he would be a good choice.”

A stonemason was hired, and all four designs were carved and added to the cathedral.

While you can’t make out the Dark Lord of the Sith in long shots of the cathedral, an on-site placard provides guidance for visitors with binoculars.

I imagine Lucasfilm let this one slide.

Sep
10

By

go glamping with BIG: ‘softshell’ cabins designed with nokken begin roll-out

Category: Design Boom

bjarke ingels group & nokken take on camping design

 

Following last year‘s unveiling, Nokken and Bjarke Ingels Group (BIG) being the rollout of the Softshell, a 387-square-foot cabin designed for adaptable environments. To suit the spirit of glamping (more than camping but less than a hotel stay), the project combines prefabricated design and the transportability of a typical tent.

 

The Softshell is constructed from a timber frame clad in canvas panels, its sharply pitched form recalling a familiar A-frame cabin. The canvas outer is made from a cotton-polyester blend, and comes in khaki, dark green, or navy colorways. Inside, the modular, hybrid structure offers a kitchenette, bathroom, window, and sitting area, while the verticality of the frame makes space for a hammock-like sleeping loft suspended in netting.

images courtesy Nokken

 

 

modular design for easy assembly anywhere

 

According to Nokken cofounder Nathan Aylott, the Softshell cabin project with BIG responds to the dominance of yurts and bell tents in the glamping sector. ‘Over the last fifteen or twenty years, the marketplace has been dominated by bell tents or yurts. They’ve almost become the default option if you’re setting up a glamping site,’ Aylott explains. With this Softshell option, BIG and Nokken introduce a format that is immediately recognizable as a cabin but lighter in footprint than typical prefabricated structures.

 

Each unit ships in four crates, allowing operators to install the cabin without extensive construction infrastructure. Assembly is designed to be straightforward: two people can raise the frame in a few hours by joining precut timber ends and slotting them into metal bolts. Such a modular strategy means that the Softshell is possible to assemble in sites where conventional building is prohibitively difficult.

Nokken and BIG roll out the Softshell cabin

 

 

softshell: a collaboration born from prototypes

 

The Softshell cabin-tent, created with Nokken, builds on BIG’s earlier experiments in small-scale hospitality architecture. In 2017, the firm developed the Klein Cabin, a 183-square-foot prototype with a sharply angled roofline. While that project never entered full production, its silhouette informed the Softshell’s profile. Meanwhile, Nokken has built a reputation for its compact prefabricated cabins, and has adapted the design to prioritize flexibility and customization.

 

‘The Softshell is a blank slate inside,’ says Aylott. ‘We made it non-brand specific because we’re a hardware company. We make items for operators, hotels, and land owners to adopt and pivot to match their own brand. That allows for interpretation through landscape, finishes, and interior choices.’

 

The base is priced at $22,500, with pre-orders now available through Nokken’s website, and delivery worldwide. Operators can expand the cabin’s functionality with optional add-ons, including acoustic insulation, kitchen modules, and deck extensions. Future upgrades under development include thermal insulation for colder climates, a woodburning stove, and a loft extension with an en suite bathroom.

the pitched roof creates height for a sleeping loft made of netting

the interior includes a kitchenette, bathroom, and sitting area

canvas panels wrap around a timber frame with an angular profile

optional add-ons include insulation, kitchen modules, and a deck extension

 

name: Softshell

architect: Bjarke Ingels Group (BIG) | @big_builds x Nokken | @the__nokken

partner (BIG): Finn Nørkjær

creative director (Nokken): Nathan Aylott

co-founder (Nokken): James Van Tromp

previous coverage: December 2024

The post go glamping with BIG: ‘softshell’ cabins designed with nokken begin roll-out appeared first on designboom | architecture & design magazine.

Sep
10

By

While Foreign Engineers are Arrested, a Humanoid Robot Quietly Put in a 20-Hour Shift at a Car Factory

Category: Core77

The Hyundai-LG Metaplant in Georgia is a joint battery production facility set up by the two South Korean giants. Representing at least $7.6 billion in direct investment, it’s the largest economic development project in Georgia’s history; it’s expected to provide 8,500 jobs directly at the plant and 40,000 direct/indirect jobs statewide, bringing in a total of $4.6 billion a year. In short, once it’s up and running, it will be good for the U.S. economy.

So I was surprised to learn that an immigration raid on the plant arrested over 300 South Korean workers. These were predominantly engineers and technical specialists, brought over by Hyundai subcontractors to install equipment for the battery and production line. “No company in the U.S. makes the machines that are used in the Georgia battery plant,” an immigration lawyer told PBS, “so they had to come from abroad to install or repair equipment on-site — work that would take about three to five years to train someone in the U.S. to do.”

The issue appears to be that the arrested workers were here on B-1 business visitor visas, but that the installation and repairs were taking longer than the visa period. However Christi Hulme, an American labor leader in Savannah, says local unions “believe Korean workers have been pouring cement, erecting steel, performing carpentry and fitting pipes.”

“Basically our labor was being given to illegal immigrants,” Hulme said, without providing evidence. ( I have a hard time believing Hyundai saved money by flying people over from Korea, and putting them up in a hotel, to do carpentry and plumbing.)

In any case, this post isn’t about immigration, although that raid falls neatly into our culture of sensationalized news. And hot-button sensationalized news provides a gigantic distraction from a much quieter, yet far more radical occurrence that recently happened at another foreign automaker’s plant in the American South.

At BMW’s Spartanburg, South Carolina plant, humanoid robot company Figure has been running trials with their ‘bots working on the production line. And they’ve set a record: A Figure 02 robot successfully completed a 20-hour continuous shift handling sheet metal panels, and it did it autonomously.

To be clear: The robot worked two shifts. Without taking a coffee break. Without going to the bathroom. Without stopping to eat, check its phone or field calls from its kids.

At press time, you could find a lot of media ink spilled about the Metaplant immigration raid. But you can’t find any news of any labor unions protesting the robot that flawlessly worked a double shift. You’d think we’d see at least one labor leader saying “Basically our labor will be given to robots.”

Sep
10

By

BIM-Driven Layout Robot Saves Time, Money

Category: Core77

A bad use for robots: Replacing a human worker that can do the work just as well. A good use: Performing a task that makes human workers’ jobs easier, without replacing them.

This Dusty FieldPrint robot by Dusty Robotics is in the good column.

What I’ve learned by working with contractors is that in residential construction, when the trades don’t communicate, problems arise, time is wasted, tempers flare and costs rise. As examples, the framer puts a floor joist right where a toilet main is supposed to go. Or the plumbing crew is running late, so the sheetrock guys do their work and take off, then the plumbers have to blast holes in the sheetrock. These things result in rework and headaches for the general contractor.

In commercial construction, the stakes rise. You’ve got more people on the job, and all of the trades traditionally do their own layout (i.e., transferring the relevant parts of the architect’s construction drawings onto the floor) down on their knees with a tape measure, lasers and chalk or paint. Layout can be a nightmare, and if you get one reference point wrong, you can inadvertently set up a cascading series of errors that all need to be corrected. Now the client’s paying 10, 20 guys and gals to stand around, waiting for the problem to be fixed before they can get to their work.

In short, layout errors play a major role in cost overruns and construction delays. It’s no exaggeration to say that simple marking errors can set commercial projects back by months.

That’s where the Dusty robot comes in. Like the sports-field-painting robot we looked at here, it’s a little droid that scoots around and lays down crisp lines. Dusty is loaded up with the construction drawings for all of the trades, and prints them on the floor, all at once.

Its “handwriting” is a font and thus perfectly legible. And it doesn’t make mistakes or read drawings incorrectly.

To better understand the deep impact this tiny ‘bot has, and how much easier it makes the jobs of the workers, listen to what the workers themselves have to say:

“Dusty’s laying out all the electrical, all the framing, mechanical, plumbing. We can see where everything’s at, and collaborate with all the other trades,” says Eric Rock, Superintendent. “Dusty eliminates all the rework. It reduces the timeframe of a job by at least a month, if not multiple months. I want it on every one of my jobs.”

Sep
10

By

5 Best Family-Friendly Tiny Homes That Actually Work For Real Life

Category: YankoDesign

The tiny home movement has come a long way from those Pinterest-perfect minimalist boxes that look great in photos but fall apart the moment you try to live in them with kids. Today’s best tiny home designs actually consider real families doing real things, such as storing soccer cleats, working from home while the kids play nearby, and getting everyone to bed without requiring a degree in rock climbing.

What makes a tiny home truly family-friendly isn’t just about cramming more beds into a small space. It’s about understanding that families need flow, storage, and spaces where daily chaos can unfold without everyone stepping on each other. The best designs solve the big problems that have made tiny living feel like a beautiful but impractical dream for most families. These five designs get it right in different ways, each addressing specific family situations while keeping the core benefits of simpler, more sustainable living intact.

1. The Kangourou: Finally, Bedrooms That Don’t Require Climbing Gear

The Kangourou completely changes the tiny home game by putting everyone’s bed at ground level. Two actual bedrooms sleep four to six people, and nobody has to explain to their grandmother why she needs to climb a ladder to reach her bed. It feels revolutionary because it is.

This design makes sense for families with young kids who might tumble out of lofts, older relatives who visit regularly, or anyone who’s simply tired of the gymnastics required to sleep in most tiny homes. One bedroom doubles perfectly as a home office, complete with big windows that make remote work feel less like hiding in a closet.

What we like

Everyone sleeps at ground level without climbing anything.
Bedrooms can switch purposes as family needs change.

What we dislike

Takes up more space, which limits where you can park it.
Costs more than traditional ladder-based designs.

2. The Honey Bee: Storage Genius in Just 26 Feet

The Honey Bee proves that smart design beats big design every time. Two bedrooms in 26 feet shouldn’t work, but it does because every inch has been thought through. Storage isn’t just thrown in as an afterthought – it’s built into the bones of the house, from entryway cubbies to hidden spaces you discover weeks after moving in.

The climate control setup treats this like a real house, not a camping adventure. A minisplit handles heating and cooling properly, while the tankless water heater means long showers don’t end in ice water. Full insulation and off-grid water options mean you can actually live in this year-round without suffering through weather extremes.

What we like

Storage solutions everywhere prevent the usual tiny home clutter chaos.
Real climate control makes it comfortable in any season.

What we dislike

Common areas feel tight when everyone’s home at once.
Quality features push prices up, starting at $53,300.

3. The Barca: When Wood and Smart Planning Come Together

The Barca handles sleeping for four people through vertical thinking that actually works. Three sleeping spots include two bunks and a loft over the bathroom, all connected by sturdy wooden ladders that feel safe rather than sketchy. The slatted walls give each sleeping area some privacy without making the whole place feel chopped up.

Everything’s made from beautiful timber that creates a cohesive look throughout, including the bathroom, which feels more like a spa than an afterthought. Storage hides under beds and in dedicated spots, keeping the calm, organized feeling that makes small spaces work for families instead of driving them crazy.

What we like

Sustainable wood construction appeals to environmentally minded families.
Three sleeping areas fit more people than you’d expect.

What we dislike

Everyone still needs to climb to reach their bed.
Wood requires more maintenance as it ages.

4. The Agatha: European Style Meets American Living

The Agatha takes cues from smaller European tiny homes while still working for American full-time living. At just 20 feet on a double-axle trailer, it’s easier to move and park than the bigger options, which matters when you’re trying to find a spot to call home.

Two cozy loft spaces work as bedrooms, with ceiling heights that create intimate sleeping nooks rather than feeling cramped. The sliding wooden ladder system disappears when not needed, adding elegant functionality while saving precious floor space. The master loft actually feels like a private bedroom retreat, not just a place to crash.

What we like

Compact size makes it easier to transport and find parking spots.
European design influence creates a unique, appealing look.

What we dislike

Low ceilings in lofts might feel cramped for taller family members.
Limited storage challenges families with lots of stuff.

5. The Cypress: When Tiny Goes Big

The Cypress pushes the boundaries of what qualifies as a tiny home, creating a permanent micro-house that genuinely works for larger families. Metal and cedar exterior with lots of windows floods the interior with light, while double glass doors connect living spaces to the outdoors.

Reclaimed barn wood details and pine ceilings add character to surprisingly spacious rooms, including a full kitchen with breakfast bar seating for three. Upstairs bedrooms offer different experiences – one with full standing room and another with typical tiny home cozy proportions, so family members can choose what works for them.

What we like

Actually spacious enough for larger families to live comfortably.
Permanent foundation allows for more substantial features and construction.

What we dislike

$143,000 price point approaches regular house territory in many areas.
Permanent placement eliminates the mobility that attracts many to tiny living.

Picking the Right Fit

Choosing the right family tiny home means being honest about how your family actually lives. Count up sleeping spaces, think about storage needs, and consider whether everyone can handle climbing to bed every night. Some families discover that spending more upfront on designs like the Cypress saves money long-term, while others prefer the flexibility of smaller, mobile options.

The families who make tiny living work embrace the reality that it requires different habits around possessions, organization, and shared spaces. Success comes from matching the home’s design to your family’s actual needs rather than trying to force your lifestyle into an Instagram-worthy box.

The post 5 Best Family-Friendly Tiny Homes That Actually Work For Real Life first appeared on Yanko Design.

Sep
10

By

XGIMI’s New Pro-Grade Titan 4K Projector feels like the company’s ‘Formula 1 Moment’

Category: YankoDesign

For a while now, if you were in the market for a high-performance home projector, XGIMI’s name was always part of the conversation. The company has carved out a serious reputation for building smart, incredibly bright projectors that deliver a premium experience without the esoteric setup of traditional home cinema gear. They have become almost synonymous with the idea of a “TV replacement” that actually works. It seems, however, that dominating the living room is a reputation they’re ready to evolve. Their latest announcement, the Titan projector, is a calculated, audacious move into the professional AV space, a domain typically walled off by legacy brands.

Think of it like Mercedes deciding to enter Formula 1, except XGIMI has been building the equivalent of AMG supercars in the home theater space for years. Their latest Horizon 20 Max pushes 5,700 ISO lumens with a 1ms response time, numbers that would have been unthinkable in a consumer projector just a few years ago. The Titan takes that expertise and scales it for boardrooms and event spaces. XGIMI is essentially saying “we’ve been playing it safe for your living room, but here’s what we can really do.”

Designer: XGIMI

Their home projector evolution tells the whole story. The Horizon series went from solid smart projectors to legitimate TV replacements, with models earning IMAX Enhanced certification along the way. Getting that IMAX stamp isn’t marketing fluff – it requires meeting strict technical standards for color accuracy, contrast, and processing power that most home theater equipment can’t touch. XGIMI’s Horizon Max became the world’s first IMAX Enhanced long-throw projector, which should have been a bigger deal than it was. When IMAX trusts your processing and optics enough to put their name on it, that’s not an accident. The Horizon 20 Max builds on this foundation with its MT9679 SoC and the largest RAM capacity XGIMI has ever used, plus dual-laser technology that delivers those eye-watering brightness numbers without sacrificing contrast.

The professional pivot makes perfect sense when you look at their technical foundation. XGIMI has been developing dual-laser engines, advanced AI processing, and high-lumen output for years. The Titan essentially takes these technologies and removes the consumer-friendly constraints. Where the Horizon 20 Max needs to fit in your living room and operate quietly, the Titan can prioritize pure performance. We’re talking 5,000 ISO lumens through a dual-laser system, native 4K resolution, and a 5,000,000:1 dynamic contrast ratio that puts most commercial projectors to shame. The 0.78-inch HEP imaging chip paired with XGIMI’s X1 AI processor handles real-time optimization that used to require dedicated technicians. Lens shift capability means flexible installation without image distortion, crucial for commercial environments where projector placement is often predetermined by architecture.

Commercial projectors have traditionally been boring, utilitarian boxes that prioritize reliability over innovation. Companies like Epson and Sony dominated through incremental improvements and enterprise sales channels rather than technical breakthroughs. XGIMI is approaching this market with fresh eyes and consumer-grade user experience expectations. Their AI processing automatically handles keystone correction, color calibration, and brightness optimization – tasks that typically require trained AV technicians. The Titan runs the same smart platform as their home projectors, which means firmware updates, app compatibility, and user interface improvements that commercial customers rarely see from traditional manufacturers.

This professional expansion reveals something important about XGIMI’s long-term strategy. Consumer projectors taught them how to balance performance with user experience, but those same technologies scale beautifully for commercial applications. Dual-laser light sources last longer and run cooler than traditional lamps, reducing maintenance costs. AI processing reduces setup complexity and ongoing calibration needs. Smart platform integration means easier content management and device connectivity. XGIMI essentially spent years perfecting these technologies in the more forgiving home market before bringing them to demanding commercial environments. The result is professional-grade equipment that operates more like consumer electronics, which is exactly what the commercial AV market needs.

The Titan represents XGIMI flexing muscles they’ve been building for years. While other brands focused on either home or commercial markets, XGIMI developed technologies that work across both segments. Their success in earning IMAX certification and pushing brightness boundaries in consumer products proves they understand demanding technical requirements. Professional customers get the benefit of that consumer-focused innovation, while home users get equipment developed with professional-grade standards. XGIMI isn’t just entering the commercial market – they’re showing everyone else how it should be done.

The post XGIMI’s New Pro-Grade Titan 4K Projector feels like the company’s ‘Formula 1 Moment’ first appeared on Yanko Design.

Sep
10

By

A Revived Industrial Design Classic from Poland, Now in Three Flavors

Category: Core77

Roman Modzelewski was a natural-born industrial designer, at a time when ID was not available in his native Poland as a field of study. In the 1940s, when he was of college age, he studied painting and sculpture at Warsaw’s Academy of Fine Arts. In the 1950s, having seen an Eames chair, he began experimenting with creating plywood furniture. He then began exploring materials and learned about fiberglass, which was not common in then-Communist Poland.

By learning to form fiberglass, in 1958 Modzelewski designed this striking chair:

The RM58, as it was called, was shown at exhibitions within Poland. News of the radical furniture piece spread beyond Poland’s borders, and the chair caught the eye of none other than Le Corbusier. The famous Frenchman expressed production interest to Modzelewski, but the Communists put the kibosh on international commercialization. The design remained a prototype, and Modzelewski went into the boatbuilding industry, putting his fiberglass skills to work.

In the 2000s Dr. Krystyna Luczak-Surówka, a Polish design historian and lecturer at Modzelewski’s alma mater, rediscovered the RM58 chair and began incorporating it into her teachings.

Krystyna Luczak-Surówka, photo: Hubert Warulik

The chair made an impression on one of her students, Jakub Sobiepanek, who dedicated his Master’s thesis and diploma project to updating Polish industrial design classics with modern production methods.

In 2012, Sobiepanek and Dr. Luczak-Surówka collaborated to create VZOR, a Polish furniture brand that is essentially an extension of Sobiepanek’s thesis. The company’s first project was reviving the RM58, in two versions: The RM58 Classic, which replicates Modzelewski’s fiberglass process, and the RM58 Matte, which is made in rotomolded polyethylene.

Today VZOR has added a third variant, the RM58 Soft, which is upholstered.

Sadly, Modzelewski never got to see the chair in production; he passed away in 1997.

In the ‘States, the MoMA Design Store carries the RM58 Classic. It retails for $2,000.

Sep
10

By

Cosmic mechanics meets art in Conrad Shawcross’ The Nervous System (Umbilical)

Category: YankoDesign

When I see art installations that go beyond traditional paintings or drawings, I’m amazed by how these artists conceive ideas to use unconventional materials and create something truly unique. Often, they incorporate disciplines like science, mechanical engineering, and physics to produce works that are not just visually striking but also rich with deeper meaning. These boundary-pushing creations challenge our understanding of what art can be, inviting us to see the world through fresh perspectives that blend aesthetics with intellectual exploration.

Conrad Shawcross’ The Nervous System (Umbilical) (2025), the crowning achievement of his Rope Makers series, stands as a testament to a decade of artistic and engineering ambition. Born from a late-night conversation with David Walsh, founder of Tasmania’s groundbreaking MONA (Museum of Old and New Art), this 10-meter-tall, 12-meter-diameter installation is Shawcross’ most complex rope machine yet. Forty interlocking arms orbit relentlessly, weaving a rope in sequences that will never repeat, creating a kinetic poem to the infinite. The sheer scale and precision of the work immediately commands attention, while its intricate movements reveal new details with every viewing.

Designer: Conrad Shawcross

Meticulously crafted in Shawcross’ Hackney studio, the work merges speculative calculation with mechanical precision. Each rotating spool mirrors the aberrations of planets circling our sun, while the entire structure evokes a galaxy flattening and expanding over millennia. The rope threading through the center becomes a cosmic metaphor: like the sun hurtling through space at unfathomable speeds, dragging its planets and 891 moons along helical paths, the artwork visualizes the sublime choreography of celestial mechanics. This marriage of cosmic imagery with industrial materials creates a powerful tension between the organic and the mechanical.

What makes The Nervous System (Umbilical) extraordinary is its dual nature. It’s both a feat of engineering, requiring exacting calibration to maintain its never-repeating orbits, and a philosophical meditation. The umbilical-like rope suggests biological connection, while the machine’s scale and movement evoke humanity’s quest to comprehend the universe. Shawcross bridges these realms effortlessly, transforming stainless steel and algorithmic logic into something that feels alive. The installation becomes a mirror reflecting our own place in the cosmos – simultaneously insignificant and profoundly connected to universal patterns.

Exhibited in vast spaces, the installation dominates its environment. Viewers report being transfixed by its rhythmic pulses, which recall planetary cycles compressed into human timescales. The work doesn’t just represent cosmic principles; it enacts them, offering a rare sensory bridge between terrestrial existence and astronomical wonder. For those drawn to art that challenges perception, The Nervous System (Umbilical) is unmissable. Its blend of scientific rigor and artistic vision creates an experience that’s as intellectually stimulating as it is visually breathtaking, reminding us that great art can both question and celebrate our understanding of reality.

The post Cosmic mechanics meets art in Conrad Shawcross’ The Nervous System (Umbilical) first appeared on Yanko Design.

« Older Posts
Newer Posts »