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10 Best Automotive Designs Of August 2025

August has been an excellent month for automotive design. We witnessed concepts that made us question everything we thought we knew about getting around. From delivery scooters that borrowed tech straight from Hollywood camera crews to hypercars that looked like they’d been beamed down from 2040, designers threw caution to the wind and delivered some mind-bending ideas that somehow felt both completely insane and totally inevitable.

These aren’t just flashy designs. They offer clever solutions that made us slap our foreheads and wonder why nobody thought of this stuff sooner. Each concept proved that the best innovations happen when creative people decide that “impossible” is just another word for “hasn’t been done yet.” Whether solving real transportation headaches or exploring pure mechanical fantasy, these designs showed us what happens when boundaries become suggestions.

1. Uber Balance

Korean designers Min JU Kim and Hyeonji Roh created something that feels like common sense wrapped in brilliant engineering. The Uber Balance delivery scooter takes three-axis gimbal technology from Hollywood film sets and puts it to work keeping your dinner level while navigating the urban jungle. It’s one of those ideas that makes perfect sense once you see it in action.

The gimbal system works independently from the scooter’s body, creating a stable platform that laughs in the face of potholes and speed bumps. Instead of bolting camera equipment onto a regular scooter, the team designed everything from scratch to make stabilization feel natural. Your soup stays where it should, and your pizza arrives looking like it’s supposed to.

What We Like:

Solves the problem of destroyed food deliveries during transport.
Creates a cohesive design where stabilization technology looks intentional rather than tacked on.

What We Dislike:

The complex gimbal system likely means higher maintenance costs and more things that can break.
Added weight and mechanical complexity could significantly increase the vehicle’s price point.

2. Volkswagen ID.1

Volkswagen’s ID.1 concept tackles the assumption that cheap cars have to look cheap. With €30 million backing for production in Portugal, this isn’t just another pretty concept car headed for the museum. The ID.EVERY1 preview shows what happens when a major manufacturer decides that people buying affordable cars deserve thoughtful design too. It’s refreshing to see someone refuse to phone it in completely.

At just under 3.9 meters long, the ID.1 fits between VW’s discontinued Up! and the Polo, but carries itself like it has bigger ambitions. Every surface looks deliberately crafted rather than cost-engineered into oblivion. The electric architecture gives designers freedom to prioritize proportion and space in ways that gas engines never allowed. This could truly change how we think about budget car design.

What We Like:

Proves that affordable electric cars don’t have to sacrifice visual appeal for cost targets.
Smart packaging creates impressive interior space despite compact exterior dimensions.

What We Dislike:

The €20,000 target price point might be optimistic given current battery costs.
Minimalist aesthetic could feel stark or cheap to buyers expecting more traditional luxury cues.

3. Electrom

This weather-protected e-bike deals with the biggest barrier to year-round cycling: getting soaked and frozen every winter. The polycarbonate cowling system transforms a regular e-bike into something that splits the difference between motorcycle and car. The body cover adjusts up and down to shield your legs while boosting aerodynamics for better range. When things get nasty, a full tarp creates a mobile weather shelter.

The swing-away front fairing is genius problem-solving. Most weather protection makes getting on and off awkward, but this opens like a proper motorcycle fairing while keeping you dry. The simple throttle-and-brake setup means you’re not fumbling with gears when visibility is terrible. For anyone who’s abandoned bike commuting because of the weather, this could be a legitimate game-changer for urban transportation.

What We Like:

Addresses the real problem of seasonal cycling limitations with practical weather protection.
Adjustable aerodynamic features improve range while providing variable protection levels.

What We Dislike:

Bulky protective elements could make the bike difficult to store in typical bike racks.
The complex weather protection system adds weight and mechanical complexity that could prove unreliable.

4. Chevrolet CX Concepts

Chevrolet’s Corvette CX concepts debuted at The Quail with “Not Available For Sale” stamped all over them, which somehow made them even more desirable. These aren’t headed for production, but they’re doing something more interesting than typical concept car theater. The CX takes everything we know about Corvette design and runs it through a video game filter that feels like natural evolution.

The street version in grey and the track variant in classic Corvette yellow both feature design elements that current manufacturing can’t handle. That’s exactly the point. By creating concepts that exist mainly in the digital world, Chevrolet can explore ideas that might influence future production cars even if these specific designs never see a factory floor. It’s research and development disguised as a marketing spectacle.

What We Like:

Pushes Corvette design language into genuinely futuristic territory without losing brand identity.
Uses concept freedom to explore manufacturing possibilities that could influence future production models.

What We Dislike:

Non-production nature makes these feel more like digital art than automotive design.
Extreme proportions and impossible manufacturing requirements limit any real-world application potential.

5. MG Doble

JackRabbit’s MG Doble tackles the fundamental limitation of e-bikes being solo transportation. The banana seat setup and 749-watt rear motor can haul two people at 20 mph for 48 miles on a charge. It’s designed for couples who want to ditch the car for city trips but don’t want to ride separately. The dual battery system ensures that adding a passenger doesn’t kill the range.

The Micro Hauler goes a different direction, focusing on cargo capacity and extreme portability. It folds from full-size dimensions down to something you can roll onto a subway or stuff in a car trunk. The “mullet wheel” design and unlockable 24 mph off-road mode suggest this isn’t just for gentle city cruising. At 52 pounds, it’s light enough to actually carry when folded.

What We Like:

MG Doble enables shared e-bike transportation without compromising performance or range significantly.
Micro Hauler’s extreme portability solves the “last mile” problem for multi-modal transportation.

What We Dislike:

Two-person configuration on the MG Doble could create handling and safety challenges in traffic.
Micro Hauler’s complex folding mechanism adds weight and potential failure points.

6. HF355

Max Hazan’s HF355 is bonkers in the best possible way. He took a 3.5-liter Ferrari F355 V8 engine that originally made 400 horsepower and built an entire motorcycle around it. The flat-plane crank V8 weighs more than many complete motorcycles, creating engineering challenges that would make most builders run away screaming. Hazan embraced the madness and made it work somehow.

The engine becomes a stressed structural member, forming the actual backbone of the motorcycle rather than just being bolted to a frame. The custom aluminum chassis sculpts around the V8’s architecture, creating visual drama while maintaining structural integrity. This isn’t just mechanical exhibitionism; it’s a design philosophy that celebrates the power source by making it the dominant visual element.

What We Like:

Represents genuinely groundbreaking engineering that pushes motorcycle design into uncharted territory.
Creates a unique aesthetic where the massive engine becomes the dominant design element.

What We Dislike:

Extreme weight and complexity make this more art piece than a practical transportation.
The engineering complexity and custom fabrication put this beyond the reach of most enthusiasts.

7. BMW 328 Hommage

BMW’s 328 Hommage demonstrates how to reference historical design without falling into nostalgic mimicry. The concept takes essential proportions and racing philosophy of the original 1930s BMW 328 and translates them through contemporary materials and manufacturing processes. The carbon fiber execution throughout creates remarkable visual coherence, with the same weave pattern and orange accents flowing from exterior racing stripes into interior upholstery.

Both the original 328 and Hommage share that magical long-hood, short-deck formula that immediately communicates sporting intent. The contemporary concept maintains nearly identical proportions while using carbon fiber construction to achieve even better weight distribution than the aluminum and steel original. The minimalist racing philosophy shapes both aerodynamic body panels and driver-focused cabin layout, creating continuity between form and function.

What We Like:

Successfully translates classic racing proportions through modern materials without losing original character.
Carbon fiber construction throughout creates visual coherence between exterior and interior elements.

What We Dislike:

Heavy reliance on expensive carbon fiber construction makes production viability questionable.
Retro-inspired design might appeal more to collectors than younger buyers seeking innovation.

8. Wheelie Fun Bike 1

The concept of an electric bike performing autonomous wheelies sounds like a dystopian future where even recreational thrills are automated. Yet the execution suggests something more nuanced than simple technological showing off. The “Push to Wheelie” mode requires only a button press on the handlebars, with onboard sensors managing balance and preventing crashes. Leaning forward increases speed while leaning back reduces it, creating an intuitive control system.

What makes this concept intriguing rather than absurd is how it addresses skill barriers preventing many people from experiencing certain motorcycle thrills. Wheelies require significant practice and carry genuine crash risk for inexperienced riders. By automating the most dangerous aspects while maintaining rider input, the system democratizes an experience typically reserved for skilled enthusiasts. The specially designed saddle supports the rider’s body during wheelie operations.

What We Like:

Democratizes advanced motorcycle skills by removing crash risk through automated balance systems.
Intuitive lean-based control system maintains rider engagement while providing safety assistance.

What We Dislike:

Automated thrill-seeking removes the sense of accomplishment that comes from developing actual skills.
Complex sensor and stabilization systems add cost and potential reliability issues to the motorcycle.

9. Xalo: Safety In Motion

The Xalo “Safety in Motion” system represents comprehensive thinking about urban scooter design that extends far beyond the vehicle itself. By creating both an electric scooter and a multifunctional urban hub, designers addressed infrastructure and regulation as design problems rather than external constraints. The handlebar-integrated e-ink display provides real-time navigation through a low-energy screen angled for peripheral visibility, with navigation cues delivered through sound and vibrations.

The automatic helmet compartment that opens when a ride is initiated represents particularly thoughtful integration of safety requirements with user experience. Rather than treating helmet use as a burden imposed by regulation, the system makes helmet storage and access part of the fundamental ride experience. The comprehensive approach acknowledges that successful urban mobility requires integration with existing infrastructure and regulation rather than creating isolated transportation solutions.

What We Like:

The comprehensive system approach addresses infrastructure and regulation challenges alongside vehicle design.
Automatic helmet compartment cleverly enforces safety requirements through a convenient user experience.

What We Dislike:

Complex integrated systems require significant infrastructure investment that many cities can’t afford.
Heavy reliance on technology and connectivity could leave users stranded when systems fail.

10. Porsche 99x

The Porsche 99x concept exists in that fascinating space between plausible production vehicle and pure fantasy, making it irresistible as a design study. Created by independent designer “R a d u .,” this unofficial concept grabs Porsche’s motorsport heritage and hurls it into a sci-fi future where regulatory constraints don’t exist. The design answers what might happen if Porsche’s motorsport division received complete creative freedom with unlimited budget and no rules.

The concept doesn’t just reference Porsche’s racing DNA; it extrapolates that heritage into an era defined by electrification, autonomous technology, and digital design processes. The result looks like it teleported from the 2040 Le Mans starting grid, where traditional automotive constraints might be completely irrelevant. The impossibly complex surface geometry and integrated aerodynamic elements suggest a vehicle designed for a world where manufacturing limitations don’t constrain creative vision.

What We Like:

Pushes Porsche’s racing heritage into genuinely futuristic territory while maintaining recognizable brand DNA.
Explores design possibilities freed from current manufacturing and regulatory constraints.

What We Dislike:

Purely conceptual nature with impossible manufacturing requirements limits any practical application.
Extreme aesthetic might alienate traditional Porsche buyers who prefer evolutionary design approaches.

The Road Ahead

These ten concepts collectively suggest automotive design is entering a period of unprecedented experimentation. Whether addressing practical problems like food delivery stability or exploring pure fantasy like Ferrari-powered motorcycles, designers increasingly refuse to accept existing limitations as permanent constraints. The common thread connecting these diverse concepts is their willingness to challenge fundamental assumptions about what vehicles should be and do. Innovation comes from unexpected places when creative minds embrace possibility over precedent.

As we move toward an increasingly electric and autonomous future, these concepts suggest automotive design’s most exciting period might be just beginning. When freed from internal combustion architecture constraints and traditional manufacturing limitations, designers can explore possibilities that previous generations could only imagine. The results, as this collection demonstrates, are both practical and fantastic in equal measure.

The post 10 Best Automotive Designs Of August 2025 first appeared on Yanko Design.

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Stackable cork boxes is an eco-friendly way to organize things

As someone that has a lot of stuff, I’m always on the lookout for a fresh and eco-friendly way to organize your space. The Cork Box stackable storage solution, designed by Ana Relvao and Gerhardt Kellermann of Relvaokkellermann, is gaining attention for its smart fusion of modern design and sustainable materials. These boxes go beyond simple storage; they bring warmth, style, and a natural feel to homes and offices alike.

What truly sets the Cork Box apart is its material. The boxes are made from natural toasted cork agglomerate, a substance created when cork granules are heated under high pressure. During this process, the heat activates the natural resin found within the cork itself, transforming it into an effective binding agent. This means no chemicals or adhesives are needed, making the Cork Box a genuinely eco-friendly choice. The result is a sturdy, lightweight material that maintains the tactile, organic qualities of cork while offering durability and strength.

Designers: Ana Relvao and Gerhardt Kellermann (Relvaokkellermann)

Each box is crafted with careful attention to detail. The rounded edges and smooth finish make them pleasant to touch and visually appealing. The natural texture and color of the toasted cork add a sense of calm and coziness to any space, easily fitting in with a variety of interior styles, from minimalist to rustic.

Sustainability is at the core of the Cork Box design. Cork is harvested from the bark of cork oak trees, which can be stripped without damaging the tree, allowing it to regenerate naturally. This renewable method, combined with the chemical-free production of the agglomerate, makes the Cork Box a standout in environmentally responsible design. Functionality shines through in the Cork Box’s design. The boxes are lightweight and easy to move, making it simple to reorganize your space as your needs change. Their stackable construction lets you build custom storage towers or arrange them side by side, providing flexibility for everything from office supplies to collectibles and crafts.

Cork naturally dampens sound, so these boxes are also a smart choice for busy homes or shared workspaces where a quieter environment is welcome. The neutral tones blend seamlessly into almost any décor, while the resilience of the material ensures they will stand up to daily use. Unlike plastic bins or metal shelves, the Cork Box brings both character and sophistication to a room. The soft curves and natural finish invite interaction, making storage feel enjoyable rather than routine. Whether you use a single box or stack several, they will elevate the look of your shelves, desk, or closet.

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wa upcycled table lamp by akasaki & vanhuyse is crafted from retired tokyo train parts

Upcycled train strap handles form WA lamp by Akasaki & Vanhuyse

 

WA is a table lamp designed by Akasaki & Vanhuyse, produced from reused train components of the Tokyu Den-en-toshi Line 8500 series, which was retired in January 2023. Around 1,400 resin strap handles were collected, cleaned, and repurposed into a limited edition of 150 lamps, with the project emphasizing both reuse and sustainable production methods.

 

The strap handles were chosen for their circular form and availability in large numbers, making them suitable for upcycling. Each piece was inspected and graded based on imperfections, then sandblasted to remove the glossy coating and produce a matte finish. Surface marks such as scratches and dents remain visible, highlighting the material’s previous function and history. The lampshade is composed of nine stacked resin rings, arranged with small gaps to allow light to filter through softly. Mirrored stainless steel legs hold the structure together using custom bolts, their curved shape referencing the original strap form. A transparent power cord reduces visual interference, making the lamp adaptable for a variety of settings, including offices, stations, or domestic interiors.

all images courtesy of Akasaki & Vanhuyse

 

 

WA table lamp emphasizes reuse, durability, and local production

 

The project by design studio Akasaki & Vanhuyse was developed with a strong focus on minimizing waste and ensuring longevity. The decision to reuse existing components reduced the need for additional processing, while stainless steel elements provide durability and resistance to rust. The design allows for easy disassembly, ensuring that materials can be separated and recycled at the end of the lamp’s life. Packaging was developed with the same approach, using recyclable aluminium vapor-coated paper instead of PET film, with manuals printed on recycled paper. Production was carried out locally in Tokyo, where the train line operated, reducing transport requirements and associated emissions.

 

WA demonstrates how upcycled components can be transformed into a functional and durable design object. By reusing resin strap handles from retired train carriages, the lamp connects material history with new utility, offering an alternative approach to production that combines reuse, local manufacturing, and sustainable design principles.

collecting, cleaning, and sorting the ring straps were carried out by local manufacturers in Tokyo

WA is a table lamp crafted from reused train parts of the Tokyu Den-en-toshi Line 8500 series

around 1,400 resin ring components were collected and turned into a limited edition of 150 lightings

the lampshade is formed by stacking nine reused straps with small gaps between them to gently filter the light

the table lamp was designed as a functional and long-lasting statement piece

the rings were sandblasted to clean their surfaces and achieve a durable, soft matte finish

surface marks from years of use, like scratches and dents, are intentionally preserved, creating a unique crackle-glaze effect

the lamp is built to last while considering end-of-life disassembly

reusing parts in their original form avoids unnecessary processing

packaging uses 100% recyclable aluminum vapor-coated paper with no PET film layer

exterior of Tokyu Den-en-toshi Line 8500 Series train

interior of Tokyu Den-en-toshi Line 8500 Series train

all metal parts are made from rust-resistant stainless steel

 

project info:

 

name: WA
designer: Akasaki & Vanhuyse@akasakivanhuyse

manufacturer: Tokyu Corporation

material: Stainless steel, Resin

dimensions: L120 x W114 x H193 mm

weight: 1.2 kg

 

 

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

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Revive Old Mini PCs as Retro-Inspired DIY Gaming Consoles

DIY retro console projects have exploded in popularity lately, with makers everywhere building their own emulation boxes to recapture that cartridge-era gaming magic. Most of these projects either rely on expensive new components like Raspberry Pi alternatives or create exact replicas of classic consoles. The Stock Pot’s “3D Print Your Own Game Console” project takes a refreshingly different approach.

Instead of starting with fresh hardware, this clever build repurposes surplus corporate mini PCs that are flooding the second-hand market as businesses move away from Windows 10. These compact machines, like the HP ProDesk 600 G4 Mini used in the project, pack serious performance into tiny footprints while costing a fraction of their original price.

Designer: Dillon Stock (The Stock Pot)

The sustainability angle makes this project genuinely compelling. Rather than letting perfectly good i5 processors and solid-state drives become e-waste, you’re transforming them into living room centerpieces. For around $180 USD, you get hardware that can handle everything from classic arcade games to modern PC streaming through services like Moonlight.

Where this project really shines is in its approach to design. Instead of copying the PlayStation or Nintendo aesthetic that dominates most retro builds, The Stock Pot created something that feels nostalgic without being derivative. The custom 3D-printed enclosure draws inspiration from classic hi-fi equipment and vintage console design language, but the result looks distinctly modern.

The case design is split into easy-to-print modules that work on standard 3D printers using PETG or PLA filament. The front features a recess for decorative inserts, letting you customize the look with materials like laser-cut wood, acrylic, or whatever matches your living room aesthetic. The creator used Tasmanian blackwood for a warm, natural accent that elevates the whole build.

Software setup stays flexible with options for both Windows users running Retrobat and those who prefer the full Batocera Linux experience. The system handles classic emulation beautifully while doubling as a compact media PC or even a small home server. Paired with wireless controllers from companies like 8BitDo, the finished console looks and feels like something you’d actually want on your entertainment center.

The open-source nature of the project means all the resources you need are freely available through GitHub and community platforms. Assembly instructions, compatibility guides, and even hardware kits for sourcing fasteners make the build accessible, whether you’re a seasoned maker or a complete beginner. The accompanying YouTube tutorial walks through the entire process step by step.

What sets this project apart from other DIY retro consoles is how it balances sustainability, customization, and original design thinking. Rather than just recreating the past, The Stock Pot has created something that honors retro gaming culture while addressing modern concerns about e-waste and personal expression.

For anyone tired of generic plastic emulation boxes or expensive vintage hardware, this project offers a third path that’s practical, personal, and visually distinctive. It proves that sometimes the best way to celebrate gaming’s past is by building something entirely new for the future.

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‘sometimes’ is a wearable head device that sends electrical signals to lower people’s stress

Sometimes wearable headband device by studio beyond

 

Studio Beyond conceives Sometimes, a wearable headband device that sends electrical signals to the wearer in hopes of lowering people’s stress. A smart, non-invasive tool, the piece, a similar shape to a fitness tracker or smart band, fits around the head and allows direct contact with the skin. Electrodes on the surface of the device send gentle electrical pulses, and these pulses target the nervous system, which may help to lower stress or balance mood. The Cambridge-based studio led by designers Paul Gibson and Matt Maitland says that the device’s process draws from the research that shows how electrical signals can influence brain activity.

 

There’s an elastic band around Sometimes to adjust to and fit the wearer’s head, and it comes with a slider or clasp mechanism at the back for a snug and custom fit. Around the band, modules are attached to the headband, positioned on either side of the head, likely over the temples or forehead regions. These are the main functional components housing the electronics that send the electrical signals. The surface of these pods appears smooth and matte, an even surface for comfort during long-time use. On one of the electrode pods, a small, subtle white indicator light is visible, which can indicate the device’s power status, activity, or battery level. Adjacent to the indicator light, the possibly touch-sensitive power button lies to activate or turn off the wearable headband device.

all images courtesy of Studio Beyond

 

 

Sensors inside neurotech tool send electrical signals

 

The Sometimes wearable headband device includes sensors and a small processor within it. These components send and control the electrical signals, which are carefully measured and adjusted to stay within safe limits to make sure that the user doesn’t feel pain or discomfort. Studio Beyond creates the tool as such so that there’s no surgery or medical training required to use it. The team adds it can be worn daily, depending on the user’s needs.

 

The team designs Sometimes with user experience in mind, as they want it to look and feel like a regular wearable product. There may be a stigma on people wearing medical devices, so the studio wants to curate and create a look that is already familiar to many people, which can help people stay committed to using the device over time. In the past, medical devices were used mostly in hospitals or clinics. Now, with wearable technology and headband devices like Sometimes, people can access treatment or support at home. So far, the project is still a concept.

different pastel-like colors are designed for the tool

electrodes on the surface of the device send gentle electrical pulses

a small, subtle white indicator light is visible, which can indicate the device’s power status

view of the slider for a snug fit

stitched-in design of waves hinting at the electrical signals

the piece fits around the head and allows direct contact with the skin

so far, the project is a concept neurotech tool

 

project info:

 

name: Sometimes

studio: Beyond | @studiobeyond.cc

lead designers: Paul Gibson, Matt Maitland

 

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: Matthew Burgos | designboom

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white textile skin over timber frame forms triangular nomadic cabin by celva and saga

Odyssey of the Cabin by Celva Arquitectura and Saga Architects

 

The Odyssey of the Cabin is a triangular, lightweight shelter designed by Chile-based Celva Arquitectura in collaboration with Belgium-based Saga Architects. Conceived as a nomadic structure, the compact cabin explores the relationship between space, time, and human presence within the landscape.

 

The cabin’s triangular geometry is both a structural and symbolic gesture, referencing ancestral monoliths and primitive forms. Elevated slightly above the ground on minimal supports, the shelter creates a porous volume that frames its natural surroundings without imposing on them. Its white textile skin, tensioned over a timber frame, allows light and wind to filter through, producing an open and adaptable atmosphere. The spatial experience is organized into two complementary conditions. At the front, an integrated seat provides a place of rest and intimacy, recalling the protective qualities of a cave. At the back, a minimal stair leads to the roof, transforming the structure into an elevated observation platform that opens toward the horizon. This dual arrangement supports both retreat and projection, encouraging moments of pause as well as outward reflection.

the central stair leads to the circular opening, turning the path into a ritual of ascent and discovery | all images courtesy of Celva and Saga

 

 

Exploring relationships between space, time, and human presence

 

The cabin is constructed using a simple, reversible system of timber frames and stretched textile membranes. Assembled with dry joints, it can be disassembled and relocated, emphasizing minimal ground impact and a commitment to temporary, low-impact architecture. Inside, the fabric envelope softens daylight, diffuses air, and enhances awareness of the surrounding environment.

 

Rather than a permanent dwelling, the structure operates as a cultural device that recalls nomadic traditions of adaptation, movement, and exposure to the elements. It highlights the tension between temporary habitation and enduring presence in the landscape. The Odyssey of the Cabin, created by practice Celva Arquitectura and studio Saga Architects, was selected as a finalist at the Festival des Cabanes de Villa Médicis 2026, organized by the French Academy in Rome, Villa Medici.

the cabin rises as a light monolith in the forest, a nomadic artifact inviting ascent and contemplation of the horizon

a carved seat at the base offers intimate rest, evoking the cave as humanity’s first shelter within the landscape

the oculus frames the volcano as a timeless horizon, where the nomadic journey meets the contemplation of the landscape

the modular skin of wood and white veils filters light, creating a play of shadows that converses with the forest

in the forest’s dim light, the cabin rises as a luminous monolith marking human presence in the landscape

the model reveals the constructive essence of the artifact: a light framework that turns geometry into inhabitable poetry

the scale model reveals the artifact’s dual condition: an intimate shelter and a vertical lookout toward the horizon

the triangular framework combines wood and stretched membranes, revealing the modular logic behind the pure form

the circular void frames the landscape, turning the structure into a device for contemplation and memory

light pierces through the model’s skin, casting shifting shadows that evoke the passage of time on matter

 

project info:

 

name: The Odyssey of the Cabin

architect: Celva Arquitectura | @celva.arquitectura, Saga Architects | @saga_architectes
design team: Camilo Silva Badilla (Celva), Alice Gier (Saga), Alexis Soriano (Saga)

area: 4 sqm

 

 

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

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trump signs order to make federal architecture ‘beautiful again’, in classical style

Trump Mandates Classical Style as Default for Federal Buildings

 

On August 28th, 2025, President Donald Trump signs an executive order titled Making Federal Architecture Beautiful Again. The document establishes classical and traditional architecture as the preferred style for new federal buildings across the United States, with Washington, D.C., singled out as a place where classical architecture is to become the ‘default’ choice. The order directly addresses decades of debate over federal design, arguing that public buildings should be ‘visually identifiable as civic buildings’ and should embody dignity, stability, and inspiration for the general public. The move follows an earlier directive from January 2025, Promoting Beautiful Federal Civic Architecture, (find designboom’s previous coverage here), which first set out the administration’s vision that civic buildings should be ‘visually identifiable’ and rooted in regional and classical traditions.

 

Porte Cochere at the headquarters Building of the Department of Housing and Human Resources, Washington, D.C | image by Carol M. Highsmith via Wikimedia

 

 

Classical Traditions Favored over Modernist Civic Design

 

Making Federal Architecture Beautiful Again (find more here) situates its reasoning in the country’s founding period, when presidents George Washington and Thomas Jefferson oversaw the competitions for the Capitol and the White House and embraced classical forms to symbolically connect the young nation to the democratic traditions of Greece and Rome. For more than a century afterwards, civic architecture in the US largely followed this trajectory. From the 1960s onward, however, federal buildings designed under the General Services Administration increasingly adopted modernist and brutalist styles. While admired in architectural circles, the order describes these later buildings as unpopular with much of the public, sometimes indistinguishable from commercial projects, and lacking the qualities of civic symbolism.

 

The 1994 launch of GSA’s Design Excellence Program attempted to improve design standards, but the new order concludes that it has failed to achieve its goals. It criticizes the program for favoring ‘prominent architects’ over local input, resulting in buildings that may impress experts but not ordinary citizens. To address this, the executive order specifies that classical and traditional styles, including neoclassical, federal, beaux-arts, gothic, and other regionally rooted forms, will now be given priority in new construction. Renovations or expansions of federal buildings are also encouraged to align with these styles where feasible.

United States Capitol | image by Louis Velazquez via Unsplash

 

 

Policy, Aesthetics, and the Future of architecture in the us

 

The directive places new responsibilities on the GSA. It requires the agency to employ architects trained in classical or traditional design, to appoint a senior advisor for architectural standards, and to make sure that competitions and juries include voices experienced in these traditions. If a design in a modernist or deconstructivist idiom is proposed, the GSA must submit a detailed justification to the White House, including comparisons of cost and civic suitability against classical alternatives.

 

By bringing stylistic preferences into federal policy, the August order extends January’s directive and adds to the ongoing discussion about the role of government in shaping public architecture. Supporters highlight the ability of classical and traditional styles to convey civic identity, dignity, and continuity, grounding federal buildings in familiar visual languages. Others note that such guidance raises broader questions about how architectural choices should be made and whether public buildings are best served by established historic styles or by approaches that respond to today’s needs, such as sustainability, accessibility, and cultural change. In this sense, this order is not only about the appearance of courthouses or agency headquarters but also about the larger question of how federal architecture reflects national values in the 21st century.

United States Tax Court by Victor Alfred Lundy in Washington, D.C. | image by Matthew G. Bisanz via Wikimedia, licensed under the Creative Commons Attribution-Share Alike 3.0 Unported, 2.5 Generic, 2.0 Generic and 1.0 Generic license

Los Angeles Federal Courthouse, California, 2016, Skidmore, Owings & Merrill (SOM)

Columbus Land Port Of Entry Columbus, New Mexico, 2022, Richter Architects

San Francisco Federal Building, California, 2007, Morphosis

Dwight D. Eisenhower National Memorial, Washington D.C., 2020, Frank Gehry (header image © Connor Gan)

Donald Trump speaking at the 2013 Conservative Political Action Conference (CPAC) in National Harbor, Maryland | image by Gage Skidmore via Wikimedia, licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license

 

 

project info:

 

name: Making Federal Architecture Beautiful Again

issued by: President Donald J. Trump

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design/leader: Fettle director Andy Goodwin

Andy Goodwin is director at hospitality interiors agency Fettle, whose clients include Locke Hotels, the Ciccetti restaurant in London’s Knightsbridge and The Hoxton in Rome.

Design

What would your monograph be called?

The Reality is… Hospitality design is so often about balance, tempering creativity in a commercial environment. Bringing conceptual, artistic practices to the built environment can be a tough gig so we often have to temper our design ambitions with budgets or feasibility of construction.

Doing this while ensuring that the end result remains as impressive as the idea that we sold to the client team is a challenge and requires compromise at times.

What recent design work made you a bit jealous?

At risk of providing a dated reference I’d have to say The Standard London. It is rare in our time that ambition, opportunity and execution come to a project in equal measure but when they do, the outcome is often fantastic.

In that sense, The Standard deserves the iconic status it has garnered.

What’s an unusual place you get inspiration from?

Being an East London studio, we are spoilt by historical buildings and green spaces on our doorstep. I try to take every lunch time outside to take it in, there’s no clichéd bolt of lightning eureka moments, but it provides an opportunity to reset.

Name something that is brilliantly designed but overlooked.

Velcro. Still not really sure myself how his works.

What object in your studio best sums up your taste?

A warm-yellow striped Murano mushroom lamp that sits on my desk. A playful classic. These are seen a lot at present, however co-founder Tom Parker and I have had vintage ones at home for many years, and we still think that they look great.

Andy Goodwin’s Murano mushroom lamp

Leadership

What feedback felt brutal at the time, but turned out to be useful?

A former boss once told me that I used too many words in a client meeting and this specific client would respond better to less information delivered more quickly.

Since then, I have always considered how best to present our schemes and ideas to clients, and often that is vastly different from one project to the next.

What’s an underappreciated skill that design leaders need?

Conviction. I find that it’s important to know when a scheme or solution works well and we can progress with the other elements of our work. Being indecisive is frustrating for both the team and our clients.

What keeps you up at night?

Filing emails.

What trait is non-negotiable in new hires?

Initiative. We have solid standards and working practices in the studio, so the team are clear on what work needs to be completed.

This is especially important given that we have two studios – London and Los Angeles – that on occasion work across the same project. The team however still need to show initiative constantly to maintain momentum on a project, challenge our decisions and to keep productive.

Complete this sentence, “I wish more clients…”

… trusted their own opinions. We find it easiest to work with clients who understand their own brand, speak with the same voice if part of a team, and have conviction through the review process.

It’s unusual for clients to love everything that we suggest, and being able to give both positive and negative feedback of schemes quickly allows us to work together to push the project to be the best it can be.

The projects that we feel are the most successful always happen with great working relationships with the client and this, for us, is best when it is direct and mutually respectful.

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Cj hendry’s flower market to return to NYC, this time in rockefeller center

FLOWER MARKET 2.0 TO BLOOM AT ROCKEFELLER CENTER

 

Cj Hendry brings her immersive installation Flower Market 2.0 to Rockefeller Center, transforming the landmark plaza into a vivid landscape of oversized, hand-crafted flowers. Open from September 19th — 21st, 2025, the interactive installation follows the artist’s viral debut last year on Roosevelt Island, which later expanded to Industry City to accommodate swelling crowds.

 

The new edition introduces twenty-seven fresh plush flower designs, each one produced with the same meticulous attention to scale and texture that defines Hendry’s practice. Visitors are invited to select a flower to take home, extending the installation beyond its setting and out into the rest of the city.

view from the first Flower Market in September 2024 | images © Cj Hendry Studio

 

 

an expanded experience for a second edition

 

With its new location in Rockefeller Center, Cj Hendry’s Flower Market will be more than an immersive greenhouse-like environment. Original artworks by Hendry’s studio, editioned floral wall sculptures, and a line of limited-edition merchandise — including totes, t-shirts, and caps — extend the project into multiple formats.

 

A satellite Flower Cart at Top of the Rock, open daily from early morning until midnight, brings the installation into dialogue with one of New York’s most recognizable observation decks. In addition, a limited 28th plush flower design is being offered exclusively at Top of the Rock as an add-on to ticketed entry.

the first edition was held on Roosevelt Island and in Brooklyn’s Industry City

 

 

Cj hendry is ‘dialing it up to 100’

 

Hendry describes last year’s Flower Market as ‘chaotic and beautiful,’ a spontaneous exchange between visitors and the work. The Rockefeller Center version channels that same energy into a more expansive platform, where circulation, interaction, and collection become part of the design language. ‘We’re dialing everything up to 100,’ she explains.

 

The installation also includes a collaboration with Space Club, a Brooklyn-based sensory playground. On September 20th, families are invited to participate in its first Manhattan pop-up, integrating play as part of the overall program.

the installation will run from September 19th to 21st, 2025 in Midtown Manhattan

visitors can take home one of 27 new plush flower designs

a limited 28th flower design will be available exclusively at Top of the Rock

Hendry aims to echo the philosophy of Louis Kahn, manipulating nature and encouraging reflection

original artworks and editioned floral wall sculptures will be on view

a Flower Cart satellite location will be open from morning to midnight

 

project info:

 

name: Flower Market

artist: Cj Hendry | @cj_hendry

location: Rockefeller Center, NYC

dates: September 19th — 21st, 2025

photography: © Cj Hendry Studio

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Amélie Beaury-Saurel: The Incredible Life and Works

The post Amélie Beaury-Saurel: The Incredible Life and Works appeared first on DailyArt Magazine.