Aug
18

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dune buggy meets rally car with meyers manx & tuthill’s off-roader LFG at monterey car week

Category: Design Boom

off-roader LFG by meyers manx and tuthill

 

Meyers Manx and Tuthill introduce the off-roader LFG at The Quail, A Motorsports Gathering, during Monterey Car Week 2025. A dune buggy meets a rally car, the vehicle uses a carbon fiber body construction, allowing it to handle rough terrain without adding weight to it that would affect performance. There’s a rollover protection structure sitting inside the cabin, and this system protects occupants if the vehicle flips during off-road driving.

 

The structure meets safety standards for both motorsport and recreational off-road use, making the off-roader LFG by Meyers Manx and Tuthill ideal for rough terrains. Multiple engine options are available for the vehicle, with one variant using a four-valve engine based on Tuthill’s K engine design. This engine connects to a six-speed sequential gearbox that allows quick gear changes without a clutch pedal. The drivetrain also includes four-wheel drive with three limited-slip differentials to distribute power between front and rear wheels, left and right wheels, and between the front wheels themselves. This system helps maintain traction on sand, rocks, and other surfaces.

all images courtesy of Meyers Manx and Tuthill | photos by Stephan Bauer

 

 

cabin transforms between being enclosed and open-air 

 

The off-roader LFG by Meyers Manx and Tuthill has a suspension with twin five-way adjustable dampers on each wheel, so drivers can adjust compression and rebound settings to match different terrain types. There are also hydraulic bump stops that prevent damage when the suspension reaches its limits during jumps or impacts. For the tires, the design teams add BF Goodrich All-Terrain wheels that can weather various surfaces. These tires work on sand, dirt, rocks, and pavement, and their tread pattern and rubber are both for on- and off-road traction.

 

Inside the vehicle, the off-roader LFG by Meyers Manx and Tuthill has climate control for long drives. Air conditioning keeps occupants cool in desert conditions, while heating works in cold mountain areas (the system operates when the cabin is closed). The cabin can transform between being enclosed and for open-air riding. In two minutes, drivers can remove doors and roof panels to create an open buggy setup. This change allows occupants to experience wind and outdoor conditions directly. Then, the installed GPS navigation helps drivers find routes in remote areas, and the system works even without cell phone signals using satellite connections.

Meyers Manx and Tuthill introduce the off-roader LFG at The Quail, A Motorsports Gathering

 

 

first ‘world tour’ in 2027 with a tour of Baja, Mexico

 

An Inconel exhaust system handles engine gases for the off-roader LFG by Meyers Manx and Tuthill. The system resists heat and corrosion better than standard steel exhaust materials, as the design teams describe. They add that this durability matters during extended off-road use where the exhaust experiences extreme temperatures and impacts. For the fuel tank, it holds enough gasoline for extended-range driving. This capacity reduces the need for fuel stops in remote areas where gas stations are far apart. The tank design also prevents fuel from sloshing during off-road maneuvers. The collaboration combines Meyers Manx’s buggy heritage with Tuthill’s rally experience. 

 

Meyers Manx created the original fiberglass dune buggy in the 1960s, while Tuthill specializes in building cars for international rally competitions. The companies plan to produce only 100 examples of the LFG after appearing at the Monterey Car Week 2025, which ran between August 8th and 17th. Each owner also receives access to organized driving adventures around the world for six years, with the first adventure beginning in 2027 with a tour of Baja, Mexico. Production begins in 2026 with deliveries starting before the first adventure tour.

the vehicle uses a carbon fiber body construction, allowing it to handle rough terrain without adding weight to it

there’s a rollover protection structure sitting inside the cabin

front view of the vehicle with soft-rounded headlights

the frame meets safety standards for both motorsport and recreational off-road use

multiple engine options are available for the vehicle

glimpse inside the cabin of the vehicle

the engine connects to a six-speed sequential gearbox that allows quick gear changes without a clutch peda

production begins in 2026 with deliveries starting before tour in Baja, Mexico

 

project info:

 

name: LFG

design: Meyers Manx, Tuthill | @meyersmanx, @tuthill.uk

The post dune buggy meets rally car with meyers manx & tuthill’s off-roader LFG at monterey car week appeared first on designboom | architecture & design magazine.

Aug
18

By

How is Hey Studio using AI?

Category: Design Week

Hey Studio is a creative agency based in Barcelona. It works on creative strategies and visual languages for clients like Lufthansa and Google, as well as local restaurants and bakeries. Here, founder and creative directress Verònica Fuerte shares how they are working with AI.

You can see all the articles in this series here.

Broadly speaking, are you excited for how AI will change the design industry, or nervous?

Right now I feel like I’m somewhere between paradise and hell. On one side, it’s a beautiful moment because AI pushes me to be better, faster, and even a stronger designer.

But I also know that in the future it will change the way we work, not only in design but in everything. That’s why I think it’s important to be aware of it now, so you can redirect yourself and adapt.

Do you have an agreed policy around AI as a business? If so, how did you create it?

For now, we only use AI for prototypes, not for final deliverables. And we do have something written into our contracts – we don’t accept briefs from clients that come with AI-generated art direction. That’s our way of making sure the work we do remains original and aligned with our standards.

When did you realise AI was going to have an impact on design?

About a month after ChatGPT launched. I realised it wasn’t just going to impact design, but life itself.

I honestly think the idea of “having a job” as we know it today will disappear. We won’t be working 9 to 5 anymore. In five or ten years, work won’t look like this, maybe it will be more about circles, communities, volunteering.

I don’t know exactly what form it will take, but I do believe we won’t be going to “a job” in exchange for a salary in the way we do now.

Have you undergone any AI training, either as a studio or individuals?

No, we haven’t done any official courses. I believe the best way is self-training, following your own curiosity and learning by doing. What we do, both myself and the team, is dedicate work time to exploring tools.

We actually set aside a morning called Hey Lab every Thursday, where we all experiment together with different AI programmes and create imaginary projects. That way we learn which tools are best for what.

It’s not formal training, it’s more like self-discovery. And I think it’s important – if you don’t know what AI is capable of, you won’t see the possibilities.

How do you use AI in the studio’s creative process? What is it good for? Where are its shortcomings?

We mainly use it to prototype ideas we already have. Sometimes also for illustration, things like trying out different lights, textures, or finishes, just to explore a bit further.

It’s good for opening up options and making the process faster. And honestly, I think in the future we’ll end up designing through a chatbox window. That’s how I imagine design will happen in many years from now.

Do you think clients care if/how you use AI in your work?

So far, in our experience, no. None of our clients have asked us to use AI or questioned if we do.

Sometimes in new business we’ve seen things made with AI, but not in actual projects. I think AI is just another process, sometimes you work analogue, sometimes digital, sometimes with AI.

In the end, it’s about choosing the best process for the project, no matter what technique you use.

Do you use AI for any non-creative aspects of running your business? If so what, and how does it help?

es, I use it quite a lot. Not only for design-related tasks, but also more like having a “coach.” I already have a coach, but sometimes I ask AI specific questions when I have doubts, or for strategies I would normally have to research myself.

It helps me a lot, even with very concrete business questions like, “What would you do in this situation?” I find it really useful for thinking through business strategies and decisions.

Beyond the best known tools (like ChatGPT) what is one AI tool that you would recommend to other design studios?

Honestly, I think almost every app I use today already has AI built in. I use Notion with AI, Google Gemini, so in a way I feel like I use AI everywhere because it really helps me work faster.

But if I had to choose one type of tool, I’d say transcription apps. I love any AI app that transcribes conversations or meetings, because it’s been so helpful to have everything written down. And I also think it protects you if there’s ever a problem – having things documented makes everything much clearer.

Source

Aug
18

By

Tributes paid to the James Bond 007 logo designer Joe Caroff

Category: Design Week

The graphic designer who created the iconic 007 James Bond logo has died aged 103.

Joe Caroff designed the famous logo – which features a gun as the 7 – for the first Bond film, Dr. No, in 1962. He was paid $300 and it was originally meant to be used as a letterhead for the studio’s press release. But it has gone on to be used in every subsequent Bond film, albeit with minor adjustments.

Caroff later admitted he initially found Bond’s gun of choice, the Walther PPK, “pretty unimpressive” when he looked it up in the New York public library. But given that the 007 code means “licence to kill” he decided that “it had to be in the logo.”

“It’s become a global icon,” he said in the 2022 documentary, By Design: The Joe Caroff Story. “I certainly always feel good about that.”

Caroff was born in New Jersey and studied at the Pratt Institute in New York. As a student, he worked for the poster designer Jean Carlu, but shortly after graduating he was drafted into the US Army. He was stationed for a while at RAF Molesworth in Cambridgeshire, and later in North Africa.

After leaving the army he worked as a packaging designer and then set up his own book design studio, creating the cover for Norman Mailer’s first novel, The Naked and the Dead, among others.

His big break into entertainment came via the poster design for West Side Story in 1961. After the Bond logo, he worked a lot for the film industry, with the poster for The Beatles’ A Hard Day’s Night (1964) – featuring a guitar with a knotted neck – posters and typography for Last Tango in Paris (1972) and Manhattan (1979), and title sequences for films like Rollerball (1975) and Martin Scorsese’s The Last Temptation of Christ (1988).

He also designed logos for Orion Pictures and ABC News, as well as the channel’s Olympic coverage and news magazine programme, 20/20.

Joe Caroff’s poster for West Side Story (1961)

Despite working on so many famous and much-loved identities, Caroff kept a low profile and was something of an unsung design hero.

Writing in Eye magazine in 2021, Thilo von Debschitz pointed out that, “Caroff always saw himself as a service provider and did not sign most of his works, so this may explain why he has remained largely unknown in the design world.

“He has not kept a single design – not a single poster – from his long career in his New York apartment.”

But he clearly had an impact on many designers working today, given the fulsome tributes that have been paid following the news of his death, just one day before his 104th birthday.

Peter Allinson, the head of design at UKTV, wrote that Caroff’s work, “has quietly shaped culture for decades. You might not know his name, but you’ll definitely know his work… A true giant of design and creativity.”

Joe Caroff’s ABC Olympics logo

Carl Rush, founder and creative director of Brighton-based Crush, echoed this tribute.

“Joe Caroff’s work is a masterclass in timeless design,” he says. “Much like Saul Bass, he had the rare ability to distill complex ideas into bold, simple, graphic forms that never feel dated. His work not only stood the test of time but also helped define what ‘timeless’ looks like.”

Mark Cerulli, who produced the 2022 documentary, called Caroff “humble, brilliant and prolific” while the design writer Steven Heller was quoted in The New York Times as saying, “That he was unknown is shocking.”

But writing on LinkedIn, art director Marianne McDougall says Caroff’s work is a useful example of letting design speak for itself.

“As designers, we often chase recognition, but Caroff reminds us that the true power of design lies in the mark it leaves on culture, not just the credit line.

“His approach was deceptively simple: focus on clarity, storytelling, and emotional punch. He never saved his original sketches, never treated his work as ‘greatness’ – yet he created symbols that will outlive us all.

His work, she continued, “is a reminder of why we do what we do. A logo is never ‘just a logo’ – in the right hands, it can become part of global culture.”

Source

Aug
18

By

Bellroy Mod Phone Case Wallet for iPhone 16 Pro Combines Style and Function

Category: YankoDesign

Carrying less while expecting more from our everyday accessories has become something of a modern paradox. We want sleek, minimal designs that somehow manage to do everything perfectly, which usually results in compromises that satisfy nobody. Bellroy’s Mod Phone Case + Wallet promises to solve this dilemma.

The first thing you notice about this case is how it transforms your iPhone into something that feels almost jewelry-like. The edge-to-edge premium leather wrapping comes in Black, Agave, or Sienna, each with that unmistakable Bellroy sophistication that makes other cases look crude by comparison.

Designer: Bellroy

What makes this different from countless other wallet cases is the ModRail system. This magnetic attachment feels reassuringly strong, yet detaching it requires nothing more than a simple sideways slide. Want to go minimal for the evening? Off it goes. Need your cards? Snap it back on.

The wallet itself holds exactly three cards, which might sound limiting until you realize that’s probably all you actually need anyway. Your ID, one payment card, maybe a transit pass. The magnetic trapdoor keeps everything secure and hidden behind a satisfying click that feels genuinely premium.

Here’s the clever bit that caught my attention: when opened, the trapdoor becomes an impromptu phone stand for video calls or media viewing. It’s one of those details that makes you wonder why nobody thought of it before, though you’ll probably forget it’s there half the time.

Of course, MagSafe and wireless charging work flawlessly because this is 2025 and nobody has time for compatibility issues. The protective polymer bumpers and raised camera rim keep your iPhone pristine, while the anodized aluminum buttons provide that satisfying tactile feedback we all secretly crave.

The soft microfiber lining cradles your device like something precious, which, let’s face it, it probably is. Every interaction feels deliberate and premium, from the way the leather edges meet seamlessly to how the case adds substance without turning your phone into a brick.

The leather comes from gold-rated tanneries, which means it’s responsibly sourced and will develop that coveted patina over time. Bellroy also uses recycled materials where possible, though they’re not shouting about it from the rooftops. It’s the kind of quiet sustainability that feels more genuine than marketing speak.

This case proves that smart carrying and looking good aren’t mutually exclusive concepts. Once you experience this balance of style and substance, going back to generic wallet cases feels like a genuine downgrade, assuming the modularity holds up over time.

The post Bellroy Mod Phone Case Wallet for iPhone 16 Pro Combines Style and Function first appeared on Yanko Design.

Aug
18

By

miniot’s upright wheel 3 spins and plays vinyl records using light instead of magnets or coils

Category: Design Boom

Light creates sounds in Miniot’s Wheel 3 turntable

 

Miniot designs Wheel 3, an upright turntable that spins and plays vinyl records using light instead of magnets or coils. The device uses optical technology instead of magnetic systems to read the records, which means it replaces traditional magnetic cartridges with an optical stylus system. Most record players convert stylus vibrations into electrical signals using magnets and coils, but with Wheel 3, it measures stylus position using light instead of magnetic fields. The record player has a diamond needle that sits in the record groove. When the record spins, the needle moves. A small piece connects to the needle, and light shines on this piece. 

 

When the needle moves, the piece blocks different amounts of light, and then the embedded sensors measure these changes and turn them into music sounds. This method works better for low sounds than magnetic systems. The needle weighs less without magnets, so the one on Miniot’s Wheel 3 turntable follows the record groove better. For comparison, most vinyl record players use magnets to read records, meaning that the magnets attached to the stylus move near a metal coil, which creates electrical signals that become audio. The optical system, however, can detect when the stylus barely moves, and since the flat piece weighs less than magnets, the stylus can follow groove patterns more accurately, especially for high sounds that create quick movements.

all images courtesy of Miniot

 

 

direct drive motor system built specifically for the device

 

Miniot’s Wheel 3 turntable includes a direct drive motor system built specifically for this device. The team initially used belt drive systems but switched to direct drive for better control. They say that the motor development process took several months of additional engineering work. Specs-wise, the direct drive motor uses 24 neodymium N52 magnets in the rotor assembly. The motor design remains flat to fit within the turntable housing, while the optical stylus system remains unaffected by magnetic fields from the motor. A control system monitors motor performance using five optical sensors, calculating deviations during each 360-degree rotation. 

 

This includes corrections for unbalanced, off-center, and warped records. The system also adjusts motor speed to maintain consistent playback. The tonearm uses a linear tracking design that moves from bottom to top across the record and slides along a track embedded in the aluminum rim. The optical system provides position data for tonearm control as well to maintain the pressure and angle between stylus and groove regardless if the Miniot Wheel 3 turntable is positioned upright, on the wall, or in a different location.

the front section uses aluminum billet material that receives turning, milling, and polishing touches

 

 

Vinyl record player that works upright, flat or wall-mounted

 

There are two main parts around Miniot’s Wheel 3 turntable, with the rear machined from composite material (a wooden variant is also available). The front section uses aluminum billet material that receives turning, milling, and polishing touches, and the construction includes circular polishing that creates reflective surfaces. This finish interacts with light from translucent vinyl records, with the polished aluminum mirroring light through colored vinyl during playback. The device works in multiple orientations, including upright, flat, and wall-mounted positions. The tracking system maintains groove contact regardless of orientation, and users can operate the turntable upside down without affecting performance.

 

A preamplifier connects to the optical stylus system, which processes optical signals and converts them to standard audio output levels. This component works specifically with the optical pickup system rather than magnetic cartridges. The turntable includes a dimmable display for operational information, and the display shows playback status and system settings when needed. An aluminum base supports the turntable for upright operation. The base connects using a carbon steel pin that slides into a slot. This design positions the turntable at an eight-degree backward angle. Then, a viscoelastic material in the base bottom dampens vibrations and prevents sliding. The team says that the production takes place in Europe using locally sourced materials and components.

the rear is machined from composite material (a wooden variant is also available)

an aluminum base supports the turntable for upright operation

the device uses optical technology instead of magnetic systems to read the records

a direct drive motor system is built specifically for the device

the direct drive motor uses 24 neodymium N52 magnets in the rotor assembly

the motor design remains flat to fit within the turntable housing

 

project info:

 

name: Wheel 3

company: Miniot | @wheelbyminiot

The post miniot’s upright wheel 3 spins and plays vinyl records using light instead of magnets or coils appeared first on designboom | architecture & design magazine.

Aug
18

By

aki hamada architects-designed workspace frames mt. oboshi with timber voxel grid

Category: Design Boom

aki hamada designs symbol of mt. oboshi

 

Aki Hamada Architects (AHA) completes a new headquarters in Fujikawa Town, Yamanashi Prefecture, designed as a contemporary architectural symbol of the nearby Mt. Oboshi. The building is perched on terraced land overlooking the Fuji River and Mt. Fuji beyond. For the client, whose business centers on recycling, the location is personally significant. Rather than leveling the terrain, the project draws from the Kake-zukuri style of traditional architecture, adapting a strategy of timber-based construction that steps with the landscape.

 

This sensibility extends into a voxel-based structural system developed specifically for the project. Replacing the nuki joinery typical of post-and-beam construction, AHA uses modern metal jointing to construct a three-dimensional lattice of bundled timber beams and columns. The voxel system is inspired by computational modeling units which allows flexibility for future expansion.

images © Kenta Hasegawa

 

 

Structural Abstraction with Traditional References

 

The team at Aki Hamada Architects applies a three-dimensional grid to the site’s shifting elevation, extending the concept of Kake-zukuri across foundation and superstructure. At this scale, four 120 millimeter-square timbers are grouped to form bundled columns and beams, with the number of members adaptable to different spans and load demands. Precutting techniques allowed for precise finishing and connection detailing, minimizing complexity during onsite assembly and drawing from the logic of reinforced concrete detailing seen in postwar Japanese buildings.

 

The modularity also integrates practical features directly into the structure. Wall panels, equipment, and window frames — often treated as separate construction elements — are embedded within the timber framework. The resulting structure takes on a design language that is at once rational and expressive. It celebrates the material logic of timber and borrows from the visual rhythm of modernism.

the headquarters by Aki Hamada Architects is located in Fujikawa Town near Mt Oboshi

 

 

A Voxel System with Earthen Tactility

 

The Mt. Oboshi workspace’s structure is designed by Aki Hamada Architects with panels made by from a mixture of soil and locally-sourced grass. These walls slot into the lattice like structural infill, reinforcing the building’s connection to place. Along the western facade, fixed windows optimize daylight, while deep cantilevered eaves frame views across the valley toward Mt. Fuji.

 

The ground floor opens into a terrace and corridor structure under the lattice canopy. With lofty ceilings and deep eaves, the covered area serves as a contemporary engawa — a semi-outdoor buffer zone between inside and out. This porticoed space welcomes visitors in all weather and mediates the transition between the landscape and the workspace beyond.

at night, the wooden frame glows softly. a light tower beside the building enhances the silhouette

 

 

Inside, the spatial experience is shaped by the repeated rhythm of the timber grid. Structural axes layer across each other, producing varying degrees of enclosure, openness, and depth. The first floor accommodates both staff and visitors, supported by an open layout with a lobby and kitchen counter that encourage informal gathering.

 

Circulation between levels is anchored by an elliptical spiral staircase. Framed in steel, its form was dimensioned to fit both delivery requirements and the building’s floor plan. Suspended within the lattice, it creates the visual impression that the heavy timber frame is floating as a hybrid effect only possible through the combined logic of steel and wood.

a deep portico space welcomes visitors under a canopy of cantilevered eaves

the design references traditional Kake-zukuri architecture to build with the terrain

a steel elliptical staircase gives the heavy timber structure a sense of levitation

precut timber and metal joints enable abstract framing with efficient onsite assembly

overlapping structural axes frame views of Mt. Fuji and the surrounding valley

 

project info:

 

name: Voxel Lattice in Mt. Oboshi
architect: Aki Hamada Architects (AHA) | @aki_hamada_architects

location: Fujikawa Town, Yamanashi Prefecture

lead architects: Aki Hamada, Yuki Sazuka

completion: 2024

photography: © Kenta Hasegawa | @kentahasegawa

 

construction: Suiga

structure: Enshu Structural Consultants

lighting: ENDO Lighting Corp.

light art: Non-Classic

The post aki hamada architects-designed workspace frames mt. oboshi with timber voxel grid appeared first on designboom | architecture & design magazine.

Aug
18

By

top street furniture from A’ design award and competition shape moments to sit, wait or play

Category: Design Boom

A’ DESIGN AWARD and COMPETITION’S BEST IN STREET FURNITURE DESIGN

 

Looking into designs that enhance social interaction in public spaces, street furniture plays a key role in shaping how we rest, connect, and move through the city. The A’ Design Award and Competition, one of the world’s most influential design platforms, recognizes outstanding contributions in this field — among many others — highlighting global talent across creative disciplines.

 

As the competition opens submissions for its 2026 edition, we spotlight a series of past winners who have reimagined the everyday. From modular seating and shaded waiting zones to ping pong tables and shared bicycle systems, these projects activate public life through creativity and care for human experience. 

 

Get inspired by our selection and submit your project to become part of a global showcase that celebrates thoughtful design across every discipline.

Sandane Ping Pong Table by Torgeir Stige
image credit: Andreas Nygjerd

 

 

name: Sandane

designer: Torgeir Stige

award: Silver

year: 2020

 

 

MASSIVE BENEFITS BEYOND A THROPHY

 

The A’ Design Award and Competition creates real momentum for a designer’s career. With an impressive reach of over 2.5 billion impressions and 624 million pageviews, the award brings cutting-edge design into the global spotlight, across industries and audiences.

 

Winners receive the A’ Design Prize, an extensive package that includes a metal 3D-printed trophy, a framed certificate of excellence, and prime exposure through international media channels, exhibitions, and publications like designboom. Whether emerging or established, every designer gains access to a worldwide network of professionals, brands, and decision-makers.

Fu Xiu Communal Facilities by Jiebin Lai
image credit: Jiebin Lai

 

 

name: Fu Xiu

designers: Lai Jiebin，Shu Qianyun，Wang Tingting，Mu Yiwei，Lan Chunge，Zhao Fuqin

award: Bronze

year: 2023

 

 

EXPERT INSIGHTS AND SUPPORT THROUGHOUT THE SUBMISSION JOURNEY

 

Entering the competition begins with a preliminary evaluation, offering early feedback to help refine and strengthen submissions before they are officially judged. This added layer of support allows participants to understand how their work might resonate within a competitive context. Final evaluations are carried out by the Grand Jury Panel, a diverse and rotating body of over 300 professionals, including leading academics, industry experts, and media representatives. Their collective knowledge ensures each entry is considered with care, fairness, and a high standard of critique.

 

With more than 100 design categories, from architecture, interior and product design to fashion, graphics, and service systems, the competition invites creators across the entire spectrum of design to take part. Explore the full list of categories here to find the perfect match for your work.

Arisa Bench by Pedro Fernandez Cortina
image credit: Monserrat Castro

 

 

name: Arisa

designer: Fernandez Cortina

award: Silver

year: 2025

Radial Litter Bin by Jaroslaw Markowicz
image credit: Jaroslaw Markowicz

 

 

name: Radial

designers: Jarosław Markowicz, Piotr Klama and Piotr Cygankiewicz

award: Gold

year: 2020

Electraline Modular Charging Station Infrastructure by Valeriia Ilicheva and Antoine Questel image credit: Electra company

name: Electraline

designer: Valeriia Ilicheva, Antoine Questel, Chloé Auriol

award: Gold

year: 2025

Fluid Cube and Snake Smart Furniture by Hello Wood
image credit: Zsuzsa Darab

 

name: Fluid Cube and Snake

designers: András Huszár, Péter Pozsár, Dávid Ráday, Csaba Bányai, Gellért Ollé, Dániel Kiss and László Mangliár

award: Platinum

year: 2020

Skystation Sculptural Bench by Peter Newman
image credit: Peter Newman

 

 

name: Skystation

designer: Peter Newman

award: Silver

year: 2023

Walk DVRC Street Basket Mobile Landscape by Vicky Chan image credit: Avoid Obvious Architects

name: Walk DVRC Street Basket

designers: Vicky Chan, Krystal Lung, Gianfranco Galagar, Crystal Hu, Michele Wong, Erik Madsen, Ching-Yu Lin, Stephanie Wong and Jenny Chan

award: Bronze

year: 2021

Re Form Urban Furniture System by Bulent Unal
image credit: rendered by hakan Gokdemir

 

 

name: Re Form

designer: Bulent Unal

award: Iron

year: 2025

Ribbon Street Bench by Di Hu
image credit: Di Hu

 

 

name: Ribbon

designer: Di Hu, Yiqing Wu, Canbin Chen, Yeqing Shang and Wenjing Fang

award: Bronze

year: 2024

Pebble Street Lighting by Gizem Deniz Guneri Sogut
image credit: Gizem Deniz Guneri Sogut

 

 

name: Pebble

designers: Gizem Deniz Guneri, Fulay Uysal Bilge and Tugce Utku

award: Bronze

year: 2023

Seongdong Smart Shelter Futuristic Bus Shelter by LG Electronics Corporate Design Center
image credit: Seongdong-District Office

 

 

name: Seongdong Smart Shelter

designers: LG Electronics Corporate Design Center, MIJU KIM and EP KOREA

award: Platinum

year: 2025

Amplification of Sensation Chair by Eun Whan Cho image credit: mootaa

name: Amplification of Sensation

designer: Taiho Shin

award: Silver

year: 2022

CP-009 Bike Rack by BKT – Design
image credit: BKT – Design

 

 

name: CP-009

designers: Rodrigo Vázquez, Diego Briseño, Christian Aranda and Sergio Rivera

award: Platinum

year: 2019

Urban Blocks Bench Module by Yiqing Wang and Shunyi Yang
image credit: Peter Cong, Yiqing Wang, Shunyi Yang

 

 

name: Urban Blocks

designers: Yiqing Wang, Shunyi Yang and Ryan Liao

award: Silver 

year: 2022

Topography 1 Seating Sculpture by Mikyoung Kim
image credit: Robin Hill

 

 

name: Topography 1

designer: Mikyoung Kim

award: Platinum 

year: 2018

Shed of Knowledge Library Station by Architectural Services Department Hksar
image credit: HK Aerial Photography Co., Ltd

 

 

 

name: Shed of Knowledge

designer: William Tsang, Ning Chiu, Albert Chan and M.C. Chung

award: Gold

year: 2021

1×1 Urban Furniture System by Mykolas Seckus and Antonio Gandolfo image credit: Antonio Gandolfo & Mykolas Seckus

name: 1×1

designers: Mykolas Seckus and Antonio Gandolfo

award: Gold

year: 2022

Smart Cleaner Outdoor Disinfectant Dispenser by Jaroslaw Markowicz
image credit: Jaroslaw Markowicz

 

 

name: Smart Cleaner

designer: Jaroslaw Markowicz

award: Gold

year: 2020

Bench for BLM Group Outdoor seating by Enrico Azzimonti
image credit: DENG Chun

 

 

name: Bench for BLM Group

designer: Enrico Azzimonti

award: Planitum 

year: 2017

The post top street furniture from A’ design award and competition shape moments to sit, wait or play appeared first on designboom | architecture & design magazine.

Aug
18

By

rhythmic terracotta screen filters light and privacy at vertentes arquitetura’s otus clinic in brazil

Category: Design Boom

VERTENTES ARQUITETURA WRAPS PORTUGUESE CLINIC IN TERRACOTTA

 

In Brazil, Vertentes Arquitetura transforms a conventional urban building into an otolaryngology practice with a striking terracotta brise-soleil. Dubbed Otus Clinic, the project centers on the sculptural facade, which filters sunlight, ensures privacy, and establishes a bold new identity for the clinic within its dense city context. By combining medical precision with an architectural language rooted in warmth and texture, the renovation reimagines how healthcare spaces engage with both patients and the public realm.

all images courtesy of Vertentes Arquitetura

 

 

OTUS CLINIC PAIRS RHYTHMIC FACADE WITH CALMING INTERIORS

 

The facade’s earthy terracotta tones and rhythmic vertical fins lend the building a tactile quality rarely seen in clinical architecture. This layer mediates between interior and exterior, softening the harshness of the urban street while casting dynamic patterns of light and shadow throughout the day. More than a protective screen, it acts as a visual marker, signaling the clinic’s presence while maintaining a sense of discretion and calm.

 

Inside, the design by Vertentes Arquitetura continues this atmospheric approach. Natural materials, soft forms, and crafted details extend the facade’s sensibility into the reception and consultation spaces, creating an environment that feels sheltered and welcoming. By pairing this sensory interior with its sculptural exterior, the São Paulo-based studio elevates a modest renovation into an architectural gesture that reshapes how medical practices integrate into the urban fabric.

the project centers on the sculptural facade

the terracotta screen filters sunlight and ensures privacy

more than a protective screen, it acts as a visual marker

natural materials, soft forms, and crafted details complete the project

the interior design by Vertentes Arquitetura continues the project’s atmospheric approach

the interior environment feels sheltered and welcoming

sensory interiors are paired with the project’s sculptural exterior

the facade’s sensibility is extended into the reception and consultation spaces

sculptural details define the interior

the renovation reimagines how healthcare spaces engage with both patients and the public realm

 

 

project info:

 

 

name: Otus Clinic
architects: Vertentes Arquitetura | @vertentes.arquitetura
lead architect: Adriano Couto Souza
location: Brazil

 

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: myrto katsikopoulou | designboom

The post rhythmic terracotta screen filters light and privacy at vertentes arquitetura’s otus clinic in brazil appeared first on designboom | architecture & design magazine.

Aug
18

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NocFree & Wireless Split Keyboard Turns Ergonomic Typing Into Desk Art

Category: YankoDesign

Finding the perfect keyboard feels impossible sometimes. Most ergonomic options look like medical equipment, while beautiful keyboards ignore basic comfort principles. You’re forced to choose between something that feels good and something that looks good in your carefully curated workspace.

The NocFree & wireless split keyboard refuses to accept this compromise. This isn’t another utilitarian ergonomic device disguised as furniture. It’s a genuinely beautiful piece of technology that happens to be incredibly comfortable to use every day.

Designer: Xing An

Click Here to Buy Now: $249 $349 ($100 off). Hurry, only 10/150 left! Raised over $174,000.

The foundation starts with CNC-machined aluminum construction featuring a carefully executed #150-grit anodized finish. This isn’t just about durability but about creating a tactile surface that feels premium under your fingertips. The mirror-polished concave badge adds a subtle design detail that’s surprisingly difficult to execute on curved surfaces.

Five color options ensure the keyboard works with different aesthetic preferences. Silver and black offer classic minimalism. Pink and red provide bold personality. Dark gold brings warmth to modern setups. Included accent keycaps add just enough color contrast without overwhelming the clean lines.

The split design immediately makes sense once you try it. Position each half at shoulder width and watch your wrists, forearms, and shoulders naturally align into comfortable positions. No more hunching forward or cramping your hands together to fit a traditional keyboard layout.

Traditional keyboards with built-in numpads force your mouse uncomfortably far to the right, creating shoulder and neck tension. The separate numpad can be positioned anywhere you want, keeping your setup balanced and your posture natural throughout long work sessions.

The proprietary wireless system eliminates the lag and connectivity issues that plague many split keyboards. Tri-mode support means seamless switching between Bluetooth, 2.4GHz wireless, and USB-C wired connections across multiple devices and operating systems.

The optional tenting kit lifts each half at ergonomic angles, reducing the forearm rotation that causes long-term strain. Think of how your hand naturally rests on an ergonomic mouse. The tenting recreates that relaxed positioning for both hands simultaneously.

Here’s where things get interesting: the tenting kit doubles as an upright stand, transforming your keyboard into functional art when not in use. This isn’t just clever engineering but a fundamental shift in thinking about what desk accessories can be.

The gasket mount structure sets this apart from other low-profile keyboards. These cushioning elements absorb vibration and create a smoother, quieter typing experience typically found only in premium custom keyboards. It’s a rare feature in compact, split designs.

Custom-developed NocFree switches deliver exactly the right feel for extended typing. The 40-gram actuation force and 1.2mm travel distance reduce finger fatigue compared to heavier mechanical switches or mushy laptop keyboards. A silent switch option handles noise-sensitive environments beautifully.

The familiar 75% layout with dedicated function keys removes the learning curve that intimidates many people away from split keyboards. Both ANSI and ISO versions support regional preferences, making the transition from traditional keyboards practically seamless.

NocFree Link software makes customization surprisingly approachable. Web-based configuration works instantly, while the desktop client offers advanced features like app-based profiles, macros, and eight custom layers. Beginners get simplicity, power users get depth.

This keyboard represents something bigger than just another ergonomic accessory. It’s proof that comfort and beauty don’t have to be mutually exclusive, that thoughtful engineering can create products that enhance both your health and your workspace aesthetic.

The NocFree & represents something we see too rarely: technology that genuinely improves daily life without asking you to compromise elsewhere. It’s proof that when designers truly understand their users, they create products that feel inevitable rather than innovative.

Click Here to Buy Now: $249 $349 ($100 off). Hurry, only 10/150 left! Raised over $174,000.

The post NocFree & Wireless Split Keyboard Turns Ergonomic Typing Into Desk Art first appeared on Yanko Design.

Aug
18

By

Christo and Jeanne-Claude: With Love Through Art

Category: DailyArt Magazine

The post Christo and Jeanne-Claude: With Love Through Art appeared first on DailyArt Magazine.

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