Aug
7

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JA joubert architecture sculpts undulating lakefront district following sloped terrain in tirana

Category: Design Boom

Lake Views introduces new lakefront district in Tirana

 

Lake Views, a 135,000 sqm masterplan by JA Joubert Architecture, introduces a new lakefront district in Tirana, Albania. Positioned between the city’s central park and the Olympic swimming complex, the project redefines the typical urban block through a sloped, view-oriented massing strategy that integrates residential, commercial, and public programs.

 

The project was the result of a privately organized competition won in 2016. It responds to a conventional program with housing positioned above three floors of services and underground parking, by shifting from a repetitive block typology to a sculpted architectural form that follows the terrain. Each unit is angled to maximize exposure to views of the adjacent lake, the city skyline, and the surrounding mountains. This approach ensures that all residences are outward-facing, eliminating rear-facing units. End units feature full-width terraces with integrated planters, providing shading and enhancing indoor-outdoor continuity. The stepped and folded building volumes are designed to optimize natural light, air circulation, and spatial privacy. The development comprises 100,000 sqm above ground and 35,000 sqm below grade, constructed using reinforced concrete and designed to meet seismic class 8 standards in response to local tectonic activity.

all images by Leonit I Brahimi

 

 

JA Joubert Architecture Uses Modular Structural Grid

 

A modular 3.5-meter structural grid, consistent in both plan and section, guides the building system, enabling variation in unit configuration and facade articulation. At ground level, a network of sunken terraces, green corridors, and pedestrian routes fosters a walkable environment. These public spaces provide residents and visitors with access to calm, shaded areas that serve as social infrastructure while remaining buffered from surrounding traffic.

 

With Lake Views, JA Joubert Architecture Studio aims to contribute to Tirana’s evolving architectural landscape, aligning with national strategies aimed at improving urban quality and resilience through contemporary design. The project reflects a broader shift toward mixed-use, view-optimized housing that supports both private living and civic engagement.

Lake Views introduces a new lakefront district in Tirana

positioned between Tirana’s park and Olympic complex

 

 
 
 
 
 
View this post on Instagram
 
 
 
 
 
 
 
 
 
 
 

A post shared by JA Joubert Architecture (@ja_joubertarchitecture)

 

public space integrated as social infrastructure

a sloped district shaped for optimal lake views

a response to Albania’s evolving urban strategy

each unit is oriented toward the skyline and mountains

a folded massing strategy redefines the urban block

terraced volumes follow the natural terrain

full-width balconies with integrated planters provide shade

stepped forms optimize light, privacy, and airflow

outdoor spaces connect with interior living

units vary in size and layout within a unified system

green corridors and sunken terraces activate the ground level

 

project info:

 

name: Lake Views

architects: JA Joubert Architecture | @ja_joubertarchitecture
design team: Marc Joubert, Marianne Miguel, Paul Kroese, Alessandro Guida
location: Tirana, Albania

 

site area: 9 ha

built area: 135,000 sqm (100,000 sqm above grade / 35,000 sqm below grade)

client & contractor: Gener2

photographer: Leonit I Brahimi | @leonitibrahimi

animation: slmnmedia

 

 

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

 

edited by: christina vergopoulou | designboom

The post JA joubert architecture sculpts undulating lakefront district following sloped terrain in tirana appeared first on designboom | architecture & design magazine.

Aug
7

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“It’s like Tetris” – what studio managers want designers to know

Category: Design Week

How has the role of studio manager changed over recent years?

As budgets have been squeezed, and employee well-being has risen in importance, the studio manager role has broadened and become more strategic.

“It’s evolved from purely operational oversight to a hybrid of studio leadership, team coordination, and project management,” says Naima Hidalgo Muñoz, who “wears many hats” at Cardiff-based Toward studio, including studio manager.

“With many teams now working remotely or in hybrid set-ups, studio managers are expected to manage distributed workflows, maintain team cohesion, and ensure deadlines are met without the benefit of in-person oversight—which is challenging!” she adds.

For Jessica Moore, studio assistant at strategy and design studio Dalziel & Pow, as the role has become more diverse, it’s also become more human.

“It’s not just about admin anymore, although yes, I still know where everything is,” she says. “These days I’m also part culture-builder, part unofficial therapist, and occasionally, snack re-stocker.”

“I’m part culture-builder, part unofficial therapist, and occasionally, snack re-stocker.”

In terms of being more strategic, the role plays a more central part in agency life.

“It’s no longer just about scheduling,” says Emily Payne, director of operations at Turner Duckworth.

“It’s about creating the right environment for great work to happen, while navigating tighter budgets, faster turnarounds, and the ongoing challenge of finding the right freelance support.”

And with clients expecting more value for money, “studio planning has had to ‘box smart’ in how we resource projects,” says Becky Drew, WMH&I’s people and planning lead. “Generally, this has meant leaner teams. Ten years ago, we might have had three or four creatives on a project; now it’s typically one or two, supported by a wider network.”

She’s also noticed a welcome shift “towards prioritising mental health, wellbeing, and recognising individual differences. “Creating an environment where people feel respected and able to thrive is key – from rethinking processes to better supporting neurodiversity, to shaping working models that help everyone do their best work.”

Moore at Dalziel & Pow echoes this, talking of “fostering a studio environment where people feel inspired, respected, and like they want to show up, even on a Monday.”

What’s the most time-consuming part of your job, and why?

“Organising creatives is no small feat!” admits SJ Howard-Parkinson, practice manager at Shepherd&.

The architecture and interior design firm has four founding directors, “each with their own unique style of working. Understanding how everyone operates and being adaptable to their approach is absolutely key,” she adds.

“With shifting timelines and sometimes limited budgets, making sure we have the right people in place, while ensuring everyone feels creatively fresh takes constant care and attention,” Payne at Turner Duckworth says.

Drew at WHM&I backs this up. “Acting as the go-between within the studio, the most time-consuming part is gathering information from across the business to stay on top of shifting project statuses.

“Without this, it’s impossible to prioritise studio traffic accurately or fairly, or ensure work is delivered on time and on budget.”

Or as Toward’s Hidalgo Muñoz puts it, “It’s like playing Tetris with people’s time, while trying to keep everyone happy, and projects on track.”

The need to be across many different things at all times can feel non-stop. “Managing the energy, morale and day-to-day flow of a creative studio takes constant attention,” says Dalziel & Pow’s Moore.

What don’t designers understand about your role?

Most of the studio managers we spoke to gave similar answers, which is how much of their work goes unnoticed.

“Many designers don’t see how much behind-the-scenes negotiation, forecasting and fire-fighting goes into making their day run smoothly,” Hidalgo Muñoz says.

“Studio managers are constantly juggling budgets, client expectations, internal politics, and team capacity. We’re not just assigning work – we’re protecting their time, managing stress levels, and creating an environment where creativity can actually happen,” she adds.

Payne has a similar take. “Behind the scenes, there’s a lot of juggling and working with our client services team to make sure projects run smoothly, deadlines are realistic, and we’re not over-promising to clients.”

Likewise, Drew sees a studio manager’s job as lifting the pressure off designers so they can focus on the creative. “We’re there to smooth the process, spot issues before they arise, and reduce stress by bridging the gap between creative and client services.”

So it’s not just about shuffling meeting rooms, as useful as that is. Moore describes herself as the Wi-Fi whisperer, snack supplier and unofficial crisis counsellor.

“No matter what’s going on, I want people to feel they can come to me for anything, even if it’s just to ask where the good biscuits are.”

Howard-Parkinson is just a year into the design industry, and feels she could do with “a design industry-specific dictionary.”

“Maybe it’s just me being fairly new to the design world, but I often find myself googling abbreviations and phrases. There’s so much to learn, and no two projects or clients are the same.”

What’s the one thing designers could do to make your life easier?

Labelling is top of Moore’s list. “You’d be amazed at how quickly a studio turns into a tile-themed escape room when samples start showing up unlabelled.

“If designers could take five seconds to label samples, it would save me time and save me from writing emails that start with, ‘Hey, anyone’s sample?’.”

Meanwhile, Howard-Parkinson, who was previously in the hospitality industry, values a convivial atmosphere.

“I genuinely believe that everything runs smoother when the vibe is good. The most important part of any workplace is how people treat each other, and mutual respect is everything. A few jokes along the way help, but kindness and a friendly environment make all the difference.”

She, Payne, Hidalgo Muñoz and Drew all highlight communication. “Just keep talking to me,” Payne says. “A quick check-in or flagging something early helps me stay ahead of issues and support the team as best I can.”

Howard-Parkinson agrees. “Clear communication and straightforward direction are crucial, even if that can be a bit of a challenge when working with creative minds, but that’s part of the fun.

Because without communication, Drew says, “everything unravels.” Hidalgo Muñoz agrees. “It’s surprises that throw everything off.”

What’s the worst thing a designer can say to a studio manager?

Naima Hidalgo Muñoz: “Can I just have more time?” That usually means a cascade of scheduling headaches, unhappy clients and resource reshuffling.”

Emily Payne: “I didn’t realise this was due today.” When timelines are tight, surprises like that can throw everything off. A quick heads-up can make all the difference.

SJ Howard-Parkinson: It’s those little requests that pop up all the time, usually when you least expect them! “Hey, remember those 50 drawings I asked you to print the other day? Any chance you could reprint them for me?”

Source

Aug
7

By

Modular furniture uses two mirrored pieces with single mold

Category: YankoDesign

AGNI is a fresh take on modular furniture, blending innovation, sustainability, and timeless design into a single collection. Born from a single, cleverly designed element, AGNI unlocks endless possibilities for your home. With just two mirrored pieces, you can create a bench, a stool, a shelf, or a side table. This flexibility is made possible by a smart technical solution: molded plywood. By using a single mold, the designers have created a part that serves as the backbone for multiple objects, making AGNI both eco-friendly and cost-effective.

The basic element for this collection is that it can be cut to different lengths, adapting easily to different needs and spaces. Whether you need a compact stool for a small nook or a long bench for your hallway, AGNI delivers, all while keeping the production process streamlined. This makes it especially relevant for modern lifestyles where adaptability and efficiency are key. The ability to switch between uses and customize the length makes AGNI a favorite among those who love both design and functionality.

Designer: Jose Cabrita

AGNI’s design is more complex than it appears at first glance. Crafting each piece requires technical expertise in working with wood and a deep understanding of industrial manufacturing. The molded plywood ensures strength and durability while maintaining a smooth, elegant finish. Only the best wood is sourced, coming exclusively from French forests managed with a sustainable approach. This not only ensures quality but also respects the environment, which is increasingly important to today’s conscious consumers.

One of the standout features of AGNI furniture is its efficient packaging. The pieces are shipped head-to-tail, maximizing space and reducing shipping costs. Assembly is simple and intuitive, allowing users to set up their furniture with ease. The cover for each piece is removable, making it easy to change, clean, or replace. The cushion uses a low-impact foam and is made in France, further reducing the product’s carbon footprint and supporting local industry.

AGNI’s esthetic is clean and contemporary, fitting seamlessly into a range of interior styles. Whether you prefer natural wood, bold colors, or minimalist tones, the collection can be customized to suit your taste and budget. Its understated elegance means it looks just as good in a modern loft as it does in a cozy reading corner. Plus, the integrated storage options, like elastic bands for magazines or shoes, make each piece as practical as it is beautiful. Space and resources are more valuable than ever now and AGNI stands out as a smart choice for those who want lasting design, versatility, and a commitment to sustainability.

The post Modular furniture uses two mirrored pieces with single mold first appeared on Yanko Design.

Aug
7

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Compact, eco-friendly printer simplifies printing for the common man

Category: YankoDesign

The SMÅ printer is a breath of fresh air for anyone tired of bulky, complicated printers that take up too much space and cause endless frustration. Designed with the modern user in mind, SMÅ stands out for its compact footprint, smart features, and eco-conscious design. If you have ever felt overwhelmed by traditional printers, this device is made to make your life easier.

This printer’s focus is on being small, smart, and sustainable. Instead of the usual big boxy machines, SMÅ uses a vertical layout, keeping the device slim and saving valuable desk space. The paper feed comes from the top and doubles as storage for up to 120 sheets, so you do not need an extra paper tray. For multiple pages, a neat transparent extension ensures nothing slides off the front.

Designer: Jakob Höxtermann

Simplicity is at the heart of this printer’s design. Many people struggle with printers that have too many buttons and confusing menus. SMÅ has just three buttons: power, stop, and a setup button for rare occasions. A clear LED light tells you exactly what is happening. White means everything is ready, orange signals that you need to replace the ink, and red alerts you to a paper jam or another issue. It is designed to keep things straightforward so anyone can use it with confidence. Connecting SMÅ to your computer or smartphone is easy thanks to intuitive software. The setup process takes just a few clicks and guides you through everything you need, including tips to save paper and ink. This makes SMÅ a great fit for anyone who wants to print without hassle or technical headaches.

Sustainability is another big win for SMÅ. Many printers are hard to recycle because they use glue and mixed materials. SMÅ is different. It is held together with screws, making it easy to take apart and recycle when the time comes. The design also helps you use less paper and ink, so you are not just saving money but helping the planet too. Changing ink cartridges is no longer a chore. With SMÅ, you simply slide up the outer shell, swap out the cartridge with one hand, and you are done. Maintenance is easy and mess-free, which is perfect for anyone who does not want to deal with complicated repairs.

Visually, SMÅ blends right into any workspace. Its minimalist look and soft edges mean it does not stick out or look like another clunky gadget. Instead, it becomes part of your environment, keeping your desk tidy and modern. In short, SMÅ is a printer designed for people who want less fuss and more function. It is compact, easy to use, and gentle on the environment. If you are looking for a printer that simply works and looks good doing it, SMÅ could be the perfect addition to your home or office.

The post Compact, eco-friendly printer simplifies printing for the common man first appeared on Yanko Design.

Aug
7

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herzog & de meuron to revive marcel breuer’s NYC icon as sotheby’s global headquarters

Category: Design Boom

Herzog & de Meuron to Turn Breuer Building into SothebY’s HQ

 

Herzog & de Meuron restores one of New York’s iconic examples of urban Brutalism, the Breuer Building, set to open to the public in late 2025 as the new global headquarters of Sotheby’s, marking the latest chapter in the life of a structure that has continually adapted to house some of the city’s most significant art collections.

 

The restoration, in collaboration with local firm Platt Byard Dovell White Architects (PBDW), embraces a ‘light-touch’ approach, retaining Breuer’s original materials and spatial intentions while updating infrastructure to improve accessibility, curatorial flexibility, and the visitor experience. The character-defining features of the building remain intact, including bush-hammered concrete walls, coffered ceilings, mahogany finishes, and bluestone floors. Yet new interventions, such as a discreetly inserted elevator and revamped lighting systems, prepare the building for diverse programming. 

Herzog & de Meuron restores the Breuer Building | images courtesy of Herzog & de Meuron

 

 

A New Chapter for new york’s Brutalist Icon

 

Originally completed in 1966 by Bauhaus-trained architect Marcel Breuer for the Whitney Museum of American Art, the inverted ziggurat form, with its recessed windows and robust concrete facade, was designed to provoke. Since its opening, the building has served as a home for art, temporarily housing the Metropolitan Museum of Art and the Frick Collection after the Whitney’s departure in 2014. Now, nearly 60 years later, Sotheby’s takes over as steward of the building’s next phase, preserving its cultural role while offering free public access for the first time in its history. 

 

Τhe project embraces the contradictions of the building, retaining the severe materiality of the lobby, including bronze, concrete, and wood finishes, but now integrates vitrines and display counters in dialogue with Breuer’s original benches. On the gallery floors, the design team at Herzog & de Meuron reinterprets the irregular window openings as curatorial assets, using them to organize the space and reintroduce a connection with the street. Formerly dim interiors are brightened through layered lighting strategies that allow the building to support new media and a wider range of exhibitions.

retaining the severe materiality of the lobby

 

 

a shift from museum to auction house

 

According to Jacques Herzog, the firm sees this project as part of a long-standing practice of working with existing buildings. ‘We have always admired the Breuer Building,’ he notes, describing it as ‘an architectural icon of postwar modernism.’ Like their earlier work on the Park Avenue Armory, the design team approaches this intervention with a sense of excitement and responsibility, aiming to restore lost spatial clarity and make the building relevant for a new audience and function.

 

As the city continues to grow and build in all directions, the transformation of the Breuer Building offers an approach that values the past while shaping the future. Once a museum and soon to be an auction house, the building is shifting from one part of the art world to another, remaining a striking presence.

formerly dim interiors are brightened through layered lighting strategies

vitrines and display counters dialogue with Breuer’s original benches

the team reinterprets the irregular window openings as curatorial assets

 

 

project info:

 

name: Sotheby’s Global Headquarters

building: The Breuer Building (originally Whitney Museum of American Art)

original architect: Marcel Breuer (1966)

renovation architect: Herzon & de Meuron | @HerzogdeMeuron

executive architect & preservation: Platt Byard Dovell White Architects (PBDW) | @pbdwarchitects

location: 945 Madison Avenue, New York, NY, USA

site area: 1,200 square meters (12,916 sqft)

gross floor area (GFA): 7,268 square meters (78,232 sqft)

 

client: Sotheby’s | @sothebys

design team: Jacques Herzog, Pierre de Meuron, Wim Walschap (Partner in Charge), Philip Schmerbeck (Associate, Project Director), Jackie Bae (Associate, Project Manager), Bethany Herrmann (Project Designer), Farhad Ahmad, Marija Brdarski, Javier de Cárdenas Canomanuel, Sebastian Frowein, Nathan Mehl, Melodie Sanchez

structural engineering: Silman Structural Solution / TYLin

MEPFP engineering: AMA Group USA

lighting design: Tillotson Design Associates

AV & low voltage consulting: TMT Technology

acoustic consulting: Eligator Acoustics Associates

geotechnical consulting: Langan Engineering and Environmental Services

vertical transportation: DTM Inc.

life safety: Homes Keogh Associates

code consulting: Gillman Consulting Inc.

waterproofing & special inspections: Socotec Engineering, Inc.

contractor: J.T. Magen

The post herzog & de meuron to revive marcel breuer’s NYC icon as sotheby’s global headquarters appeared first on designboom | architecture & design magazine.

Aug
7

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project rebirth proposes AI airplane crash survival system with inflating external airbags

Category: Design Boom

Project rebirth uses Inflatables to survive airplane crash

 

Project Rebirth introduces the idea of an AI-powered airplane crash survival system that uses inflating external airbags to reduce impact during abrupt landing. A concept by Eshel Wasim and Dharsan Srinivasan from BITS Pilani (Dubai), it works by using sensors and AI software, which can detect when a crash is going to happen.

 

If the system predicts that the crash cannot be stopped, and if the aircraft is flying below 3,000 feet, it activates the system automatically, wrapping the aircraft with inflating external airbags (pilots can also stop the system manually if needed). The system, which appears on The James Dyson Award 2025 entries, also monitors engine status, direction, speed, altitude, temperature, and pilot activity before it makes the decision on its own.

all images courtesy of Eshel Wasim and Dharsan Srinivasan via The James Dyson Award

 

 

GPS devices and flashing lights around aircraft for rescue teams

 

The team’s idea employs a set of high-speed airbags placed at the front, bottom, and back of the aircraft. These multi-layered materials are dubbed to deploy in under two seconds and absorb impact and reduce damage to the aircraft and people on board. If the engines are still working, the reverse thrust feature is activated, which slows the aircraft down before it hits the ground. 

 

If the engines aren’t working, gas thrusters get triggered to reduce the aircraft’s speed and stabilize it during landing. The last part of the system, which forms part of The James Dyson Award 2025 entries, is the rescue aid. Here, Project Rebirth suggests painting the aircraft’s shell with bright orange and equipping the vehicle with infrared beacons, GPS devices, and flashing lights for the airplane crash survival system. These make the crash site easy to find, allowing the rescue teams to get to the site faster.

the idea of the AI airplane crash survival system uses inflating external airbags to reduce impact

 

 

Design team builds the Prototype of the AI software 

 

The design of Project Rebirth is based on three goals: slowing down the aircraft before it hits the ground, absorbing the force of the crash, and helping rescuers arrive quickly. The team from BITS Pilani, Dubai campus, has studied existing systems used in planes and the military and looked at crash reports and scientific materials like Kevlar, TPU, Zylon, and smart fluids. From here, the AI airplane crash survival system has emerged. So far, a small prototype of the system has already been built, which uses sensors, carbon dioxide canisters, and microcontrollers. The AI software controls all the safety parts for Project Rebirth’s airplane crash survival system.

 

It reads changes in speed, force, and vibration, then it starts the safety actions in order. The team has already tested the system in computer simulations, with results showing a reduced impact by more than 60 percent. They’ve also prepared data, results, and designs, with a plan to work with airplane manufacturers and labs to build full-size models and test the project in wind tunnels and crash simulations. The team adds that Project REBIRTH is made to work in both new and old airplanes as a crash survival system and that airlines can install the system on planes already in service. So far, Eshel Wasim and Dharsan Srinivasan’s AI airplane crash survival system named Project Rebirth appears among The James Dyson Award 2025 entries.

view of the system automatically wrapping the aircraft with inflating external airbags

so far, Project Rebirth appears among The James Dyson Award 2025 entries

 

 

project info:

 

name: Project Rebirth

design: Eshel Wasim and Dharsan Srinivasan

institution: BITS Pilani, Dubai campus | @bitspilaniofficial

entry: James Dyson Award 2025 | @jamesdysonaward

The post project rebirth proposes AI airplane crash survival system with inflating external airbags appeared first on designboom | architecture & design magazine.

Aug
7

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TORRAS’ Q3 air series expands its smartphone case lineup with an all-in-one design

Category: Design Boom

TORRAS’ THIRD-GENERATION PHONE CASE UPGRADES DAILY ESSENTIALS

 

The TORRAS Q3 Air Series, the third-generation evolution of its iconic stand-case lineup, continues TORRAS’s mission to elevate smartphone cases into essential lifestyle tools. Building on the success of predecessors like the Ostand Air, this upgraded series – designed for iPhone 15 Pro / Pro Max and 16 Pro / Pro Max – redefines how users integrate their phones into diverse everyday and outdoor moments, transforming them from mere protective shells into sophisticated all-in-one solutions.

the Q3 Air Series redefines the phone case as an all-in-one essential | all images courtesy of TORRAS

 

 

FROM PROTECTIVE SHELLS TO SOPHISTICATED LIFESTYLE TOOLS

 

TORRAS has firmly established itself as a pioneer and core innovator in the stand-based phone case world, built on a long-standing commitment to design-driven technology and an unwavering focus on user experience. The brand has cultivated a global reputation for creating products that masterfully blend practical versatility with sophisticated style, positioning themselves as leaders in a refined segment of the mobile accessory market. This dedication is fueled by extensive research and development, ensuring continuous improvement and cutting-edge design in every TORRAS phone accessory.

the series launches in three flagship shades: Lava Red, Glacier Sprint, and Shadow Black

 

 

THE Q3 SERIES UNITES PRACTICAL VERSATILITY WITH USER-CENTRIC DESIGN

 

Whether mastering a new recipe in the kitchen or following a guided workout at the gym, the TORRAS Q3 Air Series offers intuitive, hands-free convenience that illustrates its true adaptability to any scenario. The case transitions with ease from professional environments to outdoor adventures, or practical and relaxed moments at home. 

 

At the heart of this versatility lies TORRAS’s signature 360-degree Spin Stand Technology, upgraded for smoother, sturdier rotation. A key advancement allows the integrated stand to securely adhere to smooth surfaces like glass and tiles, providing expanded utility in previously challenging environments. When not in use, the stand folds perfectly flush with the case back, maintaining a sleek, bulk-free profile, and ensures flawless MagSafe compatibility for a truly integrated ecosystem.

the integrated 360-degree stand offers hands freedom for any adventure

 

 

The case also features a unique hybrid construction with strategically placed air cushions on the top and bottom edges, fused with textured lattice sides. This design enhances grip and shock absorption without adding bulk, contributing to its refined aesthetic. The back panel incorporates TORRAS’s exclusive Tora-Smooth® coating with an anti-smudge treatment, resulting in a distinctively soft touch and a fingerprint and yellowing-resistant surface. Protection is further advanced with a dedicated ring-shaped airbag cushion designed to safeguard the camera lens against drops and scratches.

 

The Q3 Air Series phone case is available in three signature shades: Lava Red, Glacier Sprint, and Shadow Black. For more information and to purchase, visit the TORRAS website or Amazon.

air cushions on the top and bottom edges provide optimal shock absorption

the phone cases are designed to adapt to every scenario, from commuting to any outdoor adventure

protective yet elegant, the Q3 Air Series strikes a perfect balance between form and function

a revolutionary stand with the power to adhere securely to smooth surfaces like glass

the exclusive Tora-Smooth® coating delivers a soft, refined touch and a fingerprint-resistant finish

seamlessly compatible with MagSafe, the case offers effortless charging and accessory attachment

with TORRAS’s proprietary X-SHOCK airbag technology, the Q3 Air combines slim form with superior shock absorption

 

 

project info:

 

name: TORRAS Q3 Air Series

brand: TORRAS | @torras_global

The post TORRAS’ Q3 air series expands its smartphone case lineup with an all-in-one design appeared first on designboom | architecture & design magazine.

Aug
7

By

Tothepoint brands new scheme to boost London’s biggest and most maligned borough

Category: Design Week

Tothepoint has created the branding for a new loyalty scheme for Croydon, building on its previous work for London’s biggest borough.

It has around 390,000 residents, of which more than 190,000 live in the town of Croydon itself, and it’s also home to big employers like the Home Office.

But Croydon has sometimes struggled with its reputation. In 2013, a poll named it the second crappiest town in the country and last year it was named “the most depressing place” to live in London, and the 12th most depressing in the UK.

This led to a feisty backlash though – last August The Telegraph ran a piece headlined, “Why Everything You Think About Croydon Is Wrong” which praised its spirit and innovation, and argued that “Britain’s most slandered town does not deserve its reputation.”

Tothepoint’s new visuals for the Checkout Croydon scheme

Like many UK high streets, “Croydon town centre is struggling,” says Matthew Sims, who has been chief executive of Croydon Business Improvement District (BID) since 2012. Part of his remit is to encourage more people to spend more time and money in the town centre.

BIDs are defined areas in which local businesses have voted to invest together to improve the local environment. Croydon BID is the biggest in the UK, and represents 500 businesses.

Sims and his team launched a discount card, designed by London-based studio Tothepoint, around 10 years ago, but it struggled to collect exclusive offers, and was short-lived.

This new iteration of Checkout Croydon is purely digital, and it’s open to employees, visitors and residents – other BID discount cards tend to be open just to employees.

Sim believes that “some towns and cities can be too risk-averse with campaigns. Creatively, we wanted it to be risky, different and to stand out.”

Tothepoint’s team was responsible for the brand concept, advertising, web development, campaign messaging and animated content.

The identity not only had to stand out so that it would drive public engagement, it also had to sit cohesively within Croydon BID’s broader marketing ecosystem.

Tothepoint has been working with the client for more than eight years. “Too often, I see businesses changing their approach to creative design from agency to agency,” says Sims. Instead, he wanted a long-term relationship for consistency and the studio’s ability “to take a campaign and really unpack it.”

Tothepoint’s redesign for Croydon BID

Previously, Tothepoint oversaw a brand refresh and redesigned website for the Croydon BID, which both went live in May 2024.

The new website merged previously separate BID and consumer websites into one offering, while having a clear split between business and leisure – blue and Avant Garde font for the former; pink and Silka font for the latter.

“Previously, they were competing against each other for attention,” says Tothepoint head of digital, James Hipkiss.

Tothepoint’s new visuals for the Checkout Croydon scheme

For Checkout Croydon, the designers looked at other BID websites, noting that in the US, where BIDs have blossomed, they are geared towards the consumer.

The Checkout Croydon brand mark has two interlocking C’s – for Checkout and Croydon – which form a subtle pin location icon. Its neon pink background is intended to be highly visible, and create digital impact.

For the Checkout Croydon campaign, Tothepoint set out to make direct connections with the target audience.

Creative director Kevin Cox says he and his team made a “conscious effort to bring in humour, and reflect the multicultural and working-class make-up of Croydon.”

Sims backs this up. “We wanted to talk to the punter, the customer, wherever you are, at work, in the pub, in the toilets. It had to be playful and put a smile on people’s faces.”

Tothepoint’s new visuals for the Checkout Croydon scheme

To avoid sounding corporate, Tothepoint went for conversational copy and cheeky wordplay across the card’s five categories of eating, drinking, entertainment, shopping and general.

“We were trying to test the water with street talk – we felt it might make even more of a connection,” says Cox.

They also developed a series of animated animal characters, and paired each with a headline. So eating’s “Deals to drool over” is illustrated by a big dog sitting at a dining table, saliva pouring out of its mouth as it eyes a burger.

Tothepoint used AI to implement the visual side of the concept more cost effectively.

“Checkout Croydon is not a silver bullet, but provides a tool,” says Sims. “The card offers businesses a chance to gain new custom, and keep current custom.”

In the first two days, there were 1,200 sign-ups, and website traffic was double those of a typical month.

Tothepoint’s new visuals for the Checkout Croydon scheme

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Aug
7

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body buildings: antony gormley explores architecture of the human form in upcoming book

Category: Design Boom

artist monograph to publish fall 2025

 

Antony Gormley, Body Buildings is an upcoming monograph that documents the British artist’s recent solo exhibition at Galleria Continua in Beijing. The book further reflects on his three-decade engagement with the cultural and architectural landscape of China. Set for U.S. release by Skira on October 7th, 2025, the hardcover volume brings together sculpture, drawing, and archival material to explore the evolving relationship between body and built environment.

 

The book is organized around the exhibition Body Buildings, which ran from November 14th, 2024 — April 14th, 2025. It foregrounds Gormley’s use of clay and iron — materials fundamental to both construction and the earth itself — as a medium for probing the spatial conditions of urban life. At the center is Resting Place II (2024), an installation that anchors a broader sequence of recent works developed in response to the verticality and density of contemporary architectural contexts.

Antony Gormley, Body Buildings, cover | image courtesy SKIRA

 

 

Sculpture as Spatial Inquiry

 

Photographic documentation of the Body Buildings exhibition situates Antony Gormley’s sculptures within the architecture of the gallery and the city beyond it. These pieces, often geometric and massed from block-like volumes, trace the human figure within architectural constraints, suggesting a reciprocal influence between physical form and structural order. The sculptures are never illustrative. Instead, they operate as spatial propositions, articulating how the body occupies the space or yields to the logic of construction.

 

This line of inquiry is extended through the artist’s drawings, many of which appear in published form for the first time in this volume. With media ranging from walnut ink to blood, the drawings are investigative rather than preparatory, offering a daily practice that parallels and deepens the sculptural process. Their tactile surfaces and sedimentary layers evoke geological and corporeal processes, reinforcing the shared material language between human and environment.

 

the book documents Antony Gormley’s Beijing exhibition, Body Buildings

 

 

anthony gormley’s dialogue with china

 

Alongside documentation of recent work, Antony Gormley, Body Buildings includes an image-based essay that traces the artist’s sustained relationship with China and its architecture — from his first research trip in 1995 to major installations such as Asian Field (2003), Event Horizon (2007), and Host (2016). The photo essay, drawn from Gormley’s own archive, follows a route from the Forbidden City to Xi’an’s Terracotta Army, recording sites that have continued to inform the conceptual and formal underpinnings of his work.

 

The publication includes newly commissioned essays by curator Hou Hanru and literary historian Stephen Greenblatt. Their contributions contextualize the evolution of this body of work within both regional history and a broader philosophical frame, locating Gormley’s inquiry within global conversations about embodiment, urbanism, and scale.

sculptures and drawings explore body and architecture

clay and iron evoke shared material origins

a photo essay traces the artist’s early trips to China

Resting Place II anchors the new installation work

the publication includes essays by curator Hou Hanru and literary historian Stephen Greenblatt

unpublished drawings reveal Gormley’s daily practice

 

project info:

 

name: Antony Gormley, Body Buildings

artist: Antony Gormley 

publisher: Skira | @skira_arte

author: Stephen Greenblatt, Antony Gormley, Hou Hanru

gallery: Galleria Continua, Beijing

publication: October 7th, 2025 (U.S.)

The post body buildings: antony gormley explores architecture of the human form in upcoming book appeared first on designboom | architecture & design magazine.

Aug
7

By

a look at wedge cars from 60s and 70s, from lancia stratos HF zero to lamborghini countach

Category: Design Boom

Exhibition of Wedge cars in Petersen Automotive Museum

 

Petersen Automotive Museum shows some of the iconic wedge cars from the 60s and 70s in an exhibition, from the 1970 Lancia Stratos HF Zero to the 1974 Lamborghini Countach LP400 Periscopio. Titled The Wedge Revolution: Cars on the Cutting Edge, the show spotlights wedge-shaped automotive design that features angular silhouettes, faceted planes, and even bold geometric forms. These are some of the car concepts and designs that defined the era from the mid-1960s through the early 1980s, with their forward-looking, and quite literally, styles.

 

Some of the vehicles include models from Aston Martin, Chevrolet, Lamborghini, and Lancia. The exhibition takes the chance to showcase the wedge‑car design movement that emerged as a stray from the curvaceous, chrome-laden styling of earlier eras, visibly favoring a futuristic aesthetic instead of the typical aerodynamic-focused production. Designers such as Marcello Gandini, Giorgetto Giugiaro, Sergio Coggiola, William Towns, and Jerry Palmer played a central role in this visual revolution, and their names appear in the exhibition, a rightful recognition for their progressive wedge-car works.

1970 Lancia Stratos HF Zero | all images courtesy of Petersen Automotive Museum

 

 

Futuristic Vehicles from mid-60s to early 80s

 

There are thirteen wedge cars featured in the exhibition at the Petersen Automotive Museum, each chosen for their historical significance. There’s the 1966 Cannara I, considered one of the earliest wedge cars ever built, as it predated well-known wedges like the Carabo or the Bizzarrini Manta. The vehicle represents a pioneering point in wedge evolution, especially given its very early introduction date. 

 

In another area within the show, the 1970 Lancia Stratos HF Zero, an iconic concept by Bertone and Lancia, emerges. It was first shown at the 1970 Turin Auto Show, a year before the Stratos prototype and three years before the production model arrived. Its design stands out with its sharply tapered, sculptural form, which later on became emblematic in the field of wedge cars.

Petersen Automotive Museum exhibits some of the iconic wedge cars from the 60s and 70s

 

 

Lamborghini Countach and Aston Martin Bulldog on site

 

The 1974 Lamborghini Countach LP400 Periscopio as well as the 1979 Aston Martin Bulldog grace the exhibition of wedge cars, too. The former, the brainchild of Marcello Gandini, brings over its rear periscope roof repeater defined angular, extreme wedge aesthetics. The latter, a one-off prototype built to chase a 200 mph top speed, unveils its sharply folded surfaces and low silhouette right in front of the visitors’ eyes. 

 

The 1976 Chevrolet Aerovette is also present, a mid-engine concept from GM’s design labs, which explored the use of rotary engines, gullwing doors, and futuristic proportions decades before mid-engine Corvettes became mainstream. Each vehicle in the exhibit is accompanied by a detailed placard describing its backstory, from original design intent and coachbuilder involvement to public debut and why it mattered to the evolution of car styling. The Wedge Revolution: Cars on the Cutting Edge opened on August 2nd, 2025, located in the Sam and Emily Mann Design Gallery on the second floor of the Petersen Automotive Museum on Wilshire Boulevard, Los Angeles. 

side profile of the 1970 Lancia Stratos HF Zero with the front and rear trunks open

1977 UrbaCar

1979 Aston Martin Bulldog with sharply folded surfaces and low silhouette

1974 Lamborghini Countach LP400 Periscopio

1966 Cannara I

1981 DeLorean DMC-12 Coupe Gold

1976 Lancia Stratos HF Stradale by Bertone

the 1966 Cannara I

exhibition view

the exhibition is named The Wedge Revolution: Cars on the Cutting Edge

the show spotlights wedge-shaped automotive design that features angular silhouettes and faceted planes

the show opened on August 2nd, 2025

 

project info:

 

name: The Wedge Revolution: Cars on the Cutting Edge

museum: Petersen Automotive Museum | @petersenmuseum

The post a look at wedge cars from 60s and 70s, from lancia stratos HF zero to lamborghini countach appeared first on designboom | architecture & design magazine.

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