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real-life honda koraidon pokémon motorcycle runs and blinks during its suzuka circuit debut

Japan debut of real-life honda koraidon pokémon motorcycle

 

At the Suzuka International Circuit in Mie Prefecture, Japan, Honda debuts the real-life Koraidon Pokémon motorcycle that runs and blinks. Taking place between August 1st and 3rd, 2025, the unveiling occurred at the 2025 FIM Endurance World Championship Suzuka 8 Hours Road Race in Japan. 

 

On the last day, the Honda Koraidon made its appearance for the first time in an on-road demonstration. Viewers were able to witness the Pokémon motorcycle autonomously run and blink at the racetrack, an anticipated debut since its introduction in early 2025 as a concept ride. Its legs and arms moved forward as its eyes blinked. After a short sprint, it stopped. A viewer then walked up to the motorcycle, highlighting its life-size form.

all images courtesy of Honda Japan

 

 

Sprinting build of the concept ride at suzuka 8 hours

 

The Honda motorcycle is based on the shape of Koraidon, a fictional Pokémon character from the video game Pokémon Scarlet. The vehicle is a collaboration between Honda and The Pokémon Company, where the former brought over its past experience in motorcycle design and production to replicate the shape, size, and proportions of Koraidon. The result then is a life-size vehicle that resembles the original as closely as possible, both in appearance and function. The Honda Koraidon includes several types of mobility functions, inspired by the moves of the Pokémon character. In the game, it moves in different ways: walking, sprinting, swimming, and gliding. 

 

During its debut at the Suzuka 8 Hours event, the company showed the Sprinting Build, where the motorcycle ran forward using its movable limbs. The Honda Koraidon Pokemon motorcycle also includes self-balancing technology at the debut alongside the stands on both sides of the ride. It helps the vehicle keep stable without falling over, even while standing still, a technology developed by Honda’s research team and used to maintain motion balance in the brand’s electric motorcycles. Before its real-life debut, the Koraidon Pokémon motorcycle first appeared in March 2025 at the Honda Welcome Plaza Aoyama in Tokyo. That version did not move and was only used to show the exterior and design. The on-road run at Suzuka is the first time the vehicle performs live in front of the public.

at the Suzuka International Circuit in Japan, Honda debuts the real-life Koraidon Pokémon motorcycle

the Honda Koraidon made its appearance for the first time in an on-road demonstration

viewers were able to witness the Pokémon motorcycle autonomously run and blink at the racetrack

glimpse at the short demonstration on track

 

 
 
 
 
 
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A post shared by Honda HRC (@hondaracingcorporation)

video documenting the short run of the concept ride

 

 

project info:

 

name: Honda Koraidon

company: Honda, Pokèmon | @hondajp, @pokemon

debut: 2025 FIM Endurance World Championship Suzuka 8 Hours Road Race 

The post real-life honda koraidon pokémon motorcycle runs and blinks during its suzuka circuit debut appeared first on designboom | architecture & design magazine.

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ASPECT studios’ regenerative campus landscape for alibaba stands on multi-story podium

ASPECT Studios designs Alibaba’s regenerative campus landscape

 

Located in Hangzhou, China, the Alibaba Xixi Campus (Park C) is a 26-hectare landscape development designed by ASPECT Studios. Situated entirely atop a multi-story podium, the project integrates a complex natural system into a dense, urban workplace environment, supporting a community of approximately 30,000 people. The landscape design prioritizes ecological function, water management, and user experience, establishing a framework for future campus and urban developments in similar conditions.

 

The park is built over an elevated structural platform, requiring specific design strategies to support planting, water management, and long-term ecological performance. Engineered soil depths, adaptive planting systems, and an integrated stormwater harvesting network form the basis of the site’s environmental infrastructure. These interventions create a resilient landscape capable of supporting diverse vegetation and maintaining hydrological performance under changing conditions. A key design element is the stormwater management system, developed through algorithmic hydrological analysis. Bio-swales and engineered channels function as surface-level infrastructure, guiding water across the site into a central lake. This lake serves multiple roles, as a visual and social centerpiece, an irrigation reservoir, and a tool for managing flood risk. A pavilion structure positioned at the lake edge provides shaded terraces and public seating, linking water infrastructure with programmatic and community functions.

all images by Wang Wenjie

 

 

Human-centered planning enhances accessibility on the Campus

 

Spatial planning across the campus is informed by circulation data, sun path analysis, and user movement patterns. A network of pedestrian paths and open spaces supports a variety of functions, from quiet individual use to larger gatherings. Distributed throughout the campus, a series of lightweight architectural elements, referred to as ‘halo canopies,’ offer visual continuity and microclimatic benefits, including shade and rain protection. The design applies the ‘BioHabiNet’ framework, a methodology developed by ASPECT Studios’ team to integrate biodiversity, hydrology, and public programming. This approach organizes the campus landscape into a series of interlinked ecological zones, responding to the site’s microclimate and promoting habitat creation. The use of native and climate-adapted species further supports biodiversity and reduces the demand for maintenance inputs.

 

The campus landscape is intended to function as a workplace environment that facilitates interaction, rest, and movement. Open spaces are programmed to support flexible usage patterns, allowing employees and visitors to engage with the landscape throughout the day. Human-centered design principles guide the spatial layout, prioritizing accessibility, comfort, and connectivity across the site. Alibaba Xixi Campus (Park C) reflects a broader shift in urban development toward integrated natural systems within complex architectural frameworks. Through its combination of ecological function, infrastructural logic, and spatial programming, the project proposes a replicable model for high-density, podium-based environments seeking long-term resilience and environmental performance.

elevated entirely on a multi-storey podium, the campus landscape redefines urban green space

a network of bioswales and channels directs stormwater into the central lake

‘halo canopies’ provide shade and unify the visual identity of the site

layered spatial zones accommodate both quiet retreat and active gatherings

human-centered planning enhances accessibility and flow across the campus

the 26-hectare site integrates ecological systems into a dense workplace environment

the lake acts as a reservoir, public gathering space, and key stormwater feature

landscape strategy prioritizes long-term resilience and hydrological performance

circulation paths are informed by sun patterns and movement data

landscape spaces are programmed for flexibility throughout the workday

Alibaba Xixi Campus offers a replicable model for nature-integrated design

the campus blends ecological function with architectural performance

 

project info:

 

name: Alibaba Xixi Campus

landscape architect: Aspect Studios | @aspectstudios
design team: Stephen Buckle, Ann Yang, Sam Xu, Haining Feng, Ella Chen, Christina Ma, Kevin Shi, Karen Feng, Cherry Lei, Jay Yang, Lemon Liao, Pigeons Chua, Honghui Zhang, Lauren Fu

location: Hangzhou, China

area: 260000 sqm

photographer: Wang Wenjie

 

 

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 ASPECT studios’ regenerative campus landscape for alibaba stands on multi-story podium appeared first on designboom | architecture & design magazine.

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How is Taxi Studio using AI?

Taxi Studio is a Bristol-based brand and design agency which works with clients like Carlsberg, Coca-Cola and the BBC. Here the studio’s AI lead, Stu Tallis, explains how they are using 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?

It’s fair to say that I’m both excited and nervous in equal measure. It’s not often that advancements in technology have such a seismic impact on an industry. With AI, the impact isn’t confined to one industry, it’s every industry, globally. This is big.

AI is going to fundamentally change how we work and how human value is perceived, and that’s the key aspect we should be focusing on.

We will all be using AI tools and platforms moving forward (in fact, many of us already are, whether we realise it or not) whether that’s automating repetitive tasks, augmenting our creative process, or acting as a digital advisor.

What we need to focus on is having a clear point of view about where we as humans add irreplaceable value.

Where, without us, the work simply wouldn’t be as good. For now, one thing AI can’t replicate is empathy, understanding human emotion, or having that gut instinct that tells you, “Something about this doesn’t feel right,” and then exploring that insight to create something extraordinary.

What excites me most is that AI will open doors. New opportunities, new ways of thinking, and new creative approaches.

But I’m also nervous because AI will inevitably take over many production tasks, and that will result in some job losses. As someone with emotions and empathy, I can’t ignore that.

Still, I believe that the human ability to dream, feel, and intuit will always remain a crucial and irreplaceable part of the creative process.

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

Yes, we do. In March 2024, after months of exploring, experimenting, and attending seminars and talks on AI, we concluded that this technology is here to stay and it was going to change everything.

At the same time, it was evolving at breakneck speed. Aggressive, chaotic, and very much like the “wild west.” New tools and platforms were launching almost daily. Clients were excited one moment and hesitant the next. Confusion and hype were everywhere.

We felt it was our responsibility as a business to set clear guardrails, both to ensure we had control of how AI was used internally, and to provide transparency to our clients so they could trust that we were using it responsibly.

With that in mind, and inspired by my love of Isaac Asimov, author of I, Robot and his famous Three Laws of Robotics, I felt we needed our own equivalent.
So, we created our Five Principles of AI, which guide how we explore and apply AI tools across our business and client work..

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

Myself and one of our co-founders, Ryan Wills, have always been keen advocates of science and technology.

In 2023, when AI really began to gain momentum and Midjourney became available to the public, we had a moment where we said, “We need to get on top of this.”

Shortly afterwards, The Dieline released a video, Exploring the Intersection of AI, Design, and Packaging: Insights and Techniques.

That was a real WOW moment for us. It opened our minds to the possibilities and quickly expanded our awareness of emerging tools that could help us visualise answers to “What if?” questions almost instantly.

It was clear that AI had the potential to augment our creative workflows, of course, always in a safe and confidential way.

Have you undergone any AI training, either as a studio or individuals? If so, what was it, and what impact did it have?

Yes, we have. By mid-2024, I felt that the design team had developed a strong grasp of some AI tools, and I could already see the positive effects on our creative output.

AI had become a natural part of the process in many ways. However, I knew there was more we could do across all areas of the studio.

From client services through to operations and strategy. I started to look for training partnerships and there were countless opportunities out there, but it was difficult to discern which were genuinely valuable and credible, versus those simply jumping on the AI bandwagon to make a quick profit.

In the end, we partnered with the Pratt Institute, which is led by industry creatives who truly understand both our business, and the future of AI. We ran an intensive course with them in January, focusing on what AI is, how to master the art of prompt writing, how to leverage ChatGPT (including building custom GPTs to automate workflows), as well as a crash course in Midjourney and Adobe Firefly.

The experience really nurtured a mindset shift. From design thinking to thinking design across the entire business.

It made AI feel less daunting and far more accessible. As a result, the team gained an accreditation in ‘Creative AI in Design’ and began experimenting and integrating these tools into their daily workflows with confidence, which was exactly the impact I’d hoped for.

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

We ultimately use AI to augment our creative process; to visualise our thinking at speed. That’s our main application right now.

When we have an idea, instead of spending many hours crafting early visuals, we use AI to accelerate the visualisation stage. This means we can dedicate more time to ideation and problem-solving, which is where the real value lies.

The challenge is that these tools are still relatively new, and it can sometimes feel like a false economy – you don’t always get the results you hope for.

AI-generated images can be flat, difficult to adjust, and achieving consistent output isn’t always straightforward.

However, this is improving rapidly. I believe that we, along with other businesses, will need to invest in both training and the time required to become fluent in these tools and the new language that comes with them.

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

Yes, absolutely. This is exactly why we developed our Five Principles of AI, to ensure transparency and build trust.

Our clients are on the same journey as we are, navigating this new frontier of AI alongside agencies like ours, so open communication has been essential from the outset.

Each client is at a different stage of adoption and has their own policies and perspectives on AI. So it’s crucial that we understand these nuances and align our teams accordingly.

This ensures everyone is clear on what can and cannot be used in the creative process when working with specific clients.

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

Since completing our training, teams across different functions of the business have been exploring various ways to use AI.

We are also proactively working on solidifying these practices. Our focus is on identifying where AI can help automate certain tasks, streamline processes, and make us more efficient. Ultimately freeing up more time to focus on the important, high-value work.

Beyond the best known tools, what is one AI tool that you would recommend to other design studios?

I would recommend Vizcom. It’s an excellent tool for enhancing the design process, allowing you to take a hand-drawn sketch of an idea and quickly transform it into a 3D visual that can be refined, modified, and developed at speed.

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unopiù spreads its mediterranean made-in-italy craft in miami with CLIMA home showroom

Unopiù Opens 150 m² showroom in miami

 

Unopiù, the renowned Italian outdoor furniture brand, marks a significant milestone in its international expansion with the debut of its first U.S. showroom inside CLIMA Home, located in the heart of the Miami Design District. Spanning 150 square meters, the space offers a curated showcase of Unopiù’s most iconic and contemporary collections, overlaying Mediterranean elegance with Miami’s vibrant lifestyle. From products by Matteo Thun and Benedetto Fasciana to Matteo Nunziati this immersive installation highlights the brand’s dedication to Made-in-Italy craftsmanship and affirms the strategic importance of the North American market for the Italian company’s future growth.

Unopiù announces the opening of its first showroom in the United States | all images courtesy of Unopiù

 

 

CLIMA Home brings made-in-italy craftsmanship to miami’s stage

 

The Unopiù space finds its home within CLIMA Home’s prestigious showroom at 285 NW 36th Street, anchoring it within one of Miami’s most design-forward neighborhoods. Surrounded by global design houses and architectural innovation, the shop-in-shop blends naturally into the context of the district while standing out through its distinctive Italian soul. With sunlight pouring through the space and natural materials accenting the displays, the space captures both the spirit of outdoor living and the sophistication of European design heritage.

 

The 150-square-meter showroom recreates refined outdoor settings that invite visitors to experience the brand’s vision of alfresco living. Central to the display is the Salò collection, designed by Matteo Thun and Benedetto Fasciana and first unveiled at the 2025 Salone del Mobile. Complementing it are other key offerings such as Davos by Matteo Nunziati (2024), alongside Unopiù’s signature collections Synthesis, Swing, and Treble. Each piece is carefully selected to resonate with American tastes while remaining true to the brand’s DNA—timeless design, sustainable materials, and Italian elegance.

the Italian company brings its distinctive Italian touch to Miami, a city where sunshine meets design and outdoor living is part of the everyday lifestyle

 

 

Unopiù offers a fully tactile exploration of finishes and textiles

 

Beyond showcasing products, Unopiù’s showroom features a dedicated materials library, offering a tactile exploration of the brand’s finishes and textiles. Visitors can engage directly with natural fibres, expertly woven ropes, and luxurious outdoor fabrics—an experience designed to inspire architects, designers, and homeowners alike. The space serves not only as a showroom but also as a resource for those seeking long-lasting outdoor design.

 

As a city synonymous with year-round outdoor living and a growing appreciation for high-end design, Miami offers the perfect environment for the brand’s values to thrive. With this debut, Unopiù underscores its commitment to international growth while remaining rooted in the artisanal excellence and innovative spirit that define Italian design.

the 150-square-meter shop-in-shop offers an immersive experience that celebrates the essence of Italian outdoor living

the showroom features a wide selection of Unopiù collections, from its most iconic pieces to its latest innovations

the products displayed carefully chosen to reflect the tastes and needs of the U.S. market without compromising on style or quality

adding to the experience is a beautifully designed materials library

visitors can explore the brand’s iconic finishes and textures, including natural fibres, premium fabrics, and expertly crafted ropes

through this new Miami location, Unopiù tells the story of its Italian heritage, putting the spotlight on Made-in-Italy craftsmanship  

 

 

project info: 

 

showroom name: CLIMA Home | @clima_home

brand: Unopiù | @unopiu.official

location: CLIMA HOME / Miami Design District – 285 NW 36 ST, Miami, Florida 33127

The post unopiù spreads its mediterranean made-in-italy craft in miami with CLIMA home showroom appeared first on designboom | architecture & design magazine.

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RITFIT’s design-forward gym equipment is striking the perfect balance between Peloton and IKEA

Most fitness equipment looks like it was designed by engineers who never stepped foot in a gym. You know the type: cold, industrial, purely functional objects that scream “I belong in a warehouse, not your living room.” The weight plate category has been particularly guilty of this aesthetic neglect, with most manufacturers producing the same uninspired metal discs that have dominated gym floors since the 1950s. RITFIT, a Los Angeles-based company founded in 2015, apparently got tired of this visual monotony and decided to do something about it.

What’s remarkable about RITFIT’s design revolution isn’t just the end product, but the multidisciplinary approach behind it. Founded in 2015 with a team that spans car design, IT engineering, and furniture design backgrounds, they’ve built a company that treats fitness equipment as thoughtfully designed objects rather than purely utilitarian tools. With over 30 patents and more than 100,000 satisfied customers, RITFIT has proven that focused design thinking can create genuine innovation in the home fitness space. CEO Yann Lin has steered the company toward reimagining gym equipment as objects worthy of aesthetic consideration, not just functional tools to be hidden away when not in use. We know this, having fallen in love with – and written about – their Buffalo and Gazelle home gym machines. Their latest creation, the AURASPIN Weight Plates, also embodies this philosophy in every curve.

Designer: RITFIT

Click Here to Know More

The Mobius strip inspiration hits you immediately when you see the AURASPIN Weight Plates. Unlike the flat, static discs we’ve normalized in gyms worldwide, these weights feature a continuous twisted surface that creates visual movement even when they’re sitting still. It’s the kind of subtle design touch that makes you wonder why nobody thought of it before. The twist isn’t just some fancy aesthetic choice. When the plate rests on the floor, that same elegant curve creates natural gaps underneath, letting you slide your fingers in without the usual awkward fumbling. Anyone who’s ever pinched a finger trying to pry a flat plate off the ground will appreciate this thoughtful detail.

RITFIT engineered four distinct grip points into each plate, including the standard center hole. This seemingly simple addition completely transforms how you interact with the weight. Traditional plates lock you into a single, often uncomfortable grip position, but the AURASPIN Weight Plates let you grab from practically any angle. This flexibility means you can suddenly use these plates for exercises that would be clumsy or impossible with standard weights. Kettlebell swings? Sure. Dumbbell flies? Go for it. For home gym enthusiasts working with limited space and equipment, this versatility is genuinely useful, not just a marketing gimmick.

The multi-grip system solves another problem that plagues traditional weight plates during dynamic movements. Standard plates have an annoying tendency to shift and slip in your grip, creating balance issues that can lead to form breakdown or even injury. The AURASPIN Weight Plates’ design keeps the weight centered regardless of how you’re holding it, significantly reducing the risk of unexpected weight distribution during a critical moment in your lift. For home lifters who often train without spotters, this added stability isn’t just convenient, it’s a legitimate safety feature.

RITFIT’s “Built for Movement, Designed for Impact” philosophy extends far beyond their award-winning plates. The company has consistently approached fitness equipment design with the understanding that movement should feel natural, not forced. This ethos shows up in their larger equipment pieces, where they’ve tackled the common problem of machines that feel rigid and uncomfortable. Their design team seems to ask the right questions: How does this piece of equipment integrate with natural human movement patterns? How can we create fluid transitions between exercises instead of jarring ones? The answers consistently point toward equipment that adapts to the user rather than forcing the user to adapt to the machine.

This movement-first design philosophy becomes particularly evident in RITFIT’s Buffalo Smith Machine and Gazelle Pro systems, both of which caught the attention of Yanko Design for their thoughtful approach to user experience. The Buffalo Smith Machine reimagines the traditional power rack with features that encourage smooth, controlled movements while maintaining the safety that home lifters need. Meanwhile, their Gazelle Pro transforms the typically intimidating leg press machine into one that actually invites use rather than intimidation. The 3-in-1 functionality blends leg presses, hack squats, and calf raises into one cohesive system, with transitions that feel intuitive rather than mechanical. Switching between exercises happens through simple pin adjustments, keeping workout momentum intact without the usual fumbling with complex mechanisms that plague most multi-function machines.

The recognition from international design competitions validates what early adopters have been experiencing firsthand. Design awards, particularly from prestigious organizations like London Design Awards and IDPA Japan, typically favor products that combine aesthetic innovation with functional improvements. The fact that weight plates, of all things, caught the attention of these jury panels suggests that RITFIT has genuinely reimagined what this basic piece of equipment can be. They’ve demonstrated that even the most fundamental gym tools can benefit from a fresh perspective that considers both form and function as equally important design objectives.

Click Here to Know More

The post RITFIT’s design-forward gym equipment is striking the perfect balance between Peloton and IKEA first appeared on Yanko Design.

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brick facade shrouds range-designed NDC furniture studio headquarters in chicago

nothing design co (NDC) expands with new Chicago HQ

 

The new headquarters for furniture brand Nothing Design Co. (NDC), realized by Range Design & Architecture, is located on a narrow lot in Chicago. The renovation project brings together studio, showroom, and event space within a 3,500-square-foot brick structure. The project, with its porous facade, is a considered expansion of an existing building, designed to accommodate furniture production while referencing the city’s historic masonry traditions.

images © James John Jetel

 

 

range designs a Contextual brick Facade

 

Faced with constraints on openings due to the proximity of neighboring properties, the team at Range Design & Architecture turned to a brick screen to manage daylight and define the NDC HQ’s street presence. Terra-cotta colored paver bricks span the southern facade, referencing Chicago’s historic use of face brick and allowing filtered light into the interior. The screen reduces solar heat gain while shaping a distinctive identity for the design studio, both as a public-facing space and as a working studio.

 

This use of brick continues along the north-facing rear of the building, where a similar screen in common brick partially encloses a second-floor patio. A glazed, bi-folding door connects the upper interior to the terrace, allowing the workspace to expand outward. From within, the brick assembly modulates views and shadows across surfaces throughout the day, balancing material solidity with visual porosity.

the headquarters for NDC occupies a narrow infill lot in Chicago

 

 

expanding an existing structure vertically

 

To increase the volume of the new NDC Chicago headquarters, Range Design & Architecture extends the original load-bearing brick walls vertically. With this strategy, the architects preserve the foundational footprint and carry the building’s existing logic upward. Without side windows, the design relies on openings at the north and south ends to draw in daylight. A new mezzanine floats above the main gathering space, and skylights above vent passively with solar-powered mechanisms.

 

Inside, the palette is restrained and deliberate. White oak millwork and weathering steel accents support the building’s functional requirements while enhancing the tactile atmosphere. Brick is left exposed where possible, grounding the interiors in continuity with the exterior language.

Range Design expands the existing structure using new and reclaimed brick

 

 

Range Design worked with both new and salvaged bricks to emphasize the project’s relationship to the surrounding streetscape. Common brick wraps the east and west walls, while the more refined paver bricks define the public face. The architects describe the approach as a dialogue with Chicago’s ‘tapestried’ masonry history, using the module of the brick to signal scale and material depth.

 

Throughout, the project reflects a balance between economy and intention. Initially imagined with heavy timber roof framing, the structure ultimately incorporates parallel chord trusses to meet budget requirements. Rather than mimic an older model, the team emphasized the volume and rhythm of each architectural element.

the southern facade features a terra-cotta paver brick screen for solar shading

 

 

The new Nothing Design Co. headquarters incorporates a range of performance-driven strategies without compromising its material clarity. Highly insulated walls and roof assemblies support efficient mechanical systems. Ventilated skylights, natural daylighting, and strategic solar shading reduce reliance on artificial lighting and cooling. Outside, xeriscape gardens soften the urban edge and contribute to biodiversity.

a second brick screen defines a terrace at the back of the upper floor

inside, the space is finished in white oak, weathering steel, and exposed brick

parallel chord trusses are used instead of heavy timber to manage costs

the building uses skylights, xeriscape gardens, and high-efficiency systems for performance

 

project info:

 

name: Nothing Design Co. (NDC) Headquarters

architect: Range Design & Architecture | @rangedesign

location: Chicago, Illinois

area: 3,500 square feet

completion: 2024

photography: © James John Jetel | @jamesjohnjetel

 

lead architects: Range Design & Architecture
design team: Casimir Kujawa (principal), Mason Pritchett (principal), Luis Vasquez (architect-in-training)
structural engineer: Louis Shell Structures, Inc.
MEP engineer: Edifel Designs
landscape architect: Nathan Wright Landscape Design
general contractor: Formed Space
mason: EnZ Masonry Inc.
structural steel: Estructuras
stair fabricator: MFabrication
interior casework: Weisfeld Construction, Ltd

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