Jul
22

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Top 10 E-Bikes For Urban Commuters In 2025: Sleek, Smart & Sustainable Rides

Category: YankoDesign

Urban commuting reaches a transformative moment as electric bikes evolve from simple transportation into exceptional design statements. Cities worldwide embrace sustainable mobility solutions, creating unprecedented demand for e-bikes that merge cutting-edge technology with thoughtful aesthetics. These ten electric bike designs merge form and function to deliver the best of urban transportation.

The bikes deal with different commuting challenges through intelligent engineering and purposeful design. From weather-resistant systems that conquer seasonal extremes to smart connectivity that transforms your smartphone into a command center, these machines redefine what urban mobility can achieve. The integration of advanced materials, intuitive interfaces, and modular accessories creates bikes that adapt to individual lifestyles rather than forcing riders to compromise. These are the best of sustainable transportation, serving as brilliant and beautiful vehicles.

1. Electrom LEV

The Electrom LEV offers an all-weather design philosophy, addressing the core challenges of year-round commuting. This electric vehicle targets single commuters who need reliability in torrential rain and snow, featuring a 26-inch-wide footprint that confidently navigates bike lanes while maintaining stability in challenging conditions. The comprehensive weather protection system ensures riders arrive dry and comfortable, making it the ideal choice for those who refuse to let weather dictate their transportation choices.

The LEV excels in practical utility with its 100-liter cargo compartment that detaches for companion rides. The bike’s sustainable approach addresses urban transportation inefficiencies, offering an alternative to the 105 million North Americans who rely on personal vehicles daily. With a range exceeding 200 miles, this electric commuter eliminates range anxiety while providing the storage capacity needed for extended solo tours or daily errands.

What we like

Exceptional weather protection for year-round riding.
Massive 100-liter detachable cargo capacity.

What we dislike

The wide 26-inch footprint may limit parking options.
Higher price point than traditional e-bikes.

2. Olto

The Olto electric bike merges moped-style comfort with pedal-assist functionality, creating a versatile platform for urban transportation. Constructed from extruded aluminum and steel, this $3,495 e-bike emphasizes weather resistance and outdoor parking capability, addressing the practical needs of city dwellers. The cyberpunk-inspired angular frame design provides both aesthetic appeal and functional durability, while the choice between silver and black finishes allows riders to match their style.

The magnetic foldable pedal system represents true innovation, transforming into footrests for throttle-powered riding or engaging chain drive for pedal-assist mode. This dual functionality extends range and provides riding flexibility, while hidden rear foot pegs and under-seat passenger handles accommodate two riders comfortably. The modular accessory system, including child seats, rear racks, and baskets, adapts to changing daily needs.

What we like

Innovative magnetic foldable pedal system.
Modular accessory system for versatile cargo options.

What we dislike

Higher price point at $3,495.
Cyberpunk aesthetics may not appeal to all riders.

3. Ayra

The Ayra electric bike merges urban commuting practicality with performance machine aesthetics, creating a cyberpunk-inspired marvel that commands attention on city streets. Its metallic body features aerodynamic sculpting that serves both visual impact and functional efficiency, while the stretched front profile and integrated handlebars create a seamless design language. The monoshock swingarm configuration at both ends delivers exceptional stability through advanced suspension engineering, making the bike equally capable of high-speed runs and tight urban navigation.

The wide wheelbase distributes mass strategically for balanced handling, while the hunter-eye headlight design provides both illumination and visual drama. The streamlined frame eliminates unnecessary elements, focusing on essential performance features that enhance the riding experience.

What we like

Cyberpunk aesthetic with aerodynamic efficiency for performance-focused riders.
The wide wheelbase and monoshock setup provide superior stability and handling.

What we dislike

Limited specifications make performance evaluation challenging for buyers.
Aggressive styling may alienate riders preferring subtle urban aesthetics.

4. BMW DE-02

The BMW DE-02 is an intersection of motorcycle heritage and electric innovation, developed through BMW Motorrad’s collaboration with Deus Ex Machina. This electric concept builds upon the E-Parkour prototype platform, incorporating chromoly steel construction with carbon fiber body elements to achieve optimal weight distribution. The minimalistic frame design eliminates unnecessary bulk while maintaining rugged functionality, creating an attractive aesthetic that commands attention in urban environments.

The bike’s integrated turntable and Marshall speakers transform commuting into an auditory experience, allowing riders to drop beats while navigating city streets. The stripped-down design philosophy reflects both brands’ commitment to authentic expression through engineering, making every ride a statement of personal style. The carbon fiber elements reduce mass without compromising durability, ensuring the bike performs as impressively as it looks.

What we like

Unique integrated turntable and Marshall speakers.
Lightweight chromoly steel and carbon fiber construction.

What we dislike

Limited practical storage for daily commuting.
Concept status may limit availability.

5. EPA1

The EPA1 from Teenage Engineering represents Swedish design precision applied to urban mobility, weighing under 30 kg with a 250W motor providing pedal assistance up to 25 km/h. The removable 48V battery powers the entire system, including integrated lighting, delivering up to 100 km range. The compact, durable battery casing reflects Teenage Engineering’s reputation for precision engineering, making standard outlet charging convenient and accessible.

The EPA1’s classification as an EPA moped under Swedish regulations ensures legal compliance while maintaining practical urban functionality. The lightweight construction enhances maneuverability in crowded city environments, while the integrated lighting system provides safety and visibility. The precision engineering approach ensures every component serves multiple purposes, maximizing efficiency within the compact form factor.

What we like

Lightweight 30 kg construction for easy handling.
Impressive 100 km range with removable battery.

What we dislike

Limited to 25 km/h assisted speed.
EPA moped classification may limit riding areas.

6. Nintendo Motorcycle

The Nintendo Motorcycle replaces traditional motorcycle aesthetics for a blockish design inspired by Nintendo’s rectangular gaming devices. The electric powertrain sits within a sleek geometric form that prioritizes simple shapes over flowing curves. The rectangular mass with protruding wheels creates an instantly recognizable silhouette that appeals to Nintendo enthusiasts and design-conscious riders alike.

The flat seat sits flush against the top surface like a gaming console button, while the handlebars feature a docking slot for the Nintendo Switch, transforming the screen into a motorcycle dashboard. This integration creates a unique riding experience that blends gaming and transportation. The geometric design language ensures the bike remains functional while celebrating Nintendo’s iconic aesthetic heritage.

What we like

Unique Nintendo Switch dashboard integration.
Instantly recognizable geometric design language.

What we dislike

Limited practical features for daily commuting.
Blockish design may compromise aerodynamics.

 7. DAB 1α Motorbike

The DAB 1α electric bike channels BMX culture, video games, and sci-fi aesthetics into a production-ready machine that celebrates both nostalgia and modern engineering. Five years of development under the Peugeot Motorcycles umbrella created this unique fusion of retro and contemporary elements, featuring the iconic blue Nitro button that evokes Need For Speed gaming memories. The 125-kilogram lightweight construction enables clutchless, gearless operation that makes acceleration intuitive and exhilarating, reaching 130 km/h while maintaining the playful energy that defines gaming culture.

Practical usability matches the bike’s performance credentials through dual charging options via standard socket or Type 2 port, ensuring convenient everyday operation. The first 400 units feature exclusive design elements that appeal to collectors and early adopters seeking distinctive urban mobility.

What we like

Lightweight gearless design with gaming-inspired Nitro button for intuitive acceleration.
Dual charging compatibility and limited edition exclusivity for collectors.

What we dislike

Limited 400-unit production run restricts availability for enthusiasts.
High-tech gaming aesthetics may not appeal to traditional motorcycle riders.

8. Diode

The Diode e-bike concept by Tien Hung epitomizes cyberpunk minimalism through its radical reduction of form to essential elements. The design celebrates the electric powertrain’s future by making the bike’s structure practically invisible, save for one singular horizontal pillar that travels from dashboard to taillight. This neo-minimalist approach creates visual drama while housing the large battery module beneath the main beam.

Despite its bare-basics aesthetic, the Diode maintains comprehensive functionality with a powerful rear-wheel drivetrain that delivers smooth acceleration and reliable performance. The comfortable seat ensures extended riding comfort, while USB charging points near the inlet provide device connectivity for modern commuters. The digital dashboard integrates a speedometer and GPS navigation, creating a complete information system within the minimalist framework.

What we like

Revolutionary invisible design language that redefines e-bike aesthetics.
Integrated USB charging and GPS navigation within a minimalist framework.

What we dislike

Concept status means production availability remains uncertain.
Ultra-minimal design may lack practical storage for daily commuting needs.

9. Ichiban Electric Motorcycle

The Ichiban electric motorcycle features Akira-inspired aesthetics in a performance-focused machine that embodies “riot and freedom” through its low-slung, aggressive profile. The design philosophy prioritizes raw authenticity over digital complexity, creating a tactile connection between rider and machine that purists crave. The full-wheel drivetrain represents a breakthrough in electric motorcycle engineering, delivering remarkable acceleration while enhancing stability through innovative power distribution that transforms the riding experience.

Analog-inspired HUD elements replace conventional digital displays, creating an immersive interface that eliminates technological barriers between rider and road. This commitment to minimal digital interference ensures the focus remains on pure riding sensation rather than screen-based distractions. The fusion of state-of-the-art electric performance with deliberately analog details creates a unique proposition for riders seeking an unmediated connection to their machine.

What we like

Revolutionary full-wheel drivetrain technology delivers superior acceleration and stability.
Analog-inspired interface eliminates digital distractions for pure riding focus.

What we dislike

Minimal digital features may disappoint technology-focused urban commuters.
Aggressive performance orientation may overwhelm casual everyday riders.

10. DAB 1α DeLorean Edition

The DAB 1α DeLorean Edition transforms pop culture nostalgia into functional urban mobility, celebrating the legendary DMC-12 from “Back to the Future” through meticulous design homage. Released strategically on November 5 to honor the film’s iconic date, this electric bike features a stainless steel body frame with industrial accents that mirror the original car’s distinctive aesthetic. CNC-machined rims, signature vents, and the “OUTTATIME” license plate capture the essence of cinema’s most famous time machine, creating an instant conversation piece that bridges entertainment and transportation.

The performance specifications match the cinematic inspiration, with a speedometer deliberately capped at 88 mph to reference the time travel threshold from the movies. The inclusion of a dummy flux capacitor, retro skateboard, and cap creates a comprehensive nostalgic package that appeals to collectors seeking movie memorabilia with practical functionality.

What we like

Authentic movie-inspired details with stainless steel construction for collector appeal.
Strategic 88 mph speedometer cap and flux capacitor create a genuine Back to the Future experience.

What we dislike

Concept status means production availability remains uncertain.
Ultra-minimal design may lack practical storage for daily commuting needs.

The Next Chapter in Sustainable Commuting

The electric bike landscape is revolutionizing urban transportation through clever design that offers both aesthetic appeal and practical functionality. These ten excellent designs utilize modern engineering to serve as solutions that adapt to individual lifestyles rather than forcing compromise. From weather-resistant systems that conquer seasonal challenges to smart connectivity that integrates seamlessly with digital life, each bike represents a unique approach to urban mobility.

The integration of advanced materials, intuitive interfaces, and modular accessories creates machines that celebrate both innovation and accessibility. Whether drawn to cyberpunk minimalism, gaming-inspired interfaces, or weather-conquering utility, urban commuters find options that match their personal style and practical needs. These bikes prove that sustainable transportation transcends basic functionality to become expressions of individual identity.

The post Top 10 E-Bikes For Urban Commuters In 2025: Sleek, Smart & Sustainable Rides first appeared on Yanko Design.

Jul
22

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Shape-Shifting Off-Grid Retreat House Offers a Custom Nature Experience

Category: YankoDesign

Michael Jantzen has spent decades crafting architectural concepts that blur the lines between art and functionality. His Interactive Autonomous Retreat House represents perhaps his most ambitious vision yet, combining interactive design with off-grid living in ways that feel almost magical. This prefabricated wooden sanctuary transforms itself based on your needs and desires.

The concept challenges everything we think we know about static buildings. Rather than accepting a fixed form, this retreat house adapts to weather conditions, personal preferences, and the changing moods of its occupants. It’s architecture that responds to you, creating a completely personalized experience every single time you interact with it.

Designer: Michael Jantzen

At the heart of this design sits a large exterior canopy fitted with 32 slotted panels that hinge in the middle and at one end. These panels can move automatically using small electric gear motors or manually through hand-operated geared cranks. When all panels remain flat, the structure maintains a simple rectangular appearance that provides complete shade and wind protection.

The real magic begins when you start opening these hinged panels to various degrees. The house transforms into something entirely unpredictable, morphing based on your desired climatic conditions or aesthetic preferences. No two configurations need to look the same, giving you the power to sculpt your own architectural experience in real time.

Two of the largest panels feature integrated solar collectors that supply all the electricity the retreat requires. These energy-generating panels can also fold up or down to capture optimal angles for maximum sun exposure throughout the day. The system ensures complete energy independence while maintaining the structure’s dynamic, ever-changing appearance.

Beneath the transforming canopy, a rectangular glass structure houses the actual living space. This transparent pod features ten sliding glass doors that provide excellent ventilation options and a glass roof that frames views of both the malleable canopy above and the surrounding landscape. The interior contains everything two people need for comfortable off-grid living.

The glass-enclosed space includes a bed, seating areas, tables, a food preparation pod, and a composting toilet with bath facilities. Propane gas handles cooking needs and auxiliary space heating when required. When sunshine becomes available, opening the canopy panels allows direct solar heating to warm the interior naturally and efficiently.

Living inside feels like being surrounded by a constantly shifting art installation. The glass perimeter and roof create dramatic framed views of the dynamic canopy space while offering panoramic vistas of the natural environment beyond. The experience changes throughout the day as light conditions shift and panels move to new positions.

Both the canopy system and the glass living pod mount onto a large elevated wooden deck supported by anchored legs. Additional slotted panels built into each end of the deck can remain flat or fold upward at various angles. These create comfortable spots for leaning and relaxing while enjoying the outdoor deck space.

This retreat house concept represents a fundamental shift toward interactive, responsive architecture. Rather than imposing predetermined forms on inhabitants, Jantzen envisions buildings that collaborate with their users to create personalized environments. The structure becomes a tool for crafting your own relationship with nature and shelter.

The design successfully combines sustainability with adaptability, offering complete off-grid capabilities without sacrificing comfort or aesthetic appeal. Every element serves multiple purposes, from the energy-generating solar panels to the ventilation-providing sliding doors. It’s a thoughtful design that prioritizes both function and the pure joy of transformation.

The post Shape-Shifting Off-Grid Retreat House Offers a Custom Nature Experience first appeared on Yanko Design.

Jul
22

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The FX Super One: A Bizarre Luxury Minivan with an Animated “Face”

Category: Core77

From continent to continent, there are cultural differences in vehicle preferences, and thus in automotive design. Europe favors smaller, more fuel-efficient vehicles that can navigate cities with streets laid out in medieval times; American buyers tend to opt for bulky, interstate-cruising SUVs loaded with creature comforts. In China, drivers value tech-laden vehicles with expressive exterior styling.

Over the past several decades, European, Scandinavian, Japanese and Korean carmakers have successfully made inroads into the U.S. market by paying attention to design. They either bring over vehicles with cultural-taste-overlap, or design them from scratch to appeal to Yankee drivers. China, with a much newer automotive industry, has yet to make inroads here. The global trade situation doesn’t help, but another obstacle might be the lack of interest in providing American-friendly design.

A case in point is this just-announced FX Super One, a bizarre luxury minivan clearly designed for the Chinese market, but apparently being brought to the U.S. (While manufacturer Faraday X is technically based in Los Angeles, the company has Chinese roots and operates with a “dual-home-market” strategy.) It will be offered as both a battery EV and a hybrid extended-range EV.

I’m just not sure what the company’s thinking. In addition to regrettable styling, the vehicle comes with a strange feature no one (in this market) asked for: An LED grille that can be used to display an animated face, images, and text.

Even worse, the website copy has clearly been machine-translated from Chinese, with randomly-capitalized words:

World’s First Super EAI F.A.C.E. with an Empathetic Connection between You and Your Super One
Super EAI F.A.C.E. endows the FX Super One—a Vehicle Embodied Agent—with the ability to express itself and communicate with the world. It can also serve as the Face of your personal Vehicle EAI Avatar, extending your voice and presence and making you the center of attention wherever you go.

“EAI” apparently stands for “Embodied Artificial Intelligence,” but it’s not clear what AI or the screen are supposed to “communicate with the world.”

The vehicle will have rather a lot of airbags.

With any luck, the screen in the cabin will have better resolution than the marketing images.

As for what makes this a luxury vehicle, the copy states that “every seat is a VIP seat.”

That said, the champagne in the rendering doesn’t look all that pricey:

Does this vehicle have a chance in the U.S. market? The company claims they’ve already got 10,000 (non-binding) pre-orders, and they haven’t even revealed the price, only saying it will be “under $100,000.”

Of course, they could always take the Influencer approach, as a lot of companies do before a Kickstarter, and give free product to YouTubers and TikTokers in exchange for PR. They’re offering a 7-seat version aimed at families, a 6-seater aimed at the business segment, and a four-seater “GOAT Edition – For Celebrity and Star” [sic]. Whether they’d want to announce their presence with a screen on the front of their vehicle remains to be seen.

Jul
22

By

Sponsored: Europe Sets the Tone for Global Design

Category: Core77

This post is presented by the K-Show, the world’s No.1 trade fair for the plastics and rubber industry. Visionary developments and groundbreaking innovations will again lead the industry into new dimensions at K 2025 in Düsseldorf, Germany.

In a compelling conversation with material expert Chris Lefteri, Creative Director Kiwan Nahm reflects on the evolving role of materials, colors, and finishes (CMF) in modern appliance design—and Europe’s pivotal influence in shaping these trends. As appliances move toward minimalism and emotional resonance, Nahm argues that while LG translates global currents into its own design language, the original sparks—the “trend streamers”—originate in Europe. This exchange explores how LG blends inspiration from European exhibitions and lifestyle cues with its commitment to simplicity, artistry, and cultural reinterpretation—revealing a broader narrative of global design dialogue in the plastics era.

As part of the Objet collection, LG’s Mist Beige colour range was developed as an alternative to traditional bold metal tones. The resulting ‘mist metal’ effect is softer and fits harmoniously into any interior environment. ; Copyright: LG

Chris Lefteri: So, Kiwan, tell me what you’re doing in Germany, tell me a bit about your role.

Kiwan Nahm: I am officially the creative director of LG Europe Design Lab. My primary mission is to derive something for Europe, which means LG has a vast range of portfolio in different appliances or devices and all the electronics products. Specifically, Europe has a special sort of character in regards to lifestyle and custom preference. Therefore, we think it’s important to create products that are really well perceived in the European market. In other words, we cannot sell the same product which is sold in the US to the European market because it’s a completely different market. It is my mission to find out and analyze what’s different in Europe and then transfer that into a design language that we can actually blend into our products so that it’ll be well received in the European market by the customers here.

Chris Lefteri: That’s very interesting. The reason I wanted to interview you as a designer from LG is because, if I look at the appliances that LG has been commercializing over the last few years since 2022, maybe 2021, I would say that they are very important, inspiring, CMF-leading products. For me, I look at what’s coming out of Europe and all the other European appliance brands, and you really are giving them a run for their money. I mean, it’s almost like, “Wake up guys, let’s move away from steel and white!”. It’s interesting that you feel that you want to learn from Europe and actually take something or do something local, because it’s almost like you’re doing so much more interesting stuff in Korea!
Kiwan Nahm: Even though LG has been able to create something that attracts attention, and propose some emotional values in purchasing products, we find the origin of the trend is usually from Europe. We’re looking at different trends or lifestyle exhibitions in Europe so that we can get inspiration from them. We then eventually translate that into our own design language. But the ideas, and the hints, what we also call the trend streamers, I think those are still coming from Europe. And Korea is one of the cultures which can well interpret that into our own movements, into what we’re doing. For instance, cosmetics, fashion, entertainment, design itself, it’s all originating from Europe.

Also, one of the reasons is that products, in terms of their physical appearance, are getting more and more minimal. We’re trying to hide things. We’re trying to hide whatever is unnecessary to see and feel. And then, because we’re hiding everything, it is important that we have something that can serve as an appearance factor, something that can appeal, and so CMF will be one of the best tools to express that, a design that well displays the CMF, the kind of materials we’re using, what colors and textures we’re using, and that a product has to become more and more minimal.

The minimal design tendency is also coming from Europe, I think, because let’s say, for instance, in Germany, where I currently am, the Bauhaus spirit is to hide everything, all the way down to the least functional sort of detail needed. Other than that, we’re trying not to be too decorative, we’re trying to become more natural. In that sense we can get a lot of inspiration from European furniture, spaces, interiors. There are also various creative minds in Europe who have the same philosophy.

So, it was interesting to experience all that and that’s also one of the reasons why we think it’s important to have a station in Europe, to find that out as soon as possible and as closely as possible.

Yes. So, when you’re trying to bring these European trends into LG’s products, you talk about the LG design language. Is there a very strong CMF design language at LG?

Nahm: I would say it depends on the product, and the character of the product, that we have as projects, because there’s always a purpose for each product. For instance, there are products that have to give luxurious premium satisfaction, whereas there are also products which will be more functional and provide value versus the price paid for it. It depends on the mission or the purpose of the product but I think in general there’s a minimum bottom line of quality above which CMF has to be standing. We cannot go lower than that or we should stay in this sort of quality range – it could be an emotional quality, or it could be a physical quality – so that we can provide at least this standard.
I guess, if I’m right, you have these different sub-brands, like LG Objet and LG SIGNATURE, so these are very different in the way that they appear and their stories in terms of the CMF. And I have to say that the SIGNATURE sub-brand is obviously the premium one, but I see that kind of quality in many of your products. I mean, for me, it’s always delivered very well.

Nahm: There’s this cascading effect which means, for example, with the origin of SIGNATURE, the idea was to launch a product which was not just premium; in fact, we’ve been calling it “hyper premium”, which is to say something which is beyond premium, but that doesn’t mean that we have to use the most expensive materials or finishes on the product. Instead, we ask ourselves: how can we actually provide something which is more premium than what’s in the market?

And we kind of had success because SIGNATURE was a really good blend of stylish design but also the usability has been smart enough to compete in the market during that time. And since the success case of SIGNATURE, we’ve been able to cascade everything that’s good in SIGNATURE into each appropriate product price level or brand tier meaning the cheapest refrigerator of LGE from the time before SIGNATURE is far different from the affordable ones that we’re selling right now. There’s probably a few years’ gap, but I think within that gap, the existence of SIGNATURE made a huge difference, because it made us build – or even transform – the most affordable ones in a more quality-oriented way.

So I guess SIGNATURE, as that premium sub-brand, the top premium sub-brand, gave the organization confidence to then apply some of that to different products and also create subcategories below that?
Nahm: Right, so SIGNATURE has actually pulled up the standards of quality in all line-ups for the LG product portfolio. SIGNATURE started out as home appliances mainly and then there was also the television and all the other product ranges, so it was spreading out 360 degrees to elevate the overall design quality.

Very interesting. And then LG Objet is the more lifestyle-focused one? That came next, is that right?
Nahm: We planned to make the Objet collection more space-centric, more lifestyle, more interiors-focused, physically speaking. Internally, we initially called it Space Fit, which means that, dimensionally speaking nothing just pops out or interrupts the balance or the flow. And then because there are a lot of different styles in the interiors, or different lifestyles, we thought it would be interesting to give them some customizability to edit someone’s own taste onto the surface of an appliance product that’s sitting there, which after all are not small-sized ones.

It’s very bold. These are not quiet objects.
Nahm: It’s a huge, huge mass of electronics sitting in your space, right? From fridges to air conditioners and air purifiers, I mean, anything which is a title appliance is relatively big, quite incomparable. It’s almost the size of furniture.
Right, but then rather than doing something that would be very safe and very neutral, you did something that was really “in-your-face” – lots of colours, lots of patterns – and that was quite a big risk because you don’t make something for the masses, you make something that’s very bold and very decorative. I’m thinking of the air purifiers, these little coffee tables, it’s almost like a piece of Memphis in your living room!
Nahm: I mean, if you look the other way around, let’s say refrigerators. The refrigerators before Objet collection used to be white, or metallic, or even black, or something with reflective glass surface, something expressing a huge presence in the space. I mean if you like it, that’s okay. But if you don’t, if there’s anything you don’t like, in terms of the surface of the refrigerator, it’s a burden to have that sitting in your kitchen. It’s basically a huge tank which you don’t like that much or maybe you liked it before but now you don’t anymore. In that case, you want to have something that’s more harmonious sitting there, something that blends well with the furniture or any other installments in that space.

The term Space Fit also meant, from a CMF perspective, to be able to apply materials, colours, and all the finishes that are compatible or that blend harmoniously with the interior materials. I’m thinking about when we implemented the matte surface, the satin finishes, so that it’s not glossy anymore. It’s not pretending to be a hero of the kitchen anymore, but it blends into the space well, it still has a certain presence because it’s got this ratio to the size sitting there. It still takes a lot of space in your kitchen, but it feels more friendly. It feels more subtle. And it feels more like a furniture rather than just a cooling tank.

LG has developed a range of matte and glossy finishes, each specifically designed to complement a particular colour hue, creating a subtle yet striking effect; Copyright: LG

I guess it must have been very hard to get that through, to LG as a company, to persuade the managers that this was a chance worth taking?

Nahm: It’s always a matter of supply chain management if you try to launch various CMFs in one single platform, so it was a huge challenge for us too, but the way to persuade the stakeholders is that we were not trying to launch twenty, or fifty, or hundreds of different colours and finishes all at once. We kind of concentrated them into very essential tiers. For instance, there will still be users who would want something calm, something not distracting, but still want something that has a sort of premium appearance. So, in that case, we actually provided very subtle beige natural warm colour ranges with smooth textures. But also, there are users who would still want metals, so we try to avoid using glossy reflective hairlines which have been sitting there for centuries, and just try to change the surface with a very satin calm muted effect, but that still has this least metallic sort of resonance. We call that “mist metal”, as if we sprayed some mist spray on the surface of the metal so it just reflects very smoothly.
That’s very interesting, because when I was at IFA last September, I noticed that you offer different types of mattes, it’s not like there’s just “matte and gloss”, but actually there are different levels of mattes. And it’s quite clearly promoted in the branding.

Nahm: That is true because – I mean, you’re the CMF specialist so you’re quite well aware with this! – there are different glossiness levels. And, on the other hand, matteness levels. For instance, a certain specific matteness would fit well with brighter hues and brighter sort of effects whereas on the other hand a less matte level would actually suit more the darker ranges and so on and so forth. So, we cannot just unify everything to have this certain level of matteness or glossiness. So, we try to play with the small details so that they can make delicate difference. Even though we’re talking about this, there are also not that many sort of variants in the matteness, because we classify them into very small numbers of levels so that we can actually manage to provide those effects in an efficient way.

Yeah, but it’s clearly communicated in the marketing of the product as well. It’s not subtle.
Nahm: Yes, it’s necessary because there could be customers who would just be anti-matte or anti-glossy and there could be people who are in the middle – this is not that glossy, but still it’s got the boldness of glossy. Another person on the other hand, might be like, this is as matte as we can get, it’s all muted, it’s what we call the set and finish. That’s also how to persuade the customers when they’re looking for new products.

LG’s Mood Up range has brought new levels of customisation to the user, allowing for a change of colour and therefore experience, at a touch of a button; Copyright: LG

Yes, and consumers are very perceptive now, you know… everyone’s curating their own interiors. So, they’re very sensitive – like you said – to different matte levels. It’s not just “matte and gloss”. You mentioned earlier something to do with feeling and CMF and things feeling a certain way. And if I look at, let’s say, the fridge that you worked on, which is called Mood-Up, it’s very explicit that it’s about feeling. So, is this very intentional and strategic, this idea of making your customers feel a certain way about LG products?
Nahm: The Mood-Up was first produced as a conceptual design markup… we had internal reviews and it was quite polarized because some people were thinking it was too much to have LEDs installed underneath the surface of a fridge. But others were saying, this is the ultimate version of Objet collection because the colours are almost infinitely customizable as opposed to certain ranges, which you cannot change that easily afterwards. Eventually, it was selling quite well and we were actually producing more than initially planned.
There was one time when we tried to turn on the Mood-Up colors so that it could look like an aubergine collection – the combination of dark green and beige. We played around with the LGB and there were people not able to distinguish which is the real six screen printed glass panel and which is the Mood-Up design panel. So, it can actually mimic the real physicality of a CMF solution. On the other end, with high luminosity, it can also serve as mood lamps or mood-making lighting features just like in RGB LED speakers and things like this. It’s quite versatile and I think there’s still a big possibility when our designers will play around with different RGB numbers on that platform.
When you were working on that, was it very hands-on, very experimental? Was it very playful for you as a designer?

Nahm: Yes, it was very interesting to notice, “Oh, this could be very physical but this could be also very digital.” It it was interesting to play around with phygital CMF for the first time in my career. It was very fun, very interesting. And I thought there is something about the future of CMF in this because it’s variable CMF. It’s not something you have to change panel by panel. It’s something you can just play around with the numbers through your application. It becomes a different physical solution. You know, for instance, like the holographic images in the Blade Runner films or anything like that, something which is virtual but precepted as physical?
OK, I want to talk about another product, the Universal UP kit?
Nahm: Oh, yes.
Because that’s also a really bold, and a very assertive, very forward-thinking, very culturally-relevant project. How did that come about?
Nahm: Not just because we were trying to do the UP kits, we’ve been going through all our products currently in the market to find out how we could actually upgrade everything. Since software is very easy to be updated, like all the OSs and applications, they’re updated on a few month basis, so we were thinking, is there anything we could do with the physical thing, maybe an UP kit or an add-on or maybe a replaceable sort of feature, that would be interesting? And we also thought it would be interesting and essential to become more barrier-free, which means from an ESG perspective, from a social sort of responsibility, how can we actually support all the customers, and not just a few? How could we actually evolve the product that we are selling in the market or even the ones that we already sold in the market? And since we’ve been using consolidated platforms for the same refrigerators, washing machines, we’re using the same mechanical units, physical parts, so wouldn’t it be great to launch UP kits or add-on kits so that we can actually propose more values and provide more services in that way?
And I guess the colours as well popping out? So, people can see the colours?
Nahm: I mean it was becoming more visible because we’ve been trying to hide everything. We’re basically trying to be as intuitive as possible. The modern-day trend is to be as minimal as possible but there are also people who wouldn’t feel very comfortable with that. The thing is, if you’re using the UP kits, it’s more visible. It’s becoming more intuitive. It’s sort of a boosting accessory so that everybody will eventually be happy to use it. There are also users who actually do not have the difficulties in everyday life but still want to have these accessories so they can actually play around with it. It has become more of a helping item but also an item to pursue a certain satisfaction.
So, if I understood it correctly, it wasn’t just about inclusivity, it was about any user, whether they had disability or not, being able to upgrade or update their products through these accessories, is that right?
Nahm: Yes, it started out as a barrier-free sort of approach, but eventually has become something more upgradable. Upgradability and physicality, but not too difficult. Something very easy, very intuitive, and rather more playful.
Great. The last question is a very simple question, just to end the interview, which I ask everybody, and it touches on this idea of materials and emotions and memories, which is something that most people, or certainly a lot of designers, don’t tap into. And the question is: what’s your strongest memory of a material from your childhood and why?
Nahm: From my childhood? I think it is both the time when I had the pleasure – but also the suffering – from one same material!
I was playing around with a very strong, the oil ink-based marker pen. Yes. It’s a very strong. I was playing around with it at home, maybe I was like five or six. And then at that time all the fridges in Korean homes were either in ivory or military-like khaki green colors. Ours was green and I thought, maybe I should draw something on that fridge door!
So, I was drawing graffiti on the surface of the refrigerator and I really liked it because if you draw something with a marker on the paper it just spreads out or it smears around and you don’t feel that clean when you’re playing around markers on the paper. But on the PCM or VCM – the pre-coated metal panel on the fridge door in the early 1980s – that was something I loved to draw on.
That’s the material, right? It’s not the pen. It’s the pre-coated metal panel on the fridge door?
Nahm: Yes. But mums do not like kids messing around with markers in their homes, making a crazy sketchbook out of a refrigerator door! And so my punishment was to erase all that using cleaning liquids and it was really hard to erase them so my experience with this material was like: “I love to draw, I love to sketch on a painted metal surface, but I really hate to erase that thing!”
You were born to be a CMF designer. You wanted to colour in the fridge. That’s what it was!
Nahm: From that moment on, maybe I was destined to become a CMF designer for appliances.
Yes it was, from that day! So, Kiwan, thank you very much for joining me today.

Jul
22

By

Rolly is a playful rolling table that makes a simple furniture enjoyable

Category: YankoDesign

The Rolly table by Mike & Maaike is proof that functional furniture can be just as joyful as it is useful. This unique rolling table instantly captures attention with its inventive structure, comprised of four identical circles that serve as both wheels and visual anchors. Rolly isn’t the average side table or serving cart; it is a moving piece of modern art designed to bring a sense of playfulness and flexibility to any space.

One of Rolly’s interesting features is the way its four circles rotate and pivot, forming a visually dynamic yet practical composition. Each circle is constructed from solid wood or multi-ply, offering a tactile surface that highlights the natural beauty of wood grain or the vibrancy of color. The circles aren’t simply decorative. They are the foundation and the mobility of the table, allowing Rolly to serve as a stationary side table, a portable serving cart, or a stylish display stand.

Designer: Mike & Maaike

The movement of the Rolly table is where the real magic happens. Thanks to a minimal steel frame and a cleverly engineered swivel mechanism, Rolly glides across the floor with ease. The swiveling rear wheel acts much like a rudder on a boat, offering gentle yet precise control as you maneuver the table through your living room, dining room, or office. This functionality isn’t just about convenience; it transforms the way you interact with furniture, turning the simple act of serving drinks or rearranging a room into an enjoyable experience.

Rolly’s aesthetic is as versatile as its movement. The table is available in a range of finishes, from light, natural woods that evoke Scandinavian minimalism to bold, dark stains for a more dramatic look. There are even playful, colorful versions and striking black-and-white striped designs that make a statement in any setting. Each version maintains the clean lines and confident geometry that define Mike & Maaike’s approach, ensuring Rolly fits beautifully in both modern and eclectic interiors.

Up close, the quality and thoughtfulness of the design become clear. The joinery between the circles and the steel frame is seamless, and every edge is smoothly finished. The table top offers plenty of space for glasses, snacks, books, or decorative objects, while the circular wheels invite touch and movement. It is a rare piece of furniture that is as fun to use as it is to look at. For collectors, design lovers, and anyone seeking a side table that stands out from the crowd, the Rolly table by Mike & Maaike is a standout choice. It rolls effortlessly into your home and your heart, turning daily moments into something special.

The post Rolly is a playful rolling table that makes a simple furniture enjoyable first appeared on Yanko Design.

Jul
22

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zigzag block sandals are designed to unify wearers with the sidewalk

Category: Design Boom

PDM brand introduces sandals shaped like zigzag paver blocks

 

PDM Brand introduces a pair of unisex sandals shaped like zigzag paver blocks so wearers can fill the holes on the sidewalks as they stroll. Coming soon to construction supply stores in Thailand, the footwear is chunky like the real ones, but in this car, it is made of a cushiony, rubbery material instead of stone or concrete. Its color, however, is gray like concrete, so when the wearer steps into a pothole or gap on the sidewalk, they won’t trip; they’ll just fit in.

 

There’s a toe strap colored in a concrete shade too, and even the packaging design of PDM Brand’s unisex sandals shaped like zigzag paver blocks is formed like the real concrete brick. Brands these days are fascinated with nature, and more explicitly, since the footwear they produce follows the design of their counterpart. Take Yerba Madre’s shoes made of compacted dirt where the wearer plants seeds embedded in it as they walk. Then, there’s Rock Shoes, a pair of cushiony boulders for the feet designed by Bravest and Canyaon.

all images courtesy of PDM Brand

 

 

Released in construction supply stores

 

The use of zigzag paver blocks in sidewalks, driveways, and parking areas is common in Thailand, and PDM Brand brings them to the fashion forefront as a homage. The result comes through as a pair of unisex sandals shaped like zigzag paver blocks, which are also portable if the wearer slings them around the fingers using the toe strap.

 

These concrete bricks are also common in the construction industry, and to continue the playful tribute, the team plans to release the unisex sandals shaped like zigzag paver blocks in supply stores aside from their website. So far, there’s no news yet on the materials that team uses to produce the footwear. On the fun side, when the wearer takes off the concrete slippers and puts them next to each other, they fit seamlessly like puzzle pieces because of the zigzag sides. In this way, it looks singular, as if the wearer brough home the missing blocks from the sidewalk.

view of PDM Brand’s sandals shaped like paver blocks

when put together, the PDM sandals shaped like paver blocks fit seamlessly

even the packaging designs is shaped like the interlocking concrete bricks

users can carry the footwear using the toe straps

the footwear mimics the real concrete blocks

 

 

project info:

 

name: He She

brand: PDM Brand | @pdmbrand

The post zigzag block sandals are designed to unify wearers with the sidewalk appeared first on designboom | architecture & design magazine.

Jul
22

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Whispering Mountains brings interactive, AI-powered art installation

Category: YankoDesign

During my trip to the South Island of New Zealand a couple of years ago, I quickly ran out of adjectives to describe the landscape and mountain ranges, and we were just on the first leg of our journey. By the time we reached Queenstown, seeing all the natural beauty around us had become a common experience. But that didn’t mean we weren’t still “oooh-ing” and “aaahh-ing” at the beautiful mountain peaks and the serene lake visible from Queenstown. While you’ll never run out of natural scenery in the town, there are other things you can experience in this lakeside destination.

Nestled beneath The Remarkables mountain range, The Whispering Mountains exhibit by the innovative art collective Eness is making waves among art lovers, families, and curious explorers alike. This captivating installation blends interactive technology with the natural beauty of New Zealand, offering a unique experience that appeals to visitors of all ages. The exhibit is a testament to Eness’s reputation for pushing the boundaries of digital art and public installations, bringing people together in moments of wonder and delight.

Designer: Eness

The Whispering Mountains is a site-specific installation featuring a series of illuminated, mountain-like sculptures. Each form is inspired by the majestic peaks surrounding Queenstown, and the artwork aims to reflect the serene yet powerful presence of these natural giants. What sets this exhibit apart is its interactive element. As visitors approach and move around the sculptures, sensors detect their presence and trigger an array of enchanting lights and gentle, melodic sounds. The mountains appear to come alive, “whispering” to those who engage with them, sharing a mix of philosophical and sometimes humorous messages. This interplay of light and sound creates a magical environment that feels both otherworldly and deeply connected to the surrounding landscape.

Eness has carefully designed The Whispering Mountains to encourage participation and play. The installation invites visitors to slow down, explore, and interact, making it an ideal outing for families and groups. Children are especially captivated by the responsive nature of the exhibit as they discover how their actions influence the display. Adults, meanwhile, find themselves drawn into a contemplative state, reflecting on the relationship between technology, art, and nature. The result is a shared experience that fosters connection and conversation while also offering moments of quiet reflection.

The choice of Queenstown, with its breathtaking mountain vistas, amplifies the impact of The Whispering Mountains. The setting allows the artwork to blend seamlessly into the environment, blurring the line between the artificial and the natural. As daylight fades, the glowing sculptures stand out against the twilight, creating a mesmerizing scene that is perfect for photos and social sharing. This visual spectacle has quickly become a must-see attraction for visitors to the area, adding a new dimension to Queenstown’s vibrant cultural scene. The installation uses cutting-edge sensors and programming to create an experience that feels magical and immersive. The exhibit also highlights the potential of public art to inspire joy and connect communities, offering a fresh perspective on how art can be integrated into everyday life.

The post Whispering Mountains brings interactive, AI-powered art installation first appeared on Yanko Design.

Jul
22

By

populous revamps lisbon’s benfica stadium with urban masterplan rooted in sport & culture 

Category: Design Boom

populous and Saraiva + Associados reveal new urban masterplan

 

Football club S.L. Benfica reveals plans for a sweeping new masterplan for Portugal’s Estádio da Luz and its surrounding precinct, designed by Populous in collaboration with local architects Saraiva + Associados. The original stadium, designed by Populous in 2004, is now set for a major transformation that will expands its civic role and reposition it as a year-round cultural and entertainment hub.

 

The redevelopment extends well beyond the stadium walls, which also be getting a contemporary makeover, beginning with a new fan plaza that draws from the typology of Lisbon’s historic squares to accommodate over 10,000 fans. It will act as the site’s central gathering space, hosting food and beverage outlets, terraced restaurants, a DJ platform, and an event space. This space will be framed by a new mixed-use urban district comprising a theatre, community swimming pool, rooftop football pitch, and two state-of-the-art indoor arenas, each offering adaptable spaces for sports and other cultural programming.

all images courtesy of Populous

 

 

transforming a stadium into a vibrant urban district in lisbon

 

Populous positions Estádio da Luz as the keystone of a wider masterplan to shift the structure from a seasonal sporting venue to an integrated neighbourhood precinct embedded in daily civic life. This includes new cultural, leisure, and residential functions, enhancing public engagement further with fluid pedestrian movement, new connectivity bridges, and a softened public threshold.

 

The new 10,000-capacity indoor arena and two smaller multi-use halls will also replace the existing sports pavilions, adding flexible venues for events ranging from volleyball to esports. The global architecture firm has also planned for an elevated running track and rooftop pitch to introduce recreational activity above the stadium complex. A new 500-seat theatre and expanded community amenities is also expected, including a 25 x 25 meter pool with modernized facilities.

a sweeping new masterplan for Portugal’s Estádio da Luz unveiled

 

 

Upgrading benfica’s Estádio da Luz with sport and culture

 

Beyond its surroundings, the stadium itself will undergo significant architectural upgrades, including a fourth level that will be added to the structure, offering 6,800 square meters of space for commercial, administrative, and hospitality uses. This added layer is part of a broader strategy to activate the venue outside of matchday schedules and enhance its integration into the fabric of the city.

 

A new facade is also envisioned to introduce a kinetic envelope composed of vertical louvres and programmable LED lighting that creates a dynamic, light-filtering skin while moderating heat and solar gain. According to Michael Forward, lead designer at Populous, this new front aims to articulate a contemporary architectural language rooted in Lisbon’s evolving urban narrative, using a neutral material palette to integrate the stadium within its expanding context.

Populous’ original stadium for Benfica is set for a major transformation

 

 

Alongside considering the civic value of the development, Populous and Saraiva + Associados have also woven environmental strategies throughout, from the inclusion of photovoltaic panels and rainwater harvesting systems to green roofs and planting schemes aimed at improving ecological resilience. The masterplan’s approach to sustainability reinforces Benfica’s long-term commitment to embedding environmental and social value into its sporting infrastructure.

the redevelopment extends well beyond the stadium walls, beginning with a new fan plaza

the plaza will act as the site’s central gathering space, hosting food outlets, a DJ platform, and event space

a new mixed-use urban district is also planned

designed by Populous in collaboration with local architects Saraiva + Associados

expanding the football stadium’s civic role

upgrading Benfica’s Estádio da Luz with sport and culture

the design team has wove environmental strategies throughout

extended and enhanced sport facilities

the redevelopment is envisioned to become a cultural hub

event spaces

 

project info:

 

name: Estádio da Luz Redevelopment

architect: Populous | @wearepopulous, Saraiva + Associados | @saraivaeassociados

location: Lisbon, Portugal

The post populous revamps lisbon’s benfica stadium with urban masterplan rooted in sport & culture  appeared first on designboom | architecture & design magazine.

Jul
22

By

modular lighting installation by cheng tsung feng evokes vertical clustered plant colonies

Category: Design Boom

Cheng Tsung FENG Translates Plant Morphology into Structure

 

Part of Cheng Tsung FENG’s Structural Botany series, the work titled 25AP-263-43 examines plant morphology through the lens of modular construction. The series draws from the formal language of botanical structures, abstracting characteristics such as growth pattern, stem geometry, and leaf arrangement into spatial compositions made with artificial materials.

 

Located at Swiio Villa Yilan in Zhuangwei, China, the installation references a vertical growth habit, with elements reaching between 2.5 and 5 meters in height. Units are evenly spaced, creating a clustered formation that evokes the rhythm of a plant colony.

all images by FIXER Photographic Studio

 

 

Structural Botany Reimagines Plant Forms as Spatial Systems

 

Structural components mimic upright, quadrangular stems with smooth brown surfaces and a central white longitudinal stripe. These elements occasionally branch at the apex, while the base features raised, rounded nodes and consistent internode spacing.

 

Leaf-like modules appear as singular terminal elements atop each stem. They are positioned irregularly and tilt slightly upward. Each blade measures approximately 1.5 meters in diameter, circular in shape, thin, and semi-translucent, forming a layered canopy across the structure. Artist Cheng Tsung FENG’s design maintains a clear relationship between repetition, scale, and botanical reference, emphasizing the intersection of natural systems and human-engineered form.

 

 

project info:

 

name: Structural Botany: 25AP-263-43
artist: Cheng Tsung FENG | @chengtsungfeng
location: Zhuangwei, Yilan, China

 

project designer: Chan-Wei HSU, Chung-Sheng HSU
structural analysis: Jian Quan Engineering Consultants
woodwork: Yi Feng CHIU
metalwork: Yi Chang Laser, Wen Ching HSU
lighting design: OuDe Light
lighting engineer: Wen Pao HUANG
paintwork: Min Dao HONG
crane: Hsie Sheng Company

photographer: FIXER Photographic Studio | @fixer_photographic_studio

 

 

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 modular lighting installation by cheng tsung feng evokes vertical clustered plant colonies appeared first on designboom | architecture & design magazine.

Jul
22

By

sordo madaleno embeds circular school into volcanic terrain at the foot of mexican pyramid

Category: Design Boom

project by Sordo Madaleno folds into the earth in mexico

 

Architecture studio Sordo Madaleno unveils the Canadian School, a structure that appears to be an extension of the land in Mexico. In Cholula, Puebla, where the world’s largest pre-Hispanic pyramid rises and the Popocatépetl volcano looms in the distance, the school, now under construction, folds into the terrain. Its rooftop serves as a park, accessible from the street, while the classrooms below are surrounded by gardens and courtyards. ‘This school is a canvas where learning and nature meet,’ notes Fernando Sordo Madaleno, partner at the firm. ‘Architecture becomes an experiential tool that merges with the playground.’

all renderings by Sordo Madaleno, unless stated otherwise

 

 

seven circular buildings form the Canadian School building

 

The Mexican team of Sordo Madaleno uses the natural 3-meter slope of the site to organize the school into two experiences. Above, a park-like roof connects to the playground; below, a sheltered world hosts learning. ‘This typology allowed us to challenge traditional design approaches. Despite the defined boundary, we envisioned a central space that integrates with the surrounding environment. The building itself becomes part of the playground, blending into the environment. From this vantage point, the school can be seen in harmony with the nearby volcano,’ explains Fernando Sordo Madaleno

 

The layout itself breaks from the linear school format with a radial plan, made up of seven circular buildings divided into 24 wedge-like segments. These house everything from classrooms and offices to a cafeteria, gardens, and sports facilities. The spaces open inward toward shared courtyards, creating a sense of community and openness. Importantly, 62% of the site remains unbuilt, turning the school into a porous landscape.

 

The architects custom-made concrete blocks specifically for this project, rugged and durable, but also expressive of the volcanic terrain. These blocks reduce long-term maintenance and reinforce the modular character of the layout. 

‘Canadian School is inspired by the volcanic context and memory land of the site. Its design is presented as a building that blends with the natural topography.’ shares Fernando Sordo Madaleno.

Sordo Madaleno unveils the Canadian School | render by MIR 

the structure, whose rooftop serves as a park, appears to be an extension of the land | render by MIR

the school folds into the terrain | render by MIR

the classrooms are surrounded by gardens and courtyards | render by MIR

the layout breaks from the linear school format | render by MIR

the spaces open inward toward shared courtyards

62% of the site remains unbuilt

construction images courtesy of Sordo Madaleno

seven circular buildings are divided into 24 wedge-like segments

the architects custom-made concrete blocks specifically for this project

turning the school into a porous landscape

a sheltered, immersive world hosts learning

 

 

project info:

 

name: Canadian School

architect: Sordo Madaleno | @sordo_madaleno

location: Cholula, Puebla, Mexico

area: 8,184 square meters

 

client: FILIAA

partners: Javier Sordo Madaleno Bringas, Javier Sordo Madaleno de Haro, Fernando Sordo Madaleno

architecture director: Edgar Beltrán

design team: Daniel Laredo, María Arenas, Miguel Loyola, Diego Velázquez, Laura Mata, Ricardo Mondragón, Brian Luna, Luis Ortíz, Jessica Navarrete

structural engineering: GAYPE Constructora

electrical & systems: Teledomótica

lighting consultant: LUA Luz en Arquitectura

landscape consultant: Plántica

construction: Tritio

renderings: MIR | @mir.no, Sordo Madaleno

The post sordo madaleno embeds circular school into volcanic terrain at the foot of mexican pyramid appeared first on designboom | architecture & design magazine.

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