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transparent happiness: yinka ilori transforms iconic mounds of helsinki’s amos rex

a vibrant new roof for helsinki’s underground museum

 

Yinka Ilori: Transparent Happiness opens at Helsinki’s Amos Rex museum as a vibrant public art commission that invites the Finnish capital to reimagine its urban spaces. Unveiled on June 20th, 2025, the large-scale work engages the museum’s signature mounds, transforming them into a space that is interactive and accessible. Through the project, Ilori reinterprets a popular urban site, bringing a sense of joy and communal spirit to Lasipalatsi Square, one of Helsinki’s most well-frequented spaces.

 

Transparent Happiness is the first in an annual series of public commissions hosted by Amos Rex, an institution known for activating its unique urban setting through art. Ilori’s work stands in contrast to the sleek, minimalist lines of the museum’s Modernist architecture, offering an environment designed for both reflection and play. The installation features a variety of functional spaces, including a playground, a pedestrian and skateboarding trail, a basketball court, and a ping pong table, all encouraging public interaction. Through this transformation, Ilori breathes new life into the urban square, making it a destination for people of all ages.

images © Mika Huisman / Amos Rex

 

 

yinka ilori’s playful reinterpretation of amos rex

 

Inspired by the vibrant colors and cultural narratives of his Nigerian heritage, Yinka Ilori’s installation at Amos Rex brings to life his childhood memories of playgrounds in London. Transparent Happiness is a space not just for physical play but for collective storytelling. Visitors are invited to interact with the space, engaging in playful activities that spark memories and anecdotes, creating an atmosphere that feels both nostalgic and refreshing. The installation reflects the artist‘s belief that public art should be accessible, joyous, and capable of creating connections between individuals from diverse backgrounds.

 

The museum’s mission to activate Lasipalatsi Square with dynamic art and events aligns with Ilori’s vision of public space as a place for inclusion and community. As the artist’s first public realm project in northern Europe, the work raises questions about the identity and accessibility of public spaces.

Yinka Ilori: Transparent Happiness transforms the iconic mounds at Amos Rex in Helsinki

 

 

installation art for the community

 

Yinka Ilori’s installation at Amos Rex is a celebration of art’s power to foster social connections. Visitors will find themselves immersed in an environment that encourages interaction, play, and the sharing of personal stories. As the installation remains on view through fall 2025, it brings an opportunity for the people of Helsinki to experience public art and contribute to the space through their presence and engagement.

 

Which identities are welcome in the efficient, well-maintained Nordic public realm?‘ asks Museum Director Kieran Long, echoing the underlying themes of Ilori’s work. Through this joyful installation, Ilori opens a dialogue on the role of public spaces in fostering connection, community, and belonging.

Ilori’s work features a playground, skateboarding trail, basketball court, and ping pong table

the large-scale public art commission encourages interaction and play in Lasipalatsi Square

the installation is the first in a series of annual public art commissions at Amos Rex

Ilori draws inspiration from his Nigerian heritage and childhood memories of London playgrounds

Transparent Happiness transforms a space for community engagement in Helsinki

the installation contrasts with the minimalist design of Amos Rex’s Modernist architecture

 

project info:

 

name: Transparent Happiness

artist: Yinka Ilori | @yinka_ilori

museum: Amos Rex | @amoskonst

location: Helsinki, Finland

on view: June 20th — October 12th, 2025

photography: © Mika Huisman / Amos Rex

The post transparent happiness: yinka ilori transforms iconic mounds of helsinki’s amos rex appeared first on designboom | architecture & design magazine.

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An Aluminum and Steel Tariff Update 7/8/25

If you’re an industrial designer working on aluminum or steel products manufactured in the U.S., we know the recent Section 232 tariffs on those metals have been a nightmare for you. And while we don’t have great news, we do have some decent news.

Fictiv, the California-based global manufacturing platform, has reached out with the following development (boldface ours):

“Recent updates to the U.S. Customs and Border Protection (CBP) website and FAQ’s state that the prototype provisions of aluminum and steel are not subject to tariffs or duties from all countries of origin.
“Fictiv has confirmed this with our customs and broker partners and have successfully imported aluminum and steel prototype parts duty free once again.”
“As always, Fictiv will continue to monitor this situation closely and communicate any developments as they arise. If you have additional questions about these updated prototype provisions for aluminum and steel, please contact your dedicated Fictiv account executive or hello@fictiv.com.”

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Nothing Phone (3) Review: A Flagship That Redefines Smartphone Design

PROS:


Distinctive geometric design gives modern art vibes

New Glyph Matrix shows plenty of potential

Impressive performance across the board

Larger battery with support for wired and wireless charging

CONS:


Quirky design is an acquired taste

Significantly higher price tag

RATINGS:

AESTHETICS
ERGONOMICS
PERFORMANCE
SUSTAINABILITY / REPAIRABILITY
VALUE FOR MONEY

EDITOR’S QUOTE:

The Nothing Phone (3) proves that flagship smartphones can have genuine personality while delivering sustainable innovation and playful functionality.

Smartphones are becoming more elegant, but it seems that “premium phone design” has started to gravitate towards extreme minimalism. It’s perhaps a response to old, technology-centric designs, but it also shies away from other design languages that could make our devices feel more personal and expressive. The result is a sea of glass rectangles that prioritize sleekness over soul, leaving users with powerful tools that somehow feel emotionally distant.

Nothing is shaking things up again with the Phone (3), going way past its “transparent design” identity. It turns the back of the phone into something playful and dynamic, suggesting movement and life through its revolutionary Glyph Matrix and geometric architecture. But is the new Phone (3) and its design yet another gimmick or is there a deeper meaning inside? We take it for a spin to find out.

Designer: Nothing

Aesthetics

The Nothing Phone (3) presents a unique, distinctive but admittedly polarizing design that looks a bit cluttered and unbalanced at first glance. The camera arrangement appears scattered, with two lenses housed in square blocks while a third sits in a diagonally slotted oval, creating an abstract composition that challenges conventional smartphone aesthetics. This intentional asymmetry makes use of geometric shapes to create a pattern that looks almost like a piece of modernist art.

The geometric flair extends throughout the device’s three-column grid design, where discs, curves, and lines interact to create visual rhythm and structure. The transparent back panel celebrates this asymmetry with confidence, showcasing internal components while maintaining the signature Nothing DNA that made the brand instantly recognizable. The interplay between soft curves and disciplined geometric forms creates a design language that feels both playful and sophisticated.

The new Glyph Matrix takes the Glyph Interface to a new level, evolving from simple light strips to a bespoke disc of LEDs with more useful and even playful expressions. This circular display, composed of 489 individually addressable micro-LEDs, transforms the back of the phone into a dynamic canvas that can communicate information, display animations, and even serve as a mirror for selfies. Unlike the old design that focuses on illumination, the Matrix animates, infusing the design with a pulsing sense of presence and purpose.

The materials themselves tell a story of sustainability and premium craftsmanship. The recycled aluminum mid-frame provides structural integrity while reducing environmental impact, and the transparent back panel reveals carefully arranged internal components that become part of the aesthetic experience. The red recording light, reminiscent of classic camcorders, adds a nostalgic touch that connects modern smartphone photography to its analog roots.

Ergonomics

The Nothing Phone (3) carries a little more weight and thickness at 218g and 8.99mm, making it noticeably heftier than its predecessors and many contemporary flagships. However, the device remains well-balanced, making it comfortable to hold during extended use sessions. The additional bulk comes primarily from the larger 5,150mAh silicon-carbon battery, a worthwhile trade-off for all-day power that eliminates the anxiety of constant charging.

The flat edges give it a good grip, while the included soft transparent case adds confidence when handling the device without obscuring the distinctive back design. The premium materials, including recycled aluminum for the mid-frame and buttons, contribute to the substantial feel without compromising on sustainability. The tactile experience feels deliberate and reassuring, suggesting a device built to last rather than one designed for planned obsolescence.

Despite its increased dimensions, the Phone (3) maintains excellent weight distribution that prevents fatigue during extended use. The curved edges where the back meets the frame provide comfortable contact points for fingers, while the flat sides offer secure grip surfaces. This balance between substance and comfort reflects Nothing’s understanding that a phone needs to feel good in hand, not just look good on a table.

Performance

The Snapdragon 8s Gen 4 delivers flagship performance at a more affordable price point, offering acceptable performance overall, especially with 16GB RAM and 512GB fixed storage configurations. The processor handles demanding tasks like gaming, video editing, and AI processing with confidence, representing a meaningful 36% boost in CPU performance and 88% improvement in graphics compared to the Nothing Phone (2). This power enables smooth multitasking and responsive AI interactions throughout Nothing OS.

The beautiful, sharp, and bright screen showcases content with impressive clarity, featuring 120Hz refresh rates for games and videos, plus 1000Hz touch sampling rate for exceptional responsiveness. The thin 1.87mm symmetrical bezel on all sides creates a refined frame that maximizes screen real estate while maintaining visual balance. Peak brightness reaches 4,500 nits for HDR content, ensuring visibility even in challenging lighting conditions, while the 1,000,000:1 contrast ratio delivers deep blacks and vibrant colors.

The impressive quad 50MP camera setup represents a rare feature even on more expensive flagships, with three 50MP cameras on the back and one 50MP shooter on the front. The system includes a 50MP main sensor with OIS and a large 1/1.3-inch sensor that captures 44% more light than the Phone (2), enabling superior low-light performance. The 50MP 114-degree ultra-wide camera provides expansive landscape capabilities, while the 50MP periscope telephoto offers 3x optical zoom and 6x lossless in-sensor zoom for versatile shooting scenarios.

Macro

Results are satisfying across various shooting scenarios, with the TrueLens Engine 4 providing natural-looking highlights and rich shadow detail through advanced AI processing. The system processes photos 125% faster than the Phone (2), enabling real-time scene segmentation and improved HDR capture. The 4K Ultra XDR video recording at 60fps across all lenses ensures professional-quality footage with exceptional dynamic range and color accuracy.

Ultrawide

1x

3x

6x

60x

However, the real star of the show is the Glyph Matrix, which transforms how users interact with their device. This disc offers far more uses than just notifications, serving as a dot matrix mirror for selfies using rear cameras, digital clock, battery indicator, stopwatch, and host for “Glyph Toys” that provide small fun games and utilities. Custom icons and avatars appear when receiving calls from contacts, personalizing each interaction in ways that feel genuinely useful rather than gimmicky.

The Glyph Button adds interactivity, allowing users to cycle through tools and widgets with a tap, hold to play games or toys, and check caller ID without flipping the phone. The integration with Nothing OS feels seamless, with the Matrix serving as an extension of the user interface rather than a separate feature. More capabilities are coming, with an SDK available for the community to create their own applications, potentially spawning a marketplace ecosystem that could revolutionize how we think about smartphone customization.

The Essential Space integration showcases how the Glyph Matrix can reduce screen dependency by providing quick access to captured content, voice notes, and AI-generated summaries. The Flip to Record feature uses the Matrix to display recording status, enabling hands-free meeting transcription while maintaining privacy through on-device processing. These features demonstrate Nothing’s commitment to creating technology that serves users rather than demanding their constant attention.

Sustainability

Nothing is again leading the pack when it comes to sustainability and a commitment to future-proofing their products. The Nothing Phone (3) incorporates 100% recycled aluminum for the mid-frame, buttons, and SIM tray, while using 100% recycled tin on nine circuit boards and 100% recycled copper foil on the main board. The packaging is 100% plastic-free and made from 30% recycled fiber, demonstrating comprehensive environmental consideration throughout the product lifecycle.

The IP68 rating ensures durability against environmental challenges, while some parts are made from recycled materials without compromising build quality. The device undergoes 68 quality control protocols and over 95,000 tests, including extreme temperature fluctuations, water immersion, and drop tests from various angles. Though the device isn’t easily repairable, Nothing commits to five years of major OS updates and seven years of security patches, extending the device’s useful life well beyond typical smartphone cycles.

The company’s transparency about its environmental impact, including detailed breakdowns of recycled materials and manufacturing processes, sets a positive example for the industry. The commitment to long-term software support means users can confidently invest in the device knowing it will remain secure and functional for years to come, reducing the pressure to upgrade frequently.

Value

The Nothing Phone (3) reaches “normal” flagship levels, starting at $799 for 12GB RAM and 256GB storage, climbing to $899 for 16GB RAM and 512GB storage. This represents a significant increase over its predecessors, positioning the device firmly in premium territory alongside established flagship competitors. The pricing reflects the inclusion of flagship-grade components, advanced camera systems, and the innovative Glyph Matrix technology that no other manufacturer offers.

The device is memorable, distinctive, but also divisive, with its value proposition really depending on how much you’re investing in the Nothing ecosystem. The Glyph Matrix alone justifies much of the premium, offering functionality that no other smartphone can match while potentially reducing screen time through more mindful interaction patterns. For users seeking a device that breaks from conventional smartphone design while delivering solid performance, the pricing becomes more reasonable when considered against the unique experience it provides.

The combination of premium materials, advanced features, and long-term software support creates a compelling value proposition for those who prioritize design innovation and sustainable technology choices. The Phone (3) offers an experience that extends beyond typical smartphone functionality into the realm of personal expression and mindful technology use, making it particularly appealing to creative professionals and design-conscious consumers.

Verdict

The Nothing Phone (3) succeeds in its ambitious goal of changing your relationship with your phone, transforming it from a technology-centric gadget into a device that adds genuine value to your life through thoughtful design and innovative features. The Glyph Matrix represents a breakthrough in smartphone interaction, offering a more mindful way to stay connected without falling into the endless scroll trap that dominates modern digital life.

The geometric design language, sustainable materials, and community-driven customization options create a device that feels personal and expressive rather than generic and disposable. While the design may polarize some users, it successfully challenges the minimalist orthodoxy that has dominated premium smartphone design, offering a refreshing alternative that prioritizes personality over conformity. The Nothing Phone (3) demonstrates that premium doesn’t have to mean boring, and that innovation can coexist with sustainability.

Through its combination of flagship performance, innovative interface design, and strong sustainability commitments, the Nothing Phone (3) demonstrates that smartphones can be both powerful tools and meaningful companions. It invites users to engage with technology more intentionally, using design as a bridge between digital functionality and human expression. The device encourages a more conscious relationship with technology, where the phone becomes a creative partner rather than a source of distraction.

The post Nothing Phone (3) Review: A Flagship That Redefines Smartphone Design first appeared on Yanko Design.

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OMA completes JOMOO headquarters in china with sculptural white-striped tower

oma unveils sculptural jomoo hq in xiamen, china

 

In Xiamen, China, OMA completes a new headquarters for JOMOO, the country’s largest sanitaryware manufacturer. Marking the transition of the company from national supplier to global brand, the project redefines the conventional office typology through a sculptural volume that bridges city and nature. On one side, dense high-rises of the emerging central business district press in, while on the other, forested hills rise above the coast. Responding to these contrasts, OMA’s design combines a multi-functional base with a 230-meter tower, anchoring JOMOO’s identity. White vertical ceramic stripes compose the facade, a detail that references both the company’s industrial roots in ceramics and traditional window patterns found in Fujian’s vernacular houses. These stripes shift orientation across the surface of the building, creating a pattern that gives the headquarters a distinct presence. 

 

Led by OMA partner Chris van Duijn, with project architects Chen Lu and Lingxiao Zhang, the building is the firm’s first realized high-rise in China, a precursor to several ongoing commissions in Hangzhou, Shenzhen, and beyond. ‘Located in rapidly growing cities,’ van Duijn notes, ‘these projects explore new connections to their immediate urban context, reinterpreting the prevailing tower typology that has shaped much of China’s recent urban expansion.’

images courtesy of OMA

 

 

rocky topography inspires the irregular form of the tower

 

The OMA-designed structure houses JOMOO’s offices and showroom, along with public-facing spaces like a lobby, multipurpose hall, and recruitment and conference rooms. The design team embeds all these areas within a monolithic base volume, whose irregular form draws from the rocky topography of the surrounding landscape. This base anchors the campus in its natural setting, while establishing a civic presence along the urban front.

 

The system of the facade eliminates the need for interior columns, allowing flexible and open floor plans throughout the tower, an architectural choice aligned with JOMOO’s modular, future-oriented production ethos. The project is the result of a close collaboration between OMA and local architect Huayi Design, which also handled structural and mechanical engineering. 

OMA completes a new headquarters for JOMOO

the project redefines the conventional office typology through a bold sculptural volume

OMA’s design combines a multi-functional base with a 230-meter tower

vertical ceramic stripes compose the facade

the detail references the material expertise of the company and traditional window patterns

these stripes shift orientation across the surface of the building

the OMA-designed structure houses JOMOO’s offices and showroom

 

 

project info:

 

name: JOMOO Headquarters

architect: OMA | @omanewyork

location: Xiamen, China

 

client: JOMOO | @jomoointer

partner-in-charge: Chris van Duijn

project architects: Chen Lu, Lingxiao Zhang

design team: Mark Bavoso, Slava Savova, Sebastian Schulte, Ricky Suen, Gabriele Ubareviciute, Yue Wu, Adisak Yavilas, Pu Hsien Chan, Alan Lau, Cecilia Lei, Kevin Mak, Connor Sullivan

local architect: Huayi Design

structural & mechanical engineering: Huayi Design

facade consultant: VS-A

photographer: Xia Zhi, Chen Hao

The post OMA completes JOMOO headquarters in china with sculptural white-striped tower appeared first on designboom | architecture & design magazine.

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Design Criticism: The Nothing Headphone (1), a Bold Effort

Kudos to upstart tech brand Nothing for trying something different with their Nothing Headphone (1). That said, the aesthetic may appeal to some, but I see it as a big miss.

To me, the design is trying to do too much. While that is probably the point—in today’s oversaturated world, you need bold visuals in order to cut through the signal noise—I think the designers are too on-the-nose, referentially speaking, simply evoking other objects rather than finding an original form.

The outside of the earcups consists of two clunky elements. The outermost is meant to evoke an analog audio cassette, as if you’re wearing a Walkman with a racetrack-shaped visibility window on each ear. The innermost body of the cup, an aluminum squircle—or rectangircle—evokes, presumably accidentally, an older MacBook Pro squashed into cutesy dimensions.

In my opinion, the displeasing effect of these two forms is less hi-tech/cyberpunk and more low-budget sci-fi show props department, desperately trying to create something futuristic-looking by mashing two things together. And attaching two geometric shapes to each other robs designers of the opportunity (or, uncharitably, allows them to sidestep) the artful business of dealing with transitions between elements, where I think great design can happen.

That said, I’m not the (young) target market, and the brand has collaborated with venerated British audio brand KEF on the guts, so we can assume the sound is high-quality.

On the features side, the headphones offer active noise canceling and a respectable 80 hours of playback time.

The Nothing Headphones (1) run $299, which is considerably less than similar offerings from Apple, Bose or Sony.

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An “Entry-Level” Ferrari with New Design Language

In 2019, Ferrari did something unusual for the company: They released an “entry-level” model in the Roma. It wasn’t a track-smoker like their 488 or Superfast, but a GT car (Gran Turismo or Grand Touring, i.e. designed for cruising).

The $219,000 base price isn’t what most of us think of as entry-level, but the vehicle was designed to be more accessible and less aggressive than the rest of their line-up, in a bid to woo first-time buyers. (The bulk of Ferrari customers are repeat buyers for whom the aggressive designs and challenging driving experience of their other models is the point.)

The strategy worked, boosting sales, scooping up first-time buyers and increasing Ferrari’s profit. Now the brand is retiring the Roma, and replacing it with the Amalfi, whose design language veers even further away from the company’s hypercar aesthetics.

The Amalfi is stunningly soft where their other models are hard, is more monolithic than angular, and favors wonderfully restrained (for Ferrari) surfacing rather than statement-making slashes.

And unusually for a Ferrari, the car’s “face” is practically friendly.

“The exterior design of the Ferrari Amalfi is inspired by a sleek, monolithic speedform that gives it a strong and dynamic identity. A minimalist approach that defines a sculpted and refined body,” the company says.

The car’s long nose is to accommodate the “front mid” engine position. This is where it’s placed in front of the driver but aft of the front axle, in order to improve weight distribution, without taking the extreme step of making it a true mid-engine and obviating the 2+2 seating layout.

The Amalfi’s rear end is likely to miff Aston Martin’s designers, bearing more than a strong resemblance to the DB12 and Vantage.

Inside, the designers have made a wise, user-based decision. Following customer feedback on the Roma—in which much of the interior controls were digitized—the designers have relented and re-introduced physical buttons and controls. I wish automotive designers of all brands would absorb this simple lesson.

The color, too, is a striking departure for the brand. Rather than red, white or black, the Amalfi features a new Verde Costiera (translation: “Coastal Green”) hue, inspired by the model’s namesake Amalfi Coast.

Entry-level though the Amalfi may be, it’s still faster than every car you’ve ever been in. The twin-turbo V8 catapults it from 0-100 km/h in 3.3 seconds.

The car starts at $283,000.

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James Dyson is Revolutionizing Sustainable Agriculture

While some billionaires are dumping their fortunes into space travel, it’s nice to see others are still working to solve problems on Earth—namely, the production of food. Bill Gates has invested billions of dollars in agricultural development in Africa and South Asia, seeking more efficient means of feeding the needy. Now Dyson Farming, James Dyson’s agricultural venture, is also making hi-tech strides in the sustainable production of food.

Dyson Farming has turned the company’s brainiacs towards the challenge of sustainable, regenerative food production. They’ve developed a massive 26-acre facility in Carrington, Lincolnshire, designed specifically to satisfy Britain’s appetite for strawberries, which are typically imported to the island nation. By growing them at scale and close to market, transportation emissions are reduced significantly.

But this is about more than strawberries, and will eventually have a significant impact on feeding people worldwide. The Lincolnshire facility is the testbed whose learnings will eventually be distributed. While Dyson Farming is profitable—they made £5.2 million (USD $7.1 million) last year—Dyson has invested some £500 million into the company. In other words, no one’s chasing a 1% profit margin just so Brits can eat strawberries out-of-season. The larger mission is to harness technology in the name of sustainable agriculture.

To that end, Dyson Farming has developed a complicated but circular system. The company operates large-scale conventional farms that grow wheat, barley, potatoes, sugar beet, onions and peas at scale, as well as sheep and cattle. In order to maintain soil health, the company rotates in maize, rye and barley between their main crop cycles. These latter three are “energy crops;” rather than being consumed, they are used as feedstock for the massive anaerobic digestion plant the company has designed and built.

This digestion plant takes those energy crops, as well as manure from the livestock, and uses microorganisms to convert it into biogas. The resultant gas—enough to power 10,000 British homes—is then used to power their giant strawberry glasshouse. Heat recovered from the digestion plant is also used to heat the glasshouse, while captured CO2 from the plant is pumped into the glasshouse to enhance plant growth.

The digestion plant’s leftover material, called digestate, is nutrient-rich. It is harvested and used as fertilizer on the fields.

The result is a facility that produces 1,250 tons of strawberries a year, all using renewable electricity and heat, close to market. And the water used to water the plants is rainwater captured from the glasshouse’s roof, stored in a purpose-built lagoon.

That’s a lot of words, and I didn’t even get into the massive rotating horizontal carousel Dyson’s engineers built to expose the plants to maximum light. Check it out in the video below:

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5 Best Retro-Inspired Gadgets To Add Vintage Charm To Your Modern Life In July 2025

The most fascinating technology today isn’t chasing tomorrow’s trends—it’s mining yesterday’s design wisdom with modern precision. We’re living through an amazing moment where cutting-edge gadgets embrace pixelated displays, transparent housings, and tactile interfaces that feel borrowed from decades past. These are more than nostalgic novelties; they are thoughtful reimaginings that prove the best innovation often comes from looking backward while moving forward.

From smartwatches that channel ’80s digital timepieces to cameras hidden inside beloved virtual pets, today’s retro-inspired gadgets transform mundane tech interactions into moments of genuine delight. They reject the sleek uniformity dominating most consumer electronics in favor of personality, texture, and visual storytelling that makes technology feel more human. The five gadgets featured here represent this perfect marriage of nostalgia and innovation. Dive in and have a look!

1. Retro-Future Wrist Tech

The Retro-Future Wrist Tech concept abandons conventional smartwatch design with its deliberately rugged, industrial aesthetic that feels more like a piece of functional equipment than a fashion accessory. The pixelated display font evokes early digital watches, while the plastic bezel and visible fasteners embrace the kind of purposeful engineering that made ’80s Casio watches legendary among tech enthusiasts.

This smartwatch reframes wearable technology through a nostalgic lens, diverging sharply from today’s polished, edge-to-edge displays in favor of tactile authenticity and functional restraint. The monochrome screen and oversized pixel typography deliver both clarity and charm, reminiscent of Game Boy interfaces or retro computing systems that prioritized readability over visual sophistication. Adding this timepiece to your daily routine brings an instant dose of retro-futuristic character that stands apart in a sea of generic smartwatches.

What we like

A unique aesthetic that sets you apart from mainstream smartwatch users.
Durable design built for everyday wear and outdoor activities.

What we dislike

Limited availability as a concept design rather than a mass-produced product.
Monochrome displays may lack the versatility of full-color screens.

2. Transparent Sony Walkman Concept

The transparent Sony Walkman concept merges Blade Runner aesthetics with classic cassette nostalgia, creating a device that feels both retro and futuristic through its crystal-clear housing that reveals every internal component. The visible mechanical elements and gear systems remind you of luxury watch movements, where the engineering becomes the primary visual attraction rather than something hidden away.

The pixel-perfect UI elements visible through the transparent housing suggest computational intelligence, while the tactile control buttons along the top edge deliberately echo ’80s Sony recorders. Integrating this transparent Walkman into your daily routine elevates music listening from a mundane activity to a visual experience that offers exceptional form and function. The see-through design transforms the device into a piece of kinetic art, where watching the mechanical components work becomes as engaging as listening to your favorite albums.

What we like

Stunning visual design that showcases internal mechanics as aesthetic features.
Bridges analog and digital technologies in a meaningful way.

What we dislike

Concept status means it’s not available for purchase.
Transparent housing may be more fragile than traditional solid cases.

3. RetroWave 7-in-1 Radio

The RetroWave 7-in-1 Radio combines authentic Japanese design sensibilities with modern emergency preparedness, featuring a tactile tuning dial that recalls the golden age of radio broadcasting alongside contemporary features like Bluetooth connectivity and solar charging. This device proves that retro aesthetics and practical functionality can coexist, offering seven different functions within a single, beautifully designed package.

It offers a nostalgic exterior and also serves as a comprehensive emergency tool with a built-in flashlight, SOS alarm, hand-crank charging, and power bank capabilities that make it genuinely useful for both everyday listening and unexpected situations. The blend of AM, FM, and shortwave reception with modern streaming options creates a bridge between analog and digital audio experiences.

Click Here to Buy Now: $89.00

What we like

Seven functions in one device provide excellent value and versatility.
Emergency features make it genuinely useful for outdoor activities and power outages.

What we dislike

Larger size compared to modern portable speakers may limit portability.
Hand-crank charging requires physical effort during extended use.

4. TamagoniHAI

Called the TamagoniHAI, this product transforms the beloved ’90s virtual pet into a miniature camcorder, cleverly hiding modern recording technology within the iconic egg-shaped shell that defined a generation’s relationship with digital companions. Created by Hairo Satoh, this inventive mod captures the playful spirit of the original while serving an entirely different purpose than caring for pixelated creatures.

This adorable gadget embodies the kind of creative thinking that makes retro-tech feel fresh and relevant, combining the tactile satisfaction of physical buttons with the surprise of hidden functionality. The familiar form factor immediately triggers nostalgia, while the unexpected camera feature adds a layer of intrigue that makes every photo session feel like a secret mission.

What we like

Combines nostalgia with practical functionality for unique photo opportunities.
Its compact size makes it perfect for discreet photography or travel documentation.

What we dislike

DIY nature means limited availability and potential technical challenges.
Camera quality may not match dedicated photography equipment.

5. Moondrop Ultrasonic Earbuds

The Moondrop Ultrasonic earbuds achieve a perfect balance between transparency and sci-fi aesthetics, combining see-through housing with sophisticated dual-driver hybrid technology that delivers professional-quality sound. The visual design feels borrowed from futuristic films, while the technical specifications—including FRA Lithium-Magnesium alloy balanced armature tweeters and 13mm sapphire diaphragm drivers—promise audio performance that rivals premium over-ear headphones.

This hybrid TWS design showcases its internal components as design features rather than hiding them, creating earbuds that function as both high-performance audio equipment and conversation pieces. The combination of DD+BA drivers on each side, professionally tuned by engineers, ensures that the stunning aesthetics don’t compromise the primary function of delivering exceptional sound quality. These earbuds add a touch of retro-futuristic sophistication to your daily audio experience, making the simple act of listening to music feel more intentional and premium.

What we like

Exceptional sound quality with professional-grade dual-driver configuration.
Striking transparent design that showcases premium internal components.

What we dislike

Higher price point compared to standard wireless earbuds.
Transparent housing may show dirt or debris more easily than solid designs.

Conclusion

These five retro-inspired gadgets are a source of inspiration, as they showcase how great technology often comes from looking backward while moving forward. Each device takes familiar design languages from past decades and reinterprets them through contemporary capabilities, creating products that feel both nostalgic and innovative.

You could be drawn to the industrial aesthetics of the Retro-Future smartwatch, the playful creativity of the Tamagotchi camera, the transparent beauty of the Sony Walkman concept, the practical versatility of the RetroWave radio, or the sophisticated transparency of the Moondrop earbuds -all the gadgets offer ways to inject personality and history into your everyday tech interactions.

The post 5 Best Retro-Inspired Gadgets To Add Vintage Charm To Your Modern Life In July 2025 first appeared on Yanko Design.

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TECNO Phantom Ultimate G Fold Leak Shows Dual-Inward Tri-Fold Design

Foldable phones have been around for a while now, but let’s be honest, most of them still feel like expensive experiments that you’re afraid to actually use. You know the drill: gorgeous when they work, terrifying when you think about what happens if you drop them. If proven to be true, TECNO‘s Phantom Ultimate G Fold Concept might just change that whole dynamic with a design that actually makes sense for real people.

The leaked details show a phone that folds inward twice, creating what they’re calling a “G-Style” design. Think of it like a protective shell that keeps the bendy screen safe from the chaos of everyday life. While other foldables leave their flexible displays exposed like sitting ducks, this concept wraps everything up nice and tight when you’re not using it.

Designer: TECNO

The Tri-Fold Revolution: What Makes This Different

TECNO has been cooking up some wild concepts lately, and this one might be their most practical yet. The whole dual-inward folding thing creates three different ways to use the device, but here’s the kicker: it still feels like a normal phone when you need it to. No more awkward fumbling or worrying about whether you’re holding it wrong.

What really sets this apart is how it handles the biggest foldable fear: screen damage. When folded up, that precious flexible display is completely hidden away, safe from keys, coins, and whatever else is rattling around in your pocket. Meanwhile, there’s a regular cover screen that handles all your everyday phone stuff without any drama.

TECNO Phantom Ultimate 2 Concept

TECNO Phantom Ultimate 2 Concept

TECNO Phantom Ultimate 2 Concept

TECNO Phantom Ultimate 2 Concept

G-Style Design: Engineering Meets Elegance

The engineering here is pretty wild when you think about it. Creating a dual-hinge system that doesn’t turn your phone into a brick takes some serious technical wizardry. Apparently, they’ve managed to make it just as thin as those book-style foldables we’re used to, despite folding twice on itself.

When you unfold the whole thing, you get this perfectly flat display that can hover at different angles. Picture setting it up like a tiny laptop for getting work done, or propping it up for video calls without needing a separate stand. It’s the kind of flexibility that actually makes sense in the real world, not just in demo videos.

Real-World Impact: Beyond the Novelty Factor

Here’s where things get interesting for actual users. That cover display means you can check messages, take calls, and do quick tasks without exposing the main screen to potential disaster. When you need the full tablet experience, you’ve got all that screen real estate, but it still fits in your pocket when you’re done.

The multi-angle hovering thing solves one of those annoying foldable problems that nobody talks about. You know how current foldables are either flat or folded, with not much in between? This one actually adapts to how you want to use it, whether that’s typing, watching videos, or video chatting with friends.

What This Means for Smartphone Design

This concept feels like someone finally asked the right question: what do people actually want from a foldable phone? Instead of just making screens bigger or folds more dramatic, TECNO seems focused on making something you’d actually want to carry around every day. That’s a refreshing change from the usual “look what we can do” approach.

The whole thing builds on TECNO’s track record of experimental designs, but this one feels different. It’s not just showing off technical prowess; it’s solving real problems that keep people from buying foldables in the first place. With rumors pointing to a mid-July reveal, we’ll soon see if this concept becomes something you can actually buy.

Quick Answers

How does the TECNO Phantom Ultimate G Fold differ from other foldables?
It uses a dual-inward folding design that completely protects the main display when closed, unlike outward-folding competitors that leave screens exposed.
What makes the G-Style design unique?
The G-Style creates three usage modes with multi-angle hovering capability while maintaining a relatively thin profile yet seen in tri-fold devices.
When will the TECNO Phantom Ultimate G Fold be unveiled?
Rumors suggest an official reveal in mid-July 2025, though no confirmed date has been announced.

The post TECNO Phantom Ultimate G Fold Leak Shows Dual-Inward Tri-Fold Design first appeared on Yanko Design.

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arles is buzzing this summer: designboom’s mini guide to the french city

designboom’s 2025 Summer Guide to Arles

 

Each summer, Arles becomes a vibrant center for contemporary art, photography, architecture, and design. Exhibitions, performances, installations, and talks unfold throughout the city — in museums, industrial spaces, public areas, and private venues.

 

In this guide, designboom rounds up some of the most interesting things to see and do in Arles during summer 2025. From major exhibitions at the Rencontres d’Arles photography festival and LUMA Arles, to pop-up dinners by We Are Ona, architectural projects, and artist-led events, we offer a diverse cross-section of the city’s cultural happenings. Read on to explore a selection of highlights.

image by Lucas Miguel via Unsplash

 

 

RECONTRES D’ARLES

 

A cornerstone of the global photography calendar, the Rencontres d’Arles has, since 1970, transformed the French city into an open-air museum for contemporary image-making. Now in its 56th edition, the festival returns from July to September 2025 with a bold and politically charged program titled Disobedient Images. As nationalism, nihilism, and ecological instability grip much of the world, this year’s exhibitions — from Australia to Brazil, North America to the Caribbean — offer an urgent and poetic resistance. With a focus on cultural diversity, gender perspectives, and postcolonial narratives, the 2025 edition turns photography into a tool of commitment, defiance, and renewal.

Tony Albert (Kuku Yalanji), David Charles Collins and Kieran Lawson. Warakurna Superheroes #1, Warakurna Superheroes series, 2017. courtesy of the artists / Sullivan+Strumpf

 

 

ON COUNTRY: PHOTOGRAPHY FROM AUSTRALIA

 

Bringing together Indigenous and non-Indigenous artists, this exhibition explores what it means to be ‘on Country’, a profound relationship with land, identity, and ancestry. Featuring leading voices like Tony Albert, Atong Atem, and Michael Cook, the show reclaims photography as a medium of truth-telling and cultural continuity in the face of colonial disruption.

where:
Église Sainte-Anne 
when: July 7th – October 5th, 2025

Adam Ferguson. Dwayne John, off-siding a commercial kangaroo shooter, Adnyamathanha Country, Plumbago Station, South Australia, Big Sky series, 2023. courtesy of the artist

 

 

ANCESTRAL FUTURES: BRAZILIAN CONTEMPORARY SCENE

 

Rooted in the vision of a future shaped by ancestral knowledge, this group show features rising Brazilian artists like Denilson Baniwa, Ventura Profana, and Paulo Nazareth, who remix archives, challenge stereotypes, and confront systemic violence through collage, AI, and performance-based photography.

 

where: Église des Trinitaires
when: July 7th – August 31st, 2025

Mayara Ferrão. The Wedding, from Unforgetting Album, 2024. courtesy of the artist

 

 

BRANDON GERCARA: MAGMA IN THE OCÉAN

 

Hailing from La Réunion, Brandon Gercara fuses drag, volcanic symbolism, and visual performance to create a new cosmology for Kwir* identities. Their deeply political, emotionally charged works erupt with intersectional energy, transforming personal and collective trauma into artistic resistance and joy.

 

where: Maison des Peintres
when: July 7th – October 5th, 2025

Brandon Gercara. Behind-the-scenes photograph, 2022. © Guillaume Haurice. courtesy of the artist

 

 

CAROLINE MONNET: ECHOES FROM A NEAR FUTURE

 

In striking portraits of First Nations women, Caroline Monnet subverts colonial and patriarchal gazes, presenting Indigenous femininity as powerful, self-defined, and future-facing. With poise and directness, her subjects reclaim agency and visibility—offering not just critique, but a vision of collective empowerment.

 

where: La Mécanique Générale
when: July 7th – October 5th, 2025

Caroline Monnet. Echoes from a Near Future, 2022. courtesy of the artist

 

 

BMW ART MAKERS: Traversée du fragment manquant

 

To mark 15 years of partnership with Les Rencontres d’Arles, BMW presents Traversée du fragment manquant by artist Raphaëlle Peria and curator Fanny Robin, winners of the 2025 BMW ART MAKERS programme.

Through layered photographs and engravings, the duo revisits personal memories and the endangered trees of the Canal du Midi, exploring absence, landscape, and time. This poetic, tactile work exemplifies BMW’s long-term support for contemporary creation and emerging voices in visual art.

where: Cloître Saint-Trophime
when: July 7th – October 5th, 2025

image courtesy of BMW ART MAKERS

 

 

NAN GOLDIN – Stendhal Syndrome

 

Winner of the 2025 Kering | Women In Motion Award, Nan Goldin presents Stendhal Syndrome — a powerful slideshow merging portraits of her friends and lovers with classical art images taken over two decades.

Structured around Ovid’s Metamorphoses, the piece blends mythological narrative, Goldin’s voiceover, and music by Soundwalk Collective and Mica Levi. It culminates in a reflection on beauty, identity, and emotional overwhelm — a modern retelling of Stendhal’s famous collapse in the face of art.

 

where: Église Saint-Blaise
when: July 7th – October 5th 2025

Nan Goldin. Young Love, 2024. courtesy of the artist / Gagosian

 

 

CONSTRUCTION | DECONSTRUCTION | RECONSTRUCTION 

 

This landmark exhibition traces the pioneering vision of the Foto Cine Clube Bandeirante (FCCB), São Paulo’s avant-garde photography collective that redefined modernist imagery in Brazil. Spanning photograms, montages, and experimental processes, the works reflect a Brazil in transformation — socially, culturally, and visually. Featuring 33 photographers, including Geraldo de Barros, Gertrudes Altschul, Thomaz Farkas, and José Oiticica Filho, alongside Neo-Concrete figures like Lygia Clark, Lygia Pape, and Hélio Oiticica, the show explores how photography shaped, questioned, and reconstructed Brazilian modernity. Curated by Helouise Costa and Marcella Legrand Marer, the exhibition reframes the underrecognized legacy of the Escola Paulista and its role in global photographic discourse.

 

where: La Mécanique Générale
when: 7 July – 5 October 2025

Ademar Manarini. Untitled, 1950. courtesy of Heitor and Vera Lúcia Manarini

 

 

GEORGES ROUSSE – UTOPIA

 

Georges Rousse transforms the Abbaye de La Celle with Utopia, a dual presentation of two site-specific installations and a retrospective. Engaging with the sacred architecture of the 13th-century Romanesque site, Rousse deconstructs space through illusion, color, and geometry—most notably with his signature circle and a striking use of yellow and black, nodding to Malevich’s Black Square. The exhibition also traces Rousse’s artistic journey since the 1980s, revealing a lifelong dialogue between photography, painting, and built space. This encounter between contemporary vision and historic monument offers a transcendent, timeless experience of place and perception.

 

where: Abbaye de La Celle
when: July 7th – October 5th 2025

Georges Rousse. Project for La Celle 1, 2025. courtesy of the artist

 

 

FUJIFILM RETURNS TO ARLES WITH FUJIKINA

 

Fujifilm returns to Arles from 8 to 12 July 2025 with the second edition of FUJIKINA, now part of the official Rencontres d’Arles program. Hosted at the former École Nationale Supérieure de la Photographie, the event brings together exhibitions, talks, workshops, portfolio reviews, photo walks, and product demonstrations. This year’s theme, Time as a Developer, is explored through A World in Color, a collaboration with Magnum Photos. The exhibition presents never-before-seen archive images alongside new work by Gregory Halpern. FUJIKINA will also highlight emerging talents in a special series of exhibitions on view during opening week. Invited guests include Raymond Depardon, Laura Bonnefous, Mathias Zwick, Magali Delporte, and others.

 

where: 16 Rue des Arènes
when: July 8th – July 12th, 2025 

image courtesy of Fujifilm

 

 

Arles Books Fair 2025

 

At the invitation of the Rencontres d’Arles, France PhotoBook presents the fourth edition of Arles Books Fair, celebrating the diversity and vitality of contemporary photobook publishing. Hosted at the École nationale supérieure de la photographie and the Collège Saint-Charles, the fair brings together over eighty international publishers, along with a program of talks and encounters with photographers and authors. France PhotoBook, supported by the French Ministry of Culture, unites key independent photography publishers in France, working to champion creative publishing and the photobook as a genre in its own right.

 

where: Collège Saint-Charles & ENSP
when: July 8th – 12th, 2025 

image courtesy of Rencontres d’Arles

 

 

LUMA Arles

 

Launched in 2013 by Maja Hoffmann as part of the LUMA Foundation, LUMA Arles is an interdisciplinary creative campus located in the Parc des Ateliers, a former railway site in Arles, France. Conceived as both a space for production and public engagement, it brings together artists, researchers, scientists, and cultural thinkers to explore urgent topics at the intersection of art, environment, human rights, and knowledge. Spanning 27 acres, the site combines seven restored 19th-century industrial buildings—renovated by Selldorf Architects—with The Tower, a striking structure designed by Frank Gehry that anchors the campus. The surrounding park and landscaped gardens, designed by Bas Smets, serve as a public space for art, biodiversity, and leisure. Visitors encounter installations, sculptures, and a living ecology that reflects the region’s natural rhythms. 

This year, LUMA Arles presents a rich array of exhibitions, from David Armstrong’s intimate portraits to Peter Fischli’s first solo show in France, alongside works by Koo Jeong A, Wael Shawky, Ho Tzu Nyen, and Bas Smets, offering bold perspectives on art, landscape, and contemporary life.

 

image courtesy of LUMA Arles

 

 

David Armstrong

 

Fifteen years after his first Arles showing curated by Nan Goldin, David Armstrong returns with a powerful tribute at LUMA Arles. A key figure of the Boston School, Armstrong’s intimate portraits captured a generation with raw honesty and quiet grace — friends, lovers, outsiders, and dreamers, framed with tenderness and clarity. Paired with his soft-focus landscapes, taken at the height of the AIDS crisis, the exhibition reflects a melancholic beauty and a fleeting sense of time. A celebration of attitude, vulnerability, and an enduring photographic legacy.

where: The Tower – Underground, Level -3
when: from July 5th, 2025

David Armstrong, 2025, The Tower, Underground Level -3, LUMA Arles, France. courtesy of the Estate of David Armstrong © Victor & Simon / Grégoire d’Ablon

 

 

Peter Fischli – People Planet Profit

 

In his first solo exhibition in France, Peter Fischli presents People Planet Profit, a multifaceted exploration of images, objects, and infrastructures shaped by late capitalism. Through sculpture, installation, video, and sound, Fischli probes the entanglement of meaning, labor, and value in a world saturated by digital and material flows. Set in the former Forges of the Parc des Ateliers, the show reflects on the evolution from industrial production to the image-driven economies of today.

 

where: Parc des Ateliers – Les Forges
when: July 5th, 2025 – January 11th, 2026

Peter Fischli, People Planet Profit, 2025, Les Forges, LUMA Arles, France © Victor & Simon / Grégoire d’Ablon

KOO JEONG A : LAND OF OUSSS ❲KANGSE❳

 

In her largest exhibition in France to date, LAND OF OUSSS [KANGSE], KOO JEONG A presents a luminous and multisensory universe that merges art, science, and the metaphysical. Through scent, light, sculpture, and phosphorescent paintings, the exhibition invites viewers into the elusive world of OUSSS, a term coined by the artist that suggests a shifting realm between presence and imagination. Installed across two levels of The Tower, the show resonates with Frank Gehry’s architecture and the landscapes of Arles, crafting a deeply poetic and immersive experience.

 

where: The Tower – Levels 1 & 2
when: from July 5th, 2025

KOO JEONG A, GITD, 5 August 2022 20:22 © KOO JEONG A

 

 

Wael Shawky – I Am Hymns of the New Temples

 

Wael Shawky transforms La Grande Halle into a vast, immersive environment that reimagines the mythic and historical. Centered on the ancient city of Pompeii, the exhibition blends sculpture, sound, and movement to explore the origins of belief and the human need for meaning. Drawing from Greek creation myths and layered with contemporary narratives, I Am Hymns of the New Temples is a powerful meditation on memory, transformation, and the echoes of civilizations past.

 

where: La Grande Halle
when: from July 5th, 2025

Wael Shawky, I Am Hymns of the New Temples, 2025, La Grande Halle, LUMA Arles, France. Victor & Simon / Victor Picon

 

 

Ho Tzu Nyen – Phantom Day and Stranger Tales

 

Ho Tzu Nyen is known for his immersive multimedia works that blend myth, history, and speculation. Phantom Day and Stranger Tales features five major installations from the past decade, including a new AI-generated piece, Phantoms of Endless Day, commissioned by LUMA Arles. Rooted in Southeast Asian histories and cultural narratives, the exhibition explores how stories are shaped and reshaped—through language, image, and technology. Merging film, animation, sound, and algorithmic editing, Ho crafts an intricate, hallucinatory world where past, present, and future continuously fold into one another.

 

where: The Tower
when: from July 5th, 2025

Ho Tzu Nyen, Phantom Day and Stranger Tales, 2025 – 2026, La Mécanique Générale, LUMA Arles, France. Victor & Simon / Grégoire d’Ablon

 

 

Bas Smets – Climates of Landscape

 

Renowned for his climate-responsive designs, Bas Smets reimagines cities as evolving ecological systems. Climates of Landscape, his first exhibition at LUMA Arles, presents an ambitious vision for urban resilience through landscape architecture. Featuring major projects in Paris, Antwerp, and Arles, the exhibition reveals how Smets’ work harnesses microclimates and vegetation to respond to the challenges of a changing environment. With the Parc des Ateliers as a central case study, the show explores how the careful design of public space can transform cities into living, adaptive ecosystems.

 

where: Le Magasin Électrique
when: July 5th – November 2nd, 2025

Bas Smets, Climates of Landscape, 2025, Le Magasin Électrique, Bloc A, LUMA Arles, Parc des Ateliers, France. © Victor & Simon / Grégoire d’Ablon

 

Sigmar Polke at Fondation Vincent Van Gogh

 

This major retrospective celebrates the radical vision of Sigmar Polke (1941–2010), one of the most inventive and influential artists of the postwar period. Spanning six decades, the exhibition brings together a wide selection of paintings, photographs, prints, sculptures, and films, revealing Polke’s relentless experimentation and sharp-eyed critique of culture, politics, and the image. Opening with two rarely shown Van Gogh works, Peasant and Peasant Woman Planting Potatoes and Basket of Potatoes (1885), the exhibition reflects Polke’s interest in the intersections between high and low, past and present. Curated by Bice Curiger, assisted by Margaux Bonopera, the exhibition underscores Polke’s playful irreverence, his embrace of alchemical processes, and his subversion of artistic norms.

 

A parallel program of talks accompanies the exhibition, including Sigmar Polke and Photography, a two-part conversation series with figures such as Bice Curiger, François Halard, Christoph Wiesner, and Diane Dufour, exploring the lesser-known but groundbreaking photographic dimension of Polke’s practice.

 

where: Fondation Vincent van Gogh Arles. 35 ter, rue du Docteur-Fanton
when: until October 26th, 2025

image courtesy of Fondation Vincent Van Gogh

 

 

Michelangelo Pistoletto & Lee Ufan in Dialogue at Lee Ufan Arles

 

This summer, Lee Ufan Arles hosts a dialogue between two major figures of contemporary art: Michelangelo Pistoletto and Lee Ufan. Born just three years apart, and associated respectively with Arte Povera and Mono-ha, the artists come together for the first time in this joint exhibition. Pistoletto presents a selection of historical and recent works in the Espace MA, alongside subtle interventions within Lee Ufan’s permanent installations. Despite distinct aesthetics, the exhibition reveals shared concerns — viewer presence, simplicity, space, and the infinite—offering a rare and resonant conversation across cultures and time.

 

where: Lee Ufan Arles, 5 Rue Vernon
when:
June 25th – October 5th, 2025

image courtesy of Lee Ufan Arles

 

 

The First Exhibition of the Museum of Fashion and Costume

 

After five years of restoration, the Museum of Fashion and Costume opens in Arles with Collections-Collection, its inaugural exhibition. Set in the 14th-century Hôtel Bouchaud de Bussy — meticulously restored by Studio KO and architect Nathalie d’Artigues — the museum showcases two major Provençal collections: those of the Costa family and historians Odile and Magali Pascal.

 

The exhibition traces the region’s costume and textile history from the 18th century to today, featuring emblematic Arlésien garments and key historical pieces. It also includes a permanent artwork by photographer Charles Fréger: a luminous series of backlit portraits exploring collective identity through the iconic figure of the Arlésienne. Blending historical heritage with contemporary vision, the museum becomes a new cultural anchor in Arles.

 

where: Hôtel Bouchaud de Bussy
when: July 6th – January 4th, 2025

 

 

WE ARE ONA × Dalad Kambhu at La Villa Bank

 

WE ARE ONA and Luca Pronzato launch a new dinner series in Arles at La Villa Bank, featuring acclaimed guest cheffe Dalad Kambhu, known for her bold and refined cuisine. Each evening, a single table is set for a unique experience, designed by India Mahdavi, with custom furniture made specially for the occasion.

 

where: La Villa Bank
when: July 6th – 11th, 2025

image coiurtesy of WE ARE ONA

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