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Iconic Plants vs Zombies game gets revived with this Playable 1,100-brick LEGO set

Remember when you’d spend hours tapping your phone screen, deploying sunflowers and peashooters to hold back the endless tide of the undead? Plants vs Zombies was a 2009-10 cultural phenomenon that turned lawn defense into an obsession for hundreds of millions of players. That quirky tower defense title with its adorable plants and dopey zombies somehow managed to hook everyone from hardcore gamers to grandparents who’d never touched a game before. Now, a decade after we all collectively worried about zombies eating our brains, LEGO Ideas has unveiled a pitch-perfect brick recreation that captures the essence of PopCap’s masterpiece in 1100 meticulously arranged pieces.

First off, translating a digital game to physical LEGO form is tricky business, but this set absolutely nails it. The designer has recreated that iconic suburban battlefield with the precision of someone who clearly spent way too many hours (like the rest of us) strategically placing cherry bombs and potato mines. The layout is instantly recognizable: a neatly gridded front lawn, the modest little house with its characteristic roof, and of course, the stars of the show – those plucky plants and brain-hungry zombies, all rendered in brick form that somehow preserves their cartoonish charm while working within LEGO’s geometric constraints.

Designer: KrafftPunk

The front lawn unfolds in a neat grid of various green plates, lightly studded to anchor eight distinct brick-built plant figures. Closest to the house, a row of potato mines – each built from black clips and red round tiles – bleeds into neatly clipped hedges of sunflowers. Their smiling yellow heads perch on layered leaf elements. Next come two rows of shooters: bright green Peashooters flank two icy-blue Snow Pea models, each barrel perched on a stacked-tile stalk. A chomper with a bulbous purple head and hinged jaw snaps open among them. Two walnut figures, carved from angled bricks into squat, worried eyes, guard the final lane beside a white picket fence.

The plant lineup is a greatest hits collection that would make any PvZ veteran smile. The Peashooter’s signature green head has been captured with surprising nuance using just a handful of pieces. The Sunflower beams with that same dopey optimism that made it the backbone of every successful defense strategy. Wall-nut’s worried expression somehow translates perfectly to LEGO form, complete with those anxious eyebrows that always made you feel a little guilty about putting him in harm’s way. The Snow Pea, Cherry Bomb, and Potato Mine round out the plant defenders, each one immediately recognizable despite their miniature size and blocky construction.

On the zombie side, the roster’s a little limited, but it’s still enough to really seal the deal. The minifigures are tweaked to go from your happy yellow beings to olive-green zombies with their signature expressions, gangly teeth, and ripped clothes – all created through mere decals. One of the zombies even holds the brains flag, officially representing the offensive side of the game.

The lawn grid is (to a degree) functionally playable. Plants and zombies can be positioned and moved across the battlefield, essentially turning the set into a physical version of the game. You could absolutely use this as a tabletop strategy game, moving zombies forward one space per turn while the plants defend their territory. The modular design allows for endless reconfigurations, letting you recreate your favorite defensive layouts or experiment with new strategies that would never work in the actual game. I’m already imagining house rules for a competitive two-player version where one person controls plants and the other zombies.

This set represents LEGO at its finest – taking something beloved from pop culture and transforming it into an interactive brick experience that works on multiple levels. For the casual fan, it’s a nostalgic nod to a game that ate up countless hours of their life. For serious LEGO collectors, it’s a display piece filled with clever building techniques and character designs. And for those who want to actually play with their LEGO (imagine that!), it’s a physical board game that captures the strategic essence of its digital inspiration. But first, the set needs to make it through the LEGO Ideas voting cycle… although with over 4,700 votes, it’s well on its way to hitting the 10k mark that will then send it to LEGO’s internal team to review whether it fits well into LEGO’s box-set collection. If you want to see that happen, go ahead and cast a vote for the Plants vs. Zombies build on the LEGO Ideas website here!

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Skymill Weather Sculpture: Where Forecasts Become Poetry in Motion

Weather forecasting just got a major artistic upgrade, and your windowsill will never look the same. Forget glancing at your phone screen for another boring digital readout that tells you nothing about the poetry happening outside your window. There’s something magical brewing that transforms invisible atmospheric data into a living, breathing sculpture that dances with the sky above you.

The Skymill kinetic sculpture brings weather forecasts to life through gentle metal arms that move and shift in real time, creating a visual symphony that evolves constantly throughout your day. When the sun rises outside, the sun icon rises with it while the moon slowly sets, connecting you to natural rhythms that digital displays simply cannot capture. This isn’t just weather reporting; it’s weather poetry made tangible and beautiful.

Designer: Gustav Rosén x KLONG

Click Here to Buy Now: $363 $539 (30% off). Hurry, only 281/100 left! Raised over $133,000.

Swedish designer Gustav Rosén, whose expertise spans both IT and product design, collaborated with renowned Scandinavian design brand KLONG to create something extraordinary. Their combined backgrounds in engineering precision and aesthetic excellence shine through every carefully considered detail. The result bridges the gap between digital information and physical experience, bringing decades of design mastery to solve a problem most people didn’t realize they had.

The philosophy behind Skymill addresses our growing disconnection from the physical world around us. Weather has been reduced to swipeable forecasts that feel empty and detached from reality. Rosén and his team built this kinetic sculpture from a shared longing for something more tangible, recognizing that not everything needs to be fast and digital. Some experiences become richer when they move slowly and physically.

Nine different weather symbols combine to display over thirty-five distinct weather conditions, each movement subtle yet meaningful. When rain begins outside, the rain icon lifts and joins the cloud in a gentle mechanical ballet. The system doesn’t just serve function. It offers an intuitive connection to atmospheric changes that feels almost magical. Every shift and rotation becomes a reminder that the sky is always present and constantly evolving.

Air quality monitoring adds another layer of environmental awareness without overwhelming displays or flashing lights. When carbon dioxide, dust, or other irritants rise above recommended levels for more than ten minutes, a small bird icon appears. This charming detail draws inspiration from canaries once used in coal mines to detect dangerous gases, blending historical wisdom with modern environmental consciousness.

The physical knob lets you travel through time, checking weather changes throughout the day in three-hour increments up to twenty-four hours ahead. Whether you’re planning morning attire or wondering about evening running conditions, answers await with a simple turn. A subtle diode display shows the outdoor temperature at a glance, while pushing the knob twice reveals indoor temperature and humidity readings.

Inside Skymill’s calm exterior lies intricate mechanical complexity that transforms abstract data into graceful movement. Ten icons operate independently, each driven by its own motor, belt, and gear assembly. Arms rise and fall in perfect harmony, powered by precision bearings and finely tuned gears that create smooth, nearly silent operation. Every icon glides on axial ball bearings engineered for longevity and whisper-quiet performance.

Material selection reflects thoughtful consideration of both aesthetics and functionality over time. The brushed copper shell feels warm and tactile, inviting touch while shifting beautifully as light moves across its surface. Interior stainless steel slats provide strength and precision, separating icons with clean architectural lines. Each weather symbol uses metals that reflect their represented elements perfectly.

The sun and thunder icons gleam in polished brass, radiating warmth and energy. Rain, wind, and the air quality bird appear in polished steel, embodying clarity and elemental purity. The moon glows in polished copper, quiet and luminous against the backdrop. Clouds emerge in brushed steel, soft and understated like their atmospheric counterparts. This thoughtful material palette creates visual harmony while maintaining symbolic integrity.

Construction philosophy emphasizes repairability and longevity over disposable convenience. The inner support structure comes from a single injection-molded part, reducing waste while simplifying assembly. Pins and screws hold everything together instead of permanent adhesives, allowing the device to be opened, understood, and maintained. This approach reflects traditional craftsmanship values when objects were built to last generations.

Skymill transforms weather awareness from a mundane daily task into an ongoing meditation on natural beauty. It reconnects us with atmospheric rhythms that digital displays flatten into forgettable numbers, creating ambient awareness that enriches rather than interrupts our daily experience. Skymill doesn’t just tell you about the weather outside; it makes you fall in love with watching the sky again, turning your home into a place where nature’s invisible poetry becomes beautifully, tangibly real.

Click Here to Buy Now: $363 $539 (30% off). Hurry, only 281/100 left! Raised over $133,000.

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Experience Seamless Travel & Sustainable Design At Sydney’s New Light-Filled International Airport

A new era of travel begins in Western Sydney with the unveiling of its international airport, a project that redefines what airport architecture can offer both passengers and the broader community. Designed with a focus on seamless movement, natural light, and environmental stewardship, the terminal is a study in how infrastructure can evoke welcome, clarity, and place. Its architecture is marked by an expansive, sculpted ceiling, creating a canopy that diffuses sunlight through the terminal and shapes the traveler’s first impressions of Australia.

Carefully considered circulation routes guide visitors from the curbside through check-in, security, and departure gates with minimal friction. Wide, open sightlines and intuitive wayfinding help reduce stress, while generous glazing throughout ensures that daylight is never far away. The material palette, grounded in warm wood, glass, and metal, brings in a sense of calm and durability. Passengers move through spaces that feel both monumental and approachable, an accomplishment that reflects the project’s ambition to balance the demands of efficiency with an elevated experience.

Designers: COX Architecture and Zaha Hadid Architects

The project employs a modular design that streamlines construction and reduces waste. Energy efficiency is prioritized through extensive use of daylight, high-performance glazing, and passive shading. Natural ventilation systems and water recycling further minimize the building’s environmental footprint. The approach is pragmatic but never clinical—technology serves to enhance comfort, not dictate it.

The sinuous ceiling, a signature gesture, is more than a visual flourish. It references the undulating Australian landscape and modulates the interior environment, providing both shade and a gentle play of light. This design move is echoed in the terminal’s external form, where the building sits low and broad, anchoring itself in the terrain rather than dominating it. The result is a structure that feels rooted, resilient, and unmistakably local.

Public spaces are generous, designed for lingering as much as for passing through. Seating areas are organized around panoramic views, and retail and dining are integrated without overwhelming the journey. For many travelers, this terminal will serve as their first encounter with Australia, and the design team has crafted an experience that is welcoming without being overwhelming, contemporary yet distinctly connected to its context.

Operationally, the airport is built for flexibility, ready to adapt as passenger volumes grow. The terminal is designed to handle 10 million travelers annually at launch, with capacity for expansion as Western Sydney continues to develop. Behind the tranquil experience is an infrastructure system engineered for reliability, efficiency, and future growth. This new gateway is a benchmark for what civic architecture can achieve. It doesn’t rely on spectacle but on thoughtful, human-centric design. Every feature—from the interplay of light and material to the integration of sustainable strategies—serves to create a sense of arrival and belonging.

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Product Packaging still sucks… but this Nintendo Switch biodegradable box presents a radical new path

I would watch an unboxing video a 100 more times if it used these materials instead of plastic and virgin cardboard. The year is 2025, we’ve unboxed products for decades at this point, and nothing has changed at all. Apart from packages now being smaller and shipping without chargers (we’re looking at you, Apple), we really haven’t advanced much in terms of designing for end-of-life.

A product’s package is literally the most single-use item on the planet. Apart from probably retaining the box for fondness’ sake, nobody keeps the packaging for their Switch, iPhone, iPad, drone, or laptop. These boxes are MEANT to be thrown away 90% of the time – so why are we still using materials NOT made for a single-use mentality? This unique Nintendo Switch packaging from Björn Van Egroo

Designer: Björn Van Egroo

Born from a 3D rendering material experimentation exercise, Egroo’s Nintendo Switch packaging redesign actually taps into something raw and fundamentally game-changing. You don’t need to mold plastic blister shells inside pristine cardboard boxes wrapped with plastic film… a product’s packaging can use materials like compressed coconut fiber, recycled paper, and even sugarcane fiber (bagasse) to create packaging that’s bespoke, filled with character, and shock-absorbing.

Would something like this work for gadgets? Here’s the reality check – yes and no. Yes, it could for a lot of gadgets. But also, no, it couldn’t because the supply chain is way too set in its ways to hard-pivot to an experimental set of materials for millions and millions of gadgets shipped worldwide. This particular concept also has a mild risk of water seepage through the coco fiber, but nothing that can’t be fixed with a little redesign.

I cringe as I have to cut through plastic blister packs every time I order a mouse, or a set of batteries, or a charging cable. Similarly, receiving an almost perfect-looking cardboard box with a Bluetooth speaker inside, only to then throw the box out immediately after unboxing my product, feels just as wasteful. Egroo’s simple material exploration presents a shift that I would HAPPILY endorse.

We’ve got no shortage of recycled and recyclable materials. A simple Google search will tell you that 9 billion coconut husks are discarded annually. Sugarcane pulp, a byproduct of sugar production, is discarded by a factor of 700 million tonnes per year. Paper waste goes into millions of tonnes too. ALL these can easily be rerouted into packaging products instead. Maybe not immediately for tech products (although there are companies using molded pulp instead of styrofoam), but hey… if molded pulp trays are good for eggs (which are way more fragile than your average tech product), then why not for gadgets?

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Sunlight’s VW Ibex concept camper prepares for the wild beyond the campsite

Sunlight, a German camper brand under the Erwin Hymer Group, has long positioned itself as a maker of well-built, functional recreational vehicles for adventure seekers. With models like the CLIFF campervan and its VAN series based on Fiat Ducato and Citroën chassis, the company has carved a name in the market by offering quality, affordability, and a lifestyle-centric design approach. Its offerings combine streamlined interiors, flexible layouts, and thoughtful add-ons like panoramic roofs, modular bedding, and adventure-ready editions. Now, Sunlight is preparing to take its off-grid philosophy further with the VW Ibex concept, its boldest and most rugged camper design to date.

The VW Ibex concept departs from typical touring campervans with an exterior package aimed at overlanding. Built on the Volkswagen Crafter chassis, the Ibex features raised suspension, all-wheel drive, heavy-duty front and rear bumpers, and functional exterior upgrades like roof racks, a light bar, an external spare wheel, and lash panels. The front-end protection, wheel arch guards, and cladding around the body give it a distinctive off-road character that goes far beyond paved campsite roads. The camper embraces a visual language of durability and movement, consistent with Sunlight’s tagline of “outdrive the ordinary.”

Designer: Sunlight

The brand has flirted with more adventurous formats before. Its 2019 CLIFF 4×4 Adventure Van, built on a Fiat chassis, catered to the active crowd with gear-specific storage, a modular hammock, and wakeboard holders. But the Ibex pushes that boundary further. While it remains a concept for now, Sunlight has hinted that a production model may not be far off, suggesting serious intent to address the emerging overland market. If brought to production, the Ibex would mark a major shift toward ruggedized adventure campers that merge capability with lifestyle-centric interiors. Inside, Sunlight vehicles typically favor practical, open layouts over decorative excess. Their recent VAN series, including the V60 and V66 models, integrates space-saving cabinetry, convertible lounges, and bright wood tones in its “Sandbar” trim design. The company’s interior focus remains grounded in functionality, optimized for either couples or small families, with models ranging between 19.5 and 22.5 feet in length. Most of these vans are designed to sleep two to four occupants and remain accessible in price, usually starting around $57,000, depending on the base platform and features.

Sunlight’s marketing reflects a shift toward outdoor sports and action imagery, with visuals featuring surfing, climbing, and mountain biking through scenic locations. The Ibex embodies this evolution in brand identity, aiming to be more than just a mobile living space. Instead, it’s pitched as a launchpad for high-mobility adventures across terrain that traditional RVs rarely reach. By venturing into the off-road camper segment, Sunlight appears poised to broaden its appeal while preserving the balance of simplicity and sophistication it’s known for. Whether parked at a forest trailhead or scaling gravel paths in the backcountry, the VW Ibex concept is a signal that the brand is preparing for a future beyond the grid—one where exploration is no longer limited by the road ahead.

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Transparent Sony Walkman Concept merges Blade Runner style with Retro Cassette Nostalgia

I’ve seen a lot of transparent tech in my day, but this Sony Walkman-meets-Blade Runner recorder is the kind of object that makes me want to empty my wallet immediately while simultaneously wondering if I’ve wandered into some alternate timeline where tech actually looks cool again. The transparent cassette recorder concept perfectly captures that rare intersection of nostalgia and futurism that’s currently dominating design circles. While Nothing’s transparent earbuds and phones have been teasing us with glimpses of circuitry for years, this concept goes full exhibitionist with its mechanics, letting you watch those gears and rollers work their analog magic through crystal-clear housing. The device is unapologetically retro-futuristic, combining the tactile satisfaction of physical media with the aesthetic of something you’d find in Ghost in the Shell.

The execution here is particularly striking because it doesn’t just slap a clear case on old tech and call it a day. The top-mounted mechanical elements with their perfectly visible gear systems remind me of luxury watches, where the movement becomes the centerpiece. That digital display nestled among analog components creates a delicious tension between old and new technologies. The pixel-perfect UI elements visible through the clear housing suggest this isn’t just a dumb playback device but something with computational intelligence. Those tiny control buttons along the top edge look deliberately reminiscent of 80s Sony recorders, hitting that sweet spot between tactile satisfaction and miniaturization.

Designer: M Fresnel

Whoever designed this clearly understands why cassettes are having their second (or is it third?) cultural moment. Vinyl’s comeback was about sound quality and large-format art, but cassettes? They’re about the mechanical ritual, the satisfying click when you press record, and watching the spools turn. This concept leans hard into that physical experience by making it visual as well as tactile. The industrial design shows remarkable restraint, too – the corners are precisely chamfered, the proportions maintain that perfect handheld dictaphone form factor (roughly 4×2.5 inches if I had to guess), and there’s just enough technical detailing to give it character without veering into gaudy territory.

Timing couldn’t be better for something like this to hit production. With Teenage Engineering’s TP-7 field recorder selling out despite its $1,200 price tag and cassette sales growing 28% year-over-year, there’s clearly an appetite for premium recording devices that buck the “just use your phone” mentality. What makes this concept particularly clever is how it bridges generations – boomers recognize the form factor from their reporting days, Gen X gets nostalgic about mixtapes, millennials appreciate the vaporwave aesthetic, and Gen Z gets another analog format to discover and fetishize on TikTok. If this actually hit production with decent specs (24-bit/96kHz recording would be my baseline expectation), I’d wager it could command $400-500 easily in today’s premium audio market.

The ultimate irony? This gorgeously transparent device reveals everything except whether it will ever make it past the concept stage. And that’s the cruelest tease of all.

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When Nature Meets Nordic Design: MycoWorks’ Reishi Transforms Danish Craftsmanship

The intersection of biotechnology and traditional craftsmanship reached a defining moment at Copenhagen’s 3 Days of Design 2025, where MycoWorks’ Reishi biomaterial took center stage in a groundbreaking exhibition that challenges our understanding of sustainable luxury materials.

Curated by: Marie-Louise Høstbo

A Living Material Meets Visionary Designers

“Reishi in the Nordic Light” brought together five of Denmark’s most celebrated design studios in an unprecedented collaboration. Curated by Marie-Louise Høstbo at Galerie MøllerWitt from June 18-20, the exhibition explored how this mycelium-based material responds to the subtle interplay of natural and artificial light that defines Nordic design philosophy.

The timing couldn’t be more significant. As the design world increasingly seeks alternatives to environmentally damaging materials, Reishi has emerged as a genuine contender in the luxury market. More than just an eco-friendly leather alternative, mycelium leather has luxury brands excited because of its remarkable quality. Major fashion houses including Hermès, Stella McCartney, and Calvin Klein are already partnering with mycelium innovators like MycoWorks.

Beyond Traditional Materials: The Science of Sustainable Luxury

Reishi represents a significant advancement in biomaterial technology. MycoWorks has developed a patented mycelium-based technology called Fine Mycelium, resulting in luxury mycelium leather that looks and feels like fine animal leather but with much lower environmental impact. The material meets or exceeds furniture industry benchmarks for flexibility, abrasion resistance, colorfastness and aging, while producing only 6 pounds of carbon dioxide equivalent for every 11 square feet manufactured, far less than animal or synthetic leathers.

The commercial validation is impressive. Reishi recently debuted in a Ligne Roset couch and on the inner door panels of a concept electric General Motors Cadillac. MycoWorks operates a 136,000 square foot plant in Union, South Carolina, using artificial intelligence and robotics to automate production, with materials shipped for tanning to Igualada, Spain.

Masters of Modern Danish Design

The exhibition featured an extraordinary roster of talent, each bringing decades of expertise to this biomaterial exploration. Cecilie Manz, who founded her Copenhagen studio in 1998, has become synonymous with refined industrial design through collaborations with Bang & Olufsen, Iittala, Muuto, and Hermès. Her recent work includes the launch of Bang & Olufsen’s A1 3rd generation speaker in May 2025 and the Maku screen collection, demonstrating her continued relevance in contemporary design. Named Scandinavian designer of the year in 2024, Manz’s participation signals the serious consideration biomaterials are receiving from established designers.

OEO Studio, founded in 2003 by Thomas Lykke and Anne-Marie Buemann, has garnered international recognition for redefining contemporary Scandinavian style. Their recent projects include designing the interiors for Noma Kyoto’s 2024 pop-up, and their work spans from Michelin-star restaurant interiors to medieval hotels in Italy. With pieces in the permanent collection of London’s Victoria and Albert Museum, their involvement with Reishi represents a significant endorsement of biomaterials in high-end design applications.

Maria Bruun brings particular gravitas to the collaboration. The 2022 Wegner Prize recipient also won the prestigious Danish Finn Juhl Prize in 2021, making her one of Denmark’s most decorated contemporary furniture designers. Her approach to working with natural materials, exemplified by acclaimed pieces like the Pioneer stool and Islets table for Fredericia, makes her collaboration with Reishi particularly compelling. Currently participating in the Bruno Mathsson Design Residency 2025, Bruun’s sculptural designs showcase a deep understanding of material properties.

Frederik Gustav, established by Royal Academy graduates Frederik Weber and Gustav Dupont, continues pushing boundaries of construction and materiality from their Amager workshop, while atelier axo, founded in 2019 by Rose Hermansen and Caroline Sillesen, brings a crossdisciplinary approach characterized by poetic and structural sensibility.

Market Forces Driving Change

This Copenhagen showcase represents more than aesthetic experimentation. It signals a broader shift driven by market realities. The mycelium leather market, which reached $12 million in 2024, will soar up to $336 million by 2033, indicating massive growth potential for biomaterials. The global leather goods market exceeded $400 billion in 2021 and is expected to surpass $720 billion by 2030, creating enormous opportunity for sustainable alternatives.

The exhibition’s focus on light interaction reveals another crucial aspect of material design. By emphasizing how Reishi responds to Nordic lighting conditions, the designers demonstrated that sustainable materials can enhance rather than limit creative expression. Each object is designed to capture and diffuse light, emphasizing texture, subtle detail, and emotional resonance.

The material’s versatility was demonstrated across multiple venues during the Copenhagen event. Beyond the main exhibition, Reishi appeared at ADORNO, showcasing the DUK floating side table conceptualized with Studio TOOJ, and at BIG’s Materialism presentation, indicating broad industry validation.

The Future of Conscious Design

What makes this collaboration particularly significant is its demonstration that sustainable luxury doesn’t require compromise. As mycelium leather becomes more accessible, it serves as an excellent choice for designers looking to create quality products with a low carbon footprint. MycoWorks has focused on refining the material’s unique properties rather than attempting to imitate leather, creating what they call “not an alternative material, but a new category altogether.”

For designers and manufacturers watching this space, the Copenhagen exhibition offers a clear message: sustainable materials have moved beyond experimental status to become viable options for high-end applications. When designers of this caliber, from Manz’s industrial precision to Bruun’s material poetry, choose to work with emerging materials, it signals approaching mainstream adoption.

The exhibition ran from June 18-20, 2025, but its impact on sustainable design thinking will likely extend far beyond those three days in Copenhagen. As the design industry continues to grapple with environmental responsibilities, collaborations like this provide a roadmap for how traditional craftsmanship can evolve without losing its essential character and perhaps discover new expressive possibilities in the process.

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