BIG Wraps Dymak’s Headquarters in Solar-Powered Timber

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BIG’s new headquarters for Danish material supplier Dymak turns environmental performance into architecture. Rather than treating sustainability as a technical layer hidden within the building, the studio makes it central to the project’s form, materiality and identity.

Located beside Glisholm Lake in Odense, Denmark, the 2,800-square-metre headquarters is organised as a circular mass-timber structure around an open-air courtyard. Above it, an undulating roof rises and falls across the building, creating a form that recalls a Möbius strip. The result is sculptural and highly recognisable, but it is also shaped by practical concerns.

Designer: BIG

The roof rises towards the north to open views of the lake and surrounding forest, while sloping towards the south to provide shade and reduce solar heat gain. Its surface is covered with 880 custom-shaped photovoltaic panels, turning the roof into both an energy-producing system and the building’s main visual feature.

This combination of performance and spectacle is characteristic of BIG. The studio often transforms practical constraints into clear architectural gestures, and the Dymak headquarters follows the same approach. Solar orientation, shading and landscape views are not treated as separate problems. Instead, they are brought together within one continuous form.

The project also functions as a full-scale showcase for Dymak’s material portfolio. Mass timber forms the primary structure, while clay, cork, eelgrass and recycled paper fibres are used throughout the building. These materials are not displayed as isolated samples. They appear across the floors, ceilings, walls and structural elements, allowing visitors to experience them through texture, sound and scale.

BIG describes the building as a “living catalogue”, and the phrase captures its dual role. It is both a workplace and a demonstration of what Dymak’s materials can achieve. The architecture becomes part of the company’s identity, communicating ideas of craftsmanship, sustainability and material innovation.

This gives the headquarters a warmer atmosphere than the polished glass-and-steel language commonly associated with corporate buildings. Timber remains visible, brick-tiled flooring extends across interior and exterior spaces, and natural fibres soften the ceilings. The materials create a sense of tactility that reinforces the company’s focus while making the workplace feel less formal.

At the same time, the building clearly operates as a branding tool. Its solar roof, natural finishes and landscaped spaces present Dymak as environmentally responsible and forward-looking. Sustainability is not simply part of the building’s performance; it becomes part of the company’s public image.

At the centre of the circular plan is a landscaped courtyard conceived as a green amphitheatre. Planted terraces and stepped seating create space for informal meetings, gatherings and moments of rest. The courtyard is surrounded by glazing, allowing daylight and vegetation to remain visible from the surrounding interiors.

Unlike the dramatic roof, the courtyard does not rely on a strong visual metaphor. Its value is more direct. It creates a protected outdoor space, brings nature into the workplace and offers an alternative to desks and enclosed meeting rooms. Brick flooring continues across the threshold, reducing the distinction between inside and outside and making the garden feel like an extension of the office.

The ground floor contains a showroom, photo studio and fitness facilities, while the upper level includes open-plan workspaces, meeting rooms and lounge areas. A mezzanine connects the two floors, and the circular layout creates a continuous route around the courtyard.

The headquarters succeeds most when its sustainable ideas are experienced rather than simply announced. The warmth of timber, the shaded interiors, the continuity of the brick flooring and the presence of landscape all influence how the building feels in everyday use.

Still, the roof is likely to dominate how the project is remembered. Its Möbius-strip form is visually striking and easy to communicate, but it risks overshadowing the building’s quieter achievements. The use of low-carbon and bio-based materials, the creation of shared social spaces and the careful relationship with the surrounding landscape may ultimately be more significant than the headline image.

The project is not a universal model for office design. Its custom roof, circular plan and carefully selected materials make it highly specific to Dymak. Yet this specificity is also what makes it persuasive. By presenting timber, clay, eelgrass and recycled fibres within a polished corporate environment, the headquarters shows that low-carbon materials can support both technical performance and architectural ambition.

BIG’s Dymak headquarters does not attempt to disappear into the Danish landscape. It performs, advertises and turns sustainability into a statement. Its strength lies in showing that environmental responsibility can shape not only how a building performs, but also how it looks, feels and represents the organisation within it.

The post BIG Wraps Dymak’s Headquarters in Solar-Powered Timber first appeared on Yanko Design.

Bang & Olufsen’s New Speaker Concept Is a Ritual, Not a Device

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Most speakers are designed to disappear. They sit on a shelf, blend into a bookcase, or hide in a cabinet, quietly doing their job until you need them and then fading back into the background. Mårten Malmnäs, a graduate from the Umeå Institute of Design, designed something that pushes back against all of that.

The Beosound Tableau is a wall-mounted audio object developed in collaboration with Bang & Olufsen. Malmnäs calls it “a fireplace for music,” an instrument not just for listening, but for living. The moment I read that, I had to stop. Because I’ve never heard a speaker described that way before, and suddenly, I couldn’t think of a more fitting comparison.

Designer: Mårten Malmnäs

Think about what a fireplace actually does. Yes, it produces heat, but that’s almost beside the point. A fireplace creates presence. It becomes the thing a room organizes itself around. People pull their chairs toward it, conversations happen because of it, and its absence is genuinely felt. That’s a completely different design brief than “fits on your desk” or “connects to your phone.”

Malmnäs started the project with a design probe, a research method that explores the relationships people have with their homes, and from that came a set of experiments around values and behaviors. Eight experimental directions emerged from the ideation phase, spanning different input and output formats. Three of those directions clearly answered the design responsibilities he’d set for the project, and their shared qualities pointed toward one resolved object.

Here’s where it gets interesting. The original concept for the Tableau was screen-based, but a method called Wizard of Oz testing, where a human simulates the system to observe how people actually interact with it, pushed the design somewhere more honest. The interaction model shifted from screens to navigation by sound. And the principle that came out of it became the foundation of the whole concept: the most honest interface for a music object is music itself.

That’s a provocative idea. We’ve spent years layering more and more visual UI on top of audio experiences. Every streaming service competes on the complexity of its recommendation algorithm, the visual polish of its playlist covers, the grid of album art. Malmnäs argued the opposite, that sound should speak for sound. The result is the Sonic Token, a physical object that mediates between the listener and the Tableau. Tactile, intentional, and completely different from scrolling a touchscreen.

The Tableau is positioned as a focal thing for the home. An object to gather around and tend to. That language is deliberate, and it’s also a little radical. “Tending” to an audio object implies care and attention, a relationship rather than a transaction. You don’t tend to a Bluetooth speaker. You don’t gather around an app.

Bang & Olufsen has always occupied a rare space in the audio world, where design and sound hold equal weight, and where a product can belong in a design museum and still deliver extraordinary sound. But even by B&O’s standards, the Tableau concept asks a genuinely new question: what if the speaker were the focal point of the room, rather than just a feature of it?

There are fair questions about how a concept like this survives beyond a graduate show. The hands-on, material-driven process Malmnäs used, with 1:1 mock-ups and rigorous testing of the Sonic Token’s form and function, suggests this isn’t a vague idea dressed up in renders. It was built and tested as a real object. Whether it eventually reaches production or stays as a collaborative concept between a student designer and one of the world’s most revered audio brands is another matter.

But the value of the Beosound Tableau isn’t only in whether it ships. It’s in the question it refuses to let go of: why have we settled for speakers that ask nothing of us? The alternative, a speaker that earns its place on the wall, makes music feel like a gathering, and treats sound like something worth being present for, sounds like exactly what the living room has been missing.

The post Bang & Olufsen’s New Speaker Concept Is a Ritual, Not a Device first appeared on Yanko Design.

China built one eVTOL that transforms into an air-taxi, a firefighter, and a 5-ton hauler

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Car companies figured this out decades ago. You build one solid platform, then you stretch it, armor it, or strip it down depending on who is buying. A pickup and an SUV can share more bones than you would think. AutoFlight just applied the same logic to flying machines, and honestly, it is kind of wild that nobody in the eVTOL space was doing this loudly before.

Their 2-ton airframe is the base recipe. From there you get Prosperity, the passenger taxi, plus a cargo hauler, a firefighting variant, and a beefed up 5-ton sibling called the Matrix. Same DNA, four very different jobs. That is not just clever engineering, it is the kind of design thinking that turns a single good idea into an entire product family.

Designer: AutoFlight

Instead of one long wing with propellers hanging off it, Prosperity splits its lift across two shorter, staggered wing sets, one up top and one lower down, each carrying its own pair of tilting propellers. Seen head on, the whole thing forms a kind of open diamond shape, wings sweeping outward and slightly upward like a bird mid glide. That geometry is not just for show. Shorter wings mean a smaller footprint on the ground, which matters a lot when your business plan involves landing on rooftops and tight urban pads instead of runways. The teardrop cabin tucked underneath keeps the silhouette clean and lets the eye read this as one continuous vehicle instead of a fuselage with stuff bolted onto it.

That same wing and boom architecture is what makes the whole family idea work. Swap the passenger cabin for a cargo pod and you get CarryAll, the variant that has already flown certified deliveries. Reinforce the frame and add water or retardant tanks and you get the firefighting version, built for exactly the kind of terrain where a fire truck cannot reach in time. Scale the structure up and add more lift and you land on Matrix, the 5-ton cousin built for heavier industrial jobs. None of these required AutoFlight to reinvent the aerodynamics from scratch, they just reworked what sits inside the same wing and boom skeleton.

This is also why the Kazakhstan push makes sense as a platform story rather than a one-off sale. AAAG did not just buy a handful of demo units, they signed for 50 aircraft, which only makes financial sense if the underlying platform is flexible enough to serve multiple missions across a country with serious geographic spread. A single certified airframe that can become a taxi one month and a firefighting unit the next is a much easier sell to a government trying to solve connectivity across a huge, sparsely covered region.

Most eVTOL startups are still fighting just to get one aircraft through certification without going bankrupt. AutoFlight looked at that grind and decided to get four aircraft out of the same paperwork, the same supply chain, and the same wing design. It is a quieter kind of ambition than a flashy air taxi reveal, but it is the kind that actually scales. Watching two Prosperity units and a Matrix fly in formation earlier this year was the moment that platform strategy stopped being a slide in an investor deck and started looking like an actual product family.

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Jack Dorsey’s Buzz Integrates AI Agents and Built-in Repositories

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Jack Dorsey’s Buzz Integrates AI Agents and Built-in Repositories The user interface of the Buzz multi-agent chat platform showing AI integrations.

Jack Dorsey’s latest venture, Buzz, offers a platform aimed at improving communication and collaboration for modern teams. According to Alex Finn, one of its defining features is the integration of AI agents with repositories and team discussions, creating a centralized workspace. For instance, in software development, Buzz’s AI can analyze repository data, team conversations and […]

The post Jack Dorsey’s Buzz Integrates AI Agents and Built-in Repositories appeared first on Geeky Gadgets.

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