BYD’s next all-electric hypercar is a convertible that’s coming to Europe first

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BYD may be known for its affordable all-electric cars, but that doesn't mean it won't dabble in the occasional hypercar under one of its subsidiary brands. At the Beijing Auto Show, BYD unveiled the Denza Z, a hypercar that can produce more than 1,000 horsepower with an all-electric motor. According to CarNewsChina, the Denza A can hit 0 to 60 mph in less than two seconds, rivaling the likes of the Rimac Nivera.

BYD first showed off the Denza Z as a concept at the Shanghai Auto Show in 2025. A year later, the Chinese EV maker confirmed its latest hypercar as a four-seater that will come in hard-top, convertible and "track" configurations. BYD hasn't revealed the Denza Z's full specs yet, so we're not sure what differentiates the track edition. So far, the company has shared that it would use its intelligent suspension system, DiSus-M, similar to Chevrolet Corvette's Magnetic Ride Control, and its Flash Charging system. BYD also told AutoExpress that the Denza Z will have some of the features seen with BYD's YangWang U9, like autonomous driving and "tank turning."

Surprisingly, BYD is planning to release the Denza Z in Europe first, with an inaugural ride at the Goodwood Festival of Speed in the UK in July. The automaker hasn't revealed pricing yet, but it should be more widely available than BYD's other hypercar under its YangWang subsidiary, which is limited to 30 units.

This article originally appeared on Engadget at https://www.engadget.com/transportation/evs/byds-next-all-electric-hypercar-is-a-convertible-thats-coming-to-europe-first-233050130.html?src=rss

This Nova Scotia Home Floats Above the Land on Steel Legs and Changes Nothing Beneath It

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There’s a certain restraint in the decision to let a building hover. Not every architect earns that move. Along the rugged Atlantic coastline of Nova Scotia, Canadian studio Omar Gandhi Architects has completed the East River Residence — a home that doesn’t so much sit on the landscape as suspend itself above it, perched on slender steel columns that let the rocky terrain breathe freely underneath.

The project was conceived for a couple relocating from Montreal, trading city life for something quieter, more grounded, more defined by the presence of the Atlantic. On the first visit to the site, the architects followed the coastline inward through a dense stand of forest, arriving at a soft valley held between two steep, rocky inclines. That natural bowl — rather than being fought or filled — became the entire logic of the building.

Designer: Omar Gandhi Architects

The result is a home that reads like a bridge. It spans the depression between two embankments, and the terrain flows underneath it the way water would. Hidden from the shore by thick forest, the only way to encounter it is to go inland, walk along the coast, and let it reveal itself gradually — which feels entirely intentional. This isn’t a house that announces itself. It listens.

The roofline is where the architecture gets genuinely expressive. The gable follows the rhythm of the land below it — rising over the rocky outcrops, dipping low at the main living space to pull in southern light and create a sense of interior intimacy, then lifting again at the yoga studio to expand the room toward the sky. Each shift in section corresponds to a shift in how the space feels, and how the view outside changes with it.

Materially, the home stays close to its coastal context. The palette is dark and restrained — chosen to disappear into the treeline rather than compete with it. Steel, wood, and shadow do most of the talking. The structure was built by Blueprint Construction with structural engineering by Design Point, and the technical execution of suspending a full residence above challenging terrain is considered as the architecture itself.

Photographed by Felix Michaud, the images capture something that most architecture photography misses: the feeling of a building that genuinely belongs where it is. The East River Residence isn’t trying to conquer its site. It’s floating above it, quietly, letting the land remain exactly what it was — which, as architectural philosophies go, is a rare and admirable one.

The post This Nova Scotia Home Floats Above the Land on Steel Legs and Changes Nothing Beneath It first appeared on Yanko Design.

This Nova Scotia Home Floats Above the Land on Steel Legs and Changes Nothing Beneath It

Posted on by

There’s a certain restraint in the decision to let a building hover. Not every architect earns that move. Along the rugged Atlantic coastline of Nova Scotia, Canadian studio Omar Gandhi Architects has completed the East River Residence — a home that doesn’t so much sit on the landscape as suspend itself above it, perched on slender steel columns that let the rocky terrain breathe freely underneath.

The project was conceived for a couple relocating from Montreal, trading city life for something quieter, more grounded, more defined by the presence of the Atlantic. On the first visit to the site, the architects followed the coastline inward through a dense stand of forest, arriving at a soft valley held between two steep, rocky inclines. That natural bowl — rather than being fought or filled — became the entire logic of the building.

Designer: Omar Gandhi Architects

The result is a home that reads like a bridge. It spans the depression between two embankments, and the terrain flows underneath it the way water would. Hidden from the shore by thick forest, the only way to encounter it is to go inland, walk along the coast, and let it reveal itself gradually — which feels entirely intentional. This isn’t a house that announces itself. It listens.

The roofline is where the architecture gets genuinely expressive. The gable follows the rhythm of the land below it — rising over the rocky outcrops, dipping low at the main living space to pull in southern light and create a sense of interior intimacy, then lifting again at the yoga studio to expand the room toward the sky. Each shift in section corresponds to a shift in how the space feels, and how the view outside changes with it.

Materially, the home stays close to its coastal context. The palette is dark and restrained — chosen to disappear into the treeline rather than compete with it. Steel, wood, and shadow do most of the talking. The structure was built by Blueprint Construction with structural engineering by Design Point, and the technical execution of suspending a full residence above challenging terrain is considered as the architecture itself.

Photographed by Felix Michaud, the images capture something that most architecture photography misses: the feeling of a building that genuinely belongs where it is. The East River Residence isn’t trying to conquer its site. It’s floating above it, quietly, letting the land remain exactly what it was — which, as architectural philosophies go, is a rare and admirable one.

The post This Nova Scotia Home Floats Above the Land on Steel Legs and Changes Nothing Beneath It first appeared on Yanko Design.

Smart Concept #2 reimagines the iconic city car as a fashion-forward electric micro-mobility commuter

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Smart has always had a knack for making the smallest cars feel like big ideas. The original two-seater wasn’t just about transportation; it was a statement about how little you actually need to move through a city. With the smart Concept #2, that philosophy doesn’t just return, it gets reinterpreted through a far more expressive, almost fashion-led lens.

At first glance, the proportions instantly take you back. The compact, upright stance, near non-existent overhangs, and wheels pushed right to the corners are all deliberate callbacks to the original Fortwo. But this isn’t nostalgia for the sake of it. The Concept #2 stretches to about 2.79 meters subtly growing to create a bit more usable interior space while remaining firmly in microcar territory.

Designer: Smart

What’s interesting is how smart has shifted the conversation from pure utility to identity. The brand calls it “Function becomes Fashion,” and it shows. The matte white and warm gold two-tone finish feels more like a wearable than a vehicle, while details like strap-inspired elements on the bumpers and door handles borrow cues from luxury accessories rather than traditional automotive design. There’s even a subtle influence of sneaker culture in the textures and tire patterns, turning what would otherwise be functional surfaces into design statements.

This shift matters because the original smart succeeded in cleverness but struggled to evolve emotionally. Concept #2 attempts to fix that by making the car feel personal. It’s less about squeezing into tight parking spots (though it still excels at that) and more about how the object itself fits into your lifestyle. Underneath the stylized surface is a thoroughly modern EV architecture. Built on Smart’s new Electric Compact Architecture, the concept is designed to deliver the kind of urban usability that today’s drivers expect. The projected range sits close to 186 miles, which is more than sufficient for daily city use, while DC fast charging from 10 to 80 percent takes under 20 minutes, essentially the time it takes to grab a coffee.

The packaging remains its strongest trick. The signature “wheels-at-the-corners” layout maximizes cabin space within that tiny footprint, while a tight 6.95-meter turning circle makes the car feel almost pivot-like in dense urban environments. It’s the kind of manoeuvrability that reminds you why cars like the original Fortwo made sense in the first place. There’s also a subtle shift in how the car integrates into daily life. Features like Vehicle-to-Load (V2L) hint at a future where even the smallest cars double as mobile power sources—useful for everything from charging devices to supporting outdoor activities.

The bigger picture is just as important. Since becoming a joint venture between Mercedes-Benz and Geely, Smart has moved upmarket with crossovers and SUVs. Concept #2 feels like a deliberate course correction, returning to the brand’s core idea, but doing so with a premium edge shaped by Mercedes-Benz design sensibilities. Set to evolve into a production model debuting at the Paris Motor Show in late 2026, the Concept #2 is less of a wild design exercise and more of a near-production preview. That makes its details (both practical and expressive) feel intentional rather than experimental.

The post Smart Concept #2 reimagines the iconic city car as a fashion-forward electric micro-mobility commuter first appeared on Yanko Design.

Smart Concept #2 reimagines the iconic city car as a fashion-forward electric micro-mobility commuter

Posted on by

Smart has always had a knack for making the smallest cars feel like big ideas. The original two-seater wasn’t just about transportation; it was a statement about how little you actually need to move through a city. With the smart Concept #2, that philosophy doesn’t just return, it gets reinterpreted through a far more expressive, almost fashion-led lens.

At first glance, the proportions instantly take you back. The compact, upright stance, near non-existent overhangs, and wheels pushed right to the corners are all deliberate callbacks to the original Fortwo. But this isn’t nostalgia for the sake of it. The Concept #2 stretches to about 2.79 meters subtly growing to create a bit more usable interior space while remaining firmly in microcar territory.

Designer: Smart

What’s interesting is how smart has shifted the conversation from pure utility to identity. The brand calls it “Function becomes Fashion,” and it shows. The matte white and warm gold two-tone finish feels more like a wearable than a vehicle, while details like strap-inspired elements on the bumpers and door handles borrow cues from luxury accessories rather than traditional automotive design. There’s even a subtle influence of sneaker culture in the textures and tire patterns, turning what would otherwise be functional surfaces into design statements.

This shift matters because the original smart succeeded in cleverness but struggled to evolve emotionally. Concept #2 attempts to fix that by making the car feel personal. It’s less about squeezing into tight parking spots (though it still excels at that) and more about how the object itself fits into your lifestyle. Underneath the stylized surface is a thoroughly modern EV architecture. Built on Smart’s new Electric Compact Architecture, the concept is designed to deliver the kind of urban usability that today’s drivers expect. The projected range sits close to 186 miles, which is more than sufficient for daily city use, while DC fast charging from 10 to 80 percent takes under 20 minutes, essentially the time it takes to grab a coffee.

The packaging remains its strongest trick. The signature “wheels-at-the-corners” layout maximizes cabin space within that tiny footprint, while a tight 6.95-meter turning circle makes the car feel almost pivot-like in dense urban environments. It’s the kind of manoeuvrability that reminds you why cars like the original Fortwo made sense in the first place. There’s also a subtle shift in how the car integrates into daily life. Features like Vehicle-to-Load (V2L) hint at a future where even the smallest cars double as mobile power sources—useful for everything from charging devices to supporting outdoor activities.

The bigger picture is just as important. Since becoming a joint venture between Mercedes-Benz and Geely, Smart has moved upmarket with crossovers and SUVs. Concept #2 feels like a deliberate course correction, returning to the brand’s core idea, but doing so with a premium edge shaped by Mercedes-Benz design sensibilities. Set to evolve into a production model debuting at the Paris Motor Show in late 2026, the Concept #2 is less of a wild design exercise and more of a near-production preview. That makes its details (both practical and expressive) feel intentional rather than experimental.

The post Smart Concept #2 reimagines the iconic city car as a fashion-forward electric micro-mobility commuter first appeared on Yanko Design.

OpenAI’s Sam Altman apologizes for not reporting ChatGPT account of Tumbler Ridge suspect to police

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Two months following the deadly shooting in Tumbler Ridge, British Columbia, OpenAI's Sam Altman has formally apologized for not informing police of the alarming ChatGPT conversations seen with the suspect's account. Before the incident, OpenAI banned the account belonging to the alleged shooter, Jesse Van Rootselaar, for violating its usage policy due to potential for real-world violence.

"I am deeply sorry that we did not alert law enforcement to the account that was banned in June," Altman wrote in the letter. "While I know words can never be enough, I believe an apology is necessary to recognize the harm and irreversible loss your community has suffered."

Altman noted in the letter, which was published in full by Tumbler RidgeLines, that he spoke with both Darryl Krakowa, Tumbler Ridge's mayor, and David Eby, the British Columbia premier, and agreed that a "public apology was necessary, but that time was also needed to respect the community as you grieved."

Eby, who also highlighted Altman's letter in his post on X, agreed that the "apology is necessary," but added that it was "grossly insufficient for the devastation done to the families of Tumbler Ridge." Moving ahead, Altman reaffirmed in the letter that OpenAI would "find ways to prevent tragedies like this in the future" and work with all levels of government to prevent something like this from happening again. Altman's latest commitment builds on the previous letter from OpenAI's vice president of global policy Ann O’Leary, who said the company would notify authorities if it finds "imminent and credible" threats in ChatGPT conversations.

This article originally appeared on Engadget at https://www.engadget.com/ai/openais-sam-altman-apologizes-for-not-reporting-chatgpt-account-of-tumbler-ridge-suspect-to-police-221400813.html?src=rss

OpenAI’s Sam Altman apologizes for not reporting ChatGPT account of Tumbler Ridge suspect to police

Posted on by

Two months following the deadly shooting in Tumbler Ridge, British Columbia, OpenAI's Sam Altman has formally apologized for not informing police of the alarming ChatGPT conversations seen with the suspect's account. Before the incident, OpenAI banned the account belonging to the alleged shooter, Jesse Van Rootselaar, for violating its usage policy due to potential for real-world violence.

"I am deeply sorry that we did not alert law enforcement to the account that was banned in June," Altman wrote in the letter. "While I know words can never be enough, I believe an apology is necessary to recognize the harm and irreversible loss your community has suffered."

Altman noted in the letter, which was published in full by Tumbler RidgeLines, that he spoke with both Darryl Krakowa, Tumbler Ridge's mayor, and David Eby, the British Columbia premier, and agreed that a "public apology was necessary, but that time was also needed to respect the community as you grieved."

Eby, who also highlighted Altman's letter in his post on X, agreed that the "apology is necessary," but added that it was "grossly insufficient for the devastation done to the families of Tumbler Ridge." Moving ahead, Altman reaffirmed in the letter that OpenAI would "find ways to prevent tragedies like this in the future" and work with all levels of government to prevent something like this from happening again. Altman's latest commitment builds on the previous letter from OpenAI's vice president of global policy Ann O’Leary, who said the company would notify authorities if it finds "imminent and credible" threats in ChatGPT conversations.

This article originally appeared on Engadget at https://www.engadget.com/ai/openais-sam-altman-apologizes-for-not-reporting-chatgpt-account-of-tumbler-ridge-suspect-to-police-221400813.html?src=rss

Oberhauser’s Balloon Is the Most Beautiful Lamp Made of Concrete

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The first time I came across the Oberhauser Balloon, I genuinely thought I was looking at a sea creature. That rough, porous sphere covered in glowing craters looks less like a lamp and more like a bioluminescent organism that washed in from a very stylish ocean floor. It’s the kind of design that stops you mid-scroll and makes you question what you thought you knew about materials, about form, and about what outdoor lighting is even allowed to be.

The Balloon is the work of studiooberhauser, an outdoor luminaire available in three sizes: 30 cm, 70 cm, and 100 cm in diameter. That largest version, by the way, currently holds the distinction of being the largest known 3D-printed lamp made from cement. I’m not usually one to get swept up in record-breaking superlatives, but that one genuinely deserves a pause. A one-meter sphere of printed concrete that glows through dozens of organic apertures? That’s not just a lamp. That’s a landmark.

Designer: studiooberhauser

What makes this piece genuinely fascinating beyond its striking appearance is how it’s actually made. The Balloon is produced using a process called Selective Cement Activation, or SCA, also known as powder bed concrete 3D printing. In accessible terms, cement paste is selectively injected into a powder bed, building the form layer by layer without traditional formwork or molds. The result is that those complex, organic-looking cavities and curves covering its surface aren’t decorative appliqués or hand-carved afterthoughts. They’re structural possibilities that only exist because of this technology. Traditional concrete manufacturing simply wouldn’t allow it.

I think that distinction matters more than it might initially seem. The Balloon’s aesthetic doesn’t sit on top of its process like a skin. The process is the aesthetic. The granular, almost velvety texture visible across its surface is a direct physical record of how the material was constructed, layer by microscopic layer. You can’t fake that kind of authenticity, and it’s becoming rarer to find in objects that have been designed with both genuine rigor and intention. It gives the piece a raw, tactile quality that polished or lacquered surfaces can’t replicate, and it’s the reason the Balloon looks genuinely alive in a way that most contemporary lighting simply doesn’t.

The sustainability piece is also worth unpacking, not as a marketing checkbox but as a real material advantage. 3D concrete printing is inherently resource-efficient because material is deposited precisely where it’s needed, and nowhere else. No excess formwork, no significant waste, no bulky industrial molds destined for disposal. For an outdoor product built to weather years of sun, rain, and temperature swings, that kind of considered production feels right for this moment. We’re at a point in design culture where how something is made carries as much weight as how it looks, and the Balloon holds up on both counts.

The sizing range also gives it unexpected versatility. The 30 cm version reads as intimate and considered, the kind of piece you’d set along a garden path or beside a water feature on a small terrace. The 70 cm has enough presence to anchor a courtyard or frame an outdoor dining area. And the 100 cm version operates on an entirely different level. Looking at the photos of it glowing against an evening garden setting, it calls to mind the grounds of a boutique resort on the Amalfi Coast or a sculpture garden somewhere in the French countryside. It functions equally as a practical light source and as something you’d deliberately design an entire landscape around.

Concrete has been threading through design conversations for years, mostly as a signifier of industrial cool or minimalist restraint. The Balloon feels like the point where that material story evolves into something far more ambitious. It’s not concrete deployed for mood or aesthetic shorthand. It’s concrete pushed to do something it has never done before, shaped by a process that leaves its fingerprints all over the final form. And to me, that’s the clearest signal of where design is heading: not just making beautiful objects, but fundamentally rethinking what familiar materials are capable of from the ground up.

The post Oberhauser’s Balloon Is the Most Beautiful Lamp Made of Concrete first appeared on Yanko Design.

Oberhauser’s Balloon Is the Most Beautiful Lamp Made of Concrete

Posted on by

The first time I came across the Oberhauser Balloon, I genuinely thought I was looking at a sea creature. That rough, porous sphere covered in glowing craters looks less like a lamp and more like a bioluminescent organism that washed in from a very stylish ocean floor. It’s the kind of design that stops you mid-scroll and makes you question what you thought you knew about materials, about form, and about what outdoor lighting is even allowed to be.

The Balloon is the work of studiooberhauser, an outdoor luminaire available in three sizes: 30 cm, 70 cm, and 100 cm in diameter. That largest version, by the way, currently holds the distinction of being the largest known 3D-printed lamp made from cement. I’m not usually one to get swept up in record-breaking superlatives, but that one genuinely deserves a pause. A one-meter sphere of printed concrete that glows through dozens of organic apertures? That’s not just a lamp. That’s a landmark.

Designer: studiooberhauser

What makes this piece genuinely fascinating beyond its striking appearance is how it’s actually made. The Balloon is produced using a process called Selective Cement Activation, or SCA, also known as powder bed concrete 3D printing. In accessible terms, cement paste is selectively injected into a powder bed, building the form layer by layer without traditional formwork or molds. The result is that those complex, organic-looking cavities and curves covering its surface aren’t decorative appliqués or hand-carved afterthoughts. They’re structural possibilities that only exist because of this technology. Traditional concrete manufacturing simply wouldn’t allow it.

I think that distinction matters more than it might initially seem. The Balloon’s aesthetic doesn’t sit on top of its process like a skin. The process is the aesthetic. The granular, almost velvety texture visible across its surface is a direct physical record of how the material was constructed, layer by microscopic layer. You can’t fake that kind of authenticity, and it’s becoming rarer to find in objects that have been designed with both genuine rigor and intention. It gives the piece a raw, tactile quality that polished or lacquered surfaces can’t replicate, and it’s the reason the Balloon looks genuinely alive in a way that most contemporary lighting simply doesn’t.

The sustainability piece is also worth unpacking, not as a marketing checkbox but as a real material advantage. 3D concrete printing is inherently resource-efficient because material is deposited precisely where it’s needed, and nowhere else. No excess formwork, no significant waste, no bulky industrial molds destined for disposal. For an outdoor product built to weather years of sun, rain, and temperature swings, that kind of considered production feels right for this moment. We’re at a point in design culture where how something is made carries as much weight as how it looks, and the Balloon holds up on both counts.

The sizing range also gives it unexpected versatility. The 30 cm version reads as intimate and considered, the kind of piece you’d set along a garden path or beside a water feature on a small terrace. The 70 cm has enough presence to anchor a courtyard or frame an outdoor dining area. And the 100 cm version operates on an entirely different level. Looking at the photos of it glowing against an evening garden setting, it calls to mind the grounds of a boutique resort on the Amalfi Coast or a sculpture garden somewhere in the French countryside. It functions equally as a practical light source and as something you’d deliberately design an entire landscape around.

Concrete has been threading through design conversations for years, mostly as a signifier of industrial cool or minimalist restraint. The Balloon feels like the point where that material story evolves into something far more ambitious. It’s not concrete deployed for mood or aesthetic shorthand. It’s concrete pushed to do something it has never done before, shaped by a process that leaves its fingerprints all over the final form. And to me, that’s the clearest signal of where design is heading: not just making beautiful objects, but fundamentally rethinking what familiar materials are capable of from the ground up.

The post Oberhauser’s Balloon Is the Most Beautiful Lamp Made of Concrete first appeared on Yanko Design.

Oberhauser’s Balloon Is the Most Beautiful Lamp Made of Concrete

Posted on by

The first time I came across the Oberhauser Balloon, I genuinely thought I was looking at a sea creature. That rough, porous sphere covered in glowing craters looks less like a lamp and more like a bioluminescent organism that washed in from a very stylish ocean floor. It’s the kind of design that stops you mid-scroll and makes you question what you thought you knew about materials, about form, and about what outdoor lighting is even allowed to be.

The Balloon is the work of studiooberhauser, an outdoor luminaire available in three sizes: 30 cm, 70 cm, and 100 cm in diameter. That largest version, by the way, currently holds the distinction of being the largest known 3D-printed lamp made from cement. I’m not usually one to get swept up in record-breaking superlatives, but that one genuinely deserves a pause. A one-meter sphere of printed concrete that glows through dozens of organic apertures? That’s not just a lamp. That’s a landmark.

Designer: studiooberhauser

What makes this piece genuinely fascinating beyond its striking appearance is how it’s actually made. The Balloon is produced using a process called Selective Cement Activation, or SCA, also known as powder bed concrete 3D printing. In accessible terms, cement paste is selectively injected into a powder bed, building the form layer by layer without traditional formwork or molds. The result is that those complex, organic-looking cavities and curves covering its surface aren’t decorative appliqués or hand-carved afterthoughts. They’re structural possibilities that only exist because of this technology. Traditional concrete manufacturing simply wouldn’t allow it.

I think that distinction matters more than it might initially seem. The Balloon’s aesthetic doesn’t sit on top of its process like a skin. The process is the aesthetic. The granular, almost velvety texture visible across its surface is a direct physical record of how the material was constructed, layer by microscopic layer. You can’t fake that kind of authenticity, and it’s becoming rarer to find in objects that have been designed with both genuine rigor and intention. It gives the piece a raw, tactile quality that polished or lacquered surfaces can’t replicate, and it’s the reason the Balloon looks genuinely alive in a way that most contemporary lighting simply doesn’t.

The sustainability piece is also worth unpacking, not as a marketing checkbox but as a real material advantage. 3D concrete printing is inherently resource-efficient because material is deposited precisely where it’s needed, and nowhere else. No excess formwork, no significant waste, no bulky industrial molds destined for disposal. For an outdoor product built to weather years of sun, rain, and temperature swings, that kind of considered production feels right for this moment. We’re at a point in design culture where how something is made carries as much weight as how it looks, and the Balloon holds up on both counts.

The sizing range also gives it unexpected versatility. The 30 cm version reads as intimate and considered, the kind of piece you’d set along a garden path or beside a water feature on a small terrace. The 70 cm has enough presence to anchor a courtyard or frame an outdoor dining area. And the 100 cm version operates on an entirely different level. Looking at the photos of it glowing against an evening garden setting, it calls to mind the grounds of a boutique resort on the Amalfi Coast or a sculpture garden somewhere in the French countryside. It functions equally as a practical light source and as something you’d deliberately design an entire landscape around.

Concrete has been threading through design conversations for years, mostly as a signifier of industrial cool or minimalist restraint. The Balloon feels like the point where that material story evolves into something far more ambitious. It’s not concrete deployed for mood or aesthetic shorthand. It’s concrete pushed to do something it has never done before, shaped by a process that leaves its fingerprints all over the final form. And to me, that’s the clearest signal of where design is heading: not just making beautiful objects, but fundamentally rethinking what familiar materials are capable of from the ground up.

The post Oberhauser’s Balloon Is the Most Beautiful Lamp Made of Concrete first appeared on Yanko Design.