Author Archives: Ida Torres

Hario’s V60 Gets Its First Real Upgrade in 20 Years for $23

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The original Hario V60 is the kind of object that earns its own mythology. Released in 2004, it became the face of the third-wave coffee movement: a simple cone of heat-resistant glass (or ceramic, or plastic, depending on how serious you are) that turned the morning cup into a ritual of patience and precision. Baristas loved it. Coffee nerds obsessed over it. And somewhere along the way, it became as recognizable as a kitchen object can get without appearing on a museum shelf.

That legacy makes the V60 Dripper NEO an interesting proposition. Hario could have left well enough alone. Instead, they spent two years quietly engineering a redesign that touches the one part of the V60 nobody talks about but everyone deals with: the ribs.

Designer: Hario

The original V60’s spiral ribs are the reason it works the way it does. They create space between the paper filter and the cone wall, allowing air to escape as water flows through. The result is a controlled extraction, but one that demands attention. Get your grind wrong, pour too fast, let your focus wander, and the brew either stalls or races past the point of no return. The V60 has always been a beautiful, slightly unforgiving thing.

The NEO changes that equation with a genuinely clever structural update. Instead of a single spiral rib pattern, it introduces 72 ultra-fine vertical ribs along the upper walls of the cone, which then converge into 9 deeper ribs near the base. This dual-zone design guides water evenly down the entire wall before accelerating it through the outlet. The effect is a faster, more uniform extraction that minimizes bitterness from water lingering too long in contact with the grounds. The cup you get out the other end is cleaner, sweeter, and more vibrant, with a balanced acidity that doesn’t tip into sourness.

Two years of testing went into getting this right. Hario’s engineers ran exhaustive trials on rib counts, angles, and flow dynamics before landing on this configuration. The fact that they filed a utility model patent on the structure suggests they believe it is genuinely novel, not just cosmetically different.

The material choice is also worth noting. The NEO is made from Tritan resin, a lightweight, high-clarity plastic that handles heat retention better than standard plastic alternatives. It keeps the brewing temperature more stable from the first pour to the last, which matters more than people think. Temperature consistency is one of those variables that separates a good cup from a great one, and the NEO addresses it without requiring you to do anything differently.

For anyone already embedded in the V60 ecosystem, the compatibility factor is a quiet win. The NEO works with all existing V60 switch bases, so you don’t have to rebuild your setup from scratch. It comes in two sizes, both made in Japan, and retails for around $23.50, which is an accessible price point for a piece of equipment that functions this thoughtfully.

Not everyone is convinced, though. Since hitting the market, the NEO has sparked a genuinely divided response from the coffee community. Users describe the brew as cleaner and more tea-like, which sounds appealing until you realize that some people loved the original V60 precisely for its acidic punch and intensity. One Reddit user put it plainly: the NEO presents coffee “differently,” not necessarily better. For experienced brewers who spent years dialing in their pour technique to coax specific flavors from the classic cone, the NEO’s smoother, more forgiving nature feels less like an upgrade and more like a personality change. That’s a fair criticism. Hario didn’t make a bad V60. They made a different one, and that distinction is exactly what has the coffee internet divided.

Pour-over coffee has always had a slight gatekeeping problem. The ritual appeals to people who love it precisely because it requires care, but that same learning curve turns off anyone who just wants a good cup without turning their kitchen into a science experiment. The V60 NEO doesn’t eliminate that ritual. It just makes the margin for error a little more forgiving, which means more people get to enjoy the result without years of practice behind them.

The original V60 deserved its legacy. The NEO earns its own, just a slightly different one.

The post Hario’s V60 Gets Its First Real Upgrade in 20 Years for $23 first appeared on Yanko Design.

What Happens When You Let 90 Kids Design a Birdhouse

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Most of us have a pretty fixed idea of what a birdhouse looks like. A small wooden box, a round hole, maybe a little perch. It’s one of those objects so familiar it barely registers anymore. Designer Taekhan Yun decided to blow that idea up entirely, and he handed the job over to the last people anyone in the design industry would think to consult: ninety children in Siem Reap, Cambodia.

The project is called “Birdhouse by Kids,” and it is exactly what it sounds like, though the execution is far more considered than the name lets on. Yun, a Korean designer currently based in Cambodia, started the process by introducing the children to local bird species and basic birdhouse typologies. Not to teach them the “right” answer, but to give them just enough context before letting them loose with pencils and paper. The drawings that came out of that session were, predictably, wonderfully unruly. Rooftops that curve like waves, doors shaped more like portals, proportions that make zero structural sense and all the visual sense in the world.

Designer: Taekhan Yun

What Yun did next is the part that elevates this from a cute community project to something genuinely worth talking about. He didn’t correct the drawings. He translated them. There’s a massive difference between those two things, and most professional designers, trained to optimize and problem-solve, would have instinctively done the former. Yun chose the harder path, which was to honor the original intention of each design while figuring out how to make it stand upright, hold together, and actually function as a home for a bird.

The children then made clay prototypes of their own designs, turning two-dimensional sketches into three-dimensional objects with their own hands. Eight of those designs were ultimately selected and built into full-scale birdhouses, with the children participating in the finishing process alongside Yun. The completed birdhouses now live at the school, sitting in the kind of spaces where children play and gather, and they look like nothing you’ve ever seen in a garden center or a hardware store. They look like imagination made solid, which, technically, is exactly what they are.

I keep thinking about how rarely the design world genuinely invites this kind of collaboration. There’s plenty of design “for” children, but design “by” children is a different conversation altogether. Yun has been exploring this territory for a while now. His earlier project, “Chair for Kids,” followed a similar participatory model, where children at the English School of Siem Reap drew their own chair designs, measured their bodies, and helped build the final pieces. His philosophy seems rooted in the idea that design is not just a skill for making objects but a way of thinking, and that children, unburdened by convention, are actually very good at it.

The birdhouse project also does something quietly radical in terms of concept. It shifts the design brief away from humans entirely. The end user isn’t a child or an adult. It’s a bird. Yun has described this as moving from human-centered design toward designing for other species, using children’s perspectives as the starting point. That framing might sound academic, but the result is tangible and a little poetic: a group of kids in Cambodia drawing houses for birds, without a single preconception about what a birdhouse is “supposed” to look like.

Good design often works this way. It finds a new angle by removing the assumptions. Yun removed two at once: the assumption that designers must be trained professionals, and the assumption that form should follow function in the most literal, efficient way possible. The forms these kids invented follow something else, something closer to feeling or instinct, and the objects are richer for it. They are also, somehow, more honest.

We talk a lot about innovation in design, about breaking from convention and thinking outside the box. It turns out one very reliable way to do that is to ask someone who has never been in the box to begin with.

The post What Happens When You Let 90 Kids Design a Birdhouse first appeared on Yanko Design.

The Roomba Guy Just Built a Robot Pet You Might Actually Love

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If you’ve ever watched your Roomba bump helplessly into a chair leg for the third time and thought, “I deserve better from my robots,” you’re not alone. And apparently, neither did Colin Angle. The co-founder of iRobot, the man who essentially put a hockey puck-shaped vacuum in millions of homes, left the company in 2024 with a new question rattling around in his head: what if a robot could actually feel like it cares about you? The answer is the Familiar, the first prototype from his new startup, Familiar Machines & Magic. And it is not your average robot.

Picture a creature somewhere between a soft-eared dog and a round, slightly abstract bear. It has four legs, huge paws, and doe eyes that make it immediately charming in a way that no Roomba ever attempted to be. It’s furry, expressive, and was designed with the help of former Disney Imagineers, which explains why it looks like it belongs in an animated feature rather than a tech showcase. The Familiar has 23 degrees of freedom, meaning it can wiggle its ears, tilt its head, and wag a small nub of a tail with the kind of fluidity that feels less mechanical and more… alive. Its coat is touch-sensitive, built specifically to encourage physical interaction between you and it.

Designer: Familiar Machines & Magic

It also doesn’t talk. That detail feels deliberate and, to me, very smart. Voice assistants have trained us to think of robots as tools we command. The Familiar is going for something completely different. It’s designed to read your tone of voice, your body language, your overall energy, and respond accordingly. Angle calls it “Consumer Physical AI,” and while the label sounds like something off a product white paper, the idea behind it is genuinely compelling.

The name itself is worth noting. A “familiar” in folklore refers to the supernatural animal companion of a witch or magical figure, a creature bonded to a person not through ownership but through genuine connection. Angle’s team chose that name deliberately, and I think it sets the tone for what they’re trying to build. The goal isn’t to sell you a novelty gadget. It’s to create a new kind of relationship between humans and machines, one built on trust, attentiveness, and something approaching care.

Now, I’ll be upfront: I have feelings about this. Part of me finds it genuinely beautiful as a design concept. The Familiar was clearly approached the way good industrial design should be, with deep thought about how an object makes you feel, not just what it does. The choice to make it animal-like rather than humanoid is interesting, too. There’s far less of the uncanny valley unease that tends to follow humanoid robots around, and more of the universal warmth that most people already extend toward animals.

But another part of me wonders about the emotional stakes here. We’re already watching people form attachments to AI chatbots. A touch-sensitive, furry, expressive robot that mirrors your emotional state is a much more potent version of that. Angle has said he wants it to feel like the machine actually cares about him. That’s a lovely vision. It’s also a design brief that puts enormous responsibility on the creators to get it right, because the flip side of emotional bonding is emotional dependence.

Still, I’d be lying if I said the Familiar didn’t make me curious in the best possible way. The prototype images are almost disarmingly sweet. It looks like something you’d want sitting on the couch next to you while you read, or settled quietly in the corner while you work. If any robot was ever designed to move through your life rather than just function within it, this might be it.

The Familiar is still in the prototype stage, with no confirmed price or release date. But as debut concepts go, it’s a strong one. Whether or not it ever makes it into our homes, it raises questions about what we actually want from the machines we live with. And those questions feel well overdue.

The post The Roomba Guy Just Built a Robot Pet You Might Actually Love first appeared on Yanko Design.

UNO and Vrbo Are Renting Vacation Homes for $4 a Night

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Brand collaborations are everywhere these days, but every once in a while, one lands so perfectly that you have to stop and appreciate the logic behind it. The UNO x Vrbo partnership is exactly that kind of collab. Not because it’s flashy or trying to be something it’s not, but because it genuinely makes sense.

Starting May 15, Mattel and Vrbo are opening bookings for six limited-time vacation home stays built entirely around the spirit of game night. Six properties across the U.S., two tiers of experience, and one very clever price point: $4 per night. That last part is a deliberate nod to UNO’s iconic Draw 4 card (which can make or break relationships), and it’s the kind of detail that makes you smile whether you’re a brand person or not.

Designers: UNO x Vrbo

The stays are divided into two experiences. At the top end sit the two “Wild Card” homes, located in the Hollywood Hills and Texas Hill Country. These are the full production: UNO-themed décor, organized game nights, and an in-home dining experience. They’re designed for groups of up to 10 guests who want the whole immersive package, the kind of weekend that’s more curated getaway than casual vacation. Then there are the four “Play It Your Way” stays in Winter Park, Colorado; Palm Desert, California; Panama City Beach, Florida; and Atlanta, Georgia. These are a little more relaxed, but still come with a co-branded UNO x Vrbo Welcome Kit, a game room, and either a pool or hot tub. Essentially, they’re the version for people who want the fun without the fuss. All six properties are bookable for one three-night stay, Friday to Monday, on a first-come, first-served basis. Bookings open May 15 at 1 PM ET. I’ll be honest: at $4 a night, they are going to go fast.

What makes this collaboration genuinely interesting, beyond the price tag, is the attention that went into the actual product. A custom UNO deck was commissioned for this collab, illustrated by Pietari Posti, with artwork inspired by travel destinations and vacation themes. It also comes with an exclusive rule called the “Vacation Rental Swap,” which lets players swap hands with anyone at the table. It’s a small thing, but it shows that the two brands weren’t just slapping logos on a vacation home and calling it a day. They put real creative thought into what the collaboration could actually feel like to experience.

That’s the part that tends to separate a genuinely good brand collab from a lazy one. Anyone can license a logo and stick it on merchandise. Fewer brands take the time to ask what the experience should feel like from the inside, and build something around that answer. UNO, at its core, is a game about chaos and connection. You play it with people you like and you inevitably end up yelling at them. It’s social in the most fundamental way. Vrbo, meanwhile, is about giving groups a private space to actually be together without the interruptions of a hotel. Put those two things in the same room and you get something that doesn’t need to be explained.

It also helps that this collab is part of a growing relationship between Mattel and Expedia Group, Vrbo’s parent company. Mattel already appeared in an Expedia Super Bowl commercial earlier this year through the Barbie universe. So this isn’t a one-off stunt; it reads more like two brands actively figuring out how to build something together over time. For anyone who grew up playing UNO at a kitchen table, there’s an undeniable nostalgia pull here. But the campaign doesn’t lean into nostalgia as a crutch. It uses the game’s identity as a starting point and builds forward from it, which is ultimately why it works. The best collaborations don’t just remind you of something you loved. They give you a new reason to love it again.

The post UNO and Vrbo Are Renting Vacation Homes for $4 a Night first appeared on Yanko Design.

Burning Man 2026 Built a 300-Ring Light Tower You Have to Earn

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One person shouting into an empty desert doesn’t build much of anything. But what happens when thousands of voices gather around a 12-meter tower made of 300 programmable rings of light, and the structure itself begins to respond? That’s the premise behind Axis Mundi: Resonant Spire, Sergei Konchekov’s installation selected for the 2026 Burning Man Honoraria program, and it might be the most genuinely interesting piece of architecture to emerge this year. Not because it’s the biggest or the most technically complex, but because it actually has something to say.

The concept is both technically precise and philosophically loaded. Konchekov built the tower to translate human voice into a vertical system of light and sound. Speak toward it, and the rings light up. Walk away, and the activation fades. The structure doesn’t generate its own spectacle. It borrows yours. Which sounds like a gimmick when you type it out flat like that, but when you sit with it, it starts to feel like one of those rare design ideas that actually earns its concept.

Designer: Sergei Konchekov

What makes it more than just an interactive light show is the accumulation logic built into its architecture. The 300 rings function as a kind of vertical archive. Lower rings hold stabilized states built up over time, while the upper rings stay live and reactive to current input. So the tower, in a real and structural sense, carries memory. What a crowd did an hour ago is still visible at the base, while what’s happening right now lives near the top. Light doesn’t disappear here. It accumulates. Time, quite literally, becomes physical form.

Konchekov developed the project through a methodology he calls COLLIZIUM, which frames architectural form through conflict-based computational processes and collective social input. That might sound like a design school thesis, but the output is something more immediate and tactile than the language around it suggests. The architecture doesn’t exist independently of its participants. It is generated through them. Without the crowd, there is no form. Burning Man’s own listings describe it as “neither monument nor machine, but a living signal,” and that description genuinely holds.

The broader conversation Konchekov is entering with this work feels particularly timely. Digital communication is at an all-time volume and an all-time low for meaning. We post, we broadcast, we react, and somehow the cumulative noise produces very little that resembles actual connection. Resonant Spire offers a different model: collective input that actually converges, that creates something legible and shared and visible. A crowd becomes a coherent structure only because they showed up together. That is not a small idea dressed in a large installation.

It’s also worth noting that Burning Man is arguably the right venue for this, not just for the obvious reasons of scale and spectacle, but because the event itself is predicated on temporary community. The playa is a place where the usual rules about permanence and individual credit get set aside. A tower that only works when people gather around it and offer their voices is not a metaphor at Burning Man. It’s just a description of what’s happening there already. Konchekov is, in some ways, building architecture that matches the culture it inhabits.

The visual language of the spire draws from ancient and spiritual references, the axis mundi being a cosmological concept found across many cultures, a central pillar connecting earth and sky. Konchekov takes that idea and routes it through a live data feed. The cone-stacked structure rises with phased waves of light traveling upward, in the project’s own words, “like a visible breath.” It is striking, undeniably, but the aesthetic isn’t really the point. The refusal to be passive is. Most architecture asks you to look at it. This one asks you to mean something together before it shows you what you’ve made.

The post Burning Man 2026 Built a 300-Ring Light Tower You Have to Earn first appeared on Yanko Design.

Your Knife Block Has No Business Looking This Good

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Most kitchen accessories come with an unspoken agreement: you accept that they look utilitarian, and in return, they do their job quietly in the background. Knife holders, in particular, have always been the least glamorous residents of the countertop. The wooden block is fine. The magnetic wall strip is practical. But neither has ever made anyone stop and stare. Samyuktha S’s Eclipse Edge concept breaks that agreement entirely, and I’m genuinely glad it does.

The Eclipse Edge is a magnetic knife holder inspired by the geometry of a lunar eclipse, specifically the moment when Earth aligns between the sun and moon, casting that iconic half-shadow silhouette into the sky. That form, an abstracted arc built from layered, concentric half-circles, becomes the entire design language here. Looking at it on a countertop, you wouldn’t immediately guess what it does. You’d probably assume it was a sculpture. That confusion is precisely the point.

Designer: Samyuktha S

Samyuktha’s design brief was direct: create a kitchen storage accessory that bridges functional utility and structural statement decor. The goal was to reimagine a standard tool organizer as a decorative landmark within the home, elevating it to a high-end sculptural piece. She achieved this without resorting to the usual tricks of adding color or unconventional materials. The Eclipse Edge is sand-casted aluminum with a hand-carved finish, and it leans entirely into that material’s dual nature: raw and refined at the same time.

The mechanics are equally considered. Hidden magnetic sheets inside the form hold knives parallel to the surface, which means blades are secured safely without any visible hardware or slots cutting into that clean silhouette. The oil and waterproof protective layering is built into the construction. Multiple knife sizes are accommodated without compromising the holder’s structural integrity or visual lines. It’s the kind of detail work that separates a pretty sketch from a design that actually holds up under scrutiny.

The ideation pages on Samyuktha’s Behance project tell you a lot. There are dozens of iterations, circular forms, crescent variations, abstracted lunar shapes explored and discarded before arriving at the stacked arch that became the final concept. Getting from a celestial reference to something that can hold a chef’s knife at the right angle and still look like contemporary sculpture takes a specific kind of problem-solving patience. The sketches make clear that nothing was accidental.

A physical prototype was also produced through aluminum sand casting using an MDF pattern, which means this design was tested in the real world, not just rendered beautifully and left to live on a screen. Seeing the actual object in photos alongside actual kitchen knives brings the concept into sharp focus. It looks grounded and serious in person, the kind of object that would hold its own on any well-styled countertop without asking for too much attention.

I do think about the practical day-to-day reality of owning something like this. Keeping polished aluminum pristine in a working kitchen takes effort, and the hand-carved finish, while gorgeous, would need care. But that’s not necessarily a flaw in the design. High-end kitchen objects have always required a little more commitment. A copper pot needs polishing. A cast iron pan needs seasoning. The Eclipse Edge feels like it belongs in that same category of objects you choose deliberately and tend to over time.

The broader conversation around kitchenware has been shifting for a while now. People increasingly want their kitchen tools to reflect how they live and what they care about, not just what they cook. The Eclipse Edge speaks to that shift with real confidence. It doesn’t apologize for being beautiful. It doesn’t hide its utility behind a costume. It just quietly insists that a knife holder can be, at the same time, an object worth looking at. Samyuktha S’s Eclipse Edge is a concept for now, but it’s the kind of concept that feels ready. The thinking is there. The craft is there. The prototype is there. Sometimes the only thing standing between a student project and a product is someone willing to bet on it.

The post Your Knife Block Has No Business Looking This Good first appeared on Yanko Design.

This 2,550-Hour Dress Blew Real Bubbles at the Met Gala

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The Met Gala is probably the most popular and glamorous fashion event in the Western world. Whichever way you feel about the organizers and having such a lavish event in these times, you can’t deny that it is very much talked about, especially on social media, due to the personalities who attend and, of course, what they’re wearing.

This event is also a chance for designers to showcase their more experimental works. One of the most eye-catching and interesting dresses we saw this year is the Airo dress, worn by Olympic freestyle skier and model Eileen Gu and designed by Iris van Herpen in collaboration with artist duo A.A. Murakami. The dress features 15,000 iridescent glass bubbles and, believe it or not, it actually released real floating bubbles live on the red carpet.

Designer: Iris van Herpen

The dress’s silhouette is sculptural and mini in length, giving off a cloud-like, ethereal effect that instantly captured eyes on the red carpet. Van Herpen described the bubbles as a reflection of human anatomy, “which is composed of 99.9% empty space,” and the piece is also a nod to her ongoing fascination with biotech couture. Olympic triple medalist Eileen Gu is a wonderfully fitting muse, as the concept philosophically mirrors the kind of weightless, almost gravity-defying precision her sport demands on the snow slopes.

This is not just a simple dress adorned with bubbles. Each of the 15,000 iridescent glass bubbles was hand-moulded and then attached to the bodice using UV light, a meticulous process that required 2,550 hours of work across 15 weeks, carried out by a dedicated team of specialists in couture, science, and computational design. Underneath the skirt, hidden microprocessors pressurized gas and released real, floating bubbles in timed sequences. Everything you saw on that red carpet was completely real, with no filters and no CGI. It was a pure, breathtaking collaboration between fashion, art, and science.

What truly elevates the Airo dress from couture to living art is the partnership with A.A. Murakami. Alexander Groves and Azusa Murakami, who work between London and Japan, are celebrated for transforming ephemeral materials like steam, light, and air into immersive living installations. Their renowned “Floating World” exhibition is a perfect example of how they blur the line between the tangible and the invisible. Remarkably, the Airo dress marks the very first time they have applied their artistic philosophy to a wearable garment, and the result is nothing short of extraordinary.

What makes this piece particularly compelling is the question it poses while you’re simply looking at it: where does the body end and the space around it begin? The cloud of iridescent glass and the soft stream of real bubbles dissolving into the air around Eileen Gu created something genuinely hypnotic. It wasn’t just a dress being worn; it was a statement unfolding in real time. The silhouette seemed to blur the lines of her athletic frame, giving her an almost otherworldly quality that no CGI could ever replicate.

Van Herpen is no stranger to this kind of boundary-pushing. Her previous viral creation was a luminous dress made of living algae, crafted in collaboration with a bio-engineer and biophysicists from the University of Amsterdam. With every headline-making piece, she continues to challenge what fashion can be, not just as clothing, but as a vehicle for scientific exploration, philosophy, and wonder.

And perhaps that’s the most exciting thing about the Airo dress. In a sea of beautiful gowns at the Met Gala, this one made people stop and ask questions about science, about art, about the human body, and about what fashion is even for. At a time when so much of what we see has been filtered, edited, or AI-generated, there’s something incredibly refreshing about a dress that creates its own quiet spectacle from the inside out. Real bubbles. Real craft. Real wonder. That’s the kind of fashion that stays with you long after the cameras have gone.

The post This 2,550-Hour Dress Blew Real Bubbles at the Met Gala first appeared on Yanko Design.

This 130cm Robot Just Took Buddhist Vows at a Seoul Temple

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There has been a lot of discussion lately about how Artificial Intelligence can affect all kinds of religion. From using ChatGPT to create sermons to having an AI give spiritual guidance (with one even pretending to be Jesus), there are a lot of gray areas that are open to debate and discussion by different sectors. But how would you feel if an AI robot actually joined your congregation?

South Korean monks at Jogyesa Temple in Seoul are facing that situation now as they ordained Gabi, the country’s first robot monk. Dressed in traditional grey-and-brown Buddhist robes, it joined the Jogye Order of Korean Buddhism as part of the celebrations ahead of Buddha’s birthday later this May. South Korea joins its neighbor Japan, which previously had its own AI monk, Buddharoid, join a Kyoto temple, a sign that the intersection of faith and technology is becoming a growing trend across Asia, and that the question of AI’s role in religion is no longer purely theoretical.

Designer: Unitree Robotics

Gabi, whose name comes from a Korean term associated with compassion and mercy and is inspired by Siddhartha, stands 130 cm tall and is based on the Unitree G1 model developed by Chinese civilian robotics company Unitree Robotics. The G1 is a compact humanoid platform engineered with over 23 degrees of freedom, giving it a remarkably fluid range of motion. Built to replicate natural human movement, the robot can walk steadily, maintain balance, and perform deliberate, precise gestures with its articulated hands. It is also AI-powered, capable of processing and responding to verbal questions, which is exactly how it was able to respond to the senior monk during the ordination. It’s this combination of physical dexterity and responsive AI that made Gabi such a fitting presence at a Buddhist ceremony: its hands are capable of folding gracefully into the traditional prayer position, and its frame is nimble enough to perform a respectful bow, movements that carry deep spiritual meaning in Buddhist practice.

During the ceremony on May 6, Gabi did exactly that, folding its metallic hands and bowing respectfully alongside the other monks. When a senior monk asked if it would devote itself to Buddhism, it answered, “Yes, I will devote myself.” The monks then placed a traditional 108-bead rosary around its neck. In a small but telling concession to its mechanical nature, Gabi received a symbolic sticker instead of undergoing the customary incense burn, a reminder that, despite its robes and vows, it is still very much a machine.

Not everyone, however, is moved by the spectacle. The ordination has sparked debate among religious scholars and the public alike, with many questioning whether a machine can genuinely hold spiritual vows or embody the core Buddhist ideals of mindfulness, compassion, and the pursuit of enlightenment. Can a robot truly understand suffering, the very foundation of Buddhist teaching, when it cannot feel it? Critics also raise concerns about the trivialization of sacred rituals, arguing that ordination should remain a deeply human and intentional act. On the other side of the debate, however, supporters see Gabi as a creative and modern bridge, one that could engage younger generations with ancient teachings and make spirituality more accessible in an increasingly technology-driven world.

Whether you see Gabi as a bold leap into the future or a step too far, one thing is certain: this is just the beginning. Three more “spiritual cyborgs” are already set to join it at the temple for Buddha’s birthday celebrations on May 24. As AI continues to weave itself into every corner of human life, including our most sacred spaces, the line between the spiritual and the synthetic grows thinner by the day. What does it mean for a machine to seek enlightenment, or to offer compassion, when it was never capable of suffering to begin with? Perhaps the real question isn’t whether a robot can be a monk, but what it reveals about us that we’re the ones doing the ordaining.

The post This 130cm Robot Just Took Buddhist Vows at a Seoul Temple first appeared on Yanko Design.

This 130cm Robot Just Took Buddhist Vows at a Seoul Temple

Posted on by

There has been a lot of discussion lately about how Artificial Intelligence can affect all kinds of religion. From using ChatGPT to create sermons to having an AI give spiritual guidance (with one even pretending to be Jesus), there are a lot of gray areas that are open to debate and discussion by different sectors. But how would you feel if an AI robot actually joined your congregation?

South Korean monks at Jogyesa Temple in Seoul are facing that situation now as they ordained Gabi, the country’s first robot monk. Dressed in traditional grey-and-brown Buddhist robes, it joined the Jogye Order of Korean Buddhism as part of the celebrations ahead of Buddha’s birthday later this May. South Korea joins its neighbor Japan, which previously had its own AI monk, Buddharoid, join a Kyoto temple, a sign that the intersection of faith and technology is becoming a growing trend across Asia, and that the question of AI’s role in religion is no longer purely theoretical.

Designer: Unitree Robotics

Gabi, whose name comes from a Korean term associated with compassion and mercy and is inspired by Siddhartha, stands 130 cm tall and is based on the Unitree G1 model developed by Chinese civilian robotics company Unitree Robotics. The G1 is a compact humanoid platform engineered with over 23 degrees of freedom, giving it a remarkably fluid range of motion. Built to replicate natural human movement, the robot can walk steadily, maintain balance, and perform deliberate, precise gestures with its articulated hands. It is also AI-powered, capable of processing and responding to verbal questions, which is exactly how it was able to respond to the senior monk during the ordination. It’s this combination of physical dexterity and responsive AI that made Gabi such a fitting presence at a Buddhist ceremony: its hands are capable of folding gracefully into the traditional prayer position, and its frame is nimble enough to perform a respectful bow, movements that carry deep spiritual meaning in Buddhist practice.

During the ceremony on May 6, Gabi did exactly that, folding its metallic hands and bowing respectfully alongside the other monks. When a senior monk asked if it would devote itself to Buddhism, it answered, “Yes, I will devote myself.” The monks then placed a traditional 108-bead rosary around its neck. In a small but telling concession to its mechanical nature, Gabi received a symbolic sticker instead of undergoing the customary incense burn, a reminder that, despite its robes and vows, it is still very much a machine.

Not everyone, however, is moved by the spectacle. The ordination has sparked debate among religious scholars and the public alike, with many questioning whether a machine can genuinely hold spiritual vows or embody the core Buddhist ideals of mindfulness, compassion, and the pursuit of enlightenment. Can a robot truly understand suffering, the very foundation of Buddhist teaching, when it cannot feel it? Critics also raise concerns about the trivialization of sacred rituals, arguing that ordination should remain a deeply human and intentional act. On the other side of the debate, however, supporters see Gabi as a creative and modern bridge, one that could engage younger generations with ancient teachings and make spirituality more accessible in an increasingly technology-driven world.

Whether you see Gabi as a bold leap into the future or a step too far, one thing is certain: this is just the beginning. Three more “spiritual cyborgs” are already set to join it at the temple for Buddha’s birthday celebrations on May 24. As AI continues to weave itself into every corner of human life, including our most sacred spaces, the line between the spiritual and the synthetic grows thinner by the day. What does it mean for a machine to seek enlightenment, or to offer compassion, when it was never capable of suffering to begin with? Perhaps the real question isn’t whether a robot can be a monk, but what it reveals about us that we’re the ones doing the ordaining.

The post This 130cm Robot Just Took Buddhist Vows at a Seoul Temple first appeared on Yanko Design.

Google’s $99 Gemini Speaker Is About to Land

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The smart speaker category has been quietly stagnating. Go ahead and look around your house. Chances are there’s a Nest Audio or an Amazon Echo gathering dust on a shelf, doing exactly what speakers did in 2018 but with a fresh coat of AI marketing layered on top. It still feels like a tech product, which is to say, it still looks like one. Google seems to have noticed.

The new Google Home Speaker, officially arriving spring 2026 at $99.99 and heading to 19 countries, is not a Nest. That’s the first thing worth saying. Google dropped the Nest name entirely, and the shape that went with it. The speaker is round, compact, and wrapped in a 3D-knitted eco-friendly fabric that reads less like a gadget and more like something you’d find alongside handmade ceramics and artisan candles on a design blog. Google is calling the colorways Berry, Hazel, Jade, and Porcelain. Those aren’t accident names. That’s homeware language, not consumer electronics language.

Designer: Google

That shift matters more than it might seem. The naming tells you exactly who Google is designing for now, and it isn’t the person who organizes their cable management. Porcelain and Hazel are colors a person picks when they’re thinking about how something looks on a bookshelf, not which one has the best specs. Whether the average buyer consciously registers this or not, the vocabulary of the product positions it closer to a Muji lamp than a mesh Wi-Fi node. For a category that has long been aesthetically stranded, that’s a meaningful move.

Underneath the fabric, the hardware story is genuinely interesting. The Google Home Speaker is built around Gemini for Home, which means it isn’t running a legacy assistant clumsily retrofitted with new AI layers. It has custom processing designed specifically for Gemini’s computational demands, meant to make conversations feel faster and more natural. A new light ring gives visual feedback as Gemini listens, thinks, and responds. The speaker also delivers 360-degree sound and supports stereo pairing. At $99, that’s a competitive package, especially compared to what Amazon and Apple are currently offering in the same price range, which hasn’t changed much in years.

Here’s the angle that gets underplayed in most coverage: Google built this speaker to coexist in an ecosystem that’s already expanding before the device even ships. Walmart’s Onn smart speaker appeared in CSA Matter filings in early May 2026, suggesting a budget tier of Gemini-compatible hardware is on its way. Google confirmed last October that Walmart’s Onn devices would work within Google Home. A $99 Google speaker alongside a cheaper third-party Gemini option creates a layered ecosystem where entry-level users get into the platform and those who want a more refined experience buy the Google-branded version. That’s a smarter market play than Google has made in this category in years.

What makes me take this launch seriously isn’t the hardware alone. Amazon has Alexa, which has gone through its own AI reinvention but still carries the aesthetic baggage of the cylinder era. Apple’s HomePod is excellent and priced accordingly. Sonos is navigating its own turbulent chapter. None of them are shipping something that looks like a river stone, costs $99, and runs a genuinely current large language model. Google, for once, doesn’t have obvious company in that specific lane.

The question I keep sitting with is whether the design conviction will hold once the product is actually in people’s homes. It’s easy to look good in product shots, and the Nest Audio looked great too. But if Google has genuinely committed to positioning this as a home object first and a gadget second, and if the Gemini experience inside it is as conversational as promised, then spring 2026 could mark something worth paying attention to.

The smart speaker had a moment, then it plateaued. A pebble-shaped $99 AI speaker with pastel names and a language model built for conversation might not sound revolutionary. Compared to what’s been sitting on kitchen counters for the last five years, though, it kind of is.

The post Google’s $99 Gemini Speaker Is About to Land first appeared on Yanko Design.