This 38-Square-Metre Cabin in East Sussex Is Wrapped in Charred Timber and Built Entirely Around Yoga

Posted on by

Some buildings are designed to be seen. Yogi’s Cabin, the latest project from UK studio Built Works, is designed to be felt. Nestled within the woodland of Great Park Farm in East Sussex, the 38-square-metre retreat sits alongside a natural swimming pond, designed not to impress, but to disappear into its surroundings.

The cabin was created for Architects Holiday, a hospitality company founded by the Built Works team that builds retreats around singular, restorative practices. Where their earlier project — the Drying Shed Sauna, also at Great Park Farm — was centred on heat and ritual, Yogi’s Cabin is organised around movement, stillness, and the slow passage of light through a woodland. The programme is simple: a dedicated yoga studio at the heart of a barn-like form, wrapped in materials that feel as rooted to the land as the alder trees around it.

Designer: Built Works

The plan runs on a clear east-west axis, with large sliding openings that frame views through the trees and across the adjacent swimming pool. The intention is for light to shape the interior throughout the day — morning light from the east drawing practitioners inward for practice, the warm evening light from the west spilling across the deck as the day winds down. It’s architecture that works with time rather than against it.

Externally, the studio drew from two distinct references: Japanese domestic architecture and local agricultural vernacular. Deep eaves and a continuous perimeter deck form a sheltered threshold between inside and out — a direct nod to the traditional Japanese engawa — while the building’s barn-like massing keeps it grounded in its rural English context. The cladding is estate-grown larch, charred on site using traditional yakisugi techniques, a process that improves durability and weather resistance while allowing the cabin to recede visually into the dark woodland behind it.

Inside, the architecture is deliberately restrained. Sliding screens, timber surfaces, and a limited material palette create a calm, adaptable space where accommodation is secondary to use. A king-size bedroom, luxury shower room, outside bath, and fully equipped kitchen complete the programme — functional, yes, but never the point.

Completed in Spring 2026, Yogi’s Cabin is a rare thing: a building that resists the urge to do too much. It holds space. It frames trees. It lets light do the talking. In a landscape of wellness architecture that often overclaims, Built Works has made something genuinely restorative — not through addition, but through careful restraint.

The post This 38-Square-Metre Cabin in East Sussex Is Wrapped in Charred Timber and Built Entirely Around Yoga first appeared on Yanko Design.

This Plywood Stool Has Cords That Hold Your Books, Magazines, and Stationery

Posted on by

Every stool I’ve ever owned has ended up doing three jobs it was never designed for. Phone stand. Laundry rack. Temporary table for the cup of tea I told myself I’d finish before it went cold. Furniture absorbs the chaos of daily life whether designers plan for it or not, so the smarter move is to plan for it. Yamashiro did exactly that, and she did it in Okinawa, designing from a culture that has always understood objects as participants in daily life rather than background props.

The Strings Stool won an A’ Design Award in the Furniture Design category, and looking at it, you understand why immediately. Blue cords run in parallel grooves down the face of a molded plywood form, taut like the strings of a sanshin, Okinawa’s traditional three-stringed instrument. Slip a book between them. Slip a notebook. The stool holds them without complaint, the same way it holds you.

Designer: Yuna Yamashiro

The sanshin has been part of everyday Okinawan life for so long that it stopped being a cultural artifact and became furniture in its own right, something you pick up, put down, lean against a wall, live around. Yamashiro’s design carries that same quality of unassuming presence. The Strings Stool doesn’t announce itself as a design object. It sits in a room and waits to be useful, which is a harder thing to design than it sounds. The A’ Design Award jury clearly recognized that the stool operates on two registers simultaneously, as a cultural translation and as a genuinely functional piece of furniture, and rewarded it accordingly.

Yamashiro built a mold and applied pressure to bend multi-layered plywood into a continuous arc, a single curved form that flows from one leg face up and over the seat and back down the other side. Getting wood to adhere cleanly to a mold under pressure without losing its shape is genuinely difficult work, and the finished piece shows no evidence of that struggle. The layers visible at the edges give the form its graphic quality, a subtle striation that rhymes with the cord spacing running down the face. At 500mm wide, 300mm deep, and 450mm tall, it occupies a room without dominating it. The legs splay outward in a trapezoid stance, which does two things at once: it makes the seat more comfortable to straddle, and it lets the stools nest and stack cleanly, a practical consideration that most furniture designers treat as an afterthought but Yamashiro baked in from the start.

Most keen-eyed enthusiasts will remember a similar organizer format in Cocoon’s GRID-IT, elastic cords stretched across a rigid panel holding gear in place through tension alone. Yamashiro scales that mechanic up to furniture size, anchors the cords at the base with visible knotted eyelets, and makes them user-replaceable, so you can swap colors to match a room or replace worn cords without retiring the whole piece. That replaceability is the kind of decision that separates designers who think about ownership from designers who think about photography.

The one honest caveat is that those same cords, running across the seat surface, will make themselves known after a few minutes without a cushion. Yamashiro designed a central opening into the seat to improve comfort, and it helps, but anyone planning to use this as their primary work perch rather than an occasional seat should factor a thin cushion into the equation. That’s a small asterisk on an otherwise cohesive and quietly impressive debut.

The post This Plywood Stool Has Cords That Hold Your Books, Magazines, and Stationery first appeared on Yanko Design.

Nothing Is Making the “Mini” Phone That Apple Abandoned in 2021, and It Costs Less Than $320

Posted on by

Apple killed the iPhone Mini in 2021 and never apologized for it. The 13 Mini was the last of its kind, a genuinely pocketable smartphone with flagship intent, and when it quietly disappeared from the lineup, it took an entire product philosophy with it. Samsung followed by quietly retiring anything under 6.2 inches. Asus eventually walked away from the Zenfone altogether. The message from every corner of the industry was identical: small phones are a niche, niches don’t scale, and scale is the only thing that matters.

Five years later, a five-year-old British startup is doing what Apple, Samsung, Google, and every other major player refused to do. The Nothing’s Phone 4b (rumored for a July 7th launch) is allegedly 6.3 inches of transparent-backed, single-camera, software-supported compact smartphone, arriving in a market that had completely stopped believing one was coming.

Designer: Nothing

Image Credits: Techstream

I feel genuine frustration watching this industry gaslight itself. The compact phone didn’t die because people stopped wanting it. It died because building one well is genuinely hard, battery physics are brutal at small volumes, thermals get complicated, and every millimeter you shave off the chassis is a millimeter you’re fighting for. Apple tried, found the margin math uncomfortable, and left. Everyone else looked at Apple’s decision and treated it as consumer research. I think about this the same way I think about the restaurant that stops serving a dish because it’s difficult to prep, then tells you nobody was ordering it anyway.

The Phone 4b aims to sidestep this trap with a camera philosophy that evokes the abbreviation KISS – Keep It Simple, Stupid. Rather than padding the spec sheet with the obligatory 2MP depth sensor and the equally useless 8MP ultrawide that most phones in this price range treat as a box-ticking exercise, Nothing will put a single Sony LYT-710 sensor with optical image stabilization behind that transparent back panel. One camera. A real one. In a world where phone makers routinely ship three cameras to advertise three cameras, with only one of them actually worth using, that restraint reads almost like a provocation. The 50MP sensor landing here is the same family of Sony silicon that shows up in phones costing significantly more, and OIS at this price point is the kind of decision that makes photographers quietly nod.

Image Credits: Techstream

The 6.3-inch 1.5K AMOLED panel running at 120Hz sits inside a form factor that, five years after the Mini’s death, still feels quietly radical. Pair that with LPDDR5X RAM, a rumored 5,000mAh battery with 50W charging, and Nothing’s 4-plus-6 software support commitment, four years of OS updates and six years of security patches, and the 4b starts looking less like a budget phone and more like a considered one. Those are flagship-tier update terms. OnePlus took years to get there. Samsung only started matching that recently. Nothing is offering it on its most affordable device yet.

I keep coming back to what the original iPhone Mini crowd actually wanted. They weren’t asking for a compromised phone in a small box. They were asking for the full experience in a form factor that fit their life, their pocket, their one-handed commute. The 4b, launching July 7 at somewhere below Rs. 30,000 (roughly $316), is the closest answer the market has produced since Cupertino walked away from the question entirely. Nothing built the phone Apple left behind, and somehow, five years later, it arrived right on time.

The post Nothing Is Making the “Mini” Phone That Apple Abandoned in 2021, and It Costs Less Than $320 first appeared on Yanko Design.

Airbus converts its successful H145 helicopter into a fully autonomous twin-engine aircraft

Posted on by

Along with the increase in demand for personal mobility aircrafts, there is a snowballing demand for autonomous flying crafts in military, surveillance, and transportation. Taking cues from the shifting focus in the aviation industry, Airbus has unveiled an unmanned variant of its rather popular H145 helicopter.

Renovated to fly completely without a pilot, the new U145 twin-engine helicopter will be transporting large and heavy payloads in and out of rural, inaccessible areas amid other tasks. It is based completely on the existing platform of the recognized H145 and is expected to make its first test flight (with a safety pilot onboard) later in 2026. The completely autonomous flights are expected to begin as early as 20230.

Designer: Airbus

As mentioned above, the idea of this helicopter with a human-less cockpit is based on Airbus’s H145 helicopter. “There are more than 1,800 H145 family helicopters in service for military, parapublic and civil missions, logging a total of more than 8.5 million flight hours,” Airbus notes. For the U145, Airbus has replaced the cockpit of its popular aircraft with a clamshell door, freeing up the human-occupied space for cargo. In addition to the integrated nose door to create additional space, the aircraft includes a foldable loading table and a dedicated cargo floor.

The autonomous aircraft will achieve full autonomy through the use of sensors and artificial intelligence. The sensors will rely on data to AI, allowing the U145 helicopter to fly autonomously on any kind of mission: commercial, military, or who knows even rescue someday. A full-scale mock-up of the new model was shown of at the recently concluded ILA Berlin airshow 2026.

Airbus is not new to converting a traditional crewed helicopter into an unmanned aircraft. The aviation expert first did this with the VSR700 based on the Cabri G2. Now, the Airbus H145 helicopter-based new autonomous aircraft is the second similar iteration. Interestingly, it remains pretty close to the basic structure of the original helicopter. It retains the same Safran Arriel 2E engines and fancies same performance as the H145, though it is now made fully unmanned and is digitally controlled, instead of being piloted by humans piloting it.

The autonomous flyer can still carry up to 3.8-tonne cargo transport, operates extremely quietly, and is environmentally friendly. It can be, Airbus states, used for armed scouting, surveillance, firefighting, and even as a drone mothership. Since there is still time before the aircraft can take off on its own, Airbus will, in the interim, work closely with specialist partners to improve U145’s autonomous capabilities before it can successfully launch.

The post Airbus converts its successful H145 helicopter into a fully autonomous twin-engine aircraft first appeared on Yanko Design.

Tucked Between Two Ancient Stumps, This House Barely Touches the Ground — And That’s Exactly the Point

Posted on by

Some buildings earn their names. The Floating House by Vancouver-based SMStudio — completed in 2023 on the western ridge of Bowen Island, British Columbia — is one of them. Bowen Island sits just 20 minutes by ferry from Vancouver’s Horseshoe Bay, close enough for a commute, far enough to feel like another world.

SMStudio founder Simon Montgomery found a site on a rocky ridge where two ancient, burnt-out old-growth stumps stand like sentinels over the land. Rather than clear them or work around them, he positioned the house directly between them. The building wasn’t placed on the land so much as fitted into it.

Designer: SMStudio

The name earns its keep. A cantilever lifts the structure fractionally off the bedrock, leaving a deliberate shadow gap at the base — a move that is at once structural and philosophical. The house appears to hover, weightless above the ground it occupies. It’s a gesture borrowed from Japanese spatial thinking, where the relationship between a building and its site is considered with almost ceremonial care.

The exterior reads as elemental: a steeply pitched gable roof clad in steel standing-seam panels, cedar walls left to weather naturally into the forest palette, and a form so spare it borders on sculptural. There is no decorative noise here. Every decision is load-bearing, aesthetically speaking. The plan is simple and asymmetrical, its two wings arranged to navigate the site’s dual elevations — a higher forested platform and an open field below that drops away to reveal sky and distant treeline.

Inside, Douglas fir surfaces carry the warmth that the cedar exterior withholds. Natural light is controlled and considered, the forest pressing in from every side without ever feeling intrusive. It is the kind of interior where you notice the quality of light before you notice the furniture.

What makes the Floating House significant isn’t scale or spectacle — it’s discipline. Montgomery resisted the temptation to over-design a site that was already extraordinary. The result is a house that amplifies its surroundings rather than competing with them. In an era when architecture often mistakes loudness for confidence, that kind of restraint is genuinely rare. The Floating House is currently listed for $2.1 million through West Coast Modern.

The post Tucked Between Two Ancient Stumps, This House Barely Touches the Ground — And That’s Exactly the Point first appeared on Yanko Design.