Apple’s Hidden Concert Hall Fits Only 600 Fans in London

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Watching live concerts is one of the greatest joys of my life. There’s something really special about seeing artists you love perform their hearts out and hearing the whole crowd sing along with them. But as I’ve grown older, and as tickets have gotten more expensive, I sometimes wish I could enjoy live music in smaller, more intimate venues instead.

Apple Music seems to have felt that same tension, and it’s one of the reasons behind its newest venture: Apple Music Hall. It’s the brand’s first dedicated live-music venue, and it’s tucked inside the iconic Battersea Power Station in London, right underneath its UK headquarters.

Design: Apple

If you’re picturing something meant to rival the biggest arenas and stadiums in the world, you’d be wrong. This space was intentionally designed to be small and exclusive, built for artists to put on one-off, special shows for a limited number of fans. The music hall holds only 600 people, which gives both the artist and the audience a real chance to connect in a more intimate setting than your typical concert experience. It’s also fully reconfigurable, so a show can be set up as all-seated, all-standing, or a hybrid of the two, depending on what the artist wants that night.

What really makes the space feel special, though, is how carefully it was designed around the building it lives in. Battersea Power Station is one of London’s most beloved landmarks, a decommissioned coal-fired plant from the 1930s known for its dramatic Art Deco architecture, and Apple leaned into that history rather than covering it up. The venue’s interior features heritage brickwork and exposed structural steel joists that pay homage to the building’s industrial roots, while four illuminated, streamline-style arches sweep across the space as a nod to its original Art Deco detailing. Bronze balconies sit between those arches like box seats, echoing the look of the power station’s historic oriel windows.

Even the foyer carries that same balance of old and new, with a cozy seating area, a large screen, glass walls overlooking the Thames, and a staircase that ties the whole space together. The project was led in-house by Kristina Raspe, Apple’s vice president of Apple Places, which says a lot about how much thought Apple put into treating this building like a product in its own right, rather than handing it off to an outside design firm.

But this venue isn’t just about what happens inside its four walls. It’s also built so artists can broadcast their performances to a much bigger audience, even if that audience is only watching online. Apple Music Hall comes equipped with a 48-speaker spatial audio sound system and 16 hardwired cameras, which Apple says is more than any other venue of its size anywhere in the world. There’s also a full production facility attached to the venue, including two professional-grade recording and mix studios. That means an artist can perform a live show, record it in Spatial Audio, have it mixed to broadcast quality, and release it to the entire world, all without ever leaving the building or bringing in outside equipment.

Apple Music Hall officially opens its doors to the public on September 28, and honestly, it feels like exactly the kind of concept that’s been missing from the music world for a while. We’ve all gotten used to streaming everything from our couches, and there’s nothing wrong with that, but it can start to feel a little disconnected after a while. Apple Music Hall seems built to close that gap, giving a lucky 600 people an unforgettable night in the room while still letting the rest of us tune in and feel like we’re part of something happening in real time.

For someone like me, who still dreams about the days of catching a favorite artist in a room small enough to actually see their face, this feels like a genuinely exciting step forward. It won’t replace the thrill of a packed arena show, and it’s not trying to. But it might just be the closest thing we get to bottling that up-close, once-in-a-lifetime concert feeling and sharing it with the whole world.

The post Apple’s Hidden Concert Hall Fits Only 600 Fans in London first appeared on Yanko Design.

This 27-Inch Japanese Shoehorn Quietly Disappears Into a Clear Acrylic Stand

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As you get older, some bones and muscles refuse to cooperate, creaking even when you’re doing something as ordinary as putting on your shoes. Using a shoehorn can be a challenge in itself, since most designs force you to bend over and strain your back just to slide your foot into a sneaker or a dress shoe. On top of that, shoehorns aren’t exactly the most attractive tools to leave lying around by your front door. You don’t need a shoehorn that’s pretty, but it sure helps to have one that either blends into your entryway or stands out as a piece of decor you’re actually proud to display.

The Invisible Shoehorn is exactly the kind of tool you’ll want to display rather than hide. It’s a long-handled, stainless steel shoehorn that “disappears” into a clear acrylic stand when it’s not in use. This clever design solves both problems at once: the bending-over issue and the aesthetic issue. The optical trick makes the metal shoehorn look like it’s floating in midair, or vanishing completely, turning a purely functional tool into a minimalist decorative object you won’t want to shove into a drawer once it’s done its job.

Click Here to Buy Now: $299

Designed by Kairi Eguchi for Takeda Design Project, the Invisible Shoehorn stands about 700 millimeters tall, or roughly 27 inches for those of us who don’t think in metric. That height is the whole point: it’s tall enough that you can slip it between your heel and the back of your shoe while standing up straight, no crouching, no wobbling, no throwing out your lower back on a random Tuesday morning. The shoehorn itself is crafted from polished stainless steel that tapers from a rounded handle down to a thin, curved tip, smooth enough that it won’t snag or run your socks the way cheaper, rougher shoehorns sometimes do.

What really sets this piece apart is the acrylic stand. It’s shaped to mirror the metal shoehorn exactly, so when you dock the two pieces together, the stainless steel appears to hover in midair against the clear background. Seen from a few feet away, or in the dim lighting of a typical entryway, the whole object reads as a sleek, abstract sculpture rather than a household tool. It’s a small bit of visual sleight of hand, but it’s the kind of detail that turns something you’d normally hide in a closet into an object you’d happily leave out on a console table or shoe bench.

Compare that to the shoehorns most of us grew up with: cheap plastic ones from the drugstore, or the metal long-handled versions from mobility brands like Vive Health, which are functional but were never going to win any design awards. Even OXO, a brand practically synonymous with smart, ergonomic housewares, makes shoehorns and shoe-helper tools built around that same “no more bending” philosophy, and its versions still lean strictly utilitarian, designed to work well but never really designed to be seen. Most of these options run somewhere between $10 and $30, and they absolutely get the job done, but they’re not something you’d want sitting out in plain view. The Invisible Shoehorn, at its higher price point, is clearly aiming at a different shelf entirely. It’s less a mobility aid tucked away in a bathroom drawer and more a piece of everyday design you’d be proud to own, closer to something you’d spot in a design showcase than in a pharmacy aisle.

That’s really the appeal here. The Invisible Shoehorn benefits anyone dealing with a stiff back, tight hips, or knees that don’t love bending anymore, but it’s just as appealing to design lovers who want their entryway to look intentional instead of cluttered. It solves the everyday annoyance of a tool that’s either buried in a drawer or, worse, an eyesore parked awkwardly by the door. Instead, you get something that works exactly when you need it and quietly disappears, both literally and stylistically, when you don’t. For anyone who has ever grumbled about bending over to wrestle a shoe on, or wondered why every shoehorn on the market looks like it belongs in a hospital supply closet, this one is worth a second look.

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Nobody Wants This Life Jacket Hidden in a Tote Bag

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Picture the most unremarkable object you own. A canvas tote, maybe, the kind you grab off a hook without thinking, sling over one shoulder, and forget about until it’s holding your groceries or your gym clothes. Now picture unzipping that same bag, pulling it over your head, and yanking a cord that inflates it into a life jacket, because the subway platform under your feet just turned into a swimming pool. That’s Lifeline, a conceptual piece by New York artists Phil Le Brun and Gabriela Mestriner, and it exists because a very real, very unfunny problem has been building under this city for years.

New York’s subway was engineered to handle a major flood about once every five years. That math stopped working a while ago. Nearly 200 stations have flooded during major storms over the past several years, Hurricane Ida alone dumped more than three inches of rain in a single hour back in 2021, and this past summer the city logged roughly two severe weather warnings a week from June through August. Riders have waded through knee-deep water and clung to walls just to get out of a station. That’s the problem Lifeline is responding to, not with a fix, but with a mirror.

Designers: Phil Le Brun and Gabriela Mestriner

The bag itself is genuinely well made, which is part of what makes it unsettling. Mestriner dismantled a standard nylon life jacket and heat-welded the pieces back together into the shape of a tote, using about three yards of nylon, two polyester zippers, four yards of black cord, and four adjustable metal locks. A zipper runs through the center of the flap and body, wide enough to fit over someone’s head, and there’s a detachable rain hood tucked inside for good measure. Pull the straps and the whole thing inflates in about fifteen seconds. None of this was drafted on a computer first. The team built, tested, took it apart, and rebuilt it by hand until it worked.

The color is doing a lot of the talking too. Lifeline is a loud, unmissable orange, the same visual language as a highway cone or a hazard sign. Le Brun has called it exactly that, the language of emergency, and it’s a smart choice because it refuses to let the object blend in the way most safety gear quietly does. Life jackets on a plane are tucked under your seat where you never see them until it’s too late to think clearly. This one is worn like an accessory, which is either darkly funny or the most honest design decision in the whole project, depending on your mood that day.

What actually gets me about Lifeline isn’t the engineering, it’s the framing. Le Brun described the whole project as an “essential that shouldn’t exist,” and that phrase does more work than any statistic could. We’ve gotten so used to climate disruption showing up as background noise, a delayed train, a canceled flight, a flooded platform you just have to walk around, that we rarely stop to ask why any of it has become normal enough to accessorize. Mestriner put it well when she talked about the project sitting at the intersection of convenience and emergency, privilege and vulnerability, and how that weight never falls evenly across people or neighborhoods.

Lifeline isn’t for sale, and it was never meant to be. It launched at the start of Climate Week as what Le Brun calls a narrative object, something built to spark a conversation rather than solve a logistics problem. That’s a fair goal for a five person art collective working with heat-welded nylon in a studio, and I don’t think anyone involved believes commuters should actually be shopping for inflatable totes. But the object does something a chart or a headline can’t quite manage. It takes an abstract, slow moving crisis and makes it wearable, immediate, almost absurdly personal.

I keep coming back to the photos of the bag being converted into a life jacket inside an actual subway station, styled like a fashion editorial one second and a survival scenario the next. That whiplash is the whole point. New York keeps moving through disruption because that’s what the city does, but Lifeline is a pretty sharp reminder that resilience and denial can look identical from the outside, right up until the water starts rising.

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Middle East’s Exobot electric cars arrive with supercar DNA and futuristic looks

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In the universe of the Tesla Cybertruck, Model S, Lucid Air, and Rivian R1T, a new flagship electric SUV and sedan have landed from the Middle East. Back in 2022, Crown Prince Mohammed Bin Salman and Saudi Arabia’s Public Investment Fund (PIF) formed the country’s first-ever EV brand, CEER. Now they’ve launched their maiden SUV and sedan, homegrown and manufactured in the Middle East, to take on the stalwarts of the industry.

They call it the Exobot series, which comprises the electric SUV and sedan – first in line of the 5 other vehicles slated to launch over a length of the next five years. These EVs will be spread across various propulsion options and produced in the CEER Manufacturing Complex (CMC), claimed by the maker to be one of the largest and most advanced automotive production facilities in the region.

Designer: CEER

CEER is confident that the upcoming fleet of electric vehicles is going to be of the highest global standards, further strengthening Saudi Arabia’s position as a rising force in the global automotive industry. For now, the brand has revealed the Sci-Fi-inspired siblings designed by McLaren’s former design director Rob Melville. Both these vehicles have a similar DNA; they just differ in category and in their distinct body styles. The design language remains the same, as the front section is very low-slung and gets taller at the rear, just like the cars of the 1970s.

Both the future-forward EVs have around 2.5 meters of windshield at 15 degrees, windswept for an open-air feel, a very distinct concept-car-like shape, and manly light bars fitted with 32 varying lighting elements at the front and back. In fact, the open-air windshield is the first ever on a production car. Those Falcon-inspired Shahin doors are gull-winged to spread 10 feet, and don’t have any B-pillar for any visual hindrance.

The luxury sedan is longer than the Tesla Model S at 5,260mm and 1,428 mm tall, which makes it shorter than the Mercedes-Benz EQS, or even some of the popular options. CEER says the EV has a range of 416 miles, and it will vary depending on the model chosen. The standard edition churns out 850 horsepower to make it go from 0-62 mph in 2.6 seconds, while the Top trim produces 1,111 horsepower and 1,500 Nm, which are both better than Tesla. With these numbers, the sedan can go from standstill to over 60 mph in mere 2.1 seconds. The top speed of 155 mph, which is electronically limited, is also impressive.  The 800-volt platform it shares with the SUV makes it go from 10 percent charge level to 80 percent with just 30 minutes of plugging in.

The crossover SUV measures 5,016 mm long, 2,101 mm wide, and 1,693 mm tall, with a 3,200 mm wheelbase. It has a claimed NEDC range of 348 miles on a single charge, and about the same power delivery figures as the classy sedan. Both vehicles get a yoke-shaped steering wheel complemented by the huge 8K screen that runs the length of the windshield. There is a vertical 10.4-inch touchscreen in front of the center console. Rear passengers can enjoy multimedia content on the 8-inch display on the rear seats. The SUV gets the steer-by-wire tech and rear wheel steering for parallel parking, which puts it in a category of its own.

CEER plans to begin sales in early 2027, with deliveries expected in March. Initially, the Exobot sedan and the SUV are going to be sold in the Gulf markets in limited First Edition models. The customizable Plus trims will arrive some time later. The pricing has not yet been revealed, so it’ll be interesting to see how these modern EVs stack up against the competition.

 

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