This Australian Tiny Home Has Two Bedrooms, a Picture Window, and Zero Compromises

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The Byron Bay by Removed Tiny Homes is not that version. Built by the Brisbane-based builder that has quietly become one of Australia’s most talked about names in the tiny home space, this model is as generous as the coastal town it’s named after. It arrives with two loft bedrooms, a full galley kitchen, and a layout that manages to feel more like a considered home than a scaled-down one.

At 8.4 metres long, 2.5 metres wide, and 4.3 metres tall, the Byron Bay sits at the larger end of what road-legal tiny homes can offer. That scale is put to work immediately. The two upstairs lofts are connected by a full standing height walkway, which sounds like a small detail until you realise how much it changes the experience of moving through the space. There is no crawling, no hunching, no reminder that you made a trade-off. The lofts feel like actual bedrooms, not storage shelves with pillows on them.

Designer: Removed Tiny Homes

Downstairs, the open-plan living area is anchored by a large kitchen fitted with a picture window. Light moves through the interior in a way that makes the 33 square metres read closer to double that. The design team at Removed has clearly thought hard about storage, building it into nearly every surface without letting it dominate the aesthetic. The result is a home that feels edited rather than cluttered.

What makes Byron Bay particularly compelling right now is its off-grid capability. Recent builds leaving the Removed factory have been fully off-grid spec, designed for families planting themselves on rural land or lifestyle blocks far from the grid. For a generation priced out of the traditional housing market, that combination of mobility and self-sufficiency is not a novelty. It is a strategy.

Removed Tiny Homes describes Byron Bay as ideal for families, and you can see why it has become one of their most requested models. Two sleeping spaces, serious kitchen infrastructure, and a layout that prioritises flow rather than function alone. Starting from US$104,000, it positions itself as a genuine alternative to a first home, not a weekend experiment.

Byron Bay does not try to convince you that less is more. It just builds the space well enough that you stop counting square metres and start thinking about where to put it.

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A Pour-Over Dripper Inspired One of Beijing’s Best Pop-Ups

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Pop-ups have become one of the more interesting testing grounds for design ambition. They exist long enough to make a statement but not so long that they have to compromise on boldness. And Atelier L seems to understand that assignment completely.

The studio’s latest project is a temporary coffee pavilion for Kurasu, the Kyoto-based specialty coffee brand, installed at Taikoo Li Sanlitun, one of Beijing’s most high-traffic outdoor retail districts. On the surface, it’s a pop-up kiosk. But spend a few seconds looking at it, and you realize it’s a fully considered piece of architecture that draws its entire form from a pour-over coffee dripper.

Designer: Atelier L

That’s the concept at the core of it: the geometry of a pour-over dripper, translated directly into architectural form. Atelier L scaled up the familiar conical vessel into two interconnected volumes, each clad in reflective stainless steel that mirrors the movement and light of the city around it. The inspiration nods to origami, which tracks visually. The structure reads as almost folded into place, light and precise rather than heavy or monolithic.

What makes the design smart rather than just clever is how the two volumes work separately but together. The larger one faces inward, creating a contained environment for the coffee ritual itself. A central linear bar clearly divides the space between barista and customer, and the wall inclinations, subtle as they are, actually serve a functional purpose: they create more movement space behind the counter while making the customer-facing side feel more expansive than its actual square footage. That kind of spatial sleight of hand is hard to achieve in a compact footprint, and Atelier L manages it without making you feel like you’ve noticed it.

The smaller volume does something entirely different. It cantilevers outward toward the street and functions as a display structure and micro gallery, which is an elegant answer to the challenge every pop-up faces: how do you engage passers-by without resorting to signage? Here, the architecture itself becomes the invitation.

Materials are where my personal preferences become part of the read. The stainless steel exterior is striking without trying too hard. It catches the light, reflects the surrounding winter trees, and at dusk, the entire pavilion takes on the quality of a glowing lantern. But the interior feels more considered to me. Wood-grain aluminum brings warmth into what could easily have been a cold, overly minimal space, and the curved surfaces soften light across the small interior rather than bouncing it. The contrast between the pavilion’s cool, almost industrial exterior and its warmer interior is a deliberate design choice, and it works. The outside sets an expectation; the inside quietly revises it.

A steel base anchors both volumes, with its corners slightly lifted to maintain the illusion of paper-thin lightness. Dark gravel and natural stone slabs compose the ground plane. An operable glass roof keeps the interior connected to the sky, allowing the space to shift with the light and the movement of trees above. Those details matter. They’re what separate a thoughtful installation from a kiosk.

For a brand like Kurasu, whose identity has always been rooted in the quiet rituals of specialty coffee, a pavilion that architecturally embodies the act of brewing makes complete sense. The pour-over method is slow, precise, and intentional. The pavilion mirrors all of that. Whether the alignment between concept and experience was always the plan or sharpened through the process, it reads as completely resolved.

Pop-ups tend to get treated as design’s sketchpad, too temporary to be taken seriously. The Kurasu pavilion in Beijing is a case against that assumption. When the brief is specific and the constraints are real, a temporary structure can be as fully realized as anything permanent. Sometimes more so, because there’s no room to defer decisions or soften edges. You build it, it lands, and people either feel it or they don’t. This one lands.

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Xiaomi’s $80 Air Fryer Can Steam, Sous Vide, and Air Fry, Giving You A Crisp Outside and Juicy Inside

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There is a reason professional bakers spray water into their ovens right before a loaf goes in. Steam in the early stages of baking keeps the crust elastic long enough for the bread to fully rise before it sets, and then as the moisture burns off, the outside crisps up hard and crackly while the inside stays open and soft. Xiaomi applied that same principle to an air fryer, which sounds obvious in hindsight but somehow took the entire appliance industry a decade to get around to trying. The result is the Mijia Smart Air Fryer Pro Steam and Bake Edition, a 6.5-liter machine that launched on Youpin in March for around $80.

We covered Smeg’s steam-equipped air fryer concept out of Milan Design Week back in April, and the reaction told us something useful: people are genuinely ready for this idea. The hardware behind Xiaomi’s take is straightforward but well thought out. A 1.5-liter water tank sits on top of the unit and feeds a 900W steam generator capable of reaching 130 degrees Celsius, with enough output to run seven continuous dishes before needing a refill. Combined with a conventional 1,850W heating element and a 360-degree hot air circulation system, you get a machine that can switch between dry heat and humid heat within the same cooking cycle. The 304 stainless steel interior handles the moisture without corroding, and the fluorine-free non-stick basket makes cleanup considerably less painful than you might expect from something that gets regularly steamed.

Designer: Xiaomi

Steam-fry and sous vide are the two modes that actually push past what any conventional air fryer can do, rather than just relabeling the same hot-air cycle with a fancier name. Steam-fry layers humid and dry heat in sequence, holding just enough moisture in the chamber to slow surface dehydration while the heat pushes deeper into the food, which is exactly how you get chicken wings that crack rather than just brown. The sous vide mode holds a low, stable temperature over a long period using the water tank as its medium, something a dry-heat machine physically cannot fake its way through. The full temperature range runs from 30 to 230 degrees Celsius with NTC precise control, which in practice means the same machine handles yogurt fermentation at the low end and a proper sear at the high end, a spread that no single-mode appliance on its own can match.

A 234mm horizontal interior sounds like a spec sheet abstraction until you realize it fits a whole chicken, 24 wings, or nine steamed buns in a single load, and the dual-layer rack splits that cavity between two dishes cooking simultaneously at different heights without either one stealing heat from the other. The 1,850W heating element drives the hot air side of things hard enough to cut sausage cooking time to eight minutes versus the twenty-odd you’d wait in a conventional oven, and the 360-degree circulation keeps that heat moving evenly rather than pooling at one side of the basket. Scheduling a cook 24 hours out through Mi Home, or pulling from a library of over 100 cloud recipes, means dinner can be running before you’ve even thought about what you want to eat. The OLED interactive knob handles everything manually for anyone who’d rather just twist a dial than pull out a phone, which is the kind of small considered detail that keeps a smart appliance from feeling like a chore.

The Mijia Pro is crowdfunding in China at 559 yuan, around $81, with a planned retail price of 749 yuan, roughly $109. Smeg’s steam air fryer, by contrast, is a concept with no confirmed price and a launch window no earlier than late 2026. Dreame’s Feast DS50, which takes a different approach to the same problem through dual-zone independent airflow rather than steam, is priced at $229 for its North American launch. Xiaomi is delivering a technically comparable answer to the same cooking challenge at a fraction of that price, in a machine that is already shipping in China and building toward a global rollout. The steam air fryer category is real, it has momentum, and the most affordable entry point currently has a Xiaomi logo on it

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Ferrari Made One Last Non-Hybrid V8 Spider Before The Brand Hands Its Future To Jony Ive

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Two Ferraris arrived within months of each other in early 2026, and they could not be more different in what they represent. The Luce, Ferrari’s first EV, debuted its interior in February, designed by Jony Ive and Marc Newson’s LoveFrom studio, all Gorilla Glass panels, pivoting OLED displays, and a key fob that docks into the center console like a miniature iPhone. CEO Benedetto Vigna defended the outside collaboration by saying Ferrari needed people with the experience to prove that electric does not have to mean screen-dominated, which is a reasonable argument until you consider that Ferrari’s own designers have been doing exactly that, beautifully, for decades. The HC25 is what those designers produced at the same moment, for a single client, using the last non-hybrid V8 spider platform the brand will ever build.

Unveiled at the Circuit of the Americas by Flavio Manzoni’s Ferrari Design Studio, the HC25 is formally part of the Special Projects One-Off programme, a two-year collaboration between Maranello and one unnamed client who wanted the F8 Spider’s 710-hp twin-turbo V8 reimagined in a body that spoke the brand’s new formal language. The result is 4,758mm of matte Moonlight Grey bodywork, a three-dimensional glossy black central band housing the cooling intakes, bespoke headlamps using LED modules never before fitted to any Ferrari, and an interior that Manzoni’s team designed themselves: grey technical fabric, yellow-stitched leather, physical paddle shifters, analogue warmth. Put the HC25 and the Luce side by side and you are looking at a brand mid-transition, one foot in the cockpit of everything it has always been, one foot somewhere Jony Ive is leading it.

Designer: Flavio Manzoni (Ferrari Design Studio)

The organizing idea of the HC25’s exterior is that black band, and once you see what it does structurally you cannot unsee it. It begins at the base of the rear wheels, sweeps forward with an arrow-like momentum, curves up and over the door, where it conceals a handle milled from a single block of aluminum, then dissolves into the dramatically raked engine screen at the rear. The band houses the radiator air intakes and routes powertrain heat extraction, so every millimeter of it is functional, thermal management rendered as pure form. It divides the matte grey body into two distinct sculptural volumes, front and rear, that read as separate masses held in tension by this single binding element. The car appears to be moving at standstill, which is either a cliché or a genuine design achievement depending on whether the surfacing actually earns it. Here, it does.

The bespoke headlamps feature one-of-a-kind lighting modules that have never appeared on any other car wearing the Prancing Horse badge. The lens profile is exceptionally slim with a central indentation that mirrors the split geometry of the rear lights, reinforcing the car’s dual-volume logic end to end. The DRLs adopt a vertical boomerang arrangement along the leading edge of the front wings, a first for Ferrari, and when lit the front of the car carries the focused, sharp-edged expression of the F80 rather than the softer face of the F8 it replaced. The five-spoke wheels complete the picture with a diamond-cut outer rim and a double-recessed groove that optically enlarges the diameter without adding physical size, a compositional trick borrowed directly from product design.

Inside, the cabin is a lightly evolved F8 Spider, and that is entirely the point. Grey technical fabric meets black leather across deeply bolstered sports seats, yellow graphics trace a boomerang shape across the upholstery that directly echoes the DRL signature outside, and the stitching matches the brake calipers and Prancing Horse badges in the same acid yellow. Physical paddle shifters. Analogue gauges. An HC25 badge on the passenger side of the dash that will mean nothing to anyone who does not already know what they are looking at, which is how bespoke Ferraris have always announced themselves. The yellow is the one chromatic frequency that detonates against the controlled grey and black palette, and it connects exterior to interior with the kind of material consistency that makes a car feel designed rather than assembled.

What the HC25 ultimately represents in Ferrari’s 2026 timeline is the clearest possible articulation of what Manzoni’s studio produces when it works entirely on its own terms. The Luce will be the car everyone talks about when Ferrari’s electric era is discussed, and Jony Ive’s name will be attached to that conversation for years. The HC25 exists for one person, carries no electrification, and will never be replicated. For a brand standing at the edge of its own reinvention, that kind of commission has a particular kind of gravity.

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$95 Lambertus strap will turn the Audemars Piguet × Swatch Royal POP pocket watch into a wristwatch

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High-end collaborations, at times, give us meaningful outcomes that no matter how hard you try, you cannot sidestep. In my recent memory, Audemars Piguet x Swatch Royal Pop – a mindboggling amalgamation of the Royal Oak and the Swatch Pop – is definitely one such example. While everything is a Pop of color and high-end horology, what remains missing is the fact that this collaborative model is not meant to be worn on the wrist; it’s designed as a pocket watch, but one you’d definitely fall for even in 2026.

However, there is a school of thought comprising watch enthusiasts that believes the Royal Pop deserves to rest on the wrist. While the creators themselves don’t believe it, Lambertus, an independent maison, is a firm advocate that it should, and is therefore creating case-straps for the Audemars Piguet x Swatch Royal Pop, now going on pre-order, in whole, for $95 through the Royal Pop Wrist Bands website.

Designer: Lambertus

That amount will reserve a case-strap for you, but there’s a caveat. The creation of these straps has not kicked off the blocks at the time of writing. For the reservation price of $95, therefore, you are banking on Lambertus to carry out all the phases of development i.e., the roadmap from R&D, prototyping, final design, to manufacturing, with no clear deadline for assurance.

The Lambertus creation is called Chapter I. It’s now in the R&D, and should present, on development, as an excellent accessory to the AP × Swatch Royal Pop. The cult timepiece comes in eight different colorways and two design iterations: the Lépine and the Savonnette. The Lépine pocket watch is designed with hour and minute hands and a crown at 12 o’clock. It comes in six color options. Available in two colorways, the Savonnette Royal Pop, features a crown at 3 o’clock and along with the hour and minutes, also has a small second hand at 6 o’clock.

Since Lambertus has a vision to match everything in the Royal Pop portfolio to the T. It will also tailor the straps to match the eight colors of your pocket watch. Even commendable – or you may say requisite – is that the case-straps will be split in two models, like the AP x Swatch collaborative pocket watch itself. The Strap I of the Chapter I will come in six Lépine-style models and the Strap II in two options for the Savonnette-style watches.

Of course, from how it appears as of now, the machined, octagonal watch holder straps from Lambertus will let you snap in the AP x Swatch Royal Pop and flaunt it with passion. But how well the strap material (which remains unclear as I write), of the eight luxury designs in two crown orientations, complements the Bioceramic case of the actual watch is anybody’s guess. And if that’s not as premium as you would like to trust with your AP, we know where the $95 you put in is headed. To ensure the backers have little legal ground to confront, the Royal Pop Wrist Bands website puts out “Our Royal POP compatible straps and wristbands are not affiliated with, endorsed by, or sponsored by Audemars Piguet or Swatch Group,” in fine print.

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