Tag Archives: Events

The Floating House Built From Strangers’ Wishes

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Most houses start with a blueprint. Jisoo Yoo’s Dream House started with a question: how do the dreams and desires we carry shape the landscape of the world we inhabit? The answer, it turns out, is a floating structure made of clothing.

Yoo, a Seoul-born artist who lives and works in France, has been quietly building one of the more compelling bodies of work in contemporary art, one that orbits around the domestic, the ephemeral, and the barely-visible structures that hold our lives together. Dream House, her latest installation presented at (F)ESTIVALES at Les Tanneries, Centre d’art contemporain, is exactly the kind of project that makes you stop and genuinely reconsider what a home actually is.

Designer: Jisoo Yoo

Here’s how it works. Participants are invited to contribute a garment, something personal, something worn, and mark it with handwritten texts and drawings. These pieces of clothing then become the literal building blocks of the structure, each one a personal archive, each one a load-bearing element. The result is a house that floats, literally and conceptually, held aloft not by concrete or steel, but by the private wishes of strangers.

That’s a beautiful idea, and I mean that without a trace of irony. We spend so much time thinking about homes in terms of square footage, property value, and interior aesthetics that we rarely stop to ask what a home is actually made of. Yoo forces the question. Her installation suggests that the answer has less to do with materials and more to do with desire, with the accumulated weight of what people want, need, and imagine for themselves and for each other.

Art that treats the domestic as a lens for examining social and cultural forces is nothing new. But Yoo brings something specific to it. Born in Seoul and trained in France, she operates between two very different cultural frameworks around the idea of home, and her practice reflects that quietly felt tension. Her works often feature spaces that feel familiar but refuse to stay solid. Rooms that waver. Houses that float. Structures that appear and then dissolve. It’s a recurring language across her portfolio, and with Dream House, it feels most fully realized.

Dream House is not trying to comfort you. It’s trying to make you notice something. The garments contributed by participants carry real personal weight: literal handwriting, actual drawings, the residue of real lives. And yet the house they form is temporary. It rises, exists briefly, and then it’s gone. Yoo describes the floating structure as embodying both the creative force of desire and the fleeting nature of existence. The house briefly emerges through people’s dreams, and that, apparently, is enough.

I think that’s the most honest thing any artist has said about housing in a long time. We build our ideas of home from desire, from inherited images of what shelter is supposed to look like, from what we were told to want, and from what we quietly imagine when no one is watching. And all of it is more temporary than we tend to admit. The average person moves multiple times in their life. Neighborhoods change. The house you grew up in gets renovated beyond recognition or torn down entirely. The physical structure of home has always been more fragile than we want it to be.

What Yoo does is make that fragility visible without making it tragic. The floating structure is genuinely striking to look at. The garments create a soft, almost organic texture that reads as intimate rather than architectural, which is exactly the point. You’re not looking at a building. You’re looking at a collective act of imagination, briefly held together by shared hope. Jisoo Yoo is an artist worth paying close attention to. Her work doesn’t announce itself loudly, but it asks questions that stick. Dream House is a reminder that the spaces we live in are not neutral. They are built, always, from something we wanted.

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The Fortune Teller Just Got an AI Upgrade and It Knows Too Much

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Remember the movie Big? Tom Hanks, the carnival Zoltar machine, a kid who just wanted to grow up overnight. That film had a way of making wish-granting feel both magical and slightly unsettling, because the machine didn’t really know you. It just read the room and gave you what you asked for. Now, almost four decades later, Australian art and technology studio ENESS has built something that does the same thing but with significantly more data points, and the result is one of the more thought-provoking design pieces to come out of the 2026 festival circuit.

HP*ATM, which stands for Human Psyche AI Teller Machine, debuted at Illuminate Adelaide 2026 as part of an exhibition called Automation Bias. It looks exactly like what you’d expect from an old ATM, boxy and vintage, with colored buttons and a telephone handset forming part of the interface. But instead of dispensing cash, it dispenses something far more personal: a psychological reading based on your face, your palm, and a series of choices you make in the moment. ENESS founder Nimrod Weis drew direct inspiration from the Zoltar machine in Big, and the connection makes complete sense once you’re standing in front of it.

Designer: ENESS

The premise is deceptively simple. You walk up, you consent (the screen literally asks, which is already more than most apps do), and the machine reads you. It analyzes your face and your palm, processes your button selections, and produces what the studio calls a “lyrical psychological reading.” You get a portrait of yourself, filtered through AI. And maybe that portrait is accurate. Maybe it’s not. But the more interesting question is: does it even matter? The moment you step up and say yes, you’ve already told the machine something about yourself.

That’s exactly the territory ENESS is navigating here, and they do it in a way that feels playful rather than preachy. The installation isn’t trying to scare you about AI. It’s asking you to notice something you’re already doing in your daily life, handing over intimate data to systems that claim to understand you, often without the ceremony of a formal machine with colored buttons formally asking for your consent. The irony is that HP*ATM might be the most transparent AI interaction many people have ever had, because at least it’s honest about what it’s doing.

There’s a layer of humor baked into the whole thing, which is very much part of ENESS’ design language. The vintage ATM aesthetic is a deliberate choice. Weis has said the installation is meant to remind visitors that current AI systems might eventually look as dated as cash machines and landline phones. That’s a point worth sitting with. The technologies we currently regard with either reverence or a low-grade anxiety tend to look a lot less intimidating in hindsight, and ENESS is nudging you toward that perspective while you’re still in the middle of it all.

The act of not participating also becomes part of the artwork, and that’s where the piece gets genuinely interesting. If you walk up and decide not to engage, that choice still belongs to the installation. The machine doesn’t require you to perform for it, but it does invite you to think about why you’d hesitate. Why would you say no to an AI reading your face when you’ve already handed that same data to your phone, your laptop camera, and roughly half the apps you downloaded last year without bothering to read the terms? The answer probably says more about you than the machine ever could. The question isn’t rhetorical. It’s just honest.

HP*ATM runs through August 30, 2026, at FutureJuice in Adelaide, Australia. If you happen to be near it, stepping up to that machine and choosing yes or no is probably more thought-provoking than most things you’ll do on your phone that day. And if you’re not in Adelaide, the work still travels with you, because the questions it raises don’t stay in the gallery. They follow you home.

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A Moss-Covered Payphone Just Became the Voice of 2147

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Picture a payphone. Not a sleek, reimagined version, just an actual, beat-up Telefónica booth, the kind you might walk past on a Barcelona street without a second glance. Except this one is overtaken by moss. And if you pick up the handset, the Earth answers.

That’s the premise of 2147: A Voice from the Future, an interactive installation by Cris Olmedo of Divina Machina, the digital art branch of creative innovation studio QS Ventures. The piece was presented at Sónar+D, set against the medieval backdrop of the Llotja de Mar in Barcelona. That pairing alone says something: one of the oldest commercial buildings in the city, hosting an open-ended conversation with an AI that speaks on behalf of a future planet.

Designer: Cris Olmedo (Divina Machina)

The concept is disarmingly simple. You pick up the handset. The AI, voiced through an ElevenLabs system and powered by a Raspberry Pi 5 tucked inside the original booth, responds in real time as a fictional representation of the Earth. No scripts, no predefined dialogue paths, no multiple-choice menus. You take the conversation wherever you want, whether that’s climate, survival, memory, or grief. The Earth, imagined 121 years from now, has things to say. Whether you do is another matter.

What makes this work is the object itself. Olmedo didn’t design something new and purposefully futuristic. The booth kept its original Telefónica structure, its original signage, its unmistakably analog bones. Only what’s hidden inside changed. The moss slowly consuming the exterior reads like nature quietly reclaiming something that people gave up on. That tension between the obsolete and the alive does a lot of the emotional heavy lifting here, and it’s a smarter choice than any glowing interface could have been.

We tend to think of design as a forward-moving discipline, always chasing newer, faster, more capable. But 2147 asks a different question: what happens when you take something we’ve already discarded and give it a new reason to exist? The payphone is a perfect vessel for that question, precisely because it was once the most public, most democratic form of long-distance communication we had. You didn’t need an account, a plan, or a device you owned outright. Just a coin and a number to dial.

Now that infrastructure is largely gone. Olmedo took what’s left of it and filled it with something else entirely. That’s not just clever art direction. It’s a genuinely pointed observation about how we build things, discard them, and eventually recognize that the shell still has something to offer. The fact that this installation lives inside an actual retired Telefónica booth, rather than a replica, matters more than it might seem.

The year 2147 gives me pause, in the best way. It’s far enough to feel like science fiction, but close enough to feel like a countdown. It’s the kind of temporal framing that shakes you out of the comfortable haze of “we’ll deal with it later.” The Earth speaking through this installation isn’t a distant abstraction. It’s speaking through a receiver you’ve held before, in a language you already understand, about problems you’ve already heard about.

The moss is the detail I can’t stop thinking about. It reads as both beautiful and quietly alarming, the natural world slowly spreading over a structure that once represented human connection. As if the planet didn’t wait for us to sort things out. It also turns a mundane artifact into something you actually want to stop and stare at, which is half the job of any good installation. It communicates instantly and without explanation, which is exactly what good design is supposed to do.

2147: A Voice from the Future earns its concept. It’s not a payphone with AI bolted on. It’s a meditation on time, obsolescence, and the conversations we keep putting off. And the most compelling thing about it is that it asks you to start one, right now, handset in hand, with a planet that’s been waiting for you to pick up.

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The Smart Home Trend of 2026 Is Surprisingly “Emotional Intelligence”

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Trade shows usually reward the loudest promise in the room. Faster. Smarter. Smaller. Cheaper. Shenzhen’s Global Connect Show had plenty of that, but one image lingered longer than any spec sheet. A cyber pet named Ollobot stood beside its founder as if it belonged there, blinking at the crowd while a presentation about emotional intelligence unfolded behind it. In a sea of home tech, this was the product that behaved less like an appliance and more like a companion.

That image became a useful key for reading the rest of the event. Yanko Design attended GCS Shenzhen 2026 expecting to see the usual future-home playbook, AI family hubs, robotic lawn care, spatial scanning, smart personal care. Those products were all there. What changed was the framing. Again and again, founders described their devices in emotional terms, selling comfort, reassurance, confidence, and family harmony with the same urgency that hardware brands once reserved for raw utility. GCS itself was built for that kind of storytelling, a curated Shenzhen showcase designed to connect globally ambitious brands with international media, editors, and partners in a more focused setting than a giant expo floor.

Lymow One Plus – The Saturday morning machine

If you wanted a clean example of utility evolving into lifestyle design, Lymow made the case better than anyone. Co-founder Charles Lee opened with a blunt question about why robotic mowers still struggle once they leave the brochure and meet actual grass, uneven terrain, slopes, and the chaotic reality of a lived-in yard. That framing mattered. Lymow was not selling lawn care as novelty. It was selling competence.

The appeal of the Lymow One Plus sits in what it gives back. A mower that can handle difficult grass types, navigate complex terrain, and work through multiple zones promises something quietly luxurious, a weekend that stays yours. Smart home brands used to pitch automation as technical progress. Lymow pitches it as a better relationship with your own home. The dream here is simple and deeply relatable: coffee in the yard instead of labor in the yard.

Dreame Roboticmower A3 AWD Pro – When the smart yard becomes a robot ecosystem

Dreame’s presence pushed that same idea further into full ecosystem territory. The company is already well known for indoor smart cleaning, but its outdoor ambitions are where things start to get interesting. The Roboticmower A3 AWD Pro was framed as part of a broader whole-home system, one that extends the logic of autonomy from your floors to your garden.

That shift changes the emotional reading of the category. A mower with LiDAR, AI vision, anti-theft features, and always-on awareness sounds impressive on paper, but the deeper promise is environmental calm. The yard becomes one less unmanaged edge of domestic life. Dreame’s concept work, especially the idea of a mower that could eventually interact with obstacles and assist with yard upkeep in more embodied ways, hints at where this goes next. The smart yard is starting to look less like a single appliance category and more like a robotic layer around the home itself.

NAVEE Birdie 3 and Birdie 3X – Leisure tech learns how to disappear

NAVEE’s electric golf push carts may seem slightly outside the article’s home-tech orbit, but they belong here for one reason: they show how emotional design is spreading into every corner of lifestyle hardware. The Birdie 3 and Birdie 3X were presented as compact, capable companions for the golf course, with features built around reducing friction during play.

That sounds minor until you think about what luxury often looks like in 2026. It is not always excess. Sometimes it is the absence of interruption. A cart that follows you, assists on inclines, and removes physical hassle from the round allows the player to stay mentally inside the experience. This is the same emotional logic driving the best home products right now. Great hardware increasingly succeeds when it fades into the background and leaves a cleaner emotional foreground behind.

Cozyla Calendar+ 2 – The family hub that sells mood

Cozyla was one of the clearest examples of a familiar smart home category being repositioned through feeling. The founder’s setup was instantly recognizable: rushed mornings, forgotten lunches, fragmented communication, children moving in different directions, adults trying to keep the day from collapsing before noon. Plenty of family dashboards have tried to solve that problem. Cozyla’s pitch stood out because it did not stop at efficiency.

The line that landed hardest in the room was about mood. A testimonial framed the product as something that changed the emotional atmosphere of the house, not merely the schedule pinned to the wall. That is a subtle but meaningful escalation in smart home language. Once a device claims it can improve the tone of family life, it enters a more intimate contract with its users. The screen becomes part planner, part mediator, part ambient stabilizer for the household. That is a far more ambitious role than calendar sync.

iClever Q950 – Safety as emotional design

Children’s headphones are easy to dismiss as a practical category, but iClever showed why that would be a mistake. The Q950 was presented through the lens of hearing care, safe listening, and child-focused product development. On the surface, that is a straightforward wellness pitch. Underneath it sits something more emotionally resonant: parental reassurance.

That may be one of the least glamorous but most powerful forms of empathy in consumer tech. A product designed around safety communicates care before it communicates performance. Battery life, noise cancellation, and certifications matter, of course, but the emotional payload is trust. Parents buy peace of mind as much as they buy hardware. In that sense, iClever fits neatly into the broader pattern from GCS. The smartest products in the room were often the ones translating technical features into emotional relief.

Realsee – Turning rooms into memory, media, and data

Realsee brought a very different kind of intelligence to the event, one rooted in space itself. Its digital twin platform can scan real environments and turn them into immersive 3D experiences that people can walk through remotely. The demo on site made the technology feel less like documentation and more like spatial publishing. A place becomes something you can revisit, present, share, and preserve.

That has obvious commercial applications in real estate, retail, architecture, and tourism, but it also expands the definition of what a home can be in digital form. A house stops being just shelter and starts becoming an experience layer, a navigable archive of how a place looked, felt, and was arranged at a particular moment in time. There is something emotionally charged about that. Once domestic space can be captured with this level of permanence and fidelity, the home becomes part memory object, part media asset, part data structure. Realsee may be selling scans, but the subtext is preservation.

Ocjoy – Oral care, recast as confidence

Few categories feel more clinically trapped than oral care. Most brands still speak in the language of plaque, whitening, sensitivity, and dentist-approved outcomes. Ocjoy took a different route. Its presentation focused on comfort, gentleness, and the emotional state attached to daily self-care. The most memorable line of the evening was not about performance metrics. It was about those two minutes before leaving the house and how that ritual should feel.

That reframing matters because it moves oral care out of the correction mindset and into the confidence mindset. The category has spent years talking like a clinic. Ocjoy talks like a lifestyle brand with an unusually intimate understanding of vulnerability. The promise is not simply a cleaner mouth. It is a better emotional launch into the day. When a founder positions a hygiene routine as a source of confidence, the product stops acting like equipment and starts behaving like emotional infrastructure.

Ollobot OlloNi – The thesis, standing on stage

Then there was Ollobot, which felt like the entire article condensed into one physical object. The company’s cyber pet companion robot did very little to hide its intentions. This was a machine built for attachment. It was expressive, soft, almost creature-like, and explicitly framed as something that grows with a family over time. In a product landscape obsessed with doing, Ollobot was interested in being there.

That distinction is what made it so compelling. The company described emotional sensing, long-term memory, and a model of companionship shaped by repeated interaction. Even the idea that the robot’s memories could survive hardware failure, preserving continuity across bodies, suggests a design philosophy centered on relationship rather than replacement. That is a startling proposition for home tech. We are used to devices becoming obsolete. Ollobot imagines a household object whose value compounds through emotional history.

It also raises the biggest question hovering over this entire trend. What happens when the devices in our homes become fluent in feeling? A robot that remembers your face, senses your mood, and develops a unique personality over time can sound comforting, even beautiful. It can also sound like the most persuasive surveillance object ever designed. Empathy, after all, is a form of access.

What GCS Shenzhen 2026 actually revealed

Seen individually, these products occupy very different categories. Lawn care, golf accessories, family dashboards, children’s audio, digital twins, oral care, companion robotics. Seen together, they reveal a new competitive terrain. Features still matter. Performance still matters. Design still matters. But the strongest brands at GCS were reaching for something harder to quantify and easier to feel.

They were selling a home life with less friction and a better emotional texture. Calm instead of chaos. Confidence instead of routine dread. Presence instead of passive automation. Relief instead of one more task. That does not mean the smart home has become soft. If anything, it has become more sophisticated in the way it frames value. The next generation of domestic technology wants to be welcomed, trusted, and emotionally legible.

That is why Ollobot felt so important. It made visible what other brands were still expressing in subtler ways. The home is no longer simply getting smarter. It is getting more attuned to the people inside it, their moods, their rituals, their anxieties, their desire for time back, and their hunger for a domestic life that feels smoother on the inside.

Whether that future sounds comforting or invasive depends on your tolerance for intimacy from machines. Either way, Shenzhen made one thing clear. The smartest home products of 2026 are no longer competing only on what they do. They are competing on how they make you feel.

The post The Smart Home Trend of 2026 Is Surprisingly “Emotional Intelligence” first appeared on Yanko Design.

The Hague Just Turned Air Into Its Most Exciting Museum

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The Hague is not the first city you’d expect to reinvent what a museum looks like. But from May 22 to June 21, 2026, it might just be the most interesting one. BlowUp Jubilee, the fifth anniversary edition of BlowUp Art Den Haag, has filled the city’s historic Museum Quarter with 24 inflatable artworks from some of Europe’s most creative designers, and the result is one of the more quietly radical things happening in public art right now.

I want to start with the obvious, because the obvious is actually the point: these things are enormous. Steve Messam’s Crested rises above The Hague’s tree line as a vivid red spiked headdress. Studio Job sends an oversized cooking pot drifting across the Hofvijver. Marcel Wanders contributes a cluster of giant reflective Eggs that sit near centuries-old civic squares and somehow look completely at home. The sheer scale is part of the experience, but so is the material. Seeing something so large made of something so inherently light creates a kind of visual dissonance that’s hard to explain until you’re standing in front of it.

Designers: Various

Inflatable art has a reputation problem. For most people, that word conjures balloon animals or the kind of thrashing tube men outside car dealerships. What BlowUp Jubilee does is force a total rethinking of that association. When a floating cooking pot makes you stop mid-walk and laugh before you even think to analyze it, something worthwhile has happened. The best public art doesn’t ask you to be prepared. It just catches you off guard.

The whole exhibition started in 2022 as part of BinnenhofBuiten, an initiative by The Hague & Partners, commissioned by the municipality while the Binnenhof, the Netherlands’ historic political complex, undergoes major renovation. The closure could have left the area feeling hollow. Instead, curator Mary Hessing turned the absence into an opportunity, building a cultural walking route through the Museum Quarter that gave people a reason to keep moving through the neighborhood. What began with six artists has grown into a full five-year survey, with earlier works returning alongside new commissions.

The artist list for this jubilee edition is genuinely varied. Raw Color brings graphic precision with Compressed Cylinders, Studio Ossidiana’s Softshell settles into its surroundings like something halfway between a creature and a building, and Studio Mieke Meijer’s Airboretum reinvents the idea of a tree entirely. Larissa Ambachtsheer’s Keep Me in Balance and Adrianus Kundert’s My First Inflatable lean into a lighter register. One of the most compelling additions is 21-year-old Eugenie Boon, whose piece Koncha pa Dilanti draws from her Curaçao heritage, filling an inflatable with scenes from the island’s food, parties, and community life. It’s a reminder that this format, when used thoughtfully, carries real cultural weight.

The question of access runs through everything BlowUp Jubilee does, and I think it’s the most underrated part. A museum asks you to go to it. This exhibition is simply there, spread across parks, along Lange Voorhout’s tree-lined stretches, near canals and building facades, and even inside a train station. You don’t buy a ticket to see Studio Job’s cooking pot. You just happen to look up on your way somewhere else. For anyone who finds gallery spaces quietly intimidating, that changes the entire relationship between a person and public art.

It also says something useful about how cities can respond to disruption. The Binnenhof renovation is an inconvenience, spatially and symbolically. BlowUp Art was the response that asked: what if we made the disruption into something worth seeing? Five years in, that bet has clearly paid off. By June 21, all 24 installations will be packed up and deflated, the whole spectacle compressed back into storage. Inflatable art lives on borrowed time by design. But the case BlowUp Jubilee makes for public art that is joyful, free, and genuinely oversized has a staying power that the materials don’t. Sometimes a museum doesn’t need walls. Sometimes it just needs air.

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KEENON Humanoid Pours Drinks at GCS 2026, 100,000 Others Run Hotels

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The robotics industry has a curious reputation problem. The machines getting the most attention, walking bipeds that do backflips, aren’t the ones driving real business value. By 2030, professional service robots are projected to account for $90 billion of a $161 billion global market, growing at 24.6% annually. That makes them the fastest-growing segment in robotics, which is a fact that barely makes the news.

KEENON Robotics has known this for a while. Founded in 2010, the Shanghai-based company didn’t wait for the hype cycle; it built the service delivery robot category from the ground up. Today, with over 100,000 units shipped across more than 60 countries, KEENON holds the number-one global market share in commercial service robots for the third consecutive year, according to IDC 2025.

Designer: KEENON Robotics

At Global Connect Show 2026, the star of KEENON’s booth was the XMAN-R1, a wheeled humanoid robot that makes popcorn, pours drinks, and hands out snacks. It’s the kind of demo that stops foot traffic, and it’s meant to. Underneath the theatrics, though, is a robot packing 275 TOPS of AI processing power, dual 7-DoF arms, and precision dexterous hands built for human-level manipulation.

What the demo doesn’t show is how much work went into teaching a robot to grab a cup. KEENON estimates that a single action of that kind requires at least 1,000 data points. A full coffee-making sequence demands over 20,000. That gap between what looks effortless and what it actually costs computationally is one of the clearest explanations of where physical AI sits right now.

KEENON is remarkably candid about this. Their own assessment puts the current “mind age” of humanoid robots at roughly three years old, which, if you think about it, explains a lot about why they move so deliberately. True general-purpose humanoid deployment is still at least five years out by their estimation. The “Model T” framing they use is apt; these are early machines, not finished ones.

That candor is also what makes KEENON’s established product line feel more credible. While the XMAN-R1 gets the headlines, KEENON’s delivery and cleaning robots have been running inside hotels, restaurants, hospitals, airports, and casinos across more than 600 cities globally. Their DINERBOT T10 can carry up to 40 kg, fits through a 59 cm passage, and operates for up to eight hours on a single charge.

A good example of what that looks like in practice is Shangri-La Hong Kong, where KEENON runs six different robot types across eight units within a single hotel. Delivery bots handle contactless room service; cleaning robots run scheduled cycles through lobbies and corridors; logistics carriers shuttle linens and supplies behind the scenes. None of this required the hotel to restructure its operations around the robots.

Part of why that integration works comes down to a deliberate design choice. KEENON chose not to make its service robots look human. The compact, rounded bodies, soft voices, and animated screen faces are intentional, because how a robot looks determines whether people trust it. Western audiences carry Terminator-shaped anxieties; Asian audiences grew up with characters like Doraemon. The design has to work for both.

The XMAN-R1 at the Global Connect Show is KEENON’s way of signaling where the product line is heading. Alongside it, the company also offers the bipedal XMAN-F1, a full-body humanoid with 43 degrees of freedom that takes the same task-driven approach. Both run on KEENON’s KOM 2.0 platform and are designed to work alongside existing robots like the DINERBOT T10 rather than replace them.

What KEENON actually has over the wave of humanoid startups entering the market is something harder to replicate than a robot body. With 100,000 units running across 70+ countries, the company has been accumulating proprietary operational data at a scale most competitors haven’t even started to approach. Every delivery, every corridor, every cup poured feeds back into that picture, one data point at a time.

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Every Robot You’ll Ever Own Has 3 Separate Brains: Nvidia VP explains how AI Thinks at BEYOND Expo 2026

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A robot on a factory floor may look self-contained, but Deepu Talla says its intelligence is distributed across a hidden chain of machines. At BEYOND Expo 2026, the NVIDIA executive broke robotics down into a deceptively simple formula: three computers. One handles the heavy lifting of training the robot brain, another tests that brain in simulation, and a third lives inside the physical robot, making decisions in real time.

It is a framework that helps explain why robotics has moved so slowly, and why the field suddenly feels ready to accelerate. In language that cut through the usual keynote fog, Talla argued that AI in the physical world plays by harsher rules than chatbots or image tools. A text model can be 95 percent right and still be useful. A robot moving through a warehouse, a street, or a hospital has to perform with a completely different standard. In human terms, it is a little like splitting intelligence into learning, dreaming, and reacting, then assigning each function to a different machine.

That first machine is where the robot’s intelligence is forged. Talla described it as the computer used to train the robot brain, the heavy compute layer where models absorb data, patterns, and behaviors at massive scale. This is where a machine learns how the physical world works, long before it ever enters one. If that sounds abstract, the second computer makes it easier to picture. This is the simulation layer, the place where a robot rehearses reality in a safer, faster, cheaper environment, running through scenarios again and again until its behavior becomes reliable enough to trust.

The third computer is the one that actually lives inside the robot. It is the real-time brain, the system that has to perceive the world, make sense of it, and respond instantly. This is where Talla’s argument becomes especially sharp. In digital AI, a model can get close and still be useful because a human can smooth over the rough edges. In robotics, the rough edges are where accidents happen. A machine moving through a factory, a roadway, or a hospital has to work with a far tighter tolerance for error, because the physical world offers fewer second chances.

That is also why NVIDIA sees robotics as far bigger than a niche category. Talla pointed out that almost 80 percent of the world’s GDP sits in physical industries like manufacturing, logistics, retail, and transportation. These are sectors where intelligence has to leave the screen and interact with objects, spaces, and people. NVIDIA’s role, in his telling, is to provide the underlying architecture for that shift. The company may not build robots itself, but it wants to supply the stack beneath them, from training infrastructure and simulation tools to the compute that powers action on the edge.

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XREAL Just Partnered With Google to Build the Smart Glasses Apple Can’t

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BEYOND Expo 2026 had no shortage of AI talk, but one of its most compelling hardware stories came in the shape of a pair of glasses. On stage in Macau, XREAL CEO Xu Chi laid out a vision for AI glasses as the next major personal computing device and revealed that XREAL is working with Google on a new product built around Android XR and Gemini, with a global launch expected later this year.

That announcement landed at a moment when BEYOND Expo was already showing how crowded and competitive the smart glasses field has become. XREAL shared the wider conversation with companies like iFlyTek, METLEN, and Even Realities, all pointing to a fast-moving shift in wearable tech. The thread running through all of it is industrial design, platform strategy, and the race to make AI hardware people might actually want to wear every day.

Designer: XREAL

Apple Vision Pro generated enormous attention when it launched, but the market’s response to its weight, price, and the physical effort of wearing it for extended periods made clear that the premium immersive headset route has a real ceiling. Xu Chi acknowledged this directly at BEYOND Expo, framing it as a hard lesson the entire industry absorbed. The opportunity XREAL and Google are now chasing is the one Vision Pro left open: a wearable that feels closer to a regular pair of glasses than a piece of lab equipment.

Called Project Aura, the product is being developed on Google’s Android XR platform with Gemini AI integrated at the core. It is a pair of lightweight extended-reality glasses featuring a 70-degree field of view and an optical see-through display. Processing is split between an X1S chip in the glasses frame and a Snapdragon XR2+ Gen 2 processor in a separate external compute puck, keeping weight off the face while retaining the muscle needed for 6DoF tracking, hand tracking, eye tracking, and continuous Gemini AI assistance.

Splitting compute between the frame and a pocketable external puck is the kind of constraint-led industrial design thinking that tends to produce genuinely useful hardware. Every previous attempt to pack full AR processing into a glasses frame has produced something that looks ungainly, runs hot, or drains its battery in under two hours. Project Aura sidesteps that compromise, and the fact that it took a Chinese hardware company partnering with Google to land on this solution says something interesting about where design ambition in this category currently lives.

Smart glasses have struggled for years to answer a simple question: what are they actually for? At BEYOND Expo, Xu Chi’s answer was the clearest the category has produced in some time. The true killer app, in his view, is a continuous all-day AI assistant that sees the world from the wearer’s perspective; navigation and translation are table stakes, not destinations. What he is describing is closer to ambient intelligence that understands context and responds usefully across the full span of a person’s day, and Gemini’s multimodal capabilities give that vision real technical grounding.

Global smart glasses shipments hit nearly 14.8 million units in 2025, a 44.2% year-on-year increase. Chinese hardware vendors held 23.3% of global shipments overall and an 87.4% share of the AR and extended reality segment specifically. These are the companies that have been quietly iterating on form factor and optics while the Western tech press kept its attention on headsets. BEYOND Expo’s smart glasses floor this year was, in a sense, the moment that iteration became difficult to overlook.

Even Realities, which picked up a BEYOND Best of Innovation award at the expo, represents the sharpest design-philosophy contrast to XREAL’s approach. Their glasses carry no camera and no microphone, a deliberate choice built around privacy concerns that have slowed wearable AI adoption in several markets. METLEN and iFlyTek each showed their own AI smart glasses interpretations on the same floor. Four distinct companies arriving at one event with serious smart glasses products, each solving the form factor problem from a different angle, signals something well beyond a routine product cycle.

Xu Chi used the phrase “iPhone moment” during his BEYOND Expo address, and it is a comparison that usually ages badly. But the conditions that made the iPhone’s arrival feel defining were a convergence of hardware maturity, software readiness, and a platform worth building for. Android XR with Gemini is a credible attempt at the third element. Project Aura handles the first two more convincingly than anything the category has previously produced. Whether 2026 turns out to be the year that proved Xu Chi right is a question the market will answer, but BEYOND Expo made clear that the companies trying to get there are no longer on the fringes of the industry.

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From Foldable Pilates to Shoe Robots: InnoX GCS 2026’s Best Startups

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The consumer tech market has a crowding problem, mostly driven by products that try to do too much for too many people. The most interesting hardware lately has been doing the opposite, building around one specific inconvenience that hasn’t been properly addressed yet. Shenzhen has always had a knack for this, and InnoX Academy has been quietly developing the next generation of builders who make those products happen.

Founded in 2021 by Professor Li Zexiang of Hong Kong University of Science and Technology, Shenzhen InnoX Academy is a structured ecosystem that develops engineers and entrepreneurs into product builders. At the Global Connect Show 2026, it gave the world a look at its latest batch of startups, from home fitness and pet care to ambient design objects, each taking a more considered approach to a specific problem.

Pilates reformers have always been the kind of equipment you’d only find in a dedicated studio, too large and bulky for most apartments to accommodate. Pavo Fitness, started by a team of architects, industrial designers, and professional Pilates instructors, saw that as a solvable problem. The Pavo Reformer is their answer: a compact, foldable machine designed to bring studio-quality resistance training into a regular home.

Designer: PAVO

Once a session is done, it packs away without being disassembled or moved to a corner, so it doesn’t have to become a permanent fixture in your living space. The onboard smart system keeps tabs on workouts, which matters more in a home setting where there’s no instructor watching your form. It adds a layer of accountability that a conventional reformer simply can’t offer.

Multi-pet households have a feeding dynamic that most smart feeders don’t actually address. A timed dispenser works for one pet, but when multiple cats have different dietary needs, scheduling meals is only part of the problem; the harder challenge is making sure each cat only gets its own food. That’s what PETPA was built to solve, by a team that previously worked on hardware at DJI, Narwal, and RoboMaster.

Designer: PETPA

The PETPA Multi-pet Feeder uses individual pet recognition to identify each cat and control access to their food, particularly useful in homes where one cat needs to lose weight or follow a prescription diet while the others don’t. It launched at CES 2025 and earned a CES Innovation Award in the Pet Tech and Animal Welfare category, recognizing a product solving a problem most smart feeders still overlook.

Sneaker care has evolved into its own dedicated ritual for collectors and sports enthusiasts who’d rather not take chances with a stiff brush and soapy water. The typical cleaning routine still carries the risk of fading colors, weakening materials, or warping the structure of more delicate footwear. Brolan’s ClearX is a compact home machine that moves through cleaning, low-temperature drying, and sterilization all in one automated cycle.

Designer: Brolan

Founded in 2025 by a team drawing from Nanyang Technological University, Harbin Institute of Technology, and Tsinghua University, Brolan designed ClearX specifically to clean without the harshness of manual scrubbing. The idea is to get footwear thoroughly clean without putting materials at risk, which matters most for anyone who owns suede, knit, or premium leather shoes that even a careful hand-wash can easily ruin.

Not everything in the InnoX lineup is about automation or performance tracking. REAZENABLE takes a different direction with the REAZE Sandstone Series, a collection that sits somewhere between smart lighting and decorative object, aimed at people who’d rather their home feel calmer than more connected. The brand’s philosophy, technology empowering nature and light reshaping emotion, gives a clear sense of where its priorities are.

Designer: REANZENABLE

The collection includes the Halo light and three aroma vessels, all made from sand-based materials and shaped with ribbed surfaces that recall an uneven lunar landscape. The technical structure is deliberately concealed within those soft architectural forms, so nothing on the shelf reads as a gadget. Atmospheric light, mineral textures, and scent work together into something that feels more like a ritual object than a piece of hardware.

Several other InnoX startups addressed more personal routines. Rootique brought the DUO, a scalp atomizing applicator using patented DuoTrace and IntelliMist technology for precise serum delivery in about 15 seconds, already validated through an Indiegogo campaign that found backers across 52 countries. OCJOY presented the OCJOY Air, a home micro-air oral cleaning system that brings a water-air-powder cleaning method from dental offices to your own countertop.

Direct Drive Tech D1

The lineup stretched into less expected territory, too. Blucalm’s StrikeDeck delivers AI-assisted game audio through a desktop controller, while ORULINK’s Watcher-Robot is an open-source desktop AI companion built for everyday interaction. CHEERLUCK brought a sausage vending robot for campuses and public spaces, and both Y-H2O and ANAVI presented electric watercraft, a hydrofoiling vessel, and a smart personal watercraft, each designed to cut the noise and emissions of traditional marine engines.

EcoFlow

Narwal

What gives the InnoX lineup credibility beyond the show floor is the academy’s broader history. Brands like Narwal, SwitchBot, DJI, EcoFlow, AgileX, and LiberLive are all part of InnoX’s wider ecosystem, a track record that makes it worth paying attention when the academy’s latest batch of incubated products steps out in front of an international audience for the first time.

LiberLive

DJI

The post From Foldable Pilates to Shoe Robots: InnoX GCS 2026’s Best Startups first appeared on Yanko Design.

The 6.5-Meter See-Saw Sculpture Sydney Can’t Stop Talking About

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Public art often asks you to stop and stare. There, Now, Here asks you to grab a see-saw and get involved. At 6.5 meters tall, the kinetic installation from Brooklyn-based duo Wade and Leta is currently spinning, twirling, and tottering through Vivid Sydney at Circular Quay. It moves thanks to a combination of wind, motors, and willing passersby who hop on the see-saw built into its structure. The result is a sculpture that is never quite the same twice, always catching new angles of light, always mid-motion, always alive in the truest sense of the word.

That’s the kind of public art I love to see. Not something roped off and reverent, demanding a certain posture of appreciation, but something that genuinely asks the city to participate. When you can physically change the state of a piece of art just by sitting down and pushing off the ground, the line between audience and author starts to blur in the best possible way. Most public installations settle for being looked at. This one wants to be felt. That distinction matters more than it might seem.

Designers: Wade and Leta

The colors don’t just look good. They mean something. Wade and Leta pulled their palette from Dorothea Mackellar’s 1908 poem “My Country,” one of the most celebrated pieces of Australian writing and a poem many Australians know by heart. Mackellar’s famous “sunburnt country” inspired the installation’s muted, washed-out tones and black and white stripes, and the whole effect reads like a love letter to the Australian landscape written in a purely visual language. Two New York designers traveled to the other side of the world, studied a century-old poem, and turned it into spinning kinetic sculpture. That’s not lazy work. That’s genuine creative homework, and it shows.

Then there’s the sound component, designed by Josh Burgess, which takes the concept somewhere even more interesting. It captures the sonic texture of Circular Quay itself: the rush of water on rocks, the ding of the light rail, the chirp of the pedestrian crossing signal. Visitors can manipulate these sounds through accessible controls built into the installation, making the experience as interactive as you want it to be. But the lyrebird is the detail that really lands for me. Wade and Leta describe it as a nod to the “bush doof,” with the lyrebird’s sounds serving as the structural backbone of the whole audio experience. The lyrebird, for anyone unfamiliar, is an Australian bird so extraordinary at mimicry that it can replicate chainsaw sounds, camera shutters, and other birds with unnerving accuracy. Using one to anchor a soundscape about place and memory is not just a quirky design choice. It’s a quietly sharp observation about how culture and environment echo through each other in ways we haven’t always quite put into words.

Wade and Leta, the husband-and-wife creative studio known for large-scale work that balances rigorous design thinking with an almost giddy sense of play, are making their first public debut in Australia with this piece. As debuts go, it’s a confident one. Circular Quay is not a quiet corner of the city. It’s high-traffic, high-stakes public space, the kind of place where installations either disappear into the surrounding noise or assert themselves with real authority. There, Now, Here asserts itself. It doesn’t compete with the harbor for attention. It earns it.

Vivid Sydney has a strong track record of pulling in impressive international talent, but this feels like more than a festival commission. It feels like a genuine conversation between two outsiders and a place they took the time to understand, between movement and stillness, between a Brooklyn studio and the Australian bush. The title says it all in just three words. You don’t have to be from somewhere to make work that genuinely honors it. You just have to pay attention. The installation runs as part of Vivid Sydney’s 2026 program at Circular Quay. If you’re anywhere near it, go ride the see-saw.

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