Kiddie Express is the third branch of a children’s salon brand, located within a busy shopping mall in Dubai. Designed to accommodate both children and teenagers, the project builds upon operational and technical lessons learned from the client’s earlier outlets. The design prioritizes functionality, durability, and efficient space planning within a high-footfall commercial environment.

The spatial layout is organized to ensure clear zoning and smooth circulation. Dedicated areas support simultaneous use by young children, teenagers, parents, and staff, allowing the salon to operate efficiently during peak hours. Circulation routes were carefully considered to maintain comfort and accessibility while optimizing workflow.

The design language balances playful elements with a more mature aesthetic. Yellow and green accents introduce vibrancy, while terrazzo-patterned surfaces add visual texture without overwhelming the space. This approach broadens the salon’s appeal across age groups, creating an environment suitable for both younger children and teenagers. The overall visual identity aligns with the brand while representing a progression from previous branches.

all images courtesy of Euphoria Interiors unless stated otherwise

playful accents define the children’s hair salon interiors

Euphoria Interiors, led by designer Amanda D’Souza, selects materials guided by durability and maintenance requirements. Porcelain tiles were specified for flooring due to their resistance to wear and ease of cleaning. Finishes and surface treatments were chosen for safety, longevity, and suitability for continuous commercial use. Each material was evaluated for performance within the constraints of a mall setting, where heavy daily traffic is expected.

The execution phase required coordination with contractors and mall management, particularly in relation to commercial approval procedures. Despite time constraints associated with these processes, structured planning and contractor selection supported consistent quality and project delivery. Kiddie Express demonstrates how commercial interior design can integrate operational efficiency, age-inclusive aesthetics, and material durability within a high-traffic retail environment.

the salon is designed to serve both children and teenagers within one cohesive environment

dedicated stations accommodate children, teens, parents, and staff simultaneously | image by Inn Decor LLC

yellow and green highlights introduce energy across the salon | image by Inn Decor LLC

terrazzo-patterned surfaces add texture without dominating the space | image by Inn Decor LLC

material choices respond to the operational demands of a mall environment | image by Inn Decor LLC

the interior accommodates multiple age groups without visual conflict

finishes are selected for safety, longevity, and ease of maintenance

service zones are arranged to optimize workflow efficiency

Kiddie Express occupies a high-traffic retail unit within a Dubai shopping mall | image by Inn Decor LLC

project info:

name: Kiddie Express Kids Salon

designer: Euphoria Interiors | @euphoriainteriors.ae
lead designer: Amanda D’Souza
location: Dubai, UAE

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Fold Watch by Nazar Şigaher restructures analog timekeeping through the layering of its dial. In this watch design, the dial is read through indicators derived from the dial’s own layers rather than added hands. Each layer defines the boundary of the previous one and becomes a reading reference for the next. The indicator system is integrated into the dial’s geometric organization, translating a minimal circular language into a contemporary approach to time reading. Rather than applying indices and markers onto a flat surface, the design builds them into the dial’s layered architecture. In this way, the act of reading time emerges directly from the construction of the dial. The stepped levels create measurable depth, and their edges cast controlled shadows that function as precise visual guides. Instead of separating structure and indication, the design makes them one and the same.

all images courtesy of Nazar Şigaher

spacing between tiers decreases in order to tell time

As the layers taper toward the tip of the indicator, the designer makes the spacing between levels gradually decrease. This reduction softens the shadow lines and creates a smooth visual transition that improves legibility. The eye naturally follows the shifting boundaries inward and outward, reading time through changes in depth rather than applied graphics. Geometry operates as the indication method itself, not as surface styling. Concentric organization and calibrated level shifts guide the gaze from the center outward in a deliberate and intuitive sequence. By embedding the indicators within the dial’s construction, the design transforms the watch face from a decorative composition into a functional structural diagram. The dial and the reading system share a single geometric language, aligning form, hierarchy, and performance.

each concentric tier forms a physical boundary that defines the edge of the previous layer

brushed metal look updates contemporary fold watch 

Material and surface treatments clarify this spatial logic. Subtle variations in height reveal themselves through reflection, light falloff, and shadow, while the directional brushed metal finish accentuates the separations between layers. The design preserves the essential typology of the analog watch, yet reinterprets the logic of hands and indices through layered boundaries and controlled depth, presenting a contemporary expression grounded in precision and clarity.

geometry operates as the indication method itself, not as surface styling

the design transforms the watch face from a decorative composition into a functional structural diagram

project info:

name: Fold Watch
designer: Nazar Şigaher

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: claire brodka | designboom

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Mr. Flower Fantastic reimagines New York City as an exhibition with landscapes of immersive orchid and floral installations. The show forms part of the 23rd edition of The Orchid Show, which returns to the New York Botanical Garden from February 7th through April 26th, 2026. Hosted inside the historic Enid A. Haupt Conservatory, this year’s exhibition reimagines New York City as an orchid horizon, where streets, skylines, and storefronts bloom in petals instead of concrete.

At the center of the transformation is designer Mr. Flower Fantastic, a native New Yorker known for merging floristry with popular art and street culture. His past collaborations with Louis Vuitton, Adidas, and Netflix reveal a practice that moves easily between luxury, fashion, and media. Now, he turns his focus to orchids, reshaping one of the world’s most exotic flowers into an urban design statement. Inside the exhibition in New York, he brings this botanical vision to life, making the garden vividly come to life through layers of orchids and floral bouquets.

all images courtesy of New York Botanical Garden

Mr. flower fantastic curates immersive floral landscapes

Inside the exhibition, visitors encounter a floral tribute to the spirit and structure of the streets around New York through installations of cascading orchids. Architectural references emerge with floral installations sprawling around them: a car wash with the yellow cab dressed in flowers, a pizza restaurant with the logo decorated in bouquets, and washing machines of orchids that viewers can look through like an observatory. The exhibition stages a dialogue between nature and metropolis, and the result is monumental and intimate, a dreamlike version of New York, just rendered in petals and orchids. The exhibition also explores scale, as large-format floral gestures wrap around the downsized buildings inside the exhibition. This shift between macro and micro perspectives reflects the dual nature of New York itself: vast and towering, yet filled with small, personal moments. 

By staging orchids within this urban narrative, designer Mr. Flower Fantastic reframes floristry as immersive environment design. Beginning March 21, select evenings introduce Orchid Nights, which are botanical block parties. Music, dancing, cash bars, and food activate the space after hours, turning the conservatory into a living cultural venue. Light, sound, and movement add new dimensions to the installation, allowing the experience to become less a traditional flower show and more a social landscape in bloom. The exhibition runs inside the New York Botanical Garden until April 26th, 2026, and here, the conservatory becomes a floral metropolis in the hands of Mr. Flower Fantastic, presenting a tangible reminder that even in the coldest months, the city can still bloom.

Mr. Flower Fantastic reimagines New York City as an exhibition with orchid and floral installations

view of the washing machines containing flowers and orchids

a pizza restaurant decorated with flowers

city bus stop with flowers blooming around it

subway station of Orchid Avenue

view of the Newsstand installation

detailed view of the orchids

the New York Botanical Garden hosts the show

the show runs until April 26th, 2026

project info:

name: The Orchid Show: Mr. Flower Fantastic’s Concrete Jungle

designer: Mr. Flower Fantastic | @mrflowerfantastic

garden: New York Botanical Garden | @nybg

location: 2900 Southern Blvd Bronx, New York

dates: February 7th to April 26th, 2026

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The upper arm of the monumental cross has been installed atop the tower of Jesus Christ at Antoni Gaudí’s Sagrada Família in Barcelona, marking the completion of the tower’s exterior at 176 meters above ground (find designboom’s previous coverage here). The milestone positions the cross as the highest point of the basilica and finalizes the grouping of its six central towers. Interior works within the structure are scheduled to continue through 2027 and 2028.

Conceived as the vertical and symbolic center of the Temple, the tower of Jesus Christ stands at 172.5 meters and is surrounded by the four towers of the Evangelists, each linked to it by bridges, and the tower of the Virgin Mary, connected internally. With its twelve-sided geometry and twelve levels of prefabricated panels, construction of the shaft began in October 2018 at a height of 85 meters. The final level was completed back in December 2024, reaching 142.5 meters before the pinnacle elements began to rise.

all images © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Sean Mitchell Henry, unless stated otherwise

tensioned stone and off-site assembly

The tower employs a tensioned-stone building system that has shaped much of the recent construction strategy at the Sagrada Família, combining stone and steel that allows large panels to be manufactured off-site and installed level by level. At the base of the pinnacle, a 29-meter-high element clad in white enameled ceramic and brick carries the inscription ‘Tu solus Sanctus, tu solus Dominus, tu solus Altissimus’ (You alone are the Holy One, you alone the Lord, you alone the Most High), framed by sculpted palms. Construction of this section began in May 2025.

The cross itself measures 17 meters in height and 13.5 meters in width, formed by four corrugated arms clad in glass and white enameled ceramic. Built in Germany in 2025, it was transported to Barcelona in modules and pre-assembled on a work platform 54 meters above the central nave. Installation took place in seven stages, including the lower arm, the core, four lateral arms, and finally the upper arm, positioned on February 20th, 2026.

The placement of the lower arm in October 2025 brought the tower to 162.91 meters. With the final piece now secured, the cross completes Gaudí’s envisioned silhouette. As described in the Quart Àlbum del Temple Expiatori de la Sagrada Família (1927–1929): ‘Resting on the four extremely tall columns of the crossing, the great lantern will rise up, topped at 176 metres above the ground with a magnificent cross with four corrugated arms from which to look out over the surroundings. In the middle, the Lamb of God.’  Inside the upper arm, a sculpture of the Agnus Dei by Andrea Mastrovito will be installed, while the Lamb envisioned by Gaudí will occupy the center of the cross, visible from within.

The upper arm of the monumental cross has been installed atop the tower of Jesus Christ at Antoni Gaudí’s Sagrada Família in Barcelona | image © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Pep Daudé

a centenary milestone

The culmination of the tower coincides with the centenary of Antoni Gaudí’s death, linking the latest phase of construction to the architect’s long-studied drawings and models. ‘Completion of the cross on the tower of Jesus Christ represents much more than the culmination of a phase of construction: it is the result of years of work and studying the legacy Antoni Gaudí left us. It is also a firm commitment to the future, to continue working to complete the Sagrada Família.’ head architect Jordi Faulí notes.

With the exterior of the tower of Jesus Christ now complete, attention shifts inward. The basilica’s vertical center has reached its intended height, but the project remains in motion, continuing the layered construction process that has defined the Sagrada Família for more than a century.

the completion of the tower’s exterior at 176 meters | image © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Pep Daudé

the milestone positions the cross as the highest point of the basilica | image © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Pep Daudé

conceived as the vertical and symbolic center of the Temple | image © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Pep Daudé

construction of the shaft began in October 2018 at a height of 85 meters | image © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Pep Daudé

the tower employs a tensioned-stone building system | image © Fundació Junta Constructora del Temple Expiatori de la Sagrada Família by Pep Daudé

the cross itself measures 17 meters in height and 13.5 meters in width

project info:

name: tower of Jesus Christ and cross, Sagrada Família | @basilicasagradafamilia

architect: Antoni Gaudí (original design)

head architect: Jordi Faulí

location: Barcelona, Spain

client: Fundació Junta Constructora del Temple Expiatori de la Sagrada Família

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Kengo Kuma & Associates wins a competition to design a new public library in Rzeszów, Poland, with a proposal titled The Spiral of Words, or Wir Słowa. The project is designed in collaboration with Polish studio Schick Architekti, Buro Happold and MASU Planning in a scheme that at once a building and a landscape to be explored by the public.

Set within a lush park, the timber structure takes the form of a rising spiral that organizes the entire program around a central, top-lit lobby. From the air, its faceted roof planes appear as a series of shifting terraces layered with vegetation and photovoltaic panels. At ground level, the volume sits low among trees for a humble presence while still drawing visitors inward through its sheltered public forecourt.

visualizations © KIN Creatives, © VIBSU via MASU Planning

kengo kuma arrives in Rzeszów, Poland

The jury describes Kengo Kuma & Associates’ proposal as attractive and formally innovative, highlighting its city-forming quality and the strength of its interiors. At its core lies a library space that coils upward around a luminous atrium to connect all floors through a continuous path. The architects design the spiraling promenade to operate as both circulation and spatial narrative. Readers are gradually guided upward through collections, study areas and gathering spaces.

Inside, timber surfaces define the atmosphere. Floors, ceilings and structural elements read as a cohesive material field, punctuated by perforated panels that temper acoustics and diffuse light. The atrium roof opens to the sky through a faceted skylight which casts a soft glow down into the lobby. Reading terraces step back from the perimeter glazing, creating places to sit along the edges while maintaining long views across the interior.

Kengo Kuma wins the competition to design a public library in Rzeszów, Poland

luminous timber interiors

The interior organization supports varied uses without fragmenting the whole. Children’s areas are integrated into the stepped landscape of shelves and seating, where low platforms double as informal stages and reading zones. Quiet study rooms sit behind fine mesh partitions, allowing visual continuity while providing enclosure. Event spaces, including a large hall finished in warm timber, are placed within the spiral so that public programs feel connected to the daily rhythms of the library.

In the performance space, suspended wooden elements form a dense ceiling grid that modulates sound and light. The geometry of the spiral is legible here as well, expressed through subtle shifts in wall planes and balcony edges. Throughout, the material palette remains restrained, allowing structure and daylight to shape the character of each room.

the building is organized as a rising spiral that connects all floors around a central atrium

Landscape as Extension of the Library

MASU Planning’s landscape strategy extends the building into its surroundings. At street level, a network of green islands frames the site, functioning as water retention areas and habitats while guiding pedestrians toward the entrances. Planting is designed to enhance biodiversity, introducing a layered ecology directly into the urban fabric of Rzeszów.

Rooftop gardens continue this approach upward. Each level offers an outdoor terrace that changes in character as visitors ascend, from sheltered reading gardens to open platforms with views across the city. Gauthier Durey, landscape architect and associate partner at MASU Planning, describes the landscape as an outdoor extension of the indoor facilities, offering space for play, culture, contemplation and relaxation in the open air. Together, the ground and roof landscapes form an inclusive public realm where nature and culture meet within a sequence of connected spaces.

a top-lit lobby brings daylight deep into the heart of the library

timber surfaces shape the interiors and create a warm, cohesive atmosphere

a large event hall features a suspended wooden ceiling grid for acoustic performance

stepped reading terraces guide visitors upward through collections and study spaces

ground level green islands support biodiversity and manage water retention

project info:

name: Wir Słowa

architect: Kengo Kuma & Associates | @kkaa_official

location: Rzeszów, Poland

local architect: Schick Architekti | @tkholding.pl

landscape architect: MASU Planning | @masuplanning

MEP, acoustic, facade: Buro Happold | @buro_happold

structure: Structured Environment, Häring Timber Technology AG

visualizations: © KIN Creatives | @_kincreatives_, © VIBSU | @vibsu_co

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Your Heart Specimen is an interactive installation by artist Joll that explores the relationship between the human body and digital devices in contemporary life. In the work, a sculpted heart is fixed inside a wooden frame and connected to a wireless charging system. When a smartphone is placed onto the heart and begins charging, the installation is activated. Only through the act of charging the device and observing the scene does the work become complete. The viewer is not a passive observer, but an essential participant.

the viewer’s hand completes the work, transforming observation into participation | all images courtesy of Joll

Installation by joll comments on digital dependency

In modern society, essential human activities such as communication, entertainment, work, and emotional exchange are increasingly mediated through a single glass screen. Along with information, emotions such as joy, anxiety, anger, and comfort are generated through smartphones. The artist visualizes this dependency by synchronizing the ‘heartbeat’ of the object with electrical power. The heart is modeled from epoxy putty and painted in red, while the surrounding structure is constructed from wood and a metal wire frame, finished in black lacquer spray. A wireless charger, charging cable, and wall outlet are intentionally exposed, emphasizing electricity as a contemporary form of lifeline alongside blood.

the heart is presented as a specimen, suspended within a frame

without a smartphone attached, the heart remains inactive

close-up view of the artificial heart, isolated from any power source

a smartphone initiates the act of connection

once connected, the heart begins to function through electrical power

the installation reveals the extended relationship between the heart and an external power source

project info:

name: Your Heart Specimen
designer: Joll

materials: wood fragments, epoxy putty, wood frame, metal wire support, wireless charger, charging cable, wall outlet, lacquer spray (black), water-based spray (red), clear coating

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: claire brodka | designboom

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Bell & Ross introduces the BR-X3 Night Vision watch that lights up after dark through luminescent resin and green rubber cylinders. Inspired by aeronautical instruments, the design’s shape follows the style of cockpit tools used in aircraft with four screws at the corners and a square body. The case uses carbon fiber mixed with luminescent resin, called LUM-CAMO. On the side of the case, there are green rubber pillars, which also glow. As for the bezel, it is made from black rubber and adds details to the glow-in-the-dark feature of the timepiece design.

The crown is screw-down, which helps protect the watch from water, and the model is water-resistant up to 100 meters. The crystal on the front is a green-tinted sapphire, resistant to scratches, and it also has an anti-reflective treatment to reduce glare and help the user read the time clearly. The back of the case also has tinted sapphire. Through it, users can see the automatic movement inside from the outside.

all images courtesy of Bell & Ross

Indexes and hands absorb light during the day

The movement from the rear of Bell & Ross’ BR-X3 Night Vision watch is a manufacture automatic mechanical movement, meaning the model winds itself when the wearer moves their wrist. It has a power reserve of about 70 hours, so it can run for almost three days without being worn. There’s also a date window at three o’clock and a power reserve indicator at nine o’clock. The dial has a three-plate construction, and the base is made of tinted sapphire. On top, there is a luminescent applique and a black insert with a bead-blasted finish, filled with green Super-LumiNova X2, which is a material that absorbs light and then glows in the dark. 

The same material is also embedded into the minute and hour hands of Bell & Ross’ BR-X3 Night Vision watch. Illuminating the timepiece design after dark is a main feature of the timepiece design. During the day, the watch absorbs natural or artificial light so that in the dark, the indexes and hands glow bright green. The green X shape on the dial becomes visible at night, and this design is inspired by head-up displays in aircraft for when pilots need to read information clearly, even in low light. The BR-X3 Night Vision watch by Bell & Ross follows the same idea, as seen in its visibility in total darkness. So far, the brand says there are only 250 units available.

inspired by aeronautical instruments, the design’s shape follows the style of cockpit tools

rear view of the timepiece design

the case uses carbon fiber mixed with luminescent resin

view of the watch during the day and at night

the bezel is made from black rubber and adds details to the glow-in-the-dark feature

view of the packaging design

the crystal on the front is green-tinted sapphire, which also has an anti-reflective treatment

users can see the inner workings of the timepiece design with the see-through caseback

for this model, there are only 250 pieces available

project info:

name: BR-X3 Night Vision

brand: Bell & Ross | @bellrosswatches

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New images document the Snøhetta–led Shanghai Grand Opera House as it approaches completion along the Huangpu River, with an opening anticipated in the second half of 2026. Following its winning proposal in the 2017 international competition, Snøhetta joined forces with East China Architectural Design & Research Institute, Theatre Projects, and Nagata Acoustics in 2019 to deliver the project as a consortium from concept through construction.

Positioned on the convex bank of the river, the opera house occupies a prominent site within Shanghai’s emerging cultural masterplan. Its spiraling, climbable rooftop traces a continuous sweep around the perimeter, rising from the ground in a broad arc that draws visitors upward. The gesture echoes the movement of water along the Huangpu while establishing a civic presence visible from across the waterfront.

images © Tian Fangfang, Honne Dang

snøhetta’s contextual design motifs

The roof is conceived by the architects at Snøhetta as an accessible public landscape. A helical stair links plaza and skyline to guide visitors along a steady ascent toward elevated platforms overlooking the city and riverbanks. Open throughout the day and night across the year, the roof operates as an urban stage and gathering ground, and extends the institution’s reach beyond ticketed events.

Inside, the building pairs monumentality with motion. Glazed facades introduce daylight deep into the public halls, while sculptural volumes finished in deep red curve through the interior. These forms define circulation routes and shape the sequence of arrival, framing views between foyers, stairs, and auditoriums. The experience begins well before any performance, with the dynamic architecture setting the tempo.

the Shanghai Grand Opera House rises along the bank of the Huangpu River as construction nears completion

a translucent and white material palette

The program accommodates a wide spectrum of productions, from traditional opera and orchestral repertoire to contemporary and experimental work. Multiple auditoriums of varying scale allow the institution to address different audiences and formats, reinforcing its ambition as a cultural destination across genres.

Landscape design mirrors the building’s geometry. A radial layout radiates outward from the opera house, reinforcing visual continuity between structure and site. Planting and surface treatments align with broader ecological goals within the district, contributing to a low-carbon development strategy that supports Shanghai’s long-term urban ambitions.

a spiraling roofline sweeps around the site as a continuous public promenade above the waterfront

the helical stair connects plaza and skyline to guide visitors toward elevated river views

a radial landscape layout mirrors the building’s geometry and supports low carbon goals

deep, red sculptural volumes shape circulation routes through the interior

soaring glazed facades draw daylight deep into the public halls

multiple auditoriums accommodate opera, orchestral, and experimental performances

project info:

name: Shanghai Grand Opera Hall

architect: Snøhetta | @snohetta

location: Shanghai, China
collaborators: East China Architectural Design & Research Institute (ECADI), Theatre Projects, Nagata Acoustics, schlaich bergermann partner, Meiss Architecture & Engineering Office
area: 146,786 square meters

previous coverage: April 2019, November 2023, July 2025

photography: © Tian Fangfang, © Honne Dang

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BAZ is a front-cooking restaurant in Lisbon by XXXI.studio that stages culinary service as a live performance. Rooted in the studio’s philosophy of transparency, the spatial concept intentionally dissolves the boundary between chef and guest along a 15 meter long charred wood counter, transforming the dining room into an immersive environment. The architectural narrative begins at the entrance with a sharply incised facade. A minimalist stainless steel box marks the threshold and establishes a controlled transition from street to interior. Stainless steel surfaces meet raw wood elements in a restrained material palette, emphasizing texture, tactility, and contrast. Clean lines, exposed finishes, and the absence of decorative layers reinforce the project’s commitment to honesty in construction, allowing the identity of each material to stand on its own while setting the tone for the radically open kitchen beyond.

all images courtesy of XXXI.studio

15 meter long counter acts as interior centerpiece

Inside, XXXI.studio’s spatial concept centers on a dramatically open kitchen. Moving beyond the trend of partially visible preparation areas, the studio decides to reveal every aspect of service through a single defining element: a 15 meter long counter. Sculptural and organic in form, it stretches across the full length of the space, creating an unexpected equal division between service and dining. On one side, the bar and kitchen. On the other, the guests. The configuration ensures that both realms remain fully visible to one another. As Carlos Aragão, co founder of XXXI.studio, explains, ‘These two realities of service and guest live together at the same time, fully visible to each other.’

The counter draws inspiration from the Japanese Shou Sugi Ban technique. Its creation involved a meticulous process of sculpting, charring, brushing, washing, and varnishing wood. The resulting surface carries an organic texture marked by irregularities and traces of the handmade. Described as ‘full of accidents,’ the element becomes the soul of the space. Set against a calm and refined backdrop, the massive central object anchors the interior while allowing the restaurant’s dynamic moments to unfold around it.

the architectural narrative begins at the entrance with a sharply incised facade

15 meter long counter acts as interior centerpiece

BAZ reflects XXXI.studio’s integrated approach, with the team overseeing both design and construction. By collaborating directly with carpenters and manufacturers on site to resolve technical challenges, the studio ensured that the final outcome preserves the clarity of its concept while celebrating craftsmanship. By stripping away the superficial and embracing the raw process, BAZ demonstrates that when materials are allowed to speak for themselves, the atmosphere is not only seen but deeply felt.

a minimalist stainless steel box marks the threshold between interior and exterior

project info:

name: BAZ
architects: XXXI.studio

location: Lisbon, Portugal

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: claire brodka | designboom

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Kevin Yang designs concept Commi Board, an attachable board that allows engineers to make their electronic prototypes behind their phones. A way to let people learn and practice electronics, the magnetic device brings prototyping, coding, and testing into a single system centered on a smartphone. Instead of asking users to buy computers, microcontrollers, and displays, Commi Board uses the phone as the main interface and processing unit. The attachable board for electronic prototypes also connects through USB-C or Bluetooth.

Commi Board is modular, as users place electronic components directly onto the board. Connections are guided through a dedicated app, which reflects the physical layout of the circuit and helps users understand how components relate to code. Errors appear during the process rather than at the end to avoid a trial-and-error approach. A key design choice is simulation since instead of requiring a separate microcontroller for every test, the attachable board for electronic prototypes simulates microcontroller behavior using the phone’s computing power. Users, then, can write and run code without flashing firmware onto external chips.

all images courtesy of Kevin Yang

Dedicated app allows users to share their projects for others

Programming is offered through four methods with the Commi Board. Users can write code using an AI-based natural language system, visual programming blocks, Scratch-like logic, or a fully integrated development environment. Beginners can start with guided logic and move toward text-based programming as their understanding grows since the system does not force a single learning path. Real-time feedback is central to how the design helps users. With this, voltage states, logic changes, and circuit responses are shown immediately on the phone screen. This makes cause and effect visible, and instead of reading theory about signals or pins, users see results as they interact with the system. It is a way for the designer to support learning through direct action.

The app includes cloud storage and a project-sharing space. Users can save projects, reload them, or study work made by others. This allows learning beyond individual use. Shared projects function as examples, references, and starting points. The board can load these projects without rebuilding circuits from scratch, saving time and reducing frustration. Tech-wise, the system integrates printed circuit board design, GPIO communication, USB-C 3.2, BLE, and Bluetooth, choices that allow stable data transfer between the phone and the board. So far. the project remains in development, with some API and software layers still in mock-up form. Early prototypes revealed connection and stability issues, which informed later iterations. The project began in June 2024 at the Royal College of Art in London as a student initiative, which later on won the A’ Design Award in the Education category.

Kevin Yang designs Commi Board, an attachable board for electronic prototypes

users can put the device on the back of their smartphones

detailed view of the board

there’s a dedicated app to help the users with the circuit paths, voltage, and more

project info:

name: Commi Board

designer: Kevin Yang | @Kevy.Design

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