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

The post fold watch tells time only through shadow and layered architectural dials appeared first on designboom | architecture & design magazine.

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

The post luminescent resin and green rubber light up night vision watch after dark appeared first on designboom | architecture & design magazine.

hale uses colorful polymer and CNC-machined aluminum to create magnetic cases with personal engravings for inhalers. Comprising two parts that snap together, the accessory brings colors to the clinical-looking and traditional canister. The brand, led by Matthew Conlon, creates two designs. The classic one is made from solid aluminum using a CNC machine. It is only at 1mm, so it doesn’t add much size or weight and feels solid and light in the hand.

The reflective or mirror-like surface catches light and the sight of the surroundings, making the magnetic inhaler case by hale appear disguised. The second design, hale flow, has a more colorful twist to it. It is made from SLS nylon in different bright colors, including yellow and pink, and the flexible material is the one often used in medical and aerospace industries. The texture is much grainier than the hale classic, and here, users can also engrave their personal messages and names to make the magnetic inhaler case by hale tailored to their style.

all images courtesy of hale

Two magnetic parts enclosing the canister

Inside hale’s magnetic case, the shape follows the geometry of the inhaler. The tolerances are tight, so the canister fits inside, the brand says. When users press the inhaler, it still works in the same way. The design is there just to protect the inhaler from any damage and at the same time give it a modern, brighter style. The cap uses very thin magnets, only 0.85 mm thick, to hold the case closed. When users close the two parts, they snap shut easily. There are no big clips or visible locks to keep the design smooth and minimal, either.

The case also has a precision grip, meaning that part of the surface has shallow contours and a subtle texture to help the user hold hale’s magnetic inhaler case safely. Because the shape of the case fits the canister, the accessory still fits into a pocket or bag. To assemble it, users first remove the three parts from the packaging: the two halves and the mouthpiece cap. Then, they place their inhaler inside and connect the two halves to lock the magnets together. They put small dots of adhesive on the top of the inhaler cap and press it into the case cap, holding it for 45 to 60 seconds. After that, hale’s magnetic inhaler case is ready to shine and hide the plastic canister inside.

hale uses colored polymer for the ‘flow’ design

view at the front

the lower surface has a grip surface

the parts are magnetic and snap close

there’s also a black version

the case accessorize the canister

the texture of the polymer adds ‘grainy’ feel to the design

the classic version is made from aluminum

the reflective surface mirrors the surroundings

view of the usage

the magents are hidden within the container

project info:

name: hale | @haleair.co.uk

design: Matthew Conlon

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: matthew burgos | designboom

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Tanay Wadodkar conceptualizes stickers with cloud seeding technology to help regenerate snowfall in the mountain regions as the athlete’s board glides through. Embedded with modified ink, the woven-like material forms snow when it touches the surface. It doesn’t need any high-grade equipment, but just the help of an athlete as they plaster the stickers with snow seeds onto the rear part of their board so they can touch the ground while they cruise down.

The industrial designer chooses stickers because they’re easy to use, as they can be put on any surface that touches snow, such as ski slopes, equipment, or buildings. They also tend not to be expensive, making the design practical. With a vibrant visual, they can also double as ornaments to the snowboards, letting the athletes showcase their personalities while helping restore the snow balance in the mountain areas.

all images courtesy of Tanay Wadodkar | photo by Pascal Schonlau

Less use of water and electricity compared to machines

Designer Tanay Wadodkar imagines working with athletes and adventurers to show how the stickers with snow seeds work. They’re sort of ambassadors, but at the same time, they’re the direct engines that are helping the project get going. In this way, they can help spread the word about the stickers with snow seeds, so other adventurers can use them (and not necessarily just in snow-related sports fields).

The design root talks about traditional snow machines, too, which require lots of water and electricity and thus can harm the environment over time. have problems. With the stickers and their ink-based snow seeds, they don’t need much energy and water, the designer says. Since climate change is making mountains warmer, there’s less snow and lower groundwater. The stickers aim to protect these by regenerating snow as naturally as possible. So far, there’s no news yet on when the designer plans to introduce the product or prototype.

Tanay Wadodkar conceptualizes stickers with cloud seeding technology

embedded with modified ink, the woven-like material forms snow when it touches the surface

detailed view of the stickers with modified inks

the material can be put on any surface that touches snow, such as ski slopes, equipment, or buildings

the designer believes the material is a way to naturally regenerate snow

project info:

name: Snow Seeds

design: Tanay Wadodkar | @the.real.llama

The post stickers with seeds regenerate snow in mountain areas as the board glides through appeared first on designboom | architecture & design magazine.

Esenes Worldwide unveils a bag shaped like a dumpling and made from translucent leather that can carry snacks and personal accessories. The lightweight accessory features images of the filling on the outside, still wrapped within the leather, and the string-looking handles are a bit short, so it may be more ideal for users to carry it around their hands. Inside the dumpling bag is a canvas lining, still filled with images of dumplings mushed together and so much that they have tears showing the filling inside of them. The craze for the food-related handbags continues, following as well the Lidl bag shaped like a mini pushcart by Nik Bentel.

all images courtesy of Esenes Worldwide

each piece of the accessory has its own organic, irregular form

The dumpling bag by the brand Esenes Worldwide comes with a soft, rounded shape as well as creases similar to the ones found around the food it’s mimicking. In this way, each handbag has its own organic, irregular form. The structure feels soft and smooth because of the use of the translucent leather, and the canvas lining inside allows more personal items to be stashed inside, putting them in like a filling.

The leather appears to be translucent and pale yellow, as if the dumpling is already cooked and ready to be served, and light passes through the body of the bag by Esenes Worldwide, at least the upper folds where it is much more transparent-looking. Inside, there is a green and beige image of a filling that resembles chopped vegetables or stuffing, adding additional texture and depth to the already playful accessory. Pressing against the outer skin forms uneven bumps and folds, giving the dumpling bag by Esenes Worldwide a sculptural take on it. As of the moment, the brand plans to release only 150 units of the accessory starting February 20th, 2026. 

the accessory is made from transluscent leather

the two handles are long enough for users to carry the accessory

inside, users can fill it with snacks and other personal items

there’s a canvas lining printed with images of stuffing

 

 

 

 

 

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A post shared by designboom magazine (@designboom)

project info:

name: Dumpling bag

brand: Esenes Worldwide | @esenes.ww

The post dumpling bag crafted from translucent leather can carry snacks and personal accessories appeared first on designboom | architecture & design magazine.

The V&A Museum in London has opened its newly revamped Design 1900 – Now galleries, expanding its view of contemporary design to include pop cultural artifacts, like the first ever youtube video upload, that have shaped the past three decades.

Installed within the museum’s existing architecture, the refreshed exhibition traces design from the late 20th century into the present, presenting over 250 works across fashion, product design, graphics, and technology. The framing is broad, with industrial design displayed alongside social media, collectible toys, and politically-charged garments. 

Boombox radio and cassette deck; ‘Rising 20/20’; manufactured in Japan; ca.1984 | image © Victoria and Albert Museum, London

a youtube video becomes a museum artifact

Among the new works in the V&A galleries is a reconstruction of YouTube’s original watch page showing Me at the zoo, the first video ever uploaded to the platform. The museum acquired both the 19-second clip, posted by one of YouTube’s co-founders in 2005, and the underlying early web page that hosted it. The reconstruction includes the interface elements and front-end code that shaped how users encountered online video at the start of web 2.0.

Seen today as a physical display within the Design 1900 – Now galleries, the watch page becomes a designed object in its own right. The layout is simple, with a small video player suspended above grey navigation bars, rudimentary icons, and text links that once directed early users to related content. The clarity of this interface and its constraints speak to a moment when streaming was new and networked media were still defining familiar patterns of interaction.

YouTube watch page, 8 December 2006 (reconstructed 2026). Museum nos. CD.13:2-2026, CD.14-2026, CD.15:2, 4, 5 and 9-2026 | image © Victoria and Albert Museum, London

contemporary design shaped by pop-culture

Beyond the significance of the first YouTube upload, the Design 1900 – Now display brings together objects that chart how design has intersected with everyday life and cultural shifts. In one corner a first-generation Apple iPhone sits alongside a pair of plush Labubu Dolls.

A pair of sneakers made from recycled ocean plastic gestures toward sustainability’s material challenges, while the familiar Tactile Paving Slab designed in 1965 by Seiichi Miyake emphasizes how design can alter how we navigate public space. A radical 1991-made chest of drawers by Tejo Remy of the Dutch collective Droog Design reminds visitors that playfulness and conceptual thinking have endured as impulses within design culture across generations.

These works speak through contemporary usage and virality. Together they portray a sweep of design that is everyday and global, ranging from objects that have reshaped personal habits to those that address subcultures and pop-cultural phenomena.

Tactile Paving Slab, Tile, ca. 1965 (designed), 2016 (manufactured) | image © Victoria & Albert Museum, London

Expanding the Definition of Design

The museum’s curatorial approach widens the field beyond traditional categories. Design here includes interface layouts, viral videos, fashion silhouettes, and everyday consumer goods. The emphasis rests on how these works influence behavior, communication, and self-presentation.

Design 1900 – Now therefore reads as an institutional statement about the present. By placing early YouTube alongside fashion, product design, and pop-cultural artifacts, the V&A frames the past three decades as a period in which platforms became as influential as physical objects. The galleries trace a shift toward systems that structure how images circulate and how identities are expressed.

Electronic cigarette, BM600 disposable vape by Lost Mary. Manufactured by Shenzhen iMiracle Technology, 2024 | image © Victoria & Albert Museum, London

You Can’t Lay Down Your Memory, Chest of Drawers, 1991 (designed), after 1993 (manufactured) | image © Victoria & Albert Museum, London

Doll, The Monsters ‘Labubu’ vinyl plush pendant, Exciting Macaron series, created by Kasing Lung, manufactured by Pop Mart, 2025 | image © Victoria & Albert Museum, London

‘Selfish’ by Kim Kardashian, 2015, First Edition book, published by Rizzoli | image © Victoria & Albert Museum, London

Leg splint, designed by Charles and Ray Eames, manufactured by Evans Products Company, moulded plywood, 1941-1942 (designed) | image © Victoria & Albert Museum, London

Apple II computer, designed by Steve Jobs, Steve Wozniak and Jerry Manock, 1977, United States. Museum no. CD.42-2018. © Victoria and Albert Museum, London

project info:

name: Design 1900 – Now

museum: Victoria & Albert Museum | @vamuseum

location: London, UK

The post the first-ever youtube video and an 80s boombox become vintage artifacts at V&A museum appeared first on designboom | architecture & design magazine.

Berlin Design Week returns to the German capital from May 28 to 31, 2026. Under the theme DESIGN REAL, the festival marks a strategic shift toward design with substance — solutions that address real-world problems and drive change across the spectrum of architecture, product design, and research. Joining the 2026 edition as the official media partner, designboom takes on the task to amplify the festival’s international reach and connect Berlin’s vibrant community with a global audience.

Berlin Design Week returns from May 28 to 31, 2026 | all images courtesy of Berlin Design Week

THE FESTIVAL BECOMES AN INTERNATIONAL STAGE FOR DESIGN

Organized by state of DESIGN GmbH, the festival has grown into an essential annual event that celebrates the diversity of the discipline. Festival Director Alexandra Klatt emphasizes that the event is evolving as an independent platform for genuine sustainability and real impact, aiming to solidify Berlin’s status as Europe’s primary creative force. By bringing together international guests and local designers on equal footing, the festival creates a cross-disciplinary space where future visions meet concrete, real-world implementation.

the event offers four interconnected formats – from open studios and talks to a curated market concept

FOUR FORMATS TO SHOWCASE THE FUTURE OF DESIGN

The 2026 programme is built around four interconnected formats designed to bring the DESIGN REAL motto to life. The event kicks off on May 28 with Berlin Design Nights, where studios, galleries, and agencies across the city open their doors to the public. This is followed by The Berlin Format, a high-level conference where brand strategy and design research meet keynotes and panel talks. On May 30 and 31, the Design Pool at PLATTE.BERLIN transforms into a curated fair-meets-market, offering designers and producers a direct line to an audience looking for small-series furniture, fashion, and interior products.

For brands and designers looking to establish a presence alongside the many satellite events of the four-day festival, the new Design Hub Partner programme offers curated spaces in unique locations, ranging from former courthouses to contemporary studios. Participants benefit from inclusion in the official festival catalogue and the dedicated press cloud, ensuring maximum visibility. Registration for participants, exhibitors, and partners is currently open for those ready to join Berlin’s most impactful design conversation yet.

participants can showcase their work in their own locations or at one of the festival’s design spots | Sweef CO Kameleonten

in previous years, up to 91 satellite locations participated throughout Berlin | Berlin Rodeo lab, ®Jordana Schramm

over four days, Berlin becomes an international stage for design across its full spectrum | ® Bernhard Musil

Crafted Liberation by Arshia Maljaei, Berlin Design Week 2025

project info:

event: Berlin Design Week 2026 | @berlindesignweek
organizer: state of DESIGN GmbH
dates: May 28 to 31, 2026

The post berlin design week returns with design real motto and designboom partnership in 2026 appeared first on designboom | architecture & design magazine.

Feuerwasser creates a garden shower made of stainless steel that uses an integrated wood stove to heat up the water. At the center of the steel frame lies a wood-fired heater that can warm up the water in three minutes and without the use of electricity or any solar power. In this case, users can take showers anywhere, and in wintertime especially, because they can just light up the blocks of wood to heat up the water.

The company says there’s not need to stick the garden shower with wood stove into the ground because it comes with a stand where users can simply put four stone slabs. This allows the shower to be stable as well as portable so that users can move it anywhere they want. Feuerwasser says that using stainless steel as the main frame lets the garden shower stand rust, making it easy to clean and sturdy for long-term use.

all images courtesy of Feuerwasser

Mixing valve changes the water’s temperature

To use the garden shower by the company Feuerwasser, there’s a hose that should be connected to the shower, which will fill all the pipes with water. After that, the user builds a fire in the wood stove using small logs, and as soon as the water warms up, they can control its temperature using the mixing valve. 

If they prefer a cold shower, they can just shower without rotating the valve. Feuerwasser’s garden shower opts for a modest design, so the team strips it off from any buttons, screens, or pumps. It focuses only on fire, water, and temperature with a knob. The team adds that the shower is different from the solar ones because the latter need sunlight to run and take a long time to heat. The Feuerwasser, in this case, uses logs to bring up the water’s temperature, making it non-reliant on any technology. 

view of the steel frame from above

the movable base of the portable shower

the shower doesn’t have any solar panel

the wood stove lies in the middle of the frame

users pop in logs to begin heating up the water

detailed view of the stove

project info:

name: Garden shower

company: Feuerwasser | @feuerwasser.co

The post garden shower made of steel uses integrated wood stove to heat up the water appeared first on designboom | architecture & design magazine.

Recycledin introduces a series of eco poker chips made from recycled plastic populating the seas, landfills, and beaches around the Mediterranean. Around 2.5 kilos of collected plastic make up a set, and the material is cleaned and melted before being molded into eco poker chips. By using plastic that would otherwise pollute nature, the set reduces waste and prevents plastic from harming marine life, and the company believes it is one of the first poker sets in the world made entirely from recycled plastic.

The design of the set is similar to standard casino poker chips, with each set including 300 chips in five different colors, all the same size as professional chips. There are also special chips for the dealer, the small blind, and the big blind. The eco poker chips made from recycled plastic can be used by up to seven players, and the set is made to order, which means each is crafted individually to reduce overproduction.

all images courtesy of Recycledin

repurposed material can lower demand for plastic production

Crafting the eco chips from recycled plastic requires melting the material and shaping it into smooth, lightweight mini discs. The use of the repurposed material can also lower the demand for new plastic production, which, in return, could reduce carbon emissions and energy use, as shown in environmental studies.

Studies have found that by recycling plastic, the release of greenhouse gases is reduced compared to producing new plastic, and this prevents microplastics from entering oceans and rivers. Alongside the eco poker chips made from recycled plastic, the company Recycledin also pairs them up with the eco-edition Bicycle cards, made from recycled paper, in hopes of reducing paper waste. Currently, the eco poker chips and set from recycled plastic are available.

view of the set

around 2.5 kilos of collected plastic make up the set

the set aims to reduce waste and prevent plastic from harming marine life

view of the plastic filament

project info:

name: Poker Set

company: Recycledin | @recycledin.store

The post recycled plastic from sea and landfill reemerges as eco poker chips appeared first on designboom | architecture & design magazine.

The window is closing for the 2026 edition of the A’ Design Award, the world’s most diverse design competition. With the final deadline on February 28 and results set for May 1, this is the ultimate moment for the international creative community to step into the spotlight. Whether you are crafting furniture, building skylines, or designing for social change, the platform offers an unparalleled opportunity to have your work validated by a global audience.

A curated selection of past winners shows the diverse spectrum of categories, proving that innovation knows no bounds. From the glow of lighting products and the immersive nature of art installations to the precision of graphical illustrations and the cultural depth of fashion, the award celebrates excellence in every form. Whether you have designed an ergonomic chair, an avant-garde pavilion, or a project focused on social impact and circular design, submit your best work here before the doors close.

banner and above: Dolomite Armchair by Gabriela Casagrande
image credit: Adalberto Rodrigues

name: Dolomite

designer: Gabriela Casagrande

award: Bronze
category: Furniture Design
year: 2025

A GLOBAL STAGE AWAITS FOR DIVERSE DESIGN CATEGORIES

The A’ Design Award and Competition is built on the belief that good design deserves recognition, regardless of the medium. This inclusive philosophy is reflected in its vast array of categories, ensuring a dedicated space for specialized expertise. From tactile craftsmanship to large-scale impact, past winners have proven that excellence knows no boundaries. For a deep dive into the hundreds of specialized paths available, explore all categories here.

Tianmianshang Pavilion by Art Institute of Xiaoyan
image credit: Art Institute of Xiaoyan

name: Tianmianshang

team: Jianguo Dong, Jinjun Zhang, John Barton, Simba Xu, Michaël Dooley, Zhixuan Luo, Jintao Li, Yawen Wang, Xiwu Chen, Na Ou, Yanjun Zhang, Yaqi Wang, Yuezhuo Hu, Tsingz Huang, Ziqi Wang, Yueyao Huang, Ziyu Zhou, Zimo Zhao, Yiyi Yang, Peichen Dong, Hao Geng, Langbo Shi, Shanghong Shi, Haoxiang Yuan, Xinlei Liu, Chenyu Lai, Yaxin Zhang, Junning Zhang, Zhishun Min, Jiashu Xiang, Zichang Guo, Yanjie Zhu, Yutong Yao, Qixuan Yang, Zixi Liu, Anni Zheng, Ziyan Wang, Zixi Chen, Ziying Chen and Chuyue Li

award: Bronze

category: Architecture, Building and Structure Design
year: 2025

RECOGNITION BY A GRAND JURY OF 318 EXPERTS

Winning the A’ Design Award is a definitive career milestone that offers far-reaching benefits beyond the physical trophy. The A’ Design Prize provides laureates with international exhibition opportunities, a place in the prestigious yearbook, and dedicated PR services — including being featured here on designboom. Furthermore, winners gain prestige in the World Design Rankings and project translations in 100+ languages, opening doors to new markets and clients.

Every submission undergoes a rigorous peer-review process by the Grand Jury Panel, which for the 2026 cycle features 318 world-class design professionals, academics, and members of the press. This diverse panel ensures that every entry is judged with the expertise and fairness it deserves.

Kindergarten in Vilnius Educational Building by NG Architects
image credit: Norbert Tukaj

name: Kindergarten in Vilnius

team: Ignas Vengalis, Filippo Erasti, Dovilė Ivanauskienė, Justyna Molis

award: Silver

category: Architecture, Building and Structure Design
year: 2025

Free Air Artwork With Medical Functions by Huang Yu Jung
image credit: Kao, Ming-Chieh

name: Free Air

artist:  Huang Yu Jung

award: Silver

category: Fine Arts and Art Installation Design
year: 2025

Anthropology Chinese Textbook Graphics Design by Xu Tang
image credit: Xu Tang Biejinglab / CITIC Press Group

name: Anthropology Chinese Textbook

designer: Xu Tang

award: Silver

category: Graphics, Illustration and Visual Communication Design
year: 2025

Guangzhou Academy of Arts Exhibition Visual Identity by Shi Chun Sheng

image credit: Guangzhou Academy of Fine Arts

name: Guangzhou Academy of Arts

team: Shi Chun Sheng, Tang Ruo Fei, Chen Ruoxi, Liu Yi He , Chen Yi Miao and Luo Zhi Kun

award: Gold

category: Graphics, Illustration and Visual Communication Design
year: 2025

Miao Attire Innovation Cultural Fashion Design by Rufan Lin
image credit: Rufan Lin

name: Miao Attire Innovation

designer: Rufan Lin

award: Silver

category: Costume and Heritage Wear Design
year: 2025

CoDe Italian Design Museum by Tihany Design and Matteo Vercelloni
image credit: Andrea Martiradonna

name: CoDe

team: Tihany Design, Matteo Vercelloni, Matteo Vercelloni, Paola Gallo, Cristina Menotti, Roberto Dassoni and Augusta Grecchi

award: Gold

category: Cultural Heritage and Culture Industry Design
year: 2020

Culture to Technology Identity Placard by Lei Wang
image credit: Hefei High Tech Digital Technology Co., LTD.

name: Culture to Technology Identity

team: Ji Chao, Xu Ning, Jin Lei, Wang Lei and Zhou Jiaxiang

award: Platinum

category: Graphics, Illustration and Visual Communication Design
year: 2025

The Afterlife Cultural Space by Michel Nagi Ghostine

image credit: Michel Nagi Ghostine

name: The Afterlife

architect: Michel Nagi Ghostine

award: Bronze

category: Cultural Heritage and Culture Industry Design
year: 2024

TCLGreen Sustainable Art Installation by Creazione Sugo
image credit: Giovanni Albani Lattanzi

name: TCLGreen

artist: Kevin Chu

award: Gold

category: Circular Economy and Regenerative Design
year: 2023

DH Seasons in Bloom Enamel Badge by Lets Art Hong Kong Limited
image credit: Lets Art Hong Kong Limited

name: DH Seasons in Bloom

designer: Lets Art Hong Kong Limited

award: Silver

category: Cultural Heritage and Culture Industry Design
year: 2025

Qiushi Academy by U A D

image credit: Zhao Qiang

name: Qiushi

team: Luo Qingping, Ru Dan, Yin Nong, Cui He, Su Renyi, Xiao Zhibin, Pan Jiafu, Xuan Jican, Wang Zhenggang, Yang Yi, Tian Xiangning, Lu Dehai, Jin Shengjie, Sang Songbiao, Jiang Bing, Dong Hao, Xia Jiming, Chen Dong, Chen Shengxian and Zhang Ying

award: Silver

category: Cultural Heritage and Culture Industry Design
year: 2023

Hyzy World Youth Activity Center Corporate Identity by Ecust Creplus Design
image credit: ECUST-Creplus Design

name: Hyzy World Youth Activity Center

team: Shan Hao, Du Weimiao and Hua Yizhou

award: Gold

category: Graphics, Illustration and Visual Communication Design
year: 2025

Pepsi Diner Milan 2024 Experiential by PepsiCo Design and Innovation
image credit: PepsiCo Design and Innovation

name: Pepsi Diner Milan 2024

designer: PepsiCo Design and Innovation

award: Bronze

category: Interior Space and Exhibition Design
year: 2025

Dance With The Wind Art Installation by Daisuke Nagatomo and Minnie Jan
image credit: Daisuke Nagatomo and Minnie Jan

name: Dance With The Wind

team: Daisuke Nagatomo and Minnie Jan

award: Gold 

category: Lighting Products and Fixtures Design
year: 2023

Kukuk Box Mobile Playground by Kukuk Box GmbH
image credit: Kukuk Box GmbH

name: Kukuk Box

team: Bernwart A. Engelen and Kim Benjamin Kappenberg

award: Silver 

category: Playground Equipment, Play Structures and Public Park Design
year: 2023

Chambyrinth Social Impact by Ronghao Chang
image credit: Ronghao Chang

name: Chambyrinth

team: Geoffrey Wang, Chengsyuan Tsai, Yixi Gao, Yun Wu, Chiatzu Chiu, Pinchen Yeh and Songyun Ko

award: Silver 

category: Public Awareness, Volunteerism, and Society Design
year: 2017

The Ancient Mexicans Exhibition Identity by Eduardo Guizar Vukovich
image credit: Eduardo Guizar Vukovich

name: The Ancient Mexicans 

team:  Andrea Rodríguez Tapia, Ariadna García Ríos, Daniela de la Fuente Lozano and Isabel Villegas Martínez

award: Silver

category: Cultural Heritage and Culture Industry Design
year: 2024

Shazhou Youhuang Cultural Park by Senem Cennetoglu

image credit: Aaron&Rex

name: Shazhou Youhuang

architect: Senem Cennetoglu

award: Gold 

category: Construction and Real Estate Projects Design
year: 2023

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