html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Japanese architect Shigeru Ban has created the Blue Ocean Dome (BOD) for the Osaka-Kansai Expo 2025, addressing the urgent issue of marine plastic pollution and raising crucial awareness about it.Named Blue Ocean Dome, the pavilion stands out with its innovative design, comprising three distinct dome types: Dome A, Dome B, and Dome C. Each dome is specifically crafted to host captivating installations and dynamic exhibitions, promising an unforgettable experience for all visitors throughout the event. Image © Taiki FukaoThe project was commissioned by the Zero Emissions Research and Initiatives (ZERI), a global network of creative minds, seeking solutions to the ever increasing problems of the world.Rather than outright rejecting plastic, the pavilion inspires deep reflection on how we use and manage materials, highlighting our critical responsibility to make sustainable choices for the future.The BOD merges traditional and modern materials—like bamboo, paper, and carbon fiber reinforced plastic (CFRP)—to unlock new and innovative architectural possibilities.Dome A, serving as the striking entrance, is expertly crafted from laminated bamboo. This innovative design not only showcases the beauty of bamboo but also tackles the pressing issue of abandoned bamboo groves in Japan, which pose a risk to land stability due to their shallow root systems.Utilizing raw bamboo for structural purposes is often difficult; however, through advanced processing, it is transformed into thin, laminated boards that boast strength even greater than that of conventional wood. These boards have been skillfully fashioned into a remarkable 19-meter dome, drawing inspiration from traditional Japanese bamboo hats. This project brilliantly turns an environmental challenge into a sustainable architectural solution, highlighting the potential of bamboo as a valuable resource.Dome B stands as the central and largest structure of its kind, boasting a remarkable diameter of 42 meters. It is primarily constructed from Carbon Fiber Reinforced Polymer (CFRP), a cutting-edge material revered for its extraordinary strength-to-weight ratio—four times stronger than steel yet only one-fifth the weight. While CFRP is predominantly seen in industries such as aerospace and automotive due to its high cost, its application in architecture is pioneering.In this project, the choice of CFRP was not just advantageous; it was essential. The primary goal was to minimize the foundation weight on the reclaimed land of the Expo site, making sustainability a top priority. To mitigate the environmental consequences of deep foundation piles, the structure had to be lighter than the soil excavated for its foundation. CFRP not only met this stringent requirement but also ensured the dome's structural integrity, showcasing a perfect marriage of innovation and environmental responsibility.Dome C, with its impressive 19-meter diameter, is crafted entirely from paper tubes that are 100% recyclable after use. Its innovative design features a three-dimensional truss structure, connected by elegant wooden spheres, evoking the beauty of molecular structures.To champion sustainability and minimize waste following the six-month Expo, the entire BOD pavilion has been meticulously designed for effortless disassembly and relocation. It is anchored by a robust steel foundation system and boasts a modular design that allows it to be conveniently packed into standard shipping containers. After the Expo concludes, this remarkable pavilion will be transported to the Maldives, where it will be transformed into a stunning resort facility, breathing new life into its design and purpose.Recently, Shigeru Ban's Paper Log House was revealed at Philip Johnson's Glass House Venue. In addition, Ban installed his Paper Partition Shelters (PPS) for the victims of the Turkey-Syria earthquake in Mersin and Hatay provinces of Turkey.All images © Hiroyuki Hirai unless otherwise stated.> via Shigeru Ban Architects 

These annual rankings were last updated on June 6, 2025. Want to see your firm on next year’s list? Continue reading for more on how you can improve your studio’s ranking. Traversing the German nation, one will encounter a similar historic program to other European capitals — Romanesque churches, Renaissance monuments and more — blended with functionalist and modernist structures. Early twenty-first-century Germany gave rise to the thriving Bauhaus. Founded by Walter Gropius, this school introduced brand-new architectural thinking, an ideology rooted in function, clarity and mass production. Materials like concrete and glass were favored, socially progressive housing blocks were constructed, and a newfound appreciation for modernism emerged. The spirit of the great Bauhaus teachers — Mies van der Rohe, for example — vigorously lives on and inspires contemporary designers today. Additionally, modern industrial architecture took off post-war and has played a prominent role in the nation’s economic growth, continuing to do so today. The architectural devastation from WWII resulted in mass reconstruction efforts. The post-war restoration and rebuilding embraced a functional attitude, which continued the legacy of the Bauhaus movement despite its closing over a decade prior. Today, German architecture continues to champion the nation’s modernist brilliance through innovative designs that push technological boundaries and celebrate culture. With so many architecture firms to choose from, it’s challenging for clients to identify the industry leaders that will be an ideal fit for their project needs. Fortunately, Architizer is able to provide guidance on the top design firms in Germany based on more than a decade of data and industry knowledge. How are these architecture firms ranked? The following ranking has been created according to key statistics that demonstrate each firm’s level of architectural excellence. The following metrics have been accumulated to establish each architecture firm’s ranking, in order of priority: The number of A+Awards won (2013 to 2025) The number of A+Awards finalists (2013 to 2025) The number of projects selected as “Project of the Day” (2009 to 2025) The number of projects selected as “Featured Project” (2009 to 2025) The number of projects uploaded to Architizer (2009 to 2025) Each of these metrics is explained in more detail at the foot of this article. This ranking list will be updated annually, taking into account new achievements of Germany architecture firms throughout the year. Without further ado, here are the 30 best architecture firms in Germany: 30. Format Elf Architekten © Format Elf Architekten Simple and touching. Format Elf Architekten is an architecture firm that focuses on residential architecture. Some of Format Elf Architekten’s most prominent projects include: Longhouses, Bad Birnbach, Germany FORMSTELLE, Töging am Inn, Germany House B, Munich, Germany Die Basis, Munich, Germany The following statistics helped Format Elf Architekten achieve 30th place in the 30 Best Architecture Firms in Germany: Featured Projects 1 Total Projects 4 29. Bruzkus Batek Architects © Jens Bösenberg | Whitelight Studio GmbH BRUZKUS BATEK Since 2007, this internationally active office specialised in designing hotels, offices, shops, restaurants and private housing – and particularly in the detailing of high-quality interiors. After 10 successful years, it is time for a change. As of 2018, Bruzkus Batek is splitting into BATEK ARCHITECTS and ESTER BRUZKUS ARCHITECTS. Some of Bruzkus Batek Architects’ most prominent projects include: Razorfish, Berlin, Germany Office Ester Bruzkus Architekten, Berlin, Germany Colette Tim Raue Munich, Munich, Germany Apartment PP, Berlin, Germany Dean, Berlin, Germany The following statistics helped Bruzkus Batek Architects achieve 29th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 1 Featured Projects 3 Total Projects 28 28. Ester Bruzkus Architekten © Ester Bruzkus Architekten Founded in 2002 in Berlin, Ester Bruzkus Architekten is an architecture and interior design practice with global ties: Berlin, New York, Paris, Tel Aviv, Boston, Dubai, Moscow, Vladivostok, Tenerife. We have extensive experience with design at many scales: from the design of tables and furniture to exquisite residences and workspaces to international theaters, restaurants and hotels. Straight lines, precise planning, material contrasts – and plenty of surprises. The architecture of Ester Bruzkus and her team makes use of contrasts of thick and thin, sharp and soft, curved and straight, rough and smooth, common and opulent, colorful and restrained, playful and well-resolved. Special projects result from a dialogue of space and light, materiality and color, existing constraints and new opportunities – and especially a synergy between the needs of the client, the space and the aspirations of great design. Some of Ester Bruzkus Architekten’s most prominent projects include: Razorfish, Berlin, Germany Office Ester Bruzkus Architekten, Berlin, Germany Colette Tim Raue Munich, Munich, Germany Apartment PP, Berlin, Germany Dean, Berlin, Germany The following statistics helped Ester Bruzkus Architekten achieve 28th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 1 Featured Projects 3 Total Projects 34 27. Architekten Wannenmacher + Möller © Architekten Wannenmacher + Möller GmbH Architects Wannenmacher + Möller, based in Bielefeld Germany, has been in practice for almost 60 years. Today the office is run by second generation Andreas Wannenmacher and Hans-Heinrich Möller. It was founded by Gregor Wannenmacher in Düsseldorf, Germany in 1955. Over the years the office grew continuously and became one of the largest architectural firms in the German region Eastern Westfalia. Most of the activities were focused in this region. During the last years, however, the office had the opportunity to design buildings and control their realization outside this region, some of them in foreign countries throughout Europe, Asia, and the USA. Some of Architekten Wannenmacher + Möller’s most prominent projects include: Ford Hagemeier Halle , Germany Wohnhaus Möllmann, Bielefeld, Germany House P+G, Weinheim, Germany House in Paderborn, Paderborn, Germany Borchen Sports Hall, Borchen, Germany The following statistics helped Architekten Wannenmacher + Möller achieve 27th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 1 Featured Projects 4 Total Projects 14 26. Design.Develop.Build – GA Tech | PBSA | RWTH © Design.Develop.Build - GA Tech | PBSA | RWTH Students from the Georgia Institute of Technology, RWTH Aachen University and PBSA Düsseldorf design, develop and build civic architecture. Some of Design.Develop.Build’s most prominent projects include: Guga S’Thebe Children’s Theatre, Cape Town, South Africa The following statistics helped Design.Develop.Build achieve 26th place in the 30 Best Architecture Firms in Germany: A+Awards Winner 2 A+Awards Finalist 1 Featured Projects 1 Total Projects 1 25. Ecker Architekten © Ecker Architekten Ecker Architekten is an architecture and design firm based in Germany. Ecker Architekten’s design portfolio includes a variety of architectural projects, such as cultural, commercial, government and health, educational, and more. Some of Ecker Architekten’s most prominent projects include: The Forum at Eckenberg Gymnasium, Adelsheim, Germany Field Chapel, Buchen (Odenwald), Germany Kindergarten Dandelion Clock, Germany Kanzlei Balkenhol, BW, Germany Branch Bank in Hettingen, Hettingen, Germany The following statistics helped Ecker Architekten achieve 25th place in the 30 Best Architecture Firms in Germany: Featured Projects 4 Total Projects 8 24. Sehw Architektur © Helin Bereket “Sehw stands for meaningfulness, emotion, attitude and change.” Our mission: building architecture sustainably, thinking innovatively and creating social added value. “Sehw stands for an aesthetic of sustainability in architecture.” // Sustainability // Acting sustainably We are not just planning for today but for the generation of tomorrow and beyond. For us, sustainable architecture means forward-looking planning and the development of future-proof utilization concepts. In times of rapid climate change, we are committed to resource-conserving construction methods and the use of renewable energies. Recyclable building materials and circular economy are the basis for a long life cycle and corresponding sustainability certifications of our buildings. We value and protect existing structures and materials. Some of Sehw Architektur’s most prominent projects include: KIT, Karlsruhe, Germany Weitblick Innovation Campus, Augsburg, Germany Inclusive School Centre Döbern, Döbern, Germany The Copper Coil, Rostock, Germany Around the Corner – Student Apartment Building, Berlin, Germany The following statistics helped Sehw Architektur achieve 24th place in the 30 Best Architecture Firms in Germany: Featured Projects 5 Total Projects 18 23. PHILIPPARCHITEKTEN Anna Philipp © PHILIPPARCHITEKTEN Anna Philipp A passion for houses. There’s nothing more significant to describe what our architecture office is about: houses — simple, yet complex. The archetype of all construction is our passion. That’s what we stand for. On this we work holistically with a team of architects and engineers. Center of our designing is the human being. We understand architecture as a second skin, which must be tailored. At the same time it’s essential to reflect the unique character of the location. The goal is a harmonious triad of mankind, nature and architecture. The focus and specialization on houses and villas is faced by a wide diversification in the range of services offered. Some of PHILIPPARCHITEKTEN Anna Philipp’s most prominent projects include: Villa Philipp, Waldenburg, Germany Villa Lombardo, Lugano, Switzerland A monastery of modernity, Augsburg, Germany Villa Schatzlmayr, Passau, Germany Villa Mauthe, Bahlingen, Germany The following statistics helped PHILIPPARCHITEKTEN Anna Philipp achieve 23rd place in the 30 Best Architecture Firms in Germany: Featured Projects 5 Total Projects 22 22. KRESINGS © Roman Mensing KRESINGS is a studio for architecture, interior design, urban planning and product design with offices in Munster and Dusseldorf. Since its founding by Rainer Maria Kresing in 1985 four further partners joined the management: Kilian Kresing, Christian Kawe, Matthias Povel and André Perret. More than 60 employees — architects, designers, planners and engineers — guarantee a broad range of creative and qualified services. Experience meets creative ease. The studio has been awarded with national awards like those of the BDA (Bund Deutscher Architekten) and the DAM (Deutsches Architektur Museum). KRESINGS: Experts and team players in areas of office and industrial buildings, facilities for research, education and culture as well as individual designs for residential buildings. Some of KRESINGS’ most prominent projects include: Student Residence Boeselagerstraße, Münster, Germany Headquarters Mitsubishi Electric Europe, Ratingen, Germany Petting Zoo, Öhringen, Germany Freiherr-vom-Stein-High-School, Münster, Germany Residential Building Hoher Heckenweg, Münster, Germany The following statistics helped KRESINGS achieve 22nd place in the 30 Best Architecture Firms in Germany: Featured Projects 5 Total Projects 33 21. 3deluxe © 3deluxe The interdisciplinary design collective 3deluxe, consisting of about 30 individuals centered around Dieter Brell, Peter Seipp and Andreas and Stephan Lauhoff, has been creating groundbreaking impulses in the fields of architecture and interior design, graphic and media design. In creative synergy hybrid forms of two and three dimensional design are created: graphic works develop a spatial impact, while architectural drafts are based on communication principles. In this way, complex collages are contrived, so called ‚multilayered atmospheres‘, that foster multiple sensory experiences and allow for a multitude of potential interpretations. Paramount is the broadening of an absolute understanding of space and image towards a dynamic, processual approach. Some of 3deluxe’s most prominent projects include: V- Plaza Urban Development, Kaunas, Lithuania Kaffee Partner Headquarters, Osnabrück, Germany Butterfly Pavilion, Sharjah, United Arab Emirates Leonardo Glass Cube, Bad Driburg, Germany Cyberhelvetia The following statistics helped 3deluxe achieve 21st place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 2 Featured Projects 3 Total Projects 20 20. Christoph Hesse Architects © Deimel und Wittmar Christoph Hesse Architects was founded in 2010 by Christoph Hesse, has offices in Korbach and, since 2018, in Berlin. The architectural practice currently employs an international team of 15 people and has won numerous awards. Some of Christoph Hesse Architects’ most prominent projects include: VITOS Outpatient psychiatric clinic for traumatized refugees, Korbach, Germany Villa F / the off-the-grid house in the central highlands of Germany, Medebach, Germany StrohTherme, Medebach, Germany Room of Silence, Korbach, Germany The following statistics helped Christoph Hesse Architects achieve 20th place in the 30 Best Architecture Firms in Germany: A+Awards Winner 2 Featured Projects 2 Total Projects 4 19. Zeller & Moye © Zeller & Moye Zeller & Moye is a design studio based in Mexico City and Berlin that works at the intersection of architecture, arts, design and latest technology through an experimental, multidisciplinary and collaborative working culture. Some of Zeller & Moye’s most prominent projects include: HAUS KÖRIS, Brandenburg, Germany SANDRA WEIL Store, Mexico City, Mexico TROQUER FASHION HOUSE, Mexico City, Mexico CASA VERNE, Mexico City, Mexico CASA HILO, Mexico The following statistics helped Zeller & Moye achieve 19th place in the 30 Best Architecture Firms in Germany: Featured Projects 5 Total Projects 12 18. Ippolito Fleitz Group – Identity Architects © Ippolito Fleitz Group - Identity Architects Ippolito fleitz group is a multidisciplinary, internationally operating design studio based in Stuttgart.We are identity architects. We work in unison with our clients to develop architecture, products and communication that are part of a whole and yet distinctive in their own right. This is how we define identity.With meticulous analysis before we begin.With animated examination in the conceptional phase. With a clarity of argument in the act of persuasion.With a love of accuracy in the realisation.With a serious goal and a lot of fun along the way. Working together with our clients.As architects of identity, we conceive and construct buildings, interiors and landscapes; we develop products and communication measures. Some of Ippolito Fleitz Group – Identity Architects’ most prominent projects include: Das GERBER, Stuttgart, Germany Hunke – Jewellers and Opticians, Ludwigsburg, Germany Bella Italia Weine, Stuttgart, Germany ippolito fleitz group | Residential Building, Denkendorf, Germany WakuWaku Dammtor, Hamburg, Germany The following statistics helped Ippolito Fleitz Group - Identity Architects achieve 18th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 1 Featured Projects 4 Total Projects 26 17. VON M © Zooey Braun VON M is an architecture and design firm based in Germany. VON M’s design portfolio includes a variety of architectural projects, such as cultural, residential, educational, commercial, hospitality and sport, and more. Some of VON M’s most prominent projects include: Museum Luthers Sterbehaus, Eisleben, Germany BHM Pavillon, Wolfegg, Germany Kinder- und Familienzentrum, Ludwigsburg, Germany Hotel Bauhofstrasse, Ludwigsburg, Germany HS77, Stuttgart, Germany The following statistics helped VON M achieve 17th place in the 30 Best Architecture Firms in Germany: Featured Projects 6 Total Projects 11 16. Plastique Fantastique © Plastique Fantastique Plastique Fantastique is a collective for temporary architecture that samples the performative possibilities of urban environments. Established in Berlin in 1999, Plastique Fantastique has been influenced by the unique circumstances that made the city a laboratory for temporary spaces. Plastique Fantastique’s synthetic structures affect surrounding spaces like a soap bubble does: Similar to a foreign body, it occupies and mutates urban space. Their interventions change the way we perceive and interact in urban environments. By mixing different landscape types, an osmotic passage between private and public space is generating new hybrid environments.Regardless the way people view a bubble, walk around its exterior or move inside it, the pneumatic structure is a medium to experience the same physical setting in a temporary extraordinary situation. Some of Plastique Fantastique’s most prominent projects include: LOUD SHADOWS, Terschelling, Netherlands Blurry Venice, Venice, Italy Aeropolis, Copenhagen, Denmark superKOLMEMEN, Helsinki, Finland MOBILE PPS (Personal Protective Space) for Doctors The following statistics helped Plastique Fantastique achieve 16th place in the 30 Best Architecture Firms in Germany: Featured Projects 5 Total Projects 5 15. 4a Architekten © 4a Architekten GmbH Shaping atmosphere, lending identity, creating quality of space — these are the values that characterize the buildings of 4a Architekten. The starting point and guiding principle of our work is the concept of architecture as living space. Our buildings come into being through intensive team work shaped by interdisciplinary thinking and action. What characterizes a location in terms of its culture and history? What are the client’s expectations and objectives? What is viable within the budget and what are the benefits for users? These questions and this approach bring us to solutions with an individual character — and they apply just as much to the planning of buildings as to the design of interior spaces. Some of 4a Architekten’s most prominent projects include: Therme Lindau on Lake Constance, Lindau, Germany Balingen Civic Hall, Balingen, Germany Emser Thermal Baths, Bad Ems, Germany Spreewald Spa Hotel, Burg, Germany Stegermatt Aquatic Centre, Offenburg, Germany The following statistics helped 4a Architekten achieve 15th place in the 30 Best Architecture Firms in Germany: Featured Projects 7 Total Projects 15 14. schneider+schumacher © schneider+schumacher / Frankfurt - Vienna - Tianjin Our architectural approach is characterized by the enjoyment we have in finding solutions to the complex demands of today’s buildings. We adapt our buildings to fit into their surroundings, yet we also create landmarks. Pragmatic poetry, nurtured not only by design clarity and a conscientious attitude towards the task in hand, but also by a delight in fine details. This design process is constantly informed by the dialogue that takes place on a daily basis between the various professional disciplines in all our specialized divisions – architecture, construction and project management, design, a.o. — and international offices. schneider+schumacher is headquartered in Frankfurt (GE), and has two branches in Vienna (AU) and Tianjin (CN). Some of schneider+schumacher’s most prominent projects include: Autobahn Church, Wilnsdorf, Germany Oil Harbour Bridge, Raunheim, Germany DOXX – Quayside Development at Mainz Customs Port, Mainz, Germany Städel Museum Extension, Frankfurt, Germany Siegerland Motorway Church, Wilnsdorf, Wilnsdorf, Germany The following statistics helped schneider+schumacher achieve 14th place in the 30 Best Architecture Firms in Germany: A+Awards Winner 1 A+Awards Finalist 2 Featured Projects 5 Total Projects 12 13. ingenhoven associates © ingenhoven associates Celebrating 40 years of excellence since 1985, the studio is pioneer in sustainable architecture, designing and delivering projects of all sizes and typologies across nearly every region of the world, adhering to the highest green building standards, including LEED, Green Star, Minergie, BREEAM, DGNB and CASBEE. With a tailored approach to each location, the multinational, interdisciplinary team creates nuanced architectural solutions with added value and positive social impact. Some of ingenhoven associates’ most prominent projects include: Düsseldorfer Schauspielhaus, Düsseldorf, Germany Freiburg Town Hall, Freiburg, Germany Kö-Bogen 2, Düsseldorf, Germany Marina One, Singapore, Singapore Daniel Swarovski Corporation, Männedorf, Switzerland The following statistics helped ingenhoven associates achieve 13th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 2 Featured Projects 5 Total Projects 28 12. gmp · Architects von Gerkan, Marg und Partner © HG Esch Photography The architects von Gerkan, Marg and Partners (gmp) are an architectural practice that was founded in Hamburg and has branches worldwide. With our generalist approach and more than 50 years of experience, we complete projects in dialogue with our clients and the participating planning disciplines, at all scales and cultural contexts, covering all design phases and working on all continents. The range of our projects extends from family residences to high-rise buildings, from stadiums to concert halls, from office buildings to bridges, and from door hardware to urban planning. With holistic sustainability in mind, we aim to create new and refurbished architecture that is long-lasting and goes beyond temporary fashions, taking into account the global challenges and issues of urbanization, digitalization, and mobility. Some of gmp · Architects von Gerkan, Marg und Partner’s most prominent projects include: Guna Villa, Jūrmala, Latvia Universiade 2011 Sports Center, Shenzhen, China Olympic Stadium, Kiev, Ukraine, Kyiv, Ukraine Olympic Stadium, Berlin, Germany Twin Towers, Commodity Exchange Plaza, Dalian, China The following statistics helped gmp · Architects von Gerkan, Marg und Partner achieve 12th place in the 30 Best Architecture Firms in Germany: Featured Projects 8 Total Projects 36 11. kadawittfeldarchitektur © kadawittfeldarchitektur We are kadawittfeldarchitektur. Originally founded in Aachen in 1999, we today stand for more than just architectural design. The interdisciplinary approach of our work, linking architecture, interior and product design on the one hand and at the interface of town planning and urban projects on the other hand, reflects the full range of our creative output. kadawittfeldarchitektur develops added value space. In a team of more than 170 persons, we create architecture with added value space for living, communication and work environments. In the way we deal with volumes, materials, structures and functions, we strive to integrate our schemes into their surroundings with the objective of creating contemporary and sustainable architecture and meeting the needs of both the users and the general public. Some of kadawittfeldarchitektur’s most prominent projects include: CELTIC MUSEUM, Glauburg, Germany ADIDAS LACES, Herzogenaurach, Germany SPZ, HALLEIN, Hallein, Austria SENIOR CITIZENS RESIDENCE ALTENMARKT, Altenmarkt im Pongau, Austria SALZBURG CENTRAL STATION, Salzburg, Austria The following statistics helped kadawittfeldarchitektur achieve 11th place in the 30 Best Architecture Firms in Germany: Featured Projects 8 Total Projects 32 10. GRAFT © GRAFT What is graft? The English word ‘graft’ provokes a variety of meanings and multiple readings. It stands for transplants in the field of medicine, for cheating, but also for hard work.  In the terminology of botany, grafting is described as the addition of one shoot onto a genetically different host. Some of GRAFT’s most prominent projects include: Ice Stadion “Arena Schierke”, Wernigerode, Germany Show Palace Munich, Munich, Germany Autostadt Roof and Service Pavilion, Wolfsburg, Germany Eiswerk, Berlin, Germany Villa M , Berlin, Germany The following statistics helped GRAFT achieve 10th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 2 Featured Projects 7 Total Projects 17 9. HENN © HENN HENN is an international architecture studio with over 75 years of experience in designing innovative work environments across office, science, healthcare, industry, education, and culture. An interdisciplinary team of 400 professionals works from offices in Munich, Berlin, Frankfurt am Main, and Shanghai. The design process is collaborative and driven by curiosity. HENN draws from the rich expertise of three generations and a global network of partners. All three generations share a common mindset: openness and curiosity. This spirit drives the studio to continuously question and redefine architectural typologies. HENN was founded in 1947 by Walter Henn in Dresden. Early on, he specialized in industrial buildings and played a key role in establishing the Braunschweig School through his academic work. Some of HENN’s most prominent projects include: Porsche Pavilion, Wolfsburg, Germany Zalando Headquarters Berlin, Berlin, Germany Bugatti Atelier, Molsheim, France MobileLife Campus, Wolfsburg, Germany The CUBE, Dresden, Germany The following statistics helped HENN achieve 9th place in the 30 Best Architecture Firms in Germany: A+Awards Winner 2 A+Awards Finalist 2 Featured Projects 6 Total Projects 30 8. Auer Weber © Aldo Amoretti Photography Founded in 1980, we are an internationally active architectural firm with offices in Stuttgart and Munich. We employ around 150 people from 20 countries and work on projects of various sizes and tasks from initial design through to completion. Each year, we create entries for between 30 and 40 competitions in our two offices, from which we generate a large proportion of our orders. These range from buildings for the community to educational and administrative buildings, sports and leisure facilities and large infrastructure projects. The diversity of our architecture is the result of in-depth study of the building tasks and where these tasks originate. Some of Auer Weber’s most prominent projects include: Aquatic Centre “Aquamotion” Courchevel , Saint-Bon-Tarentaise, France Arena du Pays d’Aix, Aix-en-Provence, France Extension of the District Office in Starnberg, Starnberg, Germany ESO Headquarters Extension, Garching, Germany Olympic Aquatics Stadium, Route de Torcy, France The following statistics helped Auer Weber achieve 8th place in the 30 Best Architecture Firms in Germany: A+Awards Winner 2 A+Awards Finalist 1 Featured Projects 9 Total Projects 24 7. Peter Ruge Architekten © Peter Ruge Architekten GmbH Identity+Sustainability=Architecture Peter Ruge Architekten is a locally and internationally active planning office based in Berlin. Our mission is simple: to develop and build sustainable architecture of the future. The agenda of the team along with three partners Peter Ruge, Kayoko Uchiyama and Matthias Matschewski includes new buildings, optimization of existing properties and urban planning designs. The projects are holistic, i.e. adapted to the climate, culture and needs of the users, and have received numerous awards and certifications. Our detailed understanding of sustainable design processes supports the decisions of our clients. In education field, Prof. Ruge shares our knowledge with a global design community at DIA, Anhalt University of Applied Sciences in Dessau, Shenyang Jianzhu University in China and Kyoto Seika University in Japan. Some of Peter Ruge Architekten’s most prominent projects include: Busan Opera House, South Korea, Busan, South Korea Congress Center Hangzhou, Hangzhou, China House O, Germany, Potsdam-Mittelmark, Germany LTD_1 Hamburg, Germany, Hamburg, Germany Muzeum Lotnictwa Krakow, Poland The following statistics helped Peter Ruge Architekten achieve 7th place in the 30 Best Architecture Firms in Germany: Featured Projects 12 Total Projects 18 6. HPP Architects © Christa Lachenmaier Photography HPP Architects is one of Europe’s leading architectural partnerships with a full range of architectural and master planning services. Since its foundation by Professor Hentrich, the 4th generation of HPP partnership today includes a global team of more than 25 nationalities and 480 architects, engineers, urban designers and specialists. Today it comprises 13 offices including 8 regional offices in Germany and 5 international branches in Turkey, China and Netherlands. HPP Architects’ headquarter is located in the Düsseldorf Media Harbor, further offices are located in Amsterdam, Beijing, Berlin, Cologne, Frankfurt, Hamburg, Istanbul, Leipzig, Munich, Shanghai, Shenzhen and Stuttgart. HPP completed more than 1200 buildings worldwide and aspires to create architectural quality of lasting value beyond the here and now: timeless and yet clearly part of their time, innovative and equally grounded in history. Some of HPP Architects’s most prominent projects include: LVM 5 , Münster, Germany Medical Library Oasis (O.A.S.E.), Düsseldorf, Germany Hochschule Ruhr West, Mülheim, Germany Henkel Asia-Pacific and China Headquarters, Shanghai, China Dreischeibenhaus, Düsseldorf, Germany The following statistics helped HPP Architects achieve 6th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 3 Featured Projects 12 Total Projects 25 5. Behnisch Architekten © David Matthiessen The Stuttgart-based practice known today as Behnisch Architekten was founded in 1989 under the leadership of Stefan Behnisch. Originally established as a branch office of Günter Behnisch’s practice Behnisch & Partner, it became independent in 1991 and has subsequently developed into an international practice with offices in Stuttgart, Munich, Los Angeles/California (1999 – 2011), and Boston. These offices are directed by Stefan Behnisch and his partners in varying combinations. The Partners are Robert Hösle, Robert Matthew Noblett and Stefan Rappold. Stefan Behnisch is involved in all three offices. From the outset, the social dimension of architecture has been a fundamental aspect of the firm’s design philosophy. Some of Behnisch Architekten’s most prominent projects include: SC Workplaces, California City of Santa Monica Public Parking Structure #6, Santa Monica, California Primary School Infanteriestrasse, München, Germany Harvard University Science and Engineering Complex, Boston, Massachusetts John and Frances Angelos Law Center, University of Baltimore, Baltimore, Maryland The following statistics helped Behnisch Architekten achieve 5th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 9 Featured Projects 8 Total Projects 24 4. wulf architekten © Tobias Vollmer wulf architekten emerged from the architecture practice established 1987 in Stuttgart by Tobias Wulf. Currently the office is managed by Tobias Wulf, Jan-Michael Kallfaß, Ingmar Menzer and Steffen Vogt. From 1996 to 2018, Kai Bierich and Alexander Vohl were partners of Tobias Wulf at wulf architekten. Currently, the company has about 140 employees, nine of them being senior architects. With three office locations – Stuttgart, Berlin and Basel (CH) – wulf architekten is also working on projects abroad. Some of wulf architekten’s most prominent projects include: Parking Garage Facade P22a at the Cologne Exhibition Centre, Cologne, Germany Four primary schools in modular design, Munich, Germany School Center North, Stuttgart, Germany Canteen and Media Center for North vocational school center, Darmstadt, Germany Chamber of Industry and Commerce, headquarters, Stuttgart, Germany The following statistics helped wulf architekten achieve 4th place in the 30 Best Architecture Firms in Germany: A+Awards Winner 1 A+Awards Finalist 1 Featured Projects 11 Total Projects 18 3. TCHOBAN VOSS Architekten © TCHOBAN VOSS Architekten GmbH TCHOBAN VOSS Architekten design, plan and build for national and international clients in the public and private sectors. The company, with offices in Hamburg, Berlin and Dresden, is named after Sergei Tchoban, architect BDA, and his partner Ekkehard Voss, architect BDA (1963-2024). With over 150 highly qualified, interdisciplinary employees and many years of experience, it offers architecturally and functionally sustainable solutions for a wide range of building projects in Germany and abroad. TCHOBAN VOSS Architekten is member of the Association of German Architects (BDA), the Chambers of Architects in Hamburg, Berlin and Saxony, the Förderverein Bundesstiftung Baukultur e.V. as well as of the European Architects Network (EAN). Some of TCHOBAN VOSS Architekten’s most prominent projects include: EDGE Suedkreuz Berlin, Berlin, Germany SKF Test Centre for large-scale bearings, Schweinfurt, Germany Seestraße, Berlin, Berlin, Germany Koenigstadt-Quartier, Berlin, Germany EMBASSY – Living alongside Koellnischer Park, Berlin, Berlin, Germany The following statistics helped TCHOBAN VOSS Architekten achieve 3rd place in the 30 Best Architecture Firms in Germany: A+Awards Winner 1 A+Awards Finalist 6 Featured Projects 12 Total Projects 29 2. Barkow Leibinger © Barkow Leibinger The scope of Barkow Leibinger’s work spans from cultural projects to industrial ones. Their focus on industrial architecture includes master planning and building representational and functional buildings for production, logistical and office spaces. Some of Barkow Leibinger’s most prominent projects include: Production Hall Trumpf, Hettingen, Germany Stadthaus M1 – Green City Hotel, Freiburg, Germany Harvard ArtLab, Boston, Massachusetts Production Hall, Grüsch, Switzerland Fraunhofer Research Campus, Waischenfeld, Germany The following statistics helped Barkow Leibinger achieve 2nd place in the 30 Best Architecture Firms in Germany: Featured Projects 12 Total Projects 17 1. J.MAYER.H © J.MAYER.H J. MAYER H’s studio, focuses on works at the intersection of architecture, communication and new technology. From urban planning schemes and buildings to installation work and objects with new materials, the relationship between the human body, technology and nature form the background for a new production of space. Some of J.MAYER.H’s most prominent projects include: MIAMI MUSEUM GARAGE, Miami, Florida n.n. Residence, Moscow, Russia Hasselt Court House , Hasselt, Belgium Highway Rest Stops, Tbilisi, Georgia Rest Stops, Gori, Georgia Featured image: Tram Stops, Kehl, Germany The following statistics helped J.MAYER.H achieve 1st place in the 30 Best Architecture Firms in Germany: A+Awards Winner 5 A+Awards Finalist 3 Featured Projects 19 Total Projects 30 Why Should I Trust Architizer’s Ranking? With more than 30,000 architecture firms and over 130,000 projects within its database, Architizer is proud to host the world’s largest online community of architects and building product manufacturers. Its celebrated A+Awards program is also the largest celebration of architecture and building products, with more than 400 jurors and hundreds of thousands of public votes helping to recognize the world’s best architecture each year. Architizer also powers firm directories for a number of AIA (American Institute of Architects) Chapters nationwide, including the official directory of architecture firms for AIA New York. An example of a project page on Architizer with Project Award Badges highlighted A Guide to Project Awards The blue “+” badge denotes that a project has won a prestigious A+Award as described above. Hovering over the badge reveals details of the award, including award category, year, and whether the project won the jury or popular choice award. The orange Project of the Day and yellow Featured Project badges are awarded by Architizer’s Editorial team, and are selected based on a number of factors. The following factors increase a project’s likelihood of being featured or awarded Project of the Day status: Project completed within the last 3 years A well written, concise project description of at least 3 paragraphs Architectural design with a high level of both functional and aesthetic value High quality, in focus photographs At least 8 photographs of both the interior and exterior of the building Inclusion of architectural drawings and renderings Inclusion of construction photographs There are 7 Projects of the Day each week and a further 31 Featured Projects. Each Project of the Day is published on Facebook, Twitter and Instagram Stories, while each Featured Project is published on Facebook. Each Project of the Day also features in Architizer’s Weekly Projects Newsletter and shared with 170,000 subscribers.     We’re constantly look for the world’s best architects to join our community. If you would like to understand more about this ranking list and learn how your firm can achieve a presence on it, please don’t hesitate to reach out to us at editorial@architizer.com. The post 30 Best Architecture and Design Firms in Germany appeared first on Journal.

Heydar Aliyev Center | © Olivier Blanchette via Unsplash In contemporary architectural discourse, the building envelope is no longer a passive partition but a dynamic interface capable of interaction, regulation, and adaptation. Amid rising environmental complexity and performance demands, composite materials are emerging as enablers of this transformation. Their potential goes far beyond lightweight strength; composites are redefining what intelligence means in architectural materiality. As the industry pivots toward energy-conscious design, real-time responsiveness, and multi-functional skins, composites provide structural solutions and performative systems. In this context, the envelope becomes a site of intelligence. From Passive Shells to Active Systems For centuries, architectural skins served primarily as barriers, blocking weather, enclosing space, and symbolizing permanence. But the 21st century demands more. We require façades that filter air and light, mediate thermal flux, integrate sensors, and generate power. Traditional materials, limited by monolithic performance and weight, have struggled to adapt. Composites, by contrast, are inherently systemic. They are engineered layers rather than singular substances. Through the integration of fibers and matrices, composites enable architectural envelopes that perform structurally while accommodating embedded systems such as thermal insulation, acoustic control, impact resistance, and photoreactivity. These characteristics make them prime candidates for high-performance envelopes in buildings and infrastructure alike. In the Qatar Integrated Railway Project, composite roofing and FRP façade panels were employed to meet the demands of the harsh desert environment. This solution reduced structural loads and improved thermal performance while ensuring long-term durability in a climate defined by extremes. Performance Layering and Embedded Intelligence What distinguishes composites from conventional materials is their capacity to combine multiple performance layers in one unified system. Instead of applying insulation, waterproofing, and cladding in sequence, a composite panel can consolidate these into a single prefabricated, high-performance element. A compelling example is the Eco Casa in Australia, designed by Ian Wright, which used frameless DuFLEX composite panels. The result was an environmentally conscious home with significantly reduced material waste, enhanced thermal performance, and minimized emissions. These outcomes demonstrate how composites offer design efficiency and ecological responsibility. The capacity for prefabrication and integration is particularly valuable in settings where labor conditions, transportation logistics, or weather exposure make traditional multi-layered construction inefficient or impractical. Composites with a Nervous System: Sensing the Built Environment Recent innovations in smart composites extend these capabilities further. By embedding fiber-optic or piezoresistive sensors into composite assemblies, architects and engineers can develop building skins that sense stress, temperature changes, humidity, or vibration in real-time. These responsive façades can feed data into building management systems, enabling performance optimization or alerting maintenance teams to signs of wear or structural fatigue. This functionality has been successfully explored in transport infrastructure. The King Abdullah High-Speed Rail Station in Saudi Arabia used 27-meter composite sandwich panels to span vast distances with minimal support. The lightweight system reduced the need for extensive reinforcement while enabling thermal and mechanical performance in a climate that demands resilience. Such examples are foundational to a future in which architecture does not merely resist the environment but interprets it. Formal Freedom Meets Functional Responsiveness Guangzhou Opera House | © Scarbor Siu via Unsplash Beyond embedded intelligence, composites also expand formal expression. Their moldability, especially with parametric design and digital fabrication, allows for envelopes that curve, fold, and morph in unattainable ways with conventional rigid materials. The Guangzhou Opera House, designed by Zaha Hadid Architects, is a defining example. Advanced composite assemblies that merged structural demands with formal ambition enabled its seamless curvatures and sharp transitions. These systems supported high-precision details and complex geometries while reducing material weight and installation complexity. This freedom extends to smaller-scale yet equally ambitious projects. At the Tilburg School for VAVO, translucent composite panels embedded with knitted textiles reference local craft while offering thermal performance and design cohesion. Such examples show that intelligence in architecture includes cultural sensitivity as well as technical adaptability. Toward Circular and Regenerative Envelopes The sustainability potential of composites is often overlooked. While early generations relied heavily on fossil-derived materials, newer systems use bio-based resins, natural fibers like flax and basalt, and recyclable matrices that fit into circular design models. Composite panels can now be designed for disassembly, repurposing, or reintegration into new construction, minimizing waste and conserving embodied energy. The Pasarela de Almuñécar in Spain exemplifies this ethos. As the world’s longest carbon-fiber walkway, it replaced heavier materials and extended structural lifespan while reducing maintenance. The project signals how composites can fulfill both technical and ecological ambitions. Efforts to embed digital tracking into panels, such as RFID tags, also support long-term monitoring and facilitate reuse planning. This vision aligns with emerging concepts like material passports, which will play a critical role in lifecycle accountability. Pasarela de Almuñécar in Spain | © Luis Garcia, CC by 3.0 Overcoming Barriers to Adoption Despite the clear advantages, composite adoption in architecture still faces notable hurdles. First is the challenge of integration with legacy materials such as concrete, stone, or steel. Connection detailing requires careful coordination to ensure structural continuity and thermal performance. Second is the perception of cost. While composites may require a higher upfront investment, their lower maintenance demands, improved energy performance, and reduced structural requirements often result in favorable long-term economics. Finally, regulatory frameworks continue to evolve. Building codes have been slow to reflect the unique properties of composites, although this is changing as standardization increases and successful pilot projects proliferate. A Vision for the Future: Architecture as Adaptive Intelligence Composites are not merely substitutes for traditional materials. They represent a paradigm shift in how we understand performance, integration, and the role of material in space-making. As architecture becomes increasingly data-driven, climate-responsive, and energy-conscious, the intelligent envelope will become the norm rather than the exception. Composites make this future feasible by offering structural capability, aesthetic freedom, environmental stewardship, and embedded intelligence within a single engineered solution. From high-speed rail terminals to cultural landmarks, these materials are shaping a new kind of architecture that listens, learns, and evolves. It is no longer sufficient for architecture to stand still. The next generation of buildings must adapt, interact, and perform. Composites make that future tangible. Learn More Explore how composite materials are redefining the building envelope in the construction sector and beyond: Visit Composites.Archi by ArchEyes Team Leave a comment

Lyse Martel is a Berlin-based “Color, Materials, and Finish” (CMF) designer and strategist in the mobility and consumer electronics industries. Her work combines craftsmanship and emerging technology to shape design strategy, drive material innovation, and create new sensory experiences. Lyse is fascinated by design’s power to shape how people feel and act. She believes design can foster emotional connection and wellbeing at a time when AI and automation are making their way into many new consumer product experiences, from the car to the living room. Below, Martel explores the emotional dimension of circular design and how the CMF field is evolving to meet the global challenges of circularity and sustainability. Fast Company: Please introduce yourself to our readers.Lyse MartelLyse Martel: I’m Lyse Martel, a CMF designer and design strategist, working primarily in automotive and consumer electronics. CMF, which stands for Color, Materials, and Finish, is about how a product looks, feels, and connects emotionally. So my work focuses on those elements as well as on strategy, brand identity, and sustainability. Although I mainly work in automotive and consumer electronics, CMF can apply to many different areas. Over the years I’ve worked with brands like Bang & Olufsen, Hopium, and NIO. And most recently I was directing a circular design project at Volkswagen Group—designing for circularity from the start with a large team of designers from different disciplines. How did you find your way into this field? It was step by step. My love for design was always there, even before I knew what to call it. It was shaped by my family’s craftsmanship, as well as my own curiosity for shapes, textures, colors, and sensory experiences. On my father’s side, I grew up around a lot of woodworking and carpentry. And on my mother’s side are generations of tailors. So that gave me an appreciation for textiles and textures and detailing and crafts. And I’ve always loved illustration and drawing and building small architectures with natural elements—everything that could involve materials and aesthetics. And I think that brought me to materiality and storytelling and eventually to CMF design. Were you able to find an educational path that encouraged your interests? I went to a specialized high school for applied arts and design, where I grew immensely as a creative person, and had a teacher who supported me and saw my potential with conceptual thinking. At university another teacher encouraged me to apply to a design internship in the automotive sector in Paris, and that’s how I formally entered the CMF design field. I was immediately drawn to the innovation and complexity of using material and color to shape the brand identity for a mobility project. [Photo: Lyse Martel]How do you stay on top of trends in color and material?Much of it is intuitive, but we also learn to connect the dots and see trends. I’m very much inspired by psychology and by what’s going on in the world—anything that could possibly impact human experiences and emotions. I’m paying attention to developments in architecture, interiors, digital and physical design, and material innovation. I’m also looking at global trends that have nothing to do with the design industry, including culture and the natural world. Nature plays a big role because you can look at how light interacts, how materials evolve with time, the functioning of ecosystems, and agriculture. I’m also very interested in how CMF design intersects with concepts like wellbeing and happiness, so I follow influential practitioners like Ivy Ross from Google, and Susan Magsamen, who works on neuroaesthetics, and Carol Gilligan, the psychologist and philosopher. Could you share more about neuroaesthetics? Neuroaesthetics looks at how design makes people feel: how beauty and art and design influence our brain, and how things like color, textures, light, and sound make us react cognitively or emotionally. We know that certain visual experiences will calm or excite us, while others make us feel uncomfortable. Designers can leverage those insights to create more meaningful and intuitive interactions. I’ve always been fascinated by how design makes people feel, and neuroaesthetics gives us the scientific reasoning behind those ideas. For instance, when I’m working with color and material for a car interior, I can decide to craft a more calming atmosphere with natural materials, or use soft lighting or a color gradient that can guide the user’s eye. I can think about how textures and tactility will influence the user’s feeling of comfort, or their perception of product quality or durability. When it comes to sustainability, there are a lot of materials that may not be readily acceptable to a user. In that case it can be helpful to lean into the authenticity of that material, perhaps by making it warmer or softer, or relating it to nature through colors or grain. So if we can somehow elevate or upscale the experience with that material, then we can start to shift the mindset to embrace sustainable materials or choices. Earlier you mentioned your work in circular design. Could you share more about that? Circular design is rethinking how we create and use products. It means designing for longevity, adaptability, and regeneration. We seek out the right materials, we design for easy reuse and repair, and we try to ensure that the product stays in circulation for as long as possible. Longevity is the number one criteria, because the longer you use a product, the less impact it has in terms of greenhouse gas emissions and other waste metrics. With circularity do you encounter pushback from industries that simply need consumers to keep buying more stuff? It does clash with short-term profit models, so it’s not easy for businesses to embrace it completely. But there is momentum for circular design, which is driven by consumer expectations, tighter regulations, and a growing recognition that resource efficiency is also smart business. I’ve seen mobility and consumer electronics firms try out concepts like modularity, repairability, and designing with disassembly in mind. Neuroaesthetics seems to be a strategy for tapping into people’s innate preferences for certain colors, materials, and finishes. But could also instigate behavior change, by tapping into the emotional layer of circularity? Absolutely, it can be surprisingly comforting, even if the materials are unexpected. When designing a circular product, you’re often working with waste, like a polymer that’s meant to circulate between cars. The challenge is making that material feel good, both emotionally and physically. What works is embracing the material’s character, maybe it has a soft texture or a slight irregularity, like a grain or uneven thread. Or it comes in a natural color that feels ultra-fresh. These little details shift the focus from what it is to how it makes you feel. You might not even realize it’s recycled plastic, but it just feels right. Sometimes, a car interior can feel like a cozy cabin, all because of the right textures and tones. That emotional layer is what really connects circularity.How could neuroaesthetics help make people comfortable with something new, like self-driving cars? It’s really about how shapes, colors and textures support the digital experience; all the micro-details working together to help the user feel at ease. I’ve been testing self-driving vehicles recently, and it’s surprising how much the environment impacts your reaction. In one case, the layout was minimal, with just the right number of buttons, and that simplicity helped me relax. But I also tested a car that was entirely gray, and it felt dull and dated. Light tones or soft gradients, something that evokes a sunrise or sunset, can go a long way in making the space feel more inviting.With automation, trust becomes a key part of the brief. How easily will someone understand what’s happening? Are they okay letting go of the wheel? That’s where CMF design needs to be fully integrated. I have to work closely with the interior and UX designers so that everything speaks the same language. If I propose a soft, natural palette and the shapes are cold or aggressive, it creates a disconnect.[AI Image: courtesy Lyse Martel]Can you share how you use AI in your work, or how AI factors into the CMF design process? It’s part of my creative process in that it helps me visualize materials, colors, and sensory experiences I’m considering for a project. It’s a great way to communicate an idea visually, and also to put it out there so someone else can pick it up and build on it. So for me, it’s really a tool that helps us be more precise in how we express and share ideas.There are also really promising use cases in circular design, where AI can help us map local resources and integrate them more intelligently into products. For example, there’s a lot of bamboo in China, linen in the north of France, or paper waste around Berlin. So what can we do with that knowledge? We can see where materials are available, but also think about how to reduce waste, predict life cycles, or imagine new reuse scenarios. Anything that involves localizing or optimizing can be supported by AI.And as the digital world increasingly shapes the physical one, I think there’s real potential in using these new, hyper-sensory AI-generated visuals to inspire physical experiences. Neuroaesthetics helps us design for emotion, and AI can help translate those emotional cues into visual concepts that, when made real, feel meaningful and multi-sensory. Do you ever get any pushback for the decisions that you or your team might make as CMF designers? Sometimes there’s a strong reaction to a particular color or material choice. I remember working on a concept car called Eve, developed with a strong focus on emerging markets and innovative design languages. I proposed an exterior in a rose gold tone, which could be read as pink. That sparked some discomfort in the room. I think it challenged certain expectations of what a car should look like, especially in Western automotive culture. But in China, rose gold is often associated with refinement and quality. It’s not seen as gendered in the same way. So for me, it was an opportunity to bring a fresh, culturally relevant aesthetic into the project. I understood the hesitation, but that’s part of the role. Sometimes CMF invites us to gently shift the visual language and open up new emotional possibilities.[Image: Felix Godard Design]Are there certain colors and finishes that are timeless and others that are more transitory? In the last decade we used a lot of neutrals, like beige and gray. Many brands also decided to shape themselves around their core colors—“our black,” “our white,” etc. And they would build up from there to include more exciting colors into their identity. Today I see those approaches being challenged. Gen Z is coming in and they have other ideas about what’s fresh. In the past few years we saw a lot of yellows. Recently, dark reds have been popping up everywhere, and they’re a powerful, timeless choice that adds richness and sophistication. These colors grab attention and can work well, but we need to be mindful of their relevance for long-term products.I believe there is still a need for that core timelessness. You might use black as a core color, but you might tint it blue to make it more interesting or less intense. When I was at Bang & Olufsen, we often discussed how to stand out from typical black consumer electronics. For a more lifestyle-oriented, subtle design in the home, why not use gray?[Image: courtesy NIO]Are you ever surprised when a particular color takes off? The latest Pantone color of the year is a brown-beige shade, which honestly surprised me. I’ve used warm grays before when I wanted to give a product a cozier, inviting feel, but this one doesn’t feel as fresh to me. I’m not sure it resonates with the moment in the same way other trends do. I love when a heritage brand takes an unexpected turn, like the paper company GF Smith, which recently rebranded with vibrant, poppy colors and introduced a bespoke, rounded sans-serif typeface, GF Smith Homie. I like to see they are brushing off the history to embrace different values and just be human. They want to stand for inclusivity, so they’re going to speak up about that and make sure it’s seen in the brand.Where do you draw creative inspiration? It’s really what makes me burn, what is calling my heart. I also need to talk to people—not only creatives, but people from all walks of life. I enjoy traveling through my city and looking at how people live. I learn a lot simply from riding the train, overhearing conversations, and observing how the mood changes with the seasons. I also read the news and check out certain magazines. There’s one I like, Imagine5, that focuses on how to make sustainability joyful. It explores that from all angles and it’s very accessible. You don’t have to be a sustainability expert to enjoy it. [Image: courtesy NIO]Could you share some of the projects you’ve worked on that you’re most proud of? I joined the global smart EV brand NIO in its early stages, when the brand vision was still taking shape, and contributed to the initial direction of color, materials, and finishes as part of the design team. The objective was to align with their vision of “Blue Sky Coming,” so we had to come up with progressive aesthetics and human-centered design, which later evolved into design principles. Shaping that brand was extremely rich for me in terms of learning and collaborating with so many talented designers. I also led a couple of projects – one was the previously mentioned concept car called Eve. I had the opportunity to introduce more natural materials and different colors that were not commonly used in the automotive space.Introducing new aesthetics became an important theme for my later work with Bang & Olufsen, which was about connecting the dots between sound and material and design. And then more recently, the circularity project I’ve been leading for Volkswagen Group is really close to my heart. The brief was to introduce longevity, adaptability, and recyclability across all design touch points for Volkswagen. To that end we provided creative direction that considered everything from exterior design, interior, user experience, and materiality.It was an interesting challenge to find the emotional layer of circularity, while staying on brand for Volkswagen. Circularity has a lot of very technical aspects, but as designers we can make circularity tangible. How do you deal with mistakes or failure in the creative process? I view mistakes or failure as an opportunity to test more, to rethink, and to reframe. If a design doesn’t work, how can we regroup and find a solution that’s way more interesting and beyond the obvious? In the creative process there can be a lot of fear associated with going against the grain. What I’ve noticed is that if we stay in that fear space, we close ourselves off to opportunities. It’s important to be in an open space of creativity and curiosity. Allow mistakes and failure to happen. When there is joy in the process and a strong intuition, you produce better results in the end. What advice would you give to aspiring designers, but also anyone who wants to enter the world you inhabit? Great design comes from a constantly growing and inspired mind. Stay curious and know that inspiration comes from everywhere. Embrace your uniqueness, but also be able to evolve from that. Be open to change and to new perspectives. There will be tough feedback and creative disagreements, but the important thing is how you receive those situations. Maintain a mindset of abundance and try to see the positive in anything you do. Finally, as creatives it’s important for us to take time alone to recharge, to reflect, and to work on our magic. When you’re feeling well and thriving individually, your creativity also does. At that point it’s crucial to rejoin the collective, where you have a chance to collaborate and experience the diversity of perspectives that fuels creativity. It can be a tough road for aspiring designers, but I would encourage them to proceed with care and openness, and to leave their fears behind. 

Harris Tweed, a Scottish textile brand, is working with the National Manufacturing Institute Scotland (NMIS) to integrate 3D printing technology into its traditional loom systems. The integration seeks to improve part accessibility and support the long-term sustainability of its weaving operations in the Outer Hebrides. Kelly McDonald, operations manager at The Harris Tweed Authority, noted that while the organization takes pride in its craftsmanship and tradition, it also recognizes that innovation is essential to maintaining the strength and resilience of the industry. “Working with NMIS is a significant step forward in future-proofing the looms critical to the production of Harris Tweed. With the ability to replace parts quickly, easily, and affordably, our weavers can focus on what they do best without worrying about delays. This not only safeguards the future of our fabric but also supports the livelihoods of the island community who dedicate their skills to preserving the craft.” Harris Tweed Fabric. Photo via Harris Tweed. The Traditional Harris Tweed Process and New Innovations To address these issues, The Harris Tweed Loom Spares Co. partnered with NMIS—operated by the University of Strathclyde and part of the High Value Manufacturing Catapult—to develop 3D printed loom parts. The collaboration focuses on improving access to essential components and reducing dependence on long supply chains. At NMIS’s Digital Factory in Renfrewshire, engineers applied reconditioning techniques and tested durable materials to create high-quality parts. One key loom assembly, initially comprising seven separate pieces, was redesigned into three components made from strong composite material. This new version reduces costs by 99% and can be printed locally using a desktop 3D printer in approximately two hours. “When a vital part of the loom breaks, it can halt production for weeks, which is incredibly frustrating. Finding a way to keep the loom running smoothly is essential, and it’s been great to be one of the first to try out the new 3D printed assembly. The ability to get what we need, when we need it, will make a huge difference, as it means we can minimise downtime and focus on our work without unnecessary interruptions.” Old and new assemblies side by side. Photo via Harris Tweed. Ongoing Development and Future Goals Andrew Bjonnes, R&D engineer at NMIS Digital Factory, stated: “This project really showcases how modern manufacturing can boost traditional industries and help preserve valuable heritage skills. With additive manufacturing, we’re promoting self-sufficiency and giving weavers a smart, cost-effective, and user-friendly way to keep their looms up and running. It has been an incredibly rewarding project, making a tangible difference and allowing weavers to concentrate on their craft instead of worrying about equipment failures.” Andrew Bjonnes with new assembly. Photo via Harris Tweed. 3D Printing’s Impact on Fashion Design  3D fashion printing is expanding the range of possibilities for designers, providing new tools and techniques that enhance durability, sustainability, and creativity in the industry. In February, the New York Embroidery Studio (NYES), a surface design studio specializing in embroidered designs and textile embellishments for high-profile events like the MET Gala, integrated the Stratasys J850 TechStyle, marketed as the world’s first additive manufacturing system designed for direct printing on textiles. This addition enables the studio to create detailed, tactile designs, improve workflow efficiency, and reduce material waste. “The J850 TechStyle is an extraordinary addition to our capabilities. Our clients are thrilled by the possibilities this technology opens up—from high-end fashion to VIP and entertainment projects. Combining the precision of 3D printing with our expertise in embroidery allows us to push boundaries like never before,” said Michelle Feinberg, Owner and Creative Director of NYES. Elsewhere, Coperni introduced its gel bag at Disneyland Paris, created using Rapid Liquid Printing (RLP), a technique developed by MIT’s Self-Assembly Lab. RLP fabricates objects directly within a gel suspension, enabling the creation of soft, stretchable, and durable designs. Made from recyclable platinum-cured silicone, the bag highlights how advanced manufacturing techniques can seamlessly blend with fashion design while maintaining a strong focus on sustainability. Take the 3DPIReader Survey — shape the future of AM reporting in under 5 minutes. Who won the 2024 3D Printing Industry Awards? Subscribe to the3D Printing Industry newsletter to keep up with the latest 3D printing news. You can also follow us on LinkedIn, and subscribe to the 3D Printing Industry Youtube channel to access more exclusive content. Featured image shows Andrew Bjonnes with new assembly. Photo via Harris Tweed.

Just a week after its launch, Mud has already left a paw print on the pet care industry. The brand's debut product, The Everyday Wash for Dirty Dogs, is more than a niche grooming product: it's a manifesto. Developed over 18 months and recently awarded at D&AD 2025, the brand aims to challenge a culture of canine coddling. According to co-founders Angelina Pischikova and Karina Zhukovskaya, too often, dogs are treated as ornaments rather than animals. "Dogs don't want to smell like a candle shop," says Angelina. "They have 300 million scent receptors. Most washes are hell for them." Instead, The Everyday Wash is made with oat, aloe, panthenol and bioenzyme odour-fighting tech. It smells like... nothing – but that's on purpose. Not only is it pH-balanced, 100% dog-safe, plant-based and purposefully unscented, but the bottle even swaps out a standard pump for a fully recyclable, squishy nozzle, keeping both form and function canine-conscious. For Angelina and Karina, Mud™ isn't just a clean product; it's a clean break. "We exist to honour the wild in every dog," says Karina. "We think it's time to shift cultural convention away from treating pets as lifestyle accessories and toward recognising them as instinct-driven animals with emotional depth and needs of their own." While the launch range is intentionally minimal, more products are in the works – all guided by a philosophy rooted in respect rather than control. It's this perspective that sets Mud™ apart in a market saturated with pastel palettes, pun-based names and synthetic fragrances. "There is no other brand that does what we do in the category," says Angelina. And she's not just talking about the ethos. Mud™'s design system is just as provocative as its product. The brand's identity, developed in-house, is reactive by nature, including online; the logo expands or contracts based on local weather data. On the packaging, it vanishes and reappears thanks to thermal ink technology. "It's a metaphor for the mess, the rinse, and the return to it," says Karina. "The logo reacts to the weather – expanding with rain, contracting in the dry – just like the mud under their paws." This responsiveness extends to the user experience. The thermal ink on the bottle invites physical interaction, while the weather-reactive digital elements offer a subtle, sensory delight that encourages engagement, play, and even shareability. It's branding as conversation, not a billboard. Mud is also produced in small batches in the UK. Bottles are 100% recyclable and printed directly with eco-compliant inks, eliminating the need for wasteful labels and adhesives. It's a product that feels good and does good, all without shouting about it. For the founders, sustainability is inextricably linked to ethics. "Most dog shampoos are just human ones in disguise," says Karina. "We don't put anything in the bottle that doesn't serve your dog. Nothing that messes with their fur, their senses, or the earth beneath their paws." [2ximage] What Mud™ is ultimately selling isn't just pet care – it's perspective and a rewilding of the pet industry. They're reasserting that animals are not accessories, and if the early traction is any indication, it's a message that resonates well beyond the dog-owning demographic. "We already had people say, 'I don't even have a dog, but your brand and the info on the website changed how I think about them,'" says Angelina. "That's an amazing response." With more products in development, Mud is only just getting started, but its early moves suggest a brand with bite. Clearly, it's not afraid to get dirty, ask difficult questions, and bring a bit of instinct back into a sanitised world.

Got a project that’s too wild for this world? Submit your conceptual works, images and ideas for global recognition and print publication in the 2025 Vision Awards, June 6th marks the end of the Main Entry period — click here to submit your work. What does the future of architecture hold? How will tomorrow’s buildings look, feel, and interact with the existing human-made environment? Which innovations are primed to help us reduce the footprint of construction, improve liveability, and redefine our idea of and relationship to space? These are the questions Architizer’s Vision Awards look to answer (or, at least offer some suggestions in lieu of concrete answers). Dedicated to the planned and unbuilt, which may or may not ever be, nominations represent one of our most unique human traits — the ability to imagine possibilities and impossibilities, to dream big and think well into unchartered territory. Unbuilt architecture, whether it is planned for construction or destined to remain on “paper,” should be more present in a newscycle of press releases for recently constructed or newly opened buildings. Indeed, many of the ideas presented in such projects directly respond to emerging crises exacerbated by our continued reliance on 20th-century practice’s approaches and materiality. Meanwhile, the evolution of architectural visualization allows architects to develop their wildest ideas and to communicate their boldest visions with more clarity and urgency than ever before. Kyathos I Mass Timber Arena by KAAF I Kitriniaris Associates Architecture Firm, Βεΐκου, Galatsi, Greece Many studios are looking to re-write the script with high tech innovations that simply would not have been possible in the recent past, or emphasize the urgent need to get back to traditional building styles that utilize natural resources and passive principles in a bid to bring down carbon emissions and other outputs with negative environmental impact. The Kyathos Mass Timber Basketball Arena proposal does both. It’s fitting that we should look at this concept in spring 2025. The Osaka Expo recently opened in Japan and features the largest free-standing wooden structure ever built. The Grand Ring encases the event site and a section of its coastal waters with a circumference of 61,035 square meters (656,975 square feet). To us, it reflects what is possible when modern engineering meets one of the world’s most sustainable materials. Likewise, realizing a size previously unthinkable with wood, Alexander Kitriniaris’ KAAF I Kitriniaris Associates Architecture Firm‘s plans for this Greek sports stadium offer a new vision for the athletic facility typology.  Kyathos I Mass Timber Arena by KAAF I Kitriniaris Associates Architecture Firm, Βεΐκου, Galatsi, Greece Employing a composite timber load bearing system, the project — commissioned by Galatsi Municipality — comprises a main court, spectator stands, internal mezzanine and gallery running the perimeter, changing rooms for athletes and referees, toilets, offices, and auxiliary spaces. Its total surface area is 4,000 square meters (43, 055 square feet), all of which complement the location. Designed for the site of an older, smaller wooden gymnasium, which fails to meet modern standards and is scheduled for demolition, the aesthetics reflect the surrounding Mediterranean flora grove. The name Kyathos refers to a type of painted pottery cup popularized in ancient Greece. The design of this was based on the petals of a milkweed belonging to the Euphorbia genus of plants. The countryside in this region is home to around forty such species, making the entire building an ode to indigenous nature and culture that has been here for millennia. When realized, it will stand in sharp contrast to the stereotype of arenas and stadiums most fans across the world have grown accustomed to, which often seem to have landed in situ, from another district if not planet. Kyathos I Mass Timber Arena by KAAF I Kitriniaris Associates Architecture Firm, Βεΐκου, Galatsi, Greece Above the main court level, the building’s structure is composed entirely of engineered wood, including glue-laminated timber, cross-laminated timber, and plywood. A timber support frame wraps the indoor gymnasium in a precise 45-by-30-meter (148-by-98 foot) rectangular grid. The roof is formed by ten identical isostatic frames. Symmetrical in design, these triple-arched assemblies combine beams and posts, reinforced where necessary by discreet metal connectors and stiffeners. Overhead, a lightweight polymer roof — waterproof, UV-resistant, recyclable, and printable — ensures durable protection while minimizing weight. In the renderings, an elegant lattice-like pattern, calls attention to these delicate considerations. At the heart of the design, the firm’s plans and visualizations emphasize, lies a bioclimatic structural shell (pictured below), conceived to provide constant shade while optimizing natural ventilation, daylighting, and passive cooling. Meanwhile, rainwater collected from the roof and shaped surfaces is reused for on-site irrigation, supporting the lush Mediterranean flora of the existing grove. Kyathos I Mass Timber Arena by KAAF I Kitriniaris Associates Architecture Firm, Βεΐκου, Galatsi, Greece This year, Saudi Arabia has begun working towards the World Cup 2034. Set to be held in November that year due to the incompatibility of regional climate and international football — or football at any level — the environmental price tag for this edition of the planet’s biggest soccer tournament is likely to be huge. While recent years have seen major strides taken to improve the impact of competitive sports, with last year’s Paris Olympics achieving more than 50% carbon reduction compared with the previous two Games, there are clear differences in what’s needed to host matches in cities like Jeddah and Riyadh. Not to mention the ultra-futurist urban experiment, NEOM — a metropolis that doesn’t exist yet.   Even during winter months, average temperatures across the desert state sit at a very hot 29°C. Humidity is high in coastal areas, while frost and snow are not uncommon overnight on higher ground. While it’s too early to tell the footprint of the vast mega-stadiums we’ve been promised for the competition, heating and cooling requirements are almost certainly going to be immense. We are, after all, experiencing a surge in global temperatures year-on-year and an increase in weather extremes of all kinds, and this will have significantly worsened in another ten years. More so, whether we’re powered with renewables or dinosaur fossils, high energy consumption of all types is not sustainable in the real sense.  Kyathos I Mass Timber Arena by KAAF I Kitriniaris Associates Architecture Firm, Βεΐκου, Galatsi, Greece Analyzing the legitimacy, authenticity and suitability of Saudi Arabia as a World Cup host nation is a conversation for another time. Perhaps another publication. But the fundamental point is we urgently need to rethink and reprioritize non-essential undertakings for the sake of the climate and our planet. When seen through this lens, the plans for Kyathos in Greece act as a symbol of progress and sets benchmarks for a future in which we acknowledge the need for our passions to be in balance with the Earth, rather imposing upon it. The fact this is achieved through an homage to a history in which we were more aligned to nature, and associated materials, but also utilizes modern engineering techniques and manufacturing methods of those materials, only accentuates the masterful vision behind this design.  Given the number of projects that will be designed between now and the stadium’s project 2028 construction date, and the ever-increasing concentration of carbon in our atmosphere, its urgent that we begin celebrating such plans now — while they’re still plans — rather than waiting for the design to become a physical building. After all, architecture starts before you put two bricks together (or, in this case, two pieces of timber). Learn More About Vision Awards Got a project that’s too wild for this world? Submit your conceptual works, images and ideas for global recognition and print publication in the 2025 Vision Awards, June 6th marks the end of the Main Entry period — click here to submit your work. The post Hoop Dreams: Greece Tips Off a New Vision for Arena Architecture appeared first on Journal.

PROS: Discreet, elegant, and unobtrusive design that doesn't scream "tech" Lightweight and comfortable premium frame Focuses on essential experiences without the unnecessary cruft Impressive transcription and teleprompter features Long battery life and effortless charging case design CONS: No speakers for calls or audio feedback (especially during navigation) Temple tips touch controls can be a bit cumbersome A bit expensive RATINGS: AESTHETICSERGONOMICSPERFORMANCESUSTAINABILITY / REPAIRABILITYVALUE FOR MONEYEDITOR'S QUOTE:With a simple design and useful features, the Even Realities G1 smart glasses prove that you don't need all the bells and whistles to provide an experience. Every day, we’re flooded with more information than our already overworked minds can handle. Our smartphones and computers put all this information at our fingertips, connecting us to the rest of the world while ironically disconnecting us from the people around us. Smart glasses and XR headsets promise to bring all this information right in front of us, bridging the gap that divides physical and virtual realities. And yet at the same time, they erect a wall that separates us from the here and now. It’s against this backdrop that Even Realities chose to take a bold step in the opposite direction. In both form and function, the Even Realities G1 smart glasses cut down on the cruft and promise a distilled experience that focuses only on what you really need to get through a busy day. More importantly, it delivers it in a minimalist design that doesn’t get in your way. Or at least that’s the spiel. Just in time for the upcoming Father’s Day celebration, we got to test what the Even Realities G1 has to offer, especially to some of the busiest people in our families: the dads juggling work responsibilities while trying to stay present for their loved ones. Designer: Even Realities Click Here to Buy Now: $599. Exclusive Father’s Day Special – Get 50% Off the G1 Clip + Clip Pouch! Hurry, offer ends June 15, 2025. Aesthetics You probably wouldn’t even be able to tell the Even Realities G1 is wearable tech if you meet someone on the street wearing a pair. Sure, they might look like slightly retro Pantos, but they’re a far cry from even the slimmest XR glasses from the likes of Xreal or Viture. You can clearly see the eyes of the person wearing them, and the tech is practically invisible, which is exactly the point. The design of the Even Realities G1 is on the plain and minimal side, a stark contrast to the majority of smart glasses and XR/AR headsets currently in the market, even those claiming to be fashionable and stylish. Sure, it’s not going to compete with high-end luxury spectacles, but they’re not entirely off the mark either. Unless you look really closely, you might simply presume them to be a pair of thick-framed glasses. The form of the glasses might be simple, but their construction is anything but. The frame is made from magnesium alloy with a coating that’s fused with sandstone, while the temples use a titanium alloy on the outer sides and soft silicone on the inner surfaces. The mixture of quality materials not only gives the Even Realities G1 a premium character but also a lightweight form that’s only ever so slightly heavier than your run-of-the-mill prescription eyeglasses. While the G1 most looks like normal eyewear, the temple tips are dead giveaways that things are not what they seem. The blocky, paddle-shaped tips that house batteries and electronics are definitely larger than what you’d find on most glasses. They’re not obnoxiously big, but they do tend to stick out a bit, and they’re hard to “unsee” once you’ve noticed their presence. Despite looking quite aesthetic, the Even Realities G1 isn’t pretending to be some posh fashion accessory. After all, the circular G1A and rectangular G1B options hardly cover all possible eyewear designs, and the limited color selection won’t suit everyone’s tastes. Rather than something you flaunt or call attention to, these smart glasses are designed to be an “everyday wear” and disappear into the background, making tech invisible without making it unusable, perfect for the dad who wants to stay connected without looking like he’s wearing a gadget at the family barbecue. Ergonomics If you’ve ever tried any of those hi-tech wearables promising the next wave of computing, then you’d probably know that you’d never wear any of those glasses or visors for more than just an hour or two every day. They may have impressive technologies and apps, but they become practically useless once you take them off, especially when you have to step out into the real world. In contrast, the Even Realities G1 is something you’d be able to wear for hours on end, indoors or outdoors. Made from lightweight materials with a construction that even throws away screws to reduce the heft, it’s almost mind-blowing to think that the glasses houses any electronics at all. This level of comfort is honestly the G1’s most important asset, because it allows people to experience its smart features far longer than any Quest or Viture. When it comes to eyewear, however, prescription lenses have always been a sore point for many consumers, and this is no exception. Because it integrates waveguide optics into the lens, you’ll have to pay extra to have customized prescription lenses when you buy an Even Realities G1. It can be a bit nerve-wracking to ensure you get all the measurements and figures right, especially since you can’t return or exchange glasses with customized lenses. While the G1 eyeglasses are definitely comfortable to wear, the same can’t exactly be said when it comes to manually interacting with them. While most smart glasses and headsets have controls near your temples, the G1’s touch-sensitive areas are at the temple tips, which would be sitting behind your ears when you’re wearing the glasses. They might feel awkward to reach, and those with long hairstyles might find it difficult to use. Fortunately, you will rarely touch those tips except to activate some functions, but it can still be an unsatisfactory experience when you do. Performance The Even Realities G1 takes a brilliantly focused approach to smart eyewear, prioritizing elegant design and practical functionality over unnecessary tech bloat. The 640×200 green monochrome display may seem modest, but it’s deliberate choice that enables the G1 to maintain a sleek, stylish profile. The absence of cameras and speakers isn’t a limitation but a thoughtful design decision that enhances both wearability and privacy, allowing users to seamlessly integrate this technology into their daily lives without social awkwardness. The magic of the G1 lies in its delivery of information directly to your field of vision in a way that not only delights but also transforms how you interact with digital content. The core Even Realities G1 experience revolves around bringing only critical information to your attention and keeping distractions away, all without disconnecting you from reality and the people around you. Its text-centric interface, displayed by two micro-LED displays, one on each lens, ensures that information is distilled down to its most essential. And there’s no denying the retro charm of a green dot-matrix screen in front of your eyes, even if the color won’t work well against light or bright objects. The Even Realities G1 experience starts with the dashboard, which you can summon just by tilting your head up a bit, an angle that you can set on the companion mobile app. One side shows the date and time, temperature, number of notifications, and your next appointment. The other side can be configured to show one of your saved quick notes, news, stocks, or even your current location. None of these items are interactive, and you’ll have to dive into the mobile app to actually get any further information. With Father’s Day approaching, it’s worth noting how the G1’s floating heads-up display, visible only to the wearer, helps dads stay effortlessly connected, organized, and present. The QuickNote and Calendar features are particularly valuable for fathers juggling work and family responsibilities, allowing them to process their to-do lists perfectly on schedule without missing a beat of family time. Spending quality time with your child then suddenly remembering you need to buy batteries on your next errand run? No more frantically scampering for pen and paper or even your phone; just tap and speak. Of course, the smart glasses really shine when it comes to the, well, smart functionality, most of which unsurprisingly revolve around words, both spoken and displayed. Transcription, which is used when making Quick Notes, records your voice and saves it alongside the transcribed text. Fathers who find themselves in never-ending meetings no longer need to worry about missing a beat. Not only do they get to keep notes, but they also receive a summary and recap thanks to the G1’s AI capabilities, a game-changer for busy dads who need to process information efficiently. Translation can make international trips quite fun, at least for some interactions, as you’ll be able to see actual translated captions floating in the air like subtitles on a video. Dads who give a lot of talks, business presentations, interviews, or broadcast videos will definitely love the Teleprompter feature, which can advance the script just based on the words you’re speaking. No more worrying about missing important points during that big presentation, leaving more mental bandwidth for what really matters. It’s also perfect for a captivating Career Day show that will do your kid proud. The accuracy of Even Realities’ speech recognition and AI is fairly good, though there are times when it will require a bit of patience and understanding. There’s a noticeable delay when translating what people say in real time, for example, and it might miss words if the person is speaking too quickly. Navigation can be a hit or miss, depending on your location, and the visual direction prompts are not always reliable. The latter is also one of the cases where the absence of built-in speakers feels a bit more pronounced. There’s no audio feedback, which could be useful for guided turn-by-turn navigation. Even AI can hear you, but it can’t talk back to you. Everything will be delivered only through text you have to read, which might not always be possible in some cases. Admittedly, the addition of such hardware, no matter how small, will also add weight to the glasses, so Even Realities chose their battles wisely. The Even Realities G1 is advertised to last for 1.5 days, and it indeed lasts at least more than a day. The stylish wireless charging case, which has a built-in 2,000mAh battery, extends that uptime to five days. Charging the glasses is as simple as putting them inside the case, no need to align any contact points, as long as you remember to fold the left arm first before the right arm. Oddly enough, there’s no battery level indicator on the glasses, even in the dashboard HUD. Even Realities focused on making the G1 simple, both in design and in operation. Sometimes even to the point of oversimplification. To reduce complexity, for example, each side of the glasses connects to a smartphone separately via Bluetooth, which unfortunately increases the risk of the two sides being out of sync if one or the other connection drops. Turning the glasses into shades is a simple case of slapping on clip-on shades that are not only an additional expense but also something you could lose somewhere. Sustainability By cutting down on the volume of the product, Even Realities also helps cut down waste material, especially the use of plastics. The G1 utilizes more metals than plastic, not only delivering a premium design but also preferring more renewable materials. The company is particularly proud of its packaging as well, which uses 100% recyclable, eco-friendly cardboard. While magnesium and titanium alloys contribute to the durability of the product, the Even Realities G1 is not exactly what you might consider to be a weather-proof piece of wearable tech. It has no formal IP rating, and the glasses are only said to be resistant to splashes and light rain. It can accompany you on your runs, sure, but you’ll have to treat it with much care. Not that it will have much practical use during your workouts in the first place. Value Discreet, useful, and simple, the Even Realities G1 smart glasses proudly stand in opposition to the literal heavyweights of the smart eyewear market that are practically strapping a computer on your face. It offers an experience that focuses on the most important functions and information you’d want to have in front of your eyes and pushes unnecessary distractions out of your sight. Most importantly, however, it keeps the whole world clearly in view, allowing you to connect to your digital life without disconnecting you from the people around you. The Even Realities G1 would almost be perfect for this hyper-focused use case if not for its price tag. At $599, it’s easily one of the more expensive pairs of smart spectacles you’ll see on the market, and that’s only for the glasses themselves. For custom prescription lenses, you need to add another $150 on top, not to mention the $50 (normally $100) clip-on shades for those extra bright days. Given its limited functionality, the G1 definitely feels a bit overpriced. But when you consider how lightweight, distraction-free, and useful it can be, it comes off more as an investment for the future. For family and friends looking for a meaningful tech gift this Father’s Day, the G1 offers something truly unique: a way to stay on top of work responsibilities while remaining fully present for family moments. Whether capturing quick thoughts during a child’s soccer game or discreetly checking calendar reminders during family dinner, these glasses help dads maintain that delicate balance between connectivity and presence. Verdict It’s hard to escape the overabundance of information that we deal with every day, both from the world around us, as well as our own stash of notes and to-do lists. Unfortunately, the tools that we always have with us, our smartphones, computers, and smartwatches, are poor guardians against this flood. And now smart glasses are coming, promising access to all of that and threatening to further drown us with information we don’t really need. The Even Realities G1 is both a breath of fresh air and a bold statement against that trend. Not only is it lightweight and comfortable, but it even looks like normal glasses! Rather than throw everything and the kitchen sink into it, its design and functionality are completely intentional, focusing only on essential experiences and features to keep you productive. It’s not trying to turn you into Tony Stark, but it will help make you feel like a superhero as you breeze through your tasks while still being present to the people who really matter the most in your life. For the dad who wants to stay connected without being distracted, who needs to manage information without being overwhelmed by it, the Even Realities G1 might just be the perfect Father’s Day gift: a tool that helps him be both the professional he needs to be and the father he wants to be, all without missing a moment of what truly matters. Click Here to Buy Now: $599. Exclusive Father’s Day Special – Get 50% Off the G1 Clip + Clip Pouch! Hurry, offer ends June 15, 2025.The post Even Realities G1 Glasses Review: Smart, Subtle, and Perfect for Father’s Day first appeared on Yanko Design.