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ATM 98 Mechanical Keyboard: Blending Architectural Design with Silent Functionality

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The ATM 98 mechanical keyboard stands out with a design aesthetic inspired by Tadao Ando's notable 'Church of the Light' in Osaka, Japan. This input device, with its Misty Dusk color scheme, mimics the visual appeal of concrete architecture, featuring a gentle gray hue and an understated, sleek profile. A single key near the F12 button provides a splash of contrasting color. Its surface is finished with a matte texture, allowing soft RGB illumination to emanate subtly from beneath the keys. Beyond the Misty Dusk variant, the keyboard is also offered in Frost Whisper and Night Ink options, with the former boasting a transparent design reminiscent of avant-garde luggage, revealing its internal components. These visible inner layers, along with the golden circuit board and glowing switches, are integral to the product's overall design. In darker environments, when the RGB lighting is activated, the keyboard appears to radiate from within, particularly the Night Ink version, which emits an orange glow akin to embers. Equipped with a 98-key layout that includes a numeric pad, the ATM 98 is acclaimed by its manufacturer, Angry Miao, for its exceptionally quiet operation, a result of its 'silent-first' design philosophy, ensuring both quietness and a smooth, satisfying tactile response during use.

The hushed operation of this device stems from its sophisticated internal construction. The ATM 98 employs a gasket mount system, meaning the keys rest on pliant layers rather than being rigidly attached to the frame. Its internal architecture comprises eight distinct layers, incorporating foam and flexible materials designed to absorb sound and mitigate vibrations. These layers effectively eliminate hollow or scratching noises, contributing to a serene and seamless typing experience. Beneath each key, Bsun Light Sakura switches are precisely tuned for reduced sound and enhanced fluidity. The material composition of these switches minimizes friction, allowing for effortless key depression. Users experience a firm tactile feedback upon full key press, followed by a crisp and clean return. A unique feature on the upper right of the ATM 98 is the Star Ring knob. By default, this metallic and acrylic component manages audio volume, but it can be reconfigured via dedicated software to perform various functions such as scrolling, mode switching, or executing shortcuts. The knob also illuminates, extending the design principles inspired by Tadao Ando's architectural masterpiece.

This keyboard exemplifies how sophisticated engineering can merge with artistic inspiration to create a product that is both aesthetically pleasing and highly functional. It serves as a reminder that even everyday tools can be transformed into pieces of art, offering users an enhanced interaction experience. The ATM 98 encourages us to seek out innovation that not only performs its intended purpose flawlessly but also elevates our daily interactions through thoughtful design and user-centric features, fostering a deeper appreciation for the objects we engage with in our technological world.

Snøhetta's Visionary Beijing Art Museum: A Radial Hub for Culture and Community
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Snøhetta's Visionary Beijing Art Museum: A Radial Hub for Culture and Community

Ethiopia Breaks Ground on Africa's Largest Airport, Designed by ZHA
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Ethiopia Breaks Ground on Africa's Largest Airport, Designed by ZHA

Tales of Saru: A Residence Rooted in Memory and Nature
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Tales of Saru: A Residence Rooted in Memory and Nature

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Shigeya Miyata Transforms Honda Motorcycle Parts into Functional Art

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Shigeya Miyata's "pause" collection introduces a fresh perspective on repurposing industrial materials for domestic use. This unique series involves transforming decommissioned Honda motorcycle elements into various functional art pieces by encasing them in solid concrete. The essence of the project lies in contrasting the inherent motion of vehicle parts with the immobility of concrete, thus giving these mechanical components a new identity within a home setting.

This initiative ingeniously merges automotive engineering with interior design. Components originally crafted for dynamic performance are now integrated into static forms, serving as decorative and practical objects. Each item, ranging from elegant mirrors to distinct pen holders, is meticulously handcrafted under Miyata's direct supervision, from initial mold creation to the final pour. This endeavor is a part of Honda's broader commitment to sustainability, known as uppar, which seeks creative ways to reuse vehicle parts beyond their original automotive application.

Due to the specific nature and limited availability of the original Honda parts, each piece in the "pause" series is produced in small, exclusive quantities. For example, mirrors are fashioned from VT1300CX parts in two distinct editions, while vases utilize CBR250RR components in eleven editions. The pen holders and photo frames, each limited to three editions, are crafted from RC213V-S parts. This project blurs the lines between industrial design and fine art, offering a compelling study of how an object's value, purpose, and material character can be reimagined through the concept of stillness, emphasizing material continuity and creative reinterpretation.

The innovative approach taken by Shigeya Miyata with the "pause" series demonstrates a powerful message about resourcefulness and environmental responsibility. By transforming what once moved with speed and power into objects of calm and utility, the project encourages us to look beyond conventional uses and embrace the potential for beauty and purpose in discarded materials. This recontextualization not only champions sustainable practices but also elevates everyday items to a realm of thoughtful artistry, proving that with creativity, even the most industrial elements can find a new, meaningful life.

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Transforming the Ordinary: Vegetables as Sculptural Art
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Transforming the Ordinary: Vegetables as Sculptural Art

Rijksmuseum to Unveil Expansive Sculpture Garden in Amsterdam
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Rijksmuseum to Unveil Expansive Sculpture Garden in Amsterdam

The AI's Struggle with Analog Clock Representation
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The AI's Struggle with Analog Clock Representation

Building materials

Dan Flavin's Grids: A Luminous Exploration of Space and Color

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At the David Zwirner Gallery in New York, a captivating exhibition titled "Dan Flavin: Grids" invites visitors into a radiant world where light transcends its conventional role to become an active architectural component. This retrospective, featuring meticulously re-created installations from 1976, demonstrates Flavin's pioneering vision in shaping spatial perceptions through fluorescent light. The artist's distinctive grid formations, while geometrically precise, introduce a palette of colors that profoundly influence the atmosphere of each room, encouraging a dynamic engagement with the luminous sculptures. The interplay of inward-facing vertical and outward-facing horizontal lamps creates a soft diffusion of color, blurring the gallery's structural boundaries and transforming the viewing experience into a journey of discovery.

This thoughtful presentation not only celebrates Flavin's enduring legacy but also illuminates the evolution of his approach to light as an artistic medium. From his early explorations in the 1960s, Flavin consistently refined his technique, culminating in the confident and deliberate grid designs that define this collection. The exhibition serves as a testament to his mastery of manipulating light to evoke emotional and spatial responses, revealing how seemingly simple fixtures can generate complex and immersive environments. Each installation is a carefully orchestrated dialogue between geometry, color, and the inherent properties of light, reaffirming Flavin's profound impact on contemporary art and his innovative contributions to the minimalist movement.

The Spatial Dynamics of Fluorescent Grids

Dan Flavin's "Grids" exhibition at the David Zwirner Gallery offers a profound exploration into how fluorescent light can redefine spatial dynamics. The installations, carefully re-created from historical works first developed in 1976, transform the gallery's corners into vibrant zones where light acts as a primary architectural material. Rather than merely illuminating surfaces, Flavin’s arrangements of simple fluorescent fixtures engage walls, ceilings, and floors as receptive canvases, embedding light directly into the fabric of the space. This integration alters the ambiance of each room, creating an immersive experience where geometric precision meets a fluid interplay of color. The exhibition powerfully demonstrates Flavin's innovative method of using light to build and modify environmental perceptions, marking a significant contribution to the realm of light art and minimalism.

Flavin’s sophisticated use of fluorescent lamps evolved from his initial experiments in the 1960s, culminating in the mature and assured grid compositions seen today. These works are characterized by their deliberate geometry, which provides a stable framework for the introduction of color. Each installation meticulously balances vertical lamps, casting light inward, with horizontal lamps projecting outward, allowing colors to reflect and interact across surfaces. This reflective quality softens the architectural edges of the gallery, inviting visitors to navigate the spaces and observe how light and color shift with their movement and viewing angle. The result is an exhibition that not only showcases Flavin’s artistic precision but also his ability to create deeply immersive and responsive environments through the strategic deployment of light.

A Spectrum of Luminous Dialogues

The "Dan Flavin: Grids" exhibition culminates in a spectrum of luminous dialogues, showcasing the artist's adeptness at using color and arrangement to create varied emotional and spatial experiences. Early works like 'untitled (for Mary Ann and Hal with fondest regards) 1 and 2' from 1976 provide a foundational understanding, employing pink and green lamps in opposing directions. Positioned diagonally across from each other, these pieces establish a rhythmic flow that encourages viewers to perceive the subtle nuances in light behavior based on distance and perspective. This initial exploration sets the stage for more complex interactions, illustrating Flavin's systematic yet fluid approach to light composition and how it can dictate the visual and emotional landscape of a room.

Expanding on these themes, the exhibition includes grids dedicated to Leo Castelli, such as 'untitled (for you, Leo, in long respect and affection) 1 and 2' from 1977. These works introduce additional hues like yellow and blue alongside the earlier pink and green, creating a more expansive and relaxed color interaction. Smaller, four-foot versions designed for suspension in corners suggest a floating architectural element, further integrating light into the shared space and extending its influence beyond fixed surfaces. The exhibition concludes with the grand re-creation of 'untitled (in honor of Leo at the 30th anniversary of his gallery),' first shown in 1987, spanning twenty-four feet. This monumental piece laterally stretches the room, offering an immense sense of scale and providing a powerful testament to Flavin’s masterful manipulation of light to sculpt and define interior environments, showcasing the full breadth of his innovative grid series.

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