Wir alle kennen die meistens großartigen intimen Konzerte bei NPR’s Tiny Desk. Ich hatte hier schon etliche davon. Was wir bisher nicht hatten ist ein Blick hinter die Kulissen. Das ändert sich jetzt hiermit.

What began in 2008 as a humble, stripped-back performance series for NPR’s blog has grown into a global phenomenon, with unforgettable sets from stars like Taylor Swift, Bad Bunny, Dua Lipa, and more. Despite its viral fame, the heart of Tiny Desk remains the same: a real desk in a real office, surrounded by shelves packed with priceless mementos left by artists–from Adele’s water bottle to Sabrina Carpenter’s martini glass and even Chappell Roan’s wig. Meet the team behind the production, and discover how Tiny Desk became such a beloved series.

(Direktlink)

It’s always interesting when people say that they don’t like water, as it’s the main ingredient of our bodies and covers most of our world. As more and more of us turn to sustainable ways of consuming water (and thus avoid the clunky water bottle pileup in the recycling bin), reusable water bottles are on the rise, becoming as much of a symbol of status as intense hydration. Aarke presents the new To-Go Bottle for sparkling water, adding an elevated portability to our most earthly element. With an airtight vacuum seal that keeps beverages cold and bubbly, this stainless-steel bottle will keep you hydrated in style.

A completely stainless steel interior, makes for easy cleaning (they’re even dishwasher-safe!) and less buildup of bacteria, a common concern among water bottle enthusiasts. (Now – if anyone has recommendations on a great bottle brush, you’ll have to let us know). The bottles are designed to work with the Carbonator 3 and the Carbonator Pro, so you can keep drinks fizzy and chilled for up to 24 hours. The Carbonator 3 has To-Go Bottles in two sizes – the Large 1L and the Small 650 ml version – while the Carbonator Pro’s To-Go Bottle will be available available later this year in a 800 ml size.

Produced with over 90% recycled stainless steel, the To-Go Bottle not only lightens the load on the planet in its use, but in its creation as well. Sustainability is highly considered at the Swedish brand, deeply committed to lessening the burden of production at every step in the cycle. From utilizing post-consumer product to creating products designed with longevity in mind, they help us imagine a world where single-use is a thing of the past. Double-walled and vacuum-insulated, the To-Go Bottle is a sleek companion for in the home or outdoors.

“For years, sparkling water at home has been an easy, more sustainable alternative to store-bought water. But once people step outside, they often end up buying single-use plastic bottles,” says Jonas Groth, Co-Founder of Aarke. “The Aarke To-Go. Bottle in stainless steel changes that – helping people bring their own sparkling water and skip single-use plastic.”

Founded in 2013, Aarke was created by industrial designers Carl Ljungh and Jonas Groth to offer a refined take on everyday functions. A deep understanding of nature helps them design intuitively and thoughtfully, creating delightful spaces within moments frequently overlooked. Breaking down the process of human habit offers insight into how seemingly mundane rituals can be elevated, bringing meaning and beauty to all the little facets of life.

To learn more about the To-Go Bottle from Aarke, please visit their website here.

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While traditional rammed-earth houses have weathered centuries unchanged in the mountains of Zhejiang Province, China, a striking aluminum lattice building presents itself among the landscape. The Z Museum in Songzhuang Village, designed by TEAM_BLDG, sits over 400 meters above sea level, nestled deep within the mountains. Here, 20mm x 40mm aluminum tubes become the warp and weft of a monumental fabric, each element painted red on three sides and white on one.

Visitors begin in an adjacent rammed-earth structure, experiencing a “prologue hall” that preserves the village’s traditional spatial character. The transition into the main building becomes a journey through material time – from earth to aluminum, and shadow to the central light well that vertically connects all three floors. This vertical atrium functions as both practical circulation device and poetic gesture, allowing natural light to weave through the building’s core much as shuttle passes through warp threads.

The architects dissected the original monolithic structure into four interconnected volumes, creating a quartet of forms. The architects kept the rooftop terrace deliberately minimal – uniform materials and absent functional zoning allow visitors to fully experience nature and relaxation. This restraint transforms the building’s crown into a contemplative viewing platform, positioning the museum as lens through which to perceive the landscape.

There was special attention paid to the treatment of interior-exterior boundaries. Original window openings were reconfigured in response to the surrounding landscape, creating a secondary framing. This strategy allows curated views of village life to dialogue with displayed artworks, dissolving the traditional separation between museum and context. The building becomes a viewing apparatus, framing the village as it would an exhibited textile.

For more information, visit team-bldg.com.

Photography by Jonathan Leijonhufvud.

Butterfly joints don’t always get the recognition they deserve. In traditional Korean wooden architecture (called hanok), woodworking, and masonry, these graceful connectors – known as nabi-jangbu – quietly hold everything together with precision, tucked out of sight within beams and frameworks. Rather than hide this essential element, designer Jin Kim, founder of the studio JAYUJAJE, brings it into the spotlight. Designed as a sculptural ode to Korean joinery, the Bugak stool transforms the humble butterfly joint into both a structural anchor and a captivating focal point – one that invites interaction and reveals a hidden surprise.

At first glance, the Bugak stool appears to be a minimalist, unassuming seat. Its soft curves and graceful silhouette are grounded by warm wood grain in two tones that adds just the right amount of visual texture. But look closer: at the center, a butterfly-shaped detail subtly hints that there’s more than meets the eye. With a gentle press, the form depresses, then slowly rises to reveal a concealed interior shelf – an unexpected surprise that brings added function to the design. Fittingly, bugak means to reveal, highlight, or elevate – precisely what this piece does for a once-hidden structural detail.

By spotlighting the butterfly joint, Kim flips the script on traditional construction. In Korean joinery, these connections are typically hidden, silently reinforcing a structure from within. But in Bugak, that quiet connector becomes the main character. It not only holds the stool together – it defines its silhouette and invites new ways of engaging with it. Through this small but powerful gesture, Kim turns an age-old craft technique into something interactive, poetic, and completely contemporary.

To learn more about the Bugak stool by Jin Kim of studio JAYUJAJE, visit www.jayujaje.com.

Photography courtesy of JAYUJAJE.