Minimalism in product design has gotten boring. We’re swimming in smooth white rectangles, touch controls that offer zero feedback, and devices designed to vanish. Apple spent two decades training the industry to sand away every visible seam, and now we live in a world where a Bluetooth speaker looks like a cylinder because a cylinder offends nobody. Bang & Olufsen understood early that audio equipment could occupy space like sculpture, could earn its place in a room through presence instead of absence. Teenage Engineering proved that mechanical honesty and playful geometry could coexist with premium materials. Both approaches work because they have a point of view.

TRETTITRE’s TTT series combines those instincts into something harder to categorize. The TTT-LP3 wireless vinyl player uses CNC-machined aluminum for the main frame and features a diffused lighting panel that spreads light evenly across the surface when music plays. The TTT-DP3 Bluetooth CD player takes inspiration from a UFO-like form with a transparent magnetic cover that rotates open to reveal the spinning disc. The TTT-CP3 cassette player uses a metal housing with sharp geometric lines and mechanical transport keys that deliver clear physical response. All three mount on the TTT-W magnetic modular wall rack, turning physical media playback into a visible, functional part of interior design.

Designers: Noah – Founder & Designer, Trettitre

Click Here to Buy Now: $229 $449 ($220 off). Hurry, only 55/99 left! Raised over $654,000.

TTT-LP3: A Vinyl Player That Doubles as Ambient Light

The back of the LP3 includes a hidden mounting structure that allows it to hang directly on a wall. You can mount it vertically so the record becomes part of the visual display, or go for the classic horizontal layout. When you want to move it, you lift the silicone leather handle at the top and take it down. The player detaches easily and gives you the freedom to listen wherever you choose. Traditional turntables usually stay exactly where you put them, limiting your options for when and where you listen. The LP3 works a little differently because of the battery and the wall mount’s wireless charging system, which keeps it powered without a visible cable.

Behind the LP3 sits a diffused lighting panel that spreads light evenly across the surface of the unit. When it’s on, the entire body of the player glows softly, designed to feel closer to ambient lighting than decorative lighting. You can change the lighting effects with the touch of a button. When a record spins, the moving shadows create a quiet visual effect. You can also leave the player mounted on the wall as a soft light source even when no music is playing. That ambient quality pushes the LP3 from well-designed product into something more considered: a slow, breathing light fixture that happens to play records.

The LP3 uses a self-balancing tonearm system that automatically sets the correct pressure when the player powers on. You place the record on the platter and lower the needle, and the system handles the rest. Many turntables require careful calibration before they can be used properly, with tonearm balance, tracking pressure, and counterweight adjustment all part of the process. For experienced collectors that process can be enjoyable, but for beginners it often feels complicated. The LP3 removes that barrier entirely while preserving the tactile experience people enjoy. The player supports both 33 RPM and 45 RPM records, and includes a manual control dial that allows small adjustments to playback speed (roughly ±0.5%), useful for older records that may not spin perfectly at their original speed anymore.

Wireless audio is handled through Qualcomm Bluetooth v5.3 with SBC, aptX, aptX HD, and aptX Adaptive, which allows higher-quality and lower-latency wireless audio than basic Bluetooth streaming. For wired setups, the player also includes a 3.5mm audio output. The built-in battery provides up to 6 hours of vinyl playback or up to 3 hours when used purely as an ambient light source. Full specs: dimensions 342×233×87mm, weight 1430g, Audio-Technica AT3600L moving magnet stereo cartridge, CNC-machined aluminum frame with silicone leather carrying strap. The LP3 arrives in June 2026 for Early Bird backers, May 2026 for Fast Delivery backers.

TTT-DP3: Giving the Compact Disc Its Aura Back

The DP3 keeps the reliability of CDs but gives the player a different visual presence. The design takes inspiration from a UFO-like form with a transparent magnetic cover. When the cover rotates open, the disc is partially visible as it spins, turning something simple into a small visual moment. A CD player shaped like a flying saucer with a rotating transparent lid is an audacious idea, and it works because it doesn’t try to evoke nostalgia. It reframes a CD player as a mechanical object of curiosity, something you watch as much as use.

The control buttons include raised tactile dots combined with a gold-embossed finish, making it easy to identify the buttons by touch alone. You can pause or skip tracks without needing to look down at the player. A small OLED display on the player shows track numbers, playback status, and battery level. The interface is intentionally simple so the information you need is visible immediately. A built-in battery allows the DP3 to run for several hours on its own, so you can move it from room to room, bring it to a small gathering, or take it while traveling. Full specs: Ø170×27mm, 324g, supports CD-DA and HDCD formats, Bluetooth 5.4, SNR >70dB, THD <3%, ABS+PC+Metal construction. The DP3 ships in May 2026.

TTT-CP3: Cassette Hardware for Modern Audio Setups

The CP3 keeps the tactile mechanical elements people associate with tapes while updating the electronics inside. The player uses a metal housing with sharp geometric lines that give it a distinctly industrial appearance. Instead of trying to imitate retro plastic designs, the CP3 leans into a more modern interpretation of cassette hardware. The playback controls use independent mechanical keys similar to piano keys. Each press has a clear physical response. Play, rewind, and stop feel deliberate instead of soft or mushy.

Inside the CP3 sits a Bluetooth module that allows cassette audio to stream wirelessly to speakers or headphones. The player decodes analog audio signals with high precision, helping reduce background noise and preserve more detail from the original recording. The result still sounds like cassette tape, but with greater clarity. Full specs: 122×120×32mm, 360g, supports Type I-IV cassette cartridges, Bluetooth 5.4, SNR ≥55dB, THD <3.5%, Metal+PC+ABS construction. The CP3 ships in May 2026.

When Storage Becomes Part of the Spectacle

The TTT-W Magnetic Modular Wall Rack uses an all-metal geometric structure that allows multiple TTT players to be arranged into a clean wall display while keeping them organized and ready to use. The rack integrates magnetic alignment and wireless charging for the vinyl player, so the LP3 can stay powered without visible cables while being part of the room’s design. Two configurations are available: a T-shaped rack (263×196×27mm, 300g) and a magnetic modular wall rack (612×302×27mm, 775g, combined style T+3). Both support wireless charging at 5-10W and use USB-C 5V 2A input.

The Supporting Cast, from Sculptural Speakers to Planar IEMs

TRETTITRE offers a range of add-ons designed to complement the TTT system. The TreSound1 Speaker arrives in concrete and wooden editions, delivering 2×30W + 1×60W output power with a 1″ tweeter, 2.75″ mid-range, and 5.25″ subwoofer for 30Hz-25KHz frequency response. The conical speaker features 360° surround sound, Bluetooth 5.2 with Qualcomm aptX HD, and a sculptural form that occupies space like a piece of furniture. The TreSound Mini is a portable Bluetooth speaker with a 5200mAh battery, 30W RMS output, and 360° surround sound. The TTT-E3 in-ear headphones use a 13mm planar magnetic driver with a 4-strand silver-copper hybrid conductor, available in 3.5mm and 4.4mm configurations. An aluminum alloy side table (300×300×750mm, 1.75kg, max load 50kg) rounds out the ecosystem.

What It Costs to Build the Setup, and When It Ships

The TTT-LP3 wireless vinyl player is available at $229 for Early Bird backers (June 2026 delivery), down from a planned $449 MSRP. The TTT-DP3 Bluetooth CD player is priced at $79 standalone ($179 MSRP), while the TTT-CP3 cassette player is also $79 standalone ($199 MSRP). If you’re a bonafide audiophile, a $399 bundle gets you all three devices. Optional add-ons include the TreSound Mini Bluetooth Speaker at $169 ($299 MSRP), TreSound1 Wooden Edition at $449 ($659 MSRP), TreSound1 Concrete Edition at $499 ($799 MSRP), TTT-E3 planar IEMs at $139 ($239 MSRP), and the TTT Side Table at $89 ($199 MSRP). The campaign runs through April 9, 2026, with worldwide delivery beginning May 15, 2026.

Click Here to Buy Now: $229 $449 ($220 off). Hurry, only 55/99 left! Raised over $654,000.

The post MUJI-Meets-Cyberpunk Vinyl Record Player Glows Like an Ambient Light and Charges Wirelessly first appeared on Yanko Design.

Most upcycling projects ask you to forget what something used to be. Omri Piko Kahan’s bike frame chairs ask the opposite. The geometry is still unmistakably a bicycle frame, the head tube, the top tube, the triangulated rear triangle, all of it present and accounted for, just oriented sideways and asked to hold a person instead of propel one. Kahan, an industrial designer based in Israel, builds lounge chairs from pairs of retired frames, and the whole point is that the donor material remains fully readable, repurposed without being disguised.

Structurally, the approach is clean and considered. Each frame pair is positioned symmetrically, fork and chainstay ends touching the floor as legs, the top tube running horizontally as an armrest. A slung seat and backrest in leather or canvas complete the form. The result has the relaxed posture of a Barcelona chair and the material honesty of something that was clearly built, not styled.

Designer: Omri Piko Kahan

Bicycle frames are absurdly overbuilt for what Kahan is asking them to do. A modern aluminum road frame is engineered to survive repeated impact loads from a rider pushing 300 watts through rough tarmac, and it does that while weighing somewhere between 1,000 and 1,400 grams. The structural surplus in that kind of engineering is enormous, which is why two of them positioned as a chair frame and asked to support a seated adult is, from a load-bearing standpoint, almost comically within spec. The geometry does the rest. Bicycle frames already resolve forces through triangulated sections, and a lounge chair asks for exactly that kind of lateral and compressive stability.

What Kahan has figured out is the orientation problem. Flip a frame on its side and the existing tube angles don’t automatically produce a useful chair geometry. The fork legs and chainstay ends need to hit the floor at the right height relative to each other, the top tube needs to land at armrest height, and the whole thing needs to produce a seat rake that doesn’t pitch you forward or swallow you whole. The matched top tube angles across both frames in the Cube and Trek build suggest this took real iteration, because they align with a precision that reads as deliberate rather than lucky. Filed fillets at the junctions and a custom setback upper support holding the sling confirm someone was paying close attention to finish quality.

The two builds photographed so far, one pairing a blue Cube road frame with a Trek, another combining a GT Transeo 3.0 with what appears to be a Supreme-branded MTB frame, show how much the donor bikes drive the final character of each piece. The GT build in particular has a longer wheelbase geometry that gives the chair a wider, more reclined stance than the Cube version. Kahan is taking custom orders, with pricing worked out per commission, which makes sense given that no two donor frame combinations will produce the same structural or ergonomic outcome.

The post These Old Bike Frames Upcycled Into Armchairs Are The Coolest Thing You’ll See Today first appeared on Yanko Design.

Spending hours in front of a glowing screen is unavoidable for most people, and the toll it takes on the eyes is a problem the monitor industry hasn’t truly solved. E Ink displays offer a gentler, paper-like alternative that’s far easier to stare at for long stretches, but most of them are painfully slow, limited in resolution, and not really up to the demands of daily computing.

The Modos Flow is Modos Tech’s answer to that problem. Built by a Boston-based hardware startup, it’s a 13.3-inch E Ink portable monitor designed not just for casual reading but for all-day, focused work. It targets the kind of person who needs a real secondary screen but wants to spend less time squinting and more time actually getting things done.

Designer: Modos Tech

Most E Ink monitors struggle as daily drivers because of their refresh rate. Traditional panels tend to crawl, making anything beyond static document reading a frustrating experience. The Modos Flow uses a custom board with open-source firmware to push its display to 60 Hz, enough to scroll through pages, type without noticeable lag, and use the screen as a functional everyday monitor rather than a glorified e-reader.

Resolution is also where the Modos Flow separates itself. In black-and-white mode, it renders at 3,200 x 2,400 pixels with a pixel density of 300 PPI, making text crisp enough to satisfy anyone used to retina-grade displays. Color mode brings the resolution down to 1,600 x 1,200 pixels at 150 PPI, which is a fair trade given how rarely E Ink panels offer color at all.

Touch and stylus support round out what’s becoming a surprisingly versatile display. Modos brought the latency down to under 100ms, so annotating a document, sketching ideas, or jotting notes with a stylus actually responds the way you’d want it to. It won’t replace a dedicated drawing tablet, but for someone who routinely works between a laptop and a secondary screen, having that input option without swapping devices is genuinely useful.

Its physical design is straightforward and practical. A built-in cover doubles as a stand and folds flat for travel, while VESA mounting holes on the back make it easy to attach to a monitor arm or desk mount. Three side buttons let you adjust brightness, contrast, and display mode without touching your computer. Connectivity runs through USB-C with DisplayPort Alt-Mode support, which keeps the setup clean with a single cable.

One of the quieter advantages of E Ink over LCD or OLED is power consumption, and that matters here. When connected to a laptop via USB-C, the Modos Flow draws significantly less power than a conventional secondary monitor, meaning your battery isn’t taking nearly the hit it normally would. It works with Windows, macOS, and Linux out of the box, so there’s no particular setup hurdle to clear. Pricing hasn’t been confirmed yet, but Modos has indicated it should be comparable to other portable monitors.

The post This Color E Ink Monitor Runs at 60Hz: Real Work, No Eye Strain first appeared on Yanko Design.

We are living through a slow, quiet rebellion against digital everything. Vinyl record sales have been climbing for years. Film cameras are back on shelves. People are buying paper planners again. And now, a wooden perpetual wall calendar made in France in the 1970s is having a moment through a Korean design shop called Wertwerk, and I am completely on board.

The piece is exactly what it sounds like: a wall-mounted calendar built from a warm wood base, with a row of plastic sliders numbered 1 through 31 that you manually shift to mark the date. No batteries. No notifications. No algorithm nudging you toward anything. Just wood, a little plastic, and the deliberate act of moving a slider every morning. That’s the whole thing. And yet, it manages to do something almost no digital tool can: make you stop and actually notice what day it is.

Designer Name: Wertwerk

What makes this particular object so interesting is the decade it comes from. The 1970s were a sweet spot in product design, especially in France, where makers were beginning to marry natural materials like wood with the new optimism of plastic. The result was objects that felt warm and industrial at the same time, organic and modern, useful and beautiful. A wooden calendar with plastic sliders is a textbook example of that tension. It doesn’t feel like a throwback. It feels like a design decision that simply worked the first time and never needed revisiting.

The word “perpetual” is doing a lot of heavy lifting here, and it deserves a moment. A perpetual calendar doesn’t expire. It doesn’t have a year printed on it. It covers every day and every month indefinitely, because those numbers don’t change; only the arrangement does. You can hang this on your wall and it will be just as functional in 2045 as it was in 1975. Compare that to your phone’s calendar app, which will feel dated in five years and be incompatible with something in ten. The perpetual calendar was designed with an understanding that good things don’t need to be replaced, just updated slightly, by hand, once a day.

Wertwerk is the Seoul-based shop behind this particular find, and they deserve full credit for the eye. Their name pulls from the German words for “worth” and “work,” and that philosophy runs through everything they source. They’ve built a devoted following by seeking out vintage objects that carry actual value beyond nostalgia. Their pieces sell out fast, sometimes within hours. They’re not selling aesthetics for aesthetics’ sake. They’re making a case that a well-made object from fifty years ago can do something a new one cannot: carry the evidence of its own history.

I’ll admit I’m biased toward objects that reward you for paying attention to them. The wooden perpetual calendar does exactly that. Each time you slide the date, you’re reminded that time is something you track, not something that tracks you. It’s a small distinction, but it adds up over days and months. Moving a physical date marker is categorically different from glancing at a lock screen, and not in a pretentious way. It’s just more deliberate.

The design also photographs beautifully, which is partly why it’s gaining traction in design communities. The wood grain set against the geometric order of numbered sliders reads as both nostalgic and contemporary. It’s the kind of object that looks intentional in a space, not decorative for decoration’s sake, but genuinely considered.

If you’ve ever bought something because it made you feel a certain way before you even used it, this is that kind of object. It quietly tells anyone who notices it that you care about how things are made and how long they last. Not everyone reads a wall calendar that way. But for those who do, this one from Wertwerk is worth finding before it disappears, and based on how fast their inventory moves, that won’t take long.

The post Your Phone Has 12 Calendar Apps. None of Them Look Like This first appeared on Yanko Design.

At a time when living spaces are shrinking while expectations from them continue to expand, this design presents a thoughtful response that is both rooted in tradition and aligned with contemporary needs.

Emerging from the context of rising housing pressures in Taiwan, where compact homes are increasingly becoming the norm, the project addresses a fundamental question: how can furniture adapt to limited space without compromising comfort or experience? Rather than treating furniture as static, single-purpose objects, the designer reimagines them as dynamic systems capable of transformation.

Designer: Che-Chia Hsu

At the heart of this piece lies a deep engagement with traditional Chinese woodworking techniques, particularly the precision of tenon joints. These joints move beyond being structural solutions and become expressions of calculated craftsmanship, where geometry, material behavior, and human interaction converge. The result is a construction that feels both minimal and robust, relying on accuracy instead of excess.

The furniture set is designed to integrate storage and seating within a compact footprint. A chair is concealed within the table and can be pulled out, unfolded, and expanded into a functional seat. The process is intuitive: the chair is extracted, the seat and backrest are opened, and the backrest angle is adjusted using velcro. The transformation is smooth and unobtrusive, allowing the object to shift roles effortlessly.

What distinguishes this design is its reliance on the user’s own body as part of the structural system. Instead of depending entirely on rigid supports, the chair uses the tension generated by the sitter to stabilize the backrest. This introduces a subtle interaction between user and object, where the act of sitting becomes integral to how the design performs. The experience feels efficient, responsive, and quietly intelligent.

Material choices reinforce this balance between function and experience. Lightweight pine wood panels provide durability while ensuring ease of movement. Paired with gray cotton linen fabric, the design introduces a tactile softness that enhances comfort. The fabric is breathable and visually understated, complementing the natural warmth of the wood. Together, these materials create a calm, cohesive aesthetic suited to contemporary interiors.

The development of the project reflects a layered and rigorous process. The designer began by studying traditional joinery techniques through literature, followed by hands-on training under a woodcraft master. This immersion enabled a deeper understanding of the craft beyond theory. Building on this foundation, the designer explored ways to translate these techniques into a modern, functional context through research and experimentation.

What emerges is a design that treats constraint as a starting point rather than a limitation. The piece brings together traditional knowledge and contemporary living patterns, shaping an object that adapts, responds, and participates in everyday use. It reflects a way of designing where space, material, and human interaction are considered together, resulting in furniture that feels considered, purposeful, and in tune with the realities of modern living.

The post A Transforming Table-Chair That Turns Tradition into Space-Saving Intelligence first appeared on Yanko Design.

It’s rare to come across a capable mobile living unit built onto the back of a Midsize Light Commercial Vehicle (LCV). The versatile delivery truck platform has the power and capacity to carry a living unit, but it’s not a preferred conversion choice for obvious reasons: It wouldn’t go beyond the convenient city and semi-urban paths.

If you’re someone who is content with camping in designated sites and parks at accessible distances over a weekend; the Ari 458 Pro electric camper van is tailored for your ‘compact, efficient and consistently sustainable’ lifestyle. For those who prefer the rugged wilderness, look over for other options.

Designer: Ari Motors

Created in Germany by Ari Motors, the Ari 458 Pro doesn’t have the rugged appearance: It’s not meant to be a mean adventure rig. The docile appearance may not be German, but the quality of what you get onboard the motorhome – space-saving design with maximum flexibility for living and traveling – is definitely German, if you know what I mean.

Designed to be Germany’s smallest electric camper van out there, Ari 458 Pro is created keeping in mind adventurers and family campers interested in short vacations. The mini-camper with 30 square feet of living space has a top speed of 70 km/h (44 mph) and about 230 kilometers (143 miles) range. It draws power from a solitary 23.5kWh electric motor, which produces up to 20 horsepower.  A choice of 15kWh battery is also available. It will perhaps reduce the range from 143 to roughly 112 miles.

It comes based on a resilient chassis with an integrated power supply, solar and water systems, while the interior is left out as a blank canvas for the individual to customize to their different requirement. Users can choose to customize the 12.5 feet long, 4.9 feet wide, and 6 feet high (headroom) camper interior from a minimalist solution for sleeping to a fully-equipped home with kitchenette, storage, couch, bed and other necessities.

Created small and compact, the Ari 458 Pro camper van can park conveniently in any parking space, and as the company says, ‘fit narrow roads where larger motorhomes cannot go.’ Its cockpit is interestingly furnished with two seats, a digital display, and a reversing camera to ensure safety. The camper van is currently available in Germany and is priced at €30,381 ($35,100). We do not have a word on the Air 458 Pro’s international availability, but for the interested, the Ari 458 Pro is available in the country in over 30 different variants: food truck, box van, flatbed, tipper, or even a compact garbage truck. These configurations start at €15,790 ($18,200).

The post Ari 458 Pro is Germany’s smallest electric camper and we love its approach first appeared on Yanko Design.

Desks have gotten more crowded. Between the laptop, the monitor, the phone, and whatever Bluetooth peripherals have accumulated over the past few years, keeping everything charged without making a mess has become its own challenge. Power strips have always been the go-to solution, but most still end up on the floor or behind furniture, at the end of a cable that creates the very clutter it was supposed to fix.

Anker’s Nano Power Strip (10-in-1, 70W, Clamp) approaches that problem from a different angle, quite literally. Instead of sitting on a surface or hiding under a desk, it clamps onto the desk edge, putting 10 ports right where they’re actually useful. First unveiled at CES 2026 and now available in the US for $69.99, it aims to reduce the mess that most power strips quietly make worse.

Designer: Anker

The clamp structure sits on either side of the desk edge, with ports distributed across its upper and lower sections. Six AC outlets handle the larger plugs, while two USB-A and two USB-C ports take care of smaller devices. Splitting the ports between two zones keeps things from crowding on one side, a small but practical detail that makes the strip feel properly considered rather than just generously stocked.

The USB-C charging capability is where the performance stands out. A single USB-C port can deliver up to 70W, enough to run a MacBook or most other laptops without needing a separate wall adapter. That output relies on GaN technology, which keeps the strip slim at just 0.75 inches thick despite the power output, and avoids the extra heat and bulk that older charging components tend to generate.

Installing it takes seconds. The adjustable clamp fits desk edges between 0.6 and 1.8 inches thick, covering most standard desks, and locks in firmly enough for one-hand use. That might sound like a minor detail, but plugging in a cable while the strip shifts around is exactly the kind of daily irritation that compounds. A stable mount means you’re not bracing the strip with your other hand every single time.

Anker also built in 1,500J of surge protection, along with a smart overload mechanism that includes a reset button. When it trips, the button pops out to cut power instantly. Press it again, and it’s back to normal. It’s a simple failsafe, but a useful one on a strip mounted at desk height, where a sudden power surge or overloaded circuit could easily go unnoticed until something stops working.

Anker markets it for gaming and office setups alike, and it’s easy to see why. Gaming desks accumulate powered accessories faster than most, from peripherals to controllers to headset chargers. The dual-zone layout helps spread those cables rather than pile them in one corner, and the 0.75-inch profile doesn’t take up surface space or interfere with the kind of clean, organized desk that people actually put effort into building.

Cable clutter isn’t going anywhere, but it can at least be contained. The Nano Power Strip doesn’t reinvent the power strip so much as it rethinks where one should live. At $69.99, it’s a reasonable ask for 10 ports, 70W of GaN-powered fast charging, and a desk-mounted solution that keeps the tangle off the floor and closer to where it actually gets used.

The post Anker’s $70 Power Strip Clamps to Your Desk, Keeps Cables Off Floors first appeared on Yanko Design.

Most public art earns its place on a pedestal and stays there. It asks you to look, maybe photograph it, and walk away. The relationship between viewer and work rarely extends beyond that brief transaction. That’s been the convention for a long time, but there’s a growing push for installations that don’t just occupy public space but actually do something within it.

Michael Jantzen has been exploring that tension for years. His Moving Furniture series applies a simple idea to ordinary chairs and tables: take each object’s form and repeat it in progressive intervals as if capturing it mid-movement, then connect those moments into a single piece. The result is something you can still sit in or set a drink on, even if it no longer looks quite built for that.

Designer: Michael Jantzen

Monumental Moving Furniture takes that same concept into architectural territory. Built from painted steel, the series consists of abstracted chair and table forms, each generated by moving the original object through space and time and locking its path into a chain of connected segments. At this scale, what started as a reference to everyday objects feels closer to a building than a piece of furniture.

The method behind each piece is consistent. A chair or table is set in motion through space and time, with each interval frozen and joined to the next. Some pieces move only part of the original form; others shift the whole thing. The result is a structure that stops belonging to any single discipline and starts reading as furniture, sculpture, and architecture at once.

Despite being too large to sit in, these sculptures aren’t purely decorative. Each is large enough to walk under and through, giving it a practical function as a pavilion and shelter. That’s not something most public art can claim. Instead of asking people to observe from a polite distance, these structures pull you in, turning a passive encounter into something more physical and immediate.

The series covers both chair forms and table forms, each treated with the same sequential abstraction. Individual pieces have also been grouped into configurations that suggest more complex structures, as if each were a building block for something larger. Painted in vivid, solid colors like white, orange, and yellow, each structure commands attention from a distance and rewards a closer look once you’re standing beneath it.

Public spaces deserve more than objects to look at. They deserve things to experience. Monumental Moving Furniture earns its place on both counts, offering structures large enough to shelter visitors while giving them something genuinely puzzling to engage with. These forms don’t demand reverence. They invite curiosity, exploration, and the kind of slow, circling attention that good public space has always been designed to encourage.

The post These Steel Chairs Are Too Big to Sit In: Walk Through Them Instead first appeared on Yanko Design.

The craze for handhelds over the last 24 months has driven a surge in portable gaming consoles. We’ve seen it all, right from retro handheld devices to modern consoles that can handle AAA titles without breaking a sweat. GAMEMT has been in the thick of things with a Android handheld released last month and a unique portable console with a dial knob.

Now the Chinese manufacturer has revealed yet another handheld, which is an eye turner for sure. This is the E5 MODX console based on the original E5 released in 2024. The console has a removable modular display that can be connected to your MagSafe-compatible smartphone. It would be safe to say that the handheld draws inspiration from the MCON controller, but we haven’t seen a detachable-display handheld yet. Now, that’s downright cool.

Designer: GAMEMT

In its native form, the handheld looks and feels just like any other 3:4 display device. However, when you detach the 5.5″ screen (1024 x 768) and connect its controller module magnetically to a mobile phone, it turns into an altogether different beast. The gaming machine comes with the MTK6771 Helio P60 chipset, which is not that highly rated in the tech circles, given its inconsistent performance. Still, it’ll be interesting to see what GAMEMT has managed to achieve with this microchip in terms of hardware and software compatibility in the E5 MODX. The chipset is paired with a 3GB RAM for optimized performance, and 32 GB internal memory is more than enough to store the suite of AA games.

You can expect to emulate PS1 games, or the option to pair with the Dreamcast/N64/PS2 and GameCube emulation. Clearly, you would better explore the retro arcade game library with this one, to be honest. The real magic happens when you connect the device to your flagship smartphone, and the fun of playing AAA games is again real. For now, it is unclear whether the magnetically detachable accessory pairs via Bluetooth or works with the physical connection, and also for low latency.

According to GAMEMT, the first 3D prototype of the E5 Modx is in the works, and there is no word yet on when the handheld will be released. For now, the idea sounds very interesting, given the landscape of handheld consoles that gamers now can choose from.

The post GAMEMT E5 MODX handheld’s detachable control module can be connected to Magsafe phones first appeared on Yanko Design.

No matter how you feel about Crocs, you cannot deny the brand has a remarkable talent for finding partners that make you stop and say, “wait, actually… that works.” We’ve seen Krispy Kreme clogs dripping in donut-glazed energy, Windows XP nostalgia packed into a wearable throwback, and Ghostbusters uniforms distilled down to clog form. Every time I think Crocs has peaked its collab game, another partnership resets the bar. This time, they’ve linked up with LEGO for the Creativity Clogs collection, and this one lands a little differently.

The appeal is almost embarrassingly obvious in hindsight. Both LEGO and Crocs are built around the same core philosophy: take something simple, make it endlessly customizable, and let people go wild with it. LEGO gave us the stud system; Crocs gave us Jibbitz holes. Jibbitz charms are basically a wearable LEGO build. The two brands have been spiritually aligned for decades without anyone thinking to actually put them together, and the fact that it took this long feels like a design oversight that’s now been corrected.

Designers: LEGO x Crocs

The collection spans several configurations. The base Creativity Clog starts at $79.99, keeping things relatively clean with colorful LEGO bricks along the sole and a Jibbitz-ready upper waiting to be personalized. There is also a Kids’ Creativity Clog at $59.99, because LEGO is a multigenerational brand whether anyone admits it or not.

The Masterbrand Creativity Clog at $89.99 is the one that goes all in. It arrives with 12 LEGO brick Jibbitz charms already loaded onto the upper and around the sole, plus a LEGO Minifigure tucked into the box. That detail genuinely made me smile. It is the kind of considered touch that separates a real collaboration from a brand simply slapping a logo on an existing product.

The Midnight Garden Creativity Clog takes the same design language in a different direction. Where the other colorways lean into LEGO’s signature primary palette, this version opts for a darker, more subdued aesthetic that feels almost grown-up by comparison. It is the right pick for someone who wants to quietly signal their appreciation for the collab without committing to the full crayon-box energy of the others.

Visually, these clogs strike a balance I did not expect. The brick texture runs along the sole without overtaking the whole shoe, so you are not walking around in something that looks like a toy store exploded on your feet. It is restrained enough to wear in public while still being obviously, joyfully LEGO. The Jibbitz-ready holes mean you can keep building on top of the base, swapping in dedicated LEGO charm packs depending on your mood. That is exactly the kind of open-ended customization that makes both brands tick.

The LEGO Group and Crocs announced their multi-year global partnership in January 2026, and the Creativity Clogs dropped on March 19, with LEGO Insiders getting a three-day head start. Certain sizes sold out quickly, which tells you all you need to know about the appetite for this one.

My honest read is that this collaboration is smarter than its predecessor. The original LEGO Brick Clogs were built for viral moments and display shelves. Giant foam bricks make a statement, but they do not go anywhere useful. The Creativity Clogs are the real follow-through, translating LEGO as a design language into something you would actually wear to a theme park, a farmers market, or around the house on a slow Tuesday. The playfulness is baked in without demanding you commit to a costume to participate.

That said, $89.99 for a pair of Crocs is a price point worth sitting with, even if the included Minifigure does technically sweeten the deal. Crocs collabs have always commanded a premium over the core classics, and by now the brand’s audience is accustomed to paying for the concept as much as the shoe itself. Whether the LEGO x Crocs Creativity Clog earns its place in your rotation will probably depend on how much real estate your inner kid still occupies. For a lot of people, that answer is quite a bit of space.

The post LEGO and Crocs Finally Made the $89 Collab Nobody Knew They Needed first appeared on Yanko Design.

Ergonomic keyboards have a reputation problem. They work, technically, but most of them look like they were designed by someone who’d never sat through a full workday. The splits are too wide, the angles too aggressive, and the learning curve steep enough to make you miss the flat keys you’ve always known. Plenty of people give it a try and quietly go back to what they had before.

Razer’s answer is the Pro Type Ergo, its first wireless split ergonomic keyboard, built with that frustration clearly in mind. Rather than throwing you into a radical new layout, it’s tuned to feel approachable from the very first keystroke. The split gently angles your hands into a more natural alignment, easing the sideways reach that makes most forearms ache by mid-afternoon, without asking you to completely relearn how to type.

Designer: Razer

One of the more interesting layout choices is the dual “B” key arrangement, with one on each side of the split, along with an extra backspace tucked between two space bars. The idea is that both thumbs take on common actions, so you’re reaching less and crossing your fingers over each other less throughout the day. It’s a small shift that makes more sense the longer you sit with it.

The keycaps are ultra-low-profile, fitted with subtle spherical indents that nudge your fingertips into the right position without you having to think about it. Sound-dampening layers and tuned stabilizers underneath keep the typing noise low enough for open offices and video calls. Shorter key travel also means less physical effort per keystroke, which doesn’t sound like much until you’ve been at your desk for six hours straight.

The wrist rest is permanently integrated rather than removable, which turns out to be a feature rather than a limitation. It’s just always there, supporting your wrists from the moment you sit down without any extra setup. A 10-degree base slope sets the starting angle, and five tilt positions, from flat to seven degrees forward or back, let you dial in the fit depending on your desk height and preference.

A Razer Command Dial lets you assign up to eight functions, expandable to 100 via Razer Synapse, while five macro keys along the left side keep your most-used shortcuts within easy reach. There’s also a dedicated AI Prompt Master key that handles things like drafting emails, summarizing blocks of text, or kicking off a research query in a single press, without pulling you out of whatever window you’re already in.

Connectivity spans Razer HyperSpeed Wireless at 2.4 GHz, three Bluetooth profiles, and USB-C wired mode, with support for up to five devices total. Razer Chroma RGB backlighting covers 19 customizable zones and can be switched off entirely for offices where animated key lighting might not go over well. The design is clean and understated, a far cry from the aggressively lit gaming keyboards Razer is better known for.

The Pro Type Ergo retails at $189.99, about $30 more than Razer’s conventional Pro Type Ultra from 2021. For anyone who types for a living and has been quietly working around the ache of a standard keyboard layout, that extra cost starts to feel a lot less significant once you’ve spent a full day on something that actually fits how your hands are supposed to sit.

The post Razer Just Proved Ergonomic Keyboards Don’t Have to Be Miserable first appeared on Yanko Design.

Pick up the WAY ruler and the first thing you notice is that it feels exactly right. It’s small, made from anodized aluminum, and has the kind of weight and finish that signals intention without announcing itself. It’s the sort of object that sits comfortably in a shirt pocket or on the edge of a desk and looks like it belongs in both places. Then you look closer at the markings, and something shifts.

The inscriptions on the WAY don’t run in a clean, predictable line the way ruler markings are supposed to. They wind. They curve and drift across the surface of the aluminum like a path traced through a landscape, referencing, quite literally, the idea of small winding roads and the wandering nature of travel and discovery. The numbers and measurements are there, engraved directly into the material with digital precision, but they’re arranged in a way that asks you to slow down and actually read them rather than glance and move on. It’s legible. Just not immediately.

Designer: Tomas Kral

The engraving itself is worth paying attention to. Kral chose to cut the inscriptions directly into the anodized aluminum rather than printing or applying them as a secondary layer. That decision gives the markings a permanence and a tactility that you don’t get with most production objects at this scale. You can feel the grooves if you run a finger across the surface. The graphic quality of the lettering is considered without being decorative for its own sake. It reads as design that knows exactly what it’s doing, which is what makes the playfulness land rather than feel arbitrary.

The object is small enough to be considered an accessory as much as a tool. Kral has always worked at a scale that pays attention to how things actually live in your hands and in your space, and the WAY is consistent with that. It doesn’t try to be a statement piece in the way that some design objects do, where the visual drama is the whole point. The WAY is quieter than that. The drama is embedded in the detail, in that moment when you realize the markings are doing something unexpected and you have to orient yourself before you can use it.

That slight disorientation is the concept, and it’s a sharp one. There’s a real tension running through modern product design right now, one where the drive to make something visually striking starts to work against the thing it was actually built to do. We’ve all used something that looked incredible but made us work harder than we needed to. Packaging that’s beautiful but impossible to open. Interfaces that prioritize visual elegance over intuitive use. Apps designed to delight that end up frustrating. The WAY ruler doesn’t rail against any of that. It just holds up a small, well-made mirror to it. It’s more of a wink than a manifesto.

The difference between a provocation and a critique matters here. Kral isn’t punishing you for picking up the WAY. The experience of using it is still pleasant. The aluminum feels considered, the engraving is precise, and the object as a whole is genuinely lovely. He’s not making something bad on purpose to prove a point. He’s making something that’s slightly impractical in a very deliberate, very elegant way, and letting you sit with that paradox.

And he followed through on it. The WAY isn’t a prototype or a one-off shown at a design fair and then retired to a shelf. Kral produced a batch and sells them directly through his studio’s website. That matters. It means the object gets to exist in the world the way all good design should, in someone’s hand, on someone’s desk, doing its quiet, considered, slightly inconvenient thing in real life.

At a time when so much product design either chases pure utility or drifts so far toward aesthetics that it forgets what it was originally supposed to do, the WAY ruler manages to be a little bit about both. It’s funny, it’s beautiful, and it makes you think. A ruler, of all things. Leave it to Tomas Kral.

The post Tomas Kral Made a Ruler You Can’t Quite Read on Purpose first appeared on Yanko Design.

Most upholstered furniture is essentially furniture under stress. Fabric gets stretched, stapled, pulled taut, and forced into submission over rigid frames. It is, fundamentally, a question of control. Danish designer Lærke Ryom looked at that process and decided to do the opposite. Her debut solo exhibition, Raiments, now open at Innenkreis gallery in central Copenhagen, is built entirely around that single act of refusal.

The collection includes a daybed, a chair, a bench, table lamps, a floor lamp, and wall lamps, all presented in soothing cream and chocolate-brown hues. The palette is calm and considered, which makes sense. These are pieces that ask you to slow down and look closely, because the detail is where the story actually lives.

Designer: Laerke Ryom

The daybed is probably the clearest expression of the concept. Long, low, and dressed in Kvadrat wool with visible quilting stitches running across its surface, it reads more like a made bed than a piece of showroom furniture. The fabric is not pulled over the form but rather allowed to settle onto it, the way a well-cut linen drapes over a body. The powder-coated steel frame beneath does its structural job quietly, without announcing itself.

The bench follows a similar logic. Compact and precise, it carries the same quilted wool surface and the same twill weave edge banding that appears across the collection. That edge band is a detail worth pausing on. Ryom chose it specifically because twill weave is a technique rooted in clothing and home textiles rather than furniture. “It places the upholstery pieces somewhere in between,” she has said, “adding to the feeling of a tailored piece rather than upholstery.” It is a small choice with a large effect on how the finished object feels.

The chair, built on an aluminium frame rather than steel, is the lightest piece structurally, and it shows. It sits with a kind of ease that heavier upholstered chairs rarely manage. The wool covers it without gripping it, and the stitching adds just enough surface interest to reward a second look without demanding one.

The lighting pieces are where the tailoring metaphor gets genuinely interesting. The floor lamp and table lamps, both on powder-coated steel bases, incorporate fabric shades that are constructed the same way as the seating pieces, draped and stitched rather than stretched and glued. The wall lamps, built on stainless steel bases, carry the same approach. Seeing the textile treatment applied to lighting as well as furniture makes the collection feel like a genuine system of thinking rather than a one-off experiment. Ryom is not just applying a technique to a single object type. She is testing a philosophy across an entire interior.

Underlying all of it is a material choice that matters. The Kvadrat wool she selected deliberately lacks visible weaving, which gives the stitching room to become the primary surface detail. The quilting is not decorative in a fussy sense. It is structural and honest, doing exactly what it appears to do, which is hold the fabric in place without adhesives or staples. The result is upholstery that can be disassembled, repaired, and eventually recycled. The clothes metaphor is not just aesthetic. It is practical in the most direct way possible.

Ryom, born in 1995 and working out of The Factory for Art and Design in Copenhagen’s Amager district, has been exploring alternative upholstery techniques for several years. Raiments feels like the point where that exploration becomes a fully formed position. The pieces are not minimal for the sake of it. They are restrained because restraint is what the concept requires. Every choice, from the aluminium chair frame to the stainless steel wall lamp bases to the twill edge banding, is in service of the same idea: that furniture should be dressed, not wrestled.

Whether or not that idea changes how people think about upholstery at large is probably too early to say. But Ryom has made a collection that is hard to look at and then go back to thinking about furniture the old way. That, for a debut solo show, is more than enough. Raiments is on show at Innenkreis, Herluf Trolles Gade 28, Copenhagen, through 23 May.

The post Forget Upholstery: Lærke Ryom Tailors Furniture Instead first appeared on Yanko Design.

The water coming out of your tap has traveled through infrastructure that, in many American cities, predates the internet by several decades. Municipal treatment plants catch most of what they’re supposed to catch, but aging pipes, PFAS compounds from industrial and agricultural runoff, and lead from corroding plumbing each leave their own signature in what eventually fills your glass. Two people living thirty miles apart can have genuinely different water problems, and the solution that works perfectly in one kitchen may be entirely wrong for the other. Spring tends to be when many families actually act on this, a natural reset point where the habits and home conditions worth changing finally get real attention.

Waterdrop Filter has spent the better part of the last decade building a filtration lineup that treats water quality as a variable, not a constant. Five of their systems are currently on sale on Amazon through March 31st, spanning the full range of how people actually live: renters who can’t drill into cabinets, families running a high-demand kitchen with PFAS and lead on their radar, people who want their minerals preserved, and anyone who wants instant hot filtered water without the plumbing commitment. Each one is built around a different problem, and this guide helps narrow down which one is built around yours.

Waterdrop Filter G3P800 Tankless RO System: The Under-Sink Performer That Stays Out of Sight

For families thinking seriously about what’s actually in their water this spring, the G3P800 is where Waterdrop Filter’s under-sink lineup earns its bestseller status. The concerns driving most of those conversations, PFAS compounds, lead from aging pipes, chlorine byproducts, are precisely what this system addresses. Its 10-stage RO filtration achieves 98% PFOA reduction, 99% PFOS, and over 99% lead, numbers that carry particular weight for households with infants, pregnant women, or elderly members. NSF/ANSI certifications across standards 42, 53, 58, and 372 back those claims with third-party verification. The tankless design reclaims 50 to 70 percent of under-sink cabinet space, and the UV sterilization stage catches bacteria and viruses that even a high-precision RO membrane cannot address alone.

At 800 gallons per day, the G3P800 handles the full rhythm of a busy family kitchen, from drinking water and cooking to coffee and baby formula preparation. A brushed nickel smart faucet displays real-time TDS readings and filter status at a glance, keeping the system legible without demanding attention. The 3:1 pure-to-drain ratio reflects a genuine shift in responsible RO design, producing meaningfully less drain water than older systems. Spring tends to be the moment families finally act on water quality concerns sitting in the back of their minds, and the G3P800 meets that decision with something durable, rigorously certified, and quietly capable of handling daily household demand for years.

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Waterdrop Filter X12 RO System: The Flagship That Puts Minerals Back Where They Belong

Where the G3P800 is built for families who want serious filtration at serious capacity, the X12 is for those willing to push further. At 1,200 gallons per day across 11 stages of precision RO filtration, it represents Waterdrop Filter’s most complete answer to the growing list of contaminants giving health-conscious households pause this spring. The PFAS reduction figures here are among the strongest in the lineup, achieving 98.88% PFOA and 98.97% PFOS reduction, alongside a greater than 99.87% lead reduction rate. Certified against NSF/ANSI standards 58 and 372, the X12 carries the kind of third-party verification that families with infants or elderly members look for before trusting a system with daily drinking water and formula preparation.

What genuinely separates the X12 from most flagship RO systems is what it does after filtration. Reverse osmosis at this level of thoroughness strips water down comprehensively, which is where the built-in alkaline mineralization stage earns its place. Calcium and magnesium are reintroduced post-filtration, supporting bone health over time and restoring the balanced, naturally mineral-rich character that makes water taste the way good water should. For families prioritizing both purity and nutritional quality, particularly those with growing children, that combination is difficult to replicate elsewhere. The smart digital faucet handles real-time TDS monitoring and filter life tracking with the same quiet intelligence found across the range. Spring health resets tend to go deeper for some households, and the X12 is designed for exactly that level of commitment.

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Waterdrop Filter DLG-P: Serious PFAS Protection Without the Installation Headache

The conversation around PFAS and lead tends to center on high-capacity RO systems, and for good reason. But the reality of how many people actually live, in rentals, in first homes, in apartments where permanent under-sink modifications are off the table, means that access to serious water filtration has historically required commitment that many households simply couldn’t meet. The DLG-P is Waterdrop Filter’s answer to that gap. It installs in around three minutes without specialist tools, routes filtered water through an innovative dual-outlet design serving both a dedicated drinking faucet and the main kitchen tap, and achieves 99.7% PFOA and 99.6% PFOS reduction that rivals systems at considerably higher price points. For renters prioritizing PFAS protection this spring, those numbers reframe what budget-friendly filtration can actually deliver.

The system reduces chlorine, fluoride, sediment, and odors across its filtration stages, covering contaminants that affect daily drinking water quality in the most direct ways. A smart filter life indicator removes guesswork from maintenance, flagging replacement needs before performance drops. Filter cartridge replacement takes around three seconds, keeping upkeep genuinely frictionless for fast-paced households where the water filter is expected to work reliably in the background. The black finish gives it a contemporary presence that holds up in modern kitchen environments, and the compact footprint respects the limited under-sink space that comes with rental kitchens. For those who have looked at the G3P800 or X12 with interest but need a solution that fits a different budget and living situation, the DLG-P covers more ground than its entry price suggests.

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Waterdrop Filter TSU: The Case for Filtration That Knows When to Stop

Not every household is starting from the same water quality baseline. In homes where municipal supply is reasonably clean but carrying chlorine taste, sediment, bacteria, and trace heavy metals like lead, deploying a full reverse osmosis system is a longer route than necessary. The TSU operates on that logic. Its 0.01-micron ultrafiltration membrane reduces 99.9% of bacteria, intercepts rust, sediment, fluoride, and heavy metals including lead, while leaving the water’s natural mineral content completely intact. Where the X12 reintroduces calcium and magnesium through a dedicated remineralization stage, the TSU simply never removes them, which for households with acceptable source water is both more efficient and more elegant.

What makes the TSU particularly compelling as a spring upgrade is what it doesn’t require. No electricity, no pump, zero wastewater, running entirely on standard water line pressure with nothing added to the utility bill. The 3-stage tankless system saves 50 to 70 percent of under-sink cabinet space. A brushed nickel dedicated faucet comes included, and the filter lifespan runs up to 24 months, meaning maintenance stays minimal across nearly two years. For busy families where easy installation and low ongoing upkeep matter as much as performance, the zero-waste design also reduces environmental impact and running costs over time. For households that want clean water supporting healthier spring routines without rebuilding their entire under-sink setup, the TSU makes a case that’s difficult to argue with.

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Waterdrop Filter C1H: Countertop RO With a Trick Up Its Sleeve

Every system covered in this guide has required going under a sink. The C1H abandons that requirement entirely. It sits on the counter, plugs into a standard outlet, connects to a water source without drilling or permanent modification, and starts delivering six-stage reverse osmosis filtered water with no installation window and no landlord conversation. The 0.0001-micron RO membrane targets the same field of contaminants that motivates most spring filtration upgrades, including PFAS, chlorine, heavy metals, and TDS. The detachable tank design means it moves between a kitchen, an office, or a bedroom without friction, which matters for parents with young children or elderly family members who want safe, filtered water accessible across different rooms rather than anchored to a single tap.

The feature that sharpens the C1H’s appeal for spring routines is instant hot water delivered in three seconds across five adjustable temperature settings. Morning tea, pour-over coffee, baby formula, and quick meal preparation all lose the waiting step that a separate kettle introduces. A Favorite Mode remembers preferred temperature and volume combinations so the same result comes out consistently. Smart touch controls manage everything from volume selection to real-time TDS monitoring and filter life tracking. The 3:1 pure-to-drain ratio and a twelve-month filter lifespan keep both environmental impact and ongoing upkeep to a minimum. For households that have followed this guide and still need a solution on entirely different terms, the C1H closes that gap with confidence.

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The post 5 Best Waterdrop Filter Systems for Spring 2026, From Renters to Full Family Kitchens first appeared on Yanko Design.

What if the door you walk through every day was grown from fungi? Danish mycelium company Rebound and architecture studio Det Levende Hus have partnered to create what they claim is the world’s first mass-produced interior door with a core cultivated from fungal mycelium. Currently in the prototype phase, the door is part of a broader collection of bio-based interior and sliding doors designed for modern living spaces, and it may quietly redefine what architectural materials can be.

The concept is straightforward but radical. Rebound cultivates the fast-growing root structure of fungi inside a mould, producing a rigid, lightweight panel with natural sound-absorbing qualities. That mycelium core is then enclosed within a timber frame built from reclaimed and surplus wood, including offcuts sourced from Danish flooring manufacturer Dinesen, meaning the door carries minimal material waste from start to finish.

Designer: Rebound & Det Levende Hus

Rebound co-founder Jon Strunge sees this as a direct challenge to the construction industry’s dependence on slow-growing hardwoods. “We wanted to demonstrate how regenerative, high-performance mycelium-based materials open opportunities for new, innovative, and scalable building components,” he said. The growing process takes roughly two weeks and is designed to scale industrially, making these doors a production-ready proposition rather than a one-off experiment.

What makes the design particularly noteworthy is its adaptability. Colour and surface texture can be altered during the growing process itself, removing the need for post-production finishing. The current prototype presents a smooth, silky surface, but the material can shift in tone and can also be finished with a layer of clay for a warmer, earthier aesthetic.

Structural performance was equally prioritised. A bio-based layer incorporated during the growing process stiffens the door and improves fire resistance, a bio-welding method that adds reinforcement without glue or additional manufacturing stages. The door was also designed to comply with current building standards for private homes, particularly around fire and moisture resistance, making it a credible candidate for real construction.

The first real-world application will be at Kaerhytten, a low-impact housing project in Ramloese, Denmark, designed by architect Jens Martin Suzuki-Højrup, scheduled for completion in 2026. The prototype also features a door handle by architect Bjarne Hammer for Danish brand Randi, the Moom handle cast from recycled seashells, adding a tactile detail that mirrors the door’s material ethos. Looking ahead, Rebound and Det Levende Hus are expanding into mycelium-based acoustic wall panels and ceilings. As Suzuki-Højrup put it, “It’s about how natural materials can transform our experience of space, visually, acoustically, even emotionally.”

The post Meet the World’s First Door Grown From Fungi, Not Cut From Wood first appeared on Yanko Design.

I have to hand it to Honor, they are consistent. When I wrote about the Magic8 Pro Air and its striking similarity to the iPhone Air, I thought we had seen the peak of their “inspiration.” It turns out that was just the warm-up act. The main event has arrived in the form of the Honor 600 and 600 Pro, and this time they have perfectly mimicked the iPhone 17 Pro. The new renders, courtesy of WinFuture, show a design that lifts every key element from Apple’s latest flagship. The full-width camera bar, the arrangement of the lenses, the flat metal frame, and even the color options are all present and accounted for. It’s a remarkable feat of reverse-engineering that feels both impressive and completely shameless.

What makes this strategy so fascinating is that Honor isn’t just making a cheaper clone. They are using the familiar, market-tested design as a vessel for a totally different philosophy. The Honor 600 is expected to ship with a 200MP camera and a 9,000mAh battery, specs that are practically alien to Apple’s ecosystem. It’s a phone designed to look like an iPhone from a distance but to function like an endurance-focused Android powerhouse up close. Honor is essentially telling the world that you can have Apple’s style without having to accept Apple’s compromises, and that’s a powerful message.

Designer: HONOR

The horizontal camera bar is not just vaguely similar, it’s dimensionally faithful. Both models feature the same raised rectangular module spanning nearly the full width of the device, with lenses, flash, and sensor cutouts arranged in a configuration that directly mirrors Apple’s layout. The standard Honor 600 goes with a dual rear camera setup, with its LED flash and laser autofocus tucked into a separate pill-shaped island below. The Pro model steps it up with a triple-lens arrangement, going all-in on the vertical stack. Even the colorways follow Apple’s playbook closely, with glossy black, metallic gold, and a bright orange finish that lands somewhere between homage and photocopy. Honor’s team clearly studied the iPhone 17 Pro with the intensity of an art student sketching a masterpiece in a museum.

The hardware rumors add even more intrigue to the picture. A 9,000mAh silicon battery in a flagship-tier device is almost unheard of in 2026, delivering the kind of multi-day endurance that the iPhone 17 Pro can only dream about. Both phones also get a 6.57-inch 120Hz OLED display at 1.5K resolution, wireless charging, a 3D ultrasonic in-display fingerprint sensor, and a Snapdragon 8 series chipset. There’s even a dedicated camera button on the side, which is, yes, another very Apple-like touch. Honor is effectively saying: if you love how the iPhone looks but wish it prioritized endurance and camera specs over thinness, we built that phone for you. Whether that resonates with buyers remains to be seen, but the logic behind it is hard to argue with.

The post Leaked Honor 600 Pro looks a lot like the iPhone 17 Pro, but with a much bigger battery first appeared on Yanko Design.

In the world of Formula-1 world championships are won by the slender margin of milliseconds that turn into big margins after every passing lap. The level of engineering in the pinnacle of Motorsports is unparalleled, and the drivers competing for the top podium step do every little thing that gives them a strategic advantage over their rivals.

Personal training is a part of the drill to stay in top shape, but the real deal is to polish the skills and gain telemetry data in the racing sims that very closely mimic the nuances of each track on the season calendar. With the hybrid era, the need for simulating the real track conditions has become even more important, given the metamorphosis this sport is undergoing.  A good simulator plays a vital role in giving the F1 and F2 drivers a fair idea of areas to improve, or develop strategic maneuvers that can be finally implemented on the track.

Designer: Cool Performance

With over two decades of motorsport experience and trusted by over 250 professional racers, Cool Performance now brings its most advanced F1 sim racer for professionals and motorsports fans. Current F1 drivers who train their driving skills on the Formula Pro Simulator include Lando Norris, Carlos Sainz, Sebastian Vettel and Alex Albon. Founder Oliver Norris has designed the simulator from the ground up with tons of experience in his own Motorsports journey and his brother Lando’s last couple of successful F1 seasons.

The professional-grade simulator has a precision-designed cockpit and race seat to recreate the realism of FPV in the single-seater racer. To simulate the nuances of a Formula -1 car riding the tarmac, the simulator has a high-torque force feedback steering and a Leo Bodnar SimSteering 2 base. This lets the sim racer feel every little bump of the chicane or the minute grip changes when the car is steered off the racing line. Braking in Formula 1 is way more challenging than your average SUV. That is mimicked by the CP-S hydraulic pedals with an AP Racing master cylinder support, which can simulate 200 kgs of braking force. For that, you’ll require immense strength in your core and lower body.

Every little detail of this F1 simulator is narrowed down to the last millimeter, much like the Formula 1 cars. Right from the highly technical CP-S Formula steering wheel that has virtually everything right at arms distance for the driver, to the CP-S custom hydraulic pedals, nothing gets better than the Cool Performance’s option. Clearly, if you want to feel the realism and the tiny details of Formula 1, this is it. Each one of the Formula Pro F1 simulators is custom-manufactured and tested by Oliver and Adrian Quaife-Hobbs in Kent, United Kingdom.

Eager buyers can opt for a single curved screen setup or a multiscreen array for better realism. If you are a purist, then the UK-based manufacturer can create a bespoke version of the sim to fit your specific needs. The Formula Pro simulator price starts from $40,950 and can go higher depending on the add-ons demanded or the bespoke modifications required.

The post Formula Pro simulator with ultra-realistic controls emulates F1 racing fun in your living room first appeared on Yanko Design.