In 1976, two designers gave the office a chair that moved when you did. The Met calls Emilio Ambasz and Giancarlo Piretti’s Vertebra the first automatically adjustable office chair. Fifty years later, plenty of us still tug knobs and crank levers like we’re docking a spaceship. LiberNovo’s Maxis picks up that old idea and sizes it for bigger frames. Its Black Friday sale opens November 19, with up to 42% off in the US.

The Maxis is LiberNovo’s first line built from the ground up for big and tall users, rated to 399 lbs (181 kg) and certified to BIFMA X5.11, and fitted for people between 5’10” and 6’7″ (178 to 200 cm). Instead of scaling up a standard chair, LiberNovo resized the parts that tend to fail on larger bodies, from the seat depth to the headrest travel. It comes in three versions: Manual, Electric, and Airflow. List prices run $1,299, $1,799, and $1,859, which makes for one big leap and one tiny hop. Let’s walk the staircase one step at a time.

Designer: LiberNovo

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What all three Maxis versions share

All three versions of the Maxis share the same big-body frame. The seat is 20.5 inches (52 cm) deep, with a multi-density cushion that runs firmer at the rear and softer at the front edge, where the backs of your thighs rest. The backrest spans 16.9 inches at the shoulders and flares to 20.5 inches at the waist. The U-shaped headrest travels 5.5 inches up and down and 4.7 inches in and out. Arc-shaped armrests open from 15.7 to 23.6 inches wide, so they don’t crowd your waist.

Lean back in a Maxis and the neck support, backrest, armrests, and seat all move together, a many-jointed cousin of the Vertebra’s idea. The eight-panel backrest flexes on 14 dual-link points and 16 ball joints. Six springs engage progressively by angle and weight, which LiberNovo says keeps the recline smooth under a heavier load. Five stops run from 105 degrees (Deep Focus) to 160 degrees (Spine Flow), and LiberNovo suggests 115 to 125 degrees for most of the day. Do the four-step setup once, and LiberNovo says you’ll rarely touch the controls again.

What the $500 step from Manual to Electric adds

The Manual keeps lumbar support on a dial, with no motor and no battery, which suits anyone who wants a chair that never needs charging. The Electric swaps that dial for the ErgoPulse motor and carries a 2,200 mAh battery. The motor moves the lumbar zone in or out until it meets your lower back, forming an S-curve, so there’s no reaching behind you to twist a knob. Lumbar is step one of the Maxis setup, so you’ll feel this feature on day one. That’s the first half of what the extra $500 buys.

OmniStretch is the other half, a five-minute motorized stretch sequence that runs while you’re in deep recline. Both the Electric and the Airflow include it, and the Manual skips it. LiberNovo describes it as an in-chair stretch and reset, which makes it a handy pause between long work sessions and the walk to the kitchen. Whether it’s worth a share of $500 depends on how often you’d actually use it. If the honest answer is every afternoon, the math gets friendly fast.

The $60 Airflow upgrade, and how the sale works

The Airflow adds a seat fan to everything the Electric does. A 4,000 RPM centrifugal fan pulls air through a five-layer seat on two levels, and an occupancy sensor pauses it when you stand up, so it never spins for an empty chair. The battery grows from 2,200 to 3,000 mAh, and LiberNovo lists fan noise under 45 dB. The upholstery is Danish Gabriel Atlantic fabric, rated by its maker at more than 100,000 abrasion rubs. At list price, all of that sits $60 above the Electric, which is the easiest call on the page.

LiberNovo’s holiday sale opens November 19 and builds toward Black Friday and Cyber Monday, with up to 42% off in the US. Eligible purchases carry 30-day price protection, so buying early comes with a safety net for qualifying price changes. Every LiberNovo chair is backed by a 6-year frame warranty and a 2-year warranty on electronics. Orders unlock gift tiers by spending, topping out at a travel kit with an inflatable neck pillow, eye mask, and earplugs. US buyers can split the bill into four 0% Klarna payments. Fifty years after the Vertebra, the best pitch for a chair that moves with you is still the simplest: you stop thinking about it.

Click Here to Buy Now: Black Friday Deals End Soon!

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Loft bedrooms look efficient on paper. Move the bed upstairs, and suddenly there’s room for a proper kitchen or a sofa below. But that saved space comes with a compromise: stairs to navigate at night and a ceiling that may not let you stand upright. I’d rather have a little less cleverness in the floor plan and a bedroom I can simply walk into.

That’s the appeal of Antonia, an orderable modular home from Swedish company Vagabond Haven. Its main bedroom stays downstairs, while roughly 635 square feet across two levels leave room for a second sleeping area above. Two modules form an L around a terrace, giving the layout a useful bend rather than the proportions of a towable cabin. It’s designed to settle onto a foundation, delivered by truck and positioned by crane.

Designer: Vagabond Haven

That bend in the floor plan does useful work. The living area occupies one wing, while the bedroom, bathroom, and stairs occupy the other. Between them, the terrace sits inside the L, reached through glass doors from both the living room and the downstairs bedroom. In the published renderings, outdoor seating makes this corner read as another place to spend time, not merely a landing outside the door. The images are illustrative, so finishes and details may change.

I like that the outdoor space has a clear relationship to the rooms around it. A deck can be generous and still feel detached from daily life if getting there means walking around the house. Here, the layout suggests an easy route from cooking dinner to eating outside. That’s a more convincing use of limited space than counting every square foot of decking as though it were another climate-controlled room.

Indoors, the kitchen and living room share a high ceiling because the loft stays over the opposite wing. The kitchen follows its own L-shaped plan, with a sink, cooktop, oven, and refrigerator/freezer in the illustrated furnished setup. A dishwasher is optional, and a four-seat dining table sits nearby. The proportions matter more to me than the styling: a table that can remain a table is preferable to furniture that needs a nightly transformation.

The material palette is restrained: vertical Thermopine siding outside, a steel-sheet roof, laminate flooring, and Forestia/Huntonit interior panels. White cabinetry and pale wood tones give the renderings a familiar cottage feel. More importantly, the ground-floor bedroom is shown with a double bed and fitted wardrobes, while the bathroom accommodates a shower, vanity, toilet, and washer/dryer. Those aren’t glamorous features. They’re the infrastructure that lets a small home function beyond a weekend.

Upstairs, the compromise is more visible. The loft rendering shows a second double bed, a desk, and seating beneath a low pitched ceiling, with stairs providing access. I’d see this as useful guest space or an occasional work retreat before making it the primary bedroom. Keeping the downstairs option means the house doesn’t ask everyone to accept the same relationship with stairs, headroom, and getting up at night.

Pricing needs the same practical reading. Vagabond Haven lists the unfurnished Antonia at €67,500 before VAT, with a €77,500 furnished example configuration. The base price isn’t the price of the staged interior: the company excludes items including heating, appliances, bathroom fittings, the terrace, delivery, and utility connections. Its stated delivery market is Europe, so these figures shouldn’t be mistaken for a ready-to-install U.S. offer. A beautiful rendering doesn’t make those additional decisions disappear.

I’d pay particular attention to where it lands. With so much glass facing the terrace, choosing what those windows overlook would be part of making this layout work. A view of trees and a view of a neighbor’s kitchen aren’t interchangeable. Antonia makes an appealing case for letting outdoor space shape a small home, but that makes its eventual setting just as important as what arrives on the truck.

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Wired earbuds staged a comeback a couple of years ago, helped by Gen Z deciding a dangling white cable looks cooler than an AirPods case. Wired gaming controllers could use some of that goodwill. 8BitDo’s new Ultimate 3C+ Wired Controller for Xbox skips the battery entirely and plugs straight into your console over USB-C. It costs $39.99, carries an official Xbox license, and brings tunable TMR sticks to the lowest-priced model in the Ultimate 3 family. You trade a little freedom of movement for a controller that never needs charging, pairing, or a panicked hunt for a dongle.

There’s no battery to degrade over years of late-night Call of Duty sessions, and a 3.5mm jack sends game audio straight to your headset. The controller works with Xbox Series X|S, Xbox One, and Windows 10 or later. It arrives a few weeks after the wireless Ultimate 3C+, which launched in October for PC and Android at the same price. The Xbox version is built for console players who would rather never think about charge levels again. The included cable stretches 8.2 feet (2.5m), so measure your couch distance accordingly.

Designer: 8BitDo

TMR sticks you can tune for shooters or racing

8BitDo’s Dual Force Ring sticks combine adjustable tension with a soft-stop silicone ring under each stick to cushion the moment it hits the edge of its travel. Increase the tension if you prefer firmer resistance when aiming in shooters, or loosen it for the long, sweeping inputs of racing games. A 12-bit ADC sampling chip and a 216MHz processor read the stick position, which 8BitDo says improves precision and response. The sensors are TMR, short for tunneling magnetoresistance, and track stick position magnetically, without sliding electrical contacts. Potentiometer sticks rely on contacts that physically wear, which can cause stick drift.

Earlier this year, 8BitDo’s fanciest stick tech lived in controllers costing $99 and up. The Ultimate 3 series kicked off at CES 2026 with the $149.99 Ultimate 3E, and the $99 Ultimate 3 for Xbox brought force rings along in May. Now that adjustable tension sits inside a $39.99 controller with a cable hanging off it. Compare that with Microsoft’s Xbox Nano Controller, a $49.99 pocket pad that still ships with conventional potentiometer sticks. If your last Xbox controller died of drift, that difference in sensor tech may be the most persuasive line on this spec sheet.

Switchable triggers, extra bumpers, and lockable back buttons

A switch flips the triggers between linear Hall Effect mode and short micro-switch mode. Linear gives you the full analog pull for feathering a throttle, while micro-switch turns each trigger into something closer to a mouse click. Impulse Trigger rumble lives inside the triggers, with more vibration tucked into the grips. 8BitDo says a dedicated rapid-stop chip cuts vibration off quickly, so a gunshot’s rumble doesn’t linger. The idea is that when an explosion fades on screen, your palms stop buzzing too.

Two extra bumpers, labeled R4 and L4, join the standard shoulder buttons and can be remapped without software. Two back buttons sit under the grips, and a lock disables them when you would rather not trigger a reload by accident. 8BitDo describes the D-pad as clicky but smooth, says it has refined the ABXY buttons, and lists wear-resistant stick rings. It also widened the grip angle compared with the older Ultimate C Wired, stretching the body to 5.96 inches (151.5mm) long. It weighs 7.9 ounces (224g), just 8 grams more than its predecessor, with the revised grip intended to offer a more relaxed hold.

Ten dollars less than the Xbox Nano

Compared with the wireless 3C+, the Xbox model drops the turbo function and its sibling’s polling rate of up to 1,000Hz. It also skips the cardboard DIY stand that ships in the wireless box, a minor tragedy for anyone who enjoys a little arts and crafts with their unboxing. In return, you get the headphone jack, full Xbox console support, and an official license. Competitive players chasing every millisecond may miss the higher polling rate. For couch play, cable reach is likely to be the more immediate concern.

At $39.99, the 3C+ Wired undercuts the $49.99 Xbox Nano by ten dollars and Microsoft’s standard $64.99 controller by twenty-five. It also costs just $5 more than the older Ultimate C Wired for Xbox, which paired Hall Effect sticks with an RGB light ring. 8BitDo swapped that light show for tunable TMR sticks, which seems a useful trade for anyone more interested in stick feel than desk glow. Pre-orders are live on the 8BitDo eShop and Amazon in the US, with Matcha Green and Charcoal Gray units shipping November 16.

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Carrying less shouldn’t have to mean giving up a tent that supports itself. That’s the appeal of Field Record’s FR-SCD, a one-person shelter with a listed body-and-pole weight of just 490 grams, or about 1.1 pounds. It addresses a recognizable backpacking dilemma: how to trim the load without switching to a shelter that depends on trekking poles for its structure.

That number deserves a little unpacking before anyone starts rearranging their gear closet. The 490 grams covers the tent and its Easton carbon fiber poles, not the complete packed kit. Carry bags, stakes, and guy lines aren’t included in that figure. It’s still remarkably light, but I’d rather know what’s on the scale than fall in love with a number that leaves the accessories off it.

Designer: Field Record

Field Record comes from designer Kouichi Okamoto of Kyouei Design, and the brand says it handles design, cutting, sewing, and seam processing in-house. The FR-SCD also isn’t a fresh launch disguised by a recent round of attention. It appeared in the brand’s 2023 lineup, with a special 470-gram version developed alongside trail runner Shogo Mochizuki. The production model uses a different Dyneema fabric. That history gives the weight-saving ambition some useful context.

Visually, it’s an appealingly strange little object. The photographed shelter has a crinkled, translucent skin stretched beneath two crossing arcs, with pointed ends that make the overhead view resemble an elongated kite. I like how little effort it spends looking conventionally rugged. You can read the frame and the fabric as separate elements, and the shape feels more interesting for making that relationship so visible.

The construction is specific. Field Record pairs a Dyneema Composite Fabric body with Easton carbon poles, then applies bonded seam treatment after sewing. Twelve bonded reinforcement points support the construction. Those details matter because this isn’t merely a thin sheet draped over a frame. The maker has put reinforcement into selected locations while pursuing that low overall weight, a more interesting design exercise than indiscriminately removing material.

Ventilation is where the idea meets a less glamorous camping reality. Moisture inside a tent can be as unwelcome as rain outside it. Field Record says the FR-SCD’s form and four ventilation points encourage airflow to reduce condensation. That’s a design intention, not proof of consistently dry mornings. Ventilation is an established way to manage condensation, but I’d want field testing before treating these openings as a complete solution.

Space is another negotiation. The published dimensions are approximately 101.6 inches long, 42.5 inches wide, and 37.4 inches high. Those are overall measurements, not a rectangular sleeping area. Looking at the sharply tapered outline, I wouldn’t read the length and width as permission to sprawl. The low roof also makes this look like a place to sleep rather than a comfortable room for waiting out an entire afternoon.

Freestanding shouldn’t be mistaken for unanchored, either. A frame that holds the shelter’s shape is useful, but wind still makes staking and guying important. Sierra Designs’ tent guidance makes that distinction explicitly, even for freestanding models. I appreciate the convenience this architecture offers, provided the weight conversation doesn’t encourage anyone to leave necessary anchoring gear behind. Saving ounces shouldn’t depend on ignoring the campsite.

Then comes the price: ¥149,600, approximately $950 in New Atlas’s report. Field Record currently lists a roughly three-month lead time and offers international shipping, with customs charges left to the buyer. That puts it firmly in specialist territory. For me, the cost makes more sense as payment for a particular construction and manufacturing approach than as an obvious upgrade for anyone who occasionally spends a weekend outdoors.

I’m drawn to the FR-SCD because its priorities are easy to understand, even if they wouldn’t match everyone’s packing list. I’d want more evidence about livability before choosing it for a trip. As a design, though, it makes a persuasive case for keeping the convenience of a frame while being unusually disciplined about everything that frame has to carry.

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The bent upper section of Oslo’s MUNCH Museum makes an unmistakable mark on the waterfront. Yet the more interesting architectural move happens inside: the building separates spaces that protect art from spaces that open visitors’ attention to the city. Its tower turns the journey between galleries into a changing view of Oslo, rather than treating circulation as leftover space.

Opened on October 22, 2021, in the Bjørvika waterfront district, the museum was designed by estudio Herreros, led on the project by Juan Herreros and Jens Richter, with LPO Arkitekter as local architects. The completed building accommodates 11 exhibition halls within a 13-floor institution dedicated to Edvard Munch’s work and wider cultural programming.

Designer: Estudio Herreros

The layout divides the building into what the architects call static and dynamic zones. The static zone is an enclosed concrete structure containing galleries, where security, humidity, and daylight require careful control. Alongside it, the more transparent dynamic zone carries visitors between exhibition areas while maintaining views across the surrounding city. The distinction gives art and movement different architectural conditions.

For estudio Herreros, this ascending public route is the project’s central idea. The architects describe circulation as a viewpoint connecting the lobby with the upper terraces and observation spaces. Read this way, the tower offers a sequence of encounters with the collection and its urban setting, with neither confined to a single panoramic moment at the top.

That separation also has a practical environmental role. According to the museum, airlocks between the two zones help control temperature and humidity, allowing natural ventilation in the circulation areas without imposing those same conditions on the galleries. The architecture acknowledges that paintings and people do not always need precisely the same indoor environment.

The exterior’s undulating, perforated aluminum panels give the tower its textured surface. Cladding manufacturer Lindner supplied 4,018 panels, describing their role as solar screening that preserves a sense of transparency. The rippled profile adds depth to what could otherwise have been a flat metal wrapper, giving the large facade a finer scale of detail.

There is an unexpectedly logistical detail within that skin: Lindner says 100 panels can be opened to allow artworks to be lifted into the building. The facade must accommodate the collection’s movement as well as its protection, a useful reminder that museum architecture includes demanding backstage operations.

The lobby, conceived by the architects as a covered public space, extends this thinking beyond exhibition rooms. MUNCH’s strongest proposition is that a museum visit can include gathering, looking outward, and moving through the building with purpose. The kink attracts attention; the route gives that attention somewhere to go.

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Hidden around a modern MacBook display are magnets used to tell the laptop you shut the lid. Intricuit, a small hardware startup, looked at those magnets and saw a free mounting system. Its Magic Screen uses them to snap a touch-sensitive glass panel over your display, adding tap, swipe, and pinch controls to the MacBook you already own. It costs $179 on Kickstarter. Apple’s approach is the new MacBook Pro with PROLED XDR Display, which starts at $2,899, or roughly sixteen Magic Screens with change left over for snacks. That’s a whole laptop rather than an accessory, but it’s a steep entry price if touch is all you’re after.

Apple integrates the touch sensor into a tandem OLED panel and uses a stiffer hinge designed to limit screen bounce when you tap it. It also supports zero styluses, Apple Pencil included, which is a little funny coming from the company that sells the Apple Pencil. The Magic Screen ships with a pen that reads 4,096 pressure levels, previews its tip position as it hovers, and supports palm rejection while you draw. Intricuit lists compatibility with M1 and newer MacBook Pros, M2 and newer Airs, and even the $599 MacBook Neo, bringing that last combination to $778.

Designer: Intricuit

Snap, Plug, Tap: How the Glass Registers Your Fingers

The panel is tempered glass with a capacitive digitizer built in, the same kind of touch technology your phone uses, tracking up to ten fingers at once. Intricuit lists transparency at 99% or better and a response time of 8ms. A single USB-C cable carries the touch data and draws a claimed 0.6 watts from your MacBook, so there’s no extra battery to babysit. The 14-inch MacBook Pro version weighs 4.3 ounces (122.8 grams), and the 16-inch version comes in at 6.1 ounces (172.6 grams). Basic touch works without the app; Intricuit’s software for macOS Sonoma or later adds further controls.

Tom’s Guide spent three weeks with a Magic Screen and came away convinced macOS is far more touch-ready than Apple ever let on. Taps open apps, a press-and-hold summons the right-click menu, and familiar trackpad gestures carry over to the glass. Intricuit demos it triggering clips in Resolume Arena, orbiting models in SketchUp, and shoving sticky notes around Miro boards, all situations where reaching for something directly has an obvious appeal. It also works with iPhone Mirroring, letting you tap through your phone’s apps on the larger display. Fingerprints land on the overlay rather than directly on your MacBook’s screen.

The Stylus Apple Skipped Comes in the Box

The included pen uses USI 2.0, the Universal Stylus Initiative standard supported by compatible Chromebooks, and reads 4,096 levels of pressure. That gives you control over line weight, from a light hairline to a fat brushstroke, while palm rejection is designed to let you rest your hand on the glass as you draw. Hover detection starts about 0.4 inches (10mm) away, previewing the tip’s position before it touches down. Intricuit rates the battery at 100 hours, with a 40-minute USB-C recharge and no Bluetooth pairing required. Your Apple Pencil isn’t compatible, though it won’t work on Apple’s new MacBook Pro either.

Pop the Magic Screen off and it becomes a flat pen tablet, a familiar setup for anyone who has used a Wacom. Drawing on an upright laptop screen means working against gravity and a hinge, while laying the panel on a desk lets you rest your arm. The folio case folds into a stand for this mode. When the panel goes back on your display, the case braces against the lid to reduce wobble under your fingers. Apple’s Sidecar offers another route to drawing on a Mac, but requires an iPad and an Apple Pencil alongside the laptop. Intricuit puts the touch panel and pen in one $179 box, provided you already own a compatible MacBook.

What $2,899 Gets You at the Apple Store

Apple’s price buys a complete laptop with a tandem OLED panel rated to peak at 2,000 nits and an integrated touch sensor. The hinge is stiffer, the 14-inch body weighs 3 pounds, and the glowing Apple logo is back on the lid for the nostalgics. That package costs $400 more than the equivalent standard MacBook Pro. The Magic Screen comes with its own compromises: a cable occupying a port and a panel you need to remove before closing the lid. Intricuit built a stopper into the bottom edge to keep the lid from closing onto it, a bit of idiot-proofing that could save an expensive mistake.

The Magic Screen is available for $179 after a successful crowdfunding run, a $60 discount off its planned $239 retail price. Pick your size carefully, since each of the five versions is fitted to a specific MacBook display, and the M1 MacBook Air sits this one out. Each box includes the panel, stylus, folio case, USB-C cable, and a polishing cloth for the inevitable fingerprints.

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Before a pilot flies you to Cancún, they’ve logged hours in a simulator crashing planes that don’t exist. Surgical training has had a harder time getting there, and residents often get thin hands-on practice before working on living patients. Niklas Andreasen, a graduate of Sweden’s Umeå Institute of Design, set out to fix that with MX Surgical, a mixed reality training kit he developed with Logitech. It pairs replica surgical instruments with a headset, so trainees can rehearse procedures anywhere they can open a case. Call it a flight sim for scalpels, and a lot more portable than the six-figure simulator rigs some hospitals bolt to the floor.

Andreasen grouped surgical tools into three mechanical families (ring-handled scissors and clamps, forceps, and pen-grip instruments), then designed one reconfigurable controller for each. Sensors and adjustable resistance mechanics inside recreate how each tool pushes back in your hand, and layered pads give you something to actually cut into. The headset handles the anatomy, while a companion platform scores you on precision, force, and timing like a very strict video game. It’s a concept for now, with no pricing or launch plans. Even so, it has already picked up Emerging Product Designer of the Year at the 2026 European Product Design Awards, three Core77 student wins, and a nomination for Red Dot’s Peter Zec Prize.

Designer: Niklas Andreasen (Umeå Institute of Design, in collaboration with Logitech)

Three Controllers, One Entire Instrument Tray

A real surgical tray can hold dozens of instruments, and building a replica of each one would turn the kit into a hardware store. Andreasen sidestepped that by mapping what instruments have in common mechanically. Scissors, needle holders, and clamps all pivot on a ring-handled scissor action. Forceps pinch, and scalpels and probes ride in a pen grip. Each MX Surgical controller covers one of those families, tuning its spring tension and range of motion in real time so the same body can feel like a fine dissecting scissor one minute and a stiff clamp the next.

Logitech has spent over four decades shaping mice, keyboards, and controllers around human hands, and the collaboration shows. The kit wears the MX family’s soft radii and matte warm grays, so anyone who owns Logitech’s MX Ink stylus for Meta Quest will feel right at home. Three mentors from Logitech, Nick Jinkinson, Andreas Connellan, and Aidan Kehoe, guided the project. The cutaway renders show a rotary mechanism tucked right at the pivot, where the resistance needs to happen, inside ring handles your fingers already know from the real tool. Compare that with FundamentalXR, a leading haptic surgical platform that has traditionally relied on desk-mounted haptic arms.

Layered Pads Handle the Feel, the Headset Handles the Gore

Haptics can only fake so much, so MX Surgical gives your hands something physical to work on. Layered training pads stand in for tissue at different depths, and they slot into a die-cut tray inside the case. As you work through a procedure, the mixed reality overlay progressively reveals deeper layers of anatomy and shifts to match what you’re doing. Hospitals and universities can stock a material library of swappable pads and components, tailoring the kit to a specialty or a specific case. Residents without a headset aren’t stuck either, because a simpler screen-based version handles the visual side.

This hybrid approach borrows from both ends of current surgical training. On one end are cheap suturing pads that residents practice stitches on at home, which feel real but teach nothing about context. On the other end are VR simulations that show you an entire operating room but feel like waving a remote around. MX Surgical splits the job, letting the pad handle touch and the headset handle everything you need to see. The whole thing packs into a slim carry case, which makes it something you can take home, practice with at 11pm, and toss in a bag for your next rotation.

A Scorecard for Skills Surgeons Used to Pick Up by Osmosis

Every practice session gets logged by the companion platform, which tracks motor patterns, motion efficiency, accuracy, force control, and response timing. Those numbers describe the stuff a senior surgeon notices from across the room, like a hand that hesitates or grips too hard. The platform adjusts difficulty as you improve, keeps a digital anatomy atlas on hand, and lets mentors review your sessions remotely. Residents can train alone or in teams, then sit down with an attending to go through the results together. Andreasen’s own framing is that this data captures knowledge residency has always passed down person to person without ever writing it down.

That puts MX Surgical in direct conversation with William Halsted, who founded the surgical residency program at Johns Hopkins in 1890 around a simple motto: see one, do one, teach one. A century later, a design student added a fourth step, practice one, and made it look like something that belongs next to your keyboard. Andreasen built it through interviews and observation sessions with surgeons and educators in Sweden and Germany, with mentors from Logitech, Intuitive Surgical, and IDEO. In a Red Dot interview, he said he looks for ideas that “earn and defend their place.” A kit that lets a resident make their first mistake on a pad instead of a person sounds like one of those ideas.

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Most clocks give their hands somewhere obvious to stand, usually a solid face hiding the mechanism behind it. Hollow Clock V leaves that space empty, making its hands appear to hover inside a slender ring. This working DIY project uses 3D-printed parts, hidden gears, and magnets to pull off a trick that doesn’t require a transparent panel to work.

The minute hand provides the first clue, since its outer end connects to a rotating ring concealed within the frame. Its center supports the hour hand on a small pivot, so the pair isn’t actually levitating. The hour hand’s position is controlled magnetically by another rotating ring, allowing it to keep pointing at the right hour while the longer hand travels around.

Designer: Shinsaku Hiura

That second ring carries two neodymium magnets, which interact with a third tucked into the hour hand. Their T-shaped arrangement helps keep the hand aligned without adding a connection across the opening. Down in the base, a stepper motor and a combination of worm and bevel gears drive the minute ring 12 times faster than the hour ring, without a bulky central hub.

All that machinery makes the spare appearance deceptive. The ring has a border only about 0.28 inches wide, with hour markers replacing a conventional numbered dial. Screws are kept out of sight when the clock is assembled, apart from the central hand fastener. A rear USB-C connection sends the cable away from the front, leaving the open center to do the distracting.

The finish is also shaped by the way the parts are printed, rather than treated as an afterthought. Front surfaces sit against the printer’s build plate, picking up its texture instead of exposing filament paths across the face. Changing filament during printing gives the markers a contrasting color. It’s a small manufacturing decision that makes the homemade object look a little more deliberate.

Setting the time stays physical, too. You lift the display ring out of the base, freeing it from the drive gears, move the hands to the desired time, and slot it back in. There’s no tiny adjustment knob to hunt for behind the housing. For a clock that hides so much of its mechanism, this particular interaction is refreshingly easy to understand.

Getting to that point takes more effort than the finished clock lets on. The project involves printing, soldering, loading firmware, and assembling the moving parts, although the supplied print orientations don’t require supports. Smooth gear surfaces matter, and the guide includes lubrication and tuning advice. The uncluttered desk ornament is also a small mechanical project, with patience required before it starts keeping time.

The ratchet is designed to compensate for missed motor steps, though it also introduces a reason to think twice about bedside placement. The guide describes removing its hook for quiet operation only when the mechanism runs smoothly enough. On a desk or shelf, that choice comes down to how much of the clock’s engineering you’re prepared to hear as well as admire.

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Changing a home’s layout usually means working around walls that have no intention of moving. The Segmented Building System concept approaches that problem by treating a building as a series of four-foot-wide sections, rather than one permanent shell. This unconventional architecture proposes a house that could be dismantled and reassembled instead of demolished when circumstances change.

Each section is conceived as a slice through a building, combining floor, wall, and roof panels into a complete or partial profile. Structural insulated foam panels would form these pieces, which could arrive separately or already assembled. The four-foot measurement describes the segment’s width, not the room’s overall span, so the proposal isn’t asking anyone to squeeze into a very narrow little house.

Designer: Michael Jantzen

Repeating those slices would let a building stretch, while combining full and half profiles would allow it to branch sideways. Their varying heights could give a shared living area a taller ceiling and keep adjoining spaces lower. Rather than committing to a single box-shaped module, the idea is to assemble different volumes from related parts, with their rooflines following the changes below.

The more interesting move, however, is to slide neighboring profiles out of alignment. Glass would fill the gaps, turning the joints between sections into narrow openings for daylight. Those openings could continue from the walls into the roof, bringing light into a tall central space. Instead of treating every seam as something to hide, the concept makes some of them part of the architecture.

The exterior isn’t tied to its mustard-yellow finish, either. Metal or cement-composite boards are proposed as cladding options, applied before delivery or after assembly on site. That gives the same underlying system room for different appearances, rather than making one facade part of the deal. Solar panels could also attach to the segments, with off-grid operation among the ambitions for the system.

Of course, rearranging a house wouldn’t be quite as casual as rearranging its furniture. The segments would attach to a prefabricated concrete perimeter foundation shaped for the chosen layout. Moving them elsewhere would still mean preparing a suitable base and reconnecting the building’s services. The proposal describes reusable sections, not a finished home you can simply pick up and drop onto any empty plot.

The point of taking those sections apart would be to use them again, perhaps in a different arrangement at another location. That’s a useful distinction from grinding a demolished building into material for something else. The ambition is to keep a usable building section intact. A change of address or layout wouldn’t require giving up the pieces that already made up your home.

The post This Modular Building Concept Assembles Homes From Four-Foot-Wide Slices first appeared on Yanko Design.

A speedboat that rises above the water is an easy visual sell. The less glamorous question is what happens to the perfectly usable boat someone already owns. Replacing an entire vessel to get a smoother, more efficient ride is a fairly extravagant upgrade path. Norwegian company Lift Ocean is working on another option: ONE, a hydrofoil system designed to fit conventional boats rather than demand a completely new hull. I like that starting point.

ONE is a tested system, but it isn’t a weekend installation project for individual owners. According to New Atlas’s November 8 report, orders are currently limited to boat manufacturers and fleet operators, with shipping expected in 2027. That makes the immediate story a supplier offering foiling technology to the industry, rather than an accessory you can order for next Saturday’s lake trip. The distinction matters before anyone starts clearing space in the garage.

Designer: Lift Ocean

The hardware has an understandable layout: one foil assembly at the bow and two at the stern, flanking a single outboard motor. Each assembly places a movable underwater wing at the bottom of a vertical mast. As speed builds, those wings generate lift and raise the hull above the water. It’s an unusual-looking arrangement, but the logic is straightforward. Less hull moving through the water means an opportunity to reduce resistance.

Keeping that arrangement stable takes more than attaching wings. Lift Ocean’s active control system automatically adjusts their angles to maintain ride height and manage banked turns. The driver still uses steering and throttle, rather than learning to balance the boat manually. To me, that’s the right place to put the complexity: inside the controls, where it can do useful work, instead of turning a familiar activity into a new skill test.

The retractable wings are equally important, although they’re less likely to get top billing than the flying-boat footage. Lift Ocean says retracting them allows conventional planing, reduces marine growth, and makes maintenance easier. Its CEO also says the arrangement accommodates a conventional trailer. Those are sensible priorities. A boat still has to come home, sit unused, and get cleaned. I’d judge the design partly by how gracefully it handles those unphotogenic hours.

Compatibility is another appealing decision. ONE is designed to work with gasoline or electric outboards, so adopting the system doesn’t inherently require changing energy sources. An automatic engine lift bracket moves the motor vertically to keep its propeller submerged while the boat rises. That detail deserves attention: lifting the hull is only useful if propulsion continues working properly. The bracket addresses a problem created by the very feature everyone came to admire.

The efficiency claim is substantial. Lift Ocean told New Atlas that measurements from its test boats and client samples showed roughly a 50 percent reduction in fuel consumption, while emphasizing that results vary between boats. I’d treat that as a company-reported result, not a guaranteed discount at the fuel dock. Still, reducing the energy needed to move an existing hull is a compelling direction. It makes efficiency a question of how the boat travels, alongside what powers it.

I also appreciate that Lift Ocean acknowledges installation differences. In an interview with Marine Industry News, CEO Petter Mørland Pedersen explained that some modifications are normally required, depending on the vessel. “Bolt-on” shouldn’t be mistaken for universally effortless. Manufacturers still have integration work to do, and a standardized system doesn’t erase the individual boat’s structure or proportions. That caveat makes the proposition more credible to me, because it leaves room for the actual engineering.

Before calling ONE a practical upgrade, I’d want to see the installed price, maintenance requirements, and fuel savings on a specific boat. But as a design proposition, it has my attention. The appeal is being able to improve a familiar object without treating the entire object as obsolete. If boatbuilders can make that integration convincing, the most satisfying feature might be the hull you didn’t have to replace.

The post Lift Ocean’s ONE Lifts Boats Above Water Without a New Hull first appeared on Yanko Design.

Taking someone’s photograph often means hiding your own face behind a camera or phone. That’s a rather strange way to capture a shared moment, especially when you’re trying to keep a conversation going. HOA’s upcoming A1 camera takes a different approach, using a large, open frame as its viewfinder so you can look directly at the person you’re photographing with both eyes open.

The shape is almost comically simple, leaving a rectangular border, a solid lower section, and a circular lens assembly that overlaps the opening. Rather than squeezing a tiny viewfinder into one corner, the body gives you a generous space to look through. The lens still occupies part of that view, of course, but there’s considerably less camera standing between you and your subject.

Designer: Lutra

That could make photographing friends feel a little less like asking them to perform for a gadget. You can keep talking, watch their expressions, and press the shutter without switching your attention to a live preview. Accurate composition is another matter, however. How closely that opening matches the final photograph, particularly as you move it away from your face, still needs testing.

Inside that unusual outline is a Sony 16MP sensor paired with an autofocus lens offering a 26mm-equivalent field of view. That’s a wide-angle perspective suited to keeping some surroundings in the picture, rather than concentrating on a distant face. HOA lists a weight of about 4.9 ounces and a battery rated for up to 90 minutes of continuous shooting on a single charge.

Your phone returns to the process when it’s time to see what you’ve captured. HOA says tapping a smartphone against the camera’s back will let you view photographs, although detailed instructions are still pending. You can shoot without Wi-Fi, so a walk with your camera doesn’t require finding an internet connection first. Getting authentication certificates through the companion app requires going online, however.

Those certificates belong to ShootProof, HOA’s proposed system for checking whether a photograph has changed since capture. The company says a secure chip signs each image’s digital fingerprint, with that record entered into a blockchain registry. That’s a record of the file’s integrity, not a guarantee that the scene was truthful. Photographing something staged doesn’t make it honest, certificate or no certificate.

There’s a more personal kind of signature as well, and this one actually appears in the photograph. An optional Signature mode places your chosen mark in a corner of each shot, much like signing a print. You can leave a little trace of yourself on photographs of friends or familiar places, rather than adding your signature to every individual photograph by hand afterward.

The planned December 21 release is limited to 100 numbered First Edition cameras, priced at $289. That makes the A1 an unusual purchase before its image quality and phone workflow are fully demonstrated. Its open frame offers an appealing way to keep looking at people while photographing them, but the photographs still have to justify carrying another device alongside your phone.

The post HOA A1 Camera Lets You Stay Face-to-Face While Taking Photos first appeared on Yanko Design.

Your desk does not need another gadget simply because there is room for one. The worthwhile additions are the ones that change how the space works or feels: a light that leaves the surface clear, a mouse that packs flat, or a notebook alternative that lets your ideas move around. Sometimes, the right accessory does something less practical but equally personal, giving an otherwise ordinary setup a little more character.

These eight designs approach the workspace from different directions, balancing useful everyday tools with objects that make sitting down feel more inviting. Sony’s miniature 3D display leads the selection, joined by adaptable storage, sculptural stationery, thoughtful lighting, and portable technology. The connecting thread is considered design rather than a matching aesthetic, with each accessory offering a distinct reason to claim some space beside your computer, sketchbook, or morning coffee cup.

1. Sony ELF-MN1 Spatial Reality Display

Sony’s ELF-MN1 takes the familiar desk collectible and replaces the physical figure with a digital character on a six-inch display. Its glasses-free 3D presentation makes compatible content appear to have depth without asking you to wear a headset. The transparent stand keeps the enclosure visually light, which suits an object intended to sit beside a monitor rather than compete with it. This is the personality piece of the group, not another screen pretending to be essential office equipment.

The interesting design decision is making digital collecting feel more like displaying an object than opening another window on your computer. Eye tracking adjusts the stereoscopic image for the viewer, although the effect is intended for one person rather than everyone around the desk. You will need a compatible smartphone or PC and supported content, so this is not a universal digital picture frame.

What we like

• The combination of a compact enclosure and glasses-free depth gives digital collectibles a distinctive desktop presence.
• It adds personality without requiring a headset.

What we dislike

• The stereoscopic effect is intended for a single viewer.
• Compatible hardware and content are required, and the product is not shipping yet.

2. MagBoard Clipboard

A notebook gives your thoughts a home, but it also decides where every page belongs. The MagBoard Clipboard takes a more flexible approach, using a magnet and lever mechanism to secure loose sheets inside a simple cover. Pages can be removed, replaced, or rearranged as a project develops. For a desk covered with sketches, meeting notes, and half-finished ideas, that makes it an appealing middle ground between a conventional bound notebook and an increasingly unruly stack of loose paper.

Designed by Hirock Design Office and made in Japan, the clipboard has a rigid cover that also provides a writing surface away from your desk. The shop specifies a capacity of up to 30 sheets, enough for a focused working collection rather than an entire archive. A5 and A4 sizes let you choose between compact notes and larger drawings. Available configurations start at $45, making this the simplest selection for readers who would rather reorganize their paper than digitize everything.

Click Here to Buy Now: $45.00

What we like

• Loose pages can follow the changing order of a project.
• The rigid cover provides support when a tabletop is unavailable.

What we dislike

• The stated 30-sheet capacity limits how much material it can hold.
• It costs more than a basic clipboard and still requires managing individual sheets.

3. Divoom Astrotoo

The Divoom Astrotoo looks like a tiny computer from a future imagined several decades ago. Its rounded housing, raised keys, and joystick give it a tangible character that a plain speaker grille rarely achieves. Behind that playful appearance sits a 20W speaker and a 3.95-inch display for photographs, clock faces, pixel art, and music visualizations. It offers a way to bring music and personal imagery into the same small object, rather than adding separate accessories to your desk.

Physical controls handle everyday interactions, while the Divoom app manages visual customization. That division gives the buttons a purpose beyond completing the retro look, although the phone remains part of the experience. Divoom lists Bluetooth, WiFi, microSD playback, and battery operation, with up to six hours claimed between charges. At $199.99 and listed in stock, Astrotoo is a substantial purchase for its size. Its appearance is easy to appreciate; sound quality needs listening rather than assumptions based on its specifications.

What we like

• The physical keys and joystick make the retro styling functional.
• Music playback and a customizable display share one compact enclosure.

What we dislike

• Visual customization still involves a phone app.
• The claimed six-hour battery life does not cover a full eight-hour workday.

4. BenQ iScreenBar

A desk lamp can improve a workspace while also becoming another object you have to work around. BenQ’s iScreenBar removes the base from that equation by attaching to a compatible iMac through a magnetic mounting system. The aluminum body follows the computer’s restrained material language, while cable management helps keep the addition visually contained. It is a particularly relevant accessory for an already crowded desk, where the best place to put another useful object may be above the work surface.

The mounting arrangement is designed to leave the camera, microphones, and speakers unobstructed, while asymmetric optics direct illumination toward the desk. BenQ also provides automatic brightness adjustment and software controls, giving the light more flexibility than its minimal appearance suggests. The important qualification is compatibility: the magnetic clip supports iMac models from 2021 onward, not earlier iMacs or Apple’s standalone displays. Listed at $189, it makes sense as a tailored lighting solution, not as a universal recommendation for every computer.

What we like

• The mounted design leaves the desktop free of a lamp base.
• Its attachment and cable routing are designed specifically around the iMac.

What we dislike

• Compatibility excludes earlier iMacs and Apple’s standalone displays.
• The specialized mounting makes it less transferable if you change computer setups.

5. Levitating Pen 3.0

Most pens disappear into a drawer until they are needed. The Levitating Pen 3.0 makes putting one down part of its appeal. Supported magnetically, it balances on a pinpoint at a 60-degree angle, creating a poised silhouette above its pedestal. The effect gives an ordinary writing instrument the presence of a small kinetic sculpture. Beside Sony’s digital display, it offers a different kind of desktop spectacle, using a physical balance mechanism rather than another illuminated screen to attract attention.

The pen remains a writing tool, which matters when the novelty wears off. The available 2-in-1 configuration can switch between fountain and rollerball formats by changing the grip, offering a practical reason to look beyond the stand. That version was listed at $149 when checked, while standalone fountain and rollerball variants were marked sold out. Its strongest appeal is the relationship between object and holder, so consider whether you want to dedicate permanent desk space to the pedestal.

Click Here to Buy Now: $149.00

What we like

• The magnetic balance turns storage into a distinctive part of the design.
• The available 2-in-1 version offers fountain and rollerball configurations.

What we dislike

• The pedestal occupies more space than simply storing a pen in a tray.
• At $149 for the available configuration, its sculptural appeal carries a premium.

6. DailyObjects Node Charging Ecosystem

Charging accessories often arrive one device at a time, eventually leaving a desk with several unrelated stands and cables. Designed by LAYER for DailyObjects, Node treats them as components of a shared system instead. A dock supports interchangeable modules, allowing the arrangement to change with the devices and routines around it. The collection includes a wireless phone stand, charging disk, Apple Watch stand, and portable lamp. Its rounded forms make the charging setup feel like a deliberate group of objects.

The flexibility extends beyond rearranging pieces on a base. LAYER describes modules that can work independently, with a battery-equipped phone stand and portable lamp allowing selected functions to move elsewhere. That could suit someone who works at a desk during the day and wants the same accessories nearby later. The distinction between configurations matters, since a pictured collection should not be mistaken for one included package. Current pricing and regional purchase availability could not be independently confirmed during checking.

What we like

• Interchangeable modules allow the setup to respond to different needs.
• The phone stand and portable lamp bring mobility into a usually stationary category.

What we dislike

• Buyers need to check exactly which modules a configuration includes.
• Current pricing and regional availability remain unconfirmed.

7. Orbitkey Grid Desk Organizer

A fixed compartment organizer works beautifully until the things you need to store change. Orbitkey’s Grid Desk Organizer makes that limitation its starting point, using movable dividers that snap into a perforated tray floor. Instead of finding objects that fit the compartments, you arrange the compartments around your objects.

That is a useful distinction for a desk that alternates between stationery, charging cables, earbuds, and small tools, where yesterday’s tidy arrangement can quickly become today’s awkward collection of empty spaces. Stackable trays add another layer of adaptability, while the lid can serve as a phone stand. The design is promising, but its production status needs to stay visible beside the attractive imagery.

What we like

• Movable dividers let the storage layout follow the objects.
• Stackable layers offer a way to organize vertically.

What we dislike

• Accessing lower trays involves moving or sliding the layers above them.
• Fulfillment remains pending, so it is not an immediate desk upgrade.

8. OrigamiSwift Mouse

The OrigamiSwift Mouse addresses a familiar frustration with portable work tools: the shape that suits your hand rarely suits your bag. Its folding body opens into a raised mouse form, then flattens for storage when the workday moves elsewhere. The triangular geometry gives that transformation a visual logic rather than disguising the folds. Designed by Horace Lam, it belongs on this list because the mechanism changes how the object travels, not simply because its appearance differs from a conventional mouse.

Bluetooth connectivity and USB-C charging keep the practical specifications familiar, while the listed 40-gram weight reinforces the portability story. The shop claims up to three months of use per charge, a figure that should be treated as a product claim rather than a tested result. Black and Gray versions are listed at $85, with Titanium Silver at $95. The folding design is appealing for shared tables and mobile setups, although comfort over long sessions still needs individual assessment.

Click Here to Buy Now: $85.00

What we like

• The folding mechanism reduces thickness for packing and storage.
• Its lightweight construction suits a workspace that moves between locations.

What we dislike

• Folding flatter does not necessarily mean occupying less tabletop area.
• The unusual shape warrants a personal comfort check before replacing an everyday mouse.

A Better Desk Does Not Need Everything

The most convincing desk upgrade is usually the one that answers a specific frustration. MagBoard gives loose notes a more flexible home, BenQ moves lighting off the work surface, and OrigamiSwift changes what a mouse needs to occupy inside your bag. None requires the rest of the collection to make sense. Choosing one useful improvement is a better starting point than assembling an entire setup around a photograph you admire.

There is also room for objects that make the desk feel more personal, whether that means a magnetically balanced pen or a digital character beside your monitor. The distinction is knowing what you are buying and why. Check compatibility, available configurations, and delivery status before committing, particularly with forthcoming designs. A considered workspace should reflect the way you actually spend time there, with enough room left for the work itself.

The post 8 Best Desk Accessories of October 2026 to Upgrade Your Workspace first appeared on Yanko Design.

Caviar’s Zodiac Duo may be on your wish list this year. Well, at least if you’re an Apple fan drawn to the idea of a foldable iPhone with a rather extravagant finish. Caviar presents the customization for the iPhone Duo, itself already a sort of luxury item. If you want to make your phone a bit different from all the others, this may just be the one you’d want to spend your money on. And I mean a lot of money.

The Zodiac Duo isn’t simply a specially designed case featuring one of the 12 astrological signs. It’s a made-to-order customization offering with 12 zodiac-themed starting designs. There are eight steps to customize and personalize your phone, including changing things like the constellation, metal finish, decorative elements, and back-plate materials. Caviar says its jewelers will assemble the finished piece according to your specifications. So don’t expect this to be a simple or affordable kind of customization.

Designer: Caviar

The personalization aspect changes the decorative composition of your phone, rather than just its color or a generic zodiac symbol tacked onto it. You can configure several visually separate components, including the zodiac circle, medallion, frame, and decorative panel. The zodiac circle gives the design a visual structure, with the constellation and sign symbol guiding the rest of your choices. This way, you won’t just have various luxury materials scattered around a surface. There’s a recognizable theme holding everything together, even if your material choices are on the extravagant side.

Caviar lists silver, yellow and rose gold, and natural or black titanium among its metal options, although the exact construction depends on your configuration. Some components are specified as gold-plated rather than solid gold. For decoration, the choices include jewelry enamel, diamonds, sapphires, rubies, Swarovski crystals, and meteorite. The back plate can use crocodile, python, calfskin, or forged carbon. That’s quite a different set of decisions from choosing between a clear case and a silicone one. It also leaves room to decide how much sparkle you actually want.

The surface treatments deserve some attention, too. Caviar offers guilloché and clous de Paris hobnail patterns, adding intricate repeating details to the metal surfaces. These give you something else to consider beyond color and shine. A textured metal surface paired with leather suggests a different visual character from one surrounded by bright stones, even when both designs begin with the same zodiac sign.

For someone who follows astrology, the appeal is having a daily object connected to something personally meaningful. It could also make a very specific gift, assuming you know the recipient’s sign and taste well enough. The benefit here is self-expression. There’s no reason to expect a jeweled constellation to make your apps run faster or your photos look better.

The online configurator lets you see an estimated price as you make your selections. You can then save the design as a link or send it to a Caviar manager. That makes the process more manageable than trying to describe your preferred combination from scratch. Still, Caviar says the configurator image is illustrative, with the final appearance agreed upon with a manager. Those selections are the beginning of a conversation about the finished phone.

One configuration carries an estimated price of $16,629, but that isn’t a confirmed price for every possible combination. Buyers should request a configuration-specific quote and delivery information from Caviar. Before committing, I’d also want answers about the finished phone’s weight, charging compatibility, warranty, and repair options. Those practical details matter when the object you’re decorating still needs to function as your everyday phone.

The more interesting long-term question is what happens when that phone needs replacing. A zodiac sign won’t become outdated, but the device carrying it eventually will. At this price, knowing whether the decorative work can be repaired or reused would matter almost as much as choosing the right constellation.

The post Caviar’s Zodiac Duo Phone Refuses to Keep Your Star Sign Subtle first appeared on Yanko Design.

A water bottle in one hand and a bag of trail mix in the other works perfectly well until you need your phone. Then the snack bag gets stuffed into a pocket or buried somewhere inconvenient. The FLPSDE XR Dual Chamber Water Bottle tackles that small but familiar packing problem by giving your drink and your snacks separate spaces inside one bottle. I like the premise: fewer loose things to keep track of, without abandoning the snacks.

Designed by Ben Bazis, whose name appears on FLPSDE’s container patent, the XR is a retail product rather than a concept waiting for production. It’s the plastic version of the brand’s dual-chamber bottle, with drinking access at the top and storage accessed by flipping it over. That arrangement makes sense for an afternoon out when bringing a whole lunch bag feels excessive, but pretending you won’t get hungry feels optimistic.

Designer: Ben Bazis

The capacity needs a little unpacking. FLPSDE lists 32 ounces overall, but that’s divided between a 25-ounce drinking chamber and a 7-ounce storage compartment. You’re not getting a full 32-ounce water supply plus a bonus snack container. Some of the bottle’s interior is committed to storage, which seems like a reasonable exchange for short outings. For a longer walk with limited refill opportunities, I’d give water capacity priority over the convenience of consolidated packing.

Visually, the XR makes its unusual construction easy to understand. The product image shows a snack chamber nested inside the lower portion of a translucent blue body, with water occupying the space above and around it. You can see the contents rather than treating the base like a mystery compartment. I prefer that openness here. Seeing the remaining cashews is a useful reminder that you packed them, and an equally useful warning that you’re almost out.

The lid gets attention, too. FLPSDE includes a straw, a carry handle, and a wide opening for adding ice, along with the option to drink without the straw. Those are sensible accommodations for different habits, although the storage is still the reason this bottle deserves a look. I’m more interested in that practical combination than in another bottle asking me to appreciate its color alone. The XR does offer colors you can mix and match, if that’s your thing.

The lower compartment isn’t restricted to food. FLPSDE suggests keys or lip balm, and says it can also hold a separate cold drink, including electrolytes or cold coffee. The company describes the chambers as independently sealed. I’d use it for dry snacks first, simply because that’s the clearest benefit for my own packing preferences. A small second beverage has its appeal, but keeping a handful of nuts from disappearing into the bottom of a backpack feels more broadly useful.

Cleaning is where a clever container can become a chore. FLPSDE says the XR disassembles completely and that all parts are top-rack dishwasher safe. That matters more to me than the prospect of carrying two drinks. A bottle that holds food needs to be approachable after the outing, too. Disassembly is a sensible design choice, though it also means more pieces to wash and reassemble. Combining containers doesn’t make their maintenance disappear; it brings the jobs together.

At a listed $24.98, the XR is priced modestly enough to make its extra function worth considering. FLPSDE gives dimensions of 10.25 inches tall and 3.25 inches wide, and says it fits most cup holders. That last detail is worth checking against your own car or bag rather than assuming every holder agrees. The useful question is whether its shape fits the places where you already carry a bottle.

I wouldn’t replace a perfectly good bottle solely to acquire a snack compartment. But for someone already shopping, the XR offers a specific reason to choose it: the food travels with the water. Its appeal depends on how you pack, not how enthusiastically you collect drinkware. If a bottle is already coming along, giving it responsibility for the trail mix seems like a fair assignment.

The post A $25 Water Bottle That Packs Snacks Without an Extra Bag first appeared on Yanko Design.

Chargers have become smaller and more capable, but their cables still have a habit of becoming a tangled mess in our bags. Even remembering to pack one doesn’t guarantee you’ve brought the other. Twelve South’s Cablesnap 65W charger tackles that familiar problem with a retractable USB-C cable, keeping the wire tucked inside its body until you actually need to plug something in.

The idea is pretty straightforward, although it addresses a chore that’s easy to overlook. Pull out the USB-C connector and the flat cable extends up to 29 inches, giving you some freedom to position your device. When you’re done, a small tug sends it back into the housing. There’s no need to wrap the cord around the charger and hope it stays put.

Designer: Twelve South

The connector has its own recessed resting place beside the extra ports, so there isn’t a loose tip dangling outside after the cable disappears. That leaves a rounded rectangular body with relatively little visual clutter and a contrasting end section. Coastal blue, Dune, and Slate finishes give it some personality, especially if you’ve grown tired of the usual anonymous black or white chargers.

That disappearing trick does come with a catch, of course. A 29-inch cable works best when the outlet is already reasonably close to where you want your device. A desk socket is one thing; an outlet hidden behind a hotel bed is another matter. You can avoid having extra wire spread across the table, but you can’t pull out length that isn’t there.

Fortunately, the built-in cable isn’t your only connection. An additional USB-C port and a USB-A port let you charge up to three devices together, which could cover a laptop, phone, and wireless earbuds at the end of the day. You’ll still need separate cables for those extra ports, though, so this particular arrangement hasn’t made your entire cable collection obsolete just yet.

The advertised 65W, however, needs a little explanation. That’s the charger’s total available output, rather than what each device receives when everything is plugged in. The USB-A port tops out at 18W, while the overall power budget is shared. Charging a compatible laptop alongside your other gadgets is convenient, but you shouldn’t expect it to receive the full 65W in that particular arrangement.

The US plug folds into the body as well, keeping its prongs from sticking out while the charger is packed away. Included Type G and Type C adapters accommodate compatible UK and European outlets, saving you from sourcing those pieces separately. Between the folding plug and retractable cable, there’s less to arrange before slipping the charger back into your crowded travel bag.

At $49.99, the Cablesnap 65W puts a price on not having to coil a cable every time you move between desks or pack for a trip. The integrated design does raise a question about replacing that cable, something Twelve South doesn’t explain. You still have the spare USB-C port if needed, but using it brings a loose cord back into your bag.

The post Twelve South’s Cablesnap 65W Charger Packs Its Cable So You Don’t Have To first appeared on Yanko Design.

The PlayStation 5 is having a wild autumn. Modders have cracked it wide open, and people are now hauling Steam games onto the console and PS5 games onto their PCs, like two neighbors who swapped houses just to see what happens. Meanwhile, an eBay seller called arcadeplug has gone in the opposite direction, building a PlayStation-themed bartop arcade cabinet that plays the original PS1 library old-school style, standing up with a joystick in hand. It runs on a Raspberry Pi 4 with RetroPie, uses a 19-inch screen, and costs $1,029.99. Sony never made this machine. Somebody with a lot of vinyl and a free weekend decided the universe needed it anyway.

I’ll admit the first photo got me. The gray body, the four-color PS logo on the side, and the glowing triangle, circle, cross, and square buttons hit the same part of my brain that still remembers the PS1 boot-up sound. It’s a fan build in official-looking clothes, and the clothes are excellent. The funny part is the history, because PlayStation hardware actually powered ’90s arcade cabinets, running Tekken on Namco’s System 11 board months before the console launched. Those machines wore other companies’ art. This one wears Sony’s art with zero Sony hardware inside, which is a deliciously backwards way to close the loop.

Designer: arcadeplug

Sony Snuck the PlayStation Into Arcades Before It Hit Living Rooms

Tekken’s road to the arcade ran through a 1993 meeting where Sony’s Ken Kutaragi walked Namco’s Shegeichi Nakamura through the early PlayStation specs. Namco had been building Tekken for its pricey System 22 board, a machine meant to slug it out with Sega’s Virtua Fighter 2. After that meeting, the project moved to System 11, a cheaper board built on PlayStation architecture. The plan was simple economics, leaving Sega the big arcades while Tekken chased the smaller ones that couldn’t afford premium hardware. Bringing the game home was easy, since the arcade board and the console were basically siblings. An upgraded System 12 followed, debuting with Tekken 3 in March 1997.

Sony also built its own arcade boards, the ZN-1 and ZN-2, and handed them to studios like Capcom, Taito, and Tecmo. Street Fighter EX, Battle Arena Toshinden 2, and Tetris: The Grand Master all ran on PlayStation-derived silicon, though nothing on the cabinets told you so. Sony kept the boards unbranded, letting each publisher put its own name and art on the outside. My favorite slip comes from Acclaim, whose NBA Jam Extreme manual casually calls it the “Sony Play Station Arcade Board.” Sony’s arcade boards were PlayStations in disguise. This cabinet is the disguise with no PlayStation inside.

Why the PS1’s Graphic Design Looks This Good Blown Up

Teiyu Goto, the designer behind the original PlayStation and its controller, picked shapes for the face buttons because every rival was using letters. Each shape carried a meaning, with the circle and cross standing for yes and no, the triangle for a viewpoint, and the square for a sheet of paper or a menu. He gave them colors too, and had to convince management that the red circle and blue cross were intentional. Three decades later, those four shapes work as a logo in their own right. On this cabinet, they sit on translucent arcade buttons lit from within, and you can read them from across the room.

Manabu Sakamoto’s 1994 PS logo takes over the side panels, printed big enough to study how it works. Sakamoto wanted the mark to suggest 3D without simply adding thickness, so he stood the P upright and laid the S flat behind it, using four primary colors. At cabinet scale, that illusion of depth looks better than it ever did on a console lid. The body borrows the PS1’s light gray, and a ring around the center of the control panel frames another PS logo, which reads to me like a nod to the original console’s round disc lid. All of it is laminated vinyl, and it sells the fantasy completely.

A Raspberry Pi, Six Buttons, and a $1,029.99 Price Tag

Inside sits a Raspberry Pi 4 with a 128GB build running RetroPie, the open-source software that bundles emulators for the Pi. Games play out on a 19-inch LCD, backed by a pair of 4-inch speakers, Sanwa-clone joysticks and buttons, and LED lighting throughout. Each player gets one stick and six buttons, the four PlayStation symbols plus an L and an R. That layout drops the original controller’s second pair of shoulder buttons, which suits Tekken and Street Fighter Alpha far better than a 40-hour Final Fantasy run. You’ll also be standing the whole time, which feels right for a fighter and slightly brutal for a JRPG.

On eBay, the Custom PlayStation Multicade cabinet goes for $1,029.99 or best offer, shipping from Ohio with a one-year warranty covering the speakers, buttons, and Pi. For scale, Arcade1Up’s licensed Street Fighter II cabinets run roughly $350 to $650, and a SuperStation One FPGA console costs about $210 to $250 if you just want PS1 games on a TV. Neither comes dressed like this, though. The timing makes me smile, because Sony is ending physical game disc production in 2028, and here’s a shrine to the console that made CDs the default for a generation. Modders are prying the PS5 open to see what it can become. Somebody in Ohio gave the PS1 the arcade cabinet it never had.

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What if walking into a library felt a little like stepping into a forest? In Gresham, Oregon, that idea has taken shape through towering wooden columns, sunlit interiors, and spaces that gradually shift from lively gathering spots to quiet reading corners. Completed in 2026, East County Library brings the natural character of the Pacific Northwest into a public building, creating an environment where architecture, learning, and community life come together.

The 95,000-square-foot library draws inspiration from the experience of walking among tall trees. The connection begins outside, where slender wooden columns extend beyond the building’s exterior walls and support an expansive roof. Narrow vertical windows echo their rhythm, giving the facade a sense of depth and repetition. A sheltered entrance extends the public space toward the street, inviting visitors to experience the architecture before stepping inside.

Designer: Holst Architecture and Adjaye Associates

The forest influence becomes even more apparent indoors. Tall timber columns rise through expansive, double-height spaces, while exposed wooden beams form a geometric canopy overhead. Skylights introduce natural daylight, creating a changing interplay of light and shadow throughout the day. The building incorporates approximately 1,200 engineered wood beams and columns alongside nearly 300 cross-laminated timber panels. Much of this structure remains exposed, allowing the materials and construction to shape the atmosphere of the space. The result is an interior that feels warm, open, and closely connected to the landscape that inspired it.

At the center of the library, a sweeping curved staircase introduces movement into the otherwise orderly arrangement of columns and beams. Closely spaced wooden slats wrap around its form, creating a sculptural feature visible from multiple viewpoints. From the upper level, the staircase reveals a landscaped seating area below, with greenery and curved benches tucked into its footprint. Its flowing shape provides a welcome contrast to the straight lines of the surrounding timber structure.

Around this central feature, the library opens into what feels like a communal living room. Sofas, lounge chairs, and smaller seating arrangements create informal places to meet, read, or simply spend time. The generous ceiling height keeps the space feeling open, while the furniture introduces a more intimate, comfortable scale. It is an inviting setting that encourages visitors to stay beyond the time needed to find a book.

As visitors move farther into the building, the atmosphere begins to change. The western section accommodates the most energetic activities, with children’s play areas, a dedicated teen room, creative learning spaces, and an auditorium. Moving toward the center, visitors encounter book collections, community rooms, sensory rooms, and an audiovisual studio. The eastern end offers a quieter setting for reading, studying, and individual work. This gradual transition allows different activities to coexist comfortably, giving each part of the library its own character while maintaining a consistent architectural language.

In the quieter sections, tall windows illuminate reading chairs, shared tables, and individual workspaces. Timber columns and exposed beams remain a familiar presence, but the furniture arrangement becomes more focused on concentration and personal space. The design recognizes that people use libraries differently throughout the day. Someone might arrive for a community event, settle into a comfortable chair with a novel, or spend several hours working independently.

These varied experiences were shaped by the people who would eventually use the library. Conversations with local residents influenced several important decisions, including children’s spaces connected to outdoor play, an auditorium for performances and lectures, and a teen room designed around studying, technology, and social interaction. The community even participated in choosing the interior color palette, with more than 550 people voting for a scheme called Cool Coastal.

The library’s creative facilities further expand its role in everyday community life. A Creative Learning Room offers access to equipment such as 3D printers and laser engravers, supporting practical experimentation and creative projects. An audiovisual studio provides tools for producing music, podcasts, and videos, while the auditorium accommodates larger gatherings, presentations, and performances. Together, these spaces make the building a destination for learning through making, sharing, and participating.

That sense of accessibility extends beyond the building itself. East County Library occupies a former underused park-and-ride site near a light rail station and several bus routes. A landscaped pedestrian pathway connects the public plaza to nearby transit, making the library part of the neighborhood’s daily movement. Outdoor gathering spaces and a rooftop terrace offer additional opportunities to meet, relax, or spend time outside.

The post This Oregon Library Brings the Feeling of Walking Through a Forest Indoors first appeared on Yanko Design.

Two riveted portholes occupy the face of the Louis Erard × Vianney Halter Futur Antérieur, making it look like submarine equipment that escaped into a jewelry case. One window tells the hours and minutes. The other gives the seconds their own stage. I like the extravagance of that arrangement, especially because this limited-edition mechanical watch tackles a specific design challenge: delivering Halter’s distinctive aesthetic in a less prohibitively expensive package.

At roughly $6,000 before taxes, “less expensive” needs context. Halter’s Antiqua, the perpetual-calendar watch he introduced in 1998, occupies a six-figure collecting universe. The Futur Antérieur translates its porthole architecture into a simpler watch that tells the time. Nobody needs to pretend that makes it affordable. Still, I appreciate a collaboration that preserves an independent watchmaker’s recognizable ideas rather than borrowing a famous name and printing it on an otherwise ordinary dial.

Designers: Louis Erard × Vianney Halter

The cleverest decision sits behind those windows. Two separate Sellita SW100 automatic movements power the displays, one handling hours and minutes, the other running the seconds. That sounds wonderfully excessive for such basic information, and it is. But it also gives each dial its own mechanical foundation. Rather than developing an elaborate mechanism to reposition the indications, the designers have used two small, existing movements to support the layout they wanted.

Two movements might suggest a second time zone, but that isn’t what you get. Design Milk reports that Louis Erard chose running seconds partly because keeping two movements sufficiently aligned for dual-time use would be difficult at the intended price. That’s useful context, and a reminder that the extra mechanism serves the design more than the feature list. I’d approach this as an expressive object, not a purchase justified by having more functions.

The dimensions help that expression avoid becoming a costume. Its stainless-steel case measures 38mm across and 44mm long, with a thickness of just 8.85mm. Those numbers matter because the raised windows and prominent crowns could easily suggest a much chunkier watch in photographs. On paper, the profile is restrained. I haven’t worn it, but I appreciate the decision to keep this much visual activity within relatively compact dimensions.

Look closer and the metalwork carries much of the personality. Each bezel has 12 yellow-gilt rivets, while each crown gets six. Brushed steel sits beside polished edges, and the blue steel hands introduce a cooler color against those warm accents. In the product images, the separate nameplates feel almost like labels attached to an old scientific instrument. The appeal, for me, comes from those specific details rather than the broad steampunk label.

The two versions pull that character in slightly different directions. Gold combines gold-toned dials with a black ostrich-leather strap. Silver pairs silver-toned dials with blue ostrich leather, picking up the color of the hands. I’d choose Silver. Its cooler palette lets the little gold rivets register as individual details instead of joining a larger wash of gold. The asymmetrical layout already has plenty to say without needing a louder color scheme.

There are ordinary ownership considerations beneath the unusual face. Louis Erard specifies a minimum 38-hour power reserve for each movement, with 42 hours typical. Leave it unworn for a weekend and you may return to a stopped watch. Quick-change strap bars offer a more convenient detail, letting owners change the strap without making that another complicated operation. These are worth considering alongside the sculptural appeal.

Each version is limited to 178 pieces and listed at CHF 4,950 before taxes. As of November 6, 2026, both are marked sold out on Louis Erard’s website. That scarcity limits the accessibility argument, even at this lower price. Still, the design itself makes sense to me: keep the familiar task of reading hours and minutes, then spend the mechanical extravagance on giving the passing seconds an unnecessarily handsome room of their own.

The post Two Hidden Mechanical Movements Power One Slim Louis Erard Watch first appeared on Yanko Design.

My first apartment had a living room wall the size of a parking space and a TV budget the size of a parking ticket. Had the Optoma Photon Life PK31 existed back then, I would have eaten instant noodles for a month to buy it. This 4K projector can cast an image up to 150 inches, and it currently sells for around $599, which is what you’d pay for a decent midrange Android phone. One gives you a 6-inch screen. The other fills a wall, and I know which one my 25-year-old self would’ve picked.

The PK31 is a compact, 5.2-pound projector that looks more like a smart speaker than the beige AV boxes projectors used to be. A smooth top shell sits over a textured matte body, a perforated grille wraps around the side, and the lens sits inside a deep circular cowl. It uses a Texas Instruments DLP chip and an RGB LED light source, with claimed coverage of 95% of the DCI-P3 color space. At a rated 900 lumens, it’s best suited to a dark room. Input lag is rated as low as 4.6ms, though that’s at 1080p and 240Hz, not 4K.

Click Here to Buy Now

A Projector Built to Live on Your Bookshelf

The body measures 9.37 x 8.46 x 4.64 inches (238 x 215 x 118 mm), roughly the footprint of a hardcover cookbook lying flat. That lets it sit on a shelf between the plants and the Bluetooth speaker without looking like it wandered in from a conference room. Optoma prints its logo in copper on the top panel, a small, warm accent against the all-black body. Every port sits inside a recessed panel on the back, keeping connections out of sight from the front. The grille wraps around the side, helping the cooling vents blend into the textured body.

The lens sits off to the right, balanced on the left by a pill-shaped window for the IR receiver, giving the front a friendly, slightly lopsided face. Its 1.5 to 1.65 throw ratio translates to about 11 feet (3.4 meters) of distance for a 100-inch picture. The full 150 inches needs roughly 17 feet (5.2 meters), so this suits a long living room better than a cramped studio. Focus and the 1.1x zoom use manual rings, and a twist-adjust foot handles tilt. A standard tripod thread underneath adds mounting flexibility, while four-corner correction and a warp tool help adjust the image to an uneven wall or an inflatable backyard screen.

Sharp 4K and Low-Lag Gaming

The 0.47-inch Texas Instruments chip uses microscopic mirrors to direct light toward the screen. XPR pixel shifting shifts the projected image by fractions of a pixel to produce a 3840 x 2160 picture. Separate red, green, and blue LEDs handle color, and the projector supports HDR10 and HLG. Projector Reviews measured 862 lumens in the brightest mode, close to Optoma’s 900-lumen rating. The reviewer also rated its color as good as or better than that of any RGB LED compact projector he’d tested.

That review recommends about 90 inches for everyday content and 75 to 80 inches for HDR, so don’t expect the same brightness at the maximum 150-inch size. Gamers get the bigger surprise. Input lag, the delay between a button press and the corresponding action on screen, is rated at 4.6ms at 1080p and 240Hz, 8ms at 1080p and 120Hz, and 16ms at 4K and 60Hz. The reviewer’s lag tester confirmed those figures. One catch: low-latency mode disables keystone correction, so line the projector up straight before the boss fight.

How It Stacks Up Against TCL, BenQ, and Hisense

TCL sells a smart projector for considerably less: the TCL C1 normally goes for about $250 with Google TV, Wi-Fi, and Bluetooth built in. The fine print says 1080p, though, and its “4K support” means it accepts a 4K signal and scales it down. The PK31 produces a 4K image but skips the smart OS, Wi-Fi, and Bluetooth entirely. Its single HDMI 2.0 port takes a Roku or Fire TV Stick, and the USB-A port can supply power to it, letting the setup run from one wall outlet. A 5W mono speaker provides onboard audio, and a 3.5mm jack connects external speakers for movie night.

Another 4K option is the BenQ GP520, a cube-shaped projector with a higher 2,600-lumen rating and Google TV. It launched at $1,499 and now has a street price closer to $999. Optoma’s own PK32 adds an amber LED, autofocus, and two HDMI ports for $1,299, while the Hisense M2 Pro costs the same with Android TV on board. The PK31 launched at $1,099 and now sells for about $599 at Walmart and Amazon. At that price, you could add a streaming stick and still spend considerably less than you would on those three.

Click Here to Buy Now

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Fujifilm celebrated the QuickSnap’s 40th birthday this year the way any responsible camera company would, by announcing new models. The QuickSnap Black and White ($22.90) and the waterproof QuickSnap Active ($24.75) are due this fall, marking the first time Fujifilm has loaded black-and-white film into a QuickSnap. One LEGO Ideas builder took a different approach to the celebration, reaching for green, black, red, and white bricks to rebuild the Japanese version at full size. Of the two birthday presents, I know which one hits the nostalgia button harder.

That builder is MarshallThrilledLobster, and the subject is the Simple Ace, known in Japan as Utsurundesu, which roughly means “It takes pictures!” The name came from a Fujifilm employee who blurted it out when someone asked whether the camera would really work. It might be the best product naming story in camera history. The LEGO version sits at 1:1 scale, comes with a full-size brick replica of its retail box, and packs a few working details. Fujifilm designed the original cameras to be collected after use, taken apart, and rebuilt, making them a fitting subject for LEGO.

Designer: MarshallThrilledLobster

A 1:1 Simple Ace, Right Down to the Clicking Wheel

The real Simple Ace measures 4.25 by 2.1 by 1.3 inches (108 by 54 by 34mm), and this build recreates it at full size. That works out to 13.5 studs across, an awkward number that helps explain why so much of the build runs sideways using SNOT (studs not on top) techniques. The green body wears its red and white stripes, with a domed black lens right where your finger used to block every third shot. Up top, a half-buried Technic gear stands in for the winding wheel. Turn it and it clicks, like advancing a fresh frame.

The viewfinder is a clear tunnel that lines up front to back, so you can actually squint through it. That’s more faithful than it sounds, since the real camera uses a simple reverse-Galilean plastic finder, essentially a tunnel with two lenses. A strap loop is worked into the side of the shell, and the outer surfaces are tiled smooth with no exposed studs. The result reads as molded plastic from across the room. Only up close do the seams give away that this camera came out of a parts bin.

The Box Gets the Brick Treatment Too

My favorite detail, though, is the packaging. The builder recreated the Simple Ace’s tall retail box at full size, with the 写ルンです logo rendered in blocky pixel lettering and barcode details built from black and white tiles. Stand it next to the camera and you’ve got a Tokyo convenience store shelf on your desk. It doubles as a display stand, giving the small camera some height and context. For anyone who grew up with these, the box is half the memory, since tearing it open meant the vacation had officially started.

Packaging as an accessory has precedent in LEGO Ideas. The Polaroid OneStep SX-70, which started as a fan build by Marc of Minibrick Productions, became set 21345 in 2024 with a buildable film pack and three illustrated photos. That set established a precedent for collaborating with a real camera brand, while this QuickSnap remains a fan proposal. A full-size retail box goes further than a film pack, giving Fujifilm’s graphic design the same care as its industrial design. That feels right for packaging this recognizable in Japan.

A Disposable Built for Second Lives, Now Up for a Vote

Fujifilm opened a QuickSnap recycling center in 1988, just two years after the camera launched. By 1998, it was running an automated factory that disassembled returned cameras, inspected the parts, and built new cameras from them. In the US today, up to 60% of each QuickSnap is made with reused camera materials. The builder frames the project around that idea: a so-called disposable product designed for a second life. LEGO bricks have been taken apart and rebuilt since 1958, though their next life might be a spaceship.

The Fujifilm QuickSnap build went live on LEGO Ideas on November 6 and has 105 supporters as of this writing, with 425 days left to reach the 1,000-supporter milestone. Fans submit builds, and projects that reach 10,000 supporters get reviewed by LEGO for an official set. That’s a long climb for a camera most people know as a $20 impulse buy. If you’ve got a shoebox of fuzzy prints somewhere, head to the LEGO Ideas page and give it your vote. It’s the one QuickSnap you’ll never have to drop off at the lab.

The post This LEGO Fujifilm Quicksnap is a 1:1 tribute to the camera on its 40th anniversary (box included!) first appeared on Yanko Design.