Summer’s Night Dream Fits a Private Downstairs Bedroom Into a 26-Foot Tiny Home

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A pocket door separates the bedroom from the living room in Summer’s Night Dream, giving this 26-foot tiny house a degree of privacy that an open sleeping platform can’t offer. Built by Canadian manufacturer Teacup Tiny Homes, the customizable RV model measures 8.5 feet wide and provides a stated 297 square feet of living space, with a main-floor bedroom and an additional sleeping loft.

That downstairs bedroom is the plan’s strongest decision. Teacup lists an 11-foot vaulted ceiling, allowing the room to retain vertical space rather than placing another bed directly overhead. In the photographed build, a wide window sits above the headboard, while a small bedside surface fits alongside the mattress. Keeping the primary bed downstairs removes the ladder from at least one occupant’s nightly routine.

Designer: Teacup Tiny Homes

The loft occupies the opposite end, reached by a ladder beside the sofa. A vertical timber screen partially shields the sleeping area without closing it off from the room below. Its low ceiling makes the upstairs space better suited to lying down than lingering upright. Teacup rates the home for four sleepers, though the two sleeping areas offer distinctly different experiences.

Between the bedrooms, the kitchen and living area share a narrow, open space. The photographed interior pairs white horizontal wall paneling with dark cabinetry, pale flooring, and a copper-colored pendant. A long counter runs opposite the sofa, extending into a small eating spot near the entrance. This arrangement preserves a recognizable living room, although the dining provision is modest for a home advertised to sleep four.

The featured build includes an oven, cooktop, microwave, and refrigerator, with open shelves supplementing the cabinets. The bathroom groups a shower, toilet, and compact vanity into the remaining enclosed space. Buyers should distinguish those photographed fittings from the base specification: Teacup says every home shown has been customized, and its standard RV appliance package includes a smaller refrigerator and two-burner cooktop.

The manufacturer’s 2026 price list puts Summer’s Night Dream at US $94,700 for the base build, US $108,800 for the Designer tier, and US $122,800 for Luxury. Taxes and delivery are extra. Those figures make customization a substantial part of the purchasing decision, especially when the polished interior in the photographs is what first catches a buyer’s attention.

There’s also a site to prepare. Teacup’s RV homes require connections for power, water, and sewage, and its setup guidance calls for protected water lines and insulated skirting in cold climates. The trailer therefore offers relocation potential without making the house independent of its surroundings. For a buyer drawn to the downstairs bedroom, the next design question is outside the front door: where the home will sit, and what that site needs to function properly.

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Nike’s Air Force 1 Goes Furry Without Losing Its Shape

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If you’ve ever owned a pair of Nike’s iconic Air Force 1 sneakers, you’re probably used to their crisp panel boundaries, whether yours were leather or one of the versions in canvas, suede, or Flyknit. One look, though, that might catch you by surprise is the furry-looking Atomic Violet variant, which looks more like a certain furry, purple mascot from a fast-food chain.

There’s no McDonald’s collaboration mentioned in Nike’s launch listing, of course, but it’s hard not to think about Grimace. So if you’ve ever wanted a partnership between Nike and McDonald’s (or specifically Grimace), this might work as an unofficial stand-in. If purple is your favorite color and you don’t mind wearing something furry on your feet, this could be something you’d want as a holiday gift for yourself.

Designer: Nike

Instead of the usual smooth, stitched surfaces, the upper of the Atomic Violet Air Force 1 has a softer, shaggier appearance. Just by changing the surface treatment, you get a different-looking sneaker while still retaining its fundamental form. In fact, the iconic Nike Swoosh blends into the furry material, but you’ll still recognize the shoe because of its familiar silhouette.

The white midsole is an important part of keeping that shape readable. It creates a clean break between the purple upper and the purple outsole, giving your eyes somewhere to land amid all that fuzz. Without it, the shoe might look more like one big purple blob. Here, you can still clearly see where the shaggy upper ends and the sole begins.

Nike hasn’t abandoned the smaller details, either. The purple laces keep the upper mostly tonal, while contrasting stitching traces the panels. The tongue still carries Nike Air branding, and there’s an AF1 lace tag near the bottom of the laces. Around the back, embroidered Nike Air lettering appears on the furry heel tab. Those familiar touches help keep the design recognizable up close.

For anyone who finds an all-white pair a little too predictable, that’s probably the main appeal. You could wear these with jeans and a plain T-shirt and let the sneakers supply most of the personality. You don’t necessarily need a purple outfit to go with them, although nobody’s stopping you. They’re an option for someone who wants a playful change without moving away from a familiar low-top shape.

One detail worth being careful about is the material description. Nike’s launch page describes the upper as furry but doesn’t specify its exact composition. That means it’s better not to assume what animal or synthetic material is involved, or to mistake “furry” for a confirmed material specification. Likewise, the plush appearance doesn’t tell us whether these feel warmer, softer, or more comfortable than another Air Force 1.

That texture also raises a practical question about upkeep. If you’re considering a pair, check for Nike’s material-specific cleaning guidance rather than assuming your usual sneaker-cleaning routine will work. How the fibers handle dirt, repeated wear, or being flattened in storage is something product photos can’t establish. If easy maintenance matters more to you than an unusual finish, that’s worth weighing before buying.

Nike’s US SNKRS page lists the Air Force 1 “Atomic Violet and White,” style IR1940-500, at $140, with availability scheduled for November 20, 2026. So this is an upcoming retail release, rather than something you can order from that launch page right now. If you’re eyeing it as a holiday gift, that date is the one to keep in mind.

The decision will probably come down to how much purple fuzz you want in your everyday wardrobe. There’s no need to dress these up as a performance breakthrough; the attraction is right there on the surface. For the right person, a familiar sneaker that looks faintly like Grimace might be reason enough to make room for another shoebox.

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Japanese artist Takashi Murakami ventures into high-end watchmaking with Skull Flowers Jumping-Hour Tourbillon

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The famous Japanese artist, Takashi Murakami, we have known for some of his artistic collaborations with Hublot, has now taken a leaf out of the Swiss watchmaker to launch his own watch brand. Called the Takashi Murakami Time Objects, the brand unveils the Skull Flowers Cylindrical Jumping-Hour Tourbillon watch, which is a sublime combination of contemporary art and haute horlogerie.

Takashi’s first solo outing with watches could get many thinking, if it’s even the right idea. But the way the artist has been able to turn a titanium skull into a case and fit its eyes with spinning flowers, we presume it to go straight into the collector’s category. Murakami has already established his presence among watch collectors through the collaborations with Hublot, and this collection is raising expectations in his favor.

Designer: Takashi Murakami

At Yanko Design, we have regularly featured Murakami’s product collaborations in luxury timepieces, especially the artist’s partnership with Hublot. We have talked at length about how these collaborative, limited-edition watches integrate his signature sapphire flower motif into mechanical tourbillon watches. And now we are talking about Murakami’s own interesting crossover between art and watchmaking.

The resulting Skull Flowers collection comprises five watches, which have skull-shaped titanium cases with a microblasted finish and black DLC coating, and rotating flowers in the eye sockets. These are the first things you notice at a glance. A closer look actually reveals the side-mounted cylindrical jumping-hour display and a flying tourbillon visible through the sapphire caseback.

Pairing of the skull and flowers can come up as odd to someone who doesn’t know Murakami. But if you look closely, these are part of a theme in Murakami’s work, which indicates life and death coexisting side by side. For instance, the flowers depict life, and the skull reminds us of the eternal truth.

The flowers are, however, more than a celebration of life. They provide a decorative aesthetic to the lifeless skull forming the watch dial. According to reports, ‘the flower petals rotate on ball bearings with the movement of the wrist.’ The skull is the more prominent aspect of the watch. It measures nearly 44 mm in size and is 18.4 mm at the thickest point. The time display on the watch is located at six o’clock, where the hour cylinder jumps at the start of each hour and the minutes rotate on a disc.

All five models of the Skull Flowers Cylindrical Jumping-Hour Tourbillon watch are limited edition and range between CHF85,000 (approx. $100,000) and CHF148,000 (approx. $180,000), depending on the configuration you choose. Each watch type is reportedly limited to 12 pieces and could be powered by a Kross Manufacture hand-wound movement that offers a five-day power reserve. Instead of a traditional crown, the watches have a discreet pusher on the left side to toggle mode and time.

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This Nothing QWERTY phone concept is the BlackBerry revival I desperately want

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Nothing might be the only phone company whose fans design more products than it ships. The community has already dreamed up the transparent NK-1 keyboard, Glyph-lit game controllers, and a Teenage Engineering-style synth, and now r/NothingTech has added a Nothing smartphone with a full physical QWERTY keyboard to the pile. Redditor ObjectiveOk223 posted the concept along with a pitch that Nothing’s hardware, stripped-back software, and Glyph lighting are practically begging for a BlackBerry-style revival. I’m inclined to agree. It’s a fan concept through and through, and it shows up just as keyboard phones are having a genuine moment.

Frosted translucent plastic wraps the body, while smoked keycaps carry dot-matrix legends that look borrowed from Nothing’s Ndot font. Glyph-style light pipes curl around the bottom corners, and one red key in the bottom row adds the brand’s signature pop of color. That puts it right in the conversation with the Clicks Communicator, which ships in December at $649, and the $489.99 Unihertz Titan 2 Elite. Nothing would walk into that fight with the loudest design language of the lot. With Carl Pei telling fans in September that Nothing should do “less but better,” a keyboard phone feels like a very on-message way to do less.

Designer: ObjectiveOk223 (via r/NothingTech)

A near-square display fills the top half, echoing the 4.03-inch panels on the Titan 2 Elite and the Clicks Communicator. Below it, a four-row keyboard with a split spacebar and plump, domed caps fills the rest. Moving the Glyph lighting to the front makes a lot of sense, since a keyboard phone spends most of its life face up in your palm or on a desk. Red side buttons echo the Essential Key that Nothing added to its Phone (4a) series, and twin speaker grilles flank a USB-C port at the base. The renders have a couple of AI hiccups, including two N keys and some garbled modifier labels, but the design intent comes through loud and clear.

Dot-matrix keycap legends feel right at home here, since Nothing commissioned the Ndot typeface in 2021 for its exclusive use and has stamped it across its wordmark and software ever since. The Glyph has had quite the glow-up too, going from five LED strips on the Phone (1) to eleven on the Phone (2), then to the 489-LED Glyph Matrix on the Phone (3). When Nothing introduced the Glyph Bar on the Phone (4a), it framed the lights as a way to reduce distractions. That happens to be the exact pitch Clicks and Minimal use to sell their keyboard phones. A Nothing QWERTY device would be the brand’s anti-distraction philosophy in its most physical, clicky form yet.

The Clicks Communicator, co-founded by Michael Fisher and CrackBerry founder Kevin Michaluk, was shaped by ex-BlackBerry designer Joseph Hofer and even has its own notification light called the Signal LED. Unihertz’s Titan 2 Elite weighs 5.75 ounces (163 grams), runs a 120Hz AMOLED screen, and blew past its Kickstarter goal in under 12 minutes. The $599 Minimal Phone 2 uses transparent polycarbonate and silicone keys, which makes it the closest visual cousin to these renders. Nothing, meanwhile, already sells its $499 Phone (4a) Pro in more than 500 Best Buy stores across the US. None of the keyboard specialists have a retail footprint anywhere close to that.

Carl Pei’s challenge was to find one thing a Nothing phone does better than an iPhone, and a physical keyboard is a feature Apple has spent nearly two decades refusing to give back. He also told fans that Nothing should rediscover the spirit of the Phone (1) era, when the brand’s hardware felt delightfully weird. Honestly, this concept captures that energy better than a few of Nothing’s recent official releases. Fans have now designed Nothing keyboards, controllers, synths, and a keyboard phone, which is a pretty loud hint about what the community wants to buy. Somebody at Nothing HQ in London should probably start taking notes.

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This DIY Steampunk Smartwatch Cost Under $10 To Make From Scratch

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Somewhere along the way, smartwatches turned into sealed little appliances. You pay a few hundred dollars, you get a glued-shut slab of glass and aluminum, and when the battery fades in a couple of years, the company would very much like to sell you the next one. Huy Vector, the maker behind the HVT Lab YouTube channel, took the opposite route and built his own smartwatch by hand, caged in brass tubing and looking like it fell out of a Victorian airship. It tells time, pulls iPhone notifications over Bluetooth, and flips between watch faces. Every wire, board, and solder joint is out in the open, and you can build the exact same thing yourself.

Steampunk got its name from science fiction writer K.W. Jeter, who coined the word in a 1987 letter to Locus magazine, and the aesthetic has spent decades gluing decorative gears onto things that never needed gears. Huy’s watch gets the look honestly. The brass frame holds the whole thing together and also works as the electrical ground for the electronics, so the metal is doing real engineering work. Inside sit an ESP32-C3 microcontroller, a 1.3-inch OLED display, a clock module, and a small rechargeable battery, all visible through the cage. The firmware and wiring diagrams are free on his project page, which turns a cool YouTube video into an open invitation.

Designer: Huy Vector (HVT Lab)

How Brass Tubing Becomes Both the Case and the Circuit

Huy starts with the display, trimming the four corners off the OLED’s circuit board so it nests inside the frame and swapping its pin headers for 0.04-inch (1mm) copper wire. Next, he bends 0.08-inch (2mm) brass tubing into two matching frames, solders each one closed, and links front to back with thinner 0.06-inch (1.5mm) tubes. The battery’s negative terminal and the ESP32-C3’s ground pin both solder straight onto the brass, turning the entire cage into one big ground connection. A slide switch sits between the battery’s positive terminal and the board’s 5V pin, so powering down takes one flick. Wiring diagrams on the project page spell out every connection, so you never have to guess where a lead goes.

The ESP32-C3 Super Mini running the show measures roughly 0.89 by 0.71 inches (22.5 by 18mm), with a 160MHz RISC-V processor, 4MB of flash storage, and Bluetooth 5 built in. The display and the DS3231 clock module share two data lines, which keeps the wiring compact enough for a watch case. That clock module keeps time even when the watch is switched off, so you never wake up to a blinking 12:00. The USB-C charging board grounds itself through its connector shell, meaning only its positive lead needs a separate wire. Finish it with a water-resistant coating and a 0.79-inch (20mm) strap, and you’ve got a watch that survived a dunk in a glass of water.

A 2013 Open-Source Watch Finally Gets Its Case

Huy’s firmware is a rebuilt version of the N|Watch, an open-source DIY wristwatch that Zak Kemble published back in September 2013. Kemble’s original squeezed animated menus, alarms, games like Breakout, and a flashlight mode into an ATmega328P chip with just 32KB of program space. It used a 1.3-inch OLED too, after Kemble found that a 0.96-inch screen left too little room for everything underneath. His list of future improvements ended with a very honest line: “A case of some sort?” He also joked that the watch was waterproof down to 0m, which converts neatly to 0 feet. Thirteen years later, a brass cage and a water-resistant coating have answered both notes.

Huy’s NWatch C3 port moves the code onto hardware with a lot more elbow room, since the ESP32-C3’s 4MB of flash is roughly 125 times the old chip’s program space. The port adds iPhone notifications over Bluetooth via Apple’s Notification Center Service. Installing it requires zero coding, because the firmware flashes straight from Chrome or Edge over a USB cable. The full source code is downloadable too, so anyone who wants a new watch face or a different button layout can open it up and start tinkering. Watch faces already include RAIN, MATRIX, BIGTIME, CUBE, and an analog CLOCK, and the “SLP” readout on screen looks like the sleep timeout Kemble built into the original.

Why Your Next Gadget Should Be One You Solder Yourself

Huy’s Pocket AI Assistant packs an ESP32-C3, a 0.96-inch OLED with animated eyes, a microphone, and a speaker into a brass frame about the size of two fingers. It runs on Xiaozhi, an open-source chatbot project whose server handles speech recognition and replies, so the little chip only has to stream audio over Wi-Fi and animate the eyes on its screen. His portable music player swaps brass for a CNC-machined aluminum body topped with a brass rotary knob. It plays songs off a microSD card through a 3.5mm headphone jack, and a Bluetooth mode lets that brass knob control your phone. He even drafted the enclosure with SpeakCAD, an AI tool that turns text descriptions into 3D models.

Huy posts materials lists and wiring diagrams for his builds on his website, so each video doubles as a recipe you can actually follow. Building your own gadget permanently changes how you look at the ones you buy. Owning the schematic, the source code, and every solder joint also means no company can brick your watch with a firmware update or shut down its companion app. The watch’s project page hosts the materials list and the browser-based installer, and the full build video is up on HVT Lab. Grab some brass tubing and make the next smartwatch on your wrist one that answers to you.

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Fala Atelier Tucks Three Semicircular Buildings Into a Portuguese Hillside

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A semicircle is the starting point for every building at Cookie Cutter Retreat, but repetition doesn’t produce identical spaces. In Sobral de Monte Agraço, Portugal, Fala Atelier has arranged three differently sized versions across a sloping site. Completed in 2024, the 500-square-meter project uses the same basic geometry to accommodate distinctly different parts of a shared domestic life.

The retreat was commissioned by an international community of digital nomads who had been living in houses around the nearby village. Their initial brief concerned basic infrastructure, including toilets and storage, before expanding into something more substantial. The resulting ensemble divides the program between a permanent residence, temporary accommodation, and a larger communal building, giving gathering and retreat their own addresses.

Designer: Fala Atelier

Each semicircle meets the hillside with a curved concrete retaining wall, while its straight edge becomes a broad glazed facade facing the landscape. An angled metal canopy sits above the glass. Inside, a diagonal partition separates an expansive shared area from a denser collection of private rooms. That division gives the buildings a clear spatial rhythm: openness toward the view, smaller spaces tucked behind.

Those smaller spaces contain the project’s most unusual architectural move. Fala borrowed fragments of floor plans from houses by Toyo Ito, Frank Gehry, and Álvaro Siza, inserting them into the semicircular shells. These references have practical consequences rather than remaining abstract tributes. In the largest building, for example, the winding corridor borrowed from Siza’s Beires House becomes a route serving showers and toilets. Familiar architectural ideas acquire a different job.

The material palette makes the underlying arrangement legible. White-painted concrete follows the curved perimeter, while the diagonal wall is painted a blue so dark it approaches black. Exposed concrete ceilings carry a dense grid of Minase lamps. Fluorescent yellow appears among the doors, kitchens, and furniture, while blue-and-white stripes turn a substantial round column into a conspicuous marker beside the glazing.

Across the interiors, terrazzo floors, marble countertops, and custom galvanized-steel furniture give the repeated geometry a consistent material setting. Outside, the terrain complicates the apparent simplicity of the plan. Although the three buildings seem to face one another in drawings, the slopes largely interrupt direct views between them. Their relationship is experienced through movement across the site rather than a single encompassing vista.

Fala also reused granite stones found on the property to organize places for sitting and gathering. The buildings themselves recede into the ground, leaving glazing and bright blue chimneys as their clearest signals. There’s a revealing cost to that apparent discretion: extensive excavation was needed to make the architecture disappear. The retreat’s quiet presence is therefore a carefully constructed effect, achieved through a considerable reshaping of the hillside itself.

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