Porsche Celebrates 90 Years With Anniversary-Edition 911 GT3-Inspired Chronograph Watch

…so the first thing my brain did when I saw “F. A. P.” on the dial was laugh like a 12‑year‑old, and the second thing it did was realize Porsche Design just pulled off one of the most personal anniversary pieces they have ever done. The Chronograph 1 90 Years of F. A. Porsche sits in a weirdly perfect spot in the lineup. It rides on the modern Chronograph 1 architecture that came back in 2022, which itself is a faithful reboot of the 1972 all‑black original, but it quietly pivots the story from “50 years of a product” to “90 years of the guy who thought this way in the first place.” Same matte black instrument face, same integrated bracelet silhouette, same dashboard‑inspired layout, but now the watch talks about the designer more than the brand. That is a subtle shift, and it matters.

You still get a 40 to 41 millimeter black coated titanium case, COSC certified in house WERK 01 flyback chronograph, 10 bar water resistance, and the usual Porsche Design ergonomics that sit flat on the wrist instead of trying to cosplay a diver. The case is titanium rather than the old steel of the seventies, so you get that weird cognitive dissonance when you pick it up and your hand expects heft and gets a feather. The dial layout stays brutally functional: tri compax registers, bright white printing, red central chrono seconds, and a tachymeter that actually looks usable instead of decorative. You can tell someone in the room still cares about legibility more than sparkle.

Design: Porsche Design

What really hooks me is how they handled the vintage vibe. They went with a patina colored Super‑LumiNova on the hands and indices, but they resisted the temptation to fake scratches or faux tropical weirdness. It looks like a well kept seventies tool watch that has lived under a shirt cuff for decades, not a prop from a nostalgia cosplay shoot. The historic Porsche Design logo on the crown and clasp leans into that same energy. It nods to the early studio era without screaming “heritage” in every direction. The whole thing feels like it was designed by someone who has actually handled original Chronograph I pieces and understands that the charm lives in proportions and restraint, not sepia filters.

The F. A. P. inscription above the day date is where the watch steps over the line from clever to personal. On the standard Chronograph 1, that real estate belongs to the logo. Here, it mirrors the way Ferdinand Alexander had his own initials printed on his personal watch. That is a tiny move, but it shifts the mental image from “product on a shelf” to “object on a designer’s wrist while he is sketching the 911 profile.” It also quietly de‑centers the corporate identity for once. You have “Porsche Design” still sitting under the day date, but visually your eye lands on those initials first, like a signature on a technical drawing. For a brand that usually guards its mythology pretty tightly, that feels surprisingly intimate.

Flip the watch over and the car nerd part of my brain wakes up. The rotor is shaped and colored like the wheel of the 911 GT3 90 F. A. Porsche, the Sonderwunsch special that pairs with this chronograph. Limited to 90 cars, 90 watches, neat and tidy. The rotor design is not subtle at all, which I actually appreciate. If you are going to tie a watch to a specific vehicle, commit. You can see the spokes, the crest in the center, and little flashes of the WERK 01 movement breathing underneath. Around the edge you get the “XX/90” numbering and F. A. Porsche’s signature, which turns the caseback into a kind of mechanical plaque. It reads like a collaboration between the motorsport department and the watch studio rather than a lazy logo slap.

From a pure tech perspective, the movement choice fits the narrative. The WERK 01 family is a proper automatic chronograph caliber with flyback functionality, so you can reset and restart the chrono with a single pusher press while it is running. That is a very motorsport friendly behavior, and it feels right for something tied to a GT3. Frequency sits at the usual 4 hertz, power reserve lands in the 40 to 48 hour neighborhood, and COSC certification locks in the “this actually keeps time” part of the story. None of this is wild horological innovation, but it is solid, coherent engineering, which is honestly what you want under a dial that screams “instrument.”

The titanium bracelet deserves a mention too, because black bracelets can go very wrong. Here it looks like they kept it fully brushed with short, slightly rounded links, which avoids the cheap, shiny PVD look that haunts a lot of black watches. It tapers enough to feel intentional, not like a straight metal strap bolted on after the fact. The quick change system with the additional Truffle Brown leather strap is a nice structural detail rather than lifestyle garnish. The brown with contrast stitching echoes the interior of the GT3 90 F. A. Porsche, so again you get that one to one mapping between car and watch. If you are the sort of person who obsesses over interior spec codes, this will scratch a very specific itch.

What I like most is the sense of continuity. The original 1972 Chronograph I took the visual logic of a 911 instrument cluster and shrank it to wrist size. The 2022 Chronograph 1 reissue proved that the formula still works in a world of OLED dashboards and smartwatches. This 90 Years edition layers a biographical note on top of that, without disturbing the core geometry. If you strip away the anniversary text, you still have a clean, ruthless, daily wear chronograph that does its job. Add the initials, the wheel rotor, the limited number, and suddenly you are wearing a piece of design history that feels strangely unforced. For an object built to honor a man who hated unnecessary ornament, that feels about right.

The post Porsche Celebrates 90 Years With Anniversary-Edition 911 GT3-Inspired Chronograph Watch first appeared on Yanko Design.

Apple TV app for Android now supports Google Cast

Apple TV is adding Google Cast support to its native Android app. This update allows subscribers to stream Apple TV shows from their smartphones to their televisions. Apple's streaming service only just released the dedicated app for the Android operating system in February 2025. Adding in Google Cast support helps fully integrate the app into the experience for people whose gear is part of the Android ecosystem.

The addition should make it easier for viewers to shift between screens, even mid-episode. It's a very different approach than Netflix, which recently ended Google Cast support for its streaming platform in most use cases.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/streaming/apple-tv-app-for-android-now-supports-google-cast-205642324.html?src=rss

Fallout season 2’s first episode will premiere a little earlier than expected

In an era where we often have to twiddle our thumbs for three years before a new season of a TV show we enjoy returns to our screens, the second season of Fallout has had a relatively short turnaround. It's set to hit Prime Video 20 months after the first batch of episodes. As it turns out, the season two premiere is going to arrive a little earlier than you may have anticipated as well. 

The first episode will now hit Prime Video at 9PM ET on December 16. That's six hours earlier than expected. So if you've been looking forward to catching back up with Lucy, Maximus and The Ghoul, you won't have to stay up as late on Tuesday night to catch the premiere as soon as it's available. 

However, you won't be able to binge the entire season this week. While Amazon dropped all of Fallout season one at once in April 2024, this time around it will release episodes on a weekly cadence through February 4.

Fallout was also in the news late last week when Prime Video offered up an error-ridden, AI-generated recap of season one. Amazon responded to the backlash (the Fallout fallout, if you will) by nixing AI video recaps from Prime Video entirely.

This article originally appeared on Engadget at https://www.engadget.com/gaming/playstation/fallout-season-2s-first-episode-will-premiere-a-little-earlier-than-expected-205018028.html?src=rss

Bungie’s Marathon will arrive in March

Bungie’s Marathon has a new release window. The survival extraction shooter was originally set to hit PlayStation 5, Xbox Series X/S and PC in September, but by June, Sony had delayed it indefinitely. Now, with a plagiarism issue largely in the rearview mirror, Bungie has confirmed that Marathon will arrive in March and and plans to sell it for $40.

Alongside the release date and price announcement, Bungie released a 23-minute video that takes a deep dive into the game and shows off the current state of Marathon. New features include proximity chat and a solo mode, while Bungie says it has upgraded the environmental storytelling and visual fidelity. Gritty environments provide a nice contrast to the glossy sci-fi sheen that defined Marathon’s visual language in our earliest looks at the game.

There’s a lot more on deck for Marathon’s first year including new maps and events. Bungie also plans to release more shells, which are akin to character classes that can be customized by changing your loadout. The Rook shell, for instance, is a new one that the studio has added since the alpha playtests. This shell allows you to join a run that's already in progress. You’ll have a limited loadout, but you’re not really risking anything valuable as you run around to loot items.

There’s a lot riding on Marathon. Parent company Sony Interactive Entertainment said last month that Destiny 2 had not lived up to its expectations and it wrote down the value of Bungie’s assets by $204 million. Back in August, Sony asserted more control over Bungie and said the developer was “shifting into a role that is becoming more part of PlayStation Studios.”

That’s hardly the only issue Bungie has faced this year. The studio admitted in May that one of its former employees plagiarized the work of artist Fern Hook by enabling it to be used in Marathon’s in-game textures. Earlier this month, Hook said that Bungie and Sony had resolved the matter “to my satisfaction.”

This article originally appeared on Engadget at https://www.engadget.com/gaming/playstation/bungies-marathon-will-arrive-in-march-200838426.html?src=rss

Disney+ is now available to stream on Meta’s Quest headsets

Meta revealed that Disney+ was coming to its Quest headsets earlier this year during its Connect event. Now, the streaming app and its vast catalog are finally available to Meta's VR users in the United States.

Meta recently overhauled the Quest's entertainment experience with a new Horizon TV hub that brings its streaming features into one place. Horizon TV also added support for Dolby Vision and Dolby Atmos sound, both of which Disney+ subscribers can now take advantage of. According to Meta, there are a"select" number of titles available to stream in Dolby Vision 4K HDR, and Disney+ Premium subscribers can stream with Dolby Atmos Sound. The company also says there are more than 100 titles in Disney's catalog that support 4K UHD and HDR and some Marvel and Pixar titles that support IMAX's expanded aspect ratio

The app is available now on the latest version of Horizon OS. Though Disney+ is for now limited to US-based Quest users, Meta says that international availability is "coming soon." 


This article originally appeared on Engadget at https://www.engadget.com/ar-vr/disney-is-now-available-to-stream-on-metas-quest-headsets-203622392.html?src=rss

LEGO Ideas Gets Its First Proper 1:1 Scale NFL Football Collection and it’s Honestly Iconic

LEGO has given us plenty of football sets over the years. Mini stadiums, playable pitch builds, even those collectible team helmets. But here’s what they haven’t done: a proper 1:1 scale collection that captures the real size and weight of the sport’s most iconic objects. CreativeDynamicBrick is trying to fill that gap with the NFL Collection, a project that tackles one of the trickiest challenges in brick building: making round things out of square pieces at actual size.The set comes in three parts.

There’s a 969-piece helmet that sits at real helmet scale, with a facemask that actually looks protective, not decorative. There’s a 680-piece football mounted on a stand, built to match the dimensions you’d grip on game day, with lacing made from white T-bars because sometimes the simplest solutions are the best ones. And there’s a 271-piece field diorama where minifigures number 7, 8, and 13 battle it out under yellow goal posts. It’s the kind of display piece that works on an office shelf or a game room wall, and it’s generic enough that nobody has to know you’re secretly a Dolphins fan.

Designer: CreativeDynamicBrick

I honestly can’t stop staring at how the helmet dome curves. Angled Technic linkers form the internal structure, which is the only way you’re getting that shape without making it look like a stepped pyramid. Most builders would slap printed tiles on a vaguely round surface and call it a day. This creator actually solved for the geometry, using those connector pieces to build a framework that lets the exterior panels follow a true curve.

The facemask attaches with proper depth and spacing, which matters when you’re trying to make something look like actual protective equipment. You can see the interior construction through the face opening, all that black scaffolding holding the dome together, and even though fairly technical (and not meant to be worn), you could honestly try slipping this onto your head and its 1:1 sizing means it will actually fit you. Don’t expect it to ward off any concussions… one simple knock and this thing will become a pile of bricks on the floor.

A prolate spheroid is legitimately difficult to build out of rectangular bricks. The football proves it with 680 pieces dedicated to getting that taper right at both ends. Too round and it looks like a rugby ball, too pointy and it’s a lemon. The brown color blocking follows the panel lines of a real football, which is why your brain reads it correctly even though you’re looking at stacked plastic. Those white T-bar pieces forming the laces solve a problem most people wouldn’t even think about until they tried building one themselves. The display stand has an adjustable arm that lets you position the ball at different angles, so you can make it look like it’s mid-spiral if you want your desk to have opinions.

The smart play was avoiding team logos entirely (on the helmet as well as the football, and even that tiny diorama playset). No Cowboys star, no Packers ‘G’, no licensing headaches. Generic football works for professional fans, college enthusiasts, and people who just throw spirals in the backyard. The helmet uses red and blue striping that could belong to anyone or no one. The minifigures wear numbers 7, 8, and 13 in blue and red jerseys that suggest teams without declaring allegiance. Drop this on your shelf and nobody needs to know which franchise you actually care about, which is probably the only way a football set survives the LEGO Ideas gauntlet without getting buried in legal paperwork.

White brackets wedged between green bricks create the yard lines on the field diorama. No printed pieces, no stickers, just brackets doing bracket things in a way that happens to look like field markings. One blue player throws, another runs a route, and the red player looks like he’s about to deliver a highlight reel hit. The curved transparent piece showing the ball in flight adds motion to what would otherwise be three static figures standing on fake grass. It’s 271 pieces total for this section, which sounds small until you remember it includes three fully detailed minifigures with custom prints and enough structure to keep everything stable.

The overall piece count hits exactly 1,920 as a nod to the year the NFL was founded. You either appreciate that kind of numerical easter egg or you think it’s trying too hard, but it does show this builder was thinking about narrative alongside construction. CreativeDynamicBrick spent over 30 hours on this, their first LEGO Ideas submission, which is pretty brave for a first-timer. Most people start with something manageable. Maybe a small building or a vehicle. This person went straight for advanced geometry and custom minifigure design.

Right now it’s sitting at 1,620 supporters with 597 days left to hit the next milestone of 5,000 votes. Whether LEGO actually picks it up for production depends on a dozen factors we’ll never see, but the technical execution holds up. The geometry works, the scale feels right, and the building techniques show someone who understands how to translate real-world curves into brick form. That’s harder than it sounds, and it’s why most football builds end up looking like someone’s first attempt at organic shaping. You can cast your vote for this MOC (My Own Creation) on the LEGO Ideas website here!

The post LEGO Ideas Gets Its First Proper 1:1 Scale NFL Football Collection and it’s Honestly Iconic first appeared on Yanko Design.

Amazon sells MOBA March of Giants to Ubisoft

Ubisoft is moving deeper into MOBAs after buying March of Giants from Amazon and acquiring the team that made the game. As part of the agreement, Amazon will help promote March of Giants on Twitch. The deal is expected to close on December 16

There’s no release date as yet for March of Giants. Amazon announced the free-to-play game back in August and there was a closed alpha playtest the following month. The next playtest will take place in 2026. The next major update for March of Giants will include “new giants, expanded competitive modes and foundational systems designed to support long-term growth.”

March of Giants is a 4v4 game in which players control giant war commanders. You’ll lead armies with thousands of soldiers and send them to attack enemy giants. Likewise, you’ll have to fend off the other team’s minions. You can also deploy reinforcements (called Battleworks) like trenches, tanks and bunkers to help you win a match.

MOBAs aren’t entirely new territory for Ubisoft. While it’s ostensibly a third-person action game, For Honor checks all the MOBA criteria too. Although it clearly sees an opportunity in the MOBA market, Ubisoft will have a job on its hands to make March of Giants succeed in a space that’s dominated by League of Legends and Dota 2.

March of Giants was in development at Amazon Games Montreal, a studio that was established five years ago. Several former Ubisoft employees are returning to that company as part of this deal. Many of them were part of the original creative team behind Rainbow Six Siege, including Amazon Games Montreal founder and March of Giants creative director Xavier Marquis.

This article originally appeared on Engadget at https://www.engadget.com/gaming/amazon-sells-moba-march-of-giants-to-ubisoft-183948291.html?src=rss

Peugeot’s Hypersquare Replaces Two Centuries of Circular Logic with a Rectangular Controller

The steer-by-wire interface abandons the steering wheel’s fundamental geometry, trading infinite rotation for limited-arc precision and mechanical feedback for algorithmic haptics.

The circular steering wheel represents one of automotive design’s most persistent forms. Its logic is elegant: infinite rotation maps directly to front axle movement, the column transmits road texture into the driver’s palms, and the geometry anchors muscle memory across every vehicle. Peugeot’s Hypersquare discards that entire vocabulary–and the visual disruption is deliberate.

Designer: Peugeot

The controller presents as a rectangular frame with rounded corners, closer in visual language to a gaming peripheral than automotive equipment. Where traditional wheels invite sweeping hand motions and continuous rotation, Hypersquare rewards precise, deliberate inputs within a constrained arc. The angular geometry introduces deliberate friction within cockpit environments refined over decades around curves and organic transitions. This visual foreignness signals technological departure before the driver touches anything.

Peugeot first introduced the concept inside the Inception show car in early 2023, then refined it further in the Polygon concept. Working prototypes now exist in E-2008 test vehicles, translating render into tangible interface. The geometry has remained consistent across iterations: thick rectangular profile, four corner cutouts, control pods nested where thumbs naturally rest.

Controller Form and Spatial Logic

The controller’s primary form factor establishes immediate distance from steering convention. Where wheels present an unbroken rim that hands traverse continuously, Hypersquare offers four distinct corner voids that interrupt the perimeter. These cutouts serve dual purposes: they reduce visual mass while creating natural grip zones that guide hand placement without explicit instruction.

The upper two cutouts house circular touch-and-push control pods, positioned precisely where thumbs settle during a relaxed hold. This placement transforms the steering interface into a multi-input device-drive modes, media controls, ADAS settings, and navigation all accessible without hands leaving the controller surface. The integration recalls smartphone interaction patterns more than traditional automotive switchgear.

Rotation limits to approximately 170 degrees in each direction, eliminating hand-over-hand movement entirely. Lock-to-lock travel spans less than a single full turn. This constraint fundamentally alters the kinetic vocabulary of steering: no more shuffling grip during tight maneuvers, no more crossing arms during parallel parking. The interface assumes position-holding rather than continuous motion.

The thickness of the frame itself carries design intent. Traditional wheels taper toward thin rims that fingers wrap around easily. Hypersquare maintains substantial depth throughout, creating a slab-like presence that emphasizes grip stability over rotational fluidity. The form suggests holding rather than spinning.

Interior Integration and Visual Hierarchy

Hypersquare arrives as the centerpiece of Peugeot’s next-generation i-Cockpit, and the interior architecture reorganizes around its unconventional form. The traditional instrument binnacle disappears entirely–that hooded cluster of gauges positioned behind the steering wheel no longer makes spatial sense when the wheel itself has transformed. This isn’t merely component swapping; the entire visual hierarchy of the driver’s forward view gets restructured.

A large micro-LED display mounts high in the driver’s sightline, projecting vehicle data, navigation, and media controls in a single integrated surface. The Hypersquare sits below this display rather than in front of it, creating an unobstructed visual channel between driver and information. This layout resolves a persistent complaint about current i-Cockpit designs: the small-diameter wheel often blocks gauge visibility depending on seat position and driver height. Removing the circular wheel eliminates the occlusion problem at its geometric root.

The spatial relationship establishes a clear information triangle: eyes forward to the micro-LED, hands down on the controller, peripheral awareness maintained through the uninterrupted windshield view. Traditional cockpits force constant focal shifts–gauges behind the wheel, center stack to the right, road ahead. Hypersquare’s architecture consolidates primary information into a single elevated zone while relegating physical control to a lower plane that hands find by muscle memory rather than visual search.

Haptic Design and Synthetic Feedback

Eliminating the steering column removes the tactile vocabulary that drivers have developed over lifetimes of motoring. Traditional steering transmits surface texture directly–gravel announces itself through vibration, understeer builds as resistance at the rim, grip changes register as subtle shifts in feedback weight. Hypersquare must reconstruct this language algorithmically, and the design challenge extends beyond engineering into semiotics.

Sensors embedded within the steering actuator monitor forces acting on the wheel carriers. Those measurements get processed and translated into haptic vibrations through the controller itself, generating synthetic sensations designed to communicate grip levels and surface conditions. The result is road feel as interpretation rather than transmission–filtered through software calibration tables that determine what information reaches the driver’s hands and how intensely.

Physical feedback carries meaning accumulated through decades of driving experience. Synthetic feedback must either replicate those meanings faithfully or establish new ones that drivers can learn to interpret reliably. The haptic motors in Hypersquare’s corner pods bear responsibility for an entirely new tactile language–one that cannot simply copy mechanical sensation but must create communicative patterns that drivers internalize as meaningful.

This algorithmic mediation opens design possibilities unavailable in mechanical systems. Feedback intensity could adapt to driving mode–sharper haptic response in sport settings, dampened sensation during highway cruising. Surface texture translation could emphasize safety-critical information while filtering irrelevant noise. The controller becomes a tunable communication channel rather than a fixed mechanical linkage.

Material Expression and Ergonomic Form

The controller’s rim material carries significant design weight for an object intended for continuous palm contact during driving. Early prototypes suggest soft-touch surfaces with subtle texturing–enough grip to prevent slip without aggressive bite that would fatigue hands over extended sessions. The thumb pods feature slightly different tactile characteristics, likely to help fingers locate controls through touch alone without requiring visual confirmation.

Color and finish details remain largely undisclosed, though concept versions have appeared in dark matte treatments that recede visually against interior surfaces. This restraint makes sense: the form itself already commands substantial attention. Adding high-contrast finishes or decorative elements would risk visual overload in an already unconventional interface. The material palette must also accommodate significant electronic payload–touch sensors, haptic actuators, processing electronics, and wireless connectivity integrated into the frame add mass and thermal load that surface materials must manage invisibly.

Weight distribution presents unique challenges that circular wheels avoid entirely. Traditional steering balances around a central hub; Hypersquare must achieve equilibrium despite rectangular geometry and corner-mounted pods containing varying electronic payloads. Getting this balance right represents invisible design work–the kind of engineering refinement that users never consciously notice but would immediately sense if absent. A controller that pulls slightly leftward or resists rotation unevenly would undermine the entire interface concept regardless of how striking the visual design appears.

Design Significance

Hypersquare represents the most aggressive formal departure from circular steering wheels in automotive history. The visual drama of rectangular geometry, the integration of touch controls into the primary steering interface, and the reconstruction of road feel through algorithmic haptics combine into a coherent design proposition that either anticipates the future of driving interfaces or stands as ambitious experiment.

The interface succeeds as object design independent of its functional performance. The proportions feel considered, the material choices communicate appropriate restraint, and the integration of control pods demonstrates thoughtful human factors work. Whether drivers ultimately embrace or reject the interaction model, the physical artifact itself reflects serious design attention applied to a problem space that has resisted formal innovation for over a century.

The post Peugeot’s Hypersquare Replaces Two Centuries of Circular Logic with a Rectangular Controller first appeared on Yanko Design.

‘Slop’ is Merriam-Webster’s word of the year

Merriam-Webster has selected "slop" for the dictionary company's 2025 word of the year. The leading lexicographers define slop as "digital content of low quality that is produced usually in quantity by means of artificial intelligence." We've seen an absolute deluge of AI slop this year, from fake movie trailers on YouTube to AI-generated bands on Spotify. Not even food delivery like Uber Eats could escape the onslaught of AI-generated garbage that no one asked for.

It's gotten to the point that half the videos my well-meaning parents send me on social media are AI-generated videos of dogs. This isn't all that surprising given how very intentionally the social media giants have added slop to all our feeds.

Merriam-Webster rightly points out the somewhat mocking nature of calling it “slop.” "Like slime, sludge and muck, slop has the wet sound of something you don't want to touch. Slop oozes into everything. The original sense of the word, in the 1700s, was 'soft mud.' In the 1800s it came to mean 'food waste' (as in 'pig slop'), and then more generally, 'rubbish' or 'a product of little or no value,'" the dictionary distributors wrote.

As the proliferation of AI slop expanded, some platforms like TikTok and Pinterest got wise and began offering users the choice to tone down the sheer amount of it in their feeds. Even Spotify is at least trying to combat some of this stuff now, though that didn't stop an AI-generated copycat from going unnoticed on the platform for weeks. Elsewhere, companies like Google leaned in, incorporating Veo 3-generated videos into YouTube Shorts. We'll only be able to tell in hindsight if 2025 was the peak of AI slop, but for now it shows no signs of abating.

Merriam-Webster highlighted some other words for the year (some of which the chronically online will be familiar with), including Gerrymander, Touch Grass, Performative, Tariff, Conclave and Six Seven.

This article originally appeared on Engadget at https://www.engadget.com/ai/slop-is-merriam-websters-word-of-the-year-181903322.html?src=rss

This $10 Metallic Piggy Bank Is Actually Made of Paper

There’s something oddly satisfying about dropping coins into a piggy bank. That little clink sound, the weight gradually building up, the anticipation of finally cracking it open. But let’s be honest, traditional ceramic piggy banks are kind of predictable. So when PLANBUREAU studio decided to reimagine this childhood classic, they went in a direction nobody saw coming: metallic paper.

Here’s the twist. The designers, Dániel Lakos and Míra Majoros, didn’t just wake up one day and think “hey, let’s make a paper pig.” They were working on a project for Red Noses International, an organization that supports clown doctors who work with children in hospitals. The brief was pretty specific: create something that encourages young people to save money and donate, all while keeping the price under 10 EUR with minimal production costs. Not exactly an easy ask.

Designer: PLANBUREAU studio

Most designers would’ve gone the obvious route with plastic or cheap ceramics. But PLANBUREAU had a better idea. Paper. Not flimsy craft paper, mind you, but printed metallic paper that looks like it costs way more than it actually does. It’s one of those “why didn’t anyone think of this before?” moments.

The design process itself is fascinating and honestly pretty modern. They started with ChatGPT, using AI to generate initial concepts. Their first prompt produced a pig that was fine but not quite right. So they asked the AI to make it “more boxy-looking and silver,” then added tweaks like a “cute nose” until they landed on something that felt both contemporary and charming. It’s the kind of iterative design process that shows how technology can actually enhance creativity rather than replace it.

What makes this piggy bank work is its simplicity. It arrives as a flat sheet that you cut and fold yourself. There’s something almost meditative about the assembly process, like adult origami but with a purpose. The metallic finish gives it a modern, almost futuristic vibe that doesn’t scream “kid’s toy.” You could honestly put this on a minimalist desk or shelf and it wouldn’t look out of place. The genius is in the material choice. Paper means easy printing and cutting, which keeps manufacturing costs low. It’s lightweight for shipping. It’s recyclable. And if you’re designing something meant to be eventually destroyed (because let’s face it, that’s how you get the money out), paper actually makes more sense than ceramic shards scattered across your kitchen floor.

There’s also something symbolic about using paper to save money. We’re living in an increasingly cashless society where financial transactions happen with a tap or a click. Physical money feels almost nostalgic. Creating a paper vessel to hold coins becomes this interesting commentary on the materiality of money itself. It’s meta in the best way. For kids especially, this design hits differently. Assembly becomes part of the experience, not just a barrier to use. The act of putting it together creates ownership and investment (pun intended). And when it’s time to donate, breaking open a paper bank feels less destructive than smashing ceramic. There’s no guilt, just satisfaction.

PLANBUREAU studio has carved out a niche making playful, geometric designs, and this piggy bank fits perfectly into their aesthetic. It’s functional but also kind of art. The kind of object that makes you reconsider what everyday items can be. It proves that good design doesn’t require expensive materials or complex manufacturing. Sometimes the best solutions are literally paper-thin. Since we’re constantly looking for ways to make sustainable choices without sacrificing style, this metallic paper piggy bank feels like a small but meaningful answer. It’s affordable, it’s clever, and it makes saving money feel fresh again. Plus, it teaches kids about generosity without being preachy about it. Not bad for something you can fold from a single sheet of paper.

The post This $10 Metallic Piggy Bank Is Actually Made of Paper first appeared on Yanko Design.