A Student Just Made a Pen From One Bamboo Stalk. No Factory Needed.

We don’t usually stop to think about pens. They show up in our bags, our drawers, the bottom of every tote we own, and when the ink runs out, they quietly end up in a landfill. That’s the mundane life cycle of the humble ballpoint, and most of us have just accepted it. Which is exactly why Shoot, a bamboo writing instrument designed by Sarthak Prajapati, feels like a quiet rebuke dressed up as a very beautiful object.

Prajapati is an Industrial Design undergraduate at the National Institute of Design in Assam, India, and Shoot is his entry in the 2026 Green Product Award, currently shortlisted as a finalist in the Consumer Goods category. At first glance, it’s a precision pen carved from a single piece of bamboo. But the more you learn about how it was made and why, the more it becomes a kind of design manifesto condensed into something you can hold in your hand.

Designer: Sarthak Prajapati

The name itself is a clever one. A “shoot” is the young, fast-growing sprout of a bamboo plant, and that material is the entire premise of the object. Bamboo is one of the fastest-regenerating plants on earth, and Prajapati uses it here not as a trendy green overlay but as a functional, structural choice. The bamboo handles the grip. The bamboo handles the form. The bamboo is the design. There’s no layer of branding on top trying to convince you it’s sustainable. The material speaks for itself.

Shoot’s most compelling quality isn’t even the material. It’s the thinking behind how it was made. No electricity. No factory floor. No complex supply chain. Prajapati built this using low-energy, hands-on craft methods, which aligns with a wider movement in design circles pushing back against the idea that innovation always has to be high-tech to be meaningful. Sometimes innovation looks like stepping back and asking whether the thing we already have, meaning the plant, the material, the traditional skill, was actually good enough all along.

The pen is also refillable, which sounds like a small detail but isn’t. Disposable pens are a genuinely staggering problem. Billions are discarded every year globally, and most of them are made from mixed plastics that can’t be easily recycled. The refillable design of Shoot positions it directly against that culture of single-use convenience, and it does so without requiring the user to sacrifice function. You still get a proper writing instrument. You just don’t throw the whole thing away when it’s done.

I’ll be honest: I have a soft spot for design that comes from a student context. There’s a kind of fearlessness to it. Prajapati isn’t working within a corporate brief or trying to satisfy a retailer’s margin requirements. He’s solving a real problem the way he actually believes it should be solved, and the result has the clarity that comes with that freedom. The pen looks exactly like what it is. A bamboo stalk. A writing tool. Nothing more, nothing less, and somehow that is enough.

The Green Product Award itself, now in its eleventh year, evaluates submissions on approach, innovation, sustainability, and design. The fact that Shoot made the final shortlist tells you a lot about the kind of thinking that’s being rewarded right now. The jury isn’t looking for products that simply add a bamboo component to something otherwise unchanged. They’re looking for objects where the sustainability logic runs all the way through, from material to manufacturing to end of life.

If Shoot ever goes into production, I’d buy one. Not because I’m trying to make a statement, but because it looks good, it works, and it represents a genuinely more considered way of making things. The design world produces a lot of concepts that never leave the rendering stage, but Shoot has a physicality and simplicity to it that makes it feel ready. It’s a pen. From a bamboo shoot. Made by hand. And right now, that feels surprisingly radical.

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The Sculptural Speaker Concept That Sounds Good From Every Spot in the Room

Most wireless speakers look like speakers. They announce themselves with grilles and ports and branding, and they tend to disappear into a corner or a shelf where the acoustic compromise of their placement gets quietly accepted. The room works around the speaker rather than the other way around. For a category that has grown enormously in the past decade, the design ambition behind most of what’s on the market hasn’t quite kept pace with the technology inside.

The Mirage Onda concept comes at that problem from two directions at once. On one side is a five-decade-old Canadian audio brand whose reputation was built on omnidirectional sound, long before the concept became a selling point for portable speakers. On the other is a design studio that has treated the speaker not as a functional box but as a sculptural object with genuine presence in a room.

Designer: Andrea Ponti (Ponti Design Studio)

The brand history matters here. Mirage introduced the world’s first bipolar speaker in 1987, and spent the following decades developing omnipolar technology, the idea that sound should radiate in all directions as it does in a live space, rather than being aimed at a single listening position. That philosophy is what the Onda is built around. The speaker delivers a true 360-degree audio experience through its acoustic architecture: four woofers at the base produce warm, rounded bass that fills the room with depth and body, while an upward-facing midrange driver with a diffuser ensures even sound distribution, and a tweeter paired with a dedicated diffuser handles crisp high frequencies.

The result is a speaker that doesn’t ask you to position yourself relative to it. A discreet backlit touch interface sits between the lower body and the upper platform, while the removable magnetic upper grille lifts away to reveal the tweeter in Mirage’s signature deep purple. That upward-firing arrangement, coupled with the diffusers above and below, is what sends sound outward into the room in all directions rather than toward a fixed sweet spot.

Four polished aluminum pillars connect the lower body to the upper platform in a striking suspended configuration, while the distinctive rounded-square footprint, softened edges, and monolithic silhouette give the speaker a timeless character that integrates effortlessly into modern environments. The fabric grille wraps the body in a dual-color textile that adds warmth to what could otherwise be a purely hard-edged industrial form. Three colorways are available, ranging from a warm sand tone to charcoal and all-black, each one giving the Onda a different character while keeping its proportions unchanged.

Put it in the center of a room, and it works. Put it on a side table or near a sofa, and it still works, because the sound isn’t dependent on where you happen to be sitting relative to the driver. That’s the practical promise of omnidirectional audio at the room scale, and it’s something that most mainstream speakers, regardless of price, simply don’t attempt.

Onda builds on Mirage’s legacy, blending heritage with minimalism and contemporary sophistication. The design reflects clarity, balance, and sculptural presence, which is a rare combination in an audio product that still has to justify its place in a room by actually sounding good. Both sides of that equation matter here, and the Mirage Onda takes both of them seriously.

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Fable 5 and Mythos 5 Blocked Globally by U.S. Government

Fable 5 and Mythos 5 Blocked Globally by U.S. Government Enthropic Fable 5 and Mythos 5 access blocked error screen

The U.S. government has recently mandated the shutdown of Anthropic’s advanced AI models, Fable 5 and Mythos 5, citing significant national security concerns. This decision, which has halted access for all users, including foreign nationals and even Anthropic’s non-U.S. employees, centers on vulnerabilities that officials believe could be exploited to pose security risks. Universe of […]

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A Student Just Designed a Seed Kit That Dissolves Into Your Garden

Most gardening products arrive in a blizzard of plastic. Clamshell trays, foil seed packets, twist ties, instruction cards laminated in polyester. You buy them, use them, then spend 20 minutes figuring out what you can recycle and what you can’t. It’s a frustrating little ritual that, frankly, undercuts the whole point of growing something in the first place.

So when I came across Terra Seeds, a student project by Israeli designer Tom Fosbery from Shenkar College of Engineering, Design and Art, I had to stop and actually sit with it. Not because it’s revolutionary in a loud, tech-forward way. But because it’s quietly, elegantly obvious once you understand it. The kind of obvious that makes you wonder why it took so long.

Designer: Tom Fosbery

Terra Seeds is a planting kit for hobbyists, families, and urban gardeners. The concept is built around fan-shaped units made of compressed local soil, tapioca starch, nutrients, and seeds. You plant the unit directly into the ground, no tools required. It breaks down completely, feeds the soil, and helps the seeds germinate. There is no packaging to throw away, because the packaging is the product. The product is the garden.

The materials are worth paying attention to. Tapioca starch binds the unit together during handling and transport, then dissolves harmlessly once it meets moisture and soil. Local compressed soil means the unit is literally made from the same ground it’s meant to go into. The nutrients are already mixed in. Everything about the design reduces friction, physical and psychological, so that the act of planting feels as simple as pressing a small disc into the earth and walking away.

Fosbery describes his practice as one rooted in ecological design, in creating products that leave no waste. He’s passionate about exploring unexpected materials and finding their surprising possibilities. That ethos shows clearly in Terra Seeds. The fan shape is both aesthetically considered and functionally smart, giving the compressed unit enough surface area to hold together while fitting naturally into a small planting hole. It feels like a design where thinking about materials came before thinking about aesthetics, and the visual result is stronger for it.

I think about how many times I’ve seen sustainable design that mostly amounts to swapping one material for another. Plastic replaced with paper, foam replaced with cardboard, single-use replaced with slightly less single-use. Those swaps matter, but they’re incremental. Terra Seeds takes a different position. Rather than asking what material should hold the seeds, Fosbery asked what if the packaging itself contributed to growth. That’s a shift in the underlying question, and that shift produces a completely different kind of answer.

The intended audience matters here, too. Fosbery designed it for hobbyists, families, and urban gardeners, not for large-scale agriculture or commercial nurseries. That’s a crowd that often comes to gardening with enthusiasm but not expertise, people who want the satisfaction of growing something without the overhead of figuring out what goes where, how deep, with which tools. Terra Seeds removes those barriers gently, without making the experience feel dumbed down. The form factor does the work of instruction.

I’ll acknowledge the practical questions that a concept like this still has to answer: shelf life, moisture sensitivity before planting, how the units hold up in humid storage conditions. Those are real design challenges that tend to emerge more fully in production than in prototyping. But they don’t undermine the idea. They’re the kind of problems worth solving precisely because the idea is genuinely good.

The Green Product Award recognized Terra Seeds, and the recognition feels deserved. Not because it’s flashy, but because it demonstrates something that good design often does quietly: it makes you wonder why we were doing it the old way at all. The plastic seed packet had a good run. But pressing a fan of compressed earth into the ground and watching something grow from it, with nothing left over, is a more satisfying loop. That’s the whole point, isn’t it?

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Stuck in iOS 27 System Recovery? Try This Fix First

Stuck in iOS 27 System Recovery? Try This Fix First Two iPhones placed side by side during the iOS 27 restoration process.

The release of iOS 27 introduces a new system recovery feature that redefines how users restore their devices. For the first time, you can recover your iPhone or iPad wirelessly without needing a computer, all while keeping your data intact. This feature is particularly beneficial for beta testers who frequently encounter issues such as overheating, […]

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A Solo Korean Maker Just Built the Writing Device Your Phone Isn’t

There’s a whole category of people who want to write but can’t quite get there on the devices they already own. The laptop opens, and the browser tab is there. The phone unlocks, and three notifications are already demanding attention. Writing apps exist on every platform, but so does everything else, and that proximity makes sustained focus harder than it should need to be. The answer that the market usually offers is another app, which is the same problem wearing a different hat.

The Micro Journal Rev.6.1 comes at that problem from a different direction entirely. It’s a handmade, clamshell writing device built by a solo maker in South Korea, designed for exactly one purpose: opening the lid and writing. There’s no operating system to navigate, no notifications to dismiss, and no browser to wander into. The device boots instantly and drops you directly into a writing canvas, the way a paper notebook would if notebooks could sync to Google Drive.

Designer: Un Kyu Lee (Background_Ad_1810)

The origin story matters here. The Rev.6 that preceded this model was built in response to a playwright from New York who wanted a device compact enough for cafés and distinctive enough to be proud of. The Rev.6.1 takes that same concept, the same 48-key hot-swappable keyboard and color IPS display, and folds it into a clamshell form that closes flat and slips easily into a bag. Community members who received early units called it a “beautiful final evolution” of the Rev.6 concept, which says something about how iterative this product line actually is.

The keyboard uses Kailh hot-swap sockets compatible with Cherry MX switches, which means you choose the switches that match how you like to type and swap them whenever that preference changes. The 48-key layout ships with two additional hidden layers available for remapping, giving far more input flexibility than the key count alone would suggest. It’s a small but considered detail that treats the physical act of typing as something worth getting right.

Files sync to your personal Google Drive over Wi-Fi, with no subscription fee and no middleman service to depend on. An 18650 rechargeable battery handles power, charging over USB-C, which covers the same standard you’re already carrying everywhere else. The whole device is assembled by hand after each order is placed, which adds a few days to the delivery window but also means each unit comes with a degree of personal investment that mass-produced products rarely carry.

The Rev.6.1 sits in a growing ecosystem of writerDeck devices, which are purpose-built writing machines that the community around them treats more like tools than toys. Compared to polished products like the Freewrite, the Micro Journal is more openly a handcrafted object, with visible maker-culture DNA in its design and ethos. That’s not a limitation; it’s the point, and for anyone who already feels the appeal of a mechanical keyboard or a distraction-free tool, the logic lands fairly quickly.

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Why the Galaxy Z Fold 8 Wide is Samsung’s Answer to the iPhone Fold

Why the Galaxy Z Fold 8 Wide is Samsung’s Answer to the iPhone Fold Galaxy Z Fold 8 vs iPhone Fold

The foldable phone market is entering a fantastic phase as Samsung and Apple prepare to unveil their latest flagship devices: the Galaxy Z Fold 8 Wide and the iPhone Fold. These two devices represent distinct philosophies in foldable technology, showcasing contrasting approaches to design, usability, and functionality. As competition between these tech giants intensifies, the […]

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