Regular maintenance of your iPhone is crucial for making sure it operates efficiently, remains secure, and protects your valuable data. By dedicating a few minutes each week to essential upkeep, you can extend your device’s lifespan, enhance its performance, and safeguard your personal information. Below are five critical tasks to include in your weekly routine […]
The post The 60-Second Habit: Why Every iPhone User Should Do This Every Week appeared first on Geeky Gadgets.
At the start of the year, Google brought a host of new Gemini-powered features, including built-in Nano Banana image generation, to Chrome. After debuting in the United States, those features are now making their way to Chrome users in Canada, India and New Zealand, with support for 50 additional in tow. Among the new languages Gemini in Chrome can now converse in are French, Gujarati, Hindi and Spanish.
To try out Gemini in Chrome, tap the sparkle icon at the top right of the interface. This will open the sidebar interface Google introduced in January. From there, you can chat with the company's Gemini chatbot without the need to switch tabs. From the sidebar, you can also access Google's in-house image generator. Additionally, Gemini in Chrome offers integrations with Gmail, Maps, Calendar, YouTube and other Google apps. If you live outside Canada, India or New Zealand, Google says it will make Gemini in Chrome available in more countries and languages throughout the rest of 2026. Oh, and if don’t want to use Gemini in Chrome, you can right click on the sparkle icon and select unpin to never see it again.
This article originally appeared on Engadget at https://www.engadget.com/ai/google-starts-rolling-out-gemini-in-chrome-to-users-in-canada-india-and-new-zealand-023000528.html?src=rssModern laptops aren’t short on power, but they’re increasingly short on ports. One USB-C port ends up doing everything: charging, video out, storage, and peripherals, while a small pile of adapters accumulates next to the keyboard. The setup works, but it doesn’t look like the clean, minimal desk you were going for, and it means carrying more pieces than you’d like when you’re working somewhere that isn’t home.
ADAM elements’ Hub S is a USB-C hub with built-in SSD storage, designed around the idea that a hub and an external drive don’t need to be two separate objects. Instead of plugging in one thing for ports and another for files, you plug in one slim aluminum accessory that handles both. It isn’t trying to replace a full docking station, but it’s the right-sized tool for someone who needs the essentials covered without the clutter.
Designer: ADAM elements
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The built-in SSD is available in 240 GB, 480 GB, and 960 GB capacities, so there’s a size for whether you’re keeping a working project library or just enough space for recent shoots and backups. Having storage physically attached to your hub means it’s always there when you need to dump footage, move large project files, or keep a client’s assets close during a session, without remembering to pack a separate drive.
Transfer speeds are rated at up to 520 MB/s read and 456 MB/s write, which makes moving large files feel routine rather than something you schedule around. That kind of speed isn’t just a spec, though. It’s the difference between waiting through a transfer and forgetting it’s happening. For photographers and video editors working on the road, that matters more than it sounds on a product page.
For Mac users, the ADAM elements Hub S is also Apple Time Machine compatible. That means it can act as a rolling backup target every time you plug in, turning a habit that’s easy to forget into something that happens automatically. Backup isn’t exciting, but having it built into the same accessory you’re already using for everything else makes it feel less like a separate job.
The USB-C port on the hub supports PD 3.0 pass-through charging up to 60W, so your laptop doesn’t lose its charge while the hub is handling storage, display, and peripherals. That’s a meaningful consideration when you’re transferring large files and streaming to an external display at the same time, both of which can pull enough power to make a laptop feel like it’s running a sprint.
The HDMI port outputs up to 4K at 30Hz and supports HDCP 2.2, which is the protocol required for streaming 4K HDR content from services like Netflix. A lot of hubs advertise “4K output” but fail on DRM handshakes, so the HDCP 2.2 compliance isn’t a minor footnote. Whether you’re mirroring for a presentation or extending to a monitor for a proper editing session, the connection holds up where it matters.
Rounding out the port selection is a USB-A 3.1 port rated at up to 5 Gbps for peripherals or flash drives, and a 3.5mm headphone jack that supports 48kHz/16-bit audio. Neither is glamorous, but together they cover the inputs that would otherwise require yet another adapter. The aluminum alloy body is designed to sit flush on a desk surface, and the whole thing weighs about 2.5oz, roughly the weight of a single C battery.
The ADAM elements Hub S works best as the kind of accessory you stop thinking about. You plug it in, your files are there, your display is connected, your laptop is charging, and your headphones are plugged in. That’s it. For people who’d rather carry one considered piece of hardware than a small collection of adapters and drives, consolidating all of that into a single slim object that fits in a jacket pocket feels like the more sensible way to work.
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The post Carrying a USB-C Hub and SSD? ADAM elements Hub S Does Both first appeared on Yanko Design.
Few sports cars have preserved the spirit of lightweight performance quite like the Caterham Seven. With its minimalist design and uncompromising focus on driving purity, the model has remained one of the most authentic expressions of classic British motoring. Now, the British manufacturer has introduced a special variant that celebrates a lesser-known but historically important racing story. Developed in collaboration with Hersham and Walton Motors (HWM), the Caterham Seven HWM Edition pays tribute to the small British team that once challenged Europe’s best on the Grand Prix stage.
HWM was founded in 1938 and built a reputation in the early post-war years as a determined independent racing constructor. Its most famous machine was the 1951 HWM-Alta single-seater, which achieved several international race victories and podium finishes during an era dominated by far larger teams. The car also played a role in motorsport history by giving legendary driver Sir Stirling Moss an early Formula 1 appearance. By creating the Seven HWM Edition, Caterham and HWM are celebrating that underdog spirit and the shared heritage of two British brands deeply rooted in racing culture.
The limited-run model is inspired by the original HWM-Alta racer. Only 19 examples will be produced for the UK market, mirroring the exclusivity of historic racing specials and emphasizing the handcrafted nature of Caterham’s vehicles. Each car is finished in a distinctive HWM Green paint, a color digitally matched to the original 1951 race car. Exterior detailing reinforces the historical connection, with Alta-inspired side panel louvres, a bespoke nosecone grille, and suspension components such as the wishbones, anti-roll bar, and headlight brackets finished in Retro Grey. A centrally mounted chrome fuel filler cap and a special HWM Caterham nosecone badge further distinguish the model.
Inside the cockpit, the retro theme continues with a focus on craftsmanship and period-correct design cues. The dashboard features a hand-turned aluminum SuperSprint panel fitted with classic SMITHS chrome dials and a solid metal master cut-off switch. Drivers interact with the car through a polished wooden Moto-Lita quick-release steering wheel, while chrome-finished controls for the gear lever and handbrake add to the vintage racing aesthetic. The body-colored transmission tunnel enhances the bespoke feel, and buyers can choose between leather-trimmed seats or lightweight composite racing seats embroidered with the HWM logo. A numbered plaque on the passenger side of the dashboard marks each vehicle as “1 of 19,” underscoring its rarity.
Despite its historic inspiration, the Seven HWM Edition remains a thoroughly modern performance machine. The car is based on the Caterham Seven 420 platform and is powered by a naturally aspirated 2.0-liter Duratec four-cylinder engine producing around 210 horsepower. Paired with a five-speed manual gearbox and driving the rear wheels, the lightweight sports car delivers an impressive power-to-weight ratio of roughly 375 horsepower per ton. As a result, it can accelerate from 0 to 60 miles per hour in just 3.8 seconds and reach a top speed of approximately 136 miles per hour.
Prices for the Caterham Seven HWM Edition start at £57,990 (approximately $78,000), positioning it as an exclusive offering for enthusiasts who value both heritage and pure driving engagement.
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Sydney is on the verge of claiming a significant architectural milestone. Atlassian Central, a 39-floor hybrid timber tower currently nearing completion, is set to become the world’s tallest building of its kind, surpassing the existing record holder by a considerable margin.
Designed by BVN and SHoP Architects as part of a larger development in Sydney, Australia, the tower will top out at 183 m (600 ft). That makes it more than twice the height of Milwaukee’s Ascent, which currently holds the title of world’s tallest hybrid timber skyscraper at 86.6 m (284 ft). According to the Council on Tall Buildings and Urban Habitat (CTBUH), the premier authority on building heights, Atlassian Central will claim the record upon completion, ahead of any proposals not yet approved.
Designer: BVN & SHoP Architects
The structure relies on a hybrid system of concrete, steel, and engineered wood, a combination that sets it apart from purely timber towers like Norway’s Mjøstårnet. The use of concrete and steel allows the building to reach heights that timber alone could not sustain, while glued-laminated timber columns and cross-laminated timber slabs, sourced from Europe, are incorporated throughout. In total, roughly 10,000 cubic meters (353,000 cubic ft) of engineered wood will be used in the build.
Sustainability is woven into the design beyond the choice of materials. The facade integrates solar panels alongside an automation system developed by specialist EBSA, which is expected to significantly reduce the building’s mechanical cooling requirements. SHoP Architects describe the commercial floors as being organized into seven stacked four-story “habitat” modules, each framed by the hybrid timber structure and designed to maximize natural ventilation, provide access to landscaped terraces, and support workplace well-being through a connection to natural environments.
The tower’s program is varied. The lower floors will house a hostel, and the project will incorporate an existing building on the site, which is being restored and folded into the lobby. The majority of the remaining floors are dedicated to office space, interspersed with multiple open garden areas that reinforce the building’s emphasis on greenery and natural light.
An exact completion date has not been confirmed, but Atlassian Central is expected to be finished in late 2026 or sometime in 2027. When it opens, it will represent not just a new height record for hybrid timber construction, but a meaningful step forward in demonstrating what sustainable high-rise architecture can look like at scale.
The post The World’s Tallest Timber Skyscraper Is in Sydney, and It Rises 600 Feet Into the Sky first appeared on Yanko Design.
Remember when instant cameras were magic? You pressed a button, a mechanical whir filled the air, and moments later you were shaking a photo like it owed you money. Polaroid made photography feel like alchemy, turning light into physical memory right in your hands.
The Poor Man’s Polaroid by Boxart brings that instant gratification back using a thermal printer (the same kind that spits out your CVS receipts) and costs less than a cent per print compared to roughly a euro for each Polaroid picture. The name is a bit tongue-in-cheek since the parts actually cost more than the cheapest Polaroid cameras, but the creator clarifies it’s a “fun DIY project, possibly made by poor hands”.
Designer: Boxart
The whole setup is beautifully straightforward. A Raspberry Pi Zero and camera drive a receipt printer, all housed in a 3D-printed case with the guts of a power bank providing juice. Press the button, wait a beat, and out slides your photo on thermal paper. No film cartridges to buy, no wondering if you loaded it correctly, no accidentally exposing your entire pack to light.
Does the image quality match a real Polaroid? Not even close. The photos aren’t the same quality as self-developing film, but they have some charm to them. You get a not-very-good grayscale image on curly paper. But that’s kind of the point. The beauty of instant photography was never really about pristine resolution. It was about immediacy, about physicality, about having something tangible to pin on your wall or slip into someone’s hand.
This project lives in that sweet spot between nostalgia and practicality. Thermal paper might fade over time and the images might look like they came from a 1990s fax machine, but you can shoot hundreds of photos without bankrupting yourself. The economics are almost absurd when you compare it to authentic instant film, which has climbed to luxury pricing in recent years.
I love that this exists because it reminds us that the tools we carry don’t always need to be the most advanced or expensive. Sometimes the joy is in the making itself, in cobbling together a Raspberry Pi, a webcam, and a thermal printer to recreate something that used to cost hundreds of dollars and came from a factory. It’s technology as craft project, gadgetry as personal expression.
The curling thermal paper and grainy output might not win photography awards, but they capture something else: the spirit of experimentation that made instant cameras revolutionary in the first place. Edwin Land didn’t perfect the Polaroid overnight. He iterated, tinkered, and eventually changed how we thought about photography. Boxart’s version might use Python code instead of complex chemistry, but the impulse is the same.
What makes this project particularly appealing is its accessibility. The parts are 3D printed and the code is in Python, meaning anyone with basic maker skills can attempt it. You’re not locked into a proprietary ecosystem or dependent on a company that might discontinue your film stock. You own the entire chain of production, from capture to print.
Sure, you could buy cheap instant print cameras from import sites for less money. But where’s the story in that? Where’s the satisfaction of building something yourself, of understanding exactly how it works, of being able to modify and improve it over time? This isn’t just a camera. It’s a statement about what technology can be when we strip away the branding and the markup and the planned obsolescence.
The Poor Man’s Polaroid won’t replace your smartphone camera or even a proper instant camera if image quality is your priority. But it offers something more valuable: proof that with a little ingenuity and some off-the-shelf components, you can recreate the magic of instant photography on your own terms. And sometimes that curly thermal paper printout means more precisely because you built the machine that made it.
The post A Maker Just Built A Polaroid Camera for 100x Cheaper Using Thermal Receipt Paper first appeared on Yanko Design.
The inspector general's office of the Social Security Administration is investigating allegations of a security breach by a member of the so-called Department of Government Efficiency operation spearheaded by Elon Musk. A whistleblower has claimed that a former software engineer from DOGE said he possessed two databases from the SSA, "Numident" and the "Master Death File." The person reportedly asked for help transferring the databases from a thumb drive "to his personal computer so that he could ‘sanitize’ the data before using it at [the company]," an unnamed government contractor where he is currently employed. Those databases include personal information about more than 500 million living and deceased Americans.
The Washington Post reported that the whistleblower complaint was filed with the inspector general in January. "When The Post contacted the agency and the company in January, both said they had not heard of the complaint. Both said they subsequently looked into the allegations and did not find evidence to confirm the claims," the publication said. It is unclear why the complaint is now being investigated and neither party offered comment this week for The Post's article. The SSA watchdog informed both members of Congress and the Government Accountability Office of its investigation.
These allegations follow a different whistleblower complaint filed last August about DOGE access and mishandling of data from the SSA. Charles Borges, former chief data officer at the agency, claimed that a SSA database was stored in an unsecured cloud environment. "This is absolutely the worst-case scenario," Borges told The Post of the latest claims. "There could be one or a million copies of it, and we will never know now."
This article originally appeared on Engadget at https://www.engadget.com/cybersecurity/social-security-watchdog-investigating-claims-that-doge-engineer-copied-its-databases-212722061.html?src=rss
Nintendo had a choice when designing the Switch 2. They could iterate on the formula that made the original a cultural phenomenon, refining the single-screen hybrid into a faster, sharper, better version of itself. Or they could reach back into their own history, pull out the design philosophy that once made the DS family the best-selling handheld hardware line of all time, and merge two eras of thinking into something genuinely new. They picked the first path. Designer Juan Manuel Guerrero just sketched out the second.
The concept arrives as a series of beautifully lit 3D renders: a folding Nintendo Switch with dual screens, a hinge running through the center of the body, and Joy-Cons in the familiar blue-red split attached to either end. The renders carry the finish of product photography, which makes it genuinely easy to forget this never shipped. Closed, it looks like a sleek, pocket-ready device with a tighter footprint than the original Switch. Open, it recalls something older and warmer, the quiet satisfaction of flipping a DS open on a long car ride, except now the screens are large, the controllers are proper, and the whole thing feels built for today. The proportions are deliberate, the design choices are considered, and the whole thing wears its Nintendo identity without apology.
Designer: Juan Manuel Guerrero
The Nintendo DS sat at 154.02 million lifetime units for years, the gold standard for Nintendo hardware, until the Switch finally crept past it in early 2026 with 155.37 million. Two hardware generations, both cultural touchstones, separated by fewer than two million units across a combined history of roughly three decades. The closeness of that race matters. The DS built those numbers on a genuine design idea, a spatial logic where two screens gave developers room for two distinct kinds of information at once, and players responded to that for fifteen years. Guerrero’s concept asks whether the Switch era ever had to leave that behind.
Phantom Hourglass let you draw on the bottom screen to annotate your own maps and solve puzzles, an idea original enough to win awards at the time. Pokemon Diamond and Pearl split the party menu from the battlefield, giving battles a spatial clarity the GBA never had room for. GTA: Chinatown Wars ran the full city map on the lower display and handed the top panel entirely to the action. These were designs built entirely around the format, dependent on the split in a way that made them fall apart on a single screen. That vocabulary has been sitting idle for the better part of a decade.
Samsung’s Galaxy Z Fold 6 runs a 7.6-inch interior display and represents the sixth generation of the company working foldable hardware into something genuinely reliable. Motorola, OnePlus, Google, and Huawei all have competitive entries in the space. Display durability and hinge reliability have been largely solved through successive product generations and real commercial pressure. A dual-screen Switch in 2025 wouldn’t be asking anyone to invent something new; the foldable category has already done the hard engineering work. Guerrero’s concept asks someone to point that already-mature technology at a gaming audience.
The DS touchscreen read as a toy gimmick in 2004. The Wii’s motion controls got laughed at before that console sold 101 million units. The Switch itself looked like a confused category play until it climbed past 155 million units and became Nintendo’s best-selling platform ever. That history of moves that look sideways before they land is the context Guerrero’s concept actually lives in. The foldable technology exists, the Joy-Con design language holds across both halves of the fold, and the IP is coherent. Someone drew it. Now it’s genuinely difficult to look at the Switch 2 without wondering what the other path could have looked like.
The post Nintendo Patented a Dual-Screen Switch and Never Made It. Here’s What It Looked Like. first appeared on Yanko Design.
AI companies have been spending a lot of time in court arguing copyright cases over the past year and the latest plaintiff is Gracenote, the metadata company owned by Nielsen. Axios reports that Gracenote is suing OpenAI for the unauthorized and unpaid use of both its metadata and its framework for connecting that information.
Gracenote specializes in entertainment metadata, creating descriptions and identifiers for content that clients such as TV providers use to help their own customers with discovery. Most of the lawsuits against AI businesses have focused on the content used to train LLMs, but the Gracenote case brings an extra layer with the alleged infringement of the structure or sequence for a dataset in addition to the actual data.
"Defendants could have paid Gracenote to license its valuable Gracenote Data. Or they could have sought to train and ground their models only on information in the public domain. They did neither. Defendants instead improperly copied and used Gracenote Data to create their own commercially valuable AI products, all without paying a dime," the complaint states. The company claims that its previous attempts to work with OpenAI for a licensing agreement were rebuffed or ignored. Gracenote has recently inked deals to back AI ventures from other companies, including Samsung and Google.
This article originally appeared on Engadget at https://www.engadget.com/ai/metadata-company-gracenote-is-the-latest-to-sue-openai-for-copyright-infringement-200347812.html?src=rssMost wearable tech that puts an AI assistant in your ear assumes you want only theirs. The earpiece, the speaker, the entire software stack, all funneled through one model chosen for you before you even open the box. Rokid’s latest update to the AI Glasses Style takes a different position entirely, turning the glasses into what is effectively an open platform where you pick the brain behind the voice.
The update makes the Style the first smart glasses to natively support Google’s Gemini, sitting alongside OpenAI’s ChatGPT, DeepSeek, and Alibaba’s Qwen in a unified interface. Users toggle between them freely, which means reaching for Gemini for a quick Google Maps query and switching to ChatGPT for something else entirely is up to you.
Designer: Rokid
The glasses themselves debuted at CES 2026 in January, and the hardware makes a reasonable case for the category. At 38.5 grams, with a TR90 frame and titanium alloy hinges, they sit closer to a regular pair of prescription glasses than anything resembling a prototype. The frame takes prescription lenses directly, with a fitting service starting at $79, including photochromic options in over 200 colors that darken within 25 seconds.
Powering the AI and imaging workload is a dual-chip setup: an NXP RT600 handles always-on, low-power tasks, while a Qualcomm AR1 manages heavier processing. The same Qualcomm chip is in Meta’s Ray-Ban glasses, though the battery life here runs to 12 hours, noticeably longer than Meta’s. A 12MP Sony-sensor camera sits at the bridge, capturing 4K stills and 3K 30fps video with up to 10 minutes of continuous recording. A privacy indicator light signals to people nearby when the camera is active.
Audio comes through directional AAC speakers built into the temples, focused toward the ears with minimal bleed. The AI interaction itself works through a two-finger tap to summon any of the four models, head gestures for call management, and voice prompts in 12 supported languages. Real-time translation, navigation, photo recognition, and AI-generated meeting summaries are all part of the feature set, fed through whichever model the user has selected.
For anyone already oriented around a specific AI assistant, the practical appeal is straightforward. Someone in Google’s ecosystem gets Gemini in their glasses without compromise; someone who prefers ChatGPT for writing picks that instead. At $299 to start, with a lens fitting service folding in prescription and photochromic options, the Style has cleared 15,000 units sold ahead of its formal global rollout, which is a reasonable early signal for a category still working out what it wants to be.
The post Rokid’s Smart Glasses Let You Pick Your AI: Gemini or ChatGPT first appeared on Yanko Design.