Someone Built a LEGO Bedside Radio With 1,400 Bricks And Inner Circuitry

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Remember when clock radios had personality? Before phones ate every function a bedside table used to need, you had this chunky little box with dials that clicked, buttons that thunked, and a display that glowed just enough to bug you at 3am. That exact vibe is what 91-Brickdesigns set out to capture with the Legosonic BSR-12, a LEGO Ideas build modeled on the radio alarm clocks that ruled nightstands in the late 70s and early 80s. And they didn’t just nail the look, they nailed the fidgetiness of the thing too.

Around 1400 pieces went into this build, and a big chunk of that count is doing unnecessary, delightful work. The toggle switches have actual spring mechanisms so they click when you flip them. The sliders drive a gear underneath just so they feel smoother in your hand, despite doing literally nothing. Even the snooze button is a running joke, since pressing it accomplishes exactly zero. It’s the kind of overbuilt charm we loved in the LEGO Classics Computer a while back, cranked up another notch.

Designer: 91-Brickdesigns

The front panel alone is a lot to take in. You’ve got three round dials up top that turn but don’t actually control anything, a row of colored indicator lights, and a genuinely functional time-set system where you spin the big dial and lock it in with a couple of chrome buttons. Next to that sits a flip clock style display frozen at 20:58, glowing like it just woke up from a nap, and a tuning window with a red needle you can slide across a fake FM and AM band using a little wheel on the side. None of it plays actual music, but every piece of it looks like it should.

Pop the top cover and there’s a full circuit board hiding under there, with brick built resistors color coded the way real resistors are, a couple of capacitors, and a chip sitting exactly where you’d expect one on an actual PCB. Slide the ventilation grille open and there’s a speaker cone waiting behind it. Flip the whole thing around and the back has a proper spec plate, an AC input, and an on off switch that wouldn’t look out of place on a real appliance from a Best Buy circa 1983. My favorite detail might be the plate itself, which reads “Made in Two Tiles, Legany,” because apparently even fictional radio manufacturers deserve a pun.

This isn’t the first time we’ve watched builders chase this exact strain of nostalgia. The JVC pyramid TV that hit LEGO Ideas earlier this year leaned on the same appeal, and LEGO’s own Icons Retro Radio proved there’s real demand for gadgets that remind adults of a time when electronics had weight and character instead of just a glass slab and a charging port. The Legosonic BSR-12 fits right into that lineage, except it goes further than most by building the guts as carefully as the shell.

The build currently sits at Staff Pick status with 589 days left to hit its 5,000 supporter mark, on the way to the 10,000 votes needed for LEGO’s official review. If you’re the kind of person who misses a nightstand that made noise when you touched it, head over to LEGO Ideas and give it a vote.

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This solar-powered EV generates more energy than it uses, so you could drive without charging as often

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What if an electric vehicle didn’t just consume energy, but quietly made more of it while sitting in the sun? That is the premise behind Clemson University’s Deep Orange 17, a boxy two-seat EV concept developed with BMW of North America. Also called Luminetta, the experimental coupe rethinks the relationship between a car’s body and its energy needs, turning the exterior into something more than a protective shell.

The most unusual part is its photovoltaic skin. Instead of placing a conventional solar panel on the roof, the student engineers integrated more than 1,781 solar cells across the vehicle’s exterior. Developed with Germany’s Fraunhofer Institute for Solar Energy Systems, the system is designed to keep generating electricity even when parts of the surface are shaded. It essentially turns the car itself into a mobile solar collector, capturing energy whether Luminetta is driving or simply parked outside.

Designer: Clemson University

That idea makes particular sense for an EV. Cars spend most of their time stationary, often exposed to sunlight for hours. Deep Orange 17 uses that otherwise idle time to replenish its energy reserves. According to simulations conducted using weather and sunlight data from Greenville, South Carolina, Frankfurt, Madrid, and Mumbai, the concept could generate enough additional energy to deliver an average of around 31 miles of driving range from a typical 12-mile daily commute.

But the solar technology is only half of the equation. To make the most of every watt it generates, Clemson’s team designed the vehicle to be exceptionally light. The prototype weighs just 550 kilograms (1,212 pounds), achieved through a multi-material structure combining steel, aluminum, carbon fiber, and 3D-printed metal joints. With considerably less mass to move, the electric drivetrain needs less energy in the first place.

Its shape follows the same efficiency-first philosophy. Inspired by the boxfish, the exterior combines a streamlined profile with a surprisingly practical volume for a compact two-seater. The final prototype is an EV that looks less like a conventional production car and more like a physical experiment in aerodynamic sculpture.

Energy recovery is built into the driving experience as well. Regenerative braking captures some of the energy normally lost during deceleration, while torque distribution and drivetrain controls are optimized to minimize unnecessary consumption. Rather than chasing headline acceleration figures, the project focuses on a more fundamental question – how little energy can a car need to perform its everyday job?

Inside, the experimental approach becomes more familiar. Luminetta features a custom interface for displaying live vehicle data alongside Apple CarPlay and Android Auto, giving the futuristic concept some everyday usability. Developed by 16 graduate automotive engineering students through Clemson’s Deep Orange program, the project took roughly two years to move from an industry challenge to a working prototype. It is not intended to be a production vehicle right now, but as a research platform exploring what an energy-positive EV could look like.

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This Arduino-Powered Retro Handheld Is One Anyone Can Build at Home

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DIY handheld gaming has always had a ceiling for newcomers. Most builds require custom-designed PCBs, hard-to-find specialized connectors, and at least a few evenings spent with a soldering iron before anything turns on. Results from experienced makers can be impressive, but getting there has traditionally demanded an electronics background and a comfort with tools that many people simply don’t have.

This Arduino UNO Q-based handheld console doesn’t ask for any of that. Every component can be ordered from a standard online retailer and assembled without soldering, making the build about as accessible as a maker project can get. The only parts requiring fabrication are the 3D-printed enclosure and buttons, which come together using heat-set inserts for a clean, professional-looking result that doesn’t betray its module-based origins.

Designer: zalmotek

The hardware list reads like an afternoon’s shopping. At the center is the Arduino UNO Q, pairing a Qualcomm Dragonwing QRB2210 processor running Debian Linux with a dedicated STM32 microcontroller for real-time input handling. Modulino Buttons and a Modulino Joystick handle the controls, an Arduino UNO Media Carrier connects an 8-inch Waveshare touchscreen and an Adafruit speaker, and a Waveshare UPS module provides battery support.

The software side is equally well thought out. The STM32 microcontroller monitors button presses and joystick movements, then passes that data to the Linux environment, where a Python daemon converts everything into standard USB gamepad commands. RetroArch handles the emulation without any complicated setup, so loading up a game doesn’t feel different from plugging a USB gamepad into a PC.

That smoothness pays off in practice. Sitting back with a handheld you built over a weekend and scrolling through titles from systems you grew up with, everything runs cleanly with proper controls and sound. It’s a bit chunkier than a commercial device, given the module-based construction, but the feel is more polished than the trade-off might suggest, especially for a build that skips custom PCBs entirely.

There’s also room to go further than emulation. The UNO Q can run the Godot game engine, which turns the same hardware into a development platform for original games. Between that and RetroArch’s support for a wide range of classic platforms, the console covers both ends of the gaming spectrum without requiring any additional hardware beyond what’s already in the build.

The full hardware list, assembly walkthrough, and complete source code are posted on Arduino Project Hub and GitHub, keeping everything open and reproducible. The documentation also frames the build as a starting point rather than a finished product, with options like swapping the display for a different size, redesigning the enclosure, or adding a Modulino Movement node for motion controls described as natural next directions.

None of that holds together without the right foundation, and the UNO Q’s dual-brain architecture provides it quietly. The STM32 handles time-sensitive inputs without lag while the Qualcomm processor manages the emulation stack, audio, and video at the same time. A software bridge connects the two, and clean communication between them is what keeps the console from feeling like a loose collection of modules.

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The Steel Vase That Finally Lets You See the Whole Flower

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The vase has been a solved problem for centuries. You put water in it, you put flowers in it, you set it on a table and call it a day. It’s functional. It works. But Dresden-based designer Ole Müller looked at that formula and decided the whole thing was missing something far more interesting: the flowers themselves.

His piece, the Blumentasche, is German for “flower bag,” and the name does most of the explaining. Made from a thin sheet of brushed stainless steel with a flat rectangular profile, a rounded handle, and a precise grid of circular perforations across its surface, it looks, at first glance, exactly like a minimalist metal tote you might spot in an architecture firm’s waiting room. The vase part only reveals itself when stems begin threading through those perforations, one by one. It was designed in Dresden and handcrafted in Bavaria, details that feel consistent with the object’s particular kind of discipline.

Designer: Ole Müller

That single design decision changes everything about how you interact with a floral arrangement. Instead of flowers disappearing into a container where only the blooms peek out at the top, every stem, every leaf, every branch becomes part of the composition. The arrangement isn’t just something sitting passively in a vessel. It’s a structure you actively build, where height, spacing, and direction are choices you make deliberately. You stop just buying flowers and start actually arranging them.

My first reaction when I saw the Blumentasche was genuine confusion about whether it was a vase, a wall-hanging, or a sculptural object that happened to hold flowers. The answer is probably all three, and I think that’s the point. Good design tends to resist easy categorization. It makes you look at familiar things slightly sideways until you can’t quite unsee the new version.

What it does particularly well is use tension. The steel grid is perfectly geometric, rigid, and controlled. Flowers, by definition, are none of those things. Leaves go rogue. Stems curve. Blossoms turn wherever they please. When you thread them through that orderly grid, the contrast doesn’t compete; it creates. The geometry gradually softens as stems fill the openings, and the whole object shifts from a steel sheet into something closer to a living relief sculpture. It changes every time someone arranges it, and changes again as the flowers age.

Handcrafted in Bavaria, the piece reflects a kind of material honesty that feels increasingly rare. Brushed stainless steel isn’t trying to look like anything other than what it is. There’s no warm wood accent or soft matte coating designed to make it feel more approachable. It earns its place in a room through form alone, and that takes a certain confidence in the design.

I also appreciate that it trusts the person using it. Traditional vases make flower arranging somewhat passive. You fill them, place them, and the container does the structural work. The Blumentasche hands the composition entirely back to you. Each stem has to be considered individually. Where does it go? How far through? Next to what? For anyone who has ever stood in a kitchen rearranging a bunch of tulips for ten minutes without quite knowing why, this is an object that actually makes room for that instinct.

Whether it works as well with a casual grocery store bouquet as it does with thoughtfully selected individual stems is a fair question. I suspect it rewards intention. A single branch of cherry blossoms threading through those perforations probably looks extraordinary. A mixed supermarket bunch might tell a less coherent story. But I’m not sure that’s a criticism. It’s more of an invitation to be a little more deliberate about what you bring home.

The Blumentasche sits at that specific intersection of product design and art object where the most interesting work tends to live. It doesn’t shout. It doesn’t explain itself. It just asks you to look at flowers differently, and once you do, the conventional vase starts to feel like a missed opportunity.

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