Samsung’s rumored Galaxy Z Roll 5G is poised to introduce a fantastic leap in smartphone technology. With its rollable display that seamlessly transitions into a tablet-like screen, this device aims to address the limitations of foldable phones while introducing a host of innovative features. If the speculation surrounding this device proves accurate, the Galaxy Z […]
The post Samsung Galaxy Z Roll 5G: The 12.4-Inch Motorized Screen That Eliminates the Crease appeared first on Geeky Gadgets.
Valve has officially confirmed that the Steam Machine and Steam Frame are set to launch before June 2026, signaling a major step forward in gaming hardware. As highlighted by Deck Ready, the Steam Machine is designed as a compact console for living room setups, while the Steam Frame serves as a wireless adapter to enhance […]
The post Valve Steam Machine Release Window Set for Before June 2026 appeared first on Geeky Gadgets.
The Nothing Phone 4a enters the competitive mid-range smartphone market with a bold design, dependable performance, and a versatile camera system. Its transparent aesthetic, customizable glyph lighting, and refined software set it apart from the crowd. While it doesn’t include every premium feature, it delivers strong battery life, smooth performance, and a capable camera setup, […]
The post Nothing Phone 4a: The New King of Mid-Rangers? appeared first on Geeky Gadgets.
Apple has always had a talent for making hardware that feels complete right out of the box, and the iPad is perhaps the finest example of that philosophy. Sleek, powerful, and achingly well-designed, it arrives looking like the answer to every creative and productive need you could possibly have.
But here is the thing about potential: it needs the right conditions to fully bloom. The iPad’s best qualities, its precision display, its Apple Pencil sensitivity, its versatility as both a consumption and creation device, stay partially dormant until the right accessories step in. A great screen protector does not just guard glass. It transforms how the device feels in your hands, how your Pencil glides across the surface, how confidently you carry it into the world. The right accessories are where the iPad stops being impressive and starts being indispensable. That’s where ESR’s accessories come in.
Most iPad cases make you choose between traveling light and having a proper stand. The Shift sidesteps that entirely with a two-piece magnetic system where the lightweight inner shell works as a standalone case for days when you are just carrying the iPad around, and the outer magnetic cover snaps on when you actually need to prop the thing up and get work done. The magnets are strong enough that the two pieces feel unified when together, but separating them takes about a second. For the 13-inch configuration the combined weight sits around 187 grams, which is not ultralight, but the payoff justifies it.
That payoff is nine stand configurations spread across landscape and portrait orientations. Six landscape viewing angles sweep from 30 to 75 degrees, covering everything from upright movie-watching to comfortable reading. Three shallower angles between 15 and 25 degrees are specifically tuned for Apple Pencil use, keeping the writing surface at a tilt that feels natural rather than flat. Apple Pencil charges magnetically straight through the case the whole time.
Wirecutter called it one of their two best iPad Pro cases of 2026, and it is easy to see why when you consider the sheer range of use cases it handles. It fits iPad Pro 11-inch and 13-inch M4 and M5, and iPad Air 11-inch and 13-inch M2 and M3. ESR covers it with a 12-month warranty that extends to 24 months with registration.
The modular approach is the winner here, and it is one that very few case makers have executed well at this price point. At around $46, you are getting two genuinely functional products in one: a slim everyday carry case and a multi-angle stand system that covers more configurations than most dedicated stand cases do on their own. The nine stand angles are not a gimmick, they cover real use cases… so if you own an iPad Pro or iPad Air and use it across multiple contexts in a single day, the Shift is one of the few cases that actually keeps up.
Click Here to Buy Now: $45.99.
Screen protectors have a reputation problem. Most of them are thin sheets of mediocre glass that technically count as protection until something actually hits them, at which point you find out exactly how mediocre they were. ESR’s Armorite glass is built from high-alumina tempered material that withstands 110 pounds of pressure, hits 9H on the hardness scale, and absorbs impacts at seven times the rate of standard tempered glass. That impact figure comes from ESR’s own lab tests involving a 64-gram steel ball dropped from 5.7 feet, which is a more meaningful benchmark in this context. At 0.33mm thick, it adds virtually nothing to the profile of the iPad.
The UltraFit Tray installation system deserves its own mention because applying a screen protector to a large iPad without bubbles or dust is genuinely difficult, and ESR has basically solved it. You place the iPad face-down into a green plastic alignment frame, close the lid, press down, and pull a tab. Automatic dust removal and electrostatic adsorption do the rest. The result is a consistently clean, bubble-free application that takes about thirty seconds and requires no skill whatsoever. The tray is reusable, which is handy since each pack includes two protectors and two cleaning kits.
The finish here is high-gloss and fully transparent, preserving the iPad’s display exactly as Apple intended it. Colors stay accurate, brightness stays unaffected, and the oleophobic coating keeps fingerprints from building up in a way that is genuinely hard to wipe off. The one honest drawback is that glossy glass in direct sunlight becomes a mirror, which is less a product flaw and more just physics. The protector also stops just short of the device edges, though ESR’s own case lips cover that gap neatly. Pricing runs from $17.99 to $23.99 across the iPad Pro, iPad Air, and iPad 10th through 12th generation lineup.
Seven times the impact absorption of standard tempered glass and a 110-pound pressure tolerance are numbers that matter on a device you are carrying daily and setting down on surfaces that are not always clean or soft. But the UltraFit Tray is equally significant, because a screen protector you apply badly is barely better than no screen protector at all, and ESR has made foolproof application genuinely accessible. For $17.99 for the iPad mini to $21.99 for the 11″ iPad Air going up to $28.99 for the 13″ iPad Pro, you are getting a level of protection and an installation experience that typically costs more when competing brands bother to offer it. The display stays completely unaffected. At this price, that combination is hard to beat.
Click Here to Buy Now: $18.69 $23.99 (22% off). Hurry, deal ends in 48-hours!
Anyone who has tried drawing seriously on a standard glass screen knows the feeling: the Pencil glides too fast, lines overshoot, and the whole experience feels slightly disconnected from what your hand is trying to do. The Paper-Feel Armorite fixes that with a matte surface texture that introduces just enough friction to slow the Pencil tip down and ground the drawing experience in something that actually feels tactile. Underneath that texture is the same high-alumina Armorite glass as the clear version, with the same 9H hardness, the same 110-pound pressure tolerance, and the same 5x impact absorption over generic competitors. The matte treatment sits on top of a material that is genuinely engineered to protect.
The texture does a second thing that has nothing to do with drawing. It scatters incoming light instead of bouncing it straight back at you, which cuts glare dramatically compared to the clear version and makes outdoor or bright-room use considerably more comfortable. The tradeoff is that the diffusion layer softens the display slightly, pulling a little brightness and color saturation out of the picture. For illustrators and note-takers working in mixed lighting conditions, that is a trade worth making without much hesitation. For photographers doing color-critical editing or people who watch a lot of HDR video, the clear Armorite is the better fit.
Installation uses the same UltraFit Tray system as the rest of the Armorite line, with the same dust-removal mechanism and the same reliably bubble-free results. The textured protector does come with a caveat – buy it only if you’re looking to emulate the feel of paper against your Apple Pencil. The clarity you get with the regular glossy UltraFit Armorite gets a slight downgrade thanks to the matte microtexture, but that barely noticeable downgrade pays its dividends in giving your stylus a pencil-on-paper-like effect.
Paper-feel protectors have historically meant a choice between good texture and good glass, with most budget options compromising heavily on the latter. The Armorite Paper-Feel closes that gap by putting a quality matte surface on top of the same high-alumina tempered glass that anchors the clear version. You get the drawing experience and the structural protection in the same product, which used to require spending significantly more. The glare reduction is a legitimate bonus on top of the tactile benefit, especially on the larger iPad Pro and Air models where screen real estate makes reflections particularly distracting. Starting at $20.99 for the small iPad mini and topping out at $30.99 for the 13-inch Pro configuration, it sits at a price that makes the clear-versus-paper decision easy to revisit if your needs change.
Click Here to Buy Now: $24.29 $26.99 (10% off). Hurry, deal ends in 48-hours!
The post The Best iPad Pro Accessories for 2026 Are Not What Apple Wants You to Buy first appeared on Yanko Design.
Music doesn’t weigh anything anymore. It hasn’t for a while. We went from shelves full of vinyl and towers of CDs to playlists that scroll infinitely and libraries that live nowhere in particular. Streaming gave us everything, all at once, all the time. But somewhere in the exchange, we lost the part of listening that involved our hands, our eyes, and our attention. Designer Vladimir Dubrovin seems to feel that loss deeply, and his concept project, the ENSA P1, is a beautifully strange attempt to get some of it back.
The ENSA P1 is a portable audio player built around a format Dubrovin calls C-NAND: small, disc-shaped solid-state cartridges, each one holding a single album. Think of it as a USB flash drive that decided it wanted to be a CD when it grew up. The cartridges have no moving parts, no spinning platters, nothing mechanical. They’re entirely digital in how they store sound. But they have shape, texture, and visual identity. You can hold one in your hand, flip it over, look at it, and place it into a device that makes the simple act of choosing music feel deliberate again.
Designer: Vladimir Dubrovin
The player itself is a compact, rectangular piece of hardware with rounded corners and what appears to be an aluminum body. A small window in the center reveals the disc cartridge sitting inside, which is a clever touch that borrows the visual language of older disc players without pretending to be one. On the left side sits a mini display that shows track information and visualizes the rhythm of whatever you’re listening to, turning the waveform into something you can actually watch move. There’s a circular element on top that looks like it could be a control dial, though the overall design is restrained enough that you’d be forgiven for thinking it’s a piece of minimalist sculpture rather than consumer electronics.
What I find compelling about this project isn’t really the hardware specs or the imagined format. It’s the question sitting underneath all of it. Dubrovin is essentially proposing an alternate timeline for digital audio, one where music didn’t just evaporate into the cloud but instead evolved into a new kind of physical object. It’s speculative design at its most interesting because it doesn’t reject technology or romanticize the past. It takes the best of digital storage and asks why we couldn’t wrap it in something worth touching.
I think about this more than I probably should. The way I listen to music now is fundamentally different from how I listened to it fifteen years ago, and not all of those changes have been improvements. Streaming removed friction, which is great when you want to hear a song right now, but friction was also part of the ritual. Pulling a record from its sleeve, placing the needle, reading the liner notes while the first track played. Even loading a CD had a certain ceremony to it. The ENSA P1 reimagines that ceremony for a digital context, and I appreciate that it does so without being preachy about it.
Of course, this is a concept. Dubrovin is a designer exploring ideas, not launching a Kickstarter. The C-NAND format doesn’t exist, and the likelihood of any physical music format gaining mainstream traction against Spotify and Apple Music is, let’s say, modest. But that’s not really the point. Concept work like this serves a different purpose. It expands the conversation about what technology could look like if we designed it around human experience rather than pure efficiency. It reminds us that convenience and meaning don’t always travel in the same direction.
The vinyl revival already proved that people are willing to pay more and accept less convenience in exchange for a richer, more physical relationship with music. The ENSA P1 takes that impulse and pushes it forward instead of backward. Rather than returning to a format from the 1950s, it imagines what a new physical format could be if we designed one today with modern materials and digital storage. That feels like a more honest response to what listeners actually seem to want.
Whether or not something like the ENSA P1 ever gets made, the conversation it starts is worth having. We’ve spent two decades optimizing music for access. Maybe it’s time to start optimizing it for experience again.
The post The ENSA P1 Concept Brings Album Art Back to Life first appeared on Yanko Design.
Tucked into the rolling hills of Glen Ellen in Sonoma County, a 14-acre estate carries the kind of stillness that most people spend a lifetime chasing. The land has its own private lake, wildlife moving freely at every hour, and a canopy of Northern California nature that presses in from every direction. At its center sits a house — modest in its ambitions but precise in its relationship to the ground beneath it.
That precision traces back to its original designer, J. Lamont Langworthy, an architect whose name sits just outside the mainstream conversation about California Modernism despite a body of work that more than earns a place in it. Langworthy spent a decade designing hillside homes in Laguna Beach, developing a philosophy rooted in site sensitivity and structural clarity. Architecture critic Alan Hess described his work as carrying a disciplined spatial intelligence — houses that didn’t impose themselves on their environments but instead grew out of them organically.
Designer: J.Lamont Langworthy
Langworthy himself is as layered as his architecture. A home winemaker, sculptor, painter, and self-published author, he eventually settled in Sonoma County, where he spent years managing a century-old building he had personally renovated. The Glen Ellen house represents an earlier chapter of his career — one that, by the time the current owners purchased the property in 2014, had quietly come to an end. The architecture still held its shape, but years of neglect had taken a toll on everything surrounding it.
The renovation was handed to Westward Atelier, whose approach mirrored the same instinct Langworthy brought to the original design — let the land lead. Principal Nikki spoke about the project with the reverence the setting demands, describing the property as something her clients recognized immediately as rare. The brief wasn’t to modernize or reimagine from scratch. It was to restore confidence to a house that had lost it, while preserving the spatial logic that made it worth saving in the first place.
Inside, the most significant transformation occurred in the kitchen. What had been a closed, compartmentalized room was opened to the main living area, with a natural stone island becoming the new visual and social anchor of the space. Concrete countertops and timber cabinetry were paired with bronze hardware and brass fixtures, pulling warmth into what could have easily read as cold. A collection of Southwestern pottery arranged on open shelving added personality without noise, while white oak floors carried the palette quietly through the rest of the home.
The primary suite presented its own challenge. Rather than reconfigure the existing bedroom, the team added a new north-facing suite designed entirely around calm and privacy. The original master was then converted into a communal gathering space oriented toward the sweeping outdoor views — a decision that rebalanced the whole home around generosity rather than hierarchy. Creamy white walls, marble surfaces, and expansive glass throughout keep the interior quiet enough that the lake, the trees, and the wildlife beyond the windows remain, always, the main event.
The post A Forgotten Modernist’s Sonoma Masterpiece Finally Gets the Restoration It Deserved first appeared on Yanko Design.
China loses farmland to urbanization at a pace that makes most planners nervous, and the usual architectural response is to pour a slab and move on. Wei Dou took a different position with the Verdant Syndicate, a mixed-use complex in Henan designed around the premise that the agricultural identity of a site deserves to survive its redevelopment. The project occupies 4,269 square meters of former farmland and organizes itself as two offset stepped volumes flanking a shared courtyard, wrapped in warm timber cladding and draped in cascading vertical vegetation from ground level to roofline.
What makes the building function as a living system is a tenant-operated planting board system, where modular growing panels connect directly to embedded water and nutrition lines. People who work and gather inside the building are also tending it, turning every terrace and balcony into a productive growing surface. A gravity-powered rainwater collection system handles irrigation without mechanical pumping, closing the resource loop on a plot that once fed the surrounding community through entirely different means.
Designer: Wei Dou
Splitting the program across two volumes instead of one monolithic block gives the courtyard between them genuine solar access, which matters enormously when your facade is a vertical farm. The stepped terrace profile on the taller volume echoes terraced agricultural landscapes without being literal about it, and the offset placement of the two blocks creates a ground-level commons that functions as the social spine of the whole complex. At 60 by 71 meters, the site is compact enough that every planning decision carries weight, and Dou clearly understood that.
Tenants can install, reconfigure, or remove individual planting panels, each one tapping into water and nutrient lines built directly into the structure. The building’s productive surface is never fixed, it adapts to whoever is using it and what they want to grow, season by season. Most biophilic buildings treat greenery as a fixed aesthetic layer applied during construction and maintained by a facilities team. Here the maintenance is distributed, social, and intentional, which is a fundamentally different model and one that actually has a chance of working long term.
The facade runs slim vertical members in a warm timber tone, with terraces wide enough to support real planting depth rather than cosmetic window boxes. Solar panels sit integrated into a mid-level roof deck canopy under a mature tree, handling shade and energy harvesting simultaneously without dedicating separate real estate to either function. The ground floor activates with retail, and the renders show it occupied and commercially legible, not the ghostly pedestrian utopia that kills most concept presentations.
Henan is a province with deep agricultural history and rapid urbanization pressure, which makes it exactly the right place to ask whether a building can carry both realities at once. The Verdant Syndicate backs that argument with a gravity-fed water loop, a modular tenant farming system, GIS and CAD-optimized solar orientation, and a courtyard massing strategy that keeps the whole thing from tipping into greenwash territory. Whether the planting board system performs in practice the way it does in simulation is the real open question. The framework is sound, and the building looks extraordinary doing it.
The post This Self-Sustaining Building in China Grows Food on Every Floor, And It Was Built On A Farmland Plot first appeared on Yanko Design.
As part of a Year in Review blog detailing changes Valve made to Steam in 2025, the company shared a minor update on its hardware plans that doesn't sound good for anyone hoping to buy a Steam Machine, Steam Controller or Steam Frame in 2026. Specifically, the company is now opening up the possibility its new hardware won't ship this year at all.
In February, when Valve acknowledged the ongoing memory and storage shortage had delayed the launch of its hardware and could lead to higher prices, the company was still committing to a (fairly wide) window of when its hardware would ship:
"Our goal of shipping all three products in the first half of the year has not changed. But we have work to do to land on concrete pricing and launch dates that we can confidently announce, being mindful of how quickly the circumstances around both of those things can change."
As of the company's latest post, however, things somehow sound even less certain. "We hope to ship in 2026, but as we shared recently, memory and storage shortages have created challenges for us," Valve wrote in its Year in Review post. "We’ll share updates publicly when we finalize our plans!"
While Valve's air of secrecy can make it easy to read too much into the limited information the company does share, moving from "the first half of the year" to "[hoping] to ship in 2026" certainly gives it wiggle room to not release new hardware this year. And considering the difficulties other companies are facing sourcing memory and storage, it wouldn't be all that surprising.
HP said in February that RAM accounts for a third of its PC costs, and industry analysts expect the RAM shortage could radically alter the PC landscape as companies are forced to raise prices. Valve's already struggling to keep the Steam Deck in stock due to its issues securing RAM, it stands to reason sourcing components for even more devices wouldn't make that process any easier. Then again, the company hasn’t updated its launch timing FAQ, so there’s still reason to hope the Steam Machine ships in 2026.
This article originally appeared on Engadget at https://www.engadget.com/gaming/pc/valve-doesnt-sound-confident-the-steam-machine-will-ship-in-2026-221709517.html?src=rss
Most nightlights exist to disappear. They’re meant to be small, soft, forgettable little things that plug into walls and glow just enough to keep you from stubbing your toe at 3 a.m. They’re not supposed to have personality. They’re definitely not supposed to stare back at you.
YAWN, a sculptural concrete nightlight by designer Roger Reutimann, does both. It glows. It stares. And somehow, despite being a solid block of cast concrete with two resin eyes, it manages to feel more alive than most of the smart gadgets cluttering our nightstands.
Designer: Roger Reutimann
The lamp draws its design language from the Bauhaus movement, that brief but enormously influential period in early 20th-century Germany that insisted form, function, and craft could coexist without ornament getting in the way. YAWN takes that ethos seriously. Its geometry is sharp and stepped, with a cantilevered vertical element rising from a blocky base like a small architectural monument. The proportions are deliberate, the angles clean, the surface left raw and mineral. It looks less like something you’d find at a lighting store and more like a fragment of a brutalist building that wandered onto your bedside table.
But then you notice the face. Two recessed lenses, made from diffused resin, sit beneath a pronounced overhang that reads unmistakably as a brow. The effect is a sleepy, slightly slouched expression, like the lamp itself has had a long day and would really rather not be awake right now. The humor is subtle and dry. It never tips into cuteness or kitsch. It’s more like a quiet joke between the object and whoever happens to glance at it in the dark.
I think that tension is what makes YAWN so compelling. Bauhaus-inspired design can sometimes feel austere to the point of being cold, all discipline and no pulse. And character-driven objects, the ones with faces and feelings, can easily become gimmicky. Reutimann manages to hold both impulses together without either one undermining the other. The lamp is rigorous and warm at the same time.
That balance probably comes from his background. Reutimann was originally trained as a sculptor and approaches lighting as a spatial and tactile study rather than a decorative accessory. You can feel that in how YAWN carries itself. It has weight and mass and a genuine sense of presence that most domestic lighting simply doesn’t aspire to. This isn’t an object that recedes into a room. It anchors a corner of it.
The production process reinforces that sensibility. Each piece is hand-cast in concrete, requiring precise mold fabrication, controlled aggregate selection, and vibration techniques to eliminate air pockets. The crisp edges and consistent surface finish come from repeated casting trials, and every unit is cured, sanded, and sealed by hand in the studio. The LEDs housed inside the resin eyes are dimmable and smart-home compatible, which is a nice practical touch for something that otherwise feels deliberately analog. Integrating electronics within a solid mineral body is no small feat, requiring concealed internal channels and careful thermal management.
YAWN is produced in a limited edition of 100 pieces, which feels right for something made this way. It sits comfortably at the intersection of industrial object and character study, a piece that takes modernist principles and reminds you that they were always supposed to serve people, not the other way around.
What I appreciate most is the restraint. It would have been easy to push the anthropomorphic quality further, to give the lamp a mouth, or make the eyes bigger, or lean into the cartoon of it all. Reutimann didn’t. The face emerges from proportion and placement alone, not from applied detail. That’s a sculptor’s instinct, knowing exactly how much to suggest before the material starts doing the storytelling for you.
In a market saturated with lighting that’s either purely functional or purely decorative, YAWN occupies a rare middle ground. It’s a lamp that does its job quietly, looks striking on a shelf, and manages to make you smile when you catch its eye at 2 a.m. Not bad for a block of concrete.
The post YAWN Just Made the Only Nightlight With a Personality Crisis first appeared on Yanko Design.
Netflix's library of streamable party games is expanding today with a custom version of Overcooked! All You Can Eat. Netflix launched its cloud gaming program with games like Lego Party and Tetris Time Warp, but Overcooked feels a bit unique because it features a roster of Netflix-affiliated characters from KPop Demon Hunters and Stranger Things.
For the uninitiated, Overcooked plays like a more manic version of Diner Dash, where teams attempt to prepare food together in increasingly elaborate kitchens filled with obstacles. The original version of Overcooked! All You Can Eat was released in 2020, and includes DLC and stages from previous versions of the game. Netflix's version bundles in the same content, and "10 Netflix celebrity chefs" including "Dustin, Eleven, Lucas, and the Demogorgon from Stranger Things," and "half-dozen faces from KPop Demon Hunters," like "Mira, Rumi, Zoey, Jinu, Derpy and Sussie." Like Netflix's other streaming games, playing Overcooked also requires you to use a connected smartphone as a controller.
Offering a growing library of streaming games is part of Netflix's new strategy under Alan Tascan, a former executive from Epic Games. Tascan took over as Netflix's President of Games in 2024, and appeared to start revamping the company's plans not long after, cancelling the release of several mobile games and reportedly shutting down its AAA game studio. Netflix is also continuing to adapt video games into content for its platform. For example, A24 is reportedly developing a game show based on Overcooked for the streaming service.
This article originally appeared on Engadget at https://www.engadget.com/gaming/netflixs-version-of-overcooked-lets-you-play-as-huntrx-212515187.html?src=rss