Author Archives: Sarang Sheth

LEGO Shrek’s Swamp Build Captures What the Official Set Missed Entirely

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Layers. Ogres have them, onions have them, and now this remarkable LEGO Shrek build has approximately 1,300 of them stacked into one of the most charming character tributes currently seeking support on LEGO Ideas. While collectors can already buy Shrek minifigures, this project offers something entirely different: a fully brick-built display model that brings sculptural ambition to Far Far Away’s most famous resident.

Creator Memorph has transformed roughly 1,300 LEGO pieces into a display model that perfectly balances character accuracy with structural ingenuity. Donkey finds himself in a friendly headlock while the Gingerbread Man perches on Shrek’s shoulder, both built at smaller scales to create a dynamic composition. The swamp base completes the scene with textured vegetation and the iconic “BEWARE OGRE” warning sign, making this a love letter to DreamWorks’ beloved franchise that goes far beyond what traditional minifigure sets can achieve.

Designer: Memorph

Shrek hit theaters in 2001 and immediately became the anti-Disney fairy tale everyone didn’t know they needed. DreamWorks took every princess trope, dunked it in swamp water, and gave us an ogre who just wanted to be left alone with his layers of emotional complexity. The film spawned three sequels, became a meme goldmine decades later, and somehow made Rufus Wainwright’s cover of “Hallelujah” the definitive version for an entire generation who’ll fight you about Leonard Cohen’s original.

Twenty-plus years later, people still quote the movie constantly, still reference the swamp aesthetic, and still have strong opinions about which sequel actually holds up. Memorph nailed this perfectly, with a build that accurately captures Shrek’s personality through curved slope pieces that form his rounded belly, strategic color blocking that transitions seamlessly from green torso to tan skin, and that trademark smirk with eyebrows raised in perpetual annoyance. His stubby fingers articulate, the arms have decent range of motion, and the vest sits with a slight rumple that makes him look lived-in rather than rigidly geometric.

Donkey stands at roughly a third of Shrek’s height, and the scale difference creates visual hierarchy that keeps your eye moving around the whole composition. Those big eyes and articulated legs pack surprising detail into a much smaller footprint. You can immediately tell it’s the motor-mouthed sidekick even without color cues. The Gingerbread Man perched up on Shrek’s shoulder is actually a modified minifigure, fitting the scene’s scale perfectly. The swamp base uses textured green plates and brown borders to ground everything, plus that warning sign with the printed “BEWARE OGRE” text. Yeah, it’s a sticker or print, but building those letters from bricks would have looked like garbage.

LEGO already makes a Shrek set with standard minifigures, the kind kids bash together during playtime. This exists in an entirely different category. You wouldn’t compare buying an action figure to commissioning a sculpture, right? Brick-built character models target adult collectors who want both the building experience and something shelf-worthy when they’re done. The brick-built Mickey Mouse sold well, BrickHeadz became an entire product line, and there’s clearly appetite for display pieces that require actual building skill. At 1,300 pieces, this hits that zone where the construction feels substantial without demanding you clear an entire weekend. You could knock this out over a few evenings and actually enjoy the process instead of grinding through repetitive sections.

Memorph submitted this through LEGO Ideas, which operates as crowdsourced product development. Projects need 10,000 supporters within a set timeframe to trigger an official review by LEGO’s team. Right now this Shrek build has 187 supporters with 425 days left on the clock. Hitting 10K doesn’t guarantee production since LEGO still evaluates manufacturing viability, licensing agreements with DreamWorks, and whether it fits their current lineup. Plenty of projects reach the threshold and still get rejected. But it’s literally the only mechanism for turning a fan concept into something you can buy at a store.

You want this on your shelf? Go to the LEGO Ideas page and click support. Takes thirty seconds if you have an account, maybe two minutes to create one if you don’t. The platform costs nothing, you’re just registering interest in the concept. We could use more brick-built character models that actually capture personality instead of looking like someone’s first attempt at geometric abstraction. Shrek proves organic curves and expressive faces work when the builder genuinely understands how LEGO pieces interact. Plus, any excuse to get Donkey in a headlock is worth supporting.

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Infinix Note 60 Pro looks like an iPhone 17 Pro with Nothing’s Glyph Matrix on the back

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Infinix looked at the iPhone 17 Pro, looked at the Nothing Phone (3), and decided both phones had one good idea worth combining. The Note 60 Pro’s camera plateau is lifted directly from Apple’s design playbook: that horizontal pill shape spanning the phone’s width, housing three vertical lenses on the left side, available in a Solar Orange finish that’s Apple down to the shade. The right side of that plateau, though, gets filled with a dot-matrix display borrowed from Nothing’s Glyph experiments, showing weather, time, notifications, and music controls in small illuminated dots.

This collision of reference points could have produced incoherent design, but Infinix committed hard enough to make it work. The plateau provides a unified canvas rather than trying to bolt disparate elements together, and the matrix display gets proper size instead of being minimized into uselessness. You can actually read the information displayed without straining, which already puts it ahead of the Phone (3)’s too-small implementation. The question isn’t whether Infinix executed the feature better, but whether the feature itself is anything more than a solution looking for a problem.

Designer: Infinix

Let’s be direct: this is a derivative design. It’s a collage of other companies’ proven successes, banking on the idea that combining two popular aesthetics will create a third. While the integration is clean, it reveals a lack of a core design identity from Infinix itself. This is the strategy of a market follower, not a leader. The approach is to create something that feels familiar enough to be desirable but different enough to be noticeable. It’s a tactic for grabbing attention in a crowded mid-range space, but it does little to build a unique, recognizable brand language for the long term.

Of course, the spec sheet is designed to impress, and on paper, it does. Switching to a Qualcomm Snapdragon 7s Gen 4 is a solid move for performance credibility. That chip drives a large 6.78-inch display with a 1.5K resolution and a 144Hz refresh rate, numbers that are undeniably competitive. A 6,500mAh battery with 90W charging is equally impressive. The risk with spec-heavy mid-rangers is that the software experience often fails to optimize the hardware. The real test will be in the day-to-day performance, software support, and whether the user interface is clean or laden with bloatware.

As of now, Infinix has not released official pricing or a specific launch date, which keeps the final verdict in limbo. The company’s typical strategy involves aggressive pricing in markets across Africa, Southeast Asia, and India, so we can expect it to land in a competitive sub-$400 bracket to undercut established players. Its success will ultimately hinge on that price tag (as well as how functional that ‘glyph matrix’ is). If it’s priced too close to the devices it’s mimicking, the derivative design becomes a liability. If it’s cheap enough, this combination of high-end specs and borrowed aesthetics could be a disruptive formula in its target regions.

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Did Ferrari And Jony Ive Just Build The ‘Apple Car’?

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Five years after Jony Ive left Apple, and two years after Apple killed Project Titan, we finally know what the Apple Car’s interior *could* have looked like. It just happens to have a prancing horse on the steering wheel instead of a bitten apple.

The Ferrari Luce, revealed last week in San Francisco, is a transplant of Apple’s design language into automotive form. Everything about this interior, from the E-ink key fob to the OLED dials to the obsessive material purity, carries the unmistakable signature of Apple’s design peak from 2015 to 2019, when Ive still occupied his Cupertino office and the car project remained alive.

The Apple DNA is Everywhere

Walk through the components and the Apple DNA becomes impossible to ignore. The key fob magnetically docks into the center console and changes color via E-ink display. This is MagSafe technology meets Apple Watch complications, translated into a car key. The center screen features an analog clock that transforms into a chronograph and compass with the press of two buttons. Pull up any image of Apple Watch faces and the interaction model is identical.

The toggle switches and knobs scattered throughout the cabin represent the physical interface philosophy Ive has been refining since the original iMac. The Digital Crown on the Apple Watch, the mute switch on the iPhone, the volume controls on the HomePod. These are the same careful considerations about how humans interact with objects through touch and rotation. The OLED binnacle behind the steering wheel uses a parallax effect to create depth perception, the same technology that made the iPhone X’s face recognition possible, now applied to gauge clusters.

Then there’s the material palette: recycled aluminum with a microscopic anodized texture, Corning glass surfaces, leather in muted tan. This is the 2017 iPhone X material story. This is the unibody MacBook recipe. This is every premium Apple product from the past decade, reassembled into automotive architecture.

Wait, Is This the Same Jony Ive?

Consider what Ive said at the reveal: “It’s bizarre and lazy to assume the interface should be digital if the power source is electric.”

This is the man who killed the headphone jack. Who removed every port from the MacBook. Who spent twenty years eliminating physical buttons, physical connections, physical everything. And now he’s arguing that physical controls matter? That tactility is essential? That you can’t just solve everything with a touchscreen?

Maybe the context really does change everything. A phone lives in your pocket. You can look at it. A car moves at 200 kilometers per hour. Looking away kills people. Or maybe Ive has simply evolved. Perhaps LoveFrom represents a different philosophy than Apple did, one less concerned with relentless minimalism and more interested in appropriate solutions. Or perhaps this is who Ive always was, and Apple’s commercial pressures pushed him toward deletion when his instincts wanted refinement.

The Luce interior suggests that physical interfaces weren’t the enemy. Bad physical interfaces were. Give Ive the freedom to perfect a toggle switch, to make a dial that clicks with precision, to create a button that feels inevitable, and he’ll choose physical every time. The question is whether we’re seeing growth or contradiction.

The Timeline is ‘Interesting’

Apple started Project Titan in 2014. By 2016, Ive had become increasingly involved as the project shifted from full autonomy toward driver-focused experiences. He left Apple in 2019 but reportedly continued consulting on the car. In 2024, Apple abandoned the project entirely. During those years, Bloomberg reported that the Apple Car was supposed to feature premium materials, minimalist interiors, physical controls prioritized over touchscreens, and a “living room on wheels” concept.

Here’s what actually happened: Ive leaves Apple in 2019 and forms LoveFrom. Two years later, in 2021, Ferrari announces the partnership. That means conversations started immediately after his departure, possibly before. Ive spent a decade developing car interior concepts at a company with unlimited resources. Then he got to actually build one at a different company with unlimited resources and, crucially, manufacturing capability that Apple never developed.

My guess is Ferrari didn’t hire LoveFrom for an overhaul. They hired them for battle-tested thinking that never shipped.

Why Ferrari Said Yes

From Ferrari’s perspective, the logic is clear. They’ve never built an electric vehicle. Their customer base is deeply skeptical of electrification. They need to signal that the Luce represents something genuinely different, something beyond an electrified 296 GTB. So they hire the two most famous industrial designers on Earth, who happen to have spent years thinking about this exact problem at a different technology giant.

It’s outsourcing credibility as much as design. When people inevitably say “that doesn’t look like a Ferrari,” Ferrari can point to LoveFrom and say “well, exactly.” They’ve purchased permission to break from tradition by hiring people with no Ferrari tradition to break from. The prancing horse gives LoveFrom legitimacy in automotive circles. LoveFrom gives Ferrari legitimacy in technology circles. It’s a perfect exchange.

But the question remains: did Ferrari want Ive’s vision, or did they want Ive’s brand? Because what they received feels unmistakably like Apple-thinking while wearing a Ferrari cap.

The May Reveal Will Answer Everything

The real test arrives in May when Ferrari reveals the exterior. Right now we’ve only seen the interior, which is LoveFrom’s natural domain: screens, materials, ergonomics, spatial relationships. The exterior is different. It has to work in a Maranello showroom next to a 12Cilindri and an SF90. It has to look fast while standing still. It has to carry seventy-nine years of design language forward into an electric future.

Can Ive do that? Has he ever designed anything with that kind of visual aggression? His career has been defined by approachability, by objects that invite touch, by forms that recede rather than announce themselves. Ferraris don’t recede. They dominate spaces. They demand attention. If the exterior looks like an Apple product in May, then this really could be what the Apple Car might have become. If it looks genuinely Ferrari, then maybe LoveFrom understands they serve the brand rather than the reverse.

What This Tells Us About the Car That Never Was

The Luce interior reveals something bittersweet about the Apple Car that never was. This is the closest we’ll get to seeing what that vision might have looked like. But it also proves why Apple was probably right to kill the project. It took Ferrari, a company with seventy-nine years of automotive manufacturing experience, five years and presumably nine figures to turn Ive’s concepts into reality. And they still don’t know if customers will accept it. Imagine Apple attempting this from scratch, competing with Tesla on price, managing recalls and service networks and dealer relationships.

The Luce interior is stunning. It’s also a monument to why the Apple Car would have most likely been an operational nightmare, given that Apple isn’t an automotive company.

The irony is perfect: Jony Ive finally got to build his car. He just needed Ferrari to do the hard part.

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Samsung’s Book-Shaped Air Purifier Concept Gives You A Personal Tabletop Filtered Air Supply

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It doesn’t give me any pleasure whatsoever to admit I come from India, a country where an AQI of 150 is considered ‘a normal day’. People living in the capital city of Delhi are accustomed to AQI hitting highs of 400 on bad days, where a single breath of air is equivalent to smoking a cigarette. It’s a terrible condition to live through, and almost everyone owns an air purifier that gets strategically placed in either the bedroom or the living room, in the hopes that this one tiny device will be able to do something… just something to clean the air around it.

While that approach is commendable, the portable air purifier segment is still something to be explored. Imagine a tiny air purifier, small as a book, designed to be carried around from room to room with you, so that you’re always breathing clean(ish) air wherever you sit. This concept from Samsung takes on the literal shape of a hardcover book, and can be carried around with you from one room to another. The all-metal design feels premium to the touch, and opens up in ways that allow you to prop the purifier either vertically or horizontally for optimal airflow targeting.

Designer: intenxiv inc.

The book-shaped design gives the purifier a level of portability that your otherwise-clunky room air purifier just can’t attain. Place it on a tabletop, either horizontally or vertically, with the ability to angle it thanks to an adjustable kickstand. Air gets pulled from the top and pushed through the front, passing through a HEPA filter that traps a variety of particulate matter to give you dust-free air. This is the standard template of almost every purifier out there, but what Samsung’s concept does is make things hyper-portable.

The all-metal design feels premium, with the overall minimalist appearance bordering on something you’d see from Bang & Olufsen’s speakers. This one, however, bears Samsung’s name on the top, along with Mini Air (the product name) on the ‘spine’. Controls on the side let you increase or decrease the fan speed, while a USB-C port lets you charge the purifier.

A slot on the side lets you pop the HEPA filter out for replacement or cleaning. The details aren’t clear given that this is just a concept created by intenxiv inc. under some form of an internship or apprenticeship at Samsung Electronics in 2019. A ‘bookmark’ on the front lip acts as a notification light to let you know battery status, and whether the purifier’s switched on or not. One can only assume the fans are so quiet that you’d need such a light to let you know the purifier is running.

The purifier comes in two colorways. A lighter metallic variant and a slightly darker ‘space grey’ version. Both are identical in shape and size, barring the slight color change as well as the ‘bookmark’ on the side that’s either orange or teal, depending on the variant you pick.

The design is just a concept for now, but the template absolutely shouldn’t be. Portable air purifiers are a pretty unexplored category (at least by larger companies). Dyson did release a set of air purifying headphones ages ago, but the product never managed to hit mass appeal. A smaller air purifier like this one would fit well in most smaller apartments, whether they’re dorms/hostels, office cubicles, or tiny homes in the city.

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LEGO Just Released a $120 Sea Otter Set That Connects So They Can Hold Paws

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Sea otters hold hands when they sleep. It’s one of those facts that makes you stop scrolling and smile, the kind of detail that feels almost too charming to be true. But it is true, and now it’s immortalized in LEGO form.

The Floating Sea Otters set (21366) started as a fan submission by Maximilian Lambrecht and evolved into something even more endearing than the original design. What began as a single otter floating in kelp became a mother cradling her pup, complete with articulated arms and a secret feature that lets two sets connect so the otters can hold hands. The LEGO designers didn’t just approve the concept. They found ways to make it cuter.

Designers: LEGO & Maximilian Lambrecht

LEGO Ideas has always been the platform’s most interesting experiment in crowdsourced design, and this set demonstrates why the model works when it actually works. Lambrecht submitted his original concept in April 2024 after spending two months researching sea otter ecology and visiting the Berlin Zoo to nail the anatomical details. His submission hit 10,000 supporters, clearing the first hurdle, and then LEGO Designer Chris McVeigh got his hands on it. The transformation between fan concept and retail product tells you everything about how professional iteration elevates good ideas into genuinely compelling builds.

Lambrecht’s original design featured a single otter with movable paws, head, and mouth. Solid foundation, but McVeigh saw room to amplify the emotional hook. Adding the pup required rethinking the entire structural approach. The mother needed to be fully reclined rather than partially upright, which meant her arms had to articulate underwater to cradle the baby. That change cascaded into making the base thicker to accommodate the elbow joints, then extending the water elements over the edge of the base to maintain visual balance. Each decision triggered the next, the kind of iterative refinement that separates amateur builds from retail products.

Clear blue tiles layered over teal plates create the water surface, and the effect punches well above its complexity. You get depth and shimmer without overcomplicating the build or inflating the piece count. LEGO hasn’t released official specs yet, but based on the photos this looks like a 400 to 500 piece range, putting it in that sweet spot for display sets: complex enough to be satisfying, simple enough to finish in an evening. The technique isn’t revolutionary, but the execution nails the balance between realism and LEGO’s inherent abstraction. Sometimes the best design choices are the ones that don’t call attention to themselves.

Two sets can connect so the otters hold hands while floating. Real sea otters do this to avoid drifting apart while sleeping, and McVeigh could have easily skipped this feature in favor of simpler construction. But keeping that behavioral detail intact means the set works as both a display piece and an actual reflection of sea otter ecology. Lambrecht wanted the educational angle from the start. “The sea otter plays a key factor in maintaining and nurturing kelp forests as well as affecting rocky ecosystems,” he explained during development. “It was important to me to implement those aspects into my build as well.” McVeigh honored that intent instead of stripping it away for mass market appeal, which is rarer than you’d think in licensed product development.

Curved brown plates stack to suggest the otter’s rounded body, white shell pieces become claws, and the head construction uses enough articulation to give each build a slightly different personality. Lambrecht mentioned that “getting the head right was definitely a tough shell to crack,” which makes sense when you’re trying to capture organic shapes with rectangular bricks. The retail version keeps that challenge visible in a good way. You can see the construction technique, understand how it works, and still read it as unmistakably otter. Lambrecht’s kayaking encounter with a river otter stuck with him. “For me, this experience was truly magical. It’s a memory I wanted to cherish, brick by brick.” That kind of personal connection to source material shows up in the final product, which is probably why McVeigh’s team worked to preserve it rather than homogenize it.

The set is up for pre-order now at $119.99 and ships March 1, 2026. That’s steeper than I expected for the piece count, but Ideas sets have been creeping up in price across the board lately. You’re paying partly for the articulation engineering, partly for the fan designer royalty structure, and partly because LEGO knows people will pay premium for cute animal builds. If you want the hand-holding feature to actually work, you’re looking at nearly $240 for two sets, which is a tough sell unless you’re really committed to the bit. Still, for a single display piece with actual ecological messaging baked in, it’s competitive with other recent Ideas releases. Pre-orders tend to sell through fast on these, so if you’re interested, don’t sleep on it.

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Forget CarPlay: Sherpa’s AR Glasses Decode Road Signs and Dashboard Icons For Nervous New Drivers

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The AR glasses market keeps promising us augmented productivity and enhanced experiences, then delivering expensive ways to check notifications without pulling out your phone. Sherpa takes a different approach by targeting a specific moment of genuine incompetence: those first few months behind the wheel when every intersection feels like a pop quiz you didn’t study for. The concept uses heads-up displays to overlay directional cues and translate dashboard indicators, theoretically keeping your eyes on the road instead of darting between the windshield and that mysterious warning light.

What makes this Hongik University project interesting isn’t the hardware, which looks like standard-issue smart glasses in white plastic. It’s the learning system built around it. After each drive, the companion app analyzes your performance and identifies patterns in your mistakes. Miss the same type of turn signal three times? The AI notices. Struggle with a particular intersection? It breaks down what went wrong. Most new drivers get feedback in the form of angry horns and passenger-seat panic. This proposes something more useful, assuming you’re willing to let an algorithm critique your lane changes.

Designers: Yeongjun Yun, Jaeyun Lee

The hardware itself follows the current playbook for consumer AR: rounded frames thick enough to house display optics, visible sensor cutouts on the nose bridge (likely cameras for environmental and eye tracking), and an adjustable temple mechanism that looks borrowed from premium eyewear design. They’ve skipped the usual temptation to make it look aggressively futuristic, which matters when your target audience already feels self-conscious about their driving abilities. The cylindrical charging case suggests they’re thinking about daily use patterns rather than occasional deployment, treating this like essential equipment you grab before every drive during those first nervous months.

Where this gets genuinely clever is the integration with what they’re calling SDV, or software-defined vehicles. Modern cars already collect absurd amounts of data through their sensor arrays. Sherpa appears designed to tap into that information stream and translate it into actionable guidance. The system knows when you’ve entered a complex intersection, can read your hesitation through eye tracking, and overlay exactly what you’re supposed to watch for at that moment. Then it remembers that you struggle with this specific scenario and adjusts future guidance accordingly.

Unlike entertainment-focused AR wearables, this actually solves a real use case, which puts it ahead of most AR glasses the industry is trying to push down our throats. Driving schools teach you mechanics but abandon you at the precise moment when contextual learning would help most. If Sherpa can fill that gap between instruction and competence, it might be the first consumer AR application that people actually need rather than tolerate. Whether novice drivers will adopt glasses that broadcast their inexperience is a different question entirely, but at minimum someone’s finally asking AR to do actual work.

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6 Reasons Why Apple Needs to Build a Clamshell iPhone Flip (And 1 Reason It Shouldn’t)

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Remember when phones got smaller? The iPhone 13 Mini had a cult following, but Apple killed it because most people wanted bigger screens. Here’s the plot twist: a clamshell foldable iPhone could bring back that beloved compact size without sacrificing screen real estate. You get a full-size display when you need it, and a pocketable square when you don’t. It’s the best of both worlds, and Apple knows it.

Mark Gurman’s latest report suggests Apple is seriously exploring this form factor. It wouldn’t be their first foldable (a larger model is rumored for later this year), but it might be their smartest. A clamshell iPhone makes sense for reasons that go way beyond nostalgia. It’s cheaper to build than a book-style fold, it doesn’t compete with the iPad Mini, and it opens up a market where Samsung is basically the only serious player. There are six solid reasons why Apple should do this, and one big reason why it might not work. Let’s dig in.

The iPhone Mini lives on (just folded in half)

Apple discontinued the iPhone 13 Mini because the sales numbers didn’t justify keeping it around. Turns out most people prefer bigger screens, even if it means carrying a brick in their pocket. But the Mini’s fans were passionate, and they’ve been vocal about wanting a truly compact iPhone ever since. A clamshell solves this problem in the most elegant way possible.

When folded, it’s roughly the size of the Mini, maybe even smaller depending on how thick the hinge is. When unfolded, you get a full 6.1-inch or 6.7-inch display, same as the regular iPhone or Pro Max. The people who loved the Mini weren’t asking for a smaller screen, they were asking for a phone that didn’t dominate their pocket or require two hands for basic tasks. A clamshell gives them that portability without forcing them to squint at a 5.4-inch display.

This isn’t just about bringing back a discontinued product. It’s about proving that compact phones can exist in 2026 without compromising on screen size. The form factor itself becomes the feature.

It doesn’t murder the iPad Mini

Here’s the uncomfortable truth about book-style foldables: they’re iPad killers. If Apple released an iPhone that unfolds into an 8-inch display, who’s buying an iPad Mini? The overlap would be brutal. You’d have a device that fits in your pocket, runs iOS, makes calls, and gives you a tablet-sized screen when you need it. The iPad Mini’s entire value proposition collapses.

A clamshell doesn’t have this problem. Even at its largest, a clamshell iPhone would max out at maybe 6.9 inches unfolded. That’s still firmly in phone territory, not tablet territory. The iPad Mini’s 8.3-inch display remains the smallest “real” iPad you can buy, and it stays relevant for people who want that in-between size for reading, note-taking, or media consumption.

Apple’s product lineup is carefully segmented, and a clamshell iPhone slots in without disrupting the hierarchy. It’s a phone that folds smaller, not a tablet that folds into a phone. That distinction matters when you’re trying to sell both devices to the same customer.

Samsung owns this space, but they’re beatable

The Galaxy Z Flip has been around since 2020, and Samsung’s refined it through multiple generations. They’re the dominant player in the clamshell category, but “dominant” doesn’t mean “unbeatable.” Motorola’s putting up a fight with the Razr, but Google hasn’t touched this form factor yet. No Pixel Flip. No Nothing Flip. No OnePlus Flip. It’s basically Samsung’s game, and that’s an opportunity for Apple.

Apple doesn’t need to be first. They need to be better. And in a market where there’s only one major competitor, “better” is achievable. Samsung’s Z Flip 6 is solid, but it’s not perfect. The cover screen still feels like an afterthought, the crease is visible, and the software experience is classic Samsung (which is to say, inconsistent). If Apple can deliver a smoother hinge, a more useful outer display, and that signature iOS polish, they could own this category within a generation.

The fact that Google isn’t competing here is huge. The Pixel is Apple’s biggest threat in terms of owning both hardware and software (plus Gemini is vastly more superior than any AI Apple’s managed to roll out), and if there’s no Pixel Flip to compete with an iPhone Flip, Apple has a clear shot at Android users who want this form factor but don’t want Samsung’s ecosystem.

Smaller hinge, lower risk

Building a book-style foldable is expensive and complicated. You’re engineering a hinge that supports a massive, fragile display. You’re solving durability issues that Samsung and others have been wrestling with for years. You’re creating an entirely new product category that might flop. The R&D costs are enormous, and if it doesn’t sell, you’ve burned a ton of money.

A clamshell is cheaper to prototype, cheaper to manufacture, and cheaper to fail with. The display is smaller, the hinge mechanism is simpler, and the overall engineering challenge is less daunting. If Apple wants to dip their toes into foldables without betting the farm, a clamshell is the way to do it.

This also means Apple can price it more competitively. A book-style iPhone Fold would probably start at $1,799 or higher. A clamshell could reasonably launch at $1,199, maybe $1,299. That’s still premium, but it’s within reach of people who’d normally buy a Pro model. The lower price point expands the potential customer base, and if it sells well, Apple can use that momentum to justify a larger foldable later.

Hands-free everything

The half-folded “laptop mode” is one of the best features of clamshell foldables, and it’s criminally underrated. You can prop the phone up on a table, angle the screen however you want, and suddenly you’ve got a hands-free setup for FaceTime, vlogging, watching videos, or taking photos. No tripod required. No awkward propping it against a water bottle. It just works.

Apple’s been positioning the iPhone as a serious content creation tool for years. ProRes video, Cinematic Mode, all those camera upgrades, they’re aimed at people who make stuff. A clamshell iPhone would give those creators a built-in tripod mode that’s actually useful. Imagine shooting a cooking tutorial, a makeup video, or a product unboxing without needing extra gear. The phone holds itself at the perfect angle, and you’re free to use both hands.

This isn’t a niche use case. Every vertical video you’ve ever seen on TikTok or Instagram could’ve been easier to shoot with a clamshell. Apple knows this, and they know it’s a selling point that most mobile brands haven’t fully capitalized on yet.

Big screen, small pocket

Here’s the paradox of modern smartphones: people want huge screens, but they hate carrying huge phones. The iPhone 15 Pro Max is a phenomenal device, but it’s a slab that dominates your pocket, your bag, and your hand. A clamshell solves this in the most obvious way possible: make the screen big, then fold it in half.

When unfolded, you get all the screen real estate of a Pro or Pro Max. When folded, it’s a compact square that sits comfortably in any pocket. You’re not sacrificing display size, you’re just rearranging it. This is especially appealing for people who want big screens but don’t want to upgrade their wardrobe to accommodate a 6.7-inch rectangle.

The folded form factor also changes how you carry the phone. It’s less likely to slide out of a pocket, it doesn’t create that awkward bulge in tight jeans, and it’s easier to grip when you’re pulling it out. These are small quality-of-life improvements, but they add up. A clamshell makes the big-screen experience more portable, and that’s a real advantage.

The one problem: MagSafe doesn’t love squares

Here’s where things get tricky. Apple’s entire MagSafe ecosystem is built around vertical rectangles. Wallets, battery packs, car mounts, wireless chargers, they all assume your iPhone is shaped like, well, an iPhone. A clamshell changes that. When folded, it’s a square. When unfolded, it’s a normal phone shape. But MagSafe accessories are designed to stick to the back of a phone that’s always the same shape.

How does a MagSafe wallet work on a folded clamshell? Does it attach to the outer cover, which is probably glass or plastic? Does Apple redesign the entire accessory lineup to accommodate a square form factor? Do they create clamshell-specific MagSafe products? None of these solutions are great.

This isn’t a dealbreaker, but it’s a complication. Apple’s accessory ecosystem is a huge part of their strategy, and a clamshell iPhone disrupts that in ways a book-style fold wouldn’t. You could argue that a book-style fold, when closed, is still roughly phone-shaped, so MagSafe accessories might work. A clamshell is just different enough to break compatibility.

Apple could solve this with clever engineering. Maybe the MagSafe ring is on the outer screen side, and accessories attach there. Maybe they introduce a new “MagSafe Flip” standard with different magnets. Or maybe they just accept that clamshell buyers won’t use traditional MagSafe accessories and move on. Either way, it’s a problem that doesn’t exist with their current lineup, and it’s worth considering.

So, is this happening?

Gurman’s report is credible, but it’s not a product announcement. Apple explores lots of things that never ship. They’ve been prototyping foldables for years, and we’ve seen patents dating back to 2016. The fact that they’re actively working on a clamshell now doesn’t mean it’ll hit shelves in 2027 or even 2028.

But the logic is there. A clamshell iPhone solves more problems than it creates. It brings back the Mini’s form factor without shrinking the screen. It enters a market where Apple could actually win. It’s cheaper and less risky than a book-style fold. And it gives Apple a foothold in foldables without cannibalizing their other products.

If Apple does this right, a clamshell iPhone could be the foldable that finally makes sense for people who aren’t early adopters. It’s practical, it’s pocketable, and it’s exactly the kind of product Apple excels at making. The only question is whether they’re willing to rethink MagSafe to make it work.

(Images via AI)

The post 6 Reasons Why Apple Needs to Build a Clamshell iPhone Flip (And 1 Reason It Shouldn’t) first appeared on Yanko Design.

3D-Printed Guitar Amp Desk Organizer Brings Concert Energy to Your Boring Monday Morning

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The contrast between Sunday night at a concert and Monday morning at your desk is brutal. One moment you’re lost in the music, feeling every guitar riff vibrate through your chest. The next, you’re answering emails and pretending last night’s euphoria wasn’t real. The transition back to routine work feels especially cruel when the weekend gave you a taste of something electric.

That’s where a little whimsy helps. These 3D-printed guitar amp pen holders from LionsPrint bring a fragment of that musical energy to your workspace. They’re compact at 3.5 inches per side, but the details are spot-on: authentic speaker grilles, control panels, and designs inspired by the amplifiers that power actual rock shows. You can personalize them with custom text in silver or gold. They won’t replace the thrill of live music, but they’re a small reminder that the mundane is just temporary.

Designer: LionsPrint

The thing about good desk accessories is they need to justify their existence beyond pure function. A pen holder is essentially a container with holes. You could use a coffee mug. But LionsPrint clearly understood that musicians and music fans have a specific relationship with amplifiers that goes beyond their utility. These aren’t random music references slapped onto office supplies. They’re recognizable silhouettes: Marshall stacks with their iconic script logo, Fender’s clean lines, Yamaha’s distinctive branding. The 3D printing allows for texture work that would be impossible with traditional manufacturing. Those speaker grilles have depth and pattern variation that catches light differently depending on angle.

At 3.5 x 3.5 x 3.5 inches, the dimensions work perfectly for standard desk real estate. Small enough that they don’t dominate your workspace, large enough that they actually hold a functional amount of pens, scissors, and whatever other tools accumulate throughout a workday. The cube format keeps them stable. No tipping over when you’re fishing for a specific marker at 2 AM during a deadline crunch.

The customization option elevates these beyond typical musician merch. You can add text in metallic silver or gold finishes, which means your studio name, your band’s logo, or even an inside joke with your bandmates can live on your desk. Most “gifts for guitarists” feel like afterthoughts, designed by people who think all musicians are the same. This actually lets you claim ownership of the aesthetic instead of just passively receiving someone else’s idea of what music fans want.

LionsPrint sells these through Etsy starting at $19.98 USD before shipping. The price sits in that sweet spot where it’s low enough to impulse buy after a particularly soul-crushing Monday, but high enough that the 3D printing quality actually delivers on the details. You pick your amp style, add your custom text if you want it, and suddenly your desk has at least one object that doesn’t make you question your life choices. Small victories count when you’re counting down to the weekend.

The post 3D-Printed Guitar Amp Desk Organizer Brings Concert Energy to Your Boring Monday Morning first appeared on Yanko Design.

This $400 Wooden Keyboard Goes Through Over 15 Hand-Finishing Steps Before You Can Type On It

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Tech moves fast, breaks things, ships updates, iterates. The entire industry is built on the assumption that this year’s product will be obsolete by next year, and that’s fine because next year’s version will be better anyway. Then you see someone in Fukui Prefecture spending twenty minutes hand-sanding a single wooden keyboard key, checking it by touch, and the whole paradigm feels suddenly optional. Hacoa has been making wooden keyboards this way for four generations now. The current craftspeople learned from their parents, who learned from theirs.

What makes this remarkable isn’t just the craftsmanship, though watching wood move from lumber to finished keys is genuinely mesmerizing. It’s the underlying assumption that contradicts everything tech culture preaches. These keyboards are built to last decades. They’re made from a material that ages visibly, that will show wear and patina and the passage of time. They’re designed for people who want their tools to have history rather than version numbers. And they’re assembled onto standard mechanical keyboard bases, so they actually work for the thing you’d use a keyboard for: typing, every day, for years.

Designer: Hacoa workshop

The process starts with lumber selection, which already tells you everything about how different this is from injection-molded ABS keycaps. Someone at the Hacoa workshop in Sabae City examines the grain patterns and decides which pieces are suitable for a keyboard. They measure carefully so nothing gets wasted, then plane the wood down to uniform thickness. This is furniture-grade attention being applied to something most of us buy on Amazon and forget about. The wood gets machined with multiple blade changes between operations, chamfered at the edges so the corners feel softer under your fingers, then cut into individual key blanks.

Then the hand work begins. Each key gets shaped individually, sanded on the end grain to refine the tactile experience, finished by craftspeople who use their palms as quality control instruments. They’re literally checking by feel whether each key is ready. The surface gets sanded extensively, taking as long as it takes, because rushing would defeat the entire point. Quality verification happens through touch, which is perfect given that touching these keys will be the whole experience once someone owns the keyboard. After that comes laser engraving for the legends, residue cleanup, and final assembly onto a mechanical keyboard base with standard switches.

What gets me is the very deliberate disconnect between effort and function. A $30 membrane keyboard from any big-box store does the same job in purely utilitarian terms. You press keys, letters appear on screen, your email gets written. But we spend hours every day with our hands on these things. The texture matters. The sound matters. Whether the object feels disposable or permanent matters, even if we can’t always articulate why. Hacoa seems to understand that the keyboard isn’t just an input device, it’s the primary physical interface between you and every digital thing you make.

The final product shows visible wood grain variation across every key. Some are lighter, some darker, because that’s what wood does. Each keyboard carries unique patterns that came from whatever tree the lumber came from, which means no two are identical. They’re mounted on dark bases that contrast with the natural wood tones, and the whole thing works with standard mechanical switches. You can actually use this daily without treating it like a museum piece, which honestly makes it more interesting than if it were purely decorative.

Four generations of craftsmanship went into mastering the material and this product category. That timeline alone makes it weird in tech terms, where four generations might mean four years of product iterations. Here it means actual humans passing down technique and judgment through family lines, the kind of knowledge transfer that only happens when someone works beside their parent for years. The current craftspeople at Hacoa learned by watching, by doing it wrong, by developing the muscle memory that lets them know when a piece of wood is ready just by running their hand across it.

I think about planned obsolescence a lot, probably too much. The assumption baked into most consumer tech that you’ll replace it soon anyway, so why build it to last. These keyboards operate in a completely different value system where the goal is creating something worth keeping. Whether that makes financial sense for most people is debatable. Whether it’s a more sane way to think about the objects we use constantly is not.

The post This $400 Wooden Keyboard Goes Through Over 15 Hand-Finishing Steps Before You Can Type On It first appeared on Yanko Design.

This Practically Bulletproof Titanium Travel-Case Makes Your ‘Fragile’ Luxury Luggage Look Cheap

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Aluminum dents. That is the trade you accept with most “premium” luggage. The grooves look great in the lounge, then a few trips later you are quietly cataloguing every new crease and corner hit. You can baby it, you can wince every time it goes into an overhead bin, but eventually the shell starts to look tired. Premium luggage, economy behavior.

Titanium changes the terms of that deal. AERIONN Forma treats aluminum the way iPhone Pro treats the regular iPhone: same category, different league. Apple moves the Pro models to titanium because it signals intent and performance in one move. Forma does the same. It uses certified Grade 1 titanium for the shell, formed as a single continuous body, so the case flexes under impact and returns to shape instead of locking in dents. It is the “Pro” material choice for people who live in airports and prefer their luggage to age, not degrade.

Designer: AERIONN

Click Here to Buy Now: $499 $1799 (72%). Hurry, only 3/688 left! Raised over $654,000.

There’s a specific moment frequent travelers recognize. You’ve got lounge access, priority boarding, a seat that actually reclines, and you’re pulling luggage designed to be replaced in a few years. First class isn’t just a ticket, it’s a standard. AERIONN Forma was designed for travelers who understand that distinction. The Milanese design shows restraint where most luggage shows decoration. Clean architectural lines, a matte brushed titanium surface that resists fingerprints and develops subtle patina over time. The kind of wear that looks earned rather than abused. Leather-wrapped handles add warmth without competing for attention. This case looks like it belongs in the first-class cabin, carried by someone who travels often enough to know visible damage shouldn’t be part of the premium experience.

Apple uses aluminum for the standard iPhone. The Pro models get titanium. Same exact decision tree applies here. Titanium signals intent. It’s a more precious material than aluminum, harder to source, more expensive to work with, and significantly more durable under real-world stress. Grade 1 commercially pure titanium meets ASTM B265-15 certification standards, with tensile strength in the 290 to 310 MPa range, significantly higher than aluminum alloys used in luxury luggage. The shell has undergone thousands of repeated drop tests, bending tests, ultrasonic inspection, and dimensional verification. The testing isn’t about proving indestructibility, it’s about ensuring resilience under conditions where aluminum would show permanent damage. Titanium flexes to absorb impact, and only shows signs of wear and tear with rough use. Aluminum dents easy… and it stays dented.

The single continuous shell construction eliminates seams and structural weak points. Despite using industrial-grade material, the case weighs 4kg with weight distributed evenly across the entire structure. Lift it into an overhead bin and the weight doesn’t fight you. Roll it through a terminal and it tracks cleanly without pull or wobble. That movement comes from the AIRMOVE dual spinner wheels, engineered for low drag and quiet operation. No rattle, no vibration, just smooth motion that keeps pace instead of slowing you down. The multi-stage telescopic handle extends smoothly and locks firmly, with leather-wrapped touchpoints that feel substantial. Good luggage disappears during travel, requiring no conscious effort to manage.

Security is handled without zippers, which remain the most common failure point in luggage. A precision TSA latch system sits flush with the titanium shell, allowing inspections without damage while removing fabric, teeth, and stress points entirely. It’s invisible when closed, dependable when needed. Metal latches integrated into aerospace-grade titanium don’t have the failure modes that plague zipper-based systems. The TSA-approved combination lock integrates directly into the shell. No exposed mechanisms, no added bulk, no interruption to the clean form. This approach to security makes the case look refined while actually being more secure than conventional designs.

The matte brushed titanium surface does something interesting over time. It develops a natural patina that reflects use without looking damaged. Fingerprints don’t show. Minor contact marks blend into the finish rather than standing out. After years of travel, the surface tells a story without looking beaten up. This separates objects you keep from objects you replace. Titanium naturally resists corrosion, so the shell maintains structural integrity without protective coatings or finishes that eventually wear through. Temperature extremes don’t compromise strength. A precision-fit silicone seal keeps water out, protecting belongings from rain and splashes during transit. The case is designed to be used repeatedly and to look better for it.

The interior uses a dual-compartment layout that keeps packing organized from departure to arrival. Compression straps on one side secure clothing and minimize wrinkles. A full divider panel on the other side contains shoes, toiletries, and essentials. Integrated pockets hold smaller items so you’re not digging through layers to find what you need. The durable nylon lining wipes clean easily and holds shape after repeated use. Nothing flashy, nothing wasted. Dimensions are 55 x 36 x 23 cm, fitting standard airline carry-on requirements while offering 38L capacity. The layout supports efficient packing and easy access, which matters when you’re moving through multiple cities in compressed timeframes.

For EDC enthusiasts and design-focused travelers, durability is status. Knowing your carry-on can handle abuse that would destroy conventional luggage is the quiet flex. Soft-shell Samsonite is lighter, cheaper, and never dents because it’s designed for economy class standards. It won’t be noticed from ten feet away and it won’t give you the VIP feeling that comes with carrying something genuinely exceptional. Titanium luggage exists in a different category entirely. It’s luggage meant to last decades, not seasons. The buy-once philosophy changes the economics. A $1,500 aluminum case that needs replacement after five years costs more over time than a $1,799 titanium case that lasts twenty years. Longevity becomes luxury when the alternative is planned obsolescence.

AERIONN Forma is currently available with Super Early Bird pricing at $499, Early Bird at $699, and a two-pack bundle at $975. Standard retail pricing is $1,799. Shipping begins July 2026, with fulfillment handled globally. Aluminum carry-ons from established luxury brands typically range from $1,200 to $1,700 depending on size and features. Titanium luggage rarely appears in this segment, and when it does, pricing usually exceeds $2,000. Early pricing positions aerospace-grade materials as accessible for travelers who recognize that upfront cost matters less than total cost of ownership. This case represents a shift in how premium luggage gets engineered and priced.

Click Here to Buy Now: $499 $1799 (72%). Hurry, only 3/688 left! Raised over $654,000.

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