If Liquid Glass is the face of iOS 27, the intensity slider is the part that decides whether that face is wearing reading glasses. Apple never showed it during WWDC 2026, even though it may be the most visually crucial control in the entire redesign. This one setting lets users adjust the strength of the transparency effect system-wide, which means it directly shapes readability, contrast, depth, and the overall vibe of Apple’s biggest interface experiment in years.
That makes its quiet arrival in the public beta feel kind of wild. Apple presented Liquid Glass as a confident design statement, but the slider reveals something more interesting, a design system with a built-in self-correction mechanism. Suddenly the story is not only about what Apple announced on stage. It is about what Apple had to add once the software met real screens, real eyes, and real people who do not want their Control Center looking like a soap bubble.
Designer: Apple
Six weeks separate the WWDC 2026 keynote from iOS 27 Public Beta 2, and in software terms, that is enough time for a lot to shift. Public Beta 1 landed July 13 with the slider and a Siri AI rollout to general users. Beta 2 followed on July 22 with speed improvements, a Screen Time overhaul, and more. Together they paint a picture of iOS 27 that looks noticeably different from what Apple demoed at Apple Park in June.
App icons have been getting the same quiet treatment. Beta builds are shipping with re-layered icons that carry more visual depth than what showed up on stage, tweaking how the foreground and background elements of each icon interact with the glass effect behind them. It reads as subtle in a screenshot and feels significant once you are actually navigating the phone. The whole system carries a different visual weight than the keynote suggested.
Apple built Siri AI on Google’s Gemini, and that partnership is the backbone of the biggest headline in iOS 27. The revamped assistant can hold context across apps, answer open-ended questions, and dig into your emails, messages, and photos to surface relevant information, putting it in genuine competition with ChatGPT and other conversational AI tools for the first time. What the keynote mostly skipped was how that Gemini handoff surfaces visually inside Siri’s UI, what the latency actually feels like, and how different it is from the ChatGPT integration Apple shipped in iOS 18.
Thirty percent faster app launches, 80% faster AirDrop, 70% faster Photos capture loading. Apple is putting some big performance numbers on the table, benchmarked against an iPhone 11 Pro Max running iOS 26.4.2, which is more specific than the usual “up to” framing with nothing behind it. Whether those gains hold on newer hardware in real daily use is still something beta testers are working out.
macOS 27 Golden Gate is running the same play in parallel, bringing Liquid Glass refinements to the desktop and putting Siri AI inside Spotlight. It also becomes the first macOS to fully drop Intel support and retire Rosetta 2, which is its own headline for a different day. For anyone designing or building for Apple platforms, September is the target, when the stable release lands alongside the iPhone 18 lineup. The betas are the closest thing to a final spec sheet right now, which makes that quiet little slider a pretty loud signal about where Liquid Glass is actually headed.
Everyone is obsessed with making gadgets sleeker, flatter, and more touch sensitive these days. So naturally, Skullcandy looked at that trend and said, nah, let us put a knob on it. The new Crusher 1080 ANC headphones (with sound by Bose) have an honest to goodness rotary dial sitting right on the ear cup, and it might be the single best design decision on the whole product.
Turning that dial controls the Crusher Bass feature, which is Skullcandy’s way of saying we built a subwoofer into your headphones. Twist it one way for a light rumble, twist it the other way and your skull becomes part of the sound system. It is a small, satisfying, slightly ridiculous piece of hardware, and after years of swiping at touch panels that never quite register your finger, it feels like coming up for air.
Bose headphones are great. They are also expensive enough to make you wince a little at checkout. So when Skullcandy rolled up with a pair of headphones that borrow actual Bose tech, including its noise canceling and audio engine, and slapped a $280 price on them, it got my attention fast. That is $170 cheaper than Bose’s own flagship, for tech with the Bose name stamped right on it. Whether the sound quality actually holds up against the real deal is a separate question, but on paper, this is a genuinely aggressive move.
Bose’s fingerprints have their way of showing up everywhere else as well. QuietControl active noise canceling uses six microphones to quiet the outside world, TrueSpatial creates a wider, more speaker like soundstage with head tracking, and the WaveForm audio engine keeps things clear even at high volume. There is also Personal Sound tech from Mimi, which builds a hearing profile tailored to you rather than relying on a generic preset. Toss in Bose-assisted call clarity and custom EQ modes, and Skullcandy is clearly betting that borrowed expertise beats going it alone.
The everyday stuff is handled well too. Automatic wear detection pauses your audio the second you take the headphones off, a low latency mode keeps games in sync, and the onboard buttons can be remapped to whatever functions you actually use. Battery life comes in at 60 hours with ANC off and 50 with it on, and a 10 minute charge buys you another 4 hours of playtime. The one number that raises an eyebrow is weight. At just over 13 ounces, these are noticeably heavier than rivals like the Sony XM6 or Bose’s own QuietComfort Ultra, the price you may pay for packing in all that bass hardware.
None of this guarantees the 1080 ANC will beat Bose or Sony at their own game, and we will not know for sure until these are actually strapped to some ears. But Skullcandy is not really trying to win a spec sheet fight here. It is selling a headphone with a genuine identity, one built around a feeling rather than a feature list, with a knob you can grab and twist like it is 1985. In a market full of interchangeable slabs of black plastic, that alone makes the Crusher 1080 ANC worth a second look.
How does the greatest Ducati of the last decade get built four thousand miles from Bologna, in a workshop most people have never heard of? Ducati’s home turf is basically hallowed ground, all red paint and Borgo Panigale badges and a hundred years of racing pedigree breathing down every design decision. Bandit9 clearly did not get the memo, and thank god for that. The Saigon based atelier, founded by former creative director Daryl Villanueva, builds bikes the way a sculptor builds a monument, one hand shaped panel at a time, with zero interest in playing by anyone else’s house style. Their take on the Ducati 821 takes a stock Monster and turns it into something that somehow feels more Ducati than the actual Ducati. It is the kind of move you only get to make when you have absolutely nothing to lose.
Only nine of these were ever going to exist, and eight of them are already gone, which means we are looking at the very last one on the shelf. Bandit9’s resume includes permanent spots in the collections of MoMA and the Petersen Automotive Museum, so this is not some garage tinkerer getting lucky once. Underneath the bodywork sits Ducati’s own 821cc Testastretta L-twin, 110 horsepower, a 3.3 second sprint to 60 mph, wrapped in a hand formed shell that splits clean between brushed aluminum and gloss carbon fiber. At $49,900 for the last unit, you are buying the argument as much as the motorcycle.
The material split down the middle grabs you first, and while it looks cosmetic, it actually serves a functional purpose. Brushed aluminum wraps the nose, tank, and belly, while gloss carbon fiber takes over the tail section, and the seam between the two materials tracks the actual bodywork geometry instead of sitting on top of it like a paint job. That tail section deserves its own moment, a bullet nosed unit with an LED strip tracing the ridge line into a tucked amber turn signal, wrapped in exposed weave carbon that catches light like a jewel. Flip to the cockpit and Bandit9 sweated even the smallest details, milling a top yoke in aluminum with a tiny embedded LED trip readout nested between the fork caps. Most custom shops would leave that space blank or bolt on an aftermarket gauge. Bandit9 machined a bespoke solution instead, because subtlety does not appear to be part of their vocabulary.
Ducati’s own 821cc Testastretta 11 degree L-twin sits underneath all that hand formed metal, still producing 110 horsepower and 65.8 ft-lb of torque, enough to send the bike from 0 to 60 mph in about 3.3 seconds. A custom tubular steel trellis frame carries the engine, paired with 43mm Sachs forks up front and an adjustable Sachs monoshock out back, while dual 320mm Brembo monobloc calipers handle the stopping duties. None of that is particularly radical on paper, and that is the point. Bandit9 never touched the parts that make a Ducati go fast or stop hard, they only rebuilt everything around it by hand. No stamping press currently exists that can produce a single panel wrapping from the front cowl over the tank and down the body without a seam, so every curve on this bike got there because a person spent months shaping metal the way a watchmaker shapes a case. That is what craftsmanship actually looks like, no marketing spin required.
Nine of these were ever going to exist, and eight already have owners, so the math here is simple. Bandit9 has spent years building a reputation that includes permanent placements in the collections of MoMA and the Petersen Automotive Museum, putting them in rare company within the custom bike world, alongside names like Deus Ex Machina and Icon, but operating on a different plane of ambition entirely. Founder Daryl Villanueva, a former graphic designer and creative director, runs the Saigon based atelier less like a garage and more like a small design house that happens to build motorcycles instead of furniture or typefaces. At $49,900, the last unit is not cheap, but measured against months of hand labor and a production run that will never reopen, the number starts to make sense. Whoever buys it walks away with a working sculpture that also happens to be a genuinely quick motorcycle.
Ducati will keep building excellent motorcycles in Bologna, and nobody is arguing otherwise. But Bandit9’s 821 makes an honest case that great design does not need a postcode, a century of racing heritage, or a factory at all, just a workshop, a stubborn sense of craft, and someone willing to spend months getting a single curve exactly right. The last unit will sell fast, probably to someone who already owns a garage full of things most people only see in magazines. What happens after that is anyone’s guess, though I would not be surprised if Bandit9 is already sketching whatever comes next. For a company that keeps proving Bologna does not have a monopoly on great Ducatis, retirement does not seem to be part of the plan.
Pneumatics is an industrial workhorse, a brute-force technology that uses compressed air to power everything from factory robots to freight train brakes. It is almost always loud, powerful, and hidden deep inside a machine’s guts. The idea of holding it in your hand, of feeling its power at a small, personal scale, has always been out of reach. It was a force to be used, not a phenomenon to be experienced. MetMo, however, specializes in turning these forgotten industrial principles into beautiful, handheld objects.
The MetMo Piston is what happens when you shrink a pneumatic system down to pocket size and machine it from solid brass. The slow, satisfying resistance you feel when you press down is the feeling of air compressing in a perfectly sealed chamber. The silent rebound is that same air expanding, pushing the piston back with a gentle, inevitable force. For anyone who appreciates engineering, it is a tiny, working demonstration of physics. For everyone else, it is just an incredibly satisfying object to hold and press.
The mechanism itself is deceptively simple, which is why MetMo felt it important to reiterate – no springs, no magnets. A precision-machined piston pin slides into an equally precise cylinder block, and the tolerances between the two are so tight that air cannot escape, even under pressure. When you press the piston down, you are compressing the air trapped inside the chamber, and that compressed air is what pushes back against your thumb. No hidden parts, springs, neodymium magnets, mechanical detents. The feedback is purely pneumatic, the same principle that powers much larger systems like robot arms, hammer drills, and train brakes… scaled down to something you can operate with one hand.
What separates this from every other fidget object on the market is the sheer precision required to make it work. No sourcing ball-bearings from AliBaba to make $2 fidget spinners. MetMo machines each component from solid HTB1 brass, a high tensile alloy chosen specifically for its wear resistance and smooth surface finish. The piston pin and cylinder block are both machined to tolerances typically reserved for aerospace engineering, because even a microscopic gap would let air escape and ruin the pneumatic seal. The fit is so precise that when you press down and feel that cushion of resistance, you are experiencing the literal limits of what air molecules can do when trapped in a perfectly sealed chamber. It’s engineering you can feel through your fingertips.
The Piston also features a secondary interaction that might be even more satisfying than the press itself. Spin the knurled housing, and the piston pin rotates on what MetMo calls an aerodynamic bearing, a thin cushion of air that forms between the pin and the cylinder block. The result is a nearly frictionless spin that feels almost supernatural, like the object is hovering inside its own housing. It is the same principle used in precision scientific instruments, and experiencing it in a handheld desk toy is quietly mesmerizing. You can spin it for minutes at a time, and the motion stays smooth, silent, and hypnotic.
One of the best practical benefits of the Piston is its complete silence. If you have ever been stuck in a meeting next to someone clicking a pen, you understand why this matters. The pneumatic mechanism operates without any noise at all, which means you can fidget freely without disrupting anyone around you. It is a desk toy that respects shared spaces, and that alone makes it more thoughtful than most of its category competitors. The tactile satisfaction is entirely private, which is exactly how it should be.
MetMo also included a pressure release valve that lets you adjust the drop speed and rebound behavior of the piston. Tighten it for a slow, controlled descent, or loosen it for a faster, bouncier response. It is a small detail, but it transforms the Piston from a fixed experience into something you can tune to your own preference. For people who appreciate control over their tools and objects, that adjustability is a quiet but meaningful touch.
The MetMo Brass Piston is priced at £59.99 GBP ($81.23 USD) and is available directly from MetMo’s UK workshop. It is machined from solid brass, although there’s a stainless steel version priced at £94.99 ($126.4 USD) too, hand-assembled to order, and backed by MetMo’s 200-year guarantee. For anyone who thinks with their hands, who values mechanical honesty over gimmicks, or who simply wants a desk object that does one thing exceptionally well, this is one of the most compelling fidget toys I have come across in a while.
Yanko Design’s Design Mindset continues to spotlight the thinkers, makers, and brands shaping the future of design. Now in Episode 23, the weekly podcast turns its attention to one of consumer tech’s most persistent frustrations: the smart home. What was meant to simplify daily life has often done the opposite, leaving users juggling apps, switches, hubs, and setup flows that feel more like maintenance than convenience. This episode, Powered by LIFX, asks a timely question: if smart homes still feel complicated, is the problem really the technology, or is it the way that technology has been designed?
The episode features three key voices from LIFX: Rachel Wilson, Creative Director; Mark Hollins, CTO; and Matthew Redding, Hardware Director. Together, they offer a layered view of the smart home from brand, engineering, and hardware perspectives, while unpacking how products like the Smart Mirror, Luna, and Smart Dimmer are being shaped around real behavior instead of feature overload. The result is a conversation about lighting, interfaces, wellness, and why the best smart technology may be the kind that quietly disappears into everyday life.
Why the smart home still feels harder than it should
The episode begins with a blunt acknowledgment that the smart home industry has not fully delivered on its original promise. For all the progress in connectivity and automation, many people still experience smart living as a patchwork of apps, ecosystems, and workarounds. Mark Hollins does not pin the blame on one side alone, saying, “I think it’s a mix of both,” when asked whether this is a technology failure or a design failure. His point is that the industry has spent years building around technical constraints, while users have continued to ask a much simpler question: does this actually make life easier?
That gap between capability and convenience becomes the foundation of the conversation. Hollins explains that products need to be tied back to use cases from the very beginning, rather than forcing people to adapt to whatever the technology happens to enable. It is a useful reframing, especially in a category that has often rewarded complexity as a sign of sophistication. LIFX’s position is that smart living should not feel like system management. It should feel natural, reliable, and worth having in the first place.
Designing for behavior, not just features
One of the strongest ideas in the episode is that smart home products have too often been shaped by enthusiasts rather than households. Early adopters were willing to experiment, troubleshoot, and spend time optimizing their spaces, but most homes are shared by people with very different comfort levels around technology. Hollins points out that “those users tend to have a high technical competency and a willingness to experiment,” but that often creates friction when everyone else in the home is expected to live with the result.
That is where the conversation becomes less about features and more about behavior. A connected home cannot be successful if it only works for the person who installed it. It has to make sense for partners, children, guests, and anyone else using the space. This is also why the return of physical controls matters so much. As Matthew Redding puts it, “It shouldn’t be the only way to turn on the lights,” referring to the app-first mindset that once defined the category. For LIFX, hybrid control through buttons, voice, schedules, and automation is not redundancy. It is simply better design for real life.
Why lighting needs a more emotional design language
Rachel Wilson brings a different lens to the discussion by arguing that lighting should not be treated like just another piece of consumer electronics. Too often, tech brands focus on the object itself, trying to make it look futuristic or visually distinctive without considering the room it lives in. Wilson pushes back on that approach by saying, “It’s more about the effect of the product in the space that you are living in rather than the product itself.” In other words, the value of lighting is not just in the hardware, but in how it transforms the atmosphere around it.
That shift in thinking opens up a more emotional understanding of smart lighting. Wilson describes light as something that changes how people see the objects they love, the rooms they have built, and even themselves. She also points to its biological impact, which makes lighting one of the few smart home categories that is both functional and deeply personal. That is what separates it from many other connected products in the home. Done well, lighting does not just help a room work better. It changes how the room feels.
The Smart Mirror, Luna, and the return of tactile design
That philosophy becomes more tangible in LIFX’s newer products, especially the Smart Mirror and Luna lamp. Redding explains that these are products used at arm’s reach, often in moments when people are tired, distracted, or dealing with wet hands. In those situations, reaching for a phone is not elegant, it is inconvenient. “A button’s on the mirror, it’s not a step backwards, it’s just meeting the user where they are,” he says. It is a simple line, but it captures a more mature approach to smart product design, one that chooses the right interface for the context instead of forcing the newest one.
The Smart Mirror also reflects how LIFX is trying to turn lighting into a more personal and wellness-driven experience. Wilson highlights the mirror’s “makeup check” feature, which cycles through different Kelvin temperatures so users can see how they will look in varying light conditions before stepping out. That kind of feature is specific, but not gimmicky. It solves a real everyday problem while also reinforcing the idea that lighting can support routines, rituals, and self-perception in ways that go far beyond turning a bulb on and off.
Matter, fragmentation, and the limits of interoperability
No smart home conversation today can avoid Matter, and Hollins offers a measured take on what the standard really solves. He sees it as a meaningful improvement in interoperability, onboarding, and security, especially for brands that previously had to build separate integrations for multiple ecosystems. Matter helps simplify the common ground, making it easier for products to work together across platforms without duplicating effort. That alone makes it one of the most important shifts the category has seen in years.
At the same time, Hollins is careful not to frame Matter as a magical fix for every pain point. It is not, in his words, going to create “one app to rule them all.” Some features will always live outside a shared standard, especially when brands want to build differentiated experiences. That honesty is important because it keeps the conversation grounded. Interoperability matters, but it does not replace the need for thoughtful product design, especially when homes contain multiple users, multiple habits, and multiple expectations around what smart living should feel like.
What the future of smart living should actually look like
By the end of the episode, a clearer vision of the future begins to emerge. It is not a future filled with more visible tech, more dashboards, or more complicated layers of control. Instead, it is one where smart products become quieter, more contextual, and more responsive to everyday behavior. Hollins says a smart home has done its job when it “is invisible,” while Redding describes the ideal experience as one that “just does the work for you.” Both ideas point to the same goal: intelligence that fades into the background instead of constantly demanding attention.
Wilson extends that vision even further, suggesting that the habit of “pressing buttons all the time” may gradually disappear as sensors, voice, and other natural interfaces become more robust and more affordable. If that happens, the biggest change in smart homes over the next few years may not be about adding more technology, but about making interaction feel less technical altogether. Episode 23 of Design Mindset, Powered by LIFX, makes a compelling case that the next chapter of smart living will belong to brands that understand simplicity is not basic. It is the hardest thing to design well.
Creatives see the world very differently from how the rest of us do. Someone sees a binder clip, a creative sees a miniature handbag, someone sees a fork, a creative holds the fork close to their eyes to simulate being in a prison cell. Someone sees a highlighter as a piece of stationery used to make text prominent, Jane Morelli saw the ‘light’ in highlighter, turning it into a tabletop lamp every stationery nerd will absolutely love.
Modeled on the iconic Stabilo highlighter, Morelli’s Stabilo Lamp is an unofficial tabletop lamp that turns the fluorescent tip of a highlighter into a literal light source. Designed to be roughly a foot tall, the lamp comes with a cord – plug it in, switch it on, and the tip glows in its signature color. Morelli’s designed the lamp in 3 common colors for now, neon yellow, pink, and green. I say unofficial because this is purely fan-made visual punnery – but Stabilo did comment on Morelli’s post, marveling at her idea.
The lamp is witty, fun, and caters to a highly specific niche. Not everyone wants to celebrate stationery in such a literal way, but for the people who do, this is an absolute win. The lamp is modeled on the short Stabilo highlighters, the proportions have been adjusted to ensure the base doesn’t overpower the actual light source – something that bright is sure to command one’s attention, but it mustn’t steal it. The showstopper is the nib, a cloudy, translucent element with a powerful light source underneath that causes it to glow once switched on. A tinted ‘lampshade’ in the form of a highlighter cover sits on top, acting as a visual and physical barrier from the light source.
The lamp’s pretty tiny, as is its light source. Don’t expect it to produce enough light to let you read a book. Its sole job is to emit a warm, diffused glow akin to a lava lamp, setting the mood with a nerdy panache that only will appeal to stationery lovers and people with a quirky personality. You won’t see this in an edition of Architecture Digest, or an eclectic Airbnb. Then again, to be honest, you won’t see this anywhere because Morelli’s work is currently just a concept.
However, with enough attention, Morelli could totally build a working prototype and take this to production. Stabilo definitely loved the idea, and this isn’t the first time we’ve seen designers garner attention on their work on social media and get enough validation to turn them into real products. David Delahunty’s work is a brilliant example of how creative thinking and visual puns can turn into real merch and a genuine business. Morelli, if you’re reading this, I’d suggest busting out your 3D printer, heading down to Home Depot or the like, and putting together a prototype!
Three hundred dollars for a suede sneaker usually comes with some kind of hook, a designer moniker, a tiny production run, something to point at. PUMA skipped all of that here and just leaned on the Pikachu name, which honestly might be enough on its own. There’s no giant character graphic screaming for attention on this shoe either, which is a little unusual for a collab at this price. Instead the whole thing is built on a few small, well placed details, and that choice tells you a lot about who this release is really for.
That shoe is the PUMA Suede Pikachu, a reworking of the brand’s 1968 silhouette in electric yellow suede for Pokemon’s 30th anniversary. A two tone lightning bolt runs through the Formstrip, a glossy red heel patch nods to Pikachu’s cheeks, and a small enamel charm hangs from the laces instead of some oversized keychain. The outsole is translucent and honey colored, veined with cracked lightning lines like it’s mid charge. It releases July 25 at a pop up in Brooklyn, following a Mewtwo Suede last winter and an Espeon and Umbreon collection back in April. Whether $300 feels fair probably depends on how deep your Pokemon nostalgia runs, and I’ve got more to say on that below.
Designer: PUMA x The Pokemon Company
PUMA ditched the usual flat suede nap for something with a slightly raised, almost fuzzy texture on the upper, and it works better than it has any right to. It doesn’t look like yellow suede pretending to be Pikachu, it looks like the material itself got the memo. That’s a small manufacturing decision most people will never think twice about, but it’s exactly the kind of restraint that separates a thoughtful collab from a licensing cash grab. I’ve seen plenty of character sneakers that just print a face somewhere and call it a day. This one clearly wasn’t approved by someone in a hurry.
The suede shoe’s side stripe has been the same shape for decades, so bending it into a lightning bolt without losing the silhouette’s identity is a genuinely tricky bit of design math, and it’s the real flex of this shoe. They pulled it off by layering a mirrored silver bolt over the classic black stripe, so it catches light instead of just sitting there as a flat graphic. Then there’s the heel patch, a glossy red oval with a small bolt etched into it, which is easily the smartest detail on the whole shoe. It reads as Pikachu’s cheek without anyone having to spell it out, and that kind of subtlety is rare in character collabs that usually default to shouting. Most brands would have put Pikachu’s whole face there instead, and the shoe would have been worse for it.
The outsole is a translucent, honey toned rubber with cracked lightning veining running through it, like the sole itself is holding a charge. Paired with the enamel Pikachu charm hanging off the laces, small and flat rather than the bulky keychain treatment most collabs default to, the whole shoe reads as considered rather than merchandised. Even the packaging plays along, landing in a matte black box with a faint constellation print and gold foil branding, understated in a way that actually matches the shoe instead of overselling it. Nothing here needed to be loud to prove the license was real. That restraint is consistent from the box straight down to the sole.
PUMA opened its 30th anniversary campaign with a family sized Espeon and Umbreon collection in April, followed it with a Pikachu colored All-Pro Nitro 2 for the court, and is now closing out summer with what’s clearly the premium centerpiece of the whole run. Whether $300 sneakers with no performance tech attached are worth the price is a conversation that predates this shoe by years. But if PUMA is going to keep charging collector prices for nostalgia, this is the version of that trade that actually feels earned. The Suede has always been the brand’s most storied silhouette, and saving it for last was the right call. Whether Pokemon fans agree probably depends on how much shelf space they have left for sneakers they’ll never actually wear.
Every design choice Apple made after 2012 treated the iPhone and the MacBook as separate objects that happened to share the same user. The iPhone sat face-down beside the trackpad, or propped in a stand someone bought separately, or flat on the desk gathering fingerprints between notifications. The laptop handled the serious work, and the phone handled everything adjacent. The cable that connected them eventually gave way to AirDrop and iCloud, which is elegant until you need to pull 4K footage off a device or charge a phone while shooting tethered. A generation of designers, remote workers, students, and creators quietly built a workflow where both devices run simultaneously, and the desk has to serve as a shared operating environment for all of it.
A custom magnetic coil in the Twopan T11’s top surface wirelessly charges MagSafe-compatible phones while the hub simultaneously expands the connected laptop’s ports, treating both as part of a coordinated workstation rather than separate gadgets competing for desk space. The hub folds around a built-in braided USB-C cable, collapsing to a palm-sized squircle with seven active ports: 4K/60Hz HDMI, 100W PD 3.0 input with 80W pass-through to the host device, simultaneous SD and Micro SD reading at up to 104MB/s, and two 5Gbps USB-A ports that also deliver charging to additional peripherals. Creators shooting on camera and phone simultaneously can transfer both cards at once without swapping. Plug-and-play compatibility covers Windows, macOS, Linux, ChromeOS, iOS 17, and Android 9 with no drivers. Which feels nice – a bridge between two perpetually used devices, no barriers, no walled garden, no port-restrictions. All in the size of a puck small enough to fit in your pocket, or snap onto your phone/laptop.
The magic of the T11 is in that simple magnetic snap. It provides a satisfying, perfectly aligned connection that holds the phone upright, transforming it from a passive screen into an active dashboard. Suddenly, it’s a dedicated place for Slack messages, a Spotify controller, or a live feed from a security camera, all while drawing power wirelessly. This thoughtful integration solves the persistent problem of accessory sprawl, where a phone stand is one object, a wireless charger is another, and the USB-C hub is a third, all competing for space and creating a small thicket of cables. The T11 consolidates these functions into a single, elegant unit that understands its primary job is to organize and empower a workflow, not just to add ports.
That commitment to organization extends to the product’s own form. One of the most common design failures in the portable hub market is the permanently attached, dangling cable. Twopan’s engineers addressed this by designing a custom central slot that seamlessly houses the durable, braided USB-C cable. When it’s time to work, the cable deploys effortlessly for immediate use. When you’re done, it tucks neatly back into the magnetic frame. This ingenious storage solution maintains the hub’s sleek, ultra-compact profile and ensures it travels as a single, self-contained object, without a loose cable rattling around in a bag like a forgotten secret.
Of course, a hub is only as good as its I/O, and the T11 is built for demanding, modern workloads. The HDMI port delivers a crisp, stable 4K resolution at a fluid 60Hz refresh rate, which is the sweet spot for everything from video editing to smooth scrolling on an external monitor without any stutter or lag. This is complemented by a dedicated USB-C Power Delivery 3.0 port that supports a massive 100W power input. Through intelligent power allocation, the hub reserves the necessary energy to drive all its connected peripherals and then passes a rapid 80W of charging directly to the host device. This means a power-hungry machine like a MacBook Pro can run a 4K display and external drives while still charging at nearly full speed.
For data management, the T11 is a true powerhouse. It moves beyond a simple port count by integrating dedicated SD and Micro SD card slots that support simultaneous reading. This is a critical feature for creators who juggle multiple devices; a photographer can offload files from their main camera’s SD card and their drone’s Micro SD card at the same time. The hub supports professional standards like SD, SDHC, and SDXC formats, along with SD3.0 UHS-1 and DDR200, delivering swift transfer speeds of up to 104MB/s and handling card capacities up to 2TB. The two high-speed USB-A ports run at 5Gbps, perfect for external SSDs, keyboards, and other peripherals, and are also engineered to support simultaneous power output for charging smaller gear like earbuds or a smartwatch.
The physical object itself feels considered and premium. It’s a compact squircle (whether you love that shape or hate it is entirely up to you), small enough to rest in the palm, with a silver aluminum body for durability and heat dissipation, and a textured top panel that houses the magnetic coil. The design is minimalist but functional, right down to the included braided lanyard that gives it the feel of a portable gadget rather than a simple computer accessory. It’s a small detail, but it speaks to a design philosophy centered on portability and ease of use.
While the magnetic charging is most immediately recognizable to Apple users, the T11 is engineered for absolute simplicity and universal compatibility. It delivers true plug-and-play functionality right out of the box, with no drivers or complex software installations required. It works seamlessly with Windows, macOS, Linux, ChromeOS, iOS 17.0+, and Android 9.0+ systems. This broad compatibility ensures it can bridge the gap between a work-issued Windows laptop, a personal MacBook, and an Android tablet, adapting instantly to whatever device you connect it to. The T11 isn’t just adding ports; it’s adding intelligence to the workspace.
The Twopan T11 is currently available for a pledge of $55, with shipping scheduled to begin in November 2026 and estimated delivery in December. Each box includes one T11 Hub and a user manual. Demonstrating confidence in their build quality and engineering, all brand-new Twopan products are backed by a comprehensive 18-month warranty that covers any defects in materials and workmanship, ensuring the hub remains a reliable centerpiece of your workstation for years to come.
Butterflies get all the credit. They show up on tattoos, greeting cards, and garden murals, while their nocturnal cousins get treated like the moment a moth flutters near your porch light is a minor household emergency. It is a genuinely lopsided reputation, because moths are just as varied and, frankly, just as beautiful, with wing patterns that range from delicate lace to full on gothic warning labels.
RiinaBuilds seems to agree, and has built a quiet rebuttal in brick form. Framed Moths gathers three real species, the eerie death’s-head hawkmoth, the pastel green Luna moth, and the crimson banded Glover’s silkmoth, and mounts each one in its own frame like a piece from a natural history collection. It is a small, focused idea, but the kind that makes you stop scrolling.
Designer: RiinaBuilds
What sells the whole set is that the frames are not interchangeable. Each one is designed to match the personality of the moth inside it, and that is where the build earns its keep as a piece of actual design thinking rather than just three insects glued to boards. The death’s-head hawkmoth gets a spiked, bat winged black frame that leans full Victorian gothic, appropriate for a moth whose skull shaped thorax marking made it a horror movie mainstay long before LEGO got involved (you have almost certainly seen it staring back at you from the Silence of the Lambs poster). The Luna moth sits in gilded baroque scrollwork that would not look out of place in a palace hallway, while the Glover’s silkmoth gets a warm, wood grain chevron frame, a nice touch given that silkmoth caterpillars spend their entire early lives eating the stuff.
None of these moths are actually glued down. Pop one loose from its backing board and you get a fully realized, freestanding insect, complete with legs, antennae, and a posed body, built to stand or be handled on its own. The frames themselves are doing serious structural work behind the scenes too, with a surprising density of brackets and pins bracing each moth at the correct wing angle, which explains why a set that reads as flat wall art actually adds up to around 2,200 pieces. The wings themselves are built from smooth, studless curves rather than jagged brick edges, letting those looping color bands read as organic rather than blocky, and each frame finishes with a small engraved nameplate in cursive script, bearing the moth’s proper Latin name like a specimen tag in a museum case.
Framed Moths is still early in its LEGO Ideas run, currently sitting at 135 supporters with 425 days left to hit the first major milestone of 1,000 supporters, the threshold that would push it further along the review pipeline. It is a slow climb, but a worthwhile one for anyone who has ever wanted actual taxidermy aesthetics on their wall without any of the ethical baggage. If you want to see these three make it to a real box set, you can head to the LEGO Ideas page and cast your vote here.
Sofas and game controllers are a match made in heaven. Nothing quite screams ‘relaxing gaming sesh’ like a vacant controller lying on an empty sofa, waiting to be picked up, only to be put down hours later. Meanwhile, you start a gaming session on your sofa seated, inching lower and lower till you’re practically laying down in a position only your spine understands (and contends with). Sofas and game controllers truly are an iconic duo… and Muddycap mashed them into the most brilliant piece of furniture any gaming den could ask for.
Meet the Controller Sofa, the name is self-explanatory, as are the visuals. Inspired by the DualShock controllers from yesteryears, Muddycap decided to make the most ultimate gaming furniture ever. It seats two, perfect for mano-a-mano or co-op gaming, and absolutely looks the part. The sofa features a massive D-pad on the left, action buttons on the right, joysticks at the bottom, while the grips double as legs. The entire thing in black, because you can’t wipe dorito-dust or wear week-old hoodies on white furniture.
Designer: Muddycap
Muddycap’s mind is a truly wonderful place, looking at any object and saying ‘will it sofa?’ Past attempts have included traffic lights, martini glasses, even a battery icon. Those are just on our blog – their IG page has even more attempts (1,117 to be precise). All of them have a signature visual template – a sofa against a fairly plain background, allowing the sofa’s design to do all the talking.
This one feels like it speaks to a very specific crowd, and my only real gripe with it is that it isn’t a real sofa – just a 3D model for now. That being said, Muddycap’s represented the controller with stunning detail. Apart from being slightly more horizontally elongated compared to other controllers (but that’s only to accommodate 2 people comfortably), every other detail is spot-on. Including even the trigger buttons at the back, which could be storage compartments if you ask me. Nothing elevates a game-controller-inspired sofa more than an ice box packed into its design, for a few cold sodas or brewskis while gaming!
