LEGO Pays Tribute To The 40+ Year Journey Of Apple Calculator Designs

The iPad got its own native calculator app in 2024, just 40 years after Apple rolled out its first-ever GUI (graphical user interface) calculator for the Macintosh in 1984. The original was designed by Chris Espinosa, and was a favorite of Steve Jobs’ up until it was refreshed with the MacOS X in 2001. However, most of us are familiar with the original black and orange calculator UI that debuted as early as 2007.

The thing is, Apple’s calculator designs are a pretty great way to see the company’s design journey. Things went from strictly functional to visually contemporary to goddamn gorgeous (without ever compromising usability of course), and this LEGO set captures that journey perfectly. Put together with just 821 pieces, this fan-made build shows Apple’s transition through 4 stages – going all the way from the b/w 1984 calculator to the modern scientific calculator.

Designer: The Art Of Knowledge

The first calculator design was put together by Espinosa at the young age of 22 while under the leadership of Jobs. Famously a pedantic, Jobs ripped apart almost every design that Espinosa shared with him. After multiple iterations, Espinosa went to him with what we now look at as the final design. It was accepted, but not without a strong dose of criticism from Jobs, who said “Well, it’s a start but basically, it stinks. The background color is too dark, some lines are the wrong thickness, and the buttons are too big.”

The calculator was finally tweaked on the UI and semantics front by Andy Hertzfeld and Donn Derman, who retained this Jobs-approved graphical version. This remained a standard on Macs all the way up until the end of OS 9. The following OS X, again led by Jobs’ vision to break past old and usher in the new, saw a more skeuomorphic approach.

In 2001, Apple transitioned away from its classic Mac OS 9 calculator, known for its simple, functional design (influenced by Steve Jobs and Dieter Rams’ Braun aesthetic), to the new Mac OS X, featuring a refreshed look that emphasized minimalism, better integration, and user-friendly details like larger zero buttons, reflecting Jobs’ philosophy of simplicity and intuitive interaction.

The final calculator design we see today wasn’t always like this. Apple loyalists will remember a phase in 2007 when the iPhone did have a calculator app with the familiar black and orange colorway, but with rectangular buttons instead of orange ones. The circles only made their way into the UI as late as 2024, although design-nerds will remember the Braun ET55 calculator which heavily inspired Apple’s design efforts. Braun’s entire design philosophy, crafted by legend Dieter Rams himself, helped craft Apple’s approach to industrial (and even interface) design. Shown below are two versions of the same iOS18 calculator design – in basic as well as scientific formats.

“This model utilizes interlocking plates, tiles, and inverted tiles for a smooth, tactile finish. It is designed as a modular desk display, perfect for students, engineers, and tech historians alike. With roughly 821 pieces, it offers a rewarding build experience that fits perfectly alongside other LEGO office or technology sets. Attention is paid to the scale of the model to match as closely as possible to the apps,” says designer The Art Of Knowledge, who put this MOC together for LEGO lovers on the LEGO Ideas forum. It currently exists as just a fan-made concept, although you can vote the build into reality by heading down to the LEGO Ideas website and casting your vote for the design. It’s free!

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Why Cadillac Designed Its F1 Camouflage to Actually Stand Out

Formula 1 teams revealed their 2026 testing plans weeks ago, creating a strange temporal problem. Everyone knows Cadillac will run at Barcelona’s closed-door shakedown on January 26. Everyone knows the real livery reveal happens during the Super Bowl broadcast on February 8. That leaves a two-week gap where the team exists in public view but hasn’t officially launched. Most teams would treat this like dead air.

Cadillac’s response was to design specifically for that liminal space. The testing livery features what they call “the Cadillac precision geometric pattern” in gloss and matte sequences, turning functional camouflage into brand vocabulary. They’re using the constraint of secrecy to communicate design philosophy, establishing that their approach blends automotive prototype discipline with motorsport theater. The giant Cadillac crest draped across the engine cover isn’t trying to hide anything. It’s declaring that the space between stealth and spectacle is itself worth designing for.

Camouflage As A Design Language

Cadillac didn’t reach for F1’s usual testing camouflage playbook. They reached for Detroit’s. The vertical geometric pattern running front to back uses alternating gloss and matte treatments, which is straight out of automotive prototype testing methodology. When manufacturers test pre-production vehicles on public roads, they use dazzle camouflage patterns to break up body lines and prevent photographers from capturing accurate proportions. The gloss-matte alternation specifically disrupts how light reads surface contours, making it harder to discern where one body panel ends and another begins. Cadillac has imported that exact technique onto their F1 car, establishing a visual link between their production vehicle development and their racing program before anyone sees them turn a wheel.

This matters because F1 test camouflage typically aims for generic obscurity. Teams either run bare carbon fiber (functional, boring) or apply random geometric patterns (functional, slightly less boring). What Cadillac did requires actual design development work. GM’s press release confirms the testing livery came from “a cross-continental collaboration” between their global design office and the F1 team’s operations spanning the US and UK. They committed design resources to a livery that will only exist for four days of closed-door testing in Barcelona between January 26-30. That’s an unusual allocation of effort for something most teams treat as throwaway content.

The monochrome palette reinforces the automotive prototype reference while giving Cadillac room to establish brand identity without committing to race colors. Black and silver create what GM describes as “a striking and premium appearance” linked to “a modern interpretation of the iconic Cadillac crest and shield”. Translation: they want you thinking about Cadillac’s luxury automotive positioning while accepting that you’re looking at operational camouflage. The cognitive dissonance is intentional.

Founder Names as Front-End Real Estate

Cadillac embedded the names of their founding team members from both the US and UK facilities onto the nose section. This is where the design brief gets interesting from a messaging perspective. F1 teams occasionally acknowledge personnel on liveries, usually through small decals or subtle typography. Cadillac made founder recognition a primary design element on arguably the most visible part of the car during front-facing photography. The nose gets scrutinized heavily during testing because it’s where teams often trial different aerodynamic configurations. Every photo analyzing nose geometry will also capture those founder names.

The positioning serves dual purposes: it humanizes what could have been pure corporate branding while reinforcing that this program exists because specific people made it happen. Cadillac can’t claim decades of F1 heritage like Ferrari or McLaren, so they’re building a founding mythology in real-time. The test livery becomes the origin story document. When people look back at Cadillac’s first F1 laps, those founder names will be visible in every archive photo. That’s smart long-term brand narrative construction disguised as a nice gesture.

It also signals confidence. Teams worried about looking amateurish during their debut typically minimize branding and keep things conservative. Cadillac put a massive crest across the engine cover and devoted premium nose real estate to personnel acknowledgment. They’re treating Barcelona testing like it matters as a brand moment, which suggests they believe their on-track performance won’t immediately embarrass them. Whether that confidence proves warranted remains speculation until they actually run, but the design choices indicate they’re comfortable being highly visible during the shakedown.

Designing for the Gap Between Testing and Launch

The Barcelona test runs January 26-30. The Super Bowl reveal happens February 8. Official pre-season testing in Bahrain starts February 26, where all teams must appear in their actual race liveries. Cadillac carved out a specific design approach for that middle window when they exist publicly but haven’t officially launched. Most teams would use placeholder graphics or early-reveal their race livery to fill that gap. Cadillac treated it as its own design challenge requiring a distinct solution.

This approach mirrors product launch strategies in consumer tech, where companies often deploy teaser campaigns that reveal design philosophy without showing final products. Apple does this constantly with cryptic event invitations that establish aesthetic direction before unveiling actual devices. Cadillac applied that thinking to F1, using the testing livery as a teaser that communicates brand values (precision, Detroit heritage, automotive development discipline) while maintaining suspense about the race livery. The testing design becomes a prologue rather than a placeholder, giving them two separate moments of visual impact instead of one.

The gamble is whether anyone cares about F1 testing liveries enough for this strategy to matter. Cadillac clearly believes the Barcelona shakedown will generate significant coverage despite being closed to the public, likely because they’re the first new F1 team since Haas in 2016. They’ve got Sergio Perez and Valtteri Bottas driving, both former race winners with existing fan bases. Media attention will be high regardless of access restrictions. By creating a testing livery with actual design intent, Cadillac ensures that coverage focuses on their visual identity and brand positioning rather than just “new team testing in generic camo.”

The Super Bowl Gambit: Two Reveals, Two Audiences

Announcing a February 8 Super Bowl reveal for the race livery turns the testing design into an explicitly temporary statement. Cadillac could have just revealed the race livery now and run it in Barcelona, but separating the reveals creates narrative momentum. The testing livery establishes that Cadillac takes design seriously and imports automotive development discipline into F1. The race livery reveal during America’s biggest television event positions F1 as mass-market entertainment rather than niche European motorsport. Two different messages for two different audiences, with the testing livery handling the credibility building while the Super Bowl moment handles scale and spectacle.

The testing livery will also be on display at the Detroit Auto Show through January 25, giving Detroit-area fans a chance to see it in person before Barcelona. That’s a local market play that reinforces the “Detroit design heritage” messaging GM President Mark Reuss emphasized during the unveiling. Cadillac is working multiple audience segments simultaneously: F1 enthusiasts who’ll scrutinize Barcelona testing, Detroit locals who can visit the auto show, and mainstream American viewers who’ll catch the Super Bowl reveal. The testing livery serves the first two groups while building anticipation for the third.

Whether this layered approach actually moves the needle on Cadillac’s brand perception or F1’s American growth depends on factors beyond livery design. But treating the gap between testing and launch as a design opportunity rather than dead space shows sophisticated thinking about how modern brand reveals work across multiple channels and timelines. The testing livery exists because Cadillac recognized that the waiting room deserves its own design language.

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Inside the Cheetos Cheesyverse: How PepsiCo Turned a Snack Brand into an Immersive Theme Park

In July 2024, an event in Mexico City called the Cheetos Cheesy Verse invited people to experience the Cheetos brand in person. The large installation, designed by PepsiCo, featured ten rooms, each with a unique theme. The concept was to create a fun, explorable space that represented the personality of the brand’s different snacks.

Each room was based on a specific Cheetos product, with distinct visuals and activities. For example, some rooms used hypnotic patterns and bright colors, while others were themed around concepts like Hollywood or sports. The overall project was a success, creating a memorable experience for visitors and winning an A’ Design Award for its interior and exhibition design.

Designer: PepsiCo Design and Innovation

The design here is so visually dense that it commands your full attention. Every surface is covered in saturated oranges, hypnotic swirls, or bold cheetah spots, creating a total environment that feels completely detached from the outside world. This level of immersion is a deliberate choice, engineered to produce highly shareable content. The entire experience is a meticulously crafted backdrop for social media, and that’s not a criticism; it’s a recognition of a very shrewd and effective design objective.

Executing on that objective is the hard part, and it’s where a lot of brands stumble. It’s one thing to have a mood board, but it’s another to translate the “personality” of Cheetos Poffs into a physical space without it feeling forced. The team got around this by anchoring each room to a strong cultural reference. The “Palomitaswood” concept is a perfect example; it’s a clever, immediate signifier for a Hollywood-themed popcorn room. It’s this kind of smart, efficient world-building that elevates the project beyond just a collection of cool-looking sets.

 

You can see this thinking in every detail. Visitors walk in, take photos against the incredible backdrops, and share them, effectively becoming the brand’s marketing department for the day. Look at the photo with the Shiba Inu; that’s a calculated nod to internet culture, designed to resonate with a specific audience. It shows a deep understanding of how visual trends propagate online, which is essential for making an investment like this pay off. This is what a modern marketing ecosystem looks like.

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This PokéDex Wallet Holds 3 Pokémon Cards Along With Your Cash And Childhood Nostalgia

More like Gotta Cash ‘Em All, am I right?! Say hello to by far the nerdiest wallet I’ve ever had the pleasure to set my eyes on. Made for clearly Pokémon lovers, this wallet takes inspiration from one of the most crucial gadgets in the Pokémon universe – the PokéDex. Designed to look almost identical to the flip-based device used to identify the Pokémon you see around you, this wallet comes from the mind of Jalonisdead, with slots to hold (and display) your Pokémon cards along with your banknotes.

The wallet comes in a bifold format in that unmistakeable red finish, with a design to match the PokéDex perfectly. When shut, it looks like a red PokéDex waiting to be opened. Flip the lid open and you’re greeted with a card window on the left that you can use to store the card of your choice. The window lines up perfectly with the card’s graphic, making it look like you’ve ‘spotted’ that Pokémon. Meanwhile, faux graphics on the wallet look almost identical to the gadget from the game/series.

Designer: Jalonisdead

There’s space for multiple cards, although the one front-and-center is clearly for a Pokémon card. Two other slots on the right side can be used for payment and I’d cards too – this is a wallet after all. A slot on the top holds banknotes, although I wish there were place for coins too. The unusual shape lends itself perfectly to wallet use, and I’m surprised nobody at Nintendo thought of cashing in on this idea.

Each wallet costs in the ballpark of $56 USD, and ships in authentic Pokémon card-style packaging, along with 4 Pokémon cards in mint condition. Jalonisdead (the maker) isn’t a massive company, so each wallet is made-to-order and probably by hand too. This means the turnaround time for delivery is anywhere up to 2 months, but for a Pokémon aficionado, I’m sure it’s a small price to pay for perhaps what might be the coolest wallet I’ve seen in years!

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Meet The IRIS eTrike, The SWAT Kats Style Commuter Pod That Doesn’t Need A Driver’s License

Remember the Cyclotron from SWAT Kats, that enclosed motorcycle where the rider sat inside a protective cockpit instead of perched on top like a regular bike? The IRIS eTrike looks like someone pulled that 1990s animation concept into reality, then made it street legal and available for around £10,000. Grant Sinclair’s creation wraps you in carbon fiber and acrylic while filtering the air you breathe, protecting you from weather and impacts, and delivering acceleration that made an astronaut audibly impressed on national television. The whole thing reads like a childhood sketch that somehow survived into adulthood and picked up a spec sheet along the way.

This is not a modified e-bike with a fairing bolted on. The structure uses a carbon fiber monocoque shell with integrated impact absorbing elements, the same construction philosophy you see in race cars and high end velomobiles. A 48V battery feeds motors ranging from 250W to 1000W depending on which regulations you want to play with. The result hits around 30 mph, travels roughly 30 to 50 miles per charge depending on source and configuration, and still qualifies as an electrically assisted pedal cycle that teenagers can legally ride without insurance or licensing in the UK. Sinclair calls it an answer to urban congestion and climate pressure. It lands visually like science fiction that escaped the screen and wandered into the bike lane.

Designer: Grant Sinclair

Here is where it gets interesting from a design perspective. Most e-bikes still cling to the visual language of the bicycle frame, even when the electronics and performance have drifted far from that origin. IRIS throws that out and starts from a capsule, then works backward to fit a drivetrain and pedals inside. The rider sits enclosed under an aviation acrylic canopy, with the company describing the experience as like riding inside a large crash helmet. That analogy works, because the shell is not aesthetic garnish. It is structure, safety device, weather shield, and aerodynamic surface all at once.

The numbers back up the design intent. Two 24 inch carbon BMX wheels up front, one 26 inch carbon MTB wheel at the rear, all on puncture resistant Tannus tires, give it a footprint that is still narrow enough for cycle lanes but visually substantial enough that you do not feel like a speed bump in traffic. Mechanical disc brakes handle stopping, which is conservative but probably easier to maintain for people used to bikes rather than motorcycles. Claimed weight is around 50 kg including the battery, which puts it in velomobile territory rather than microcar territory. That matters, because you are still pedaling. The motor is assist, not a throttle only scooter masquerading as a bicycle.

The IRIS’ closed cockpit won’t have you feeling the wind in your hair, but it does pack its own HVAC. There is a patent pending system that channels cooled air directly onto the 130 Nm motor to keep efficiency up on climbs. At the same time, the cabin air runs through HEPA filtration that targets smoke, germs, and general city gunk. This solves two classic velomobile complaints in one go, heat build up and stale cabin air. If you are going to seal someone into a plastic and carbon tube in London traffic, you had better be thinking about airflow. IRIS clearly did, and that is where you see the difference between a novelty vehicle and something that might survive daily use.

Of course, the £10,000 price tag is going to trigger instant comparisons to cars, cargo bikes, and very nice traditional e-bikes. From a pure transport economics viewpoint, a used EV or a solid cargo bike setup will look saner for most people. From a design and category perspective, though, IRIS is playing a different game. It targets the solo commuter who wants car like enclosure, bike like access to infrastructure, and sci fi visual drama. That is a niche, but it is a real niche, especially in cities that are tightening car access and expanding protected lanes.

All that performance capability creates an interesting regulatory puzzle, one that Sinclair has solved quite cleverly. The IRIS is officially classified as an Electrically Assisted Pedal Cycle, or EAPC. This means that, in the UK at least, it can be ridden on roads and in cycle lanes by anyone aged 14 and over. There is no requirement for a driver’s license, road tax, or insurance, which removes enormous barriers to entry. By designing the vehicle to fit within this specific classification, Sinclair has created a high-performance commuter that enjoys all the legal freedoms of a simple bicycle, a brilliant piece of strategic engineering.

I keep coming back to the cultural lineage here. The Sinclair C5 is the ghost in the room, a low slung, underpowered, ahead of its time experiment that became a punchline. IRIS feels like a direct rebuttal. Higher seating, serious power, serious materials, a body that looks more like a velodrome helmet than a plastic bathtub. The same family name, but with four decades of battery tech, composite manufacturing, and urban policy shifts in its corner. You can see the quiet argument in the design: the idea was not wrong, the context was.

Does that mean IRIS becomes common on city streets? Probably not. It is too specific, too opinionated, too expensive to flood the market. What it does very effectively is stretch the Overton window of what an e-bike can look like and how much protection and tech you can wrap around human power before it stops feeling like cycling. If you grew up watching animated bikes that turned into fighter jets, IRIS feels like the first time someone took that sensibility seriously and then called the result an electrically assisted pedal cycle, with a straight face and a spec sheet to match.

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Apple’s 50th Anniversary Gets a Retro iPhone 17 Pro Case Inspired by the Lisa and Macintosh

Spigen keeps one foot planted firmly in Apple’s past. Their retro-inspired cases have become something of a signature move, from iMac G3 translucent homages to see-through AirPods cases that capture Jony Ive’s obsession with showing off internal components. The accessory maker has proven there’s a market for nostalgia you can actually use.

The Classic LS marks a pivot from colorful transparency to utilitarian elegance. Celebrating Apple’s 50th anniversary, this new case reaches back to the Macintosh 128k and Apple Lisa era, when computers came in beige enclosures and harbored revolutionary ambitions. The platinum-gray finish, ridged camera module, and rainbow logo placement all reference those iconic machines. Spigen has managed to honor the design legacy and vision Steve Jobs set in motion while keeping features like MagSafe and Camera Control Button functionality intact.

Design: Spigen

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Pivoting to the 128k and Lisa is a deliberate, almost academic move compared to their previous work. The iMac G3 was about making computers seem fun and harmless; the Macintosh was about making them seem possible. This case captures that earlier, more serious ethos. The horizontal ridges around the camera module directly evoke the necessary ventilation slats of those CRT-era machines, and the case’s texture feels like a direct nod to the plastics of the time.

All this design reverence would be wasted if it didn’t work as an actual case for a 2026 flagship. Spigen is limiting this to the iPhone 17 Pro and Pro Max, with built-in support for the Camera Control Button (rather than a mere cutout). For $39.99, you get the expected MagSafe ring and a discrete lanyard cutout, so the aesthetic doesn’t compromise modern convenience. This is a piece of designed history that actually functions as a daily driver, not just a shelf-bound novelty item.

It’s just refreshing to see an accessory that has a real, informed opinion. The market is drowning in a sea of identical clear cases and minimalist leather folios that say absolutely nothing. The Classic LS, however, makes a statement. It’s for a different kind of Apple enthusiast, one who appreciates the foundational designs that made today’s devices possible. It wraps a sleek, modern slab of technology in something with texture, history, and a point of view. Spigen has managed to create a product that feels both nostalgic and completely current.

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DIY LEGO ‘Connect 4’ Brickset lets you actually play the game after building it!

There aren’t many LEGO sets designed to played with once they’re built. A lot of them are envisioned as show-pieces, and yes, you can do imaginary play with them like you would holding a LEGO Millennium Falcon and whooshing around the house, but this MOC from HH Bricks captures a kind of LEGO playability that’s absolutely rare. Inspired by his daughters’ love for building and playing with LEGO, HH Bricks designed this playable version of one of the world’s most popular tabletop games.

For those uninitiated, Connect 4 is a simple game where you drop tokens down a vertical slot-board, trying to build a set of 4 tokens in a straight line. Your job is to simply build a straight line without being stopped, while also consistently breaking your opponent’s ability to build a solid 4 streak on their own. The game just celebrated 50 years since it was first invented in 1974 (and commercially sold in ’75), and this set recreates the game’s strategic magic, just using LEGO bricks.

Designer: HH Bricks

Although HH Bricks doesn’t specify how many pieces come together to build this set, one could venture it’s easily in the higher end of the spectrum, just because of how many tiny single or double-stud bricks were used to build the set’s flat panels and the 42 tokens that come along with the board. Flat surfaces are fairly complex in LEGO, not because of any visual complexity, but just the fact that they require a lot of bricks to build out.

The rules are ridiculously simple. Each player chooses a color and gets to work, dropping tokens into any slot they want. Beat your opponent by building a connection of 4 tokens in the same color in a straight line (horizontal, vertical, or diagonal). Some people even play a double-streak round, trying to hit two connections to eventually win the game. Once the game is over, simply pull out the bottom tray and all the tokens come crashing out, reseting the game for the next session.

If you’re here you’ve probably heard of LEGO Ideas – the online forum where LEGO fans and enthusiasts build, share, and vote for MOCs (or fan-made My Own Creations). This LEGO Connect 4 set is a part of the Ideas forum too, having racked up more than 2,800 votes as of writing this. The ultimate goal is to hit the 10k vote mark (which this MOC has 478 more days to reach), following which LEGO’s internal team reviews the build and turns it into a retail box set if everything goes well. The first step, however, is to hit that 10,000 vote mark, which you can help HH Bricks reach by voting for their MOC on the LEGO Ideas website here!

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Retro iMac G3-style AirPods Max takes inspiration from Apple’s most colorful tech era

Sure, the AirPods Max come in colors – but there’s something so cold and un-emotional about anodized aluminum. It grabs your eye, but then immediately lets your eye wander once your fingers have run past its cool matte surface. Aluminum’s only purpose was to help build devices that were sleek and thermally advantageous. The problem, however, is that the AirPods Max aren’t ‘sleeker’ than your average headphone. Again sure, the MacBook Air looks so much thinner than the other average laptop – but aluminum in headphones achieves nothing. It adds weight, makes the head feel heavy, and doesn’t even look as eye-catching as some of its plastic-based counterparts.

Saffy Creatives recognized this and decided to give the AirPods Max a rather fitting makeover. After reinventing the Apple Watch as a G3-inspired retro-dream, they’re back with a redesign for the AirPods Max that looks oh-so-gorgeous it makes me want to try licking the headphones – obviously in a non-creepy way.

Designer: Saffy Creatives

What Saffy Creatives did is clever because it doesn’t change the AirPods Max silhouette – just its material treatment. Fair warning, the images ARE made using AI, but to be honest, AI is used more as a rendering tool here than it is as an imagination aid. The device looks exactly the same, except the parts made from metal are now replaced with dual-tone transparent/translucent plastic. The headphones here adopt Apple’s iconic Bondi Blue color scheme, with the outer cans giving a look into the headphones’ inner mechanics (just as Jobs intended with the iMac G3). A cloudy white element breaks the transparent shell, adding almost a halo of sorts around the can while also meaningfully separating the materials that would be probably impossible to injection-mold otherwise.

The old colorful Apple logo also finds itself on both the outer cans – something Apple wouldn’t be caught dead doing with their metal headphones. Is the detail almost too distracting? Some Apple purists would probably say it is – but nobody buys headphones because they look boring. Every audio-lover worth their salt wants headphones that make a noise, whether it’s through audio drivers, or through visuals.

The rest of the headphone remains fairly the same. The cups stay exactly the way they originally were, with the 3D mesh we’ve come to love. Similarly, the headband retains its mesh cushion too, however, the outer plastic frame also gets translucent/cloudy white plastic treatment to match the overall vibe. The result is a pair of headphones that are as gorgeous as any of Apple’s turn-of-the-millennium products – when Jobs and Jony Ive probably had more fun than they ever had making products.

Obviously such a pair of headphones will never exist (and I do wish Nothing had done a better job with their transparent design), but if there’s some maverick YouTuber looking to mod the AirPods Max, this weirdly nostalgic build is definitely worth a shot. After all, it’s nothing a 3D printer could churn out in a few hours. You’re not really changing the geometry either – just the material.

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Top 5 Reasons the Roborock Qrevo Curv 2 Flow Is Built for Open-Plan Homes With Mixed Flooring

Most robot vacuum-mop combos on the market right now do an acceptable job on light dust and can push a damp pad across hardwood, but ask them to handle a real kitchen spill or a week’s worth of tracked-in dirt from a dog, and the cracks start to show. Streaky floors, damp patches that take twenty minutes to dry, wheel marks through the mess, and mop pads that smell like a gym locker after three days. The promise has always been “set it and forget it,” but the reality for most owners involves regular pad washing, manual spot cleaning, and a nagging sense that the robot is just redistributing grime rather than actually removing it. Homes with kids, pets, or open-plan layouts where the kitchen flows into the living room need more than a technical pass, they need floors that are genuinely clean and dry enough to walk on immediately.

Roborock’s answer to that gap is sitting on the show floor at CES 2026, and it is called the Qrevo Curv 2 Flow. Positioned as the brand’s first “Real Clean Challenge” hero product, it is engineered specifically around what North American households actually throw at a robot vacuum: sticky spills, pet messes, carpets next to hard floors, and the expectation that a thousand-dollar machine should not become another maintenance project. The pitch centers on “real dry and real clean” performance, delivered through a one-pass roller-mop system, automatic wet/dry carpet separation, and a dock that handles most of the gross maintenance work without intervention. What follows is a walkthrough of the five things that stand out most after watching it run through Roborock’s booth demos, with an eye on what actually matters once this machine is navigating a real living room.

Designer: Roborock

1. One-Pass Roller Cleaning That Actually Looks Finished

The centerpiece is a 270mm-wide roller mop, noticeably wider than the typical 180mm rollers on most competitors. That extra width means fewer passes to cover the same area, and in booth demos running over simulated coffee spills and muddy pet prints, the difference is visible. The system applies 15N of downward pressure (roughly 2.5 times the previous model, equivalent to about 1.5kg of force) combined with 220 RPM rotation, so the roller scrubs rather than just wipes. Where shorter rollers leave streaks or require a second pass, this one clears the mess in a single stroke and moves on.

What keeps it from smearing dirty water around is the SpiralFlow real-time self-cleaning system. Eight precision hydration points distribute clean water across the roller while a built-in floating scraper removes excess moisture and channels dirty water into a separate wastewater tank. The four-step process (hydrate, control moisture, scrub, collect) happens continuously while the robot moves, so every pass uses a relatively fresh section of roller. The floating scraper automatically adjusts to the roller surface, unlike fixed scrapers on track-mop designs that apply uneven pressure and leave streaks. In controlled spill tests, floors look finished after one pass and dry to the touch within a couple of minutes.

2. Carpets Stay Dry, Even When You’re Not At Home

Before the robot reaches a carpeted area, the roller lifts up to 15mm off the floor while a roller shield simultaneously extends to cover the mop, creating a physical barrier that blocks both moisture and dirt from transferring onto carpet fibers. The system works with carpets up to about 13mm pile height, and for taller rugs, the app lets users set custom behaviors. In the demo setup with a kitchen runner adjacent to tile and a living room area rug, the robot transitions cleanly between surfaces without leaving visible damp spots on carpet edges, which is usually where most robots fail.

That edge transition matters for homes with mixed flooring, especially where a spill on hard floor sits right next to a rug. Most two-in-one robots either roll onto the rug and react (leaving damp edges) or force users to draw manual no-go zones around every carpet. The shield solves that by keeping the wet roller physically separated during the entire crossing, rather than relying solely on lift height.

3. Edge Cleaning Without the Baseboard Crunch

Getting close to walls has always been a trade-off: stay back and leave a visible dirt line, or bump repeatedly into trim and sound like the robot is attacking the baseboards. The Qrevo Curv 2 Flow uses an edge-adaptive roller mop that extends outward to reach within about 10mm of the wall, rather than relying entirely on side brushes. The precision extension mechanism activates when the robot detects an edge, allowing the roller to cover areas that would normally be missed without requiring the entire robot body to press against the wall.

In booth demos around skirting boards, TV cabinet legs, and furniture corners, the coverage is noticeably better than non-extendable designs, which typically leave a 2-3cm gap that accumulates dust. The other advantage is noise and wear. Robots that compensate for short rollers by repeatedly bumping into walls create scraping sounds and can scuff paint over time. The extendable design means the robot maintains a few millimeters of clearance while still getting the roller right up to the edge, reducing both noise and long-term cosmetic damage.

4. Hair Management That Doesn’t Turn Into Weekly Surgery

The DuoDivide main brush uses a split design with two counter-rotating arms that move hair from both ends toward the center, cutting transport distance in half. At the center gap, the two brushes spin at slightly different speeds, creating a differential effect that tears apart bundled hair rather than letting it wrap into a solid ring. A precision scraper strips the hair off, and high-flow suction pulls it into the dustbin. After a simulated hair test at the booth (long hair and pet fur spread across hard floor and low-pile carpet), the brush remains visibly clean with no wrapping at the ends and no hair stuck in the dustbin inlet.

The side brushes use dual lifting arc designs with an asymmetrical spiral arc shape. As the brush rotates, centrifugal force pushes hair outward toward the bristle ends instead of letting it spiral inward toward the hub, and a soft rubber baffle at the base blocks hair from wrapping around the mounting point. Both side brushes also lift automatically when switching to mop-only mode or approaching wet messes, preventing them from getting caked with damp debris. Whether the zero-tangle performance holds up over weeks in a real home is the open question, but the engineering choices are mechanically sound approaches to the hair problem.

5. A Dock That Cleans Like a Mini Washer, Not Just a Parking Spot

When the robot returns to wash its roller, the dock first drains the dirty water from the previous clean, then rinses the roller with fresh water, rather than back-washing dirty water into the roller. While the roller is being cleaned, it alternates between forward and reverse rotation while dual scrapers comb through the fibers from both directions. The dock heats wash water to 75°C (Roborock claims 99% bacteria removal) and runs 55°C warm air drying afterward to prevent mildew and odor. Intelligent dirt detection monitors how dirty the water is during washing, and if it detects heavy soiling, it automatically extends wash duration and can trigger the robot to return to heavily soiled areas for an additional mopping pass.

The dock handles auto dust emptying with a 2.5L bag capacity (roughly 65 days under typical use), and more importantly, the roller, roller shield, dirty water tank, and dock base are all designed for quick removal and manual cleaning. Unlike competitor docks with non-removable shields and narrow gaps that accumulate hidden grime, everything that touches dirty water can be pulled out and rinsed. The trade-off is complexity: more sensors, more moving parts, and likely higher consumable costs. But the design philosophy is clear: take on more of the maintenance burden at the dock level so the user does not have to babysit the system daily.

The post Top 5 Reasons the Roborock Qrevo Curv 2 Flow Is Built for Open-Plan Homes With Mixed Flooring first appeared on Yanko Design.

Tired of AI filters and endless selfies? Retro‑styled Await Camera makes you wait 24 hours to see your photos

Your smartphone camera lets you take 47 photos of the same sunset, delete 46 of them, and still feel like something’s missing. Rolling Square’s new Await Camera takes the opposite approach. You get 24 shots across three rolls, no preview screen, and a full day before you can even see what you captured. The Swiss company unveiled this retro digital camera at CES 2026, pricing it between $70 and $100 as part of a subscription service that prints and ships your chosen photos.

Waiting feels revolutionary in 2026. Await forces you to consider each shot before pressing the shutter, then sit with your choices for 24 hours while the photos sync to the cloud and “develop.” Only after that delay can you review what you captured, select the keepers, and wait again for physical prints to arrive at your door. This deliberate friction contradicts every principle of modern digital photography, yet that’s precisely the point. Patience, not megapixels or computational processing, separates memorable photos from forgettable ones.

Designer: Rolling Square

The design language screams disposable camera aesthetics but with actual build quality behind it. Rolling Square went with a translucent lower body that shows off the internals, which feels very Y2K revival but somehow works here. The top fascia snaps off and comes in colors that would make a highlighter jealous: yellow, lime green, turquoise, cobalt blue. At 98 x 67.5 x 15.5mm and just 95 grams, this thing disappears in your pocket. The front keeps it minimal with a viewfinder, xenon flash (yes, actual xenon, not LED), the lens, and a tiny speaker grille. Flip it over and you get a small OLED display showing your remaining shot count, another viewfinder window, and an orange shutter button. That’s the entire interface. No menus, no settings, no mode selection hell.

Rolling Square stripped out everything people actually hate about photography in 2026. There’s no “share to Instagram” button begging you to post immediately. No WhatsApp integration pushing you to dump photos into group chats. No sticker library, no caption prompts, no AI restyling that makes everything look like it passed through the same algorithmic blender. Await functions as a camera, period. You point, you shoot, you move on with your life. The three-roll system divides your 24 photos into eight-shot chunks, creating natural break points that encourage thinking in sequences rather than spray-and-pray shooting. The OLED counts down your remaining exposures, which creates this low-key anxiety that actually improves your photography because suddenly you care about composition again.

Here’s where it gets interesting. After you burn through your shots, you connect Await to your phone and the photos upload to the cloud. But you can’t view them for 24 hours. Rolling Square artificially enforces this development window, and honestly, it’s the smartest friction they could have added. That delay prevents you from judging your work in the moment, which means you approach editing with fresh eyes instead of deleting anything that doesn’t match your initial expectation. Film photographers lived with this for decades and somehow produced the most iconic images in history. Maybe instant feedback actually makes us worse at evaluating our own work.

Once the 24 hours pass, you open the app and see your roll. Now you pick which shots deserve to become physical prints through the subscription service (monthly or annual plans, though Rolling Square hasn’t dropped exact pricing yet). Selected photos get printed and shipped to your address, which adds another waiting period between shooting and holding the final product. The whole process can span a week or more, turning photography back into something that produces tangible objects rather than files that die in your camera roll. Physical prints demand different engagement. You can stick them on a fridge, write on the back, hand them to someone, lose them in a drawer and rediscover them years later. They exist independent of devices, batteries, or cloud services, which gives them staying power that Instagram stories will never match.

Rolling Square hasn’t announced a firm release window, although the crowdfunding campaign should launch any time around end of January or the first half of February. Pricing allegedly will land between $70 and $100 for the hardware, plus subscription costs for the print service. The target audience seems to be people exhausted by infinite scroll and computational perfection, which describes roughly everyone under 30 and most people over it. Await won’t replace your smartphone or convince serious photographers to ditch proper gear, but for specific moments when you want to shoot more thoughtfully than another burst of instantly-forgotten phone snaps, this approach makes sense. Patience rarely feels like a feature until you realize how completely you’ve lost it.

The post Tired of AI filters and endless selfies? Retro‑styled Await Camera makes you wait 24 hours to see your photos first appeared on Yanko Design.