Author Archives: Sarang Sheth

Lego’s new $160 Fast & Furious Dodge Charger takes family time very seriously

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The 1968 Dodge Charger almost died as a clay model. Designer Richard Sias sculpted a 1/10th scale study, and Dodge styling boss Bill Brownlie ordered it destroyed before leaving on a trip to Europe. His team hid it in a back corner of the studio and kept refining it anyway, which might be the most Toretto move in automotive history. That rebellious little model became the second-generation Charger, and the 1970 version went on to become Dom’s car in The Fast and the Furious. Fast forward a few decades, and LEGO has put the Charger right back where it started, as a scale model on a table, this time in 1,516 pieces.

The LEGO Technic Fast and Furious Dodge Charger R/T (set 42231) runs 16 inches long, costs $159.99, and marks the second time LEGO has built Dom’s ride in Technic. The 2020 version had 1,077 pieces, a 10+ rating, and a wheelie stand. This one goes 18+ with a V8, a chain-driven blower, a cardan shaft feeding a rear differential, independent front suspension, and two NOS bottles plus a fire extinguisher in the trunk. A Build Together mode in the LEGO Builder app lets multiple people work on the same car from their own devices. Building Dom’s Charger with family is basically required by franchise law at this point.

Designer: LEGO Technic Design Team (in collaboration with Universal)

Dom’s Charger has always been a beautiful lie. The production acquired five Chargers for the 2001 film, and some of them were 1969 cars with 383 engines dressed up to pass as 1970 R/Ts. The towering supercharger bursting through the hood was a chrome-plated plastic replica, and the famous start-line wheelie came from a hydraulic ram. The script still promised 900 horsepower and a nine-second quarter mile, and audiences happily believed every word. The wreck from the finale even landed a second acting gig, sitting in a scrapyard at the start of Herbie: Fully Loaded.

LEGO’s version wears black Technic panels from nose to tail, with a light-gray frame tracing the 1970 model’s loop bumper around the front end. New 2×2 corner panels, spotted by fans on Eurobricks, shape the grille so the front clip wraps around its edges instead of ending in a flat wall. Charger script sits on the grille, and the tail gets a light-gray valance, red taillights, and a Fast & Furious plate. Staggered-width tires, another new part, put fatter rubber at the back, which is exactly how a drag car should sit. A light-gray roll cage threads through the cabin, giving the black body a contrasting skeleton you can see from every angle.

My favorite detail, though, is the blower. LEGO calls it a chain-driven compressor, and up close it’s a loop of Technic chain links wrapped around a red pulley on top of the V8. Real Roots-style blowers run on belts, so the chain stands in for one at brick scale and gives the engine a moving part you can watch. It does three jobs at once: it’s the car’s visual signature, it’s a working mechanism, and it’s a LEGO recreation of a prop that was fake to begin with. Hollywood bolted a plastic blower to a 1969 Charger, and LEGO answered with a plastic blower that actually moves.

The 2020 set launched at $99.99, which makes the new one a hefty step up in price and ambition. Set 42231 adds 439 pieces and drops the old lever-operated wheelie stand, a feature fans loved more for the idea than the execution. At 16 inches long, the model works out to roughly 1:13 against the real car’s 17-plus feet. That slots it between LEGO’s Technic Supra at 1:16 and its Skyline GT-R R34 at 1:10. It also lands close to the 1/10th scale clay that Sias’s team once hid from their boss, so the Charger has come full circle.

LEGO launched the Technic Fast and Furious Mitsubishi Eclipse (42229) alongside the Charger, an 827-piece take on Brian’s green Eclipse from the first film, complete with its own NOS bottles. Add the Technic Supra and Skyline, and LEGO has rebuilt the hero cars of the first two films in Technic form. Line them up on a shelf, and you’ve got a family reunion that only needs a backyard barbecue and a bucket of Coronas. The Build Together mode handles the rest, splitting the Charger’s build across multiple devices so everyone gets a turn. I fully expect someone to claim the blower and refuse to share, which is also very family.

The LEGO Technic Fast and Furious Dodge Charger R/T (42231) costs $159.99 and is available now at LEGO.com, LEGO Stores, and retailers including Amazon and Best Buy. LEGO caps online orders at three per household, which feels low for anyone with a crew as big as Dom’s. Assembled, it stands over 4 inches tall and 7 inches wide, sized for a desk or a shelf next to the Supra. If LEGO ever does a third version, I’d ask for the wheelie stand back and a light kit for that grille. Until then, keep this one parked well away from semi trucks.

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This $56 DIY space shuttle has gears, glowing engines, and zero subtlety

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A fun bit of trivia for ruining dinner parties: NASA never tilted its space shuttles upright at the launch pad. The orbiters were stacked vertically inside a giant building in Florida and crawled out to the pad already standing, at roughly one mile per hour. ROKR’s wooden Space Shuttle kit does the dramatic tilt anyway, and honestly, good call. The 446-piece model uses a motor and a gear rack to swing its orbiter from horizontal to vertical before a light-show countdown. It costs $59.99, and it’s the most fun I’ve seen a piece of plywood have.

The horizontal-to-vertical move comes from the Soviet playbook, where rockets like Soyuz and the Buran shuttle’s Energia launcher rode to the pad lying down and got hoisted upright by a giant transporter-erector. The one built for Energia-Buran weighed 2,756 tons, which makes ROKR’s little motor look charmingly modest. ROKR blends that Baikonur trick with a Kennedy-style tower, complete with swing arms that rotate 90 degrees and retract, plus a crane boom hovering over the fuel tank’s nose. The result is a tiny Cold War mashup that stands 10.7 inches tall (272mm) on your desk. Robotime, ROKR’s parent company, rates the build at five stars of difficulty and estimates about six hours.

Designer: ROKR (Robotime)

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A toothed rack runs along the base, and a linkage arm pushes the shuttle’s cradle through horizontal, 45 degrees, and a full 90 degrees. It is a rack-and-linkage setup that turns sliding motion into a smooth tilt, the same family of tricks that tips a dump truck bed. Robotime credits a four-stage gear system and a reduction motor, and the slow speed is the point, since a fast launch pad looks like a toy and a slow one looks like a procedure. A sliding master switch powers the pad, and a touch button starts the sequence. Once the orbiter is upright, the arms swing clear, the tower flashes six times, and orange and blue LEDs glow under the engines.

Robotime calls the tower a seven-deck terminal with separate command and test zones, and its plywood panels are engraved with codes like LKA02, H23, and SPACE-R. Warm LED windows glow across the tower’s decks, which gives the whole thing a late-night mission control mood. Kennedy’s real service structure was an open steel lattice topped with a lightning mast, while ROKR’s version is chunky, paneled, and marked with chevrons, closer to an Alien-era hangar than a Florida launch pad. That makes sense, since laser-cut plywood excels at flat planes and tabbed boxes and would snap if asked to imitate thin truss work. The material picked the style, and the style looks great glowing amber in a dark room.

Most of the model is laser-cut plywood joined with mortise and tenon joints, which means no glue and no mess. The orbiter gets an ABS cabin with crisp white panels, because plywood and a rounded shuttle nose do not get along. That swap gives the shuttle a clean white finish and a smooth nose, and it makes the orbiter pop against the warm wood tower. It also nails the shuttle’s most recognizable silhouette, with delta wings, a tail fin, and a fat central tank hugged by a pair of boosters. ROKR leaves the tank and boosters in natural wood tones, which keeps the spotlight on the white orbiter.

There is no NASA meatball anywhere on this orbiter, which tells you the kit is an homage with its own livery. Instead, the orbiter carries a ROKR logo shaped like a ringed planet, and the wing reads SPACE. The promo shots park the whole scene on a moonscape under a giant moon, so the lore seems to be a lunar spaceport with a very retro taste in rockets. That freedom lets ROKR chase drama over blueprints, which is how you get an exposed gear rack sliding out of the base like a mechanical spine. I’d argue that is the right instinct, since a model that moves should show its working.

The obvious rival is LEGO’s Icons NASA Space Shuttle Discovery (10283), a 2,354-piece set that launched in 2021 at $199.99. LEGO wins on fidelity, with a licensed NASA livery, a real orbiter’s proportions, and a tiny Hubble Space Telescope to tuck into the cargo bay. Once the build is done, it holds a pose, and the moving parts stop at the cargo bay doors and a little robotic arm. ROKR gives up some fidelity for motion, a motor, and a countdown, all for less than a third of the price. The two pair well on a shelf, with LEGO playing the museum piece and ROKR playing launch day.

The ROKR Space Shuttle LKA02 sells on Amazon for around $56. Bring your own USB-C cable (5V input), because the box leaves power to you, and the kit is rated for ages 14 and up. Budget about six hours for the build, which beats waiting out a real scrub. Space shuttles last flew in 2011, so plenty of younger fans have only ever met an orbiter parked behind a velvet rope. Putting the launch under your own thumb is a neat reversal for a program famous for waiting on weather and gremlins.

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Sunseeker’s mower has LiDAR, vision, and a serious beef with leftover grass strips

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They say AI will steal our jobs. Whoever trims that stubborn strip of grass along the lawn’s edge seems to have excellent job security. We’ve got robots driving around gardens, mapping their surroundings, and keeping the grass neatly cut, yet the border still has a habit of becoming someone’s weekend assignment. Personally, that’s a job I’d be delighted to hand over.

Sunseeker’s upcoming X8 Plus looks eager to apply. Its EdgeZero™ 2.0 trimming system targets a zero-inch edge gap, according to the company, putting that leftover strip squarely on the agenda. Set for a preview at Equip Expo 2026, the robotic mower also brings solid-state LiDAR, stereo vision, and network-assisted satellite positioning. An impressive résumé, although the edge-cutting hardware is what makes me want to schedule the interview.

Designer: Sunseeker Elite Team

Click Here to Know More: Equip Expo 2026.

The Last Few Inches Are a Hardware Problem

A mower can follow a boundary accurately and still leave grass behind if its blades cannot reach it. Knowing where the border is and cutting right up to it are separate assignments. Sunseeker describes EdgeZero™ 2.0 as its answer to the second one, though the announcement leaves the mechanism’s finer details unexplained. That’s the part I’d want a closer look at: how the trimming tool reaches the border while the mower’s body stays clear. A clean pass beside a raised edge would tell a useful story.

Getting into position is its own engineering task. The X8 Plus uses nRTK, a form of satellite positioning that draws correction data from a network of reference stations. In plain English, those corrections help tighten up the machine’s estimate of where it is. Sunseeker combines that positioning with solid-state LiDAR and stereo vision, giving the mower several sources of information as it navigates. Your garden may look peaceful from the patio; the robot has quite a bit to figure out down there.

Sharing the Lawn With the Locals

There’s an infrared camera in the mix, too, which Sunseeker says supports animal-friendly operation. That’s a worthwhile consideration for a machine sharing outdoor space with creatures that have never checked its mowing schedule. The announcement doesn’t establish exactly how the system identifies or responds to different animals, so I’d keep the promise modest for now. Still, accounting for the lawn’s other residents belongs in the design brief. The grass might stay put, but everything passing through it gets a vote in how smoothly an autonomous mower’s afternoon goes.

Sunseeker Elite already explores that relationship between sensing and physical movement in its existing X7 Gen 2 and X7 Plus Gen 2. Those models combine satellite positioning with visual mapping, while all-wheel drive and floating dual cutting discs address traction and uneven ground. That provides useful context for the X8 Plus: software has to work with wheels, blades, and the shape of the property. I like that the new preview brings attention back to the finishing work. A mower’s route can look beautifully organized on an app, but the result still gets judged from the garden chair.

A Closer Look at Equip Expo 2026

Equip Expo should provide a closer look at Sunseeker’s approach. The show runs October 20-23, 2026, at the Kentucky Exposition Center in Louisville, Kentucky, with Sunseeker at Indoor Booth #1190 and Outdoor Booth #7460D. The company plans an interactive mower-vision experience, letting visitors see imagery from a machine’s perspective, alongside outdoor slope demonstrations using the X7 Gen 2 and X4. Those demonstrations concern the existing models, while the X8 Plus is the next-generation preview. Seeing what a mower perceives could make that long sensor list considerably easier to understand.

Pricing and retail availability for the X8 Plus aren’t specified in the announcement, so the zero-inch edge target remains a reason to watch its development rather than retire the trimmer immediately. For me, though, it’s a persuasive direction to pursue. Finishing the borders would remove a very specific reason for a person to follow the robot outside and pick up another tool. If Sunseeker can make that work reliably, I’m perfectly comfortable with this particular job disappearing. The person who used to do it can have Saturday morning back.

Click Here to Know More: Equip Expo 2026.

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Hangzhou’s glowing glass museum takes its cues from 5,000-year-old jade

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Most museums are designed like very expensive shoeboxes. Art hates sunlight, so architects seal the walls, bolt on some skylights, and call it a day. Aedas went the other direction in Hangzhou and wrapped an entire museum in glass, then twisted it into two interlocking rings for good measure. The Yohoo Museum sits on an island in an artificial lake, glowing like a piece of polished jade, which is exactly the point. The shape is borrowed from the ritual jade rings of the Liangzhu culture, a Neolithic civilization that thrived in this part of China around 5,000 years ago.

Ken Wai, Global Design Principal at Aedas, led the design of the 57,650-square-foot (5,356-square-meter) building, completed in 2024 inside Liangzhu Yohoo Park (that’s Yohoo, not Yahoo the search engine. I know, I made that mistake too). The glass is a translucent multilayer laminate Aedas calls “emerald glass,” and it filters daylight into a soft, even wash across the galleries. A steel frame lets the ends of the rings lift off the ground with no visible support, creating covered plazas underneath. The project won Architectural Design of the Year and a Gold in the Cultural category at the International Design Awards, a juried global competition for built work.

Designers: Aedas, Ken Wai

Liangzhu jade comes in two signature shapes, the bi and the cong. The bi is a flat disc with a hole in the center, while the cong is a chunky tube that’s square outside and round inside. Later Chinese tradition read the bi as heaven and the cong as earth, and archaeologists say both starred in royal ceremonies honoring the sky. Each of the museum’s rings wraps around an open void, and Aedas frames these circular light wells as a link between heaven and earth. From above, the voids read like the drilled centers of two bi discs, and the squared-off island underneath does a decent cong impression if you squint.

Aedas says the two interlocking rings stand for two separate heritages, Liangzhu culture and the Grand Canal. The lake around the island connects to that canal, a roughly 1,100-mile (1,776-kilometer) waterway whose oldest sections date back more than 2,500 years. Hangzhou sits at its southern end, and the canal is largely what turned the city from a sleepy town into a booming trade hub. UNESCO listed the canal in 2014 and the Liangzhu ruins in 2019, so the building is basically two World Heritage sites holding hands. That’s a lot of symbolism for one roofline, but the form carries it so gracefully that I’m happy to play along.

A single steel frame carries the whole building, and Aedas used it to peel both ends up off the ground like the corner of a sticker. Those lifted edges overhang the entrances and shelter a pair of public plazas, which in the photos are getting plenty of use. One shot shows a school group picnicking under the curved soffit while two kids sprint past the camera, presumably fleeing a teacher. The underside is wrapped in smooth white panels, and beneath it a diamond grid of glass slopes down to meet the pavement. The result is a shaded waterfront room open to anyone, whether or not they ever step inside the galleries.

Up top, the galleries sit under a dense white steel diagrid, with translucent glass filling every gap in the structure. Interior photos show a bright, nearly shadowless hall where two visitors look like they’ve wandered into a cloud. The entrance volume uses greener, more jade-toned glass in horizontal bands, so the building’s color shifts depending on which face you’re looking at. American readers might recognize the strategy from Steven Holl’s Bloch Building at the Nelson-Atkins Museum in Kansas City, where translucent channel-glass volumes glow like lanterns. Aedas stretches the idea across a twisting, double-curved envelope, and the firm says parametric modeling kept that geometry efficient to build.

A white boardwalk zigzags across the lake to the museum, swelling into circular viewing pods that repeat the ring motif at walking scale. It’s a slow, wiggly approach, and it hands visitors plenty of different angles on the building before they arrive. A broader bridge links the island to the main park on the other side, where curving paths and a petal-shaped flower garden keep the theme going. Aerial shots also show the less poetic context, with apartment towers and older industrial blocks crowding the shoreline. That backdrop works in the museum’s favor, because a glowing glass knot reads even louder next to rows of identical high-rises.

Yuhang already has one famous lake-bound jade museum. David Chipperfield’s Liangzhu Museum opened in 2008 as four travertine bars set on a lake, linked to the park by bridges, with an exhibition island off to the south. Tadao Ando added a concrete cultural center nearby in 2016. Both architects treated Liangzhu’s heritage as something heavy and permanent, which makes sense for artifacts that spent 5,000 years underground. Aedas kept the same lake, island, and bridge recipe and swapped the stone for light. I keep wondering which version the original jade carvers would prefer, since their whole craft was coaxing a soft glow out of solid stone.

 

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These smart glasses turn your blinks into electricity

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Your face is a power plant, and you’ve been running it for free your whole life. Every blink and jaw clench releases a tiny burst of mechanical energy that simply vanishes. A team at Northwestern University figured out how to catch it, using static electricity, the same stuff that makes a balloon stick to your hair. Their prototype glasses, GlassTENG, use that energy to run sensors tracking your pulse, blinks, and teeth clenching. As a feat of energy harvesting it’s fantastic, and I’d love to see it in everything from earbuds to shoe insoles.

Then the other shoe drops, because smart glasses are already the most side-eyed gadget around, with Meta’s Ray-Bans filming strangers in coffee shops and a battery that needs its case after a few hours serving as the only real limit. GlassTENG’s three sensors, built by Nivedita Arora’s VAK Embodied Systems Lab, draw just 4.1 microwatts combined, and the team wants to go fully battery-free next. That would remove the last speed bump on always-on face computers. Your pulse and jaw clenches are deeply personal data, and glasses like these could log them around the clock. Then again, if such glasses are coming anyway, I’d much rather they ran on blinks than on lithium-ion cells strapped to my head.

Designers: Nivedita Arora, Raj Dave, Jovanis Prodanich & Yung-ching Lai (Northwestern University)

A Silicone Sandwich That Turns Blinks Into Voltage

The sensor is a two-layer sandwich of PDMS, a soft silicone, and FEP, a slick fluoropolymer from the Teflon family. When the layers press together and spring apart, one hogs electrons from the other, which is the balloon-and-hair trick in a lab coat. Silver electrodes, each 150 nanometers thick, collect the resulting voltage. Pulse is the faintest signal, around 50 to 100 millivolts, while blinks and eyebrow raises land at 200 to 500 millivolts. A hard jaw clench climbs to about 1.5 volts, which is a wide enough range for one thin stack to tell a heartbeat from a chomp.

The silicone is Sylgard 184, mixed 10 to 1, degassed, spin-coated to roughly 490 microns (about 0.02 inches), and left to cure overnight. The FEP gets blasted with oxygen plasma on both sides, which roughens the surface so more of it touches the silicone. The team started by etching one side, then found that doing both measurably boosted the signal. Bare silicone faces your skin while the charge-trading interface stays sealed inside, so skin oils can’t muck up the readings. It’s baking show energy, just with a vacuum chamber instead of an oven.

Three Sensors, Three Spots, and Your Head Doing the Clamping

One sensor sits on the nose bridge over the angular artery, where it reads pulse, forceful blinks, and eyebrow raises. A second hangs off a small arm near the temple, aimed at the superficial temporal artery to catch clenching, tapping, and chewing. The third is embedded in the temple arm above the ear, and here the design gets clever, because the natural clamp of the frame on your head supplies the contact pressure for free. Early 3D-printed nose pads gave patchy contact, so the team swapped in adjustable off-the-shelf pads from regular eyewear. Decades of optician ergonomics beat the custom part, which is a humbling result for any designer.

In a study with 20 people, half of them daily glasses wearers, a Random Forest classifier (a machine-learning model that takes votes from many decision trees) sorted six activities with 93.8% accuracy. Forceful blinks and teeth tapping both hit 99%. Heart rate landed within 1.82 beats per minute of a Polar H10 chest strap, measured on 10 seated volunteers at rest. Talking was the weak spot at 55%, and the system mistook it for eating 37% of the time, since both work the same jaw muscle. For now, your glasses might assume you’re mid-sandwich when you’re just mid-rant, and honestly, I know people like that.

4.1 Microwatts: The Number Every Battery Spec Should Fear

Those 4.1 microwatts cover the sensing front-end, the circuitry that cleans up the sensor signal, and they look tiny next to the alternatives. The paper pegs optical pulse sensors (the glowing green lights on your smartwatch) at 1 to 10 milliwatts, and gel-based muscle sensors at 10 to 160 milliwatts. On a 100 mAh battery, the authors calculate that the GlassTENG front-end would cost less than half a minute of runtime, where an optical sensor would burn through hours. The prototype still uses a small battery for its microcontroller and Bluetooth, and fully battery-free operation is listed as future work. Even so, shrinking the sensing bill to almost nothing is what lets a frame stay a frame.

Ray-Ban Meta Gen 3 starts at $449 and rates nine hours per charge, while the Meta Ray-Ban Display runs $799, and that charging case remains the main limit on how long those glasses can watch the world. GlassTENG has no price or release date, so nobody is buying it this holiday season. I’d happily see self-powered sensing in earbuds, insoles, and medical patches. Glasses are the tricky one, because the cleverer the sensor gets, the fewer excuses a company has to leave it off. Still, if face computers are coming regardless, I’ll take the pair powered by my own twitchy eyelids over the one with a lithium cell parked next to my temple.

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This Electric Superbike Wears Its Battery Like a Honeycomb

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Bees settled on the hexagon ages ago, and nobody has topped it since. The shape packs the most storage into the least material, which is why it turns up in honeycomb aircraft panels and in the way round battery cells get stacked together. Brisbane’s Clandestine Design Group took the hint and built an entire electric superbike around it. The Cellcius C-01 is a hypersport concept whose battery is split into eight hexagonal cells that you can pull out and swap. Those cells line the bike’s flanks like honeycomb, and the result is one of the more striking EV silhouettes I’ve seen in a while.

Neil Davidson, who founded Clandestine in 2014 after 14 years as Creative Director at CMD, has loved motorcycles since he was a three-year-old farm kid on a dirt bike. That obsession shows. The C-01 won a 2026 Australian Good Design Award in the Concept Design category. It is still a concept, so there is no price tag or showroom date yet. The studio’s pitch is that electric bikes force a choice between heavy track machines and short-range commuters, and the Hex-Core battery system lets one bike be both. Load two cells for the commute or all eight for the track, and the same machine changes its personality to match.

Designer: Clandestine Design Group

Two Cells for the Commute, Eight for the Track

Each Hex-Core cell holds 3 kWh, so the bike carries anywhere from 6 kWh to 24 kWh depending on how many you load. By the studio’s numbers, the weight swings from 353 lb (160 kg) as a commuter to 485 lb (220 kg) as a track bike. Do the math and each cell works out to roughly 22 lb (10 kg), a weight you could carry up a flight of stairs. Two cells also fit Australia’s Learner Approved Motorcycle Scheme (LAMS), a rulebook that keeps new riders on tamer bikes, according to the studio. I can’t think of another superbike that can shrink for a learner permit and then bulk up for a lap day.

Kawasaki’s Ninja e-1 launched in the US at $7,599, weighs 309 lb (140 kg), and carries two removable 1.5 kWh packs that Kawasaki rates at 41 miles in Road mode. Zero’s 2026 SR/F, the usual benchmark for a serious electric streetfighter, packs 17.3 kWh into a body listed at about 500 lb (227 kg). Fully loaded, the C-01 claims 24 kWh at 485 lb, beating the Zero on both counts. That makes the Ninja and the SR/F look like the two ends of a spectrum the C-01 wants to cover with one chassis. Kawasaki’s two-pack setup proves removable batteries work for city riders, and the C-01 keeps adding packs until it hits superbike territory.

A Honeycomb You Can Carry Home

A wall-mounted smart dock charges several cells at once, so a fresh set is always waiting for a swap, a trick the studio calls “zero-minute” hot-swapping. Apartment dwellers get an ergonomic backpack that carries cells indoors for charging at a regular wall outlet. Riders who would rather skip the hauling can plug into a flush CCS port on top of the tank, which hooks into standard street-side fast chargers. Empty bays double as mounts for hex-shaped duffel bags, which keeps luggage inside the silhouette instead of hanging panniers off it. That setup goes straight at the studio’s stated target, urban apartment dwellers who have nowhere to plug in.

Pulled out of the bike, a cell turns into a portable power station with AC and USB outlets, according to the studio. That is the power tool battery logic every contractor already lives with, where one pack format runs a drill, a saw, and a work light. DeWalt and Milwaukee built huge product families on that idea, and the C-01 wants a superbike in the club. The studio also sees room for an aftermarket of Hex-Core accessories, from luggage to those power stations. A 5G app handles keyless RFID or PIN entry, over-the-air updates, and firmware tuning based on payload.

Shaft Drive, a Venturi Tail, and the Case for Swappable Superbikes

High-pressure ram intakes feed air in at speed while a low-pressure exhaust in the tail pulls it back out, a Venturi effect the studio says passively extracts motor heat without heavy fans. Power reaches the rear wheel through a fully enclosed carbon shaft drive, which the studio calls silent and maintenance-free. BMW has been putting shafts on motorcycles since the R32 in 1923, so the idea has real pedigree. Brembo brakes and fully adjustable Öhlins suspension round out a spec sheet that reads like a track-day wish list. My one wish is for the angular flyscreen to echo the hexagons a little more, since right now it reads like it came from a different bike.

Australia’s Good Design Awards date to 1958, and the Concept Design category, new since 2025, judges early-stage ideas on form, function, feasibility, and safety. A win there rewards the thinking, and the thinking here is easy to admire. My favorite part is that the battery, usually the thing EV designers hide under a tank cover, becomes the main visual feature. Electric bikes have spent years arguing over range versus weight, and the C-01 answers by letting the rider settle it each morning. Bees figured out the hexagon without a design degree, and a Brisbane studio just reminded the motorcycle world how well it stacks.

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Benks’ new Kevlar iPhone 18 Pro cases look like they’re ready for a holiday cruise

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Kevlar has spent most of its career in serious places, like bulletproof vests, racing tires, and the occasional helmet. Chemist Stephanie Kwolek invented it at DuPont in 1965, and I doubt anyone in that lab imagined a functional fabric like Kevlar would one day be asked to look classy. Today the fiber basically has a second life as a fashion fabric. I find that delightfully absurd, like learning your bodyguard also had a career as a swimsuit model. Benks has been leaning into that split personality for a while, and its latest drop takes it somewhere sunnier.

Meet Haven Azure and Haven Rouge, two Kevlar cases for the iPhone 18 Pro and Pro Max, priced at $69.99 each. Benks weaves the pattern directly into the Kevlar fiber using a 600D floating jacquard technique, rather than printing it onto the surface. That means the design is part of the weave itself, not just a layer of color that can scuff off. Azure ripples in layered blues, Rouge glows in warm reds, and both wrap the phone in a slim, full coverage shell. Building on the ArmorAir, the Haven series features a taller raised metal camera frame for enhanced lens protection, along with an upgraded ArmorKey that fully covers the Camera Control button. The result is a slim, full-coverage case that offers more comprehensive protection without compromising its refined design. Same tough stuff, just dressed for vacation.

Designer: Benks

Click Here to Buy Now: $69.99 Haven Azure | Click Here to Buy Now: Haven Rouge.

An 1800s Loom Trick, Now Running on Kevlar

Jacquard weaving builds a design into the cloth by lifting individual threads in a programmed order, a trick Joseph-Marie Jacquard automated with punched cards in the early 1800s. Silk mills near Lake Como, Benks’ stated inspiration, have long used the technique for ties. Benks applies the same logic to Kevlar, letting some threads float over others so colors and shapes appear in the weave. The 600D figure is a denier rating, which tells you how thick the yarn is. According to Benks, strands finer and more densely woven than the common 1500D give a smoother surface and a slimmer case. A loom from 1804 would recognize the idea instantly.

Getting color into Kevlar takes effort, and most of us picture the fiber as black and nothing else. Benks says the Haven colorways are woven into the fiber structure, with no laminated surface layer to peel, so the texture you feel is the weave itself. The brand has been heading here for a while, from the Knight ArmorAir with its champagne horse that reads like pixel art made from industrial fiber, to these flowing ripples. Benks bills the 600D Kevlar jacquard as an industry first, and the product shots show why it wants the credit. Big diagonal sweeps also suit a phone better than tiny repeating logos ever could.

Azure Cools Things Down, Rouge Warms Them Up

Azure sets a deep navy base and runs a diagonal band of lighter blues down the back, a bit like sunlight breaking up on lake water. Benks describes the pattern as gentle ripples in layered blue tones. Look closely at the product shots and the lighter threads read like tiny stitched pixels, which gives the band a cross-stitch charm. Rouge flips the mood with a burgundy base and a pale gold band, and Benks calls the shade Rouge Valley Red, with woven contour lines meant to recall warm valleys at dusk. Honestly, Azure feels like a lake breeze and Rouge feels like a glass of wine.

Benks shows both cases on all four iPhone 18 Pro colors, which are Black, Glacier, Burgundy, and Silver. Rouge on Burgundy looks like the obvious match, since phone and case speak the same dark red language. Azure beside Glacier makes sense too, though the blues also look sharp against Silver and Black. Each colorway has a matching ArmorPop grip and stand at $29.99 for anyone who wants the full set. The Haven tagline is “somewhere between here and away,” which also describes my mental state every Friday afternoon. Pick the mood first, then let your phone color follow.

Metal Frame, Enclosed Keys, Built-In Magnets

The iPhone 18 Pro is the first iPhone with a physical variable aperture, so its camera plateau deserves a proper guard. Haven wraps it in a raised metal frame that Benks says helps shield the lenses from scratches and bumps. Raised screen edges keep the display off flat surfaces without adding bulk. Enclosed ArmorKeys cover the side buttons, camera button included, and Benks promises crisp, responsive clicks. Cutouts line up with the ports, and the Kevlar texture wraps around the edges for a slip-resistant grip. A built-in magnetic core handles MagSafe accessories, so your charger, wallet, and grip stay where you put them.

Haven Azure and Haven Rouge are listed at $69.99 each on Benks’ site, with versions for the iPhone 18 Pro and the Pro Max (they’ll fit the 17 Pro series too). The cases boast a one year warranty, free shipping on orders of $39 or more, and a 30 day return window. Matching ArmorPop grips sit on the same product pages if you want to coordinate. Protection and personality have usually sat on separate shopping lists for phone cases, and weaving color straight into Kevlar is a neat way to merge them. Kevlar went from body armor to brunch, and I suspect it has a few more lives left.

Click Here to Buy Now: $69.99 Haven Azure | Click Here to Buy Now: Haven Rouge.

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Nothing’s Ear (open) should have been a CMF product all along… Here’s proof

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I’ll say it: Nothing launched the Ear (open) under the wrong logo. The open-ear buds debuted in 2024 at $149, wrapped in Nothing’s signature transparent look, and they were good enough to win a Red Dot Product Design award. Still, every time I looked at them, my brain kept whispering “CMF.” Open-ear buds are the casual, colorful, sweat-friendly second pair you toss in a gym bag, which describes CMF’s entire personality. Even Nothing seems to have noticed, since the Ear (open) now comes in soft blue for $99 in the US. That’s CMF money in a CMF color, wearing a Nothing name tag.

Apparently I’m not alone in this conspiracy theory. Industrial designer Shreyansh Onial, whose CMF Flip foldable concept got a reaction from Carl Pei himself, built the CMF Ear (open) that Nothing never released, and it looks like it rolled straight off CMF’s assembly line. The over-ear hook stays, but the transparent panels give way to solid Coral, Light Grey, and Dark Grey. Each bud gets a chunky physical button, and the pill-shaped case borrows the knurled Smart Dial from CMF’s $99 Clip Pro. It’s the alternate-universe launch I didn’t know I was waiting for.

Designer: Shreyansh Onial

Trading Nothing’s see-through shell for CMF’s candy-colored hooks

Coral, Light Grey, and Dark Grey carry the whole concept, and they match the Clip Pro’s palette exactly. Transparency is Nothing’s calling card, though on the Ear (open) much of the surface is a silicone ear hook anyway. Onial goes fully opaque, with a soft matte finish on the hook and a glossier coat on the round acoustic pod that sits by your ear canal. The outer face is a rounded pill panel with a single round button and a tiny glyph made of a circle, a dot grid, and a filled dot. The battery tail picks up a fine stippled texture, which gives sweaty fingers something to grip.

A real button on each bud fixes the biggest workout annoyance with the Ear (open), which relies on pinch controls that get fiddly with slippery fingers. CMF already gave the Clip Pro physical buttons for exactly this reason, so the move fits the brand’s own playbook. Flip the bud around and you’ll find a perforated metal grille shaped like a little kidney bean, plus two pogo pins on a short collar for charging. That bean grille is my favorite detail, because it gives the bud an oddly cartoonish face. It also mirrors the soft circles of the dial on the case. The whole thing feels friendly and approachable, which suits a pair built for sweat and sidewalks.

The Clip Pro’s Smart Dial case meets a hook built for runners

The case comes straight from CMF’s Clip Pro, a deep pill-shaped capsule with a knurled metal dial set into one end of the lid. On the Clip Pro, that Smart Dial adjusts volume, controls playback, answers calls, and triggers pairing. CMF put the same dial on its Buds Pro 2, and it has since become the brand’s signature move. Onial adds a dot-matrix “cmf” wordmark on the lid, a front status LED, and a USB-C port on the side. Inside, molded cradles hold the two hooks in a neat V, with a charging pocket waiting for each acoustic pod.

Over-ear hooks anchor behind the ear, which keeps them planted through runs, burpees, and sprints for the bus. The Clip Pro’s C-shaped clip hugs the ear’s outer edge instead, a format better suited to commutes and long desk days. That leaves the runner with a CMF-shaped hole in their gym bag, since CMF currently offers nothing for them (lowercase n). A dial makes even more sense here, because twisting a knob on the case beats digging through phone menus mid-stretch. Pair it with real buttons on the buds and you get a workout setup that never asks for a precise touch gesture.

Where a CMF Ear (open) would land in a crowded open-ear market

Open-ear audio got crowded fast, with Bose’s Ultra Open sitting at the top for $299 and Sony’s LinkBuds Clip, Huawei’s FreeClip, and Shokz’s hook-style buds filling out the field. The Clip Pro landed at $99 with LDAC support, a 10.8mm driver, and up to 32.5 hours of total battery. The Ear (open) counters with a bigger 14.2mm driver, 8 hours per charge, and 30 hours with its case. Each Ear (open) bud weighs 0.29 oz (8.1 grams), while each Clip Pro bud weighs 0.21 oz (5.9 grams). A CMF hook could split the difference, pairing the Ear (open)’s stable fit and big driver with the Clip Pro’s dial, buttons, and price.

The blue Ear (open) already sells for $99 in the US, the same price as the Clip Pro, so Nothing has basically priced its own product at CMF level. Moving it under the CMF badge would make that price tag look like a plan instead of a markdown. It would also free Nothing to return later with a pricier transparent sequel, flipping the usual order where the premium brand gets the good stuff first. CMF became an independent Nothing subsidiary headquartered in India last year, and a signature sport bud would give the young brand another reason to stand apart from its parent. Onial’s renders already look ready for the shelf. Sometimes the little sibling deserves the new toy first.

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This pixel-covered MINI concept makes the Hyundai Ioniq 5 look subtle

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Hyundai got everybody talking about pixels in 2019, when the 45 EV Concept showed up in Frankfurt with square-cut lights, and the Ioniq 5 carried the idea to showrooms in 2021. Hyundai even named the look Parametric Pixel and spread it across the headlights, taillights, and wheels. It was a smart move, and it gave the Ioniq 5 a face you could pick out of a parking lot from across the street. Still, Hyundai used pixels like a seasoning, a sprinkle here and a dash there. Somebody was bound to dump the whole shaker.

That somebody is Uygar, a Turkey-based designer who calls himself a professional daydreamer, and the shaker is a MINI. The headlights keep MINI’s round shape but fill the rings with squares, a dot-matrix grille owns the nose, and each wheel is a glowing mosaic disc. The Union Jack taillights are rebuilt out of red pixels, a nod to the flag lamps from MINI’s 2018 facelift. It’s a long-roof five-door with stubby overhangs, a dark roof, and satin champagne-silver paint, so the pixels do the talking. I tried counting the squares on one wheel and gave up when my coffee went cold.

Designer: Uygar (uygarspots)

Round headlights, square pixels, and a grille that glows

MINI’s round headlight is the closest thing the brand has to a signature, so Uygar leaves the circle alone and changes what it is made of. Each ring becomes a loop of little squares wrapped around a dark projector lens, like a digital eye with a very serious pupil. Below it, the closed grille is a dot-matrix field that glows brightest at the center and fades toward the edges. A thin vertical light bar drops from the bumper like a tiny exclamation mark. From a block away the face looks friendly, and up close you can count the grid.

Hyundai keeps its pixels inside the lamps, so the Ioniq 5 still reads as a car with a few digital accents. Here the whole nose becomes one display, so the face reads as a single graphic. That suits a brand whose cars have worn a cheeky expression since Alec Issigonis’s original Mini arrived in 1959. The production Cooper EV already lets owners pick from three light signatures, so a face that changes mood is hardly a leap. This one has far more dots to play with, and I suspect it would be a menace at red lights.

The wheels and taillights carry the pixel jewelry

The wheels are where the idea gets silly in the best way. Each one is a full disc covered in amber squares, arranged in a swirl that thins out toward the rim and bunches up around the MINI wings at the hub. Some squares glow bright while others sit nearly dark, so the whole disc looks caught mid-sparkle. Hyundai’s pixel wheels ask you to read the pattern in the metal, and these ask you to read it in light. Park one at night and you have a disco ball on each corner, minus the awkward dance lessons.

The rear is the cleanest trick in the set. A black glass band spans the tailgate and holds two Union Jack lamps built from red dots, with the MINI wings sitting between them. MINI introduced flag-style taillights in 2018, using the turn signals for the horizontal bars and the brake lights for the vertical ones. Then the 2022 Aceman concept drew a Union Jack across its grille in matrix LEDs. This render finishes the thought by building the flag from pixels, which is where a flag made of light was always headed.

MINI already flirted with pixels, and this is the follow-through

MINI did not wander into this blind. The Aceman concept appeared in July 2022 and made its first public showing at Gamescom in Cologne, which tells you exactly who the brand was flirting with. Its matrix LED headlights and grille drew Lite-Brite comparisons, a nod to the glowing peg toy Hasbro launched in 1967, and the right headlamp could even wink. The Cooper EV that followed took a calmer path, with round lamps, three light signatures, and a 9.4 inch (240mm) round OLED screen inside. The pixel face was the Aceman’s loudest idea, and production turned the volume down.

Uygar’s concept feels like the alternate timeline where nobody in the design review said “maybe a little less.” Hyundai sprinkled, MINI nibbled, and this render tips the whole shaker over the car. If I owned a MINI and somebody offered me these wheels, I would ask where to sign, then ask where the off switch is. The little British hatch has always been the brand most willing to act like a toy, and a toy with a glowing face is hard to argue with. Dump the whole shaker, I say, and let the pixels fall where they may.

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This porcelain Pioneer DJ setup belongs in a museum, not an Ibiza nightclub

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David Guetta just won DJ Mag’s Top 100 DJs poll for a record sixth time, and I have a very specific idea for his trophy shelf. Somebody on the internet has turned a Pioneer DJ setup into Korean blue-and-white porcelain, tigers and all. Two decks and a four-channel mixer, glazed bone white and hand-painted (well, AI-painted) in cobalt blue. It looks like something you’d find behind glass at the Met, right before a security guard asks you to step back. It’s also the most Guetta-coded object I’ve seen all year, because a guy who headlines weekly Ibiza residencies deserves a rig that looks as expensive as the bottle service.

The setup comes from creators patchkims and takitani.lab, who posted it as the “Joseon Baekja Prototype,” complete with a “1 of 1, no restock” caption that reads like a sneaker drop. It’s an AI render, so nobody’s shipping it to Guetta’s villa anytime soon. The idea still lands, though. Each jog wheel carries a tiger and a magpie under a pine tree, lifted straight from Korean folk painting, and the screens swap waveforms for misty mountains and waterfalls. Suddenly your DJ gear graduates from booth equipment to living room centerpiece, which is a fun flex for anyone, let alone the world’s No. 1 DJ.

Designers: patchkims & takitani.lab

Kkachi horangi is a genre of Korean folk painting where a deliberately goofy tiger, nicknamed the idiot tiger, plays the aristocratic yangban, and a smug magpie in a pine tree speaks for the common people. Both jog wheels here carry that exact scene, with the cat prowling below and the bird looking unbothered above. The two decks get different tiger poses, so the platters work like a call and response. Joseon painters used the setup to poke fun at the ruling class, and now it sits under the palms of whoever runs the dance floor. That is either delicious irony or very on-brand for a king of the booth.

The screens trade waveforms for misty peaks, a waterfall, a pavilion, and a pair of moons, echoing Irworobongdo, the sun, moon and five peaks painting that stood behind the king’s throne in Joseon palaces. The sun and moon stood for the king and queen, so the painting doubled as a majesty backdrop. A headliner on a raised stage occupies similar real estate, so the throne comparison writes itself. The original sun burned red, and going cobalt turns it into a second moon, which suits a room that wakes up after midnight. Calling a DJ booth a throne room is a stretch, but watch a stadium crowd hang on a Guetta build-up and the royalty comparison stops feeling silly.

Joseon Korea made white its signature after the green celadon era of Goryeo, and cobalt-painted porcelain sat at the top of the pile. The pigment was rare and imported from China, so when supply dried up, court kilns improvised with iron-brown, and some banquet wares wore painted imitations of blue-and-white called gahwa, literally fake painting. A porcelain Pioneer rig conjured by AI is a 2026 gahwa, a convincing stand-in for an object nobody has actually fired in a kiln. I’m weirdly fine with that, because the Joseon court got there first. Meanwhile, Christie’s has estimated a genuine 15th-century cobalt jar at roughly $2 million to $3 million, so the real thing sets the bar high.

The real-world version of this lineup runs two AlphaTheta CDJ-3000X players at $2,999 each plus a Pioneer DJ DJM-A9 mixer at $2,899, roughly $8,900 in the US. The render looks closer to the older CDJ-2000NXS2 generation, disc slots and all. Pioneer did sell a limited white CDJ-2000NXS2-W run in 2017, so colorway flexes are old news for the brand. I imagine if such a product were to exist, it would probably cost in the hundreds of thousands. That being said, I’m sure an enthusiastic deejay with money to throw could acquire this for their den. Guetta, SHM, heck even Shaq… I’m looking at y’all.

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