Author Archives: JC Torres

This Lounge Chair’s Shape Is Precisely Why Two of Them Make a Sofa

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Modular seating tends to be either complicated or a compromise. The sectional sofa has never really solved the fundamental problem that living situations change, people move, and the enormous L-shaped configuration that worked in your last apartment probably doesn’t fit your new one. Furniture that adapts to circumstance sounds like an obvious idea, but the designs that actually pull it off cleanly remain surprisingly rare.

Liam de la Bedoyere, the designer behind Bored Eye Design, takes a direct approach to the problem with Bunch, a modular seating concept that begins from a deceptively simple premise. Each unit is a fully functional lounge chair on its own. The idea, however, is that it was designed from the beginning to combine with others, and the way it does that is where the concept gets genuinely interesting.

Designer: Liam de la Bedoyere

The mechanism is in the staggered relationship between the two parts of each chair. The backrest sits elevated and set back, while the seat extends forward, creating a stepped profile from the side. That offset is precise enough that when a second chair is placed alongside it, the seat of one slides naturally into the space left open by the recessed back of the other. No connectors, no assembly, just geometry.

The result, when two or more units are pushed together, is a sofa that reads as a continuous and intentional piece rather than a row of chairs touching each other. The staggered rhythm carries across the joined units, producing a silhouette that looks considered rather than accidental. It’s the kind of configuration that takes a moment to understand, but once you do, it feels like it couldn’t have worked any other way.

The standalone chair holds up on its own terms, too, and isn’t just a sofa segment that happens to function independently. It sits directly on the floor with no visible legs, giving it a relaxed lounge quality. The proportions keep the form compact enough to live in smaller spaces, which matters when the concept is something you might realistically buy gradually, one unit at a time.

Both the backrest and the seat share the same rounded-rectangle silhouette, upholstered in a thick, textured fabric with the warmth of bouclé. That material, combined with the legless, floor-hugging profile, gives the chair a deliberately unhurried quality, the kind of object that makes a room feel slightly slower and more settled than it did before.

The scalability is part of the appeal. Two units make a small sofa, three make a longer one, and the concept seems to extend indefinitely. When units in different tones are combined side by side, the color contrast adds a visual layer that a single chair doesn’t have. There’s also something honest about a design whose best version requires more than one, an admission that’s built directly into the name.

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This Side Table Has No Legs: Its Two Storage Units Are the Structure

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Side tables rarely demand much attention. They hold a drink, a lamp, or a book, and that’s essentially all anyone expects from them. The more ambitious ones add a drawer or a second tier, but the core formula stays the same. It’s one of those furniture categories where function has long settled into convention, quietly waiting for someone to rethink the structure itself.

Designer Deniz Aktay has been doing exactly that kind of rethinking through his designs. His latest concept, the Torque High Side Table, takes the structural question seriously, proposing a pedestal that isn’t really a pedestal at all. The table’s support comes entirely from two metal storage units that carry the weight of the design, both literally and visually, stacked and rotated against each other.

Designer: Deniz Aktay

The idea of torque, that mechanical tension created by rotation, becomes the organizing principle here. Each storage unit opens in a different direction, offset against the other to create the visual friction the name implies. It makes the structure feel active, as if the table is caught mid-turn. The two-tone blue colorway reinforces that, with a dark navy upper section against a brighter blue lower.

That rotation also creates something practically useful. Where the two units meet, a small shelf platform projects outward between them, adding a third storage level beyond the two main compartments. It reinforces the visual logic of the twist while giving you somewhere to set smaller objects. Three storage spots from a single structural idea is a tidy outcome for a table of this size.

Books sit naturally in each compartment, held upright in the curved enclosures without needing brackets or dividers. Each section holds a small collection without effort, turning what might otherwise be a purely decorative object into something you’d interact with daily. That balance between use and visual statement is where this kind of furniture concept tends to either land well or feel entirely theoretical.

The storage-as-structure approach means the Torque table looks interesting from every angle. There are no legs, no base panel, and no conventional framing hardware. The two open-faced volumes do all the work, with a circular disc on top forming the table surface and a matching flat disc at the bottom serving as the foot. Everything between them is either storing something or making a structural point.

Aktay has built a body of work around this kind of thinking, concepts that start with a formal problem and arrive somewhere genuinely practical. The Torque High Side Table fits that approach well. It doesn’t need to announce its cleverness because the structure speaks on its own, and anyone who tucks a book into one of the compartments and sets a cup on top will feel the logic in it.

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This Limited Edition Desk Lamp Has Four Legs and Looks Like It’s Alive

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The line between product design and sculpture has been blurring for years, but most objects still declare their purpose plainly. A lamp looks like a lamp. Its form is a familiar enough gesture that it becomes invisible, something you reach for and forget. The more interesting territory is what happens when a designer begins with something alive and works backward into a functional object.

That’s what Hazel Villena did with the Bean Lamp, a limited-edition desk light designed in Brooklyn in 2026 that functions as a light source and a quietly unsettling presence at the same time. Villena started with the creature first and then solved the engineering around it. The legs exist to hold the disc of light. That they read as limbs is entirely deliberate.

Designer: Hazel Villena

The body is cast copper with a chrome finish, sculpted into a low, wide stance on four tapered legs that curve and splay at angles borrowed more from biology than furniture. A polished aluminum ring joint at the center holds the matte polycarbonate diffuser in place, and the integrated LED disc inside throws a soft, contained pool of warm light across the surface beneath it.

At 10.5 inches long and 4.5 inches tall, the Bean Lamp is compact enough to sit on a desk or shelf without dominating the space, though it tends to hold the eye. Proportion was a significant part of the design process, giving an elementary silhouette more gravity than its simple form suggests. The chrome catches light, the matte disc diffuses it, and the four curved legs suggest something caught mid-pause.

There’s also how it comes apart. The Bean Lamp is mechanically assembled rather than bonded, which means it can be fully disassembled when needed. The shade and LED unit can each be replaced or upgraded independently, extending its life beyond any single component. At the end of its life, the copper body and aluminum ring separate cleanly into existing metal recycling streams, a quiet argument for longevity built directly into the object.

The lamp runs on a 12V cord with an in-line switch, keeping the operation uncomplicated. Plug it in, turn it on, and it does what a lamp is supposed to do: lights a small, deliberate area of wherever you’ve put it. What it also does, and what takes longer to resolve, is sit there looking like it might eventually decide to move on its own when nobody’s watching.

It reads differently across the room than it does up close, and differently still once it’s switched on. Villena’s stated goal was an object that sits in a deliberate blur, familiar enough to understand, strange enough to stop you. The Bean Lamp lands there without apology and seems to have no intention of clarifying itself further.

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Screw-inspired Stool Numbered Like a Sneaker Drop: Only 150 Made

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There’s a certain kind of object that can’t quite decide what it is, and not in a bad way. Furniture has increasingly strayed into collectible territory, and collectibles have crept into living rooms posing as furniture. The result is a growing category of designed objects that live somewhere between a chair and a limited-edition release, serious about craft but refreshingly light about everything else.

Carpet Company, the Baltimore brand known for carving out its own irreverent corner of the design world, leans into that tension with the S-TOOL, its first piece of furniture. The name makes no effort to hide the attitude, and the official list of potential uses runs from stool and ottoman all the way to footrest, ornament, chew toy, and, with admirable candor, trash.

Designer: Carpet Company

The form is remarkably direct. A 12-by-12-by-12-inch cube of 100% fiberglass, cast in a single unbroken gloss color, sits on four chunky legs that taper down to blunt, faceted points. The top surface carries a screw-head relief in each corner, molded flush into the fiberglass in the same color as the piece, which reads immediately as hardware but behaves purely as ornament.

The screw motif carries through to the legs, shaped like Philips screwdrivers that slot into the screw-head relief of another S-TOOL. It’s a small but loaded gesture, nodding to the DIY impulse of the design process without pretending to be handmade. Carpet describes it as hardware that speaks to how things get built, balanced against the glossy, almost candy-like finish to keep the whole concept from becoming too earnest.

The S-TOOL is a limited release, with only 150 units spread across 30 colors, five of each. Every piece carries a metal plaque screwed into the underside, detailing the release and edition, which gives the stool some of the same collectible gravity you’d expect from a numbered print or a signed sneaker. At 15 pounds, it’s substantial enough to feel like something, and that’s rather the point.

The packaging reinforces the whole thing. The box carries the same list of purposes, a column of color-coded screw illustrations previewing the full range, and a cartoon hippo mascot that’s equal parts absurd and charming. Carpet has always been deliberately playful, and the S-TOOL packaging reads like the product brief itself, a small manifesto folded around a cube of brightly colored fiberglass.

What makes the S-TOOL interesting is how much effort went into something that officially disclaims all responsibility. Carpet spent considerable time on proportional analysis to give the elementary form a sense of sophistication it doesn’t advertise, and it shows in how quietly resolved the piece sits. It’s furniture that doesn’t mind being treated as trash, but it’s built carefully enough that you probably won’t.

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Bumpboxx BB-777 Plays Cassettes, CDs, Radio, and Bluetooth at 270W

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Most portable speakers these days are designed to disappear. They’re compact, wireless, and largely anonymous, blending into whatever surface they rest on until a voice command kicks things off. Music has become a background utility, something that happens to you rather than something you actively choose. The ritual of physically engaging with sound has faded quietly, replaced by convenience that’s smooth, automatic, and almost entirely invisible.

The BB-777 from Bumpboxx addresses that shift in a very deliberate way. Inspired by the legendary GF-777 of the ’80s, it brings back the classic boombox in a form that captures the unmistakable look and feel of the original, while updating everything under the hood. It’s the kind of design that immediately signals its intent: put music back at the center of the room, loud and visible.

Designers: Rob Owens and Luis Maciel

Click Here to But Now: $649 $1049 ($400 off). Hurry, only 197/1100 left! Raised over $3.8 million.

Part of what makes the BB-777 so compelling is just how much it commits to the aesthetic. The wide, horizontal body stretches 29.6 inches across, with dual cassette bays, a central control section, a long analog tuner strip, and four large drivers across the lower half. Paired with two telescoping antennas and a carry handle, the whole thing stays true to the iconic boombox design of the ’80s, built to be seen, not tucked away.

What really sets the experience apart, though, is how it feels to operate. Bass, treble, balance, and master volume are shaped through solid knobs that respond instantly, giving a direct connection to the music. Each adjustment is tactile and precise, bringing back the simple satisfaction of tuning sound with real hardware. There’s also a wireless remote for those moments when you’d rather adjust the sound from across the room without getting up from wherever you’ve settled in.

Then there’s the format support, and it’s where the BB-777 truly stands apart from other retro-styled speakers. It plays dual cassette tapes, loads CDs, tunes the radio, and connects via AUX, USB, or Bluetooth. It also handles CD-R and CD-RW discs, AM, FM, FM stereo, and shortwave radio. Old mixtapes, burned discs, streamed playlists, and radio stations all coexist in one machine without any compromise.

Beyond playback, the BB-777 brings old recordings back to life. Audio from cassettes, CDs, or radio can be recorded directly to a USB drive as clean WAV files, turning a retro boombox into a straightforward way to digitize your favorite recordings. The cassette deck supports cassette-to-cassette dubbing at high speed, and a built-in microphone with dual wired mic inputs and echo and volume controls means it handles voice recordings and live sessions just as comfortably.

Of course, the sound system is equally serious and modern. Inside the wide enclosure sits a 270W system built for bold, room-filling audio, with a 3-way setup featuring dedicated isolated woofers, full-range drivers, and horn tweeters delivering deep bass, clear mids, and sharp highs. The internally chambered housing with bass ports and a fan-cooled amplifier round out an acoustic architecture built for real performance. The low end carries genuine weight, and the highs cut through cleanly.

Running all of that for up to 15 hours is a TSA-approved 97.6 Wh Li-ion rechargeable and interchangeable battery pack. With a 4-to-6-hour recharge window and 100 to 240V multi-voltage input, the battery can be charged either inside the unit or separately, and keeping a spare means the music never has to stop. It’s a smart upgrade from vintage boomboxes, which drained stacks of D batteries far faster than anyone expected.

For those wanting a bigger setup, two BB-777 units can be paired via TWS for true stereo sound, with dedicated left and right channels working together for deeper, more immersive audio across every format. The 100 to 240V AC input makes it ready for use almost anywhere in the world, with no voltage converters needed. It comes in Classic Silver, Radical Red, and Onyx Black, with removable magnetic front grills and a shoulder strap included.

What the BB-777 ultimately offers is something most audio products stopped trying to give people a long time ago: the feeling that music occupies real space. It sits in a room with a presence that commands attention, rewards the people who use it with a physical connection, and carries enough history in its silhouette to feel like it genuinely belongs to culture, not just a shelf.

Click Here to But Now: $649 $1049 ($400 off). Hurry, only 197/1100 left! Raised over $3.8 million.

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This $146 Raspberry Pi 5 Case Has a Touchscreen and Runs AI Locally

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The Raspberry Pi has always been a tinkerer’s dream, a tiny board that can become almost anything with enough creativity. Over the years, its growing capabilities have attracted developers, home automation enthusiasts, and even edge AI experimenters who want real processing power in a compact, low-cost package. The persistent challenge has been housing all of that potential in something that looks and works like a proper desktop.

SunFounder’s Pironman 5 Pro Max takes a direct swing at that problem. It’s a dark anodized aluminum tower case designed exclusively for the Raspberry Pi 5, surrounding it with enough hardware to make it a genuinely capable desktop machine. The case and all its bundled accessories start at $145.99 without the Pi itself, which is a lot of kit for something technically sold as a bare enclosure.

Designer: SunFounder

The most visible feature is the 4.3-inch capacitive touchscreen on the front (or side, depending on your point of reference), giving direct, tactile access to whatever you’re running. Alongside it are a 5MP adjustable camera module, stereo speakers, a USB microphone, and a 3.5mm audio jack, all included in the box. Together, they open the door to voice interfaces, video recording, and interactive displays without requiring a single extra module or dangling cable.

Storage and AI expansion come from dual NVMe M.2 slots driven by a PCIe Gen 2 switch. They support RAID 0 for speed or RAID 1 for redundancy, making the Pironman a surprisingly capable home NAS. The same slots are also compatible with Hailo-8 and Hailo-8L AI accelerators for running local language models like DeepSeek or Ollama without a cloud connection.

SunFounder’s OpenClaw platform ties a lot of that together, letting you build a personal AI agent directly on the hardware. You can connect it to cloud-based services like ChatGPT and Gemini, or keep everything local with Grok, Ollama, and DeepSeek. It’s a bold pitch for a single-board computer, but one the Raspberry Pi 5’s improved architecture was quietly building toward.

Cooling is managed by a PWM tower cooler with dual RGB fans, keeping the Pi 5, NVMe drives, and any attached Hailo accelerator stable under sustained load. A front-facing OLED display shows real-time CPU usage, RAM, temperature, and IP address, while a metal power button handles safe shutdowns and an RTC battery holder supports projects that can’t afford unexpected downtime.

The chassis measures 140.9mm x 77.0mm x 138.7 mm and includes a GPIO extender, a spring-loaded microSD slot, rear USB 2.0 ports, and a 27W USB-C power input. It runs on Raspberry Pi OS, Ubuntu, Kali, and Homebridge OS, giving it the range to serve as a media center, development workstation, or smart home hub without needing to swap hardware between projects.

For $145.99, the Pironman 5 Pro Max is selling the hardware to build a finished computer around a board that already fits in your pocket. That gap between bare single-board computer and fully equipped desktop has always been the Raspberry Pi community’s favorite problem to tackle, and few cases have gone after it with quite this much ambition.

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This Levitating Orb Lamp Drifts Toward You in the Dark Before You Ask

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Artificial lighting has come a long way, but most of it still operates on the same basic logic. You plug something in, it stays where you put it, and you arrange your life around it. The growing understanding that light quality directly affects mood, sleep, and well-being has pushed designers to rethink what a lamp should do, but rarely where it should go.

Ivana Nedeljkovska’s Flying Moon & Sun takes a different position on that. Her conceptual design doesn’t ask you to move toward the light; it imagines the light moving toward you. Drawn from the natural rhythms of the sun and moon, it proposes a mobile, levitating lamp that follows you through your home and adapts to whoever it’s meant to illuminate.

Designer: Ivana Nedeljkovska

The concept takes shape as two glass orbs, one in warm amber that channels the sun’s energy, and one in cool frosted blue that mirrors the moon’s quieter character. Each rests on a brushed circular metal base, capable of levitating above it through magnetic force. That floating quality physically expresses the central idea, that this is a light that doesn’t feel tied to any single spot.

The two orbs aren’t just stylistically distinct; each serves a purpose tied to the body’s natural cycles. The warm, sun-toned orb supports alertness and activity, while its cool lunar counterpart eases the body into rest. By mapping its light to the gradual arc from sunrise to sunset, the design draws on circadian science, offering something that most smart bulbs attempt through apps but rarely manage to make feel genuinely natural.

Nedeljkovska was thinking about people who don’t always have the option of adjusting their environment easily. For someone with visual or sensory challenges, a light that moves toward them rather than waiting to be repositioned carries real value. The concept doesn’t frame this as a special accommodation; it simply makes intuitive, responsive behavior the default, which is what good inclusive design tends to do.

That mobility is perhaps the most striking aspect of the idea. Imagine waking at night and finding a glowing orb already near a doorway, having drifted to where you’ll likely need it next. For older users, or anyone navigating in the dark, that kind of preemptive illumination offers a quiet, practical benefit that no ceiling fixture or bedside lamp can really replicate.

The form reinforces the emotional ambition. There are no buttons, no menus, no settings to configure. The smooth glass surfaces and soft inner glow make the orbs feel more like objects found in nature than anything in a typical lighting store. That’s a deliberate choice, one that tries to make a lamp feel comforting rather than functional, which is a harder design problem than it sounds.

Flying Moon & Sun is still a concept, but the questions it raises are genuine. How much of our discomfort with artificial light comes from having to work around it, rather than having it work around us? A lamp that floats, follows, and shifts with the hour is ambitious, but the premise that light should serve the person rather than the room is hard to argue with.

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Lenovo’s $799 Puck-Shaped PC Weighs 600g and Drives 4 Displays

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The traditional desktop PC has been losing ground for years, not to laptops or tablets, but to a growing class of machines that ask a surprisingly simple question: why does a powerful computer have to be big? Mini PCs have carved out a real niche, attracting everyone from home office workers to creative professionals who’d rather not surrender half their desk to a tower.

Most mini PCs, however, don’t quite look like they belong in the spaces they’re meant to save. They’re functional, sure, but rarely memorable. Lenovo’s Yoga Mini i Gen 11 tries to do something about that. First shown at CES 2026 and now moving toward a global release, it arrives as a circular, aluminum-clad machine with a polished Seashell finish, designed to feel as considered as it is compact.

Designer: Lenovo

The chassis weighs just 600 grams and occupies only 0.65 liters of space, small enough to perch on a desk corner, mount behind a monitor, or move between rooms without a second thought. Lenovo describes the circular form as a deliberate design choice, meant to create a cleaner, more efficient footprint both physically and visually, rather than simply shrinking a conventional rectangular box.

Under the hood, the Yoga Mini i Gen 11 runs on Intel’s Panther Lake platform, one of the first consumer chips built on the company’s 18A manufacturing process. The top-tier configuration uses the Core Ultra X7 358H, a 16-core processor that boosts up to 4.8 GHz with 18 MB of smart cache. Both the X7 and the base Core Ultra 5 325 chip include an onboard NPU for AI-accelerated tasks.

The NPU on the X7 model delivers up to 50 TOPS, enough to keep AI tasks running without taxing the main processor. Supporting it are up to 32 GB of LPDDR5X memory and up to 2 TB of NVMe storage, paired with Intel Arc B390 graphics. That combination makes it capable of handling light creative work, video editing, and multi-application workflows without breaking a sweat.

Connectivity is where the Yoga Mini i Gen 11 gets genuinely impressive for a machine this size. It supports up to four simultaneous displays through dual Thunderbolt 4 ports, multiple USB-C ports with DisplayPort, and HDMI 2.1 at 4K and 60 Hz. USB-A, 2.5 GbE Ethernet, Wi-Fi 7, and Bluetooth 6.0 round out a connectivity lineup that punches well above its weight.

A few smart touches add a layer of intelligence to the everyday experience. Wi-Fi Sensing detects nearby presence to wake or lock the machine automatically. Adaptive Lighting adjusts to surrounding sound and activity, while touch controls and an onboard accelerometer enable gesture-based inputs. A fingerprint reader in the power button, Microsoft Pluton, and Secured-core PC certification handle security for users with more sensitive data requirements.

Lenovo has already launched the Yoga Mini i Gen 11 in China ahead of its originally planned July 2026 global release window, with an entry-level model priced at CNY 5,499, roughly $799. Broader availability across other regions is expected before mid-year. It also carries ENERGY STAR, FSC, and carbon-neutral certifications, which add a sustainability angle to its otherwise performance-driven pitch.

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Samsung’s $400 Tab Keyboard Costs More Than Apple’s: Worth It?

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The tablet-as-laptop pitch has been a hard sell for years, and a lot of the blame lands on the accessories. Keyboard covers for Android tablets have historically been thin on features and even thinner on build quality, which makes the whole productivity argument feel shakier than it should. Samsung’s $1,200 Galaxy Tab S11 Ultra is serious hardware, and for a while, its keyboard options weren’t keeping up.

The Galaxy Tab S11 Ultra Pro Keyboard is Samsung’s answer to that. Available in Gray and Silver for $399.99, it connects via pogo pins at the rear of the tablet, with no Bluetooth pairing or cables required. Opening the lid wakes the device, and closing it puts everything to sleep, so the whole thing behaves less like an accessory and more like a laptop right from the start.

Designer: Samsung

The build quality reflects the price in most of the right ways. The body is aluminum alloy, the hinge is reinforced metal, and a secondary kickstand at the rear props the whole assembly into a stable, laptop-like posture at whatever angle you prefer. The result looks noticeably more considered than Samsung’s Book Cover Keyboard Slim, which never really felt like it belonged on a $1,200 device.

The 80-key layout goes beyond a standard QWERTY arrangement. A dedicated DeX key switches the Tab S11 Ultra into Samsung’s desktop mode, where apps run in freely movable windows, closer in feel to Windows than Android. A Galaxy AI key gives you one-press access to AI tools without switching apps, and three customizable function keys can each be mapped to open whatever you need most.

For long stretches of writing or working across multiple documents, those shortcuts matter more than they might look on a spec sheet. The pogo pin connection also eliminates the Bluetooth pairing and dropout issues that plague most wireless keyboard accessories. And since the Pro Keyboard draws power directly from the tablet, there’s no separate battery to charge, and nothing to run out at an inconvenient moment.

The trackpad is 14.6% larger than the one on Samsung’s previous keyboard accessory, a small percentage that translates to real estate you’ll actually notice in DeX mode. The extra surface area gives you more room for precise gestures and window management, and that significantly reduces the number of times you’re forced to reach up and touch the screen during long work sessions.

At $399.99, the Pro Keyboard is nearly twice the price of Samsung’s own Book Cover Keyboard Slim and $50 more than Apple’s Magic Keyboard for the 13-inch iPad Pro. Adding it to the Galaxy Tab S11 Ultra’s $1,200 starting price puts the total at around $1,600, which puts you in comfortable MacBook Air territory, minus the dedicated operating system and the convenience of a unified device.

There are also some obvious gaps at this price. The Pro Keyboard has no backlighting, a noticeable oversight for anyone who regularly works late or in dim spaces. It also doesn’t protect the back of the tablet, which is a curious omission for a $400 accessory. And since it’s designed exclusively for the Galaxy Tab S11 Ultra, there’s no using it with anything else in Samsung’s lineup.

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Razer Just Proved Ergonomic Keyboards Don’t Have to Be Miserable

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Ergonomic keyboards have a reputation problem. They work, technically, but most of them look like they were designed by someone who’d never sat through a full workday. The splits are too wide, the angles too aggressive, and the learning curve steep enough to make you miss the flat keys you’ve always known. Plenty of people give it a try and quietly go back to what they had before.

Razer’s answer is the Pro Type Ergo, its first wireless split ergonomic keyboard, built with that frustration clearly in mind. Rather than throwing you into a radical new layout, it’s tuned to feel approachable from the very first keystroke. The split gently angles your hands into a more natural alignment, easing the sideways reach that makes most forearms ache by mid-afternoon, without asking you to completely relearn how to type.

Designer: Razer

One of the more interesting layout choices is the dual “B” key arrangement, with one on each side of the split, along with an extra backspace tucked between two space bars. The idea is that both thumbs take on common actions, so you’re reaching less and crossing your fingers over each other less throughout the day. It’s a small shift that makes more sense the longer you sit with it.

The keycaps are ultra-low-profile, fitted with subtle spherical indents that nudge your fingertips into the right position without you having to think about it. Sound-dampening layers and tuned stabilizers underneath keep the typing noise low enough for open offices and video calls. Shorter key travel also means less physical effort per keystroke, which doesn’t sound like much until you’ve been at your desk for six hours straight.

The wrist rest is permanently integrated rather than removable, which turns out to be a feature rather than a limitation. It’s just always there, supporting your wrists from the moment you sit down without any extra setup. A 10-degree base slope sets the starting angle, and five tilt positions, from flat to seven degrees forward or back, let you dial in the fit depending on your desk height and preference.

A Razer Command Dial lets you assign up to eight functions, expandable to 100 via Razer Synapse, while five macro keys along the left side keep your most-used shortcuts within easy reach. There’s also a dedicated AI Prompt Master key that handles things like drafting emails, summarizing blocks of text, or kicking off a research query in a single press, without pulling you out of whatever window you’re already in.

Connectivity spans Razer HyperSpeed Wireless at 2.4 GHz, three Bluetooth profiles, and USB-C wired mode, with support for up to five devices total. Razer Chroma RGB backlighting covers 19 customizable zones and can be switched off entirely for offices where animated key lighting might not go over well. The design is clean and understated, a far cry from the aggressively lit gaming keyboards Razer is better known for.

The Pro Type Ergo retails at $189.99, about $30 more than Razer’s conventional Pro Type Ultra from 2021. For anyone who types for a living and has been quietly working around the ache of a standard keyboard layout, that extra cost starts to feel a lot less significant once you’ve spent a full day on something that actually fits how your hands are supposed to sit.

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