Author Archives: JC Torres

Someone Built the PS4 Portable Sony Never Made with a 7-Inch OLED

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The PS4 era is over, but the library is still incredible, and the only way to enjoy it portably has been streaming or emulation with compromises in latency, compatibility, and control. The fantasy of a true PS4 handheld that runs games natively has floated around for years, but Sony never built one. Reddit user wewillmakeitnow decided to stop waiting and built it himself instead.

This is not a Raspberry Pi or a cloud device but a heavily modified PS4 Slim motherboard, cut and re-laid to be as compact as possible while keeping full functionality. The builder redesigned the layout for better power efficiency and thermals, then wrapped it in a custom ABS enclosure with full controls and a 7-inch 1080p OLED screen, turning a console into something that looks and plays like a handheld from an alternate timeline.

Designer: wewillmakeitnow

The cooling story is where most of the work lives. A new airflow path, custom heatsinks, and a large rear fan are managed by an onboard ESP32 microcontroller. The ESP32 runs custom firmware to watch temperatures in real time, enforce thermal thresholds, trigger emergency shutdowns, and supervise power draw and battery charging. It is the safety brain that makes running a console-class APU in your hands viable instead of a thermal disaster.

The power system uses six 21700 cells at 6,000 mAh each in a 3S2P configuration, roughly 130 Wh of energy. Under lighter loads, the system pulls around 44W for about three hours of play. In demanding games, it can draw close to 88W and land closer to an hour and a half before shutdown, at around 10V, which protects the pack. There is also a dedicated port for playing on AC.

The handheld still behaves like a PS4 when you want it to. There is HDMI out for plugging into a TV, multiple USB-C ports for charging, configuration, and connection to controllers or external drives, plus a USB 3.0 port for storage. In that mode, it stops being a handheld and becomes a very small PS4 Slim you can drop next to a hotel TV.

All of this comes at a cost. The enclosure is about 113mm x 270mm x 57mm, with sharp edges and no sculpted grips, and the weight is likely well north of a kilogram once you add the board, cooling, and batteries. The builder chose to let the shell hug the motherboard as tightly as possible, sacrificing rounded comfort to keep the footprint from ballooning further.

This one-off build shows both the promise and limits of turning a living-room console into a handheld. It proves that a native PS4 portable is technically possible if you accept thickness, weight, and fan noise. It also quietly asks what might happen if a company with Sony’s resources took the idea seriously. Until then, it stands as someone picking up their favorite console and refusing to put it down.

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This Solar Pavilion Powers the Grid and Charges Phones from Its Seats

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The typical park pavilion or bus-stop canopy offers shade but little else. A roof on posts that sits in the sun all day, casting shadows, is treated as background infrastructure that is purely functional and visually forgettable. Michael Jantzen’s Solar Electric Pavilion is a response to that missed opportunity, turning a simple shelter into a piece of functional land art that also makes power for the community around it.

Jantzen has spent years exploring sustainable architectural experiments where structures are expressive about how they work. The Solar Electric Pavilion is conceived as a public gathering place and shade structure that generates and stores electricity from the sun for the local community, celebrating the relationship between form and renewable energy instead of hiding the technology behind walls or burying it on rooftops where no one sees it.

Designer: Michael Jantzen

Approaching the pavilion on a hot day, you are drawn under its open steel shell to escape the sun. Underneath, a circular field of cylindrical seats and tables invites people to sit, talk, or work, with a large ceiling fan overhead moving air. The space behaves like a familiar pavilion, a place to meet or rest, but everything around you is quietly tuned to capture and use sunlight.

Sixty photovoltaic panels are mounted along the curved and straight steel box beams, converting sunlight into electricity. Most of that power is sent into the local grid, while some is stored in batteries hidden inside the cylindrical seats. That stored energy runs the pavilion’s lighting at night, powers the ceiling fan, and lets visitors charge phones or laptops, turning sitting down into a direct connection with the solar infrastructure.

A raised circular platform accessed by a spiral stair lets people step up into the middle of the structure and look out over the landscape. From there, the pattern of beams and panels reads as a solar sculpture, framing sky and horizon. The pavilion is no longer just a roof but a small observatory of its own energy system and surroundings.

The pavilion sits within Jantzen’s body of work, which often uses modular steel, bold geometries, and renewable technologies to propose new public infrastructure. He treats solar panels, batteries, and structural steel as equal parts of the composition, designing for both performance and public engagement. The pavilion is conceived from the start as a cohesive amalgamation of shade, power, and sculpture that does not hide what it does.

The Solar Electric Pavilion suggests a different future for everyday public structures. Instead of passive shelters, they become small power stations that feed the grid, cool the air, and charge devices. Jantzen’s pavilion shows that sustainable architecture does not have to hide in technical rooms. It can stand in the open, invite people in, and make the work of clean energy part of the shared experience of a place.

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RitFit Buffalo Wild: Dual Cables, Weight Stacks in 2,200lb Smith Rack

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Many home gyms grow sideways, a basic rack here, a cable tower there, a bench in the corner, and plates leaning against walls. That patchwork setup works for a while, but that also makes it hard to move smoothly from warm-up to heavy work, especially if more than one person trains. A single, well-equipped frame can simplify that without feeling like a commercial monster dropped into a spare room, turning scattered gear into a system that actually flows.

The RitFit Buffalo Wild Smith Machine with Adjustable Dual Cable System is that backbone, a rack that combines a Smith machine, dual adjustable cables, hybrid weight resistance, and storage into one footprint. It is meant to feel like a compact commercial station, with a frame capacity around 2,200lb, 2.5mm uprights, and reinforced joints, so it does not flinch when you actually load it the way you would in a gym that sees hundreds of sessions per week.

Designer: RITFIT

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Each side of the rack runs on independent dual cable tracks, giving true unilateral control and smoother, more natural movement. The adjustable 1:1 and 2:1 pulley ratios let you switch between lighter, longer-range motion and heavier, more direct resistance without changing machines. That means you can move from precision control work to strength-focused sets by changing the ratio, not the equipment, which keeps sessions flowing and makes the rack useful for everyone from beginners to strong lifters.

The Smith side offers a taller frame, closer hole spacing, and a lowered Smith bar engineered for greater depth. That extra space opens up rows, hip thrusts, deadlifts, and crossovers with better form and deeper ranges, instead of forcing you to work around awkward start positions. The Smith has a capacity of about 352lb with 12 adjustable positions per side, enough for serious pressing and squatting while still giving you the guided path many people want when pushing near limits.

The hybrid weight system combines weight stacks with plate-loaded options, making it easy to change resistance quickly and safely. Single-side pulley load capacity is around 450lb, including a 70kg stack, while the frame itself is rated to 2,200lb. That mix gives you fine-tuned isolation work on the stacks and raw power for compound lifts on the plates, without feeling like you are outgrowing the machine as your numbers climb over months.

Rounded, de-burred J-hooks and spotter arms protect bars and hands during heavy racking, and the thicker uprights and reinforced rear cross-beam keep the rack steady under load. Built-in barbell holders, plate pegs, and accessory hooks keep everything organized, and the Smith bar can park on a top hanger to free space inside the frame. With four plate storage bars rated around 330lb each, the rack keeps weight where it belongs instead of scattered on the floor or tucked into corners.

Buffalo Wild makes sense in a shared space, where one person is running cable rows on one side while another sets up for Smith squats or pull-ups, and the transition between movements is a matter of moving a handle, not walking across the room. Instead of a garage full of mismatched stations, you get a single frame that can handle warm-ups, accessory work, and heavy lifts, and that feels stable and organized enough to be worth building the rest of the room around, whether that room is a dedicated gym or a garage that still needs to park a car on weekends.

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These 5 AI Modules Listen When You Hum, Tap, or Strum, Not Type

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AI music tools usually start on a laptop where you type a prompt and wait for a track. That workflow feels distant from how bands write songs, trading groove and chemistry for text boxes and genre presets. MUSE asks what AI music looks like if it starts from playing instead of typing, treating the machine as a bandmate that listens and responds rather than a generator you feed instructions.

MUSE is a next-generation AI music module system designed for band musicians. It is not one box but a family of modules, vocal, drum, bass, synthesizer, and electric guitar, each tuned to a specific role. You feed each one ideas the way you would feed a bandmate, and the AI responds in real time, filling out parts and suggesting directions that match what you just played.

Designers: Hyeyoung Shin, Dayoung Chang

A band rehearsal where each member has their own module means the drummer taps patterns into the drum unit, the bassist works with the bass module to explore grooves, and the singer hums into the vocal module to spin melodies out of half-formed ideas. Instead of staring at a screen, everyone is still moving and reacting, but there is an extra layer of AI quietly proposing fills, variations, and harmonies.

MUSE is built around the idea that timing, touch, and phrasing carry information that text prompts miss. Tapping rhythms, humming lines, or strumming chords lets the system pick up on groove and style, not just genre labels. Those nuances feed the AI’s creative process, so what comes back feels more like an extension of your playing than a generic backing track cobbled together from preset patterns.

The modules can be scattered around a home rather than living in a studio. One unit near the bed for late-night vocal ideas, another by the desk for quick guitar riffs between emails, a drum module on the coffee table for couch jams. Because they look like small colorful objects rather than studio gear, they can stay out, ready to catch ideas without turning the house into a control room.

Each module’s color and texture match its role: a plush vocal unit, punchy drum block, bright synth puck, making them easy to grab and easy to live with. They read more like playful home objects than intimidating equipment, which lowers the barrier to experimenting. Picking one up becomes a small ritual, a way to nudge yourself into making sound instead of scrolling or staring at blank sessions.

MUSE began with the question of how creators can embrace AI without losing their identity. The answer it proposes is to keep the musician’s body and timing at the center, letting AI listen and respond rather than dictate. It treats AI as a bandmate that learns your groove over time, not a replacement, and that shift might be what keeps humans in the loop as the tools get smarter.

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UMBRELLA+ Moves the Umbrella Stand Off the Floor and Into Your Exit Routine

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Leaving the house, getting halfway down the block, and realizing it is raining, but your umbrella is still in the bucket by the door, is familiar. Traditional umbrella stands live on the floor, out of sight and out of mind, collecting drips and getting kicked aside. The problem is not just storage. It is where that storage lives in the exit routine, and how easy it becomes to completely ignore.

UMBRELLA+ is a concept that revisits the umbrella stand by moving it onto the wall. It is a horizontal cylinder that receives the folded umbrella, intersected by a vertical wooden element that acts as a hook for bags or coats. The T-shaped gesture pulls the umbrella into your field of view at entry height, merging storage and hanging into one coherent system.

Designer: Germain Verbrackel

Getting ready to leave, you grab your coat, loop your bag onto the vertical bar, and the umbrella is right there in the same reach, tucked into the tube or hanging by its handle. Because it sits in the same visual band as the things you already check before walking out, you are less likely to leave it behind. The object rewires the routine by placing the umbrella where your hand already goes.

Coming back wet, the umbrella slides into the tube, where internal ribbing gives the fabric somewhere to rest without collapsing and lets air circulate. It is not a sealed drip tray, so some water may reach the floor, but the design assumes the umbrella is mostly shaken off before it goes inside, which is already part of most people’s entry ritual anyway.

The pairing of a cool, matte cylinder with a warm wooden bar lets UMBRELLA+ slide between different moods. In neutral grey and light wood, it blends into minimal entryways. In bronze and dark wood, it feels warmer and more premium. In full blue, it turns into a playful graphic object. That flexibility lets the same form read as a quiet background or deliberate accent.

UMBRELLA+ is designed for one umbrella plus a bag or coat, not a family with multiple umbrellas fighting for space. That constraint is part of what keeps it visually clean and behaviorally focused. It is a personal entryway object, not a communal storage solution, which makes the most sense in apartments or homes where one or two people are managing their own gear.

UMBRELLA+ is less about inventing a new function and more about moving an existing one into a different part of the wall and the routine. By elevating the umbrella physically and symbolically, it turns something easy to forget into something harder to ignore. Sometimes the best way to solve small daily friction is not a smarter object, but a smarter place to put it, especially when that place is already where you reach every time you leave.

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This Battery Charger Shows Which AAs Are Dead on an E-Ink Display

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The drawer full of half-used AA and AAA batteries, some new, some dead, some leaking, is familiar. The last-minute scramble for batteries when a remote dies usually means digging through the pile, testing them one by one, and feeling uneasy about throwing spent alkalines into the trash. The problem is not just waste, it is the lack of a clear system for how we power small devices scattered around a home.

Linogy is a rechargeable battery ecosystem built around 1.5 V Li-ion AA and AAA cells plus an all-in-one smart station. The station lives on a desk or shelf, acting as a battery tester, fast charger, and organizer case that holds up to 40 cells. The goal is to replace the random drawer with a single, visible place where all your batteries live and get managed.

Designer: Linogy

Disposable alkalines are convenient but add up to billions of cells tossed each year, along with tens of thousands of tons of waste and CO₂. Ni-MH rechargeables solve part of that but bring their own quirks: 1.2V output that some devices dislike, high self-discharge, lower energy density, and slow charging that makes topping them up feel like a chore you keep postponing.

Linogy’s cells pack around 3,600mWh and deliver stable 1.5V, closer to what devices expect from alkalines, so performance and battery indicators behave more predictably. The cells are rated for up to 1,200 cycles, meaning one rechargeable can stand in for roughly 1,200 disposables over its life, and built-in protection layers handle overcharge, short circuit, and drop impacts without leaks or smoke.

Dropping a mix of AA and AAA cells into the station, it automatically detects type, health, and charge level. The e-ink display shows which batteries are full, which are charging, and which are ready to retire, without bright LEDs or guesswork. A full charge takes around three hours, and once topped up, the station stops charging and simply holds the cells until something needs power.

The station is compatible with Linogy’s Li-ion cells, Ni-MH, and Ni-Cd AA and AAA batteries. You do not have to throw out existing rechargeables; the same box can test and charge them while you gradually swap in higher-capacity 1.5V cells. Over time, the random mix becomes a more coherent set of batteries you actually trust instead of avoiding.

A simple change in how you handle AA and AAA power can reduce waste and friction. One Linogy cell replacing up to 1,200 alkalines, recyclable packaging, and a charger that looks like a small appliance rather than a tangle of cables all add up. It turns the humble battery from something you forget about until it fails into a part of the home that is designed, visible, and surprisingly satisfying to keep in order.

The post This Battery Charger Shows Which AAs Are Dead on an E-Ink Display first appeared on Yanko Design.

This 600g Tablet Snaps into a Keyboard, Then into a Cooling Stand

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The question of whether a single small device can replace a laptop and desktop without feeling compromised keeps surfacing. Past attempts include phone lapdocks and 2-in-1 tablets that end up either too heavy to hold or too weak to be real workstations. Khadas’ Mind Go tries a different path. Instead of forcing everything into one slab, it lets the form factor grow and shrink depending on what you need.

Mind Go is a modular 3-in-1 that starts with an 11.6-inch tablet, weighing around 600g and roughly 6.1mm thick in the current prototype. It is fanless, with built-in speakers, a front camera, Mind Pencil support, and a raised edge on the back that makes one-handed grip easier. The tablet is deliberately not a battery monster on its own because it is meant for shorter, mobile sessions where lightness matters more than runtime.

Designer: Khadas

Slipping the tablet into a bag, reading or sketching on the train, reviewing documents while standing, or sharing a screen in a hallway all become easier with the smaller 11.6-inch size. The lack of fans keeps it quiet and cool. You are not running a full workstation here, just doing the kind of light work that benefits from being truly portable and easy to hold without needing a table.

At a desk or café, the tablet drops into the Mind Go Keyboard. The keyboard is both input and battery, connected through pogo pins, bringing total capacity to 45Wh and roughly nine hours of local video playback. The trackpad and full keys turn the setup into a familiar laptop, and you can detach or reattach the tablet without interrupting what you are doing, shifting between seated and walk-around work.

The Mind Go Stand is where the device stops pretending to be just a tablet. The stand adds active cooling and a full set of ports, USB-C, HDMI, USB-A, Ethernet, headphone jack, plus integrated speakers. With sustained cooling, Mind Go can push up to about 30 W of performance, roughly double its tablet mode, and suddenly the small screen is driving multiple external displays and heavier workloads.

This setup changes the usual dance of syncing files between machines. Your projects live on the same device that moves from commute to meeting to desk. On the way home, you are not hunched over a tiny laptop debating whether to sync to a desktop later. You just drop the tablet into the stand, and your posture, visual space, and performance all expand around the same core without transferring files or logging into another machine.

Mind Go is still in market validation, with Khadas asking the community to help decide big questions, Snapdragon or Intel, 11.6 or 13 inches, LCD or OLED, pogo pins or wired stand, even whether the dock should offer optional GPU support. It is an unusual invitation to shape not just the look but the architecture of a device that wants to be your tablet, laptop, and desktop without pretending those are the same thing.

The post This 600g Tablet Snaps into a Keyboard, Then into a Cooling Stand first appeared on Yanko Design.

Edifier D32 Retro Hi-Fi Speaker Hides AirPlay and 11-Hour Battery

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Music has become the backdrop to almost everything, cooking, working, reading, but the hardware that plays it often looks like a leftover from a tech store, plastic boxes that clash with furniture. There is a tension between wanting good sound in every room and not wanting your living space to feel like a gadget shelf. A speaker that behaves like hi-fi but looks like it belongs on a sideboard can quietly solve that.

The Edifier D32 tabletop wireless speaker is that kind of object, a retro-styled piece with a hand-made wooden cabinet, braided grille, and accordion keyboard that feels closer to a mid-century radio than a Bluetooth brick. Behind the nostalgia is a modern 2.1 acoustic architecture and 60 W RMS of power, so it is not just a pretty box pretending to be a speaker. It is meant to fill a room with sound that actually holds up when you stop and listen.

Designer: Edifier

The D32 uses two 1-inch silk dome tweeters and a 4-inch long-throw mid-low driver inside an MDF cabinet with dual bass-reflex ports. The tweeters handle the crisp top end, the long-throw driver and ports take care of the low end, and the enclosure is tuned to minimize resonance and distortion. The result is a compact speaker that can throw clear highs, solid mids, and punchy bass without sounding strained when you turn it up, which is rare for something this size.

The signal path supports hi-res audio up to 24-bit/96 kHz and runs everything through full digital signal processing, a two-way active crossover, and dynamic range control. That means the tweeters and woofer get exactly what they need, and the electronics keep things clean and controlled even when tracks get dense. It is the kind of setup you expect in a bookshelf system, shrunk into something that can sit under a window or on a kitchen counter.

The wireless side covers Bluetooth 5.3 with LDAC for high-bandwidth streaming from compatible Android devices, plus AAC and ALAC support, and dual-band Wi-Fi with Apple AirPlay for network playback. There is an 11-hour built-in battery, so you can unplug and move it to another room or out onto a balcony without killing the mood. It can be a fixed living room piece most of the time, then wander when you need sound somewhere else.

Morning coffee with a low-volume playlist coming from the D32 on a sideboard, a workday where it pulls double duty as a Bluetooth speaker for a laptop and a Wi-Fi endpoint for lossless streaming, an evening where it becomes the main system for a movie or a focused album listen. The point is that you do not have to think about what it is connected to. You just pick a source and let the speaker handle the rest, switching smoothly between Bluetooth, Wi-Fi, USB, and AUX without fuss.

The D32’s mix of retro design and modern audio tech makes it feel like something you keep around, not cycle through. The wooden cabinet and accordion keys give it a presence that does not age the way glossy plastic does, while the 2.1 architecture, hi-res support, and flexible wireless stack mean it can keep up with whatever you are listening to next. It is the kind of speaker that quietly becomes part of the room, doing its job without shouting about it, which might be the best thing a piece of audio furniture can do.

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NYXI Hyperion 3 Finally Gives the Switch 2 a Grown-Up Controller

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Playing the Switch 2 for more than an hour in handheld mode means the flat Joy-Cons and small buttons start to feel like a compromise. Your hands end up clawed around the rails, drift anxiety creeps in, and you start shifting your grip to avoid cramping. NYXI’s Hyperion 3 is built for people who treat the Switch 2 like a main console, not a travel toy used in short bursts.

NYXI’s Hyperion 3 is a wireless JoyPad that snaps onto the Switch 2 for handheld play and works as a standalone pad when docked. It adds real grips, larger sticks, and more spaced-out buttons, swapping the usual potentiometer sticks for hall-effect joysticks designed to be drift-free over the long haul. It is pitched as the world’s first ergonomic JoyPad for Switch 2, treating comfort and reliability as primary goals.

Designer: NYXI

Settling into a long RPG or racing game in handheld mode, the full-size grips let your hands relax instead of pinching edges. The hall-effect sticks feel smooth and precise, and you are not waiting for the first sign of drift that ruined your last controller. The strong magnetic lock keeps everything solid, so the console feels like one piece rather than a screen with two wobbly handles threatening to flex apart.

The larger micro-switch face buttons and D-pad click with a clear, mechanical feel, making fast inputs and diagonals more reliable in fighters or platformers. The 9-axis gyro gives you fine motion aiming in shooters or steering in racers, so you can lean on tilt controls without fighting laggy sensors or imprecise calibration that drifts halfway through a match.

The programmable back buttons let you move key actions off the face buttons, so your thumbs can stay on the sticks more often. Mapping jump, reload, or item use to the back means fewer awkward stretches, especially in games designed around a traditional pad. Over time, that small shift in where your fingers land makes the controller feel tailored to your habits instead of forcing you into Nintendo’s layout.

Hyperion 3 is not as slim or neutral as Nintendo’s own Joy-Cons. The full-size grips and gaming-centric styling make the Switch 2 less pocketable and more like a small console with a screen. That is exactly the point, though, a handheld that finally feels built for adult hands, even if it means giving up a bit of throw-in-a-bag convenience.

Hyperion 3 shows what happens when a third-party accessory takes the Joy-Con format seriously as a starting point, not a template to clone. By fixing drift, upgrading buttons, adding back paddles, and leaning into ergonomics, it treats the Switch 2 like a platform deserving of pro-level hardware. Playing on Nintendo’s hybrid for hours makes that kind of overkill feel pretty reasonable.

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Hourglass-like Lamp Changes Lighting When You Flip It Upside Down

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Most table lamps quietly disappear into the background, doing their job without much thought. There is the usual formula: a base, a stem, a shade, and how they become part of the furniture, you stop noticing. JAL from Barcelona studio Som by Mos leans into that ordinariness on purpose, then uses a very small twist to make the everyday feel a bit more deliberate and less forgettable.

JAL is a table lamp built around two glass cones joined tip to tip, like a clear hourglass. The bulb sits inside this double cone so it appears to float in the air, and the whole piece is available in transparent or frosted glass. The only other visible element is the cable, which comes in different colors and quietly sets the tone.

Designer: SOM by MOS

Placing JAL with the bulb facing upward on a sideboard, it behaves like a familiar table lamp, throwing light onto the wall and ceiling. Flip it so the bulb points downward, and it turns into more of a glowing object that pools light on the surface below. That simple rotation changes how you use the lamp, from reading companion to ambient accent.

The clear-glass version makes the bulb and its reflections the main event, better suited to a living room corner or a shelf where you want a bit of sparkle. The frosted version softens everything, turning the hourglass into a diffuse glow that feels more at home on a bedside table or a quiet desk. The form stays the same, but the way it holds light shifts with the finish.

Som by Mos offers a selection of cable colors, so the one strong line cutting through the glass can either disappear or become a graphic detail. A neutral cable lets the lamp fade into a minimal setup, while a bolder color makes it feel more playful. Those small decisions, orientation, glass type, cable, are how the lamp becomes “whatever you want it to be.”

Som by Mos talks about objects that are not just used but experienced and interpreted. JAL fits that idea because it does not force a single reading. It is a lamp you can turn, soften, or sharpen with tiny choices, and over time, those choices are what give it personality. Loud lighting fills rooms with fixtures demanding attention, but a quiet hourglass of glass and light can feel like exactly the right kind of “just another lamp.”

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