Author Archives: JC Torres

Colorful Inhaler Case Laser-Engraves Names So Kids Aren’t Embarrassed

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Inhalers are one of those everyday objects that millions of people carry around without ever thinking about how they look or feel. They roll around in bags, get shoved into pockets, and come out in public with all the elegance of a used tissue. Nobody designed them to be personal, and it shows. The hale Flow, a colored SLS nylon case made in the UK, wants to change that by treating an inhaler less like a clinical tool and more like something you’d actually want to pull out of your bag.

The person behind it is Matthew Conlon, who built hale from his own experience living with asthma. That starting point matters because the material choice isn’t just cosmetic. The case is made from PA12 nylon through selective laser sintering, a polymer grade found in aerospace and medical implant applications. At just 1mm of wall thickness, it wraps tightly around the Ventolin Evohaler without adding bulk, and the slightly grainy, matte surface gives it a tactile quality that immediately separates it from the cheap silicone sleeves floating around online.

Designer: Matthew Conlon

Two halves snap together through concealed magnets, each only 0.85mm thick, so there are no visible clips or latches breaking up the surface. The mouthpiece cap bonds with a small dot of adhesive, the one permanent step in an otherwise reversible setup. Subtle contours across the grip area help with one-handed use, which is the kind of detail you appreciate when you’re having a mid-asthma episode and fumbling isn’t really an option. Three colorways are available (Lemon, Pink, and Black) at £29, sitting comfortably between throwaway accessories and hale’s own aluminum Classic at £59.

What genuinely sets the Flow apart, though, is laser engraving. You can add a name or even upload a custom image, like a pet illustration, etched permanently into the nylon. For a parent buying one for a child with asthma, that turns a medical necessity into something personal, something a kid might actually feel proud pulling out of a backpack. No other inhaler accessory on the market currently offers that level of personalization at this price, which is surprising given how large the potential audience is.

The honest caveat here is compatibility. The hale Flow works exclusively with the Ventolin Evohaler, and while salbutamol remains one of the most dispensed bronchodilators in the UK, with over 22 million units in 2020 alone, millions of asthma patients rely on entirely different devices. Hale says it is exploring additional models, but for now, the design promise stops at one inhaler.

At £29, manufactured in the UK by a single founder who actually lives with the condition he’s designing for, the hale Flow sits in a category that barely existed before it showed up. Whether it can grow beyond that single compatible inhaler will determine if it remains a thoughtful niche product or turns into something with a much wider reach.

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This Portable Power Strip Clamps to Table Edges and Charges 3 Devices

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Working from wherever you can find a seat means accepting certain frustrations, and outlet hunting is near the top of the list. Extension boards solve that at home, but they’re designed for rooms rather than bags, and dragging one to a café or shared studio means arriving with a coil of cable that becomes someone else’s problem. Power infrastructure hasn’t caught up with how people actually work.

Xtend is a personal charging extension concept built around one challenge: making power access portable without making it awkward. The guiding claim is “Power access shouldn’t be bulky,” which is fair when most extension boards still feel designed for a fixed office and are never reconsidered. The concept answers with a compact, desk-edge device you carry rather than leave behind.

Designer: Parth Amlani

Rather than a strip on the floor where cables become trip hazards, Xtend clamps to the table edge and creates an elevated power zone right where you’re working. That’s the main behavioral shift, and it matters. It keeps cables off the ground, reduces accidental unplugging when someone shifts their chair, and gives the whole setup a predictable home, whether you’re there for twenty minutes or a few hours.

A manual retractable wire manages the cable when you pack up, addressing tangles at the source rather than relying on cable ties or zip pouches. The table attachment uses a selfie-stick-inspired locking mechanism for adjusting and securing the device to different desk edge profiles. That’s not a small detail, because portability only works if setup and stow are both quick.

Of course, attaching to a desk edge only matters if it handles what you’re actually charging. Xtend is set up for three devices at once, a top-facing outlet for a laptop charger, and USB ports on the side for phones or smaller devices. That mix reflects how people actually charge at a shared desk, one large draw and a couple of smaller ones, rather than forcing everyone to compete for a single wall strip.

Xtend treats power the way people already treat other portable tools, as something that belongs in a bag and works anywhere. Extension boards have been a room infrastructure for decades, but how people work has changed. A small device that attaches to a desk edge, charges three things, and retracts its own cable before you leave suggests that the power strip category is ready for a rethink.

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This Concrete Lamp Looks Calm and Rounded, not Brutalist

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Concrete’s default mode in product design is heavy, rectilinear, and a little confrontational. It shows up in candles, bookends, and lamp bases that lean into the brutalist reference, as if rawness is the whole point. That aesthetic works in the right context, but it rarely feels calm or considered at desk scale, where the goal is usually a surface that helps you focus rather than one that announces itself at every angle.

Mikka started as a question: what if cast concrete could feel light? The answer was a desk lamp with softened edges, carefully balanced volumes, and a silhouette that reads as calm rather than rigid. The intent wasn’t to disguise the material or pretend it’s something else, but to present concrete in a way that feels contemporary and approachable without stripping away what makes it honest.

Designer: Leon Bora

The form does most of the work. Surface transitions are controlled and gradual, edges are rounded rather than chamfered, and the overall proportions avoid the solid block feel that makes most concrete objects look like they belong on a construction site. The negative space inside the body carves away visual mass, helping the lamp feel lighter than any concrete object has a right to feel when you know how dense the material actually is.

Manufacturing played a central role in making that geometry possible. The housing was cast using a precisely engineered 3D-printed mold, which enabled tight radii, consistent wall conditions, and a refined surface finish that would be difficult to achieve with conventional mold making. This is a hybrid workflow, additive manufacturing used as tooling for traditional casting, and it’s what allows the lamp to have the controlled, nuanced form language it’s going for rather than the rougher profile that hand-built molds often produce.

The pivot mechanism is where Mikka asks for interaction. Angle the head downward, and the beam grazes across the concrete surface, revealing subtle texture variations and the natural imperfections from the casting process. The lamp becomes almost self-referential in that mode, drawing attention to the material qualities that define it. Angle it outward, and it becomes a practical reading or work light, focused and direct. One gesture shifts the whole character of the object.

That duality is what keeps it interesting on a desk rather than just on a shelf. Late at night, angled inward, it’s a quiet ambient presence. During the day, aimed at a book or screen, it’s functional and unfussy. It doesn’t ask you to commit to one mode, which is a useful quality in a lamp that has to share space with other objects.

Mikka suggests that concrete at product scale doesn’t have to default to weight and aggression. When the form is thoughtful, and the mold is controlled, the material can carry a different kind of presence, one that fits on a desk at home without demanding to be the only thing you notice in the room.

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This 1080×1080 Round Touchscreen Saves Designers From Faking Circles

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Circular interfaces keep showing up in design. Thermostats, smart speakers, automotive dials, wearable-inspired dashboards, the circle feels friendly and “instrument-like” in a way that rectangles don’t, especially when the goal is a glanceable, ambient piece of hardware rather than something you stare at for hours. The problem is that most prototyping hardware is rectangular, so designers either fake a round interface on a square screen or spend weeks sourcing a custom circular panel.

Waveshare’s 7-inch round touch display tries to remove that bottleneck. It’s a 1080×1080 IPS panel with 10-point capacitive touch, optical bonding, and toughened glass, all in a circular form factor that connects to a host device over HDMI with a separate USB-C cable for touch data. The premise is simple: treat it like a normal monitor and touchscreen, then build whatever circular UI you want on top of it.

Designer: Waveshare

The spec choices that matter for actual design work are mostly about reducing friction. HDMI video input and USB-C touch make the display behave like a standard external monitor to any device that supports it, so you’re not writing drivers or fighting kernel modules before you can see your UI on screen. Waveshare claims driver-free operation on Windows 11 down to Windows 7, plus Raspberry Pi OS with full 10-point touch, and Ubuntu and Kali with single-point, which is more than enough for early-stage prototyping.

Brightness is rated at 800 cd/m², with a 160-degree viewing angle from the IPS panel. For a prototype that’s going on a wall, into a vehicle mock-up, or onto a demo table for a client presentation, that combination means the display stays legible from reasonable distances and off-angle views. The optical bonding also closes the air gap between the glass and the LCD, so it reads more like a laminated consumer screen than a development board display, which makes a quiet difference when you’re showing work to someone who doesn’t build hardware for a living.

The small onboard controller adds a few practical tools: a physical touch rotation button for flipping between portrait and landscape without touching software, and a backlight adjustment that can be controlled via software. There’s also a 3.5mm audio jack and a 4PIN speaker header if you want to add sound to the build. None of these are headline features, but they’re the kind of things that accelerate iteration without requiring extra components or hacks.

Platform support stretches from Raspberry Pi 3 all the way through Pi 5, plus NVIDIA Jetson boards for more compute-intensive builds, and standard Windows PCs for larger installations or kiosk-style demos. That breadth means the same display can serve a lightweight Pi-based smart-home prototype one week and a Jetson-powered vision demo the next.

A circular screen goes beyond novelty into a very different product personality. Having an off-the-shelf option that handles touch, connects over standard cables, and doesn’t require driver work means designers can spend time on the actual interaction and enclosure instead of fighting the hardware stack to get a circle on screen.

The post This 1080×1080 Round Touchscreen Saves Designers From Faking Circles first appeared on Yanko Design.

These Solar Gazebos Have 4 Wind Turbines and Let You Charge Below

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University campuses function like small cities. Students move between buildings, find outdoor spots to read or work, and constantly need power for phones and laptops. Sustainability tends to get communicated through plaques, rooftop panels, and annual reports, things you don’t interact with. There’s a gap between “this campus is reducing its carbon footprint” and “here’s a place where you can sit, charge your phone, and actually experience that in some tangible way.”

Michael Jantzen’s Solar Wind Gazebos are public pavilions designed to close that gap. Intended for university campuses, they function as gathering spaces while generating electricity from sun and wind, with the power feeding into the university’s grid. The proposal treats renewable infrastructure as a place to inhabit rather than a system to install, and it makes that infrastructure legible to anyone who walks up to one.

Designer: Michael Jantzen

The roof does most of the communicating. Four commercially available vertical-axis wind turbines sit at the corners, while a large circular solar panel occupies the center. That layout is easy to read at a glance: wind at the perimeter, sun at the core. You don’t need a label to understand what’s happening because the structure’s own geometry explains its energy logic, which is something most utility infrastructure completely fails to do.

The frame is predominantly stainless steel on concrete bases, which is a deliberate choice for outdoor public installations. Campuses need structures that handle weather, seasonal temperature swings, and constant use without requiring frequent maintenance windows. Stainless steel and concrete aren’t glamorous materials, but they’re honest ones for a building type that needs to outlast a decade of students without becoming an eyesore or a liability.

Inside, four cylindrical seating spaces are attached to the support columns, each with a receptacle at the top for plugging in devices. That detail is quiet but important, turning charging into a normal part of sitting down outdoors rather than a task that sends students hunting for an outlet inside a building. A large round central platform offers a shared surface for sitting or lying down, creating a mix of semi-private individual zones and an open communal gathering area.

A circular electric light mounted above the central platform runs off the same solar and wind generation, extending the pavilion’s usefulness into evening hours. The structure essentially powers its own ambience, which gives the whole thing a satisfying sense of completion, generation, use, and light running off the same rooftop.

The gazebos are designed to be reproduced as prefabricated structures in various sizes and installed across different landscapes. The same concept fits public parks, corporate campuses, and any open space where people gather and need shade, seating, and somewhere to plug in. The broader implication is that renewable energy infrastructure doesn’t always have to hide behind fences or sit on rooftops. Sometimes it can be the very thing you sit inside of on a Tuesday afternoon between classes.

The post These Solar Gazebos Have 4 Wind Turbines and Let You Charge Below first appeared on Yanko Design.

This Wireless Mouse Clips to Your Laptop Edge So You Never Lose It

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Working on the move means accepting a certain amount of small friction. You can have a great laptop and still spend the first five minutes of a café session digging through a bag for a mouse, or realizing you left it on your desk at home. Accessories are the first things to get lost because they don’t have a natural home when you’re packing up in a hurry, and no amount of good habits fully solves that.

BondClip by BondArch is a wireless mouse engineered to clip onto the edge of a laptop or tablet, so it travels with the device instead of floating loose. The G-shaped architecture is the whole idea, a flowing aluminum loop that forms a natural clip and keeps the mouse attached to the device like a tool rather than stored like a separate accessory you have to keep track of.

Designers: Sangmin Yu and Rinchar Ren (HNDESIGN) for BondArch

The clip itself relies on geometry and friction rather than a clamp or spring mechanism. A silicone pad on the underside of the loop increases contact friction, helping BondClip grip the laptop’s edge firmly during travel without digging into the surface or requiring the kind of force that would mark a premium finish. The silicone also absorbs minor vibrations, so it doesn’t rattle around in a bag with the laptop.

The weight comes in at 72g and dimensions at 110.6mm x 60mm x 36.2 mm, which puts it in compact travel mouse territory. The more meaningful shift is behavioral. When you open the laptop, the mouse is already there, clipped to the edge and ready to go. That changes the rhythm of setting up in a meeting room or café, removing one physical search from the start of every work session.

Connectivity covers 2.4GHz wireless and Bluetooth 5.4, switchable via a mode button on the underside, so you can pair it to a laptop and tablet independently and switch between them without re-pairing. Adjustable DPI runs from 600 to 3600, covering slow, precise cursor work and faster general browsing without needing software to set it up.

The 25 mAh rechargeable battery is rated for 130 hours of use on a single charge, with USB-C for recharging. At that battery life, it’s the kind of peripheral you plug in occasionally rather than manage carefully, which matters when you’re already keeping an eye on a laptop, phone, and earbuds.

The body is precision-bent aluminum alloy, with polycarbonate and silicone components, in Silver and Midnight finishes. BondArch calls it “office luxury,” which isn’t an empty claim when the sandblasted matte finish is clearly aimed at the same visual register as a modern MacBook. It’s a mouse that gives itself a place to live on the device it works with, which turns out to be a more useful idea than another wireless range number.

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This 10.3-Inch E-Ink Reader Was Built for Annotating Dense PDFs

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Reading seriously on a tablet means fighting the device as much as the text. Notifications creep in, brightness is calibrated for apps rather than paper, and the browser is always one tap away. E-ink devices have been solving that distraction problem for years, but most are sized for novels rather than the dense PDFs, research papers, and annotated books that require space to actually work on.

The PocketBook InkPad One is a 10.3-inch e-ink slate with a stylus, running a Linux-based reading interface instead of an Android tablet OS. The aluminum frame is 5.15mm thin and wraps an E Ink Mobius display, which uses a plastic substrate rather than glass, making it lighter and more resistant to the casual impacts that happen in bags and on desks.

Designer: PocketBook

The key interaction design choice is “Comment Mode,” where finger touch handles page navigation and the stylus handles everything else, highlights, notes, and annotations on the same page you’re reading. That split means you can navigate naturally without accidentally triggering the pen, which matters when 60-page PDFs are the main material. The included PocketBook Stylus 2 is positioned as a reading-first annotation tool rather than a speed-writing device.

The E Ink Mobius panel runs at 1404×1872 resolution and 226 ppi, with SMARTlight adjusting both brightness and color temperature together. Long evening sessions of marking up papers under warm indoor light are where color temperature adjustment earns its presence. Battery life is rated at up to two months on a single charge, backed by a 3700mAh cell.

The open ecosystem is where InkPad One separates from store-locked readers. It supports 25 file formats natively without conversion, including EPUB, PDF, CBR, CBZ, and AZW, plus Adobe DRM and LCP DRM for protected content. Library borrowing via Libby is built in, so you can borrow from a public library and read on the same device where your own PDFs live, without format gymnastics.

Bluetooth 5.0 and built-in Text-to-Speech round out the feature set. TTS reads aloud any text file and resumes from where you stopped, useful when switching from reading to listening during a commute. Audiobook formats including M4A, MP3, and OGG are supported natively alongside the reading library, all synced via PocketBook Cloud and compatible with Dropbox.

InkPad One sits in a useful gap, less locked-in than store-driven readers like Kindle, less Android-cluttered than BOOX or Bigme devices, and bigger than most small e-readers for anything involving dense text and active annotation. It’s a calm, thin tool for people who want to work with what they read rather than just collect it.

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This 2-Person Steam Room Sets Up in 5 Minutes and Packs Into a Case

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Home wellness has expanded well beyond foam rollers and cold showers. Heat therapy has become one of the more serious recovery habits people are building into their routines, but the hardware has always been the obstacle. Traditional saunas require installation, dedicated space, and a budget that rules out most apartments. The gap between wanting a genuine steam experience and being able to have one at home has stayed stubbornly wide.

SaunaBox SmartSteam XL, formerly known as SaunaBox Go, tries to close that gap with a pop-up, two-person portable steam room that sets up in under 5 minutes and packs away into a carry case when you’re done. It sits somewhere between a camping structure and a private wellness retreat, which sounds like a strange mix until you’re sitting inside at 130°F with 100% humidity and the whole thing starts to feel more like an onsen than a tent.

Designer: SaunaBox

That steam-forward output is what shifts the experience away from the drier, more aggressive heat of traditional saunas. The SmartSteam Pro heating unit generates a deeply humid environment that envelops rather than parches, which is the difference between feeling like you’re sweating through a workout and feeling like you’re genuinely being restored. That’s not a small distinction when the goal is recovery and relaxation rather than just breaking a sweat.

The app layer is where the design thinking gets quieter, but equally important. Fifteen personalized heat levels, customizable session timers, and a choice of guided meditations or spa audio are all managed from an iOS or Android app, which means setup becomes a small ritual rather than a technical exercise. A weekly session log tracks your heat therapy over time, turning something you’d otherwise do by feel into something you can actually pay attention to and build on.

The tent fabric carries OEKO-TEX certification, meaning it’s been independently tested for harmful substances under strict global criteria. The unit is also fully REACH compliant, aligning with EU regulations on harmful chemicals in manufacturing. These aren’t headline features, but they matter when you’re sitting inside something heated and enclosed, breathing the air it’s generating, for extended periods of time.

Portability is the actual promise the design has to keep. It fits two people, sets up without tools, and takes down in roughly the same amount of time. The included carry case means it can travel to a vacation rental, move to a different room when needed, or disappear into storage without leaving a permanent footprint. That flexibility is what separates it from every wellness product that promises transformation but demands a dedicated square footage to make it happen.

SmartSteam XL works because it makes a steam room temporary and repeatable, rather than permanent and committed. The onsen feeling it delivers is less about achieving some spa ideal and more about actually having a reliable, consistent heat ritual that you can sustain because the setup doesn’t punish you every time.

The post This 2-Person Steam Room Sets Up in 5 Minutes and Packs Into a Case first appeared on Yanko Design.

Synth Modular Controller Treats Music Making Like Building with Blocks

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Modular synthesis has a split personality. There are racks of patch cables that promise infinite sound design but also scare off newcomers who don’t know what an oscillator actually does. Then there are small, playful instruments and construction toys that invite you to just start pressing things and see what happens. There’s room for a hardware system that borrows the friendliness of toys while still behaving like a serious instrument, one that teaches as you build.

Synth is a modular music synthesizer concept that treats every function as a physical block. Keys, pads, knobs, sequencer, effects, and display all live on separate modules that snap into a base. The designer cites inspiration from playful minimalism and block-based logic, but the project is independent and not affiliated with any existing brands; it simply borrows that spirit of approachable, interlocking parts that make complex things feel accessible.

Madhav Binu

The base acts like a studded board, and each module clicks into place wherever you want it. A beginner might start with a simple strip of keys, a small display, and a single effects block. As they grow more confident, they can add more modules, rearrange the order, or build a performance-focused layout with pads and big knobs up front, all without opening a settings menu or diving into software preferences.

Arranging modules from left to right or top to bottom mirrors the path sound takes through a synth. Oscillator, filter, envelope, effects, each block is a step in the chain, you can literally see and touch. Clear visual cues and simplified controls help users understand what each stage does, turning abstract synthesis concepts into something you learn by rearranging tiles instead of reading manuals.

This approach makes Synth less intimidating for beginners, who can treat it like a musical construction set, while still giving advanced users a flexible playground. Someone focused on live performance might cluster pads, faders, and a sequencer near the edge, while a sound designer might build a long row of modulation and effects modules. The same hardware adapts to very different workflows without needing firmware updates or screen menus.

The warm, tile-based aesthetic, with bold colors and minimal controls, invites experimentation rather than caution. The layout feels like a board game or building set, which lowers the psychological barrier to trying odd combinations. That sense of play is intentional; the project wants sound design to feel like a hands-on, spatial activity instead of a dense screen full of parameters you’re afraid to touch.

Synth reframes music production as something that grows alongside the user. Instead of buying a fixed box and learning to live with its quirks, you build your own interface, then rebuild it when your needs change. Even as a concept, it hints at a future where modular music hardware isn’t only about swapping electronic modules in a rack, but about reshaping the very surface you touch while you create.

The post Synth Modular Controller Treats Music Making Like Building with Blocks first appeared on Yanko Design.

This Walking Cane Also Hooks Bags and Grips Tables With a Hidden Ring

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Every day balance moments don’t usually look dramatic. Standing up from a low chair after a long meal, stepping off a curb while carrying bags, and steadying yourself in a narrow hallway without anything to grab are the small transitions that feel minor until they don’t. Safety gear tends to be designed for bigger problems, but the real friction lives in these frequent, unremarkable moments that add up over the course of a day.

SafeGrip is a modular safety handle designed to offer a versatile solution to exactly those “micro safety issues,” particularly for elderly individuals and anyone who needs balance support in daily life. The tagline is “Grip life with confidence,” and the design backs that up by turning a single compact object into a walking cane, a carry hook, and a furniture anchor point, depending on what the moment requires.

Designer: Batuhan Duran

As a cane, the handle shape does a lot of quiet work. The large grip opening and soft, rounded edges allow different hand sizes and grip styles, so it doesn’t demand a precise hold. That gentler geometry reduces pressure on arthritic or tired hands, and the clean, non-clinical look means it’s the kind of thing you’d keep by the door or beside a chair rather than hiding it away, which matters more than most cane designers seem to realize.

Carrying bags while walking is one of those everyday tasks that throws off balance in ways that accumulate slowly. The built-in hook function lets SafeGrip carry shopping loads, taking the pull off the wrist and keeping the user steadier. At a doorway, elevator, or checkout counter, having the bags on the cane instead of dangling from a hand changes how the body distributes weight, even slightly, which counts when stability is already a concern.

The mechanical retractable ring system is the feature that makes furniture anchoring possible. The ring extends to create a secure loop that can grip onto a table edge or chair, turning the nearest piece of furniture into a temporary grab rail. That makes the sit-to-stand transition, one of the most commonly risky daily movements, feel more controlled without requiring any installed hardware or home modifications.

A telescopic height adjustment mechanism at the neck of the handle allows incremental length changes through nesting profiles, with numbered level indicators so users can identify and return to the right height reliably. That repeatability matters when the cane is used by more than one person or when it’s stored and reset regularly throughout the day.

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SafeGrip treats stability as an everyday design problem rather than a medical category. It combines three helpful roles without adding complexity, and it looks like a considered product rather than hospital equipment. The best safety tools are usually the ones people actually keep nearby, and a handle that fits into daily life instead of announcing its purpose makes that a lot more likely.

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