Author Archives: JC Torres

This Brutalist Lounge Chair Is 3D-Printed From Recycled Water Bottles

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Most furniture sits in a room without saying much. It fills a corner, does its job, and disappears into the background. Nako Baev’s THE OBJECT 01 is not that kind of furniture. The Amsterdam-based designer set out to build a chair that carries the weight of a spatial statement, something that holds its ground without decoration or apology, and in that specific ambition, the object largely delivers.

THE OBJECT 01 is a 3D-printed lounge chair built from recycled PETG, a plastic more commonly found in water bottles than in furniture workshops. At 20kg, it is lighter than its blocky, slab-heavy proportions suggest, though not exactly something you would reposition on a whim. Its dimensions push it closer in scale to a small architectural fragment than to a typical chair, which is likely the whole point.

Designer: Nako Baev

The construction follows a modular panel system, where each 3D-printed block fits into a sequence designed to cut material waste and keep the overall mass structurally lean. Finished in a cold grey Baev calls “Kyoto Fog,” the chair reads somewhere between concrete and matte stone. In a sparse studio or raw loft, it anchors the space with quiet authority. In a more conventional living room, it would likely dominate in ways not every household would welcome.

What makes THE OBJECT 01 genuinely worth attention is how honestly it exposes its own making. The layer-by-layer texture from the printing process is not hidden or smoothed away; it stays visible across the surface, turning the manufacturing method into part of the visual language. That kind of material honesty is far more common in ceramics or cast concrete than in plastic furniture, and it gives the piece a tactile quality that polished renders simply do not convey.

Baev describes the design as sitting between furniture and sculpture, drawing on minimalist brutalism and a quieter Japanese restraint in equal measure. The emotional reference points are more unusual: the designer cites the atmosphere of Silent Hill and Half-Life, those game environments built from silence and abandoned space, as part of what shaped the object’s mood.

The workflow involved AI assistance across early form studies, structural testing, and design refinement, reducing development time considerably. That footnote is becoming standard across the industry, and it doesn’t add or subtract much here. This process might even become the key to sustainable furniture design, as it can help optimize 3D printing, increase efficiency, and reduce waste in the long run.

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This Foldable DIY Cyberdeck Has Breadboards Built In and Runs Doom

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Most portable computers are sealed boxes, which is exactly what makes them frustrating for anyone who wants to experiment with electronics. You can run code on a laptop, but try wiring a temperature sensor or an infrared transmitter directly to it, and you’ll realize that consumer hardware was never designed for that kind of access. A maker who goes by PickentCode got tired of that gap and built something to close it.

The CyberPlug 3.0 is the third iteration of a personal cyberdeck project, the earlier two having usability problems that sent PickentCode back to Blender to redesign. The final build packs a Raspberry Pi 4 Model B, a 4-inch IPS touchscreen, a Rii K06 mini keyboard with a built-in touchpad, and a 5,000 mAh USB-C power bank into a 3D-printed hinged body that folds flat for handheld use or props open at a desk-friendly angle.

Designer: PickentCode

What separates this from a standard Raspberry Pi build is the pair of breadboards soldered directly to the GPIO pins, seated inside the case, and accessible through a removable back panel. Connecting a sensor no longer means hunting for a separate breadboard and a tangle of jumper wires. PickentCode plugged in a temperature and humidity sensor and had it reading live data within minutes, then built an infrared setup that records remote control signals and replays them as single-button macros.

The two form factors each have a distinct locking mechanism rather than just flopping into position. In handheld mode, twin magnets pull the two halves together. In desktop mode, a metal ring on the back grabs the MagSafe-style power bank magnetically, holding the whole thing at a stable upright angle. Both the keyboard and the power bank slide out independently, and the deck keeps working on a desk without either of them.

Extensions are where the project gets more interesting. PickentCode added a PWM-controlled external fan that reads CPU temperature and adjusts speed automatically, and a small speaker module that opened the door to YouTube and older games. Doom, Half-Life, and GTA: Vice City all ran on it, better with an external setup in desktop mode, though workable in handheld after some button remapping.

PickentCode frames this plainly as a testbed for learning electronics, not a replacement for a phone or a real computer. The 3D files are free on Printables, so the main cost is filament, time, and the components. For anyone who has ever stared at a sealed laptop wishing they could just plug something into it, that framing is probably the most relatable thing about it.

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This Laptop Stays Cool by Asking You to Move Your Own Keyboard

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Laptop thinness has always been a trade-off dressed up as progress. The slimmer the chassis, the less room there is for the thermal infrastructure that keeps processors from throttling, and that compromise has long passed as the cost of portability. Inventec’s VeilBook, a 14-inch concept under 10 mm thick, took home an iF Design Award 2026 by rethinking not the materials but the physical behavior of the person using it.

The defining feature is a detachable keyboard that doesn’t stay fixed at the front of the deck. Most laptops position those fans beneath the keyboard, which occupies the upper area of the deck, and the keyboard itself limits how freely air can escape upward. Removing that obstruction improves airflow enough to keep the processor and memory from throttling under sustained load.

Designer: Inventec

At rest, the keyboard covers the touchpad and palm rest, leaving the vent area above the cooling fans completely unobstructed. When you do need to use the touchpad, you can simply lift the keyboard and place it toward the back, a more natural position as far as traditional laptops are concerned. You can keep the keyboard there or put it back over the touchpad, depending on your needs and workflow.

That repositioning comes with a catch. To get the best thermal performance out of the VeilBook, the touchpad has to stay covered. If a workflow runs on keyboard shortcuts or an external mouse, that trade-off barely registers. For anyone accustomed to resting their palms beside the touchpad while typing, or reaching for it mid-sentence, it’s a more disruptive ask than the concept’s clean renders suggest.

When the keyboard stays back and the touchpad is exposed, it doubles as a shortcut surface, a secondary input layer available without requiring a full posture shift. The VeilBook also incorporates behavior-linked power management, tying energy consumption to actual usage states rather than running at a fixed profile. When the keyboard is stowed and input activity drops, the system scales back power draw, which at least means the thermal compromise isn’t a constant condition.

What the VeilBook makes visible is a problem the industry has spent years papering over. Thin laptops throttle partly because keyboards sit on top of vents, and the obvious fix, moving the keyboard, apparently needed a concept award to surface. Whether blocking the touchpad is an acceptable price for better sustained performance is a question every potential user will answer differently, depending on how much of their day actually runs through that glass rectangle.

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Skip the $20K Install: The $799 iGarden Swim Jet X Series Clamps Onto Any Pool

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Most backyard pools spend their lives being thoroughly underused. They’re great for a hot afternoon cool-down and perfectly fine for the occasional float, but not exactly built for anyone who wants to swim laps. The obvious fix is a swim jet system, until you look into what installing one actually costs. Professional installation means plumbing connections, dedicated electrical work, and a contractor quote that tends to start somewhere around five figures.

The iGarden Swim Jet X Series sidesteps that problem entirely. Rather than something built into a pool, it is something you bring to one. A jet head mounts to the pool’s edge with a clamp-and-bracket assembly, no drilling required, while a separate power box sits on the deck nearby. Attach it, switch it on, and the pool becomes considerably more useful than it was ten minutes ago.

Designer: iGarden

Click Here to Buy Now: $799 $1199 (40% off). Hurry, only 27/160 left! Raised over $935,000.

That power box is worth a closer look. It is a compact cube with a brushed metal finish, a circular display showing battery level and session time, and a clean row of buttons for power, flow, and timer control. The main unit itself has suitcase-style wheels and a retractable handle, so moving the whole system poolside, storing it in the shade, or taking it somewhere else entirely takes almost no effort.

The entire system runs on a low-voltage architecture, making sure that the product is completely safe to use. The swim jet carries an IP68 waterproof rating, while the power box is rated IP65. The system will automatically cut off power if there is accidental contact or if the battery/power unit shifts out of position, and a safety grille covers the jet intake. The safety design is thorough without being complicated.

On the performance side, the flagship X35-P60 runs a 1,000W permanent magnet synchronous motor or PMSM, pushing flow speeds up to 3.5 meters per second. An AI inverter control system modulates the motor output in real time, keeping the current steady and laminar through a focused, straight-lane flow. The current remains consistent even as a swimmer pushes hard against it.

That steady resistance changes how the pool actually gets used day to day. A morning session at a moderate gear setting feels genuinely like open-water swimming, sustained and uninterrupted, without the constant wall turns. The six speed levels mean the same device works for casual paddling at the lower end and serious interval training at the top. The X35-P60 also runs for up to 10 hours on a single charge, enough for a full day of use without needing a top-up.

At the structured training end of the spectrum, the P3 and P4 settings unlock sprint programming through the companion app, with sessions configurable in blocks from 15 up to 90 minutes and workout history logged after each one. Dial the current back on a weekend afternoon, and the pool becomes a gentle flow that kids can float and play in. One device, one pool, several completely different experiences across a single day.

The iGarden Swim Jet X Series is compatible with plunge pools, fiberglass, concrete, gunite, and vinyl-lined pools, which cover almost every residential configuration. When the season ends, it packs into a storage bag, rolls on its wheels to a friend’s place when the occasion calls for it, and leaves no trace behind when removed. The pool stays exactly as it was. The swim jet is just a guest, and a rather useful one at that, starting at just $799.

To mark its launch, iGarden is throwing in a couple of reasons to move quickly. Everyone who pledges within the first 48 hours gets shipping at $25 flat, half the standard rate, and one randomly selected backer from that same 48-hour window will receive their iGarden Swim Jet X Series unit completely free. Not a bad way to kick off a launch.

Click Here to Buy Now: $799 $1199 (40% off). Hurry, only 27/160 left! Raised over $935,000.

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iPhone 20 in 2027: All-Glass, Buttonless, and Highly Unlikely

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The iPhone turns 20 in 2027, and Apple apparently wants to throw a party that people will remember. Sources believe that the company is targeting a radical redesign for what will likely be called the iPhone 20, skipping “iPhone 19” the same way it jumped directly to the iPhone X back in 2017. More than just a naming trick, it came with the full-screen OLED design, Face ID, and the removal of the home button, a move that felt genuinely shocking at the time. The expectation building around the iPhone 20 is that history is supposed to repeat itself, only bigger.

The appetite is clearly there. Interest in bold Apple hardware has been riding high on the back of iPhone Fold rumors, and the search interest in “iPhone 20 design” has shot up by over 3,100% year-over-year. People are hungry for a leap, not an incremental shuffle. What Apple is reportedly planning, an all-glass unibody with no physical buttons and no visible cutouts anywhere on the device, is exactly the kind of leap that generates excitement. Whether it generates anything more than that is a genuinely open question.

Images courtesy of: AppleTrack

iPhone X (2017)

What it isn’t: an all-screen phone

Before the imagination runs completely wild, it helps to be specific about what “all-glass” is not. This is not a Xiaomi Mi Mix Alpha situation, where the display wraps entirely around the phone like a very expensive, very fragile bracelet. That concept, for all its visual drama, would introduce a cascade of problems: iOS and most apps are built on the assumption that the back of a phone is inert. Making the entire surface interactive requires a fundamental rethinking of how software handles accidental input, palm rejection, and basic navigation, none of which Apple appears to be pursuing here.

Designer: Xiaomi

The more useful comparison is the Vivo APEX from 2019, a concept phone that was genuinely all-glass and buttonless without wrapping the display around the chassis. The APEX had no physical buttons, no headphone jack, no visible ports, and shockingly, no front camera. It was definitely a striking object. It also never made it to retail, because striking objects and reliable everyday devices are not always the same thing.

Designer: vivo

What the rumors are actually saying

The picture assembled from various sources is fairly consistent in its broad strokes. The iPhone 20 is expected to arrive with a four-sided bending OLED display that curves around all edges, a fully glass chassis with no metal frame visible from the outside, camera lenses flush against the glass back with no raised rings or seams, and an under-display front camera with Face ID sensors also moved beneath the glass. Physical buttons disappear entirely, replaced by what Apple has internally codenamed “Project Bongo,” localized haptic zones that simulate a press through piezoelectric ceramics rather than a mechanical click.

Images courtesy of: AppleTrack

Apple has been laying this groundwork for years, whether deliberately or not. MagSafe removed the last port most people used regularly. The solid-state home button on the iPhone 7 trained a generation of users to accept a simulated click as the real thing. Touch ID lived in that fake button for years before Face ID made it irrelevant. Project Bongo itself has been in development since 2021, with the haptic button solution reportedly completing functional verification for the iPhone 20 last October. The staged rollout has already begun: under-display Face ID is expected to debut on the iPhone 18 Pro in 2026, a year before the full transformation arrives.

Why Apple might actually want this

The engineering case for an all-glass, buttonless phone is stronger than it might first appear, and it goes well beyond aesthetics. Glass transmits radio frequencies with far less attenuation than metal, which means that a fully glass chassis removes the need for antenna break lines, those small plastic interruptions visible on metal-framed iPhones. For 5G mmWave frequencies, which are particularly vulnerable to obstruction, that is a meaningful structural advantage, not a cosmetic one.

Physical buttons are also apertures, meaning every button cutout is a potential entry point for water, dust, and debris, not to mention a structural point of weakness. Solid-state haptic zones flush with a continuous glass surface create a fully sealed perimeter by default. And without springs, electrical contacts, or moving parts, the mechanical failure modes that eventually wear out every physical button simply do not apply. There is also a software dimension: a haptic surface can be reprogrammed. The same zone that acts as a volume button in one context can behave differently in a camera app, or respond to a half-press the way a DSLR shutter does. That interaction vocabulary does not exist on a physical button.

Images courtesy of: AppleTrack

The design coherence argument is worth taking seriously, too. iOS 26 introduced the Liquid Glass UI at WWDC 2025, with translucent menus, frosted panes, and depth-layered interfaces that read as software built to live inside a glass object. If the hardware catches up, the iPhone 20 would be the first Apple device where the material logic of the shell and the interface are genuinely continuous, rather than one imitating the other.

Why Apple will definitely not do it, at least not yet

The skepticism case is longer and, in several places, harder to argue around. Start with the glass itself. No glass smartphone has survived all kinds of real-world accidents unscathed, including the iPhone 16 Pro Max with Ceramic Shield 2. The current metal frame does real structural work; it absorbs and distributes impact energy in ways that glass cannot. A four-sided curved display that wraps around what used to be the frame zone eliminates that crumple zone entirely.

Thermal management is a less visible but equally serious issue. Aluminum conducts heat significantly better than glass. The metal frame in current iPhones is part of the thermal pathway, moving heat from the logic board outward. Glass is a poor conductor and a poor radiator, and with Apple Intelligence pushing sustained on-device AI inference, the thermal load is growing, not shrinking. Apple would need expanded vapor chambers or novel heat-bridge materials to compensate, none of which have been confirmed.

Then there is the under-display camera. Samsung introduced UDC technology with the Galaxy Z Fold3 in 2021 and used it through the Fold6. Image quality was consistently criticized across all four generations, and Samsung is now reportedly abandoning it for future foldables due to persistent optical and cost challenges. Apple is reportedly moving in the opposite direction, but with a twist. It might use the under-display camera primarily for Face ID’s infrared sensors rather than the selfie camera, which sidesteps the worst degradation but does not resolve long-term selfie quality under glass.

Designer: Samsung

Accessibility is a concern that gets less coverage than drop tests, but it definitely deserves more. Blind and visually impaired users rely on physically locatable controls as navigational anchors, such as the raised profile of a button. Flush haptic zones remove that landmark. There is also the “dead device” recovery problem: a bricked iPhone requires holding a specific physical button combination to enter recovery mode. Whether solid-state haptic buttons can operate at the firmware level, before iOS loads, has not been confirmed. Case and accessory compatibility adds another layer; a wraparound display that curves into what is currently the frame zone fundamentally changes how a protective case grips the device, since the element that used to grip the frame now grips the screen.

The human factor is harder to engineer than the glass

The technology story surrounding the iPhone 20 is genuinely fascinating, and some of it will almost certainly happen. Under-display Face ID on the iPhone 18 Pro is close enough to be treated as confirmed. The full vision, no buttons, no cutouts, glass everywhere, is a different question. Manufacturing challenge is described as “extraordinarily complex,” component manufacturers are on the fence, and the expected price point will likely exceed the current Pro Max tier. Those are not the conditions under which Apple tends to ship a complete reimagining all at once.

But the technical hurdles might not be the hardest part. People have strong, specific feelings about physical buttons in ways they do not always articulate until the buttons are gone. The haptic home button on the iPhone 7 worked well enough that most users stopped noticing it within weeks. Extending that same illusion across every tactile control point on the device, in cold weather, through a case, while the phone is vibrating with an incoming call, and across several years of daily use, is a different challenge than a single button in a fixed location. Whether that feels like liberation or a slow-building frustration might depend less on the engineering and more on the person holding it.

Images courtesy of: AppleTrack

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This Sideboard Has Lapis Lazuli and Green Onyx Hand-Set Into Marble

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Black Marquina marble tends to command a room before anything else in it does. The material has a particular gravity, that deep, carbonized base cut through with white veining, which makes most furniture around it feel like an afterthought. Designer Himanshu Kumar Gupta leans into that authority completely with the Midnight Inlay Sideboard, then quietly subverts it the moment someone opens a door.

The exterior runs on strict formal logic. Vertical fluting covers the door panels from edge to edge, each ridge precisely cut into the stone so the surface ripples with shadow even under flat ambient light. On plain marble, this treatment would read as architectural severity, which is exactly the point. The fluting establishes a rhythm, almost like a grid, that makes what comes next feel genuinely disruptive.

Designer: Himanshu Gupta

Scattered across those ridged panels are rectangular inlays in Lapis Lazuli, Red Fire marble, Alikanta, and Green Onyx, appearing at irregular intervals and orientations like signals caught mid-transmission. Each inlay sits flush within the fluting, which means the stone was routed and fitted with zero tolerance for error. A slightly proud or recessed block would break the silhouette entirely. That constraint alone separates this from surface-applied decoration.

The interior is where the piece earns its sharpest contrast. Behind the cool, textured stone exterior is a cavity lined in red velvet over solid wood, a warm, almost theatrical shift in material register. Opening the doors feels less like accessing storage and more like discovering that a severe stone cabinet had a completely different personality waiting inside, the kind of detail that does not photograph well and cannot be fully appreciated without direct interaction.

Cylindrical handles in a warm copper-toned metallic finish sit vertically in the fluting, restrained enough to avoid competing with the inlays. The base is a solid slab, no tapered legs, no gap between cabinet and floor, keeping the profile ground-hugging and monolithic. The overall silhouette is low and horizontal, which helps it read as furniture rather than architecture, even with the stone’s commanding presence working against that reading.

Combining five different natural stones into a single fluted facade is a nontrivial production problem. Stone inlay of this precision typically requires hand-fitting each piece individually, since natural stone does not behave with the consistency of milled engineered material. The designer frames this as a contemporary take on traditional inlay craft, creating a beautiful tension between order and spontaneity, old and new.

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These Shell-Inspired Lamps Cast Wing-Like Shadows on Your Walls

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Most lamps are designed to disappear into a room. The fixture is an afterthought, a delivery mechanism for the bulb, and anything drawing attention to itself risks becoming a problem rather than a solution. Mostafa Arvandbarmchi and Lampart Lighting Solution took the opposite position with the Pelk collection, designing lamps that treat the fixture as the point, with light almost secondary to the form holding it.

The starting reference is the black sea shell, specifically the way its structure balances curvature, layering, and quiet rhythm without any of it feeling constructed. Each Pelk module translates that logic into a pair of curved metal arcs, split open at the front, wrapping a frosted spherical globe without fully enclosing it. The arcs have a brushed, darkened finish and a visible surface texture that reads as geological up close, smooth from a distance, but clearly worked.

Designer: Mostafa Arvandbarmchi

What the shell geometry does for the light is more interesting than what it does for the form. The arcs cup the globe rather than enclose it, so light spills forward and sideways while the back of the shell stays dark. Brass-toned cylindrical connectors catch just enough ambient glow to register as a material contrast. On the wall behind, the arcs throw wide, wing-like shadows that shift with viewing angle, extending the fixture’s presence well beyond its physical footprint.

Pelk comes in two configurations. The floor lamp mounts two modules on a slender black rod above a flat circular base, staggered in height and rotated so the pair reads as a branching structure rather than a stack. The pendant version runs a thin cable from a ceiling mount down to a cylindrical floor counterweight, with four modules spiraling the full length, each rotated slightly from the last for a slow, unwinding rhythm.

That pendant version is the more spatially demanding of the two, occupying a full ceiling-to-floor span and working best against tall, uninterrupted walls where the vertical composition has room to resolve. A low ceiling or a cluttered corner fights it. The floor lamp is more forgiving, but it still performs better with clear wall space behind it, where the shadow work has somewhere to register, and the arcs read as architecture rather than decoration.

Arvandbarmchi frames Pelk as a spatial object that brings rhythm and proportion into a room, not just illumination. That ambition holds up in the pendant version especially, where the spiraling modules do something genuinely unusual with vertical space. That said, the lamp’s strong visual identity could either make it a collaborator in a room’s composition or a fixture that quietly competes with everything around it.

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This Planter Fits the One Balcony Spot Every Other Pot Ignores

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Most balcony railings do exactly one thing: keep people from falling off. The corners, in particular, tend to collect nothing more useful than rust and pigeons. Rephorm, a Berlin-based furniture brand, has a different idea about what that corner could be doing, and the result is a planter that fits where no standard pot ever has.

The Eckling is designed specifically for balcony corners, addressing a gap that rectangular window boxes and round hanging pots have never managed to fill. Most railing planters sit along a straight stretch of rail, so corners get skipped entirely. An L-shaped recess cut into the base of the hemispherical bowl allows it to rest squarely on two railing legs at a corner junction, no extra hardware required.

Designer: Michael Hilgers

This is actually the second generation of Rephorm’s thinking on railing planters. The brand’s original Steckling pot, developed in 2006, introduced the idea of a planter that simply drops onto the rail rather than clipping or hanging. The Eckling borrows that logic and extends it to corner placement. Two plastic cable ties hidden beneath the bowl add security in wind, and the design fits railing stock up to 80mm wide across flat steel, round, and rectangular profiles.

At roughly 44cm in diameter, the Eckling offers about double the planting area of a standard round railing pot. The bowl holds approximately 16 liters of soil, nearly three times the capacity of a typical balcony planter. For anyone who has watched a small pot dry out in a single July afternoon, that volume difference matters. More soil means deeper root runs and longer intervals between watering, practical for herbs or compact perennials filling the wide, shallow bowl.

The material is recyclable polyethylene with a wall thickness Rephorm claims is two to three times that of budget planters from hardware stores. At approximately 2.5kg unfilled, the bowl is noticeably heavier than thin-walled alternatives, and that weight is part of the structural argument. Frost resistance is built into the formulation, so the pot stays through winter rather than being hauled inside each autumn. The matte surface reads closer to coated ceramic than the hollow appearance most balcony planters carry.

One real limitation is worth knowing before ordering. If corner posts project above the top rail line, the L-shaped recess cannot seat properly. The geometry only works when corner posts are flush with or below the horizontal rail, common in modern flat-steel and tube railings but less so in older ornamental ironwork, where vertical elements continue past the handrail. That’s a non-starter for a number of older apartment balconies, so it is worth measuring the railing before committing.

The Eckling is made in Germany, and the design is by Berlin-based architect Michael Hilgers, whose broader practice around what he calls “pragmatic design” tends to focus on modest objects that improve existing infrastructure without replacing it. A balcony corner is about as modest a canvas as it gets.

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This 1970s Desk Organizer Works in Every Room But Your Office

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Desk organizers have a reputation problem. Most are either forgettable plastic trays that could have come from any office supply aisle, or overdesigned contraptions that look busier than the mess they’re meant to fix. Joe Colombo, the Milanese designer who died at just 41, had a very different take on this problem back in 1970, and it looked like nothing else on a desk then or now.

That design was BOB, a compact object holder made from polyurethane gel that Colombo shaped into something unmistakably organic. The form is elongated and low-profile, almost pill-shaped from above, with one end rising into a soft dome and the other tapering nearly flat. B-Line, an Italian label dedicated to acquiring original molds from discontinued Italian design objects, reissued it in 2023 in five colors: terracotta, slate blue, mustard yellow, warm white, and a translucent frosted version called “ice.”

Designer: Joe Colombo

The top surface divides into three zones with no visible partition between them. The dome end opens into a large oval scoop for bulkier items; the center holds a 3-by-4 grid of individual circular holes, each sized for a single pen or brush; the tapered tail has two horizontal slot grooves that hold flat objects like rulers or small notebooks upright. None of this reads as a spec sheet in person. It reads as a single continuous gesture that happens to organize things.

Colombo was working at a moment when Italian design was treating plastic not as a cheap substitute for better materials, but as a medium with its own formal possibilities. Polyurethane gel has a tactile quality most rigid desk accessories never attempt: it gives slightly under pressure, has a matte surface that’s almost skin-like, and its flexibility is what makes the low, curved profile structurally possible in the first place. A stiffer material would have needed walls. This one doesn’t.

B-Line’s campaign photography makes a quiet argument for where BOB actually belongs. It appears on a marble coffee table holding binder clips and scissors, on a chair seat catching pencils and sunglasses, and on a bathroom vanity with makeup brushes in the pen holes and cotton pads in the scoop. One image places the ice-colored version inside a freezer, either a dry joke about the colorway name or a genuine hint that the flexible polyurethane handles cold fine. Probably both.

That flexibility is worth taking seriously. BOB lies nearly flat on any surface, which means it doesn’t create visual clutter the way upright organizers do. It also means the pen holes require implements long enough to stay upright on their own, which is a quiet limitation Colombo’s grid doesn’t advertise. Short lipstick caps, small erasers, and anything under roughly 10 centimeters will just rattle around rather than stand.

The price reflects provenance more than function. B-Line sells through retail partners, not directly to consumers, and those partners have set their own figures: Design Public at $190, Bauhaus 2 Your House at $427. Colombo’s other B-Line reissue, the Boby trolley, is in MoMA’s permanent collection. BOB is the quieter object from the same designer and the same era, and it raises a question the images don’t quite answer: how many rooms does a well-made desk organizer need to conquer before that price starts to feel reasonable?

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Someone Finally Made Metal Keycaps for Low-Profile Keyboards

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Low-profile mechanical keyboards have always had a bit of an identity problem. They look the part: slim, clean, desk-friendly. Set one beside a MacBook and it fits right in, at least until you start typing and the plastic keycaps remind you that the aesthetic only goes so far. It is not that PBT is bad. It is just that plastic has a ceiling, and once you have typed on a well-built board, you start to feel where that ceiling is. The sound is a little hollow. The surface wears down. For a form factor that sells itself on refinement, the keycaps have always been the weakest part of the pitch.

That gap is exactly what Awekeys Air is designed to fill. These are low-profile metal keycaps built from recycled cupronickel, a copper-nickel alloy most people know from coins rather than keyboards. Beyond the material upgrade, there is an immediate visual payoff. A set of Satin Copper or Satin Gold caps on a slim board transforms what was previously just a functional object into something that actually improves the desk around it, the kind of detail that catches the eye mid-conversation and holds it.

Designer: Awekeys

Click Here to Buy Now: $99 $169 (41% off). Hurry, only a few left! Raised over $97,000.

At 5 mm tall, the Awekeys Air is half the height of a standard keycap, which typically sits at around 11 mm. That gap matters more than it sounds. A slim keyboard paired with standard-height keycaps loses its whole visual argument, and any ergonomic board designed for low-profile switches defeats its own purpose if you pile taller caps on top. The Air keeps that geometry honest while upgrading what that geometry is made of.

As someone who writes for a living and codes on the side, I see the keyboard as less a tool and more a constant physical companion, and the I find that the Awekeys Air shifts that relationship in a way that is difficult to ignore. The cupronickel surface stays cool under extended sessions, the low profile keeps wrist angle natural, and the grip from the hand-brushed Special Edition means fingers land where they are meant to, without any of the slight drift that smooth plastic encourages over a long afternoon.

Finish is where the Awekeys Air earns a lot of its character. Seven keycap colorways cover the satin-style options: Satin Gold, Satin Silver, Satin Copper, Titanium Black, Obsidian Black in matte, Ivory White in matte, and Sakura Pink. Each of them reads differently on metal than on plastic. Satin Copper picks up warm ambient light in a way no dye-sublimated PBT can replicate. Titanium Black has that flat, composed surface that makes a keyboard look more like a precision instrument than a peripheral. Small distinctions, but they add up when the whole point is a desk setup that looks as considered as it feels.

The Special Edition hand-brushed finish takes things a step further, available in Gold, Silver, Copper, and Ti Black. Each keycap is brushed individually, which creates a directional texture that shifts under light and adds a grip that the satin versions do not have. It is the kind of finishing detail that is easy to overlook in a product photo and immediately obvious the moment you sit down to type.

Holding it all together is a second-generation nano-coating that Awekeys claims delivers twice the scratch resistance of its first version. For keycaps that will see thousands of actuations daily, surface protection matters more on metal than on plastic, where wear is expected and mostly forgiven. The coating is what keeps the finish consistent across the whole set over time, and on a metal that is this unforgiving of surface variation, that consistency is doing real work.

The recycled angle is worth taking seriously, too. Awekeys notes that processing recycled cupronickel requires roughly 15% of the energy needed for raw metal extraction. giving the material story a logic beyond a simple badge. The acoustic character completes the picture: denser, more planted, with a sound that leans satisfying rather than sharp. The slim keyboard has been waiting a long time for a keycap set built to match it, and the Awekeys Air makes a strong case that the wait is over.

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The post Someone Finally Made Metal Keycaps for Low-Profile Keyboards first appeared on Yanko Design.