Author Archives: Ida Torres

This 12-Foot Mirrored Cone Turns Desert Sand Into Living Art

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Picture a tall mirrored cone rising from a circle of sand in the middle of the desert. You step in, drag your feet, draw patterns, and the cone reflects all of it back to you, warped and strange and weirdly beautiful. That’s the Interactive Sand Reflecting Cone, a concept by designer Michael Jantzen, and it sits at the intersection of public art, land art, and the simple joy of messing around in sand. No screens, no apps. Just you and your reflection. I think it’s kind of brilliant.

The setup is deceptively simple. A circular concrete ring, complete with a landing pad and three descending steps, defines the play area. Inside that ring is a field of refined sand. Rising from the center is a tall cone wrapped entirely in polished mirrored steel. Solar panels sit on top, charging batteries during the day so the whole thing lights up at night. No Wi-Fi. No app. No QR code. Just you, the sand, and your own warped reflection staring back at you from a cone.

Designer: Michael Jantzen

What I find most compelling about this project is that it treats sand as an interactive medium. Not a screen, not a touchpad, not something that requires a software update. Sand. The stuff kids play with at the beach. You walk through it, drag your feet, draw patterns, build little mounds, and all of that activity gets captured in the mirrored surface. The cone becomes what Jantzen calls a short-term event recorder, documenting the collective traces of everyone who steps into the ring. It’s analog memory, and it only lasts until the next visitor reshapes the surface or the wind smooths it over.

The mirrored cone itself adds a layer that I think elevates the whole thing beyond a glorified sandbox. Because the surface is curved, not flat, the reflections come back distorted. Your footprint patterns stretch and warp in ways you can’t quite predict. You’re collaborating with geometry. You make a mark in the sand, look up, and the cone shows you something slightly different from what you expected. That unpredictability is what turns a passive viewing experience into an active, playful one. You start experimenting. You try new shapes just to see what they’ll look like reflected. You become both the artist and the audience.

I also appreciate that this is designed specifically for desert landscapes, not dropped into them as an afterthought. The sand inside the ring is refined, but the material itself belongs to the environment. The installation doesn’t fight its surroundings. It borrows from them. The concrete base anchors the piece physically, but the sand connects it to everything beyond the circle’s edge. It feels like a conversation between the built and the natural, which is something Jantzen has been exploring for years across his various pavilion and shelter concepts.

The solar-powered lighting is a nice touch, too. During the day, the polished steel catches sunlight and throws it around in dramatic ways. At night, the embedded lights in the concrete base take over, illuminating the sand and the cone from below. The piece transforms depending on when you visit. A daytime experience full of glare and sharp reflections becomes something softer and more atmospheric after dark. That duality gives the installation a longer life cycle than most public art pieces, which tend to lose their impact once the sun goes down.

If I have one reservation, it’s the same one I always have with Jantzen’s concepts: they’re concepts. The Interactive Sand Reflecting Cone exists as renders and descriptions, not yet as a physical structure you can actually walk into. Jantzen is prolific with ideas, and many of them are genuinely inventive, but the gap between a compelling render and a realized installation is vast. Engineering challenges, material costs, site logistics, and the simple question of who funds this kind of thing all stand between the concept and the experience. I’d love to see this one make the leap.

The post This 12-Foot Mirrored Cone Turns Desert Sand Into Living Art first appeared on Yanko Design.

8 LEGO Architecture Sets So Good They Belong in a Museum, Not a Toy Aisle

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There was a time when LEGO sets lived in toy chests and were dismantled by Tuesday. That time is officially over. Today’s LEGO releases, along with the fan-designed Ideas submissions threatening to become tomorrow’s, are the kind of builds you display on a bookshelf, light dramatically, and absolutely do not let anyone touch. We’re talking Victorian Baker Street folded into a bookend, a cylindrical wizard’s tower sliced open to reveal a working light projector, and a Georgian manor house straight out of a Jane Austen novel. These aren’t sets for kids who want something to play with over the holidays. These are sets for people who have opinions about minifigure printing quality and a dedicated shelf with good lighting.

What makes this particular moment in LEGO history so exciting is that the creativity isn’t coming from just one direction. Official LEGO designers are pushing the format into genuinely new territory (the Book Nook concept alone is the kind of idea that makes you wonder why it took this long), while the LEGO Ideas community is doing what it does best: dreaming bigger, weirder, and more passionately than any corporate roadmap would dare to. This roundup covers eight sets and submissions that all share one quality: they stopped us mid-scroll and made us say wait, that’s a LEGO set? Some are available right now. Some are fan concepts inching toward the 10K milestone that could one day land on shelves. And one is a beautiful heartbreak of a project that got all the way to LEGO’s door and didn’t make it through. Read on, because your wishlist (and possibly your budget) is about to take a hit.

1. LEGO Sherlock Holmes: Book Nook

LEGO’s first-ever official Sherlock Holmes set arrives as part of a brand-new “Book Nook” format designed to slip between novels on your bookshelf. Priced at $129.99 and containing 1,359 pieces, this Icons-line set recreates a slice of Victorian Baker Street that folds flat into a bookend-style exterior decorated with a tiled silhouette of Holmes. When opened, it reveals a bookshop with a revolving display window, a shadowy terraced residence with a sliding front door, and a detailed recreation of Holmes’ iconic 221B apartment complete with a fireplace, clue board, and violin.
Five brand-new exclusive minifigures round out the set: Sherlock Holmes, Dr. Watson, Irene Adler, Professor Moriarty, and a Baker Street newcomer named Paige. The Book Nook concept bridges the gap between collectible and functional object. There’s no need for a dedicated display case, as the set is designed to live quietly on your shelf until someone spots it. LEGO is clearly committed to this format, releasing Lord of the Rings and Harry Potter Book Nooks alongside it.

What we like about it:

• The innovative Book Nook format is a fresh, shelf-friendly approach that doesn’t require dedicated display space. It blends right into your book collection.
• Five exclusive, never-before-made minifigures covering all the key Sherlock Holmes characters make this an instant collector’s milestone.
• The level of Victorian-era detail, from the revolving bookshop window to the 221B apartment interior, rewards close inspection.

What we don’t like about it:

• At $129.99 for what is essentially a compact facade, the price-per-visible-display ratio may feel steep to some, especially since the exterior is hidden when shelved as intended.
• Some details rely on stickers rather than printed elements (such as the front door), which can feel underwhelming on a premium adult-targeted set.

2. LEGO Harry Potter: Luna Lovegood’s House

After years of producing Hogwarts variants, Diagon Alley iterations, and Hagrid’s Hut rebuilds, LEGO has finally turned its attention to one of the most narratively important locations in Deathly Hallows: the Lovegood residence. This 764-piece set ($89.99) recreates the eccentric cylindrical tower as a cross-section, revealing meticulously crafted interiors across multiple floors including the kitchen, Xenophilius’s printing workshop/living room, and Luna’s bedroom. Five minifigures are included: Luna in her distinctive purple outfit, Xenophilius Lovegood, Harry, Hermione, and a Death Eater.

The standout feature is a working LEGO light brick projector that casts images from The Tale of the Three Brothers onto a wall panel inside the set, a functional gimmick that goes well beyond what anyone expected. The cross-section approach solves the architectural challenge of the cylindrical design while keeping the interior playable. At roughly 11.8 cents per piece, the pricing aligns with standard Harry Potter set economics, and at 29 cm tall, it commands shelf presence without dominating a display area.

What we like about it:

• The working light brick projector that casts the Deathly Hallows tale is a genuinely surprising and clever play feature that elevates the whole set.
• The cross-section design elegantly solves the challenge of the cylindrical architecture while making every interior floor accessible and displayable.
• It fills a long-overdue gap in the Harry Potter lineup, a location with huge narrative significance that was conspicuously missing from LEGO’s catalog.

What we don’t like about it:

• At 764 pieces, the set is on the smaller side for its price point, and the half-structure design may feel incomplete to display-focused collectors who want a full building.
• The set leans younger (ages 10+), which means some of the interior detailing may not reach the depth that adult Harry Potter collectors are accustomed to.

3. LEGO Ideas: Pemberley, Pride and Prejudice by Jane Austen

This LEGO Ideas submission by creator TJ Bricks brings Mr. Darcy’s grand Pemberley estate to life in brick form, inspired by Jane Austen’s beloved novel Pride and Prejudice. The project has achieved the coveted 10,000-supporter milestone and is currently under official LEGO review. The design celebrates Georgian architecture with a focus on symmetry, elegance, and the harmonious relationship between the estate and its natural surroundings, reflecting Pemberley’s role in the novel as the location that reshapes Elizabeth Bennet’s perception of Darcy.

The creator describes this as a deeply personal project, rooted in growing up watching Austen adaptations and later rediscovering the novels as an adult. The timing feels right, with renewed cultural interest in Austen through upcoming adaptations. If approved, this would represent LEGO’s first foray into the Jane Austen literary universe, a territory with a passionate, dedicated fanbase that has been largely untapped in the brick world.

What we like about it:

• A beautifully realized literary subject that taps into a massive and underserved fanbase. Jane Austen has never had an official LEGO set.
• The Georgian architecture translates well to LEGO, with clean lines and stately symmetry that would make for an impressive display piece.
• It has already passed the 10K supporter threshold and is in official LEGO review, giving it a real shot at production.

What we don’t like about it:

• As a fan concept still in review, the final design could change significantly or be rejected entirely. There’s no guarantee this version is what would reach shelves.
• The appeal may skew niche compared to more broadly recognized IPs, which could factor into LEGO’s commercial decision-making during review.

4. LEGO Ideas: The Inventor’s Mansion

Created by Takesz (a 10K Club Member), The Inventor’s Mansion is a massive steampunk-themed creation estimated at around 5,000 pieces. It has earned a LEGO Staff Pick designation. The build features an elaborate mansion packed with industrial-era machinery, moving functions, and nine minifigures, all designed with maximum playability in mind. The creator, a mechanical engineer turned computer scientist, channels a lifelong love of industrialization and steampunk aesthetics into what is described as the largest and most complex build they’ve ever attempted, virtual or physical.

The project currently sits at the 5K supporter level with 743 days remaining to reach 10K. The design balances heavy machinery and gritty industrial detailing with friendlier, livable spaces within the mansion. With three floors of interactive features and countless small interactions, this is positioned as both a display showpiece and an actual playset, a combination LEGO Ideas submissions don’t always manage to pull off.

What we like about it:

• The steampunk theme is gorgeously executed and fills a gap in LEGO’s current lineup. There’s nothing quite like this on shelves today.
• The sheer scale and detail at approximately 5,000 pieces, with nine minifigures and multiple moving functions, promises a deeply satisfying build experience.
• It earned a LEGO Staff Pick, signaling official recognition of its quality and design potential.

What we don’t like about it:

• At 5,000 pieces, a production version would likely carry a very high price tag that could limit its commercial audience.
• It still needs to reach 10K supporters to enter review, so there’s a long road ahead before this could become an official set.

5. LEGO Ideas: Upside-Down House: Bookstore

Created by YellowBox, this whimsical LEGO Ideas submission features a bookstore housed inside a building that appears to be completely flipped on its roof. The inverted roofline gives the structure the silhouette of an open book, a clever visual pun that ties the architecture to the bookstore theme. It has earned a LEGO Staff Pick. Inside, both floors are fully intact and functional despite the topsy-turvy exterior, with bookshop space on two levels, a rooftop garden for reading, and even a ground-floor bathroom.

The creator drew inspiration from real-world upside-down house attractions found across the globe and wanted to translate that playful architectural concept into LEGO form. Special attention was given to structural durability, since the inverted design means very minimal contact with the ground. The project currently sits at the 5K supporter level with 664 days remaining. It’s the kind of concept that catches the eye immediately on a shelf, a visual conversation starter that would pair well with LEGO’s growing catalog of architectural display builds.

What we like about it:

• The upside-down concept is immediately eye-catching and unlike anything in LEGO’s existing lineup. It’s a guaranteed shelf standout.
• The dual-purpose design as both a bookstore and an inverted house is a clever thematic marriage that gives the build narrative charm.
• The creator’s focus on structural stability despite the unusual form factor suggests thoughtful engineering.

What we don’t like about it:

• The novelty of the inverted concept might overshadow the interior detailing. There’s a risk the build is more impressive from the outside than the inside.
• Still at the 5K supporter stage, it has a substantial distance to cover before reaching LEGO review consideration.

6. LEGO Ideas: Welcome to Elvendale

Created by Tumble3D, this submission is a love letter to LEGO’s retired Elves theme (2015-2018), which was known for its vibrant colors and fantastical creatures. The build is a terrain piece that thoughtfully represents all four years of the Elves run, featuring Farran’s treehouse, the portal to Elvendale, Naida’s spa hidden within a mountain, the library of the Secret Marketplace, a goblin prison side-build, and elements from the final year of the theme. A small cart where Flamy the fox sells confections from the Magic Bakery adds extra charm.

The project currently sits at the 1K supporter level with 492 days remaining to reach 5K. For fans who mourned the cancellation of the Elves line, this represents a potential revival of a theme that carved out a unique identity during its short run. The creator’s effort to include references to every year of the theme’s existence shows a deep respect for the source material and its community of fans.

What we like about it:

• A thoughtful tribute to a beloved retired LEGO theme, carefully incorporating references from all four years of the Elves line.
• The terrain-piece format with multiple distinct locations (treehouse, spa, library, prison) offers variety and visual richness in a single build.
• It fills an emotional gap for Elves fans who have had no new official content since the theme’s 2018 cancellation.

What we don’t like about it:

• At only 1K supporters, this project has the longest road ahead of any on this list and faces an uphill battle to reach even the 5K milestone.
• The niche appeal of a retired theme that ran for only four years may limit the broader audience needed to push it through LEGO’s review process.

7. LEGO Ideas: Muppet Theatre, The Complete Playset

Created by LEE40 (a 10K Club Member), this is a redesigned and improved version of a previous Muppet Theatre submission that reached LEGO review but didn’t make the final cut. The new design features the exterior based on The Muppets Go to the Movies, with “1976” displayed at the top to honor the year The Muppet Show first aired. The modular-style build unfolds to reveal the iconic Muppet Theatre stage, contains just under 4,000 pieces on a 32×32 stud footprint, and includes two storage drawers for minifigures, six double-sided interchangeable stage backgrounds, and a complete scene-change mechanism.

This is a project with real pedigree. It has already been through the LEGO review process once, and the creator has used that feedback loop to substantially rework the design. The set currently sits at the 5K supporter level with 400 days remaining. The combination of a modular exterior that integrates with LEGO City displays and a fully functional theatre interior makes this one of the more ambitious and polished Ideas submissions currently active.

What we like about it:

• The redesigned build benefits from lessons learned in a previous review cycle, resulting in a more refined and feature-rich design than most first-time submissions.
• Six interchangeable double-sided stage backgrounds and built-in storage drawers show exceptional attention to playability and practicality.
• The Muppets are a deeply beloved, multigenerational IP that would resonate with both adult collectors and younger fans.

What we don’t like about it:

• At nearly 4,000 pieces, this would be a premium-priced set, and LEGO already passed on the previous version. There’s no guarantee the redesign changes that outcome.
• The Muppets licensing situation with Disney could complicate the path from fan project to official product, regardless of supporter numbers.

8. LEGO Ideas: Mary Poppins, Back to Cherry Tree Lane

Created by TheGlobeGuy (a Fan Designer and 10K Club Member), this project recreated Cherry Tree Lane from the Mary Poppins films with loving attention to detail. The build included references to both the 1964 original and the 2018 sequel, featuring 11 minifigures spanning both eras: Mary Poppins (1964 and 2018 versions), Bert, Jane, Michael, Mr. Banks, Admiral Boom, Mr. Dawes Jr., John, Annabel, and Georgie. The interiors were packed with scene-specific details including penguins, a carousel horse, a snow globe, and kites.

Unfortunately, despite reaching the 10,000-supporter milestone, this project was not approved during LEGO’s official review process. The review board acknowledged the achievement of reaching 10K supporters but ultimately decided it wouldn’t move forward as an official Ideas set. For fans of the project, it remains a testament to what the LEGO Ideas community can rally behind, a beautifully crafted homage to an intergenerational classic that simply didn’t clear LEGO’s final commercial and design hurdles.

What we like about it:

• The sheer scope of 11 minifigures covering both Mary Poppins films demonstrated an impressive commitment to honoring the full breadth of the franchise.
• The interior detailing packed with movie-specific Easter eggs (penguins, carousel horse, snow globe, kites) showed real passion for the source material.
• It successfully reached 10K supporters, proving strong community demand for Mary Poppins in LEGO form.

What we don’t like about it:

• The project was ultimately rejected during LEGO review, meaning this particular vision of Cherry Tree Lane will not become an official set.
• Disney licensing complexities likely played a role in the rejection, and those same hurdles would face any future Mary Poppins submission.

The post 8 LEGO Architecture Sets So Good They Belong in a Museum, Not a Toy Aisle first appeared on Yanko Design.

Dreamie Built a $250 Alarm Clock to Replace Your Nightstand Phone

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I keep my phone on my nightstand. You probably do too. According to the American Academy of Sleep Medicine, about 87% of us do, and I’d bet the other 13% are lying. It’s become such a reflexive part of the bedtime ritual that most of us don’t even question it anymore. The phone is the alarm clock, the white noise machine, the podcast player, the ambient light, and unfortunately, the portal to one more scroll through social media at 11:47 PM when you swore you’d be asleep by 11.

This is the problem that Ambient, a Boston-based company, built Dreamie to solve. At $249.99, it’s a compact bedside sleep companion that consolidates alarms, soundscapes, ambient lighting, a podcast player, and a simulated sunrise into a single, quietly opinionated little device. The pitch is straightforward: put your phone across the room and let Dreamie handle the bedside duties instead.

Designer: Ambient

What I find most interesting about Dreamie isn’t really the feature set, though it’s genuinely well-considered. It’s the philosophy behind the product. The design team, led by founder Adrian Canoso, who comes from an industrial design and audio engineering background, seems to have started from a simple question: what if we made a device that was good enough to replace the phone at night, but deliberately too limited to become another source of distraction? The touchscreen dims to near-black. There’s a redshift mode to kill blue light. No feeds, no notifications, no video. You can even hide the clock display entirely. The whole thing is designed around the idea that a bedroom device should help you disengage, not re-engage.

The physical design reflects that restraint. Dreamie is a truncated pill shape with a circular touchscreen, and it’s smaller than most sunrise alarm clocks on the market. A hidden dial around the display controls volume with satisfying resistance, and a touch strip along the top adjusts the lamp brightness. Early reviewers from Engadget and Athletech News have praised how intuitive these tactile controls feel, especially when you’re half-asleep and fumbling at 2 AM. The Calm Tech Institute, a group that evaluates products based on how well they respect human attention, awarded Dreamie their highest certification, with one evaluator describing the device as friendly to use, almost like interacting with a small creature.

Underneath the minimalist exterior, Dreamie packs a 50mm speaker with a 360-degree grille that diffuses sound outward rather than directing it at you like a beam. The effect, according to those who’ve tested it, is an immersive ambient quality that wraps around you rather than projecting at you. The built-in library includes brown, pink, and green noise masks, guided wind-down content, and environmental soundscapes ranging from storms to aurora borealis visualizations with accompanying RGB lighting from its 120-element LED array. Bluetooth headphone support means couples can use it without one person’s rain sounds keeping the other awake.

But here’s where Dreamie makes its most interesting bet: no app, no account, no subscription. Everything runs on-device. Setup happens entirely on the touchscreen. All sensor data, including the contactless sleep tracking coming later this year, stays local and encrypted. You never enter a name or email. In an era where every smart home product seems engineered to harvest your data and lock you into a monthly fee, Dreamie’s business model feels almost contrarian. You pay once, and the device gets better through free over-the-air updates.

I think what makes Dreamie worth watching isn’t just that it’s a nice piece of hardware, because it is. It’s that it represents a growing counter-movement in consumer tech, one that asks whether our devices could do less on purpose, and whether that subtraction might actually be the feature. The sleep tech category has been dominated by wearables that track your metrics and apps that gamify your rest. Dreamie doesn’t want to quantify your sleep so much as it wants to create the conditions for better sleep to happen naturally.

Is $250 a lot for what is, at its core, an alarm clock? Sure. But it’s also less than most people spend on a smartwatch they’ll wear to bed, and it doesn’t require a subscription to keep working. For anyone who has ever told themselves they’d stop scrolling at 10 PM and found themselves deep in a Reddit thread at midnight, Dreamie offers something genuinely appealing: a reason to leave the phone behind.

The post Dreamie Built a $250 Alarm Clock to Replace Your Nightstand Phone first appeared on Yanko Design.

IKEA Built A $4 Stick-On Light That Lasts 6 Months

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IKEA has always had a knack for making you feel clever. You walk into the store needing a bookshelf, and you leave with a bag full of small, inexpensive things you didn’t know existed but now can’t imagine living without. The ANKARLÄGG is exactly that kind of product. It’s a battery-operated LED nightlight shaped like a lightbulb, it sticks to any surface, and it costs about as much as a nice sandwich. On paper, it barely qualifies as news. In practice, it’s one of those quiet little design wins that remind you why IKEA remains so good at what it does.

Designed by Bruno Adrien Aguirre, the ANKARLÄGG is a motion-sensing nightlight that runs on two AAA batteries. No cords, no plugs, no electrician. You peel the backing off a double-sided adhesive pad, press the light against a wall, and you’re done. When someone walks within three meters of it in a dark room, it switches on. Thirty seconds later, with no further movement detected, it turns itself off. During the day, even if you’re dancing in front of it, it stays dark. The batteries last about six months under regular use, which IKEA defines as roughly ten activations per day.

Designer: IKEA

The shape is what gets me. The ANKARLÄGG looks like an outline of a classic lightbulb, almost like a cartoon sketch brought into three dimensions. It’s not trying to be invisible or blend into your wall. It’s a little wink, a product that acknowledges what it is by wearing the silhouette of the thing it’s replacing. The base is made from polycarbonate plastic, which gives it durability, while the frosted cover made from polypropylene helps diffuse the light into something soft and even. At 105 millimeters tall and 75 millimeters wide, it’s about the size of a pear. The whole unit weighs 80 grams, which is nothing.

I think the reason this kind of product resonates is that it solves a problem most of us have just learned to accept. We stumble down dark hallways at 2 a.m., we fumble around the inside of closets, we guide ourselves along stairways by muscle memory. We’ve been doing it forever, so we don’t really think of it as a problem. But then someone puts a tiny stick-on light in front of you that costs 39 Swedish kronor, and suddenly you realize how unnecessary all that fumbling was. Good design often works that way. It doesn’t announce itself with drama. It just quietly removes a friction you’d stopped noticing.

What I appreciate about the ANKARLÄGG is that it doesn’t try to be smart in the way tech companies define smart. It doesn’t connect to Wi-Fi. It doesn’t need an app. It doesn’t want to join your ecosystem. It uses a basic infrared sensor to detect motion and an ambient light sensor to know when it’s dark. That’s the entire feature set. In an era when even toothbrushes want to sync with your phone, the restraint here feels genuinely refreshing. It’s a product that knows exactly what it needs to do and does nothing more.

The installation simplicity is worth emphasizing too. IKEA products are famous for their assembly instructions, those wordless cartoon manuals that have spawned a thousand jokes. But the ANKARLÄGG barely needs instructions at all. Pop in two AAA batteries, stick it on a wall. That’s the whole process. You could explain it to a child. You could explain it to someone who has never installed anything in their life. This kind of radical simplicity is hard to achieve. It takes real discipline to resist adding features, modes, brightness settings, or app connectivity. Somebody had to say no to a lot of ideas to keep this product this clean.

The ANKARLÄGG is available now in selected IKEA stores and online. It’s a minor product in the grand scheme of the catalog, tucked somewhere between wall lamps and LED strips. But sometimes the minor products are the ones that tell you the most about a company’s design philosophy. IKEA still believes that useful, well-designed objects should be affordable and uncomplicated. The ANKARLÄGG is a small, glowing proof of that belief, shaped like the most universal symbol of a good idea.

The post IKEA Built A $4 Stick-On Light That Lasts 6 Months first appeared on Yanko Design.

This $300 Lamp Looks Like Melted Metal and Runs for 10 Hours

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I’ve always believed that the best lighting doesn’t just illuminate a room. It changes the entire mood of a space, the way a good film score changes a scene. And for years, the Melt collection from Tom Dixon has been one of the strongest arguments for that idea. Now, with the Melt Small Portable Light, that same strange, beautiful glow can follow you just about anywhere, and I think that’s a bigger deal than it sounds.

Let me back up a little. The original Melt debuted around 2014, born from a collaboration between Dixon and FRONT, the Swedish design collective known for pushing conceptual boundaries. The inspiration behind it was wonderfully odd: melting glaciers and deep space. Not exactly the kind of mood board you’d expect for a home lighting fixture, but that’s precisely what made the result so arresting.

Designer: Tom Dixon

Through blow molding and vacuum metallization of polycarbonate, the team created these distorted, half-mirrored orbs that look like they were pulled from the surface of another planet. When switched off, the Melt is a sleek, reflective object. When turned on, it becomes translucent, casting a warm, almost liquid glow that feels alive. It’s a genuinely rare trick: a light that is two completely different objects depending on whether it’s working. The Melt went on to become one of Dixon’s signature pieces, taking shape as pendants, chandeliers, floor lamps, and surface lights. You’ve probably seen it in upscale restaurants or on the pages of interior design magazines without even knowing its name. It has that kind of quiet ubiquity among design-literate circles.

So what happens when you take all of that visual drama and shrink it down into a cordless, rechargeable form? You get the Melt Portable, and I think it represents something worth paying attention to beyond just its looks. Portable designer lighting has been having a moment. As rechargeable batteries and LEDs have gotten better and cheaper, brands from Umbra to Hay have released their own cordless lamps aimed at people who want flexibility without sacrificing aesthetics. It’s no longer just about a candle on the dinner table. But most of these portable options, as nice as they are, tend to play it safe with clean geometric shapes and neutral tones. The Melt Portable doesn’t do safe. It carries all the organic, almost alien character of its larger siblings into a palm-sized object, and that commitment to personality is refreshing.

On the practical side, the specs are solid for what it is. The 2.5W LED puts out 100 lumens at a warm 3000K color temperature, which is right in that sweet spot for ambient, relaxing light. It’s touch-dimmable, runs for up to 10 hours on a single charge, and recharges via a magnetic USB-A connection in about five hours. It also carries an IP44 rating, meaning it can handle a splash of water, so taking it out to the patio or poolside isn’t going to end in tears. It comes in black, silver, gold, copper, and even a newer fluoro finish for those who want to go bolder.

At around $275 to $330 depending on where you buy it, the Melt Portable is not an impulse purchase. That’s real money for a small rechargeable light. But I’d argue you’re not really paying for lumens here. You’re paying for a decade-old design legacy that’s been miniaturized without losing its soul. Most portable lamps disappear into a room. The Melt Portable is the kind of object that starts conversations, that makes a nightstand or a garden table feel considered and intentional.

What I appreciate most is the underlying philosophy. Tom Dixon has always operated at the intersection of industrial process and visual drama, finding beauty in manufacturing techniques that most designers would treat as purely functional. The vacuum metallization that gives the Melt its signature look is borrowed from the way sunglasses are coated. That kind of cross-pollination between industries, repurposing a process from one field to create something unexpected in another, is what keeps design interesting.

The Melt Portable won’t be for everyone. If you want maximum brightness or the most efficient cost-per-lumen ratio, look elsewhere. But if you believe that light is as much about feeling as it is about function, and that good design deserves to be untethered, this little glowing orb makes a compelling case for itself.

The post This $300 Lamp Looks Like Melted Metal and Runs for 10 Hours first appeared on Yanko Design.

6 Camping Mugs From Japan That Make Coffee Taste Better (Science Says So)

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You know that first sip of coffee in the morning, the one where everything just clicks? Turns out, the mug you’re drinking from has more to do with that feeling than you might think. Research has shown that ceramic mugs maintain temperature better, have a neutral flavor profile that won’t interfere with your brew, and even influence how your brain perceives taste. Studies suggest that the shape, material, and even the color of a cup can shift how sweet, intense, or satisfying a coffee actually tastes. In short, your vessel is not just a vessel. It is part of the experience.

And when it comes to vessels, Japanese ceramics have been quietly setting the standard for centuries. Right now, Japanese design is having a well-deserved moment in the spotlight, with hot beverage lovers drawn to its philosophy of wabi-sabi, finding grace in imperfection, and a deep respect for intentional, handcrafted beauty. A Japanese ceramic mug is not mass-produced or cookie-cutter. It carries the marks of its maker, the character of its kiln, and a quiet soul that only deepens with use. Bring one to your next camping trip, and that early morning brew by the fire? It just became a whole experience. These six Japanese camping mugs are proof of that.

1. Ceramic Cup

Japan’s relationship with coffee is a serious one, and the objects surrounding that ritual tend to reflect it. This Ceramic Cup is a product of that culture: a 350ml vessel crafted from Japanese ceramic with a smooth, refined finish and a natural wood handle, designed to slow the act of drinking down into something closer to meditation. It’s the kind of cup you buy because you’ve decided your daily coffee deserves better than whatever was left in the cabinet.

The pairing of ceramic and wood isn’t accidental. The ceramic body holds heat beautifully, keeping your pour at temperature while you linger over it, while the wood handle stays cool and grounded in your grip. At $60, the Ceramic Cup sits in that satisfying range of objects that feel like a genuine investment in small daily pleasures, the kind you notice every single morning and never quite get tired of.

Click Here to Buy Now: $60.00. Hurry, only a few left!

Why do we love this mug?

Bring it camping and it becomes something else entirely. Picture a particular kind of morning: cold air, slow light, the sound of a stove clicking to life. That morning deserves a proper cup. The sturdy ceramic and warm wood handle make that ritual feel intentional, even deliberate. It’s not just a mug. It’s a reason to wake up a few minutes earlier.

2. Haori Cup

When designer Tomoya Nasuda set out to revive the 400-year-old Japanese craft of Hakata Magemono, the painstaking art of hand-bending thin cedar wood plates into curved forms, the world took notice. The response was a resounding answer to the question of whether people still care about objects made with genuine cultural depth and human skill. Named after the haori, the traditional Japanese garment that wraps itself around the body, the cup follows the same principle: a single wooden plate, coaxed by hand into a form that feels both ancient and entirely new.

What elevates the Haori Cup from beautiful object to exceptional mug is how it actually performs. The bentwood construction provides natural insulation, keeping your coffee comfortable to hold whether it’s steaming hot or poured over ice, with no burning fingers and no sweating cup. The cedar wood lends a subtle, clean fragrance to each sip: a whisper of forest, not a shout. Available in several colorways including the delicate “Sakura,” every cup is handmade and genuinely one of a kind, shaped by the same grain patterns and hands that define any true craft object.

Why do we love this mug?

Bring the Haori Cup camping and something clicks into place. Holding warm coffee in a vessel bent from a single piece of Japanese cedar, sitting among trees that look not so different from the ones that made it, that’s the kind of moment you came outside for. It’s lightweight, it’s alive with history, and it makes your first cup of the morning feel less like a caffeine delivery system and more like a ceremony worth showing up for.

3. Earth Friendly Tumbler

There’s something poetic about a vessel that eventually gives itself back to the earth. The Earth Friendly Tumbler from Japan’s EcoCraft line is made from a biodegradable resin derived from paper and corn, meaning that when its long life finally ends, it quietly decomposes into water and CO₂ through natural microbial action. It’s a cup that carries the philosophy of the country that made it: thoughtful, restrained, and deeply intentional about its place in the world.

What keeps you reaching for it, though, is how it feels. The surface has a distinctive texture that sits somewhere between ceramic and wood, warm to the touch, satisfying in the palm, and nothing like the cold uniformity of plastic. Its minimalist design is clean enough for a city desk but earthy enough for the forest, and starting at just $25, it’s an easy yes. Because each tumbler’s material is shaped naturally through the biodegradable process, no two are exactly alike, a quiet nod to the Japanese ideal of wabi-sabi.

Click Here to Buy Now: $25.00. Hurry, only a few left!

Why do we love this mug?

For the camper who takes their environmental footprint as seriously as their coffee, this tumbler is a natural match. It’s light enough for a day hike, beautiful enough to sit on a camp table at sunrise, and carries with it the rare satisfaction of knowing the mug in your hand is doing the planet a quiet favor.

4. Titanium Mug

Titanium has always been the material of people who won’t compromise, and Japan’s precision metalworkers know how to honor that reputation. This mug is engineered from pure titanium, a material roughly 45% lighter than stainless steel yet equal to it in strength, which means the first time you pick it up, the lightness will catch you off guard. It feels almost implausibly slight in your hand for something this solid.

But the real story is what titanium does for your coffee. Unlike stainless steel, titanium imparts zero metallic taste or odor to your drink, so your coffee arrives exactly as it was brewed, nothing added, nothing taken away. Its lower thermal conductivity also means heat moves through the walls more slowly, keeping your drink warmer for longer on cold mornings. And with use, the titanium surface develops a gradual oxide film, a deepening, iridescent patina that makes each mug grow more beautiful and personal over time.

Why do we love this mug?

This is gear built for the outdoors without apology. It can be placed directly over a camp stove, it’s impervious to rust even in wet conditions, and its ultralight profile makes every gram-counting backpacker smile. It’s the mug you bring on every trip and eventually can’t imagine leaving behind.

5. T-Go Mini

The premise of the T-Go Mini is a simple one: great coffee shouldn’t require you to leave your standards at the trailhead. This compact travel mug was designed for people who refuse to accept that “outdoor coffee” has to mean bad coffee. Small enough to disappear into any pack, it strips the camping mug back to its most essential form and then gets every detail of that form exactly right.

“Mini” here means refined, not reduced. The T-Go Mini is shaped by the Japanese design principle of doing more with less: a tighter footprint, a secure seal, heat retention that punches above its size, and a construction that speaks of deliberate craft rather than cost-cutting. It’s the kind of object that reveals itself slowly. The more you use it, the more you appreciate what its designers chose not to include, and why.

Why do we love this mug?

For the hiker, the trail runner, or the minimalist camper who’s already decided every gram matters, the T-Go Mini is an easy decision. Slip it into a chest pocket, a jacket pouch, or a side sleeve, and let it quietly prove that the best outdoor gear doesn’t ask you to compromise. It just asks you to pay attention.

6. Pilmoa Mug

The Pilmoa Mug is a second-generation design refined through real-world feedback and use. It represents something increasingly rare in the outdoor gear market: a mug designed by people who actually think carefully about what it means to drink coffee well, not just to drink it conveniently.

The Pilmoa is built around the small details that most camping mugs overlook: the feel of the rim against your lips, the balance of the cup in a cold hand, the way heat distributes through its walls on a slow morning. These are the quiet, almost invisible considerations that separate a mug you tolerate from one you genuinely look forward to. It’s not trying to do everything, just trying to do one thing with the kind of focus that Japanese product design consistently brings to the table.

Why do we love this mug?

Compact and carefully conceived, the Pilmoa earns its place in any outdoor kit. Whether you’re setting it beside a stove in the backcountry or pulling it from a hip pack mid-hike, it holds its ground. It’s the kind of mug that reminds you, every time you use it, that good mornings outdoors are worth planning for.

Six mugs, six philosophies, one shared conviction: that how you drink matters as much as what you drink. Whether you reach for the biodegradable quiet of the Earth Friendly Tumbler, the handcrafted soul of the Haori Cup, or the no-compromise precision of the Titanium Mug, each of these objects carries the same Japanese understanding that a well-made vessel is never just a vessel. It is an argument, made in clay or cedar or titanium, that ordinary moments deserve extraordinary attention. Science already told us that the cup shapes the experience. Japan has known that for centuries. So the next time you find yourself at a campsite with cold air in your lungs and a stove hissing to life, think carefully about what you pour your coffee into. The right mug won’t just hold your drink. It will hold the whole morning.

The post 6 Camping Mugs From Japan That Make Coffee Taste Better (Science Says So) first appeared on Yanko Design.

This Miniature Chair Is Jonathan Anderson’s Smartest Dior Move

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The fashion show invitation has been quietly dying for years. What was once a piece of paper, then a gilded box, then a USB drive shaped like a perfume bottle, has steadily been reduced to an email attachment with an RSVP link and a virtual front row. So when Jonathan Anderson sent physical invitations for his Spring/Summer 2026 Dior debut, that alone was already worth noting. That the invitation turned out to be a miniature replica of the iconic green metal chairs from the Jardin des Tuileries made it something else entirely.

If you’ve been to Paris, you know the chair. That specific shade of green, the wrought iron frame, the slightly uncomfortable curve of the seat that you’d still happily sit on for hours just to watch pigeons and people drift by. The chairs of the Tuileries aren’t precious objects. They’re not behind glass. They’re public furniture, casually scattered across one of the most photographed gardens in the world, and anyone can pull one up. That’s precisely the point Anderson seems to be making.

Designer: Jonathan Anderson

Fashion invitations, at their best, are previews. They’re a designer’s handshake, the first line of the story they want to tell. At their worst, they’re just complicated garbage. Anderson’s chair manages to be neither. It sits somewhere far more interesting: a symbol loaded with Parisian identity but freed from elitism. The Tuileries chair belongs to everyone. Tourists sit in it, locals nap in it, lovers drag two of them together and angle them toward the Seine. For Anderson to choose this as his introductory gesture for one of fashion’s most storied houses reads as a very clear statement of intent.

Anderson is, by now, well-established as a designer who treats objects with the seriousness of a curator. His years at Loewe were defined by a fascination with craft, provenance, and the weight of things. He built a house culture around the idea that what surrounds us matters, that design exists at every scale, from the cut of a coat to the shape of a vase. That sensibility didn’t stay at Loewe when he left. It packed its bags and followed him to the Avenue Montaigne.

What I find genuinely compelling about this invitation is the restraint of it. Anderson could have arrived at Dior with something maximalist and declaratory. He is, after all, the first designer since Christian Dior himself to oversee all of the house’s fashion lines, a pressure point that would send most people reaching for something grand and unmistakable. Instead, he picked a chair. A chair that says: I see Paris clearly. I know what it actually is, not just what it looks like in campaign shots. And I’m asking you to sit down.

The Spring/Summer 2026 ready-to-wear show itself was held at the Tuileries, the very garden where those chairs live, which is a detail worth pausing on. That circularity feels entirely deliberate. The invitation wasn’t just a keepsake or a branding exercise. It was a spatial cue, a way of pulling guests into the landscape before they ever arrived. By the time editors and buyers took their seats in the show space, the chair in their mailbox had already done its work. The object had already oriented them toward something.

There’s a broader conversation happening right now about what fashion shows are for, who they’re for, and whether the spectacle has eclipsed the clothes. Anderson seems to be navigating that tension with real purpose. His debut was notable for beginning with a documentary short by Adam Curtis recapping the entire history of the house, an act that felt less like tribute and more like confidence: here is everything that came before me, and now watch what I do with it.

The chair invitation belongs to that same mode of thinking. It’s not a gimmick. It’s a gesture that understands the difference between noise and meaning. Fashion has plenty of the former. Anderson, at Dior, looks committed to the latter.

The post This Miniature Chair Is Jonathan Anderson’s Smartest Dior Move first appeared on Yanko Design.

Issey Miyake Just Made Sunglasses With Eight Lenses

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Most sunglasses get two lenses. That’s the standard, the baseline, the thing nobody questions because why would you? Two lenses. Two eyes. Done. But Issey Miyake Eyes just released UROKO, a pair of sunglasses with eight lenses, and it made me stop and genuinely reconsider what we accept as default in design.

UROKO is part of the IM MEN Spring Summer 2026 collection, titled “Dancing Texture,” and the name alone tells you this isn’t a collection built on safe choices. The eight-lens design draws inspiration from the ceramic works of Shoji Kamoda, a celebrated Japanese potter known for his distinctive scale-like surface patterns. In Japanese, “uroko” literally means scale, and the connection between the pottery and the eyewear is direct, visible, and surprisingly earned. This isn’t one of those cases where a brand name-drops an artist and calls it a day.

Designer: Issey Miyake Eyes

Four lenses sit on each side of the frame, arranged in sequence to mimic the overlapping scale motifs found in Kamoda’s pottery. Each lens features a concave cut, meaning they curve inward rather than outward. That engineering decision is clever. By pulling the lenses inward, they can sit close together without the whole structure ballooning into something unwearable. It’s a practical solution wrapped inside an aesthetic one, and I appreciate when design works that way. Function hiding inside form, each decision earning its place.

The 3D-printed frame goes through a finishing process that intentionally leaves slight surface variations intact. No two pieces are perfectly uniform. That part matters because it mirrors the very thing Kamoda was known for in his ceramics: surfaces that resisted smooth perfection. What could have been a production quirk becomes a design language, a deliberate echo of the source material. It’s the kind of detail you don’t notice immediately but can’t unsee once you do.

Made in collaboration with Kaneko Optical and crafted entirely in Japan, the frame is lightweight titanium, which strikes me as both the right material and the obvious one. Eight lenses on your face need a frame that won’t drag you down by the end of the afternoon. The brushed finish shifts subtly depending on how light falls on it, giving it that quality where the object looks different from one moment to the next. That feels intentional rather than accidental, which again speaks to how much thought went into this.

Seeing UROKO from a distance, I understand why one description floated around: it looks like a necklace before it looks like sunglasses. Only when you get close enough to see the hinges fold and the scale-shapes settle into the familiar form of a pair of frames does the full picture land. That delay, that moment of working out what you’re looking at, is actually the design doing its job. Not all eyewear needs to announce itself from ten feet away.

I’ll admit there’s a part of me that wants to ask whether eight lenses actually changes how you see. The short answer is probably no, not in any technical sense. But I don’t think that’s the point. UROKO isn’t positioning itself as an optical innovation. It’s positioning itself as a wearable object that carries a conversation between contemporary manufacturing and Japanese craft tradition, between function and sculpture, between an artist who shaped clay in the twentieth century and a design house still finding new ways to reference that legacy.

Available in Dark Gray and Brown, and offered in both optical and sunglass versions, UROKO is priced at ¥99,000 JPY, approximately $632 USD. It’s not a casual purchase, but it’s not trying to be. It sits firmly in the category of considered design objects, the kind you buy because you’ve decided to live with something that makes you think a little, even on an ordinary Tuesday.

The real takeaway isn’t about the lenses. It’s about what happens when a design team takes a constraint, in this case the question of how to honor a ceramic artist’s vision through eyewear, and decides not to answer it predictably. Eight lenses is a strange answer. It’s also, once you see UROKO in person, kind of the only answer.

The post Issey Miyake Just Made Sunglasses With Eight Lenses first appeared on Yanko Design.

LEGO Just Built the F1 Helmets Ferrari Fans Have Dreamt Of

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LEGO has a way of taking things you already love and making you love them in a completely new format. Formula 1 has been getting a lot of that treatment lately, and the brand’s latest direction is hard to argue with: brick-built driver helmets, sized for your shelf and detailed enough to stop anyone mid-step.

The Scuderia Ferrari HP Lewis Hamilton Helmet (43022) and the Scuderia Ferrari HP Charles Leclerc Helmet (43014) are the first two confirmed entries in what looks like a full F1 Helmet series from the LEGO Editions line. Both sets turned up on FuelForFans.com with official hi-res images after blurry leaks circulated a few weeks prior. Now that we can actually see them clearly, the level of detail here is genuinely impressive.

Designer: LEGO

Hamilton’s helmet comes in the kind of golden yellow that makes Ferrari’s livery feel unexpectedly bold. The 2025 season graphics are recreated across the bricks with sponsor decals for UniCredit, Shell V-Power, VistaJet, Richard Mille, HP, and Bitdefender distributed with a surprising degree of accuracy. The deep red visor pulls the whole thing together. Leclerc’s goes in the opposite direction, predominantly red and white with a cleaner, more structured aesthetic. The #JB17 tribute detail sits at the crown, IBM branding runs across the chin, and the smooth white band at the visor line is almost architectural in how it divides the piece.

What makes both helmets compelling from a design standpoint is how LEGO’s engineers handled the curvature. Helmet shapes are notoriously difficult to replicate in bricks. Slightly irregular curves require precision in the build sequence that can look awkward if the angles don’t land right. Both sets pull it off well. The geometry holds. They read as helmets, not just helmet-adjacent objects, and that distinction matters when you’re paying for a display piece.

Each set clocks in at around 884 to 886 pieces and is priced at $89.99. Included with each build is a matching driver minifigure and a branded display stand carrying the driver’s name and signature. The minifigures themselves are a thoughtful detail rather than an afterthought. The Hamilton figure has the curly hair, the beard, and the red Ferrari race suit printed with his car number. Leclerc’s captures that warm, approachable expression the driver is known for. They work on their own as desk companions.

LEGO has rated both sets for ages 14 and up, which is accurate. These aren’t Speed Champions quickbuilds. They sit in the Editions category, LEGO’s answer to adult collector culture, sitting alongside the Botanical Collection and Icons line in terms of ambition and finish. Putting F1 driver helmets in that space is a smart call. The sport’s audience has expanded considerably over the past several years, and the overlap between LEGO collectors and motorsport fans is significant. This drop lands in the middle of that Venn diagram with confidence.

What I appreciate most is that this isn’t just a license slapped onto a generic product. Translating a helmet into a brick build is a specific creative challenge, and the result feels like a genuine collectible rather than a promotional item. The display stands with driver signatures and team branding look like something you’d find in a motorsport memorabilia shop. Place both helmets side by side and they read like a proper installation.

Rumors are already circulating about Max Verstappen and Ayrton Senna editions joining the lineup, which would elevate this into a series worth collecting in full. A Senna helmet in LEGO form carries obvious historical weight, and if LEGO executes it with the same attention to detail shown here, it would be a remarkable piece. The potential for this series is real.

Both helmets are expected to drop on May 1, 2026. If you’re an F1 fan, a LEGO collector, or simply someone who wants a well-designed object on a desk, the case for picking one up makes itself.

The post LEGO Just Built the F1 Helmets Ferrari Fans Have Dreamt Of first appeared on Yanko Design.

Astell&Kern Just Killed the Touchscreen With Two Knobs and $2,000

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Physical controls are having a moment. Volkswagen and Subaru are bringing back buttons and dials after years of touchscreen regret. Ferrari’s first EV was designed with Jony Ive’s studio around toggle switches and analog-style gauges. Across the design world, the message is clear: tactile isn’t nostalgia, it’s better design.

The Astell&Kern PD20 arrives right in the middle of this shift, and it might be the purest expression of it yet. This $1,970 portable digital audio player could have easily been just another black rectangle with a touchscreen. Instead, Astell&Kern built what it calls a “Sound Lab Control,” a device whose entire design philosophy revolves around physical interaction. Two wheels sit on top of the player, one for volume and one for sound tuning, positioned symmetrically like the controls on a vintage mixing console. On the side, physical slide switches let you toggle between amplifier modes and current levels without ever touching a menu. An LED ring around the power button glows different colors depending on the bit depth of whatever you’re playing. The whole thing is machined from aluminum and feels like something an engineer would be proud to leave on a desk.

Designer: Astell&Kern

The PD20’s signature feature, the Sound Master Wheel, offers 160 steps of EQ adjustment across bass, midrange, and treble. That means you can nudge your sound profile in tiny, precise increments while a song is playing, feeling each click of the wheel under your fingertip. It’s the kind of control that a touchscreen slider simply can’t replicate. You don’t need to look at anything. You don’t need to navigate a settings page. You just reach up and turn.

But the PD20 isn’t just a design exercise in retro appeal. Underneath all those physical controls is genuinely forward-thinking audio engineering. Astell&Kern partnered with Audiodo, a Swedish audio company, to build what they call Personal Sound, a system that uses included earphones to run a hearing test and then generates a custom sound profile matched to your specific ears. It compensates independently for left and right channels, which means the equalization isn’t generic. It’s calibrated to how you, personally, perceive sound. No other portable player on the market does this.

The hardware backs up the ambition. Four ESS ES9027PRO DACs run independently in a quad configuration, and a triple amplifier system lets you switch between Class A, Class AB, and a hybrid mode using a physical slider. Class A delivers that warm, rich analog texture that audiophiles love. Class AB is more efficient and dynamic. The hybrid splits the difference. You can even adjust the amplifier current across three levels to match whatever headphones you’re using, from sensitive in-ear monitors to power-hungry planar magnetics.

Storage won’t be a bottleneck either. The PD20 comes with 256GB built in, expandable to 1.5TB via microSD if you’re the type who carries around a lossless library. It handles everything from standard MP3s up to 32-bit/384kHz PCM and native DSD256 files: formats so high-resolution that most people can’t actually hear the difference, but audiophiles will appreciate having the headroom. There’s also built-in streaming support for Tidal, Qobuz, and other high-res services, which means you’re not locked into offline playback only. The touchscreen is there when you need it for navigation and track selection, but it’s deliberately kept secondary to the physical controls that define the experience.

It’s a lot of capability packed into a device you can hold in one hand. And I think that’s the point. The PD20 represents a growing understanding across the tech and design industries that physical controls aren’t a step backward. They’re a different kind of intelligence, one rooted in muscle memory, tactile feedback, and the human preference for tools that feel like extensions of ourselves rather than obstacles between us and what we’re trying to do.

The dedicated music player, as a category, has always been a niche product. Most people are perfectly happy streaming from their phones. But the PD20 isn’t really competing with your phone. It’s competing with the idea that every interaction with technology needs to happen on a flat piece of glass. For $1,970, you get a beautifully built object that invites you to touch it, turn it, and shape your music with your hands. In a landscape full of featureless screens, that feels like a radical proposition.

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