
Monthly Archives: May 2026
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IDOM’s 42-Meter Steel Buoy Just Proved Wave Energy Can Actually Work

Off the rugged coast of Bilbao, quietly bobbing in the Bay of Biscay, is a 42-meter steel buoy most people have never heard of. It has no viral launch campaign, no sleek consumer interface, and no celebrity endorsement attached to it. But the MARMOK-A-5, designed by Spanish engineering firm IDOM, just did something that deserves far more attention than it’s getting. It may be one of the more quietly significant design stories of the year.
In May 2026, an updated version of the MARMOK-A-5 was successfully deployed at the Biscay Marine Energy Platform (BiMEP), off the coast of Bilbao, as part of the EuropeWave Pre-Commercial Procurement program. IDOM is one of three finalists competing for a share of a €13.4 million budget to develop and test next-generation wave energy technology. And unlike a lot of clean energy news that tends to stay in the realm of promises and projections, this one is already in the water, already connected to the grid, and already generating real-world data.
Designer: IDOM

The MARMOK-A-5 is a wave energy converter, and it works on a principle that’s almost elegant in its simplicity. The main structure is a floating spar buoy, 5 meters in diameter and weighing 162 tons. Inside it sits a cylindrical water column. As ocean waves pass through, the water inside rises and falls like a piston. That motion compresses and expands an air chamber at the top of the buoy, and the resulting rush of air spins a turbine. That turbine generates electricity, which travels to shore through a subsea cable. No burning, no drilling, no fuel. Just water moving the way it always has.
The technology has been in development for years. IDOM first deployed the original MARMOK-A-5 at BiMEP back in 2016, making it the first wave energy converter ever connected to the Spanish state electricity grid. That alone was historic. The version now in the water is significantly upgraded, featuring a newly developed power take-off system, controllable turbine blades, onboard batteries, and intelligent control systems built to optimize performance in real, unpredictable high-seas conditions.

What strikes me about this project is how deliberately it was built. Every iteration, every sea campaign, fed into a deeper understanding of how ocean energy behaves at scale. IDOM didn’t rush to market. They observed, adjusted, and came back smarter. The redesigned system focuses on improving power performance while keeping the one quality that sea deployments demand above all else: reliability. A beautiful machine that can’t survive the North Atlantic is just expensive wreckage.
Among the milestones from this latest deployment, one is worth calling out: the MARMOK-A-5 is now the first WEC to connect electrically to the grid through the HarshLab buoy at BiMEP. It sounds like a technical footnote, but it’s a meaningful shift in how ocean energy infrastructure can be tested and eventually scaled. The ability to gather live, grid-connected data from a genuinely harsh marine environment is exactly the kind of proof point that moves wave energy from “promising concept” to “serious contender.”

Wave energy has long sat in the shadow of wind and solar. It’s messier to engineer, harder to deploy, and slower to scale. But it has one clear advantage that doesn’t get discussed enough: oceans are predictable. Waves don’t stop at night and don’t pause on cloudy days, and the world’s coastlines happen to overlap heavily with its most energy-hungry regions. The ocean covers more than two-thirds of the planet’s surface, and most of that constant motion still goes completely untapped. The MARMOK-A-5 is still a prototype, rated at just 30 kilowatts. But prototypes are how industries start.
I keep thinking about how much of what will eventually power our lives is currently sitting, mostly unnoticed, off some coast. Not announced with a keynote. Not trending. Just quietly working, enduring salt and storm, sending electricity down a cable while the rest of us scroll past. The MARMOK-A-5 might be one of the least glamorous objects in clean energy right now. But it might also be one of the most important.

The post IDOM’s 42-Meter Steel Buoy Just Proved Wave Energy Can Actually Work first appeared on Yanko Design.
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Hiroshi Fujiwara reinterprets Bang & Olufsen’s iconic designs to redefine living room luxury in liquid black
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Hiroshi Fujiwara has had his influence stamped in multifaceted spheres – Carrera Chronograph x Fragment Limited Edition and the MC20 Cielo Fuoriserie are some impressive examples we came across. The streetwear legend has now teamed up with audio pioneers Bang and Olufsen for a collection that is destined for a minimalist yet classy living room setup.
The designer has long been fascinated by B&O and has desired to collaborate with the high-end Danish audio brand someday. While Hiroshi had installed their Beocenter 2300 integrated sound system at home in 1991, it actually took 35 long years to work on a project with them. That moment is right now, as Hiroshi (under his design studio Fragment Design) has worked on four B&O masterpieces to give them the black finish only achievable by hand.
Designer: Hiroshi Fujiwara x Bang & Olufsen
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The famed collection is slated for debut today, with it being shown off until next week inside the Isetan Department Store in Shinjuku, Tokyo. Thereafter, it’ll be rolled out across Japan from 27 May for display, before eventually being released on 3 June globally and in stores for eager buyers.
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Instead of working on a completely new model for the collaborative, the consensus was settled on reworking the Beoplay H100 headphones, Beosound A1 portable speaker, Beosound Shape speaker, and Beosystem 9000c triple pillar CD system. These signature B&O products are slapped with the designer’s signature monochrome aesthetic. Of course, B&O’s artisanal skills come into play as the team of designers lends these brand’s classics anodized, hand-polished finish for that perfect liquid-like high gloss finish.
Beoplay H100 and Beosound A1 3rd Gen Fragment Edition
It doesn’t get any darker than the Beoplay H100 Fragment Edition headphones, as they exude pure class in gloss black anodized skin. This finish is complemented by the black leather headband and cushions for all-day wear comfort. Contrasting the dark is the white Fragment Studio and B&O logos on the outside of each of the earcups. The over-the-ear headphones are priced at a steep $2,400, but that is expected when two big names collaborate.
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Then there is the more sober Beosound A1 3rd gen portable Bluetooth speaker priced at $475. Predictably, this one too has the high-gloss finish and the brand’s double lightning logo etched under the grille. According to Kresten Bjørn Krab-Bjerre, Bang & Olufsen’s Senior Director of Design, the “artisanal anodization and polishing process” has been implemented for the first time on their portable collection.
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Beosound Shape and Beosystem 9000c Fragment Edition
With these two creations, you begin to fathom the gravity of this collaboration. The Beosound Shape is a wall-mounted speaker system that combines flower-shaped driving units to bring sublime sound to the living room. The modular audio system gets the monochrome fabric treatment for the six surrounding petals, and the inner gray unit completes the aesthetic look. Priced at $7,100, this beautiful audio system is one for a minimalist living room setting. Apparently, Fujiwara headed straight to his hotel room after seeing the original Shape speakers and sketched the seven-title flower configuration for his version.
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The collector’s piece of the line-up is the Beosystem 9000c Fragment Edition, which defines the amount of skill and expertise put into making it. This is a made-to-order setup that costs a mind-numbing $69,650 and is Japan-exclusive only. It’s in itself a collection as it has the dedicated CD system, Beolab 28 loudspeakers, and the Beoremote One two-way remote. The six-disc 90s CD player is famed for its automatic CD swapping mechanism once the playback is finished on one disc.
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The post Hiroshi Fujiwara reinterprets Bang & Olufsen’s iconic designs to redefine living room luxury in liquid black first appeared on Yanko Design.
Hiroshi Fujiwara reinterprets Bang & Olufsen’s iconic designs to redefine living room luxury in liquid black
![]()
Hiroshi Fujiwara has had his influence stamped in multifaceted spheres – Carrera Chronograph x Fragment Limited Edition and the MC20 Cielo Fuoriserie are some impressive examples we came across. The streetwear legend has now teamed up with audio pioneers Bang and Olufsen for a collection that is destined for a minimalist yet classy living room setup.
The designer has long been fascinated by B&O and has desired to collaborate with the high-end Danish audio brand someday. While Hiroshi had installed their Beocenter 2300 integrated sound system at home in 1991, it actually took 35 long years to work on a project with them. That moment is right now, as Hiroshi (under his design studio Fragment Design) has worked on four B&O masterpieces to give them the black finish only achievable by hand.
Designer: Hiroshi Fujiwara x Bang & Olufsen
![]()
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The famed collection is slated for debut today, with it being shown off until next week inside the Isetan Department Store in Shinjuku, Tokyo. Thereafter, it’ll be rolled out across Japan from 27 May for display, before eventually being released on 3 June globally and in stores for eager buyers.
![]()
Instead of working on a completely new model for the collaborative, the consensus was settled on reworking the Beoplay H100 headphones, Beosound A1 portable speaker, Beosound Shape speaker, and Beosystem 9000c triple pillar CD system. These signature B&O products are slapped with the designer’s signature monochrome aesthetic. Of course, B&O’s artisanal skills come into play as the team of designers lends these brand’s classics anodized, hand-polished finish for that perfect liquid-like high gloss finish.
Beoplay H100 and Beosound A1 3rd Gen Fragment Edition
It doesn’t get any darker than the Beoplay H100 Fragment Edition headphones, as they exude pure class in gloss black anodized skin. This finish is complemented by the black leather headband and cushions for all-day wear comfort. Contrasting the dark is the white Fragment Studio and B&O logos on the outside of each of the earcups. The over-the-ear headphones are priced at a steep $2,400, but that is expected when two big names collaborate.
![]()
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Then there is the more sober Beosound A1 3rd gen portable Bluetooth speaker priced at $475. Predictably, this one too has the high-gloss finish and the brand’s double lightning logo etched under the grille. According to Kresten Bjørn Krab-Bjerre, Bang & Olufsen’s Senior Director of Design, the “artisanal anodization and polishing process” has been implemented for the first time on their portable collection.
![]()
![]()
Beosound Shape and Beosystem 9000c Fragment Edition
With these two creations, you begin to fathom the gravity of this collaboration. The Beosound Shape is a wall-mounted speaker system that combines flower-shaped driving units to bring sublime sound to the living room. The modular audio system gets the monochrome fabric treatment for the six surrounding petals, and the inner gray unit completes the aesthetic look. Priced at $7,100, this beautiful audio system is one for a minimalist living room setting. Apparently, Fujiwara headed straight to his hotel room after seeing the original Shape speakers and sketched the seven-title flower configuration for his version.
![]()
![]()
The collector’s piece of the line-up is the Beosystem 9000c Fragment Edition, which defines the amount of skill and expertise put into making it. This is a made-to-order setup that costs a mind-numbing $69,650 and is Japan-exclusive only. It’s in itself a collection as it has the dedicated CD system, Beolab 28 loudspeakers, and the Beoremote One two-way remote. The six-disc 90s CD player is famed for its automatic CD swapping mechanism once the playback is finished on one disc.
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The post Hiroshi Fujiwara reinterprets Bang & Olufsen’s iconic designs to redefine living room luxury in liquid black first appeared on Yanko Design.
ASUS’s €280 9mm OLED Monitor Charges Your Laptop Back

Portable monitors have quietly become one of the most appealing accessories for people who work on the go. Pack a slim second screen, connect it to your laptop, and you’ve doubled your workspace without lugging a desktop around. What nobody really advertises, though, is the trade-off: those displays almost always draw power from the laptop they’re attached to, cutting into the battery life you were counting on.
The ASUS ZenScreen OLED MQ16FC tries to fix that. It’s a 16-inch portable OLED display that launched in Europe in early May 2026 at around €280 to €300, measuring 9mm thin and weighing roughly 0.68 kilograms. Those are already respectable numbers for a display of this size, but what actually sets it apart is buried in the port specification: two USB-C connections that can send power in either direction.
Designer: ASUS


Here’s how that works in practice. Plug a USB-C charger into one port on the monitor, then run a single cable from the second port to your laptop. That cable carries both the video signal and up to 65 watts of power, so your notebook keeps charging while the display is running. No power brick plugged separately into the laptop, no second cable hunting for a free port.

It’s worth pausing on why that matters. Most portable monitors are passive in the power conversation; they take whatever the laptop offers and give nothing back. ASUS’s approach treats the power relationship between screen and computer as something the monitor has a responsibility to manage. That’s a small but meaningful shift in thinking, one that asks the accessory to do more work instead of quietly billing the host.

Beyond the power story, the MQ16FC has a display worth carrying. The OLED panel covers 95% of the DCI-P3 color gamut at a 1920 x 1200 WUXGA resolution in a 16:10 aspect ratio, which adds that extra vertical breathing room that widescreen layouts tend to cut off. Contrast is practically infinite by OLED standards, and a 1ms response time keeps things clean enough for video and everyday multitasking.

That said, the MQ16FC isn’t without its quiet losses. There’s no internal battery, so without a charger in the loop, the monitor can still draw from your laptop’s reserves. The 60Hz refresh rate and WUXGA resolution are competent but not particularly exciting for a display positioned as premium. The kickstand-only stand can be awkward on tray tables, and the glossy OLED panel isn’t always your friend in brighter environments.


None of those shortcomings cancels out what makes the MQ16FC interesting. Adding a second screen to a laptop has always been a negotiation between convenience and cable chaos, and for years, the hardware hasn’t done much to simplify that deal. A portable monitor that treats power routing as part of its job description is making a quiet argument about what the category should have been doing all along.

The post ASUS’s €280 9mm OLED Monitor Charges Your Laptop Back first appeared on Yanko Design.