Samsung’s latest Freestyle portable projector is brighter and smarter

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Samsung has upgraded its Freestyle portable projector for 2026. The company announced a new model, the Freestyle+, ahead of CES, touting twice the brightness of its predecessor at 430 ISO lumens, and AI-powered screen optimization features. As with Freestyles past, the Freestyle+ offers 180-degree rotation and 360-degree audio. This one also supports Q-Symphony so it'll work with some Samsung soundbars. Samsung hasn't revealed much else in the way of specs or pricing, but it'll be showing off the Freestyle+ at CES 2026, so we're likely to learn more details soon. 

While previous iterations of Samsung's compact projector offered automatic screen adjustment features, like auto focus and auto leveling, the Freestyle+ uses AI to take optimization a step further. With AI OptiScreen, as the company is calling it, the projector offers 3D auto keystone to fix distortion on uneven or non-flat surfaces, real-time focus when the projector is moved, automatic screen fit for compatible accessories and wall calibration to reduce visual distractions from the projection surface. It'll also support Samsung's Vision AI Companion. 

The company hasn't announced a specific release date yet for the new projector, but says it's targeting the first half of the year. It'll be released in phases globally. 

This article originally appeared on Engadget at https://www.engadget.com/home/home-theater/samsungs-latest-freestyle-portable-projector-is-brighter-and-smarter-014026804.html?src=rss

This Upside-Down Boat Blocking a Mountain Trail Is Actually An Architecture Award-Winning Chapel

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Picture yourself hiking through the Italian mountains and suddenly there’s a wooden boat blocking the trail. Except it’s upside down. And it’s not actually a boat. This is La Barca, a timber pavilion that just won the 2025 Festival di Microarchitettura, and it’s one of those projects that works because it commits fully to a single odd idea.

Marina Poli, Clément Molinier, and Philippe Paumelle designed it for a trail in Piobbico, and the whole thing sits there like a beached hull that wandered way too far upstream. You can walk around it, sure, but there’s this narrow gap slicing through the middle that basically dares you to squeeze through. Once you’re inside, you get the full boat experience: curved timber ribs overhead, a proper keel running down the center organizing the floor planks, daylight pouring in from the open top. It’s using actual boat construction language, not just boat-ish shapes.

Designers: Marina Poli, Clément Molinier & Philippe Paumelle.

The sandwich-structure ribs are cut from regular boards, which keeps the whole thing light enough to be temporary but sturdy enough to handle weather and people climbing on it. Because let’s be honest, people are absolutely climbing on it. Six porticoes break up the interior corridor, the plank walls curve into proper half-hulls at each end, and they dropped four local stones inside as ballast. Another stone anchors the bow. These aren’t decorative choices, they’re the structural and conceptual glue holding the nautical metaphor together.

What’s interesting is how this thing refuses to be just one thing. Some people see a chapel for quiet contemplation. Others treat it like playground equipment. A few probably Instagram it as abstract sculpture and move on. The architects knew this would happen and designed for it. Instead of forcing a single reading, they built something slippery enough to mean different things depending on who’s looking.

We’ve seen a lot of temporary pavilions lately (especially at the Osaka Expo) that lean hard on parametric design or CNC fabrication to justify their existence. La Barca goes the opposite direction with traditional joinery and basic lumber, but it lands harder because the concept is so committed. An upturned boat. In the mountains. Blocking a hiking path. It’s absurd enough to stop you in your tracks, familiar enough to feel approachable, and strange enough that you’re still thinking about it three switchbacks later.

The real test for these festival installations is whether they earn the disruption they cause to the landscape. Most don’t. They show up, people take photos for a season, then they’re dismantled and forgotten. La Barca might actually stick around in memory because it understood something crucial: sometimes the best move is to drop something obviously wrong in exactly the right spot and let the tension do the work.

The post This Upside-Down Boat Blocking a Mountain Trail Is Actually An Architecture Award-Winning Chapel first appeared on Yanko Design.

This Hemp Room Divider Looks Like Art You Can Actually Use

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There’s something about a really good room divider that just makes sense. It’s like the furniture equivalent of a Swiss Army knife: part privacy screen, part statement piece, part space definer. But most dividers we see today are either clunky corporate leftovers or flimsy fabric panels that look like they belong in a college dorm. Enter the Breeze Divider by sa rina, and suddenly the conversation gets a whole lot more interesting.

At first glance, this piece looks like it escaped from a modern art gallery. Those circular, fan-shaped panels arranged in an organic pattern? They’re giving sculptural installation vibes. But here’s where things get really cool: this isn’t just another pretty piece of furniture that sacrifices function for form. The Breeze Divider is made entirely from natural hat-making hemp fabric, and every single component can be taken apart.

Designer: sa rina

Yes, you read that right. Hat-making hemp. It’s one of those materials that sounds both ancient and impossibly trendy at the same time, and honestly, that’s exactly what makes it perfect for this project. The fabric has this gorgeous translucent quality that reminds you of sunlight filtering through overlapping leaves. When you layer the panels, you get this depth and dimensionality that changes depending on where you’re standing and how the light hits it. It’s moody, it’s textured, and it’s way more visually interesting than your standard office partition.

But let’s talk about what really sets this design apart: the sustainability angle. We’re living in an era where “eco-friendly” gets slapped on everything, often with little substance behind it. The Breeze Divider actually walks the walk. Because everything detaches completely, the whole thing can be packed flat, which means significantly lower shipping costs and a smaller carbon footprint. It’s the IKEA philosophy taken to its logical, more elegant conclusion.

And here’s where the design gets genuinely smart: those fan-shaped panels aren’t just decorative. You can configure them however you need, creating different patterns and formations based on your space. Need a tall barrier for maximum privacy? Stack them high. Want something more open and airy? Keep it low and spread out. The adjustable height means you’re not locked into one look forever, which is kind of revolutionary when you think about how static most furniture is.

The translucency of the hemp fabric also serves a practical purpose beyond looking beautiful. Unlike solid dividers that block everything out and make spaces feel dark and cramped, the Breeze lets light and air flow through. It creates separation without isolation, privacy without stuffiness. In our post-pandemic world where so many of us are rethinking how we use our spaces (home offices, anyone?), this kind of flexible, breathable design feels incredibly relevant.

There’s also something refreshing about seeing traditional materials used in contemporary ways. Hemp has been around forever, used in everything from rope to clothing to, yes, hat-making. But here it’s been reimagined as this sophisticated, architectural element. It’s a reminder that innovation doesn’t always mean inventing something completely new. Sometimes it’s about looking at what’s already there and asking, “What else could this be?” The monochromatic black palette keeps things sophisticated and versatile. This isn’t a piece that’s going to clash with your existing aesthetic or feel dated in five years. It’s got that timeless quality that good design should have, where you can imagine it fitting just as easily into a minimalist loft as a bohemian studio or a sleek corporate space.

The Breeze Divider recently won recognition at the International Design Awards, which makes total sense. It’s exactly the kind of thoughtful, multi-functional, sustainable design that deserves attention. In a world overflowing with stuff, it’s nice to see something that actually earns its place in your space, both functionally and aesthetically. This is what happens when designers really think about the entire lifecycle of a product, from materials to shipping to how it actually gets used in real life. The result is furniture that feels less like an object you own and more like a tool that adapts to your needs. And honestly? That’s the kind of design we need more of.

The post This Hemp Room Divider Looks Like Art You Can Actually Use first appeared on Yanko Design.

This LEGO Portal 2 Set Lets You Design/Build Your Own Test Chambers With 1,280 Pieces

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The Portal franchise has earned its place in gaming history through ingenious puzzle design, dark humor, and an aesthetic so iconic that a simple orange and blue color scheme instantly evokes the Aperture Science testing facility. Now, LEGO builder KaijuBuilds has translated that sterile-yet-sinister world into brick form with the Portal 2: Test Chamber Creator, a project currently seeking support on LEGO Ideas.

The set features a sophisticated modular tile system with 18 unique configurations across 29 total modules, allowing builders to reconstruct famous test chambers or design entirely new challenges. With around 1,280 pieces, the build includes Chell, Wheatley, Atlas, P-body, turrets, portals, a Companion Cube, and even that infamous cake. The attention to detail extends to overgrown tiles that reference Portal 2’s decayed facility sections, complete with a white rat as a nod to the mysterious Rattman. The modular approach mirrors the in-game test chamber editor, which means you can actually play with spatial configurations rather than building a single frozen scene.

Designer: KaijuBuilds

The Aperture Science facility aesthetic translates surprisingly well to LEGO’s design language because both share a love of modular systems and clean geometric forms. Portal works on minimalist white panels, colored power conduits, and spatial reasoning. This build captures that by making reconfigurability the core feature. Tiles come in different sizes (8×8, 4×4, 4×8) and snap onto an orange base with visible connection points. Some tiles show pristine testing surfaces while others feature vegetation breaking through panels, directly referencing Portal 2’s narrative about a facility decaying over decades. The observation windows sit where GLaDOS would watch test subjects fail, and those structural details do heavy lifting in establishing atmosphere.

The character roster features all the iconic beings and bots and whatnots. Chell appears in her orange jumpsuit with the Aperture Science tank top. Wheatley exists as a buildable personality core with his blue eye. Atlas and P-body (the co-op robots from Portal 2) demonstrate awareness that the franchise extends beyond Chell’s story. The turrets manage to look simultaneously adorable and threatening with their white chassis, red sensors, and antenna stems. Two portal pieces come in translucent orange and blue, likely using curved or printed elements to create those characteristic oval shapes. The portal gun sits in Chell’s hands, completing the loadout any fan would expect.

Those 18 unique tile types across 29 modules provide enough variety to build compact chambers or combine everything into larger, more complex puzzles. Some tiles feature orange and blue power line conduits that connect mechanisms in the actual game. Dark grey tiles break up monotonous white surfaces. Button tiles, overgrown sections, observation windows, and the Heavy Duty Super-Colliding Super Button all serve gameplay purposes Portal fans recognize immediately. The structure uses long and short connectors with technic pins and 2L axles to hold everything together, which should make reconfiguration reasonably straightforward without constant collapse during redesign sessions. The orange base with its studded connection points does the critical work of making the whole modular system functional rather than theoretical.

The functional elements push this past display territory into actual play value. The Companion Cube dropper holds and releases cubes, mimicking those ceiling-mounted dispensers from the game. The aerial faith plate triggers manually to launch minifigures upward. A tilting elevated platform angles in different directions for variable chamber layouts. The door swings open for chamber entrances and exits. These mechanisms aren’t revolutionary in LEGO terms, but they’re deployed strategically to recreate specific Portal gameplay moments. The laser grid uses red transparent pieces across a 3×6 area. It won’t vaporize minifigs, but it provides the visual language of hazards you’d design chambers around. The deadly goo gets two 8×8 tiles in translucent orange, which is the correct color unlike some fan builds that use green acid from generic video game conventions.

There’s even a cake hidden somewhere because at this point it’s mandatory for Portal merchandise. The cultural penetration of “the cake is a lie” has been both blessing and curse for the franchise, but you can’t release Portal LEGO without acknowledging it. The white rat perched on structural pillars references Doug Rattmann, the Aperture scientist who left cryptic murals throughout the facility. That’s a deeper cut than casual fans would catch. The test chamber sign displays “25” along with hazard pictograms, grounding the build in Aperture Science’s obsessive signage culture. The facility loved warning test subjects about dangers they couldn’t avoid. Small crows appear on the pillars too, adding those environmental details that make the difference between a good build and one that captures a world.

Portal maintains relevance fifteen years after its 2007 release through memorable writing, innovative mechanics, and an aesthetic that spawned endless memes. GLaDOS remains one of gaming’s most iconic antagonists. “Still Alive” transcended the game to become a cultural touchstone. The orange and blue portal color scheme is instantly recognizable across demographics. Portal 2 expanded the universe in 2011 with co-op gameplay, more complex puzzles, and deeper lore about Aperture Science’s history. The games influenced puzzle design across the industry and demonstrated that shorter, tightly designed experiences could compete with sprawling open-world titles. That legacy makes Portal a strong candidate for LEGO treatment, especially given LEGO’s existing relationship with video game properties and Valve’s general receptiveness to licensed products.

LEGO Ideas operates as a platform where fans submit designs for potential official sets. Projects reaching 10,000 supporters enter review, where LEGO evaluates production feasibility, licensing complexity, and market viability. The Portal 2: Test Chamber Creator sits at roughly 1,700 supporters with 543 days remaining. Voting requires a free LEGO Ideas account and takes about thirty seconds (you can cast your vote here). Reaching 10,000 votes doesn’t guarantee production since LEGO considers factors beyond popularity (licensing negotiations with Valve, manufacturing costs, retail strategy), but fan support gets projects in front of decision-makers. LEGO has produced gaming sets before, from Minecraft to various Nintendo properties. Portal’s enduring cultural presence and Valve’s track record with merchandise partnerships suggest this build has legitimate production potential if it clears the voting threshold.

The post This LEGO Portal 2 Set Lets You Design/Build Your Own Test Chambers With 1,280 Pieces first appeared on Yanko Design.

This Grand Piano Has a 20″ Touchscreen, and a Design Worthy Of A Supercar Showroom

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The grand piano has remained visually unchanged for generations, its familiar silhouette a fixture in concert halls and living rooms worldwide. Mohammad Limucci saw this consistency differently. Rather than accepting the traditional form as immutable, he recognized an opportunity to evolve the instrument’s aesthetic while preserving its acoustic soul. His creation, the Porochista Piano, applies automotive design principles to classical craftsmanship.

Measuring 8.7 by 6.2 feet, Porochista combines glass, metal, and matte black composites in flowing organic shapes reminiscent of Luigi Colani’s biomorphic philosophy. The rear section appears to float, creating visual tension between sculptural ambition and structural stability. A large integrated touchscreen offers digital functionality without compromising the acoustic purity professional pianists demand. This fusion of old and new earned recognition at the A’ Design Award, where judges appreciated its ability to attract modern design enthusiasts while respecting the instrument’s heritage. Porochista suggests what tradition might become when filtered through contemporary vision.

Designer: Mohammad Limucci

Designers slap touchscreens onto everything from refrigerators to bathroom mirrors these days, usually with results that make you question basic decision-making processes. A grand piano sporting what looks like a 20-inch display sounds like exactly that kind of misguided thinking. But Limucci clearly studied how supercar manufacturers like Pagani and Koenigsegg integrate function into form, where every curve serves both aerodynamic purpose and visual drama. That swept-back lid with its silver trim could’ve been lifted from a hypercar’s active aero system. The base, with its angular cutouts and geometric voids, solves the eternal design problem of making something massive feel light without actually compromising structural integrity. The solution here involves actual engineering rather than visual tricks.

The Colani influence runs deep, and anyone familiar with the German designer’s work will spot it immediately. Those seamless transitions between surfaces, the way hard edges soften into organic curves, the sense that this object could achieve flight velocity if you just gave it a runway. Colani designed everything from trucks to cameras using the same biomorphic language, always asking why objects should have corners when nature abhors them. Limucci applies that thinking to an instrument that’s been geometrically rigid since the 1700s. Production apparently requires CNC machining and molding techniques borrowed from automotive manufacturing, which makes sense given the compound curves involved. You can’t slap veneer on particleboard and achieve forms like these.

The touchscreen integration could’ve gone full sci-fi nightmare, all glowing edges and pulsing LEDs, but instead it sits flush and purposeful. The digital features (recording, playback, animated notation display) address actual pianist needs rather than adding gimmicks for marketing bullet points. There’s even a hidden compartment up top that slides out to hold sheet music, activated by touching a specific spot. That level of detail suggests someone actually thought about how musicians interact with their instruments over hours of practice, not just how the thing photographs for Instagram. The matte black finish with those copper-toned pedal details visible through the base cutouts gives it presence without screaming for attention, which is harder to achieve than it sounds.

Tehran to Zagreb doesn’t seem like an obvious design pipeline, but apparently that’s where this concept gestated. Whether it ever reaches production remains the question nobody’s answering yet, though the A’ Design Award recognition certainly helps with credibility. The manufacturing complexity alone suggests this won’t be competing with Yamahas at your local music store. Still, seeing someone finally treat piano design with the same innovative energy that automotive and consumer electronics enjoy feels overdue. Professional musicians deserve instruments that fit contemporary spaces without looking like props from period dramas.

The post This Grand Piano Has a 20″ Touchscreen, and a Design Worthy Of A Supercar Showroom first appeared on Yanko Design.

How to watch the Hyundai CES 2026 press conference live

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Hyundai's wheeled robot took home an award.
Hyundai

CES has long felt like a full-on auto show, but the car-centric energy seems somewhat muted at CES 2026. Sure, the Afeela electric vehicle from the Sony-Honda joint venture is returning to the show floor, but with the Trump administration yanking most EV incentives from the market, the industry isn't offering a full-court press of new vehicles in Las Vegas this year.

That includes Hyundai. While the company's Mobis subsidiary will present "more than 30 mobility convergence technologies" during CES week — including its Holographic Windshield Display — we're hearing the Korean auto giant will instead use its press conference to focus on its AI Robotics Strategy. That will apparently include showcasing its new Atlas robot, as well as the wheeled MobED robot line. We'll get into the details below, along with how to watch it today.

Hyundai's presentation takes place today, January 5 at 4PM ET, and you can livestream it on either its HyundaiUSA YouTube channel or its global YouTube channel. (We've embedded the link below.)

Hyundai is putting a huge focus on its AI Robotics Strategy during its presentation today — the theme is "Partnering Human Progress." That'll include its strategies for commercializing AI-enhanced robotics, keeping with the very AI-centric focus of this year's CES.

We'll also get a first-ever look at the company's new Atlas robot. In the teaser image shown in the press release, Atlas looks rather dog-like, which makes sense when you remember that Boston Dynamics was purchased by the Korean multinational back in 2020.

"This next-generation Atlas represents a tangible step toward the commercialization of AI Robotics, highlighting the Group’s commitment to building safe and adaptable robotic co-workers," the company said in the same press release.

But Atlas isn't the only robot the company has up its sleeve. There's also the MobED Droid, a wheeled 'bot that scored a CES 2026 Innovation Award as the show opened this week. 

While on stage, Hyundai says it will "reveal its strategic AI Robotics learning, training and expansion plans," via its Group Value Network and Software-Defined Factory approach. That includes a manufacturing strategy and an advanced smart factory.

We originally thought Hyundai would showcase its Holographic Windshield Display during its press conference, but a Hyundai representative notified us it won't be featured today. It will have a separate CES presence, though not a separate press conference. 

Update, January 5 2026, 2:58PM ET: This story has been updated to include information on the MobED robot line, and to note that the Holographic Windshield Display likely won't be featured at the press conference.

This article originally appeared on Engadget at https://www.engadget.com/transportation/how-to-watch-the-hyundai-ces-2026-press-conference-live-190051823.html?src=rss

This $418 French Strap Solves the Watch vs Smartwatch Problem

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Look, we all know someone who wears a beautiful vintage Rolex or Omega but keeps glancing at their phone every five minutes to check their step count. Or maybe you’re that person. There’s this weird tension happening right now between watch lovers who appreciate the craft and heritage of mechanical timepieces and those of us who genuinely need the convenience of a smartwatch to get through the day. Enter Smartlet, a Paris-based startup that’s decided this whole either-or situation is kind of ridiculous.

The Smartlet dual-watch strap does exactly what it sounds like. It lets you wear both a traditional watch and a smartwatch on the same wrist, simultaneously. One sits on top of your wrist like normal, the other hides underneath. Flip your wrist one way to check the time on your classic timepiece, flip it the other way to see your notifications, heart rate, or whether you’ve hit your daily movement goal.

Designer: David Ohayon for Smartlet

Created by engineer David Ohayon, who himself couldn’t decide between his beloved mechanical watches and the practical features of modern smartwatches, the Smartlet system uses a patented modular design that lets you clip and unclip watches in seconds without any tools. The strap itself is made from stainless steel and comes in different finishes (Classic, Shadow, and Titanium), so it’s not trying to look like some weird tech gadget. It actually resembles a regular metal watch bracelet, which means it won’t clash with the aesthetic of luxury timepieces.

Now, before you start imagining some clunky contraption, the total weight of the setup sits between 60 and 100 grams with both watches attached, which is comparable to most steel bracelets already on the market. The thickness is between 9 and 12mm, compared to 4 to 8mm for classic watches, so yes, it’s noticeably thicker but not absurdly so.

The system is compatible with watches that have 20mm or 22mm lug widths, which includes iconic brands like Omega, Tudor, Tag Heuer, Rolex, Breitling, and Zenith. On the smartwatch side, it works with Apple Watch, 41mm Google Pixel Watch, various Samsung Galaxy Watch models, and even fitness trackers like Whoop 4 and Fitbit Charge. So whether you’re Team Apple or Team Android, there’s room for you here.

But here’s the thing about Smartlet that gets interesting. It’s not just about convenience, it’s about something deeper that watch enthusiasts understand. There’s emotional value in wearing a watch your grandfather gave you, or a piece you saved up for years to buy. These watches tell stories and carry memories. Yet in 2025, we’re also living in a world where contactless payments, fitness tracking, and instant notifications have become genuinely useful features we don’t want to give up.

The Smartlet has already won a bronze medal at the prestigious Concours Lépine 2025, a French innovation competition that’s been recognizing inventions since 1901. It’s also been featured across major watch publications and tech outlets, with some calling it a potential game-changer for the industry.

Of course, there are practical considerations. Wearing a smartwatch on the underside of your wrist means it’s in regular contact with desks, armrests, and tables, which could lead to scratches or damage. And aesthetically, this is clearly designed for people who want the best of both worlds without compromise, which admittedly might not be everyone. The marketing does lean heavily into “modern gentleman” territory, but honestly, the concept itself is pretty gender-neutral. Anyone who loves watches and also wants smart features could find this useful, whether you’re tracking workouts, managing notifications during meetings, or just want your health data without sacrificing style.

What makes Smartlet genuinely clever is that it doesn’t ask you to choose. It recognizes that technology and tradition aren’t enemies, they’re just different tools for different needs. You can protect your luxury watch from daily wear by keeping it underneath while your smartwatch handles the heavy lifting on top. Or you can showcase your mechanical masterpiece while discreetly monitoring your fitness data from below.

Is it for everyone? Probably not. But for the growing number of people caught between worlds, wanting both the soul of traditional watchmaking and the brains of modern tech, Smartlet offers something genuinely new. It’s a design solution that says you don’t have to pick a side anymore. Your wrist, your rules.

The post This $418 French Strap Solves the Watch vs Smartwatch Problem first appeared on Yanko Design.

Furniture That Dances: The Moon Series Reimagines Seating

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There’s something almost poetic about furniture that moves. Not in the literal sense, but in the way it invites you to play, rearrange, and reimagine your space. The Moon Series from Craft of Both and MADE does exactly that, and honestly, it’s one of the most captivating furniture concepts I’ve seen in a while.

Picture this: a chair that unfolds like a Chinese paper fan, its pleated form spreading out in a graceful arc. That’s the essence of the Moon Series, designed by Christina Standaloft and Jay Jordan. The collection features two core pieces, the Moon Chair at 60 degrees and the Moon Bench at 120 degrees, both built on radial geometry that gives them this incredibly sculptural quality.

Designers: Christina Standaloft, Jay Jordan

What makes these pieces special isn’t just how they look (though they’re absolutely stunning). It’s how they work. The designers describe the interaction as a “meditative fan dance,” which might sound a bit flowery until you actually see someone adjusting the modules. There’s something genuinely calming about sliding those pleated panels along the wooden framework, customizing the backrest to exactly how you want it. It’s tactile design at its finest.

The modularity here goes way beyond what we usually see in flexible furniture. Each piece can be constantly redefined, changing both its physical form and the amount of space it occupies. Want more privacy? Add modules. Need a more open feel? Remove some. The radial structure means every adjustment changes not just comfort but the entire aesthetic of the piece.

But here’s where it gets really interesting. When you start combining multiple Moon Chairs or Benches together, you’re essentially creating sculptural landscapes in your living space. The arrangement of those fan-like elements determines everything: how the pieces orient toward each other, how much privacy each seating area has, the comfort level, and the overall visual impact. It’s like being handed a set of beautiful building blocks and being told to go wild.

The technical execution is impressive too. Those 60-degree and 120-degree angles aren’t arbitrary. They’re precisely calculated to allow the pieces to connect and configure in multiple ways. A full circle is 360 degrees, so you could theoretically arrange six Moon Chairs or three Moon Benches to create a complete circular seating area. Mix and match them, and the possibilities multiply exponentially.

What strikes me most about the Moon Series is how it bridges Eastern and Western design sensibilities. The inspiration from Chinese paper fans brings this delicate, almost ceremonial quality to the pieces. Yet the execution feels very contemporary, with clean lines and that minimalist aesthetic we’ve come to associate with modern Scandinavian or Japanese design. The wooden slats radiate outward like sunbeams, and those pleated paper or fabric panels catch the light beautifully.

There’s also something refreshingly honest about the design. You can see exactly how it works. The structure is exposed, the modularity is obvious, and the craftsmanship is on full display. In an era where so much furniture hides its mechanics behind upholstery and veneers, this transparency feels almost rebellious. From a practical standpoint, this kind of modular system makes a lot of sense for how we actually live today. Smaller spaces, frequent moves, evolving needs… furniture that can adapt alongside us isn’t just clever, it’s necessary. But the Moon Series doesn’t sacrifice beauty for function. If anything, the functionality enhances the beauty.

The partnership between Craft of Both and MADE brings together thoughtful design philosophy with production expertise, and it shows. These aren’t concept pieces that will never make it past the design blog circuit. They’re real, functional furniture that you could actually live with. I keep coming back to those images of someone adjusting the fan modules, their hands gently pulling the pleated material into place. There’s an intimacy there, a personal relationship between user and object that most furniture just doesn’t offer. Your Moon Chair becomes uniquely yours through how you configure it, day by day, mood by mood.

The Moon Series offers something different when we’re used to flat-pack sameness. It’s furniture that invites participation, rewards creativity, and somehow manages to be both statement piece and practical seating. That’s not an easy balance to strike, but Standaloft and Jordan have done it with grace.

The post Furniture That Dances: The Moon Series Reimagines Seating first appeared on Yanko Design.

iPhone 18 Pro Max Early Leaks: Everything is Changing!

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iPhone 18 Pro Max Early Leaks: Everything is Changing!

Apple appears poised to make a significant change to its long-standing product launch strategy. Reports indicate that the company might release the iPhone 18 as early as spring 2026, deviating from its traditional September launch schedule. While the standard iPhone 18 could arrive months earlier, the Pro and Pro Max models are expected to retain […]

The post iPhone 18 Pro Max Early Leaks: Everything is Changing! appeared first on Geeky Gadgets.

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Airloom will showcase its new approach to wind power at CES

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One of the many concerns about artificial intelligence these days is how the rush to build data centers is impacting local communities. Data centers can create a drain on resources, and some utility companies have already said customers can expect to see their electricity bills growing as these facilities increase demand. There have been some discussions of what other power sources could support the AI engine, and wind power specialist Airloom is one company that's looking to address the problem. Ahead of the business' upcoming appearance at CES, we've learned a bit about what Airloom has accomplished this year and what it is aiming for next.

Rather than the very tall towers typically used for this approach, Airloom's structures are 20 to 30 meters high. They are comprised of a loop of adjustable wings that move along a track, a design that’s akin to a roller coaster. As the wings move, they generate power just like the blades on a regular wind turbine do. Airloom claims that its structures require 40 percent less mass than a traditional one while delivering the same output. It also says the Airloom's towers require 42 percent fewer parts and 96 percent fewer unique parts. In combination, the company says its approach is 85 percent faster to deploy and 47 percent less expensive than horizontal axis wind turbines. Airloom broke ground on a pilot site in June for testing out its approach and confirming how those figures work in practice.

It’s not feasible to bring a wind farm, even a small one, into CES, but Airloom will have a booth at the event with materials about its technology and engineering. While the business isn't in a consumer-facing field, the impact of Airloom's work could have a future positive impact on people if the data center boom continues.

This article originally appeared on Engadget at https://www.engadget.com/science/airloom-will-showcase-its-new-approach-to-wind-power-at-ces-160000063.html?src=rss