The World’s Smallest 100W Charger Fits in Your Palm and Charges MacBooks at Full Speed

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There’s a reason it’s called a charging ‘brick’. It charges, and it’s honestly brick-shaped. Laptops and phones have gotten thinner in the past decade, but their chargers honestly haven’t. GaN technology changes that. I’ve sung praise for GaN chargers in the past, and I swear by the one in my laptop bag right now, which replaces 4 different chargers while being the size of a hockey puck. Now Rolling Square’s gone and made the GaN charger even smaller.

Holding the title of the world’s smallest 100W charger, the aptly named Supertiny is 65% smaller than Apple’s 96W charging brick, but packs enough power to fast-charge your laptop without breaking a sweat. At just 2 inches long and 1.38 inches wide, the Supertiny is as small as your Airpods case, fitting in your palm or even your pocket. It comes in three global plug formats (US with foldable prongs, EU, and UK), weighs between 100 and 115 grams depending on the variant, and packs a single USB-C port to supercharge your laptop. But pair it with Rolling Square’s inCharge Life 2in1 cable and you can now fast-charge your laptop as well as your phone together.

Designer: Rolling Square

Click Here to Buy Now: $52 $70 (25% off). Hurry, only a few units left! Raised over $672,000.

Gallium Nitride has been around since the 1990s, first used in LEDs and satellite solar cells, but it took decades for the tech to migrate into consumer charging. The advantage is straightforward: GaN produces significantly less heat than traditional silicon, which means you can push more power through a smaller chipset without needing massive heat sinks or bulky casings to prevent thermal meltdown. Silicon-based chargers lose a chunk of energy as heat, which is why your old laptop brick could double as a hand warmer after an hour of use. GaN flips that equation. It’s ruthlessly efficient, converting around 95% of the energy from the wall into actual charging power, with only 5% lost to heat. That efficiency gain is what allows Rolling Square to cram 100W of power delivery into a form factor that genuinely feels like it shouldn’t be possible.

The Supertiny measures 2 inches long on the US version with foldable prongs, 3.19 inches on the EU model, and 2.81 inches on the UK variant (the EU and UK versions come with fixed prongs). To achieve this ridiculously compact format, the company rebuilt the internal voltage transformer from scratch, optimizing how components align to reduce wasted space and lower operating temperatures. Advanced heat conduction silicon and thermal sheets route heat away from critical areas, and the exterior design plays a functional role too. The ribbed pattern running along the sides prevents your fingertips from making full contact with the surface when you unplug it after charging. Flat surfaces conduct heat directly to your skin, ribbed surfaces don’t. It’s a small detail, but it’s the kind of thing that separates thoughtful industrial design from spec-sheet engineering.

The charger outputs 100W max through its single USB-C port, with support for Power Delivery 3.0 and PPS (Programmable Power Supply) that adjusts voltage between 3.3V and 21V depending on what your device needs. That means it’ll fast-charge a MacBook Pro, a Dell XPS, a Lenovo ThinkPad, or any other USB-C laptop at full speed. In case you’re wondering, yes, it can handle e-bikes and e-scooters too, albeit at 100W. For phones and tablets, it delivers fast charging across iPhones, Samsung Galaxy devices, Google Pixels, and pretty much anything else with a USB-C port. The lack of multiple ports is deliberate. Rolling Square designed this charger for people who want maximum power in minimum space, and adding extra ports would have inflated the size.

If you need to charge two devices simultaneously, Rolling Square offers the inCharge Life 2in1 cable as an optional add-on. This modular cable splits the 100W output intelligently between two devices, letting you charge your laptop and phone together from a single power source. The cable stretches 1.5 meters (about 5 feet), features a durable nylon braid reinforced with aramid fiber, and uses premium metal connectors built to last. Rolling Square backs it with a lifetime replacement guarantee: if the cable ever fails, you submit a short video showing it fully cut along with your order number, and the company ships a replacement immediately. No returns, no forms, no hassle.

Rolling Square is a Switzerland-based company that’s been refining everyday tech problems since 2014, starting with the original inCharge keyring cable that packed multiple charging connectors into a tiny form factor you could attach to your keys. The company followed that up with the AirCard wallet tracker, the TAU keyring power bank, and a lineup of modular MagSafe accessories under the EDGE Pro branding. The Supertiny is their 19th product launch, and it fits the company’s design philosophy cleanly: solve one specific problem extremely well, make it as small as physics allows, and build it to last. Rolling Square products tend to be the kind of gear you don’t notice until you need them, at which point you wonder how you ever lived without them.

The Supertiny 100W GaN Charger comes in three versions: US, EU, and UK plugs. Early pricing starts at $46 for a single unit, or a $68 bundle that also includes the inCharge Life 2in1 cable. Rolling Square is shipping the chargers globally starting in May 2026, and all three versions carry full international safety certifications including TUV Rheinland. The company backs the product with a two-year warranty and a 30-day return policy. I touted GaN chargers as a tech must-have in 2025, so if you’re reading this now and you still don’t own one, take it from me. You, your cluttered workdesk, and your heavy laptop bag will thank me.

Click Here to Buy Now: $52 $70 (25% off). Hurry, only a few units left! Raised over $672,000.

The post The World’s Smallest 100W Charger Fits in Your Palm and Charges MacBooks at Full Speed first appeared on Yanko Design.

Your Phone Has 12 Calendar Apps. None of Them Look Like This

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We are living through a slow, quiet rebellion against digital everything. Vinyl record sales have been climbing for years. Film cameras are back on shelves. People are buying paper planners again. And now, a wooden perpetual wall calendar made in France in the 1970s is having a moment through a Korean design shop called Wertwerk, and I am completely on board.

The piece is exactly what it sounds like: a wall-mounted calendar built from a warm wood base, with a row of plastic sliders numbered 1 through 31 that you manually shift to mark the date. No batteries. No notifications. No algorithm nudging you toward anything. Just wood, a little plastic, and the deliberate act of moving a slider every morning. That’s the whole thing. And yet, it manages to do something almost no digital tool can: make you stop and actually notice what day it is.

Designer Name: Wertwerk

What makes this particular object so interesting is the decade it comes from. The 1970s were a sweet spot in product design, especially in France, where makers were beginning to marry natural materials like wood with the new optimism of plastic. The result was objects that felt warm and industrial at the same time, organic and modern, useful and beautiful. A wooden calendar with plastic sliders is a textbook example of that tension. It doesn’t feel like a throwback. It feels like a design decision that simply worked the first time and never needed revisiting.

The word “perpetual” is doing a lot of heavy lifting here, and it deserves a moment. A perpetual calendar doesn’t expire. It doesn’t have a year printed on it. It covers every day and every month indefinitely, because those numbers don’t change; only the arrangement does. You can hang this on your wall and it will be just as functional in 2045 as it was in 1975. Compare that to your phone’s calendar app, which will feel dated in five years and be incompatible with something in ten. The perpetual calendar was designed with an understanding that good things don’t need to be replaced, just updated slightly, by hand, once a day.

Wertwerk is the Seoul-based shop behind this particular find, and they deserve full credit for the eye. Their name pulls from the German words for “worth” and “work,” and that philosophy runs through everything they source. They’ve built a devoted following by seeking out vintage objects that carry actual value beyond nostalgia. Their pieces sell out fast, sometimes within hours. They’re not selling aesthetics for aesthetics’ sake. They’re making a case that a well-made object from fifty years ago can do something a new one cannot: carry the evidence of its own history.

I’ll admit I’m biased toward objects that reward you for paying attention to them. The wooden perpetual calendar does exactly that. Each time you slide the date, you’re reminded that time is something you track, not something that tracks you. It’s a small distinction, but it adds up over days and months. Moving a physical date marker is categorically different from glancing at a lock screen, and not in a pretentious way. It’s just more deliberate.

The design also photographs beautifully, which is partly why it’s gaining traction in design communities. The wood grain set against the geometric order of numbered sliders reads as both nostalgic and contemporary. It’s the kind of object that looks intentional in a space, not decorative for decoration’s sake, but genuinely considered.

If you’ve ever bought something because it made you feel a certain way before you even used it, this is that kind of object. It quietly tells anyone who notices it that you care about how things are made and how long they last. Not everyone reads a wall calendar that way. But for those who do, this one from Wertwerk is worth finding before it disappears, and based on how fast their inventory moves, that won’t take long.

The post Your Phone Has 12 Calendar Apps. None of Them Look Like This first appeared on Yanko Design.

Genji Kyoto Is a Hotel You Read Like a 1,000-Year-Old Book

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Most hotels ask you to check in. Genji Kyoto asks you to pay attention. Nestled along the Kamo River in Kyoto, Japan, this 19-room boutique hotel is the kind of place that architects talk about in hushed, reverent tones. And for good reason. It was designed by Geoffrey P. Moussas of Design 1st, a New York-born, MIT-trained architect who has called Kyoto home since 1994. That detail matters more than it might seem.

Moussas didn’t fly in with a mood board and a deadline. He has spent over three decades restoring and redesigning more than 40 traditional Japanese structures: machiya townhouses, tearooms, kura storehouses, and even a 400-year-old Buddhist temple. His work has been featured in the Financial Times, CNN, and NHK, and exhibited at Kiyomizu Temple and Nijo Castle. When someone like that builds a hotel, you’re not just booking a room. You’re stepping into a lifetime of accumulated understanding.

Designer: Geoffrey P. Moussas of Design 1st

The concept behind Genji Kyoto traces back to an 11th-century Japanese novel, The Tale of Genji, widely considered one of the world’s first novels. When the design team discovered that the hotel’s site was historically tied to the story’s actual locations in Kyoto, the whole project shifted. The design moved away from a simple machiya prototype and toward the aesthetic world of the Heian period, over a thousand years ago. But Moussas wasn’t interested in imitation. His approach was to distill the spirit of Heian architecture, specifically the Shinden Zukuri style, characterized by pavilions woven through interconnected gardens, rather than recreate its surface. That distinction is everything. It’s the difference between a themed restaurant and a genuinely good one.

The guiding philosophy here is a Japanese concept called Teioku Ichinyo, which translates roughly to “building and garden are one.” Every spatial decision at Genji Kyoto flows from this idea. Gardens aren’t decorative; they’re structural. They guide movement, frame views, and carry what the Japanese call ki, the life force that animates a space. Even the small tsubo pocket gardens tucked around the guest rooms, a tradition dating back to Heian palace residences, do serious work, turning what could be a blank interior wall into a living, breathing view.

The materials are just as considered. Cedar-imprinted concrete shows up throughout the hotel, hard surfaces pressed with the warmth of wood grain, creating a tension that reads as both ancient and completely new. Large-scale washi paper panels function as architectural elements, not just decoration. Guest rooms have solid cherry wood floors, tatami mats made from natural rush, and furniture entirely handmade by Kyoto craftsmen. Jun Tomita, who handled interior design alongside Moussas, drew motifs directly from The Tale of Genji for every custom piece. And then there’s the detail I keep coming back to: during construction, a heritage water basin and a small shrine were discovered on-site. Rather than remove them, the team built the garden around them. That kind of decision tells you everything about where the priorities were.

There are 19 rooms in total, each one different. River views, city views, garden views. No two stays are the same, and that’s by design. Each room also features an original painting by a Kyoto artist, with every piece drawing on a different theme from The Tale of Genji, so even the art tells a chapter of the same story. Moussas has said he wanted guests to have a different experience every time they return, and the hotel is built to make that true. The rooftop garden and bar take it further still, offering panoramic views that make the hotel feel like it belongs to the entire city, not just its footprint.

Genji Kyoto’s real achievement isn’t any single detail. It’s the commitment to depth over spectacle. A lot of contemporary design is about the first impression, the photograph, the wow moment. This hotel asks for more time than that. It reveals itself in layers, the way a good book does. You have to slow down. You have to look twice. That’s a rare ask in hospitality. And it’s a rarer thing to pull off.

The post Genji Kyoto Is a Hotel You Read Like a 1,000-Year-Old Book first appeared on Yanko Design.

The League of Legends KeSPA cup will air globally on Disney+

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Disney has inked a deal with the Korea Esports Association that will bring several gaming tournaments to its streaming platform. Disney+ will be the global live streaming home for Esports Champions Asia Jinju 2026, the 2026 League of Legends KeSPA CUP and some preliminary events ahead of the 20th Asian Games Aichi-Nagoya 2026. This agreement expands KeSPA's arrangement with Disney, which only streamed its esports events to viewers in Asia last year. 

Esports Champions Asia is the first event on the calendar, occurring April 24-26 with professional teams from across the continent squaring up in tournaments for games including Street Fighter 6, The King of Fighters XV, TEKKEN 8 and the eFootball series. Disney+ will also be an official streamer for the PUBG Mobile and Eternal Return competitions during that weekend. 

It could be helpful for western esports fans to have a single location for watching the major events happening in Asia. However, many tournaments are currently free to watch on Twitch or YouTube, so now needing a Disney+ subscription to catch some of these international competitions might feel onerous. Esports might run the risk of turning into the fragmented set of rights deals that plagues traditional sports leagues, where a game could be on one of a half dozen different paid services each night. It's also likely going to mean co-streamers take a hit to their viewership, since Disney seems unlikely to offer the same sort of broadcast access that has made the practice popular on Twitch.

This article originally appeared on Engadget at https://www.engadget.com/gaming/the-league-of-legends-kespa-cup-will-air-globally-on-disney-224455083.html?src=rss

A Transforming Table-Chair That Turns Tradition into Space-Saving Intelligence

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At a time when living spaces are shrinking while expectations from them continue to expand, this design presents a thoughtful response that is both rooted in tradition and aligned with contemporary needs.

Emerging from the context of rising housing pressures in Taiwan, where compact homes are increasingly becoming the norm, the project addresses a fundamental question: how can furniture adapt to limited space without compromising comfort or experience? Rather than treating furniture as static, single-purpose objects, the designer reimagines them as dynamic systems capable of transformation.

Designer: Che-Chia Hsu

At the heart of this piece lies a deep engagement with traditional Chinese woodworking techniques, particularly the precision of tenon joints. These joints move beyond being structural solutions and become expressions of calculated craftsmanship, where geometry, material behavior, and human interaction converge. The result is a construction that feels both minimal and robust, relying on accuracy instead of excess.

The furniture set is designed to integrate storage and seating within a compact footprint. A chair is concealed within the table and can be pulled out, unfolded, and expanded into a functional seat. The process is intuitive: the chair is extracted, the seat and backrest are opened, and the backrest angle is adjusted using velcro. The transformation is smooth and unobtrusive, allowing the object to shift roles effortlessly.

What distinguishes this design is its reliance on the user’s own body as part of the structural system. Instead of depending entirely on rigid supports, the chair uses the tension generated by the sitter to stabilize the backrest. This introduces a subtle interaction between user and object, where the act of sitting becomes integral to how the design performs. The experience feels efficient, responsive, and quietly intelligent.

Material choices reinforce this balance between function and experience. Lightweight pine wood panels provide durability while ensuring ease of movement. Paired with gray cotton linen fabric, the design introduces a tactile softness that enhances comfort. The fabric is breathable and visually understated, complementing the natural warmth of the wood. Together, these materials create a calm, cohesive aesthetic suited to contemporary interiors.

The development of the project reflects a layered and rigorous process. The designer began by studying traditional joinery techniques through literature, followed by hands-on training under a woodcraft master. This immersion enabled a deeper understanding of the craft beyond theory. Building on this foundation, the designer explored ways to translate these techniques into a modern, functional context through research and experimentation.

What emerges is a design that treats constraint as a starting point rather than a limitation. The piece brings together traditional knowledge and contemporary living patterns, shaping an object that adapts, responds, and participates in everyday use. It reflects a way of designing where space, material, and human interaction are considered together, resulting in furniture that feels considered, purposeful, and in tune with the realities of modern living.

The post A Transforming Table-Chair That Turns Tradition into Space-Saving Intelligence first appeared on Yanko Design.

A Transforming Table-Chair That Turns Tradition into Space-Saving Intelligence

Posted on by

At a time when living spaces are shrinking while expectations from them continue to expand, this design presents a thoughtful response that is both rooted in tradition and aligned with contemporary needs.

Emerging from the context of rising housing pressures in Taiwan, where compact homes are increasingly becoming the norm, the project addresses a fundamental question: how can furniture adapt to limited space without compromising comfort or experience? Rather than treating furniture as static, single-purpose objects, the designer reimagines them as dynamic systems capable of transformation.

Designer: Che-Chia Hsu

At the heart of this piece lies a deep engagement with traditional Chinese woodworking techniques, particularly the precision of tenon joints. These joints move beyond being structural solutions and become expressions of calculated craftsmanship, where geometry, material behavior, and human interaction converge. The result is a construction that feels both minimal and robust, relying on accuracy instead of excess.

The furniture set is designed to integrate storage and seating within a compact footprint. A chair is concealed within the table and can be pulled out, unfolded, and expanded into a functional seat. The process is intuitive: the chair is extracted, the seat and backrest are opened, and the backrest angle is adjusted using velcro. The transformation is smooth and unobtrusive, allowing the object to shift roles effortlessly.

What distinguishes this design is its reliance on the user’s own body as part of the structural system. Instead of depending entirely on rigid supports, the chair uses the tension generated by the sitter to stabilize the backrest. This introduces a subtle interaction between user and object, where the act of sitting becomes integral to how the design performs. The experience feels efficient, responsive, and quietly intelligent.

Material choices reinforce this balance between function and experience. Lightweight pine wood panels provide durability while ensuring ease of movement. Paired with gray cotton linen fabric, the design introduces a tactile softness that enhances comfort. The fabric is breathable and visually understated, complementing the natural warmth of the wood. Together, these materials create a calm, cohesive aesthetic suited to contemporary interiors.

The development of the project reflects a layered and rigorous process. The designer began by studying traditional joinery techniques through literature, followed by hands-on training under a woodcraft master. This immersion enabled a deeper understanding of the craft beyond theory. Building on this foundation, the designer explored ways to translate these techniques into a modern, functional context through research and experimentation.

What emerges is a design that treats constraint as a starting point rather than a limitation. The piece brings together traditional knowledge and contemporary living patterns, shaping an object that adapts, responds, and participates in everyday use. It reflects a way of designing where space, material, and human interaction are considered together, resulting in furniture that feels considered, purposeful, and in tune with the realities of modern living.

The post A Transforming Table-Chair That Turns Tradition into Space-Saving Intelligence first appeared on Yanko Design.

New Jersey has no right to ban Kalshi’s prediction market, US appeals court rules

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Kalshi can't be stopped in New Jersey. A 3rd US Circuit Court of Appeals panel ruled on Monday that New Jersey has no authority to regulate Kalshi's prediction market allowing people to bet on the outcome of sports events. That power rests with the Commodity Futures Trading Commission, the panel ruled 2-1. 

The CFTC is headed by President Donald Trump appointee Michael Selig, who vocally and actively supports prediction markets like Kalshi and Polymarket, calling them "exciting products." The Trump family agrees: Donald Trump Jr. is a paid adviser to Kalshi and an unpaid adviser to Polymarket, and Truth Social, which is run by the Trump Media and Technology Group, is set to start a prediction market of its own.

Online prediction markets are an emerging phenomenon that allow users to bet on the outcome of basically anything, from local athletic competitions to lethal military invasions. Though they're new, these marketplaces have already shown evidence of insider trading on an extreme scale, with suspicious bets and big payouts tied to the US and Israel's military strikes in Iran, and also the US' brief invasion in Venezuela. According to blockchain analyst DeFi Oasis, fewer than 0.04 percent of Polymarket accounts captured more than 70 percent of profits, totaling $3.7 billion.

Multiple state gaming regulators have filed legal challenges against Kalshi and Polymarket in recent months, and just last week the CFTC sued Arizona, Connecticut and Illinois over their attempts to regulate prediction markets. While each state has its own angle of attack, from election issues to underage betting, they're all broadly claiming that prediction markets are just illegal gambling businesses. Today's ruling marks the first federal-level decision in one of these cases and it's in favor of the prediction markets.

New Jersey sent Kalshi a cease and desist letter in 2025, claiming the service violated the state's ban on collegiate sports betting. Kalshi escalated the situation and sued New Jersey, arguing that its sports contracts are actually swaps, a type of financial investment that's (conveniently) regulated by the CFTC. A lower-court judge previously sided with Kalshi, prompting New Jersey to appeal. Two of the three judges in that appeal ruled that Kalshi's sports-related event contracts were indeed swaps. Kalshi CEO Tarek Mansour called Monday's ruling "a big win for the industry."

US Circuit Judge Jane Richards Roth dissented, writing that Kalshi's "offerings were virtually indistinguishable from the ​betting products available on online sportsbooks, such as DraftKings and FanDuel."

New Jersey Attorney General Jennifer Davenport has the option to ask the full 3rd Circuit to rehear the case, and the issue is also pending in several other courts.

This article originally appeared on Engadget at https://www.engadget.com/big-tech/new-jersey-has-no-right-to-ban-kalshis-prediction-market-us-appeals-court-rules-214448284.html?src=rss

iPhone 18 Pro Leaks Reveal a 2nm A20 Pro Chip, 35% Smaller Dynamic Island, and a Deep Red Color

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Apple has spent four years refusing to touch the Dynamic Island, treating it like some untouchable monument to software-hardware integration. Samsung cycled through three foldable generations in that time. Google rebooted the Pixel lineup twice. Nothing went from startup curiosity to legitimate competitor. And the iPhone 14 Pro’s pill-shaped cutout just sat there, exactly the same width, height, and visual footprint on the 15 Pro, 16 Pro, and 17 Pro. Leaked screen protectors sourced from Weibo now suggest Apple has finally decided four years is long enough, and the company is gearing up to shrink the Dynamic Island by roughly 35 percent on the iPhone 18 Pro. The mechanism is straightforward: move the Face ID flood illuminator under the display, leave only the infrared camera and front lens in the cutout, and suddenly that wide pill becomes a narrow sliver sitting unobtrusively at the top of the screen. The infrared flood illuminator that powers Face ID is moving under the display on the iPhone 18 Pro, leaving only the infrared camera requiring a physical cutout alongside the front-facing lens.

But the Dynamic Island shrinkage is hardly the headline here, because the iPhone 18 Pro is also the phone where Apple trades in its most iconic color for something it has never tried before on a Pro model. Bloomberg’s Mark Gurman reports that Apple is testing a deep red finish for the 18 Pro lineup, a shade closer to burgundy than the bright Product Red tones the company used on standard models years ago. Apple removed black from the Pro lineup with the iPhone 17 Pro, the first time in the series’ history that no dark option existed, and the 18 Pro appears set to continue that direction rather than course-correct. September 2026 is the expected launch window, which makes this arguably the most important incremental iPhone in years. It is widely believed to be the last model in this design language before Apple delivers a radical overhaul for the 20th anniversary iPhone in 2027, so whatever ships this fall is likely your final chance to buy an iPhone that looks like an iPhone has looked since 2017.

Designer: Volodymyr Lenard

Leaker Ice Universe claimed the Dynamic Island cutout on the iPhone 18 Pro models will be approximately 35% narrower than it is on the iPhone 17 Pro models, with a width of around 13.5mm down from around 20.7mm. That figure refers to the default on-screen Dynamic Island width including surrounding black pixels, not the physical hardware cutout itself, but the visual difference should be immediately apparent in daily use. The iPhone 17 Pro’s Island is a wide, commanding presence even at rest. The 18 Pro’s leaked cutout reads almost delicate by comparison, a narrow pill sitting unobtrusively at the top of the screen. Apple will still need to revisit four years of Live Activities design and the entire interaction vocabulary built around the existing Island’s dimensions, which is a reasonable explanation for why this transition is taking as long as it is. Android manufacturers have shipped under-display cameras for years, with visible quality tradeoffs that Apple’s user base simply would not accept on a thousand-dollar phone. Holding the line until the technology meets the standard, rather than shipping it to win a spec sheet argument, is the kind of call that frustrates people in the short term and builds loyalty over time.

Under the hood, the A20 Pro chip built on TSMC’s advanced 2nm process promises roughly 15% faster performance and up to 30% better power efficiency compared to the current 3nm A19 Pro. Paired with 12 GB of RAM across the lineup, the new silicon should power smoother Apple Intelligence features, enhanced on-device AI processing, and better multitasking. Connectivity upgrades include Apple’s first in-house C2 5G modem, replacing reliance on Qualcomm components. The modem supports improved mmWave performance and expanded satellite connectivity, potentially enabling always-connected cellular service via NR-NTN standards for emergency messaging and basic data in remote areas without traditional coverage. Battery life stands out as a major highlight, especially for the iPhone 18 Pro Max. Leakers report a capacity jump to 5,100 to 5,200 mAh, the largest ever in an iPhone, enabled by a slightly thicker chassis measuring around 8.8mm up from 8.75mm on the iPhone 17 Pro Max. The added thickness and weight would accommodate the bigger cell while the more efficient 2nm chip helps stretch usage even further. Some projections suggest up to 40 hours of mixed use on a single charge.

The deep red finish represents a significant departure for a Pro lineup that has historically favored controlled, conservative colors like graphite, silver, gold, and muted titanium shades. Rumors of purple and brown finishes have also circulated, but Gurman believes those are just variants of the same red idea. The decision to skip black for a second consecutive year has already generated polarized reactions among enthusiasts, with some welcoming the bold direction and others mourning the loss of the classic understated aesthetic. For buyers who want black, Gurman specifically noted that the foldable iPhone is being designed with conservative space gray and silver finishes, suggesting Apple is deliberately separating its color identity across product lines. The iPhone 18 Pro may read as a modest update on paper, but as the final iteration of a design language that has defined the modern iPhone for nearly a decade, it carries more symbolic weight than any spec sheet can communicate.

The post iPhone 18 Pro Leaks Reveal a 2nm A20 Pro Chip, 35% Smaller Dynamic Island, and a Deep Red Color first appeared on Yanko Design.

Beethoven Gets a 200th Anniversary LEGO Set Complete With Für Elise Sheet Music

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Beethoven composed his Ninth Symphony completely deaf. He never heard a single note of it performed, yet it remains one of the most emotionally overwhelming pieces of music ever written. That particular detail about his life has a way of stopping people cold, the idea that the instrument of his perception was gone, and yet the music kept coming, arguably better than ever. There are very few stories in human history that capture creative resilience quite like his.

Fan designer CousinExcitedCactus has channeled that legacy into a 358-piece LEGO Ideas set timed to a significant milestone: March 26, 2027 marks the 200th anniversary of Beethoven’s passing. The result is a compact, modular display set with a grand piano, a Beethoven minifigure, a candlelit writing table, and a removable “Für Elise” sheet music backdrop, plus a surprisingly moving recreation of his grave monument in Vienna.

Designer: CousinExcitedCactus

The piano is the heart of this build, and it’s different from your average modern day grand piano. The design draws from two instruments Beethoven actually owned and played: the Érard grand gifted to him in 1803, and the Conrad Graf fortepiano he used in his final years, by which point his hearing was almost entirely gone. Both instruments were period pieces with a lighter, more intimate tone than the thundering concert grands of today, and the LEGO recreation captures that sense of a working composer’s instrument rather than a showpiece. The lid is propped open, strings are visible inside, and a small sheet of music rests on the stand, the kind of atmospheric detail that makes a display scene feel lived-in rather than staged.

The candelabra beside the piano is a three-flame setup rendered with white cylinder candles and transparent flame elements, casting the whole scene in an implied warm glow. The Beethoven minifigure stands on a warm-toned wooden stage floor, white hair, dark formal coat, red cravat, with his signature in gold script on a nameplate tile at the front edge. Behind everything, a large printed tile carries the full opening bars of “Für Elise” in period calligraphy, functioning simultaneously as a backdrop panel and the set’s most immediately recognizable design element. It is a clever piece of dual-purpose design, the kind of thing that looks obvious only after someone else has already thought of it.

My favorite detail, though, is the grave monument. The builder has included a fully separate modular sub-build recreating Beethoven’s actual resting place at Vienna’s Zentralfriedhof, a white obelisk on a columned base with “Beethoven” lettered across the front, pink flowers at the perimeter, and a golden butterfly at the apex. The reverse side of the “Für Elise” sheet music tile features a printed reproduction of the grave, which means the backdrop itself does double duty depending on which way you face it. That is a genuinely thoughtful design decision.

The set currently sits at 720 supporters on LEGO Ideas, the fan platform where community-made MOCs (My Own Creations) gather votes toward the 10,000-vote threshold required to trigger an official LEGO design review. With 414 days left on the clock, there is plenty of time to get it there. If you want to see this one make it to store shelves in time for the 2027 anniversary, head to the LEGO Ideas page and cast your vote here.

The post Beethoven Gets a 200th Anniversary LEGO Set Complete With Für Elise Sheet Music first appeared on Yanko Design.

Beethoven Gets a 200th Anniversary LEGO Set Complete With Für Elise Sheet Music

Posted on by

Beethoven composed his Ninth Symphony completely deaf. He never heard a single note of it performed, yet it remains one of the most emotionally overwhelming pieces of music ever written. That particular detail about his life has a way of stopping people cold, the idea that the instrument of his perception was gone, and yet the music kept coming, arguably better than ever. There are very few stories in human history that capture creative resilience quite like his.

Fan designer CousinExcitedCactus has channeled that legacy into a 358-piece LEGO Ideas set timed to a significant milestone: March 26, 2027 marks the 200th anniversary of Beethoven’s passing. The result is a compact, modular display set with a grand piano, a Beethoven minifigure, a candlelit writing table, and a removable “Für Elise” sheet music backdrop, plus a surprisingly moving recreation of his grave monument in Vienna.

Designer: CousinExcitedCactus

The piano is the heart of this build, and it’s different from your average modern day grand piano. The design draws from two instruments Beethoven actually owned and played: the Érard grand gifted to him in 1803, and the Conrad Graf fortepiano he used in his final years, by which point his hearing was almost entirely gone. Both instruments were period pieces with a lighter, more intimate tone than the thundering concert grands of today, and the LEGO recreation captures that sense of a working composer’s instrument rather than a showpiece. The lid is propped open, strings are visible inside, and a small sheet of music rests on the stand, the kind of atmospheric detail that makes a display scene feel lived-in rather than staged.

The candelabra beside the piano is a three-flame setup rendered with white cylinder candles and transparent flame elements, casting the whole scene in an implied warm glow. The Beethoven minifigure stands on a warm-toned wooden stage floor, white hair, dark formal coat, red cravat, with his signature in gold script on a nameplate tile at the front edge. Behind everything, a large printed tile carries the full opening bars of “Für Elise” in period calligraphy, functioning simultaneously as a backdrop panel and the set’s most immediately recognizable design element. It is a clever piece of dual-purpose design, the kind of thing that looks obvious only after someone else has already thought of it.

My favorite detail, though, is the grave monument. The builder has included a fully separate modular sub-build recreating Beethoven’s actual resting place at Vienna’s Zentralfriedhof, a white obelisk on a columned base with “Beethoven” lettered across the front, pink flowers at the perimeter, and a golden butterfly at the apex. The reverse side of the “Für Elise” sheet music tile features a printed reproduction of the grave, which means the backdrop itself does double duty depending on which way you face it. That is a genuinely thoughtful design decision.

The set currently sits at 720 supporters on LEGO Ideas, the fan platform where community-made MOCs (My Own Creations) gather votes toward the 10,000-vote threshold required to trigger an official LEGO design review. With 414 days left on the clock, there is plenty of time to get it there. If you want to see this one make it to store shelves in time for the 2027 anniversary, head to the LEGO Ideas page and cast your vote here.

The post Beethoven Gets a 200th Anniversary LEGO Set Complete With Für Elise Sheet Music first appeared on Yanko Design.