Tag Archives: Events

Sabine Marcelis Built Coachella’s Best Spot Out of Thin Air

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Every April, Coachella does that thing where it reminds you it’s not just a music festival. It’s a full-sensory exercise in spectacle, one that has always treated its art program with just as much ambition as its headliner lineup. This year, Dutch designer Sabine Marcelis is the one making that case loudest, with an installation called Maze that has, by most accounts, become one of the most talked-about spots on the entire festival grounds.

Maze is exactly what it sounds like, and also nothing like what you’d expect. Built from curved, inflated PVC walls that rise at varying heights, the structure winds across the Coachella grounds as a walkable labyrinth, one that feels less like an obstacle course and more like stepping into a fever dream of color and calm. The walls shift in a gradient from pale yellow at the outer edges to a deep, saturated red at the core, mimicking the warm, layered tones of a desert sunset. It’s the kind of color palette that looks deliberately, almost suspiciously perfect, and yet it doesn’t feel forced. It feels inevitable.

Designer: Sabine Marcelis

That’s what Marcelis does. The Rotterdam-based designer has built a body of work around the idea that light and material don’t just coexist. They perform together. Her practice leans into pure geometric forms and refined material investigations, always pushing manufacturing processes toward something surprising and sensory. At Coachella, that philosophy scales up beautifully. What could have been a gimmicky, oversized balloon art moment instead reads as something genuinely thoughtful: a structure designed to slow people down in a place that rarely stops moving.

And that’s the part that gets me. Coachella is famously relentless. Stages overlap, schedules are brutal, and the heat does not negotiate. Maze was built with that reality in mind. The inflated walls create shaded pockets, filtering both light and sound from the surrounding chaos. Seating runs along the outer edges, giving visitors actual places to stop and breathe. Clearings open up toward the stages, framing views of performances from inside the structure, so you never entirely lose the festival. You just get to experience it at a different speed.

Inspired by the natural contours of the Coachella Valley, the design has a landscape quality to it that reads as more than an aesthetic reference. The curved forms echo the rolling terrain of the desert, and the color gradient mirrors the sky at the specific hours when the California desert looks like it was art-directed by someone very talented. Marcelis didn’t try to compete with the landscape. She translated it. At night, the whole thing transforms. The PVC walls glow from within, turning the maze into an illuminated field of warm color that sits somewhere between architectural installation and light sculpture. If the daytime version is about refuge, the nighttime version is pure atmosphere. It hits differently against the dark, and I mean that in the best way.

I’ll be honest. I’ve watched the Coachella art program grow more ambitious over the years, and my reaction to any given installation tends to hover somewhere between “impressive” and “Instagram bait.” Maze clears that bar and then some. It works because it has an actual point of view. Marcelis built something that functions, that shelters, that engages the senses, and that happens to be visually stunning. That’s a harder balance to strike than it looks.

The installation was curated by Public Art Company, and it’s part of a broader 2026 art program that continues to push Coachella’s visual ambitions. But Maze stands out not because it’s the biggest or the flashiest. It stands out because it treats the people walking through it as the point, not the backdrop. That’s good design. And at a festival where you’re constantly being asked to witness things, it’s genuinely refreshing to walk into something that simply asks you to sit down and stay a while.

The post Sabine Marcelis Built Coachella’s Best Spot Out of Thin Air first appeared on Yanko Design.

Sabine Marcelis Built Coachella’s Best Spot Out of Thin Air

Posted on by

Every April, Coachella does that thing where it reminds you it’s not just a music festival. It’s a full-sensory exercise in spectacle, one that has always treated its art program with just as much ambition as its headliner lineup. This year, Dutch designer Sabine Marcelis is the one making that case loudest, with an installation called Maze that has, by most accounts, become one of the most talked-about spots on the entire festival grounds.

Maze is exactly what it sounds like, and also nothing like what you’d expect. Built from curved, inflated PVC walls that rise at varying heights, the structure winds across the Coachella grounds as a walkable labyrinth, one that feels less like an obstacle course and more like stepping into a fever dream of color and calm. The walls shift in a gradient from pale yellow at the outer edges to a deep, saturated red at the core, mimicking the warm, layered tones of a desert sunset. It’s the kind of color palette that looks deliberately, almost suspiciously perfect, and yet it doesn’t feel forced. It feels inevitable.

Designer: Sabine Marcelis

That’s what Marcelis does. The Rotterdam-based designer has built a body of work around the idea that light and material don’t just coexist. They perform together. Her practice leans into pure geometric forms and refined material investigations, always pushing manufacturing processes toward something surprising and sensory. At Coachella, that philosophy scales up beautifully. What could have been a gimmicky, oversized balloon art moment instead reads as something genuinely thoughtful: a structure designed to slow people down in a place that rarely stops moving.

And that’s the part that gets me. Coachella is famously relentless. Stages overlap, schedules are brutal, and the heat does not negotiate. Maze was built with that reality in mind. The inflated walls create shaded pockets, filtering both light and sound from the surrounding chaos. Seating runs along the outer edges, giving visitors actual places to stop and breathe. Clearings open up toward the stages, framing views of performances from inside the structure, so you never entirely lose the festival. You just get to experience it at a different speed.

Inspired by the natural contours of the Coachella Valley, the design has a landscape quality to it that reads as more than an aesthetic reference. The curved forms echo the rolling terrain of the desert, and the color gradient mirrors the sky at the specific hours when the California desert looks like it was art-directed by someone very talented. Marcelis didn’t try to compete with the landscape. She translated it. At night, the whole thing transforms. The PVC walls glow from within, turning the maze into an illuminated field of warm color that sits somewhere between architectural installation and light sculpture. If the daytime version is about refuge, the nighttime version is pure atmosphere. It hits differently against the dark, and I mean that in the best way.

I’ll be honest. I’ve watched the Coachella art program grow more ambitious over the years, and my reaction to any given installation tends to hover somewhere between “impressive” and “Instagram bait.” Maze clears that bar and then some. It works because it has an actual point of view. Marcelis built something that functions, that shelters, that engages the senses, and that happens to be visually stunning. That’s a harder balance to strike than it looks.

The installation was curated by Public Art Company, and it’s part of a broader 2026 art program that continues to push Coachella’s visual ambitions. But Maze stands out not because it’s the biggest or the flashiest. It stands out because it treats the people walking through it as the point, not the backdrop. That’s good design. And at a festival where you’re constantly being asked to witness things, it’s genuinely refreshing to walk into something that simply asks you to sit down and stay a while.

The post Sabine Marcelis Built Coachella’s Best Spot Out of Thin Air first appeared on Yanko Design.

Disney and NatGeo Built Billboards That Bees Can Actually Live In

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Most billboards are built to be noticed and then forgotten. You see them, you process whatever they’re selling, and then they fade into the visual noise of the street. So when a campaign comes along that flips that formula entirely, it genuinely stops you in your tracks.

That’s exactly what’s happening in Manchester right now, where Disney and National Geographic, working with creative agency Meanwhile, have installed a series of billboards designed to do more than advertise. The structures, which the team calls “bloomboards,” are fitted with built-in cavities, textured surfaces, and planting elements that turn them into functioning habitats for bees. Not a two-week stunt. Not a PR photo op. Permanent installations, built from sustainably sourced cedar that had already been felled, placed across parks and public spaces throughout the city.

Designer: Meanwhile for Disney and National Geographic

The campaign ties to the launch of National Geographic’s Secrets of the Bees, a documentary series presented by explorer Bertie Gregory and executive produced by James Cameron. The series was filmed over several years using specialized cameras to capture bee behavior at a level of detail most of us have never seen. Entomologist Dr. Samuel Ramsey provided scientific input throughout. It’s streaming now on Disney+ and Hulu, and from a content standpoint alone, it sounds like essential viewing.

But the billboard work is where this becomes interesting as a piece of design thinking, not just marketing. Rather than placing a nature image on a billboard and calling it Earth Month, Meanwhile built the message into the medium. The physical structure becomes an argument for the cause. The billboard doesn’t just tell you bees matter; it gives them somewhere to live. Mini bee hotels have also been placed at several locations across Manchester, including Chorlton Water Park, Wythenshawe Park, Fletcher Moss Botanical Garden, and the Northern Quarter. Like the bloomboards, these aren’t decorative gestures. They’re functional, permanent additions to the urban landscape, and that distinction matters when the campaign is rooted in conservation.

Rachel Miles, creative director at Meanwhile, put it simply: “Our ambition is to encourage people to plant their own mix of shrubs and perennials to support bee populations and create a positive impact.” Michael Tsim, also a creative director at the agency, was just as direct: “Not just a two week campaign, but something they actually benefit from, permanently.”

That word, permanently, is doing a lot of heavy lifting here. Environmental advertising has a long history of looking good while changing nothing. Companies run campaigns during Earth Month and then quietly move on. What makes this campaign feel different is that the outcomes are baked into the design itself. The bees don’t need to watch the documentary to benefit. The habitat exists regardless of whether anyone scans a QR code or downloads an app.

It also speaks to a broader shift in how thoughtful brands are approaching cause-driven work. The bar for audiences has risen sharply. People can spot the difference between a brand that has added a green ribbon to its logo and one that has committed real resources to a problem. Embedding a working habitat into an advertising structure is a tangible commitment, and one you can’t undo when April ends.

For anyone who follows design, this campaign is a reminder that the best work often finds its power in constraints. A billboard is a flat surface with a job to do. Meanwhile used that constraint not as a limitation but as a starting point, and the result is something genuinely unusual. Form serves function, function serves form, and both serve something beyond the campaign itself. Whether or not you plan to watch Secrets of the Bees (though I’d argue you should), the billboard project stands on its own as a piece of design worth paying attention to. It’s an example of what happens when a brief asks for more than attention and a creative team decides to take that seriously.

The post Disney and NatGeo Built Billboards That Bees Can Actually Live In first appeared on Yanko Design.

Janny Baek’s Ceramics Look Like They’re Still Evolving

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Most ceramic art asks you to admire it from a distance. Janny Baek’s work makes you want to lean in closer and check if it’s breathing. Her upcoming solo exhibition, Life Forms, opens at Joy Machine gallery in Chicago on March 20, running through May 9, 2026, and from everything I’ve seen of it, it might be one of the more visually arresting shows to land this spring. The pieces gather across the gallery space like inhabitants of an ecosystem you’ve never visited but somehow recognize. Some forms open outward like blossoms. Others stretch upward with limbs that suggest wings, or stems, or shells. None of them fully commit to being any one thing, and that’s exactly the point.

What makes Baek’s ceramics so compelling is the feeling that the firing process didn’t quite finish the job. The sculptures look caught mid-transformation, as though another hour in the kiln might have resolved them into something more familiar. Instead, they hold their ambiguity like a posture. That deliberate incompleteness is one of the most interesting creative choices an artist can make, and Baek has built an entire body of work around it.

Designer: Janny Baek

Her path to ceramics is almost as unusual as the work itself. Born in Seoul and raised in Queens, she studied ceramics at the Rhode Island School of Design before taking a turn into animation and toy design as a sculptor. Then she earned a graduate degree in architecture from Harvard, co-founded an architecture practice in Manhattan, and spent years designing high-end residential spaces. When the pandemic hit, she returned to clay, setting up a studio in the back of her Flatiron District architecture office. The ceramics world should be grateful for the timing.

That architectural background isn’t incidental. You can see it in the structural logic of the pieces, which begin with coiled bases and build upward through successive additions of clay, each element branching from the last. The result is less like sculpting and more like construction, or perhaps like watching something grow. Her larger work, Plant Life (2025), stoneware with colored sections rising from white shoots, reads almost like a site plan for a garden on a planet where the plants decided to do their own thing.

The technique she relies on is nerikomi, a traditional Japanese method that involves stacking clay of different colors and slicing through it to reveal the pattern within. But Baek’s application of it feels more contemporary than the technique’s origins might suggest. Color, in her hands, is structural rather than decorative. It moves through the clay like a current, not like paint on a surface. She has described color gradients as “the continuous nature of change,” and a multitude of colors as “potential, abundance, and vitality.” That framing matters. It tells you the work isn’t just pretty, it’s philosophic.

The piece titles reinforce this. Micro-organisms, Glow Sticks, and Outer Galaxies. Prismatic Walking Cloud. 5 Eyes (Dream State Series). Cloudbloom. They read like entries in a field guide to a world that hasn’t been discovered yet, which is probably the most accurate way to describe what Baek is building. Her ceramics operate on what one description of the work calls “dream logic, one that accepts incongruity and dissonance as necessary to play and experimentation.” That’s a generous creative framework, and it shows. The work never feels confused or unresolved. It feels deliberate in its strangeness.

What I find most refreshing about Life Forms is that it doesn’t ask you to bring any specific context to it. You don’t need to know the theory behind nerikomi or have an opinion about contemporary ceramics to stand in front of one of these pieces and feel something. They work on a more basic level, the level of looking at something unfamiliar and recognizing it anyway. Like you’ve seen its kind before, somewhere between a dream and a nature documentary.

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Yanko Design’s Best of MWC 2026: When Engineering Gets Obsessive

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Every year, MWC arrives like a controlled flood of announcements, each one louder than the last. Cameras with more megapixels, batteries with bigger numbers, screens with higher refresh rates than the human eye can meaningfully appreciate. It’s easy to walk away from Barcelona with a head full of specs and no clear sense of what any of it actually felt like to hold, use, or live with. The products that matter don’t always win the spec sheet battle.

The ones worth paying attention to are the ones built around a specific, almost stubborn design conviction. A team that decided thinness wasn’t a compromise but the whole point. Engineers who spent years rethinking how a GPS antenna sits inside a running watch. Designers who asked what a laptop would look like if it finally adapted to the user instead of demanding the opposite. Those are the products that stopped people on the MWC 2026 show floor, and these are the design decisions that made them worth stopping for.

HUAWEI WATCH GT Runner 2 Smartwatch

GPS watches for runners have always played both sides of a strange contradiction: the more seriously you take running, the more you end up wearing a small computer that weighs down your wrist and distracts you with irrelevant notifications. Huawei’s answer to that tension is the Watch GT Runner 2, a dedicated running watch built around the single question of what a wrist-worn device actually needs to do well for someone logging serious miles.

Five years of development went into the GPS architecture, which tells you where Huawei’s engineering priorities landed. The 3D floating antenna design, paired with an intelligent converged positioning algorithm, claims 20% better accuracy than its predecessor, holding signal through tunnels and tree cover where most watches lose the thread. The body itself is nanomolded aerospace-grade titanium at just 34.5 grams, with a 10.7mm profile that doesn’t fight the wrist wearing it.

Designer: Huawei

The Intelligent Marathon Mode is where the Huawei Watch GT Runner 2 really shines. Developed alongside the dsm-firmenich Running Team, it functions as an on-wrist coach with customized training plans, real-time pace charts, a digital pacer showing how far ahead or behind your target you are, and a personalized fueling reminder so you don’t bonk at kilometer 30. Performance prediction uses your Running Ability Index and physical data to estimate finish times, which either motivates you or quietly humbles you.

Health monitoring goes beyond the usual heart rate and step counts. ECG analysis triggers 30 minutes post-exercise, HRV is tracked throughout the day, and the PPG sensor can flag potential atrial fibrillation risks. Battery life reaches 32 hours in outdoor workout mode with GPS active, backed by a cell with 68% higher energy density than the previous generation. Curve Pay integration also lets you leave your phone and wallet behind on long runs entirely.

The Huawei Watch GT Runner 2 covers both ends of the spectrum, from amateurs wanting a smart training companion to athletes chasing records with lactate threshold and power metrics. At 34.5 grams with a breathable AirDry woven strap, it’s built to disappear on your wrist. What remains to be seen is whether marathon coaching calibrated with elite runners translates meaningfully to the rest of us.

MemoMind One AI Glasses

Most AI glasses have made the same mistake: designing around the technology first and hoping the wearability sorts itself out later. The result is eyewear that signals to everyone around you that something unusual is happening on your face. MemoMind, a new AI hardware brand incubated by projector company XGIMI, took the opposite approach with its debut product, building from a decade of optical engineering experience to make glasses that simply look like glasses.

The MemoMind One is the flagship of the lineup, combining integrated speakers with a dual-eye air display that layers information over your field of view without demanding your full attention. The multi-LLM hybrid operating system handles real-time translation, voice summaries, transcription, and contextual reminders, all accessible through head-motion controls and a conversational interface. Since its CES 2026 debut, software updates have expanded navigation integration and refined how the AI delivers information without interrupting natural interaction.

Designer: XGIMI

Personalization sits at the center of the MemoMind design philosophy in a way most wearable tech ignores entirely. Frames are fully customizable, temples are interchangeable, and the glasses support prescription lenses, meaning you can actually wear them as your everyday eyewear rather than carrying a second pair of frames. That design decision alone separates MemoMind from most competitors, where the hardware dictates the look and the wearer adapts accordingly.

The broader MemoMind lineup shows how deliberately the brand has thought through different user needs. The MemoMind Air Display weighs just 28.9 grams and uses a single-eye monocular display for a lighter-touch AI presence, aimed at commuters and minimalists who want information without visual density. The MemoMind Air goes further still, dropping the display entirely for a microphone-only model that makes the AI presence nearly invisible, present when useful and undetectable when not.

MemoMind One is set for preorder in April 2026, with the Air Display and Air models following later in the year. What XGIMI has built here is a clear and considered answer to the question of how AI should sit on your face: quietly, comfortably, and without announcing itself to the room. The design conviction behind MemoMind is that the best wearable AI is the kind you stop noticing you’re wearing.

Honor Robot Phone Concept

Smartphones have been flat rectangles for so long that the design conversation around them has largely shifted to cameras, refresh rates, and how thin the bezels are. Honor arrived at MWC 2026 with a genuinely different question: what if the phone itself could move? The Robot Phone concept puts a 4DoF gimbal system inside a handheld device, built around what Honor calls the industry’s smallest micro motor, with the motor size reduced by 70% compared to existing solutions.

Designer: Honor

The gimbal does two distinct things, and they pull in interestingly different directions. On the imaging side, three-axis mechanical stabilization works alongside an AI stabilization engine to keep footage steady through complex, dynamic movement. A double-tap locks the AI onto any subject, tracking it even through sudden changes or brief obstructions. Honor also introduced an AI Spinshot mode, supporting 90-degree and 180-degree rotations, a move that borrows directly from cinema camera rigs and scales it down to one hand.

The second application is where the concept gets harder to categorize. Honor has designed the gimbal to express what it calls embodied AI interaction, meaning the phone physically responds to what’s happening around it. It nods during agreement in video calls, adjusts its orientation to keep you in frame automatically, and moves to the rhythm of music playing through its speakers. These are features that a spec sheet cannot really describe, and that makes the Robot Phone one of the more genuinely curious things shown at MWC 2026, even as a concept still working toward a commercial release.

Xiaomi Vision Gran Turismo EV Concept

The Vision Gran Turismo program is where car brands go to design without consequences. No production targets, no crash tests, no accountants in the room. Ferrari has done it. Porsche has done it. Now Xiaomi, a company that started by selling smartphones and rice cookers, has become the 36th brand to join and the first technology company ever invited. Gran Turismo producer Kazunori Yamauchi extended the invitation personally at the GT World Series in London.

Designer: Xiaomi

The design problem Xiaomi decided to obsess over is one every hypercar team faces: low drag gives you straight-line speed, high downforce gives you corners, and optimizing hard for either one usually compromises the other. Xiaomi’s answer was to eliminate the trade-off entirely by building aerodynamics into the body itself. No bolted-on wings, no add-on splitters. A teardrop cockpit, airfoil-shaped structural members, and embedded channels that guide air from nose to tail. The Accretion Rims are the detail worth pausing on: magnetically held wheel covers that stay perfectly still while the wheels rotate beneath them, cooling the brakes through internal turbine fins while cutting drag from spinning surfaces.

Inside, Xiaomi replaced the usual carbon-and-leather tension of a hypercar cockpit with something it calls the Sofa Racer, a continuous loop of dashboard, doors, and seating upholstered in 3D-knitted fabric pulled from sportswear manufacturing. The Xiaomi Pulse system reads driver state through sensors and responds through light and sound rather than screens and alerts. It all connects to Xiaomi’s broader Human x Car x Home ecosystem, which is either a genuinely interesting idea about how cars fit into a connected life, or a lot of ecosystem language wrapped around a very beautiful virtual concept car.

TECNO Modular Magnetic Interconnection Technology

The modular phone idea has been attempted before, most famously by Google’s Project Ara, which spent years promising a phone you could rebuild like Lego before quietly disappearing in 2016. The premise was compelling, and the execution proved stubborn. TECNO’s approach at MWC 2026 is different in one important way: rather than replacing the phone’s internal components, the Modular Magnetic Interconnection Technology keeps the phone slim and complete on its own, then lets you snap additional hardware onto it magnetically when you actually need it.

Designer: TECNO

The concept arrives in two visual flavors, ATOM and MODA, but the underlying system is the same across both. Over a dozen modules compose the Customizable Modular Suite, covering stackable battery packs, action cameras, telephoto lenses, and more, each attaching and communicating through the magnetic interconnection system. The scale and visual coherence of the accessory ecosystem is genuinely striking. Everything shares a design language, sits flush when attached, and reads as a single object rather than a phone with things stuck to it.

The ATOM edition makes the clearest design statement of the two, with its white and red palette, ribbed surfaces, and a camera module that looks pulled straight from a mirrorless system. TECNO’s core argument is that keeping the phone genuinely slim in daily use, while letting the modules handle the heavier lifting on demand, sidesteps the trade-off that has defined smartphone design for years. Add what you need, remove what you don’t, and the phone adapts to the moment rather than trying to anticipate every one of them in advance.

T10 Bespoke Luxury Custom IEM

There are 150 of these made each year. That’s it. Each one starts as a conversation, not a product listing, where you sit down with the team and work through finishes, metals, and sculptural forms until the result is entirely yours. The chassis is ceramic zirconium, machined to roughly half the volume of an AirPod and assembled with micro-screws and gaskets the way a Swiss watchmaker approaches a movement. Some configurations arrive in mirror-polished obsidian black YTPZ ceramic with 24k rose-gold plating over solid bronze. Others wear navy-blue Cerakote over polished zirconia with hand-rubbed tung-oil burl wood inserts. The newest collection reaches into diamonds, amethysts, and fine metals, with one-of-a-kind builds priced past $115,000. These aren’t earbuds that happen to look expensive. They’re objects you’d keep in a case and hand down.

Designer: EAR Micro, Klipsch

What separates the T10 Bespoke from anything else isn’t just the materials. It’s what’s packed into that tiny chassis. An ARM primary processor runs alongside a dedicated co-processor, with twin Cadence Tensilica Hi-Fi DSPs handling the signal chain. You get selectable amplifier modes, Class D for efficiency, and Class A/B when you want the fuller analog character. The Sonion Balanced Armature driver, tuned with Klipsch from the X10 lineage, feeds from a signal path that supports Sony LDAC at 24-bit/96kHz. That resolution matters because the hardware can actually deliver it. The PCB inside spans less than 1.13 square centimeters, with folding wings to fit the geometry. It’s the kind of engineering that usually stays behind a rack somewhere. Here it’s in your ear.

The interaction layer is equally thoughtful. Bragi OS powers the whole thing, supporting touch controls, voice commands, and head-motion gestures so you rarely have to reach for your phone. Battery life runs 8 to 9 hours per earbud, stretching past 30 hours with the case, and a 15-minute fast charge gets you to 85%. ANC is tuned in-house, and the founder calls it best in class, which is a claim that holds up in context, given the hardware underneath it. The deeper point is that this isn’t a product built to a price point or a roadmap. The chassis is replaceable. The battery is replaceable. The shell is replaceable. You’re not buying a device with a two-year lifespan. You’re buying something designed to stay with you, improve over time, and still be relevant long after everything else has been recycled.

Lenovo AI Workmate Concept

Most AI assistants live inside a screen, which means interacting with them still involves picking up a device, unlocking it, and navigating to something. Lenovo’s AI Workmate Concept takes a different position, literally: it sits on your desk as a physical object, a spherical head on an articulated arm mounted on a circular base, designed to be always present and always on without requiring you to go looking for it.

Designer: Lenovo

The design is built around natural interaction rather than typed commands or app interfaces. It responds to voice, gesture, and writing, with on-device AI processing inputs locally for privacy. The more distinctive capability is spatial output: the Workmate can project content directly onto a nearby surface, turning a desk or wall into a temporary display for documents, presentations, or notes. It also handles practical business tasks like scanning and summarizing documents and assisting with content creation, positioned as a desk companion rather than a novelty.

The physical form is what makes the concept worth paying attention to as a design argument. The spherical head, articulated arm, and glowing base ring give the device a clear presence and orientation, somewhere between a desk lamp and a friendly robot, without tipping into either. It acknowledges you spatially rather than waiting to be summoned from a notification panel. Whether a desk companion with animated eyes and a projector becomes something people actually want next to their laptops is the real design question Lenovo is exploring here, and MWC 2026 was its first public test of that answer.

Huawei Mate 80 Pro Max

Huawei’s Mate series has always been the line where the company makes its clearest design statements, and the Mate 80 Pro Max carries that further with a body that steps away from the fiber-reinforced plastic back of the standard Pro in favor of an aluminum alloy construction throughout. The result is a phone with more physical presence and a slightly larger footprint. Both share the same Dual Space Rings camera module design that has become the Mate family’s most recognizable feature, two concentric rings framing the rear cameras in a configuration that reads as intentional rather than incidental.

Designer: Huawei

The display on the Pro Max stretches farther to 6.9 inches while keeping the same LTPO OLED panel with 1440Hz PWM dimming and Kunlun Glass 2 protection. Powered by the same Kirin 9030 Pro chipset in their top configurations, the Max differentiates itself through physical scale and materials rather than raw internals. The battery also steps up to 6000mAh, though paired with the same 100W wired charging. The color options shift too: where the Pro comes in Black, White, Green, and Gold, the Max trades the softer tones for Black, Silver, Blue, and Gold.

What the Mate 80 Pro Max represents is a familiar kind of product logic: take the established design, make it bigger, make the materials more premium, and add the battery capacity to match the larger chassis. The Dual Space Rings identity carries across both models intact, so the design conversation between the two is less about direction and more about degree. With a significantly higher price tag, the Pro Max is considered step up for buyers who want the full physical expression of what the Mate 80 series is about.

Honor Magic V6 Foldable phone

Foldable phones have spent years promising the future while feeling fragile, bulky, and anxious about rain. Honor’s design obsession with the Magic V6 was to solve all three problems at once without letting any of them compromise the others. The result is an 8.75mm folded profile, putting it in iPhone-thin territory, paired with a 6,660mAh silicon-carbon battery, the largest ever fitted into a foldable at this thickness.

Designer: Honor

That battery figure is where the real engineering story lives. Silicon-carbon cells pack more energy into less space than conventional lithium-ion, but higher silicon content creates expansion stress that can crack cells over charge cycles. Honor’s fifth-generation silicon-carbon material, developed with ATL, reaches 25% silicon content. That’s what allows the capacity and the thinness to coexist without one compromising the other.

The Magic V6 also carries both IP68 and IP69 ratings, a first for any foldable. IP68 handles submersion; IP69 covers high-pressure, high-temperature water jets. Getting both on a device with a moving hinge, a crease depth reduced by 44% over the previous generation, and a display reflectivity as low as 1.5%, reflects how much structural engineering went into something that still opens and closes hundreds of times daily.

Lenovo ThinkBook Modular AI PC Concept

Laptops have been making the same basic promise for decades: here is one device that does everything, carry it everywhere. The trade-off has always been that “everything” means compromises, a screen too small for real work, a body too thick for a bag, a keyboard that disappears when you want a tablet. Lenovo’s ThinkBook Modular AI PC Concept at MWC 2026 takes a different position entirely, built around a “carry small, use big” philosophy that lets a single 14-inch base system reconfigure itself depending on where you are and what you’re doing.

Designer: Lenovo

The modularity here is practical rather than speculative. A secondary display attaches to the top cover for face-to-face sharing or closed-lid use, sits alongside the base on an integrated kickstand as a portable travel monitor in portrait or landscape, or swaps with the keyboard to create a dual-screen setup stretching the combined workspace to roughly 19 inches. The Bluetooth keyboard detaches entirely. IO ports, including USB Type-A, USB Type-C, and HDMI, are interchangeable depending on what a given day requires. Pogo-pin connectors handle power and data transfer between modules, keeping the system stable and self-contained throughout all the rearranging.

What makes the ThinkBook Modular concept worth paying attention to as a design argument is the restraint behind it. Rather than trying to anticipate every scenario inside one fixed chassis, Lenovo accepted that the device itself should be the smallest possible useful thing and let the user decide what gets added to it. A laptop that adapts to the workflow instead of the other way around is an old idea that has never quite landed in a form people actually use. This concept is still exactly that, a proof of concept with no confirmed release date, but the underlying logic is more considered than most modular hardware that has come before it.

Leica Leitzphone by Xiaomi

Xiaomi has made plenty of capable camera phones, but the Leica Leitzphone takes a different approach entirely, treating the smartphone less like a spec competition and more like an extension of Leica’s century-old obsession with optical craft. The silver aluminum frame carries tactile knurling, a rotatable camera ring, and the iconic Leica Red Dot, sitting against a black fiberglass back pulled directly from classic Leica rangefinder design language.

Designer: Xiaomi x Leica

That camera system is where the conviction becomes most legible. A 1-inch sensor with LOFIC HDR technology handles the main shooting duties, alongside a 200MP telephoto at 75 to 100mm and a 14mm ultra-wide. The rotatable physical camera ring, assignable to focal length, focus, or bokeh, gives the experience a tactile dimension that touchscreen sliders simply cannot replicate. Thirteen Leica color styles and a dedicated Essential Mode recreating the Leica M9 and M3 look complete the package.

The rest of the hardware keeps pace: Snapdragon 8 Elite Gen 5, a 6.9-inch 3500-nit OLED display, and a 6000mAh battery with 90W wired charging. The Leica UX layer goes further than a cosmetic theme, reshaping system fonts, icons, and widgets into a coherent visual identity rooted in Leica’s design language. For anyone who has wanted smartphone photography to feel less like operating software and more like handling a real camera, this is the most direct answer yet.

TCL Tbot Smartwatch Desktop Companion for Kids

Kids’ smartwatches have gotten good at keeping children connected to parents while they’re out, but they go dark the moment they come off the wrist. That’s the gap TCL is trying to close with the Tbot, a magnetic desktop dock that pairs with TCL’s kids’ watches, like the MoveTime MT48, to keep the experience going at home during charging. Rather than letting the device sit idle on a nightstand, the Tbot turns that downtime into something more purposeful.

Designer: TCL

The companion functions as an AI assistant shaped around a child’s daily rhythm, setting wake-up alarms, bedtime reminders, and Pomodoro-style study timers through age-appropriate guidance. It also doubles as a learning partner for guided discovery, a sleep companion that tells bedtime stories, and a parental alert hub that sends configurable notifications when parents need to stay in the loop. The idea is continuity between the outdoors and the home, with the watch and dock working as two parts of the same connected experience.

TCL is positioning the Tbot as a concept for now, still in its development phase while the company works through applicable regulations around AI features for children. That measured approach actually makes sense given the audience, since parental permission and age-appropriate guardrails are built into its design from the start. Getting that balance right between a helpful AI companion and appropriate boundaries for kids is exactly the kind of design problem worth taking slowly.

Lenovo Yoga Book Pro 3D Concept

3D creation on a laptop has always involved a certain amount of peripheral management, between mice, styluses, and the occasional spacemouse bolted to the side of the desk. The Yoga Book Pro 3D Concept takes aim at that setup by building a glasses-free 3D display directly into a dual-screen laptop, letting creators view depth, form, and spatial relationships on screen without any additional equipment. Lenovo’s AI software handles 2D to 3D conversion on the upper PureSight Pro Tandem OLED display, and can even generate an environment around the converted object on command.

Designer: Lenovo

The dual-screen concept laptop also offers a rather interesting interaction feature. Zero-touch gestures read hand movements in front of the RGB camera, letting users zoom and rotate 3D objects without touching the screen at all. The lower display acts as a touch surface with snap-on physical pads that pop up adjustment controls, like lighting and viewing angle, wherever they’re placed. It’s a workflow designed to keep creators in the work rather than hunting through menus.

As a concept, the Yoga Book Pro 3D is still a proof of intent rather than a product you can buy, but it represents a genuinely specific design problem solved with unusual conviction. Glasses-free 3D displays have struggled to convince outside of niche applications, so how well the actual display holds up for extended professional use will be the real test when this moves closer to production.

Vivo X300 Ultra and Camera Cage

Most smartphone camera rigs are an afterthought, a collection of third-party mounts and adapters held together by optimism. Vivo is taking a different approach with the X300 Ultra’s dedicated Camera Cage, a pro-grade frame designed specifically around the phone rather than adapted from generic cinema accessories. Dual grip handles, cold shoe mounts, quick-release ports, and dedicated physical buttons for shutter and zoom come built into one coherent system.

Designer: vivo

The cage is also where the ZEISS Telephoto Extender Gen 2 Ultra slots in, an APO-certified lens co-engineered with ZEISS that pushes the X300 Ultra to a 400mm equivalent focal length with full 200MP optical output. Gimbal-grade optical image stabilization and motion-tracking focus sit underneath all of that reach. An integrated multi-level cooling fan handles thermal load during extended video shoots, solving the problem that turns most “pro mobile video” sessions into a race against an overheating warning.

What makes the setup genuinely interesting is the conviction behind it. Vivo isn’t treating the cage as a novelty accessory but as the central argument for how a smartphone can function as a serious production tool. The phone alone is one thing; inside this cage, with the extender attached and physical controls in hand, it becomes a fundamentally different experience.

TECNO x Tonino Lamborghini TAURUS Mini Gaming PC

Gaming PCs have never been shy about their presence, big towers, aggressive angles, and enough RGB to illuminate a small runway. The Tonino Lamborghini TECNO TAURUS compresses all of that energy into a mini PC chassis, with an all-metal body, red-accented lighting, and see-through panels that put the water-cooling loop on full display. It’s unapologetically theatrical, and that’s clearly the entire point of the exercise.

Designer: TECNO

Under that showpiece exterior sits an Intel Core i9-13900HK with 14 cores running up to 5.4GHz, alongside an NVIDIA GeForce RTX 5060 on the Blackwell architecture at 145W total graphics power. A roughly 10,000mm² pure copper water-cooled cold plate and triple-fan setup handle thermals in that compact body. A real-time performance monitor on the chassis lets you watch CPU and GPU loads without opening a single app, which feels very on-brand for a machine this self-aware.

TECNO’s first collaboration with Tonino Lamborghini positions this as a desktop you’d put on your desk rather than under it, treating the machine as a design object as much as a gaming rig. Fifteen ports and WiFi 6E keep the practical side well covered. What’s genuinely interesting is how much of the design budget went into making the cooling system the visual centerpiece, turning thermal engineering into the main aesthetic argument.

Unihertz Titan 2 Elite QWERTY Phone

Physical keyboard phones never really died; they just quietly retreated to a corner of the internet where people complained loudly about touchscreen autocorrect. Unihertz has been serving that corner for years with its Titan series, and the Titan 2 Elite is the most refined version yet. Gone is the chunky frame of its predecessor; in its place comes a slimmer 75mm-wide body, a 4.03-inch 120Hz AMOLED display with a punch-hole camera, and the same four-row QWERTY keyboard that the series built its following on.

Designer: Unihertz

The keyboard itself doubles as a touchpad, letting you scroll and navigate with a thumb swipe across the keys, a trick carried over from earlier Titans that still feels genuinely useful. Although nothing’s confirmed yet, it’s expected to run on a MediaTek Dimensity 7300 with 12GB of RAM and 512GB of storage, which is a solidly capable mid-range setup for a phone that’s really selling you on input, not raw performance. More notable is the software commitment: Android 16 out of the box, updates promised through Android 20, and security patches running until 2031, a rare five-year horizon for a device in this price range.

The Titan 2 Elite arrives at an interesting moment, with the Clicks pulling attention toward keyboard accessories for iPhones and Unihertz countering with a dedicated standalone device instead. There’s a meaningful difference between treating the keyboard as an add-on and building an entire phone around it, and that’s the bet Unihertz is making here.

The post Yanko Design’s Best of MWC 2026: When Engineering Gets Obsessive first appeared on Yanko Design.

Xiaomi unveils power-laden Vision Gran Turismo electric hypercar concept at MWC 2026

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Xiaomi has just entered the Gran Turismo world with its Vision Gran Turismo (VGT) concept car at Mobile World Congress 2026. This electric hypercar follows the reveal of the SU7 Ultra supercar that was developed last time around. This year’s event saw the hypercar, which Xiaomi claims is sculpted by the wind. The idea is to make the performance vehicle aerodynamically tuned with airflow channels and moving parts to achieve optimal efficiency. We got our first glimpse of the hypercar at Mobile World Congress, and it does impress on the outside and inside.

This is the first-ever Chinese Gran Turismo performance racer to be materialized, and the air flow obsession goes beyond everything you would imagine. Although one cannot drive it for real anytime soon, you can explore the two-door performance car in Gran Turismo 7, using the company’s dedicated simulator with exact racing seats as the concept car. With the VGT hypercar, Xiaomi joins an elite list of automakers like Porsche, Ferrari, and Mercedes-Benz that have their futuristic concept cars designed for Gran Turismo.

Designer: Xiaomi

Given it is a concept, the technical aspects are wild – there’s a 900V Silicon Carbide (SiC) platform which ultimately delivers 1,900 horsepower. To handle that amount of power at high speeds, the car gets advanced components, including carbon-ceramic brakes and center-lock wheels. The two-door hypercar has a very linear profile with a very low ride height and only the cabin’s teardrop-shaped cockpit, with only the encapsulating bubble disrupting the aerodynamic performance. The shark-fin roofline architecture balances out things, though.

VGT has wheel covers that are magnetically attached (a.k.a. Accretion Rims) so that they don’t rotate when the car moves forward, reducing drag. The halo-style taillights are straight out of the TRON universe as they also double as an air outlet for aerodynamic performance, along with the large rear diffuser, which levels up the futuristic appeal. All this aerodynamic engineering results in a drag coefficient of 0.29 and downforce of -1.2.

On the inside, Vision GT is a nest of tech-laden comfort and luxury. It has a cocooned Sofa Racer cabin, which holistically blends the dashboard, seats, and the scissor doors into one. The butterfly steering wheel is designed for maximum driver precision, and the overlaying display has a panoramic screen and the Xiaomi Pulse system that utilizes light and sound for interaction. The central console on the two-seater GT has physical button controls, a circular pointer knob, and a shifter mostly seen on an aircraft throttle.

Since this hypercar is a top-of-the-line creation by the Chinese tech giant, it seamlessly integrates the in-house Human x Car x Home ecosystem for a personalized experience depending on the rider’s mood and current state of mind. Although the Vision Gran Turismo is only a virtual hypercar that you may not drive in the real world, it shows Xiaomi’s growing confidence in the highly technical automotive world. If those horsepower figures are true, the hypercar could be one of the most powerful Gran Turismo creations, overshadowing the likes of Ferrari, which churns out 1,337 hp.
For racing fanatics who want to experience the VGT in a virtual world, it’ll soon be available in Gran Turismo 7, and Xiaomi’s dedicated driving simulator for a more immersive experience.

The post Xiaomi unveils power-laden Vision Gran Turismo electric hypercar concept at MWC 2026 first appeared on Yanko Design.

Xiaomi 17 Ultra Review: Lighter, Flatter, and Sharper Than Ever

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PROS:


  • Excellent main and telephoto photo quality

  • Big and bright 6.9-inch LTPO AMOLED display

  • Strong performance

  • Improved ergonomic and stylish design

CONS:


  • Limiting macro use with a minimum focus distance of 30 cm

  • Noticeable warmth during camera use

RATINGS:

AESTHETICS
ERGONOMICS
PERFORMANCE
SUSTAINABILITY / REPAIRABILITY
VALUE FOR MONEY

EDITOR'S QUOTE:

The Xiaomi 17 Ultra is a camera-first flagship that finally feels balanced in the hand, and even more balanced in its image processing.

Within the renamed family, the Xiaomi 17 Ultra is the boldest expression of what Xiaomi thinks a 2026 flagship should be. It arrives globally as a big, confident phone that refuses to blend into the background. It is unapologetically camera-centric, and it is packed with specs that read like a wish list.  

On paper, Xiaomi has the ingredients to back that up. You get a 6.9-inch LTPO AMOLED display, a Leica-tuned triple camera system with a 200 MP periscope telephoto, and Qualcomm’s Snapdragon 8 Elite Gen 5. The global model carries a 6,000 mAh battery with 90W wired and 50W wireless charging, which is still a serious setup even before real-world testing.

Designer: Xiaomi

The camera hardware also shifts in meaningful ways, with the main sensor switching from Sony to OmniVision, and the zoom strategy changing from two telephoto cameras to one lens with continuous 75 mm to 100 mm optical zoom. So does the Xiaomi 17 Ultra deliver ultra-level performance where it counts. After two weeks with it, here is what I found.

Aesthetics

The Xiaomi 17 Ultra is not a phone that tries to disappear in your hand or your pocket. The gigantic circular Leica camera island still dominates the rear panel, just like on the previous model, but there is a subtle shift in design language. With a flatter back panel and flat side frame, the 17 Ultra leans into a cleaner, more minimal look than the Xiaomi 15 Ultra. The small Ultra logo with its red underline sitting above the camera bump adds a bit of character without turning the phone into a billboard.

The color palette for the global model leans into classic tones. Xiaomi focuses on black, white, and green for most markets, skipping the violet shade that appears in China. The Starlit Green unit I received is the standout, with a deep moss green base and speckling that catches the light like a dusting of stars, which makes the name feel earned. The black option looks stealthy, but the red accent on the camera ring keeps it from feeling flat, while the white version goes for a high contrast look with the black camera bump and a silver ring and side frame to tie it all together. If you are coming from the Xiaomi 15 Ultra, the evolution feels more like refinement than reinvention, yet the 17 Ultra looks more cohesive and more modern from the rear.

Ergonomics

The first thing I expected to notice when I pick up the Xiaomi 17 Ultra is the weight and thickness. The phone uses a large battery, a complex camera stack, and a sturdy frame, and all of that adds up in the hand. That said, I was pleasantly surprised. At 8.29mm thickness and about 219g, Xiaomi managed to make the 17 Ultra the slimmest and lightest among its Ultra series. The device is still big and not exactly a lightweight phone, but it feels a lot more comfortable to hold than your eyes perceive.

Ergonomically, the device feels well-balanced in the hand, which is a welcoming improvement from the top-heavy feel you get from holding the Xiaomi 15 Ultra. Xiaomi 17 Ultra adapts a flat display, for the first time for its Ultra line, and helps with the grip. Because it’s well-balanced, the camera bump becomes a natural resting point on the back, which can actually improve grip. At the same time, this is not a one-handed phone in any universe, and if you are coming from something smaller, you will need to adjust how you hold it, how you pocket it, and even how you reach for the top corners of the screen.

The global Xiaomi 17 Ultra uses a 6,000 mAh silicon-carbon battery instead of the 6,800 mAh cell in the China model. Even with the smaller capacity, it should still be enough for a full heavy day for most people. Charging is excellent with 90 W wired and 50 W wireless, and the 90 W wired mode supports PPS or Programmable Power Supply, so you can get true fast charging with any PPS-compatible USB-C charger, not only Xiaomi’s own adapter.

Performance

The display on the Xiaomi 17 Ultra is built to impress at first sight. It is a 6.9-inch LTPO AMOLED panel with 120 Hz refresh, a 1.5K class resolution at around 1200 x 2608 pixels, and a claimed 3500 nits peak brightness. It looks sharp and vibrant, and the huge screen makes movies, games, and photo editing feel more immersive. Xiaomi also adds TUV Rheinland certifications for low blue light, flicker-free performance, and circadian-friendly tuning, which are designed to reduce eye fatigue during long viewing sessions.

The Xiaomi 17 Ultra is powered by Qualcomm’s Snapdragon 8 Elite Gen 5 chipset, and the global configurations come with 16GB of RAM paired with either 512GB or 1TB of storage. It is genuinely nice to see a 1TB option offered globally, since that is still not something every flagship brings outside China. The phone flies through heavy multitasking, high refresh rate gaming, and demanding camera workloads without stutter. On the software side, it runs Android 16 with Xiaomi’s HyperOS 3, which is Xiaomi’s unified platform designed to feel lighter and more connected across phones, tablets, and other devices.

The camera system is where the Xiaomi 17 Ultra really tries to separate itself. Xiaomi drops the older quad camera approach and commits to a triple setup. The main camera is a 23-mm equivalent 50 MP unit with an f/1.67 aperture, OIS, and OmniVision’s Light Fusion 1050L sensor. The 75-100mm equivalent telephoto is a 200 MP periscope with OIS using Samsung’s HPE sensor, with a f/2.39-2.96 aperture. Rounding it out is a 50 MP 14-mm equivalent ultra-wide with an f/2.2 aperture using Samsung’s JN5 sensor.

23mm, Leica Authentic

75mm, Leica Vibrant

100mm, Leica Vibrant

On the main camera, Xiaomi pairs the Light Fusion 1050L sensor with LOFIC technology. LOFIC stands for Lateral Overflow Integration Capacitor, and it is designed to reduce highlight clipping by giving each pixel extra headroom before bright areas turn into flat white. In practice, it helps keep texture in skies and reflections while still holding onto shadow detail in high contrast scenes.

23mm, Leica Vibrant

200mm, Leica Authentic

Zoom is the other headline change. Instead of dual telephoto cameras, Xiaomi uses a floating lens structure to deliver continuous optical zoom from 75 mm to 100 mm, which makes it easy to pick between framing without obvious digital cropping. The limitation is that the range is fairly tight, so it is more about fine-tuning perspective than dramatically pulling faraway subjects closer. There is also a close-up trade-off, since the telephoto now focuses down to about 30 cm rather than the 10 cm I could get on the Xiaomi 15 Ultra, so it is less useful as a pseudo macro lens.

45mm, Leica Vibrant

100mm, Leica Vibrant

In real use, both the main camera and the telephoto produce excellent images with wide dynamic range, natural color, and strong detail in various lighting conditions. The images look clean rather than overprocessed or oversharpened. Portrait mode is especially flexible, offering eight focal lengths from 23 mm through 100 mm equivalents, with pleasant bokeh and strong separation, even if it can occasionally miss a fine strand of hair when I pixel peep. I also noticed the phone can get warm even after relatively short camera use, and hopefully Xiaomi can improve this with future updates.

75mm, Leica Vibrant

75mm, Leica Vibrant

100mm, Leica Vibrant

The ultrawide is solid but a step behind the main and telephoto in refinement. The upgraded 50 megapixel front camera with autofocus is a nice quality of life improvement, and it looks great in good light. In backlight or low light, selfies can come out a bit soft as the processing works harder to control noise.

The Xiaomi 17 Ultra’s triple camera system can shoot video up to 8K at 30 fps, and it also offers 4K at up to 120 fps, although the ultrawide tops out at 4K at 60 fps. The front camera can record up to 4K at 60 fps, which is plenty for vlogs and high-quality selfies. Dolby Vision is supported across the cameras, and Xiaomi also includes creator-friendly tools like LOG recording up to 4K at 120 fps with stabilization on, plus LUT import for quicker grading and a more consistent look.

100m, Leica Portrait

100mm, Leica Portrait,

100mm, Leica Portrait, B&W Hig Contrast Filter

In performance, the 17 Ultra generally produces sharp, well-exposed footage with a fairly wide dynamic range, and stabilization stays strong when I am walking or panning. Low-light video also holds up well, with impressive detail for a phone, thanks in part to the large main sensor. Autofocus is usually smooth, but it can struggle in tricky conditions like backlit scenes or low light, where it may hesitate or hunt before it locks.

The Xiaomi 17 Ultra China version gets a 6,800mAh battery, but globally, it comes with a 6,000mAh battery. It should last you a full day, even with heavy use. It supports 90W wired charge and 50W wireless charge. 90W wired charge is PPS, so you can take full advantage of fast charging with a PPS compatible charger, not just with Xiaomi’s proprietary brick.

Sustainability

Xiaomi’s sustainability story for the 17 Ultra is mostly about longevity rather than eco materials. The phone uses Xiaomi Shield Glass 3.0 on the front, and it carries an IP68 rating, which should help it survive years of drops, rain, and daily wear without needing an early replacement. That kind of durability matters because the most sustainable phone is often the one you do not have to replace early.

Software support strengthens that long-life angle. Xiaomi promises five major OS updates and six years of security updates, which is not class-leading, but it is enough to make long-term ownership feel realistic at this price. It also makes the phone a safer buy if you plan to keep it for several years or pass it on later. What Xiaomi does not really emphasize, at least from what I can find, is the use of recycled or more sustainable materials in the phone itself.

Value

For global buyers, the Xiaomi 17 Ultra starts at EUR 1,499, which is roughly $1,620 USD, for 16GB/512GB, with the 16GB plus 1TB configuration expected around EUR 1,699, roughly $1,840 USD. That puts it directly in the same bracket as the most expensive Samsung Galaxy and iPhone models. If you look at what the Xiaomi 17 Ultra offers, it is easy to see the value in hardware alone, especially in cameras, battery, and storage.

The challenge is that Xiaomi is not only competing with Samsung and Apple, but also with other camera-focused Android flagships that are expected to land this year. That means the 17 Ultra has to win on the full experience, not just its spec sheet, especially when buyers are cross-shopping within the same premium price tier. Even so, the 17 Ultra can justify its price if you care most about its Leica-tuned imaging, huge display, and fast charging rather than ecosystem lock-in.

Verdict

The Xiaomi 17 Ultra is one of the most complete camera-first flagships Xiaomi has shipped for the global market. It nails the fundamentals with a huge, bright display, top-tier performance, and charging that makes most rivals feel slow and old-fashioned. The bigger story is how coherent the imaging experience feels, since the main and telephoto cameras deliver natural color, wide dynamic range, and consistent results across lenses.

Of course, there are real trade-offs, too. The new 75 mm to 100 mm continuous zoom is great for framing, but it is not a massive jump in reach, and the longer minimum focus distance makes the telephoto less useful for pseudo macro shots than the Xiaomi 15 Ultra. The global price also puts it in direct competition with the biggest names, so this is no longer a value flagship by default.  Still, there is no doubt the 17 Ultra earns its Ultra name. It delivers a huge, gorgeous screen, genuinely fast charging, and one of the most enjoyable still photo experiences you can get on a phone, with Leica-tuned color that looks natural rather than overcooked. If those are your priorities, the Xiaomi 17 Ultra is an easy flagship to love.

The post Xiaomi 17 Ultra Review: Lighter, Flatter, and Sharper Than Ever first appeared on Yanko Design.

Two Artists Wrapped a Farm Greenhouse in a Giant Quilt

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Every winter, Minneapolis does something the rest of the country quietly envies. Instead of hibernating indoors until spring shows up, the city drags its creativity out onto the frozen surface of Lake Harriet and builds a village. Not a regular village, though. An art village, made up of artist-built structures, performances, and interactive installations that take over the ice for four consecutive weekends. That’s the spirit behind Art Shanty Projects, now celebrating its 20th anniversary season, and it gets better with every passing year.

For 2026, one installation has been making the rounds online for all the right reasons. Artists Emily Quandahl and Madeline Cochran were commissioned to create a structure of their own, and what they came up with is genuinely one of the most charming things you’ll see all year. They called it the Quilt Shanty, and the name does exactly what it says.

Designers: Emily Quandahl and Madeline Cochran

The structure is a hoop house, the kind you’d typically find on a farm protecting crops from the cold, wrapped entirely in a patchwork quilt. Big, bold, colorful squares stretch across the curved surface of the frame, sitting right there on the frozen lake like someone dragged their grandmother’s most treasured blanket outside and built a room around it.

The concept is rooted in the tradition of barn quilts, those large painted quilt-pattern squares that farmers in rural America hang on the sides of their barns. Quandahl and Cochran took that idea and made it three-dimensional and tactile. The quilt itself measures 9 feet by 16 feet and is made from quilt squares that Quandahl designed and constructed by hand, pulling materials from her own studio: leftover painting scraps, drop cloth, and colored vinyl. Cochran contributed illustrated muslin pieces featuring folk-style drawings, as well as wood-burned quilt tiles that add another layer of texture and craft to the whole thing.

What makes it stand out beyond its visuals is the way it pulls people in. The installation is interactive. Visitors can sit inside, pick up quilt-square puzzle pieces, and assemble their own designs. Cochran designed the wood-burned puzzle pieces, and Quandahl created a colored vinyl trifold key to help guide the activity. It’s the kind of participatory experience that makes you slow down and actually engage, rather than just snap a photo and move on, though you will absolutely want to snap a photo.

The two artists bring complementary practices to the table. Quandahl works primarily in painting, while Cochran takes a multimedia approach that frequently incorporates textiles and weaving. Their collaboration feels natural because of that balance, one thinking in structure and surface, the other in fiber and folk tradition. Together, they’ve created something that doesn’t feel like a design project as much as it feels like an invitation.

There’s also something quietly meaningful in the choice of a hoop house as the base form. Hoop houses are agricultural structures, tied to growing seasons and the cycle of land. By covering one in a quilt and placing it on a frozen lake in the middle of winter, Quandahl and Cochran are drawing a line between rest and care, between the quiet dormancy of cold months and the warmth of human hands making things. The installation celebrates rural craft traditions like quilting, embroidery, woodcarving, and wood burning, while highlighting the seasonal cycles of rest and care when the land is quiet. These are old skills finding renewed appreciation in contemporary art and design circles, and seeing them applied to a public installation on a frozen lake feels exactly right.

This is exactly the kind of project that reminds you why public art matters. It doesn’t ask anything complicated of you. It just shows up on a frozen lake, colorful and open, and invites you to come inside. That accessibility, that warmth in the middle of all that ice, is no accident. It’s the whole point. If you haven’t heard of Art Shanty Projects before now, consider this your introduction. And if you’re anywhere near Minneapolis this winter, there’s a patchwork hoop house on Lake Harriet waiting for you.

The post Two Artists Wrapped a Farm Greenhouse in a Giant Quilt first appeared on Yanko Design.

When Loss Becomes Something You Can Touch

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There’s a particular kind of quiet that settles after a wildfire. Not peaceful, not comfortable, just a heavy stillness where something used to be. In January 2025, the Eaton Fire burned through Altadena in the foothills of Los Angeles for twenty-five days, taking nineteen lives and destroying more than 9,000 structures. It became the second most destructive wildfire in California history, leaving behind charred earth and the skeletal remains of trees that once shaded neighborhoods and backyards.

A year later, at Marta gallery in Los Angeles, 22 local artists and designers are doing something quietly radical with what’s left. The exhibition “From the Upper Valley in the Foothills” transforms salvaged wood from those burned Altadena trees into chairs, stools, benches, bowls, and other functional objects. Curated by sculptor Vince Skelly with material support from Angel City Lumber, the show runs through January 31st and offers a different kind of memorial.

Designer: Vince Skelly (curator)

This isn’t your typical tribute. There are no plaques, no somber photographs, no distance between you and the disaster. Instead, you’re invited to sit on it, hold it, contemplate it. The wood itself, sourced from species like Aleppo pine, cedar, coastal live oak, and shamel ash, carries visible traces of fire damage, smoke marks, and irregular grain patterns. Each piece holds a kind of double existence: both the tree it was and the home it might have shaded.

Skelly wanted the exhibition to feel like a true community response, so he focused on local designers and artists who each had their own experiences with the fires. The resulting collection is remarkably varied. Some pieces lean sculptural and contemplative, others embrace pure functionality. There’s Doug McCollough’s decorative bowl, Tristan Louis Marsh’s floral stool, and Base 10’s Watari bench, each handling the material’s history differently.

What makes this work compelling is the tension between destruction and creation. Angel City Lumber, a local mill that sources downed trees for community projects, collected the wood cleared from Altadena after the fire. By transforming debris into design objects, the exhibition reframes devastation not as an ending but as an uncomfortable, complicated beginning. The burned wood becomes a vessel for memory, loss, and whatever regeneration might look like.

Function here isn’t just practical. It’s conceptual. These chairs and benches aren’t simply places to rest, they’re propositions about how devastated spaces might once again support everyday life. The act of sitting on a stool made from fire-damaged oak becomes a small gesture of reclamation, a way of saying that what was lost can still hold weight, still serve a purpose, still matter.

The exhibition also raises quieter questions about the role of artists and designers during climate instability. Is it enough to make beautiful objects from catastrophe? Does craft honor the loss or aestheticize it? The show doesn’t offer easy answers, but it does suggest that making something useful from what remains is its own kind of resistance. There’s dignity in refusing to let devastation be the final word.

Marta’s presentation feels particularly resonant because it acknowledges that these objects are meant to be touched and experienced, just like the forests they come from. In an era when wildfires are becoming annual events and California’s landscape is increasingly defined by cycles of burning and rebuilding, this direct engagement feels necessary. The wood doesn’t let you forget what happened, but it also doesn’t let you look away.

What stays with you after visiting “From the Upper Valley in the Foothills” isn’t any single piece but the cumulative effect of seeing 22 different responses to the same material. Each designer grappled with the same scarred wood and found their own way through it. Some leaned into the damage, others smoothed it away. Some made monuments, others made chairs. Together, they create a portrait of a community trying to process an event that reshaped not just the landscape but the psyche of an entire city.

The exhibition is both memorial and workshop, grief and pragmatism sitting side by side. It suggests that sometimes the best way to honor what’s lost is to build something from the wreckage, to take what the fire left behind and give it a second life. Not as a replacement for what was, but as a reminder that even in the aftermath, there’s still wood to work with, still hands to shape it, still a future that needs furniture.

The post When Loss Becomes Something You Can Touch first appeared on Yanko Design.

Satechi’s Thunderbolt 5 CubeDock Is A Minimalist Dock With Maximum Bandwidth

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Satechi’s Thunderbolt 5 CubeDock with SSD Enclosure is built to look as sophisticated as the devices it serves. The compact 5 x 5 x 2-inch footprint mirrors the proportions of Apple’s Mac mini, so the two stack neatly into a clean, monolithic tower on your desk rather than a cluttered pile of hardware. The solid aluminum body and soft, rounded corners pick up Apple’s visual language in a way that feels intentional, making the CubeDock read like an extension of a modern Mac setup instead of an aftermarket add‑on.

Designer: Satechi

That design focus does not mean the dock is only for Mac users, though. Satechi is positioning the CubeDock as a cross‑platform, Thunderbolt 5‑first hub for creative professionals and power users on both Windows and macOS. Built on Intel’s Thunderbolt 5 technology, it doubles the bandwidth of previous generations, delivering 80 Gbps of bi‑directional bandwidth and up to 120 Gbps with Bandwidth Boost for external graphics and multi‑display configurations. On supported Windows machines, it can drive triple 8K displays at 60 Hz or triple 4K panels at 144 Hz, while on newer Apple silicon systems, it supports dual 6K at 60 Hz, all from a single cable.

The CubeDock’s compact size hides a serious amount of connectivity. It boasts Thunderbolt 5 downstream ports, multiple 10 Gbps USB‑C and USB‑A ports, UHS‑II SD and microSD card readers, and 2.5 Gb Ethernet. For photographers, filmmakers, and 3D artists, that means fast card ingestion, wired networking, and external drives all plug into one cube that visually recedes into the background. A 180 W smart power supply delivers up to 140 W back to the host laptop, plus 30 W of Power Delivery for phones and tablets, so the dock can replace multiple separate chargers on the desktop.

One of the most thoughtful touches is the integrated NVMe SSD bay. Instead of forcing users to add yet another external enclosure, Satechi has built a PCIe 4×4 slot into the CubeDock itself, supporting up to 8 TB of storage at speeds up to 6000 MB per second. That turns the dock into both a visual anchor and a primary working drive, ideal for 4K and 8K video, large RAW photo libraries, or CAD files. Adaptive active cooling keeps the cube whisper‑quiet even under heavy workloads, maintaining performance without adding fan noise to your workspace. For anyone building a refined, minimal workstation around a Mac mini or modern laptop, yet wanting the flexibility to move between platforms, the CubeDock offers a rare combination of industrial design, raw bandwidth, and integrated storage in one small aluminum cube.

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