AI Device Turns Your Mental Health Data Into a Living Garden

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There’s something deeply broken about the way we interact with technology. We scroll mindlessly, chase notifications, and bounce between tabs like caffeinated pinballs. Our devices constantly demand our attention, rewarding speed over substance, reaction over reflection. But what if a piece of technology asked you to slow down instead?

That’s the radical premise behind Cognitive Bloom, a speculative AI device conceived by Map Project Office in collaboration with Chanwoo Lee from Lovelace Research. Lee, who’s also a visiting lecturer at Imperial College London and the Royal College of Art, is reimagining what personal AI could become if we designed it with the same care we give to cultivating a garden.

Designers: Chanwoo Lee, Map Project Office, Lovelace Research

The concept couldn’t arrive at a more critical moment. With mounting evidence around cognitive decline and digital burnout, Cognitive Bloom offers an alternative vision for our relationship with artificial intelligence. Instead of optimizing for efficiency or speed, it encourages something we’ve almost forgotten how to do: genuine self-reflection.

At the heart of Cognitive Bloom is a beautiful metaphor that makes complex data feel alive. The device uses an ambient display that transforms your mental wellness data into a virtual ecosystem. Areas where you’re struggling show up as yellowing leaves. New buds emerge where you’re beginning to grow. When you’re truly thriving in an aspect of your wellbeing, those buds finally bloom. It’s an intuitive visualization that breaks down the typically overwhelming data around mental health. Rather than confronting you with charts, percentages, or clinical assessments, Cognitive Bloom speaks in a language we instinctively understand. Plants need water, sunlight, and attention. So do we.

The device functions as a domestic companion that nurtures what the designers call “a new ritual of self-reflection.” It’s designed to help users reconnect with what genuinely matters, fostering the creation of new mental pathways through thoughtful engagement rather than passive consumption. This approach stands in stark contrast to how most AI products work today. Current AI interfaces typically emphasize quick answers, instant gratification, and frictionless productivity. Cognitive Bloom deliberately introduces friction, but the kind that matters. It’s the friction of pausing. Of considering. Of being present with your thoughts rather than racing past them.

The gardening metaphor extends throughout the entire experience. Just as tending a garden requires patience, consistency, and presence, Cognitive Bloom asks users to take a respite from digitally overstimulated lifestyles. It creates space for genuine contemplation, curiosity, and self-discovery, qualities that feel increasingly rare in our current technological landscape. What makes this project particularly compelling is how it uses human-centered design to foster a deeper connection not just to ourselves, but to our digital environment. Too often, technology feels like something that happens to us, an external force constantly pulling us in a hundred directions. Cognitive Bloom suggests technology could instead become a tool for coming home to ourselves.

The collaboration between Map Project Office and Lovelace Research brings together expertise in design strategy and human-centered AI research, creating a vision that feels both technically informed and emotionally resonant. As a speculative project, Cognitive Bloom doesn’t need to solve every practical challenge of implementation. Instead, it asks the more important question: What if we actually designed technology the way we cultivate gardens, with care, patience, and presence?

That question alone is worth sitting with. In a culture obsessed with growth hacking, viral moments, and exponential scaling, the steady rhythm of gardening offers a different model entirely. Gardens can’t be rushed. They respond to seasons, weather, and the particular needs of different plants. They require observation and adaptation, not standardized solutions.

Cognitive Bloom represents a growing movement in design and technology that’s pushing back against the extractive, attention-harvesting model that dominates our digital lives. It joins other projects reimagining what ethical, human-centered AI could actually look like when we design for wellbeing instead of engagement metrics. Whether Cognitive Bloom eventually becomes a physical product or remains a provocative concept, it’s already succeeded in making us reconsider our relationship with AI and personal data. Sometimes the most important innovations aren’t the ones that disrupt markets but the ones that disrupt our assumptions about what technology should be for.

The post AI Device Turns Your Mental Health Data Into a Living Garden first appeared on Yanko Design.

An Art Retreat in the Himalayas Where Architecture Follows the Mountain’s Rhythm

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High above the Naggar valley in Himachal Pradesh, Eila reveals itself slowly. It is not the kind of resort that announces its presence with grand façades or rigid terraces. Instead, it feels as if the architecture has quietly grown out of the mountainside. Soft, organic forms follow the contours of the land, echoing the rhythms of the terrain rather than resisting them. Designed by MOFA Studio, the art retreat treats architecture as a natural extension of the landscape. Shaped through advanced computational design, the cottages respond to the slope, the light, and the horizon, creating spaces that feel less constructed and more discovered.

The masterplan follows a stepped strategy that respects the steep terrain. Rather than flattening the hillside, the retreat is organized as a gentle terraced descent that preserves topsoil and natural rainwater paths. This decision is both ecological and experiential. It protects the site while also shaping the visitor’s journey. The sequence begins at the Gate of Confluence, a stone inscribed pavilion that marks the transition into Eila’s creative world. From here, the path moves gradually downward through shared and quiet spaces, allowing art, landscape, and architecture to unfold together.

Designer: MOFA Studio

MOFA Studio, founded in 2007 by architect Manish Gulati, approaches design through what it calls a five-dimensional framework: spatial, ecological, social, temporal, and systemic fluidity. At its core, this philosophy places life before form. Buildings are meant to adapt to their context rather than impose themselves upon it. At Eila, this thinking is supported by the use of artificial intelligence as a creative collaborator. Working alongside a research-driven team, AI tools help refine structural and environmental performance, while the final decisions remain guided by human intuition. The project reflects almost two decades of the studio’s exploration into systems-led, non-conformist architecture.

The most distinctive element of Eila is its biomorphic shells. These pod-like cottages, built from lightweight steel frames and thin concrete shells, are designed as insulated enclosures that reduce energy demand while keeping the overall footprint low. Their rounded forms are structurally efficient and visually subtle, allowing the retreat to blend into the sensitive Himalayan setting. Each cottage is carefully placed to capture wide, uninterrupted views of the valley, turning the mountains into an ever-changing backdrop.

Openings throughout the architecture are treated as visual instruments rather than just windows. Skylights and apertures are positioned to draw the landscape deep into the interiors. From almost every angle, the valley appears framed like a living mural. Light, shadow, and scenery become part of everyday life, keeping the architecture in constant dialogue with its surroundings.

At Eila, art is not treated as decoration but as the foundation of the experience. Under the art direction of client Shri Rama Shankar Singh and his daughter Palak Singh, creativity is woven into daily rituals. One of the first spaces visitors encounter is the Kitaabkhana, a library where light filters softly through jaali screens and embroidery frame lamps. Communal areas such as the open-air amphitheatre and the heated infinity pool are aligned with the horizon, allowing social activity to merge with the vastness of the valley. Even the masterplan is presented as an artwork, reinforcing the idea that art, architecture, and life belong to the same continuous field.

Material choices further ground the project in its context. Much of the construction relies on locally sourced materials, reducing transportation emissions and supporting regional building practices. The lightweight frame and thin shell system use less material overall, helping the retreat remain visually quiet against the Himalayan backdrop. Over time, the concrete shells are intended to host local vegetation, gradually blending into the ecology around them. In this way, the architecture is not seen as a finished object, but as something that evolves with the landscape.

Eila is the result of a twenty-year collaboration between Manish Gulati and Shri Rama Shankar Singh. It represents a long process of questioning, refining, and aligning form with place. Every curve, opening, and pathway reflects an effort to resonate with the history and spirit of the valley. The final result is a retreat that does not compete with nature, but settles gently into it, as if it has always belonged there.

The post An Art Retreat in the Himalayas Where Architecture Follows the Mountain’s Rhythm first appeared on Yanko Design.

This Speaker Turns Sound Waves Into Sculptural Art

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There’s something deeply satisfying about a product that looks exactly like what it does. You know the feeling: when form follows function so perfectly that you can’t imagine it any other way. That’s the immediate reaction to Loopen, a sculptural speaker concept from Design by Joffrey that transforms the invisible phenomenon of sound into a striking visual statement.

At first glance, Loopen reads as pure art. Rendered in a bold cobalt blue, the design features concentric circular loops that radiate outward from a central speaker driver, creating a mesmerizing pattern that looks like you’ve frozen sound waves mid-journey through space. But this isn’t just aesthetic cleverness for its own sake. Those loops are the actual framework holding everything together, turning the metaphor into structure.

Designer: Design by Joffrey

The genius here is in the restraint. Design by Joffrey could have gone wild with this concept, adding unnecessary embellishments or overcomplicating the form. Instead, Loopen strips everything back to its essential elements. The circular ripples emerge from an oval base, supported by two slim uprights that keep the whole composition feeling light and airy despite its sculptural presence. Two simple control buttons sit flush on the base alongside the power cable, maintaining the clean lines without disrupting the visual flow.

What makes this design particularly clever is how it plays with our perception of sound itself. We can’t see sound waves, but we’ve all seen the visualizations: those undulating sine waves in audio software, the ripples spreading across water when you drop a stone, the circular patterns speakers create when you place them face-down on a surface covered in sand. Loopen takes that universal visual language and makes it literal, giving physical form to something we usually only experience through our ears.

The color choice deserves attention too. That saturated blue isn’t trying to blend into your minimalist white walls or disappear on a dark shelf. It demands to be noticed, which feels right for a piece that’s as much sculpture as it is functional tech. The matte finish gives it a contemporary, almost toy-like quality that keeps the design from feeling too serious or precious. This is a speaker you could actually live with, not just admire from across the room.

There’s also something refreshing about seeing a concept that doesn’t try to hide its technology. So many modern speakers aim for invisibility, disguising themselves as wooden boxes or fabric cylinders that could be mistaken for home decor. Loopen takes the opposite approach: it celebrates what it is. The speaker driver sits proudly at the center, cradled by those wave-like loops, making no apologies for being a piece of audio equipment.

The compact size suggests this is likely a Bluetooth speaker meant for personal spaces rather than filling an entire room with sound. That feels appropriate. This is the kind of object you’d want on your desk or bedside table, where you can appreciate the form up close. The wired connection visible in the images hints at this being a design concept or prototype, but it’s easy to imagine a production version with wireless charging or a more concealed power solution.

What really stands out about Loopen is how it bridges that often awkward gap between tech and design. Too often, products are either functional but boring, or beautiful but impractical. This manages to be both visually compelling and immediately understandable in its purpose. You don’t need an explanation to know what it does. The form tells you everything. Design by Joffrey has created something that fits perfectly into our current moment, where the boundaries between art, design, and technology keep getting blurrier. We want our objects to be more than just tools. We want them to spark joy, start conversations, and add visual interest to our spaces. Loopen delivers on all fronts.

Whether this remains a concept or eventually makes it to production, Loopen represents the kind of thoughtful, playful design that makes you reconsider what everyday tech products could look like. It’s a reminder that functionality and beauty aren’t opposing forces. Sometimes, when you let the core idea of what something does guide how it looks, you end up with magic. In this case, that magic sounds pretty good too.

The post This Speaker Turns Sound Waves Into Sculptural Art first appeared on Yanko Design.

Samsung’s Galaxy S26 Unpacked event is on February 25

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After kicking off CES 2026 with its "First Look" event, Samsung is ready to announce the first of what should be several new Galaxy smartphones this year. The company is officially hosting a Galaxy Unpacked event on February 25 at 1PM ET, where it'll introduce the Galaxy S26 series and updates to Galaxy AI.

Leaks that have trickled out ahead of the event suggest that the Galaxy S26, S26+ and S26 Ultra will feature a new Snapdragon 8 Elite Gen 5 chip, and could come with more RAM and storage. Only the Galaxy S26 Ultra is expected to include major hardware changes, though, with an updated camera system, and possibly proper support for Qi2 charging. Alongside new smartphones, Samsung is also expected to introduce the Galaxy Buds 4 and 4 Pro, which will reportedly feature a new design, support for head gestures and an Ultra Wideband chip so they're easier to find using Google Find Hub.

As in previous years, Samsung has an optional deal for anyone who wants to lock in a discount before the company's new smartphones and accessories are announced. If you reserve Samsung's new devices now, you can receive a $30 credit and be entered to win a $5,000 Samsung.com gift card. When you do pre-order, the company also claims that it'll offer up to an additional $900 in savings if you trade-in a device or $150 off even without a trade-in if you pre-order through Samsung.com.

Engadget will have coverage of everything Samsung announces at Galaxy Unpacked right here, but if you want to watch along, you can catch the company's livestream of the event on Samsung's YouTube channel, the Samsung Newsroom page or at Samsung.com.

This article originally appeared on Engadget at https://www.engadget.com/mobile/smartphones/samsungs-galaxy-s26-unpacked-event-is-on-february-25-230000375.html?src=rss

LEGO Shrek’s Swamp Build Captures What the Official Set Missed Entirely

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Layers. Ogres have them, onions have them, and now this remarkable LEGO Shrek build has approximately 1,300 of them stacked into one of the most charming character tributes currently seeking support on LEGO Ideas. While collectors can already buy Shrek minifigures, this project offers something entirely different: a fully brick-built display model that brings sculptural ambition to Far Far Away’s most famous resident.

Creator Memorph has transformed roughly 1,300 LEGO pieces into a display model that perfectly balances character accuracy with structural ingenuity. Donkey finds himself in a friendly headlock while the Gingerbread Man perches on Shrek’s shoulder, both built at smaller scales to create a dynamic composition. The swamp base completes the scene with textured vegetation and the iconic “BEWARE OGRE” warning sign, making this a love letter to DreamWorks’ beloved franchise that goes far beyond what traditional minifigure sets can achieve.

Designer: Memorph

Shrek hit theaters in 2001 and immediately became the anti-Disney fairy tale everyone didn’t know they needed. DreamWorks took every princess trope, dunked it in swamp water, and gave us an ogre who just wanted to be left alone with his layers of emotional complexity. The film spawned three sequels, became a meme goldmine decades later, and somehow made Rufus Wainwright’s cover of “Hallelujah” the definitive version for an entire generation who’ll fight you about Leonard Cohen’s original.

Twenty-plus years later, people still quote the movie constantly, still reference the swamp aesthetic, and still have strong opinions about which sequel actually holds up. Memorph nailed this perfectly, with a build that accurately captures Shrek’s personality through curved slope pieces that form his rounded belly, strategic color blocking that transitions seamlessly from green torso to tan skin, and that trademark smirk with eyebrows raised in perpetual annoyance. His stubby fingers articulate, the arms have decent range of motion, and the vest sits with a slight rumple that makes him look lived-in rather than rigidly geometric.

Donkey stands at roughly a third of Shrek’s height, and the scale difference creates visual hierarchy that keeps your eye moving around the whole composition. Those big eyes and articulated legs pack surprising detail into a much smaller footprint. You can immediately tell it’s the motor-mouthed sidekick even without color cues. The Gingerbread Man perched up on Shrek’s shoulder is actually a modified minifigure, fitting the scene’s scale perfectly. The swamp base uses textured green plates and brown borders to ground everything, plus that warning sign with the printed “BEWARE OGRE” text. Yeah, it’s a sticker or print, but building those letters from bricks would have looked like garbage.

LEGO already makes a Shrek set with standard minifigures, the kind kids bash together during playtime. This exists in an entirely different category. You wouldn’t compare buying an action figure to commissioning a sculpture, right? Brick-built character models target adult collectors who want both the building experience and something shelf-worthy when they’re done. The brick-built Mickey Mouse sold well, BrickHeadz became an entire product line, and there’s clearly appetite for display pieces that require actual building skill. At 1,300 pieces, this hits that zone where the construction feels substantial without demanding you clear an entire weekend. You could knock this out over a few evenings and actually enjoy the process instead of grinding through repetitive sections.

Memorph submitted this through LEGO Ideas, which operates as crowdsourced product development. Projects need 10,000 supporters within a set timeframe to trigger an official review by LEGO’s team. Right now this Shrek build has 187 supporters with 425 days left on the clock. Hitting 10K doesn’t guarantee production since LEGO still evaluates manufacturing viability, licensing agreements with DreamWorks, and whether it fits their current lineup. Plenty of projects reach the threshold and still get rejected. But it’s literally the only mechanism for turning a fan concept into something you can buy at a store.

You want this on your shelf? Go to the LEGO Ideas page and click support. Takes thirty seconds if you have an account, maybe two minutes to create one if you don’t. The platform costs nothing, you’re just registering interest in the concept. We could use more brick-built character models that actually capture personality instead of looking like someone’s first attempt at geometric abstraction. Shrek proves organic curves and expressive faces work when the builder genuinely understands how LEGO pieces interact. Plus, any excuse to get Donkey in a headlock is worth supporting.

The post LEGO Shrek’s Swamp Build Captures What the Official Set Missed Entirely first appeared on Yanko Design.

The NLRB just gave up on SpaceX workers who claim they were illegally fired

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The National Labor Review Board (NLRB) has dropped a case accusing SpaceX of illegally firing eight employees who criticized the company's CEO Elon Musk, The New York Times. The employees were originally fired in 2022 after circulating a letter that referenced reports of Musk's sexual misconduct and called the executive "a frequent source of distraction and embarrassment." The NLRB filed a complaint claiming the firing was illegal in 2024.

Originally, SpaceX's opposition to the NLRB's case was that the agency is unconstitutional, The New York Times writes. Complaints about the NLRB's independence and power are not uncommon. Amazon has previously claimed that the board's structure "violates the separation of powers," a critique the company has made even more recently about the Consumer Product Safety Commission. The NLRB dismissed its SpaceX case following an even more unusual line of argument, though: that regulating SpaceX actually fell under the jurisdiction of the National Mediation Board, the government agency that handles mediation in the airline and railway industries.

Because the company will technically let anyone book a space flight with it, and it operates under a license from the Federal Aviation Administration, SpaceX's lawyers argue it should be treated like an airline. According to The New York Times, the National Mediation Board issued a decision affirming that logic in January, and not long after, the NLRB dismissed its SpaceX case using the same line of thinking.

Elon Musk and his companies maintain a close relationship with the Trump administration. Musk spent over $250 million to help re-elect President Donald Trump, and he briefly served as a special government employee overseeing budget cuts and layoffs across various government bodies as part of the Department of Government Efficiency. The NLRB gave up its own authority to regulate, rather than it being stripped of funding or employees, but the decision still fits a larger pattern of independent agencies being disempowered during the second Trump administration.

This article originally appeared on Engadget at https://www.engadget.com/big-tech/the-nlrb-just-gave-up-on-spacex-workers-who-claim-they-were-illegally-fired-215332847.html?src=rss

Infinix Note 60 Pro looks like an iPhone 17 Pro with Nothing’s Glyph Matrix on the back

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Infinix looked at the iPhone 17 Pro, looked at the Nothing Phone (3), and decided both phones had one good idea worth combining. The Note 60 Pro’s camera plateau is lifted directly from Apple’s design playbook: that horizontal pill shape spanning the phone’s width, housing three vertical lenses on the left side, available in a Solar Orange finish that’s Apple down to the shade. The right side of that plateau, though, gets filled with a dot-matrix display borrowed from Nothing’s Glyph experiments, showing weather, time, notifications, and music controls in small illuminated dots.

This collision of reference points could have produced incoherent design, but Infinix committed hard enough to make it work. The plateau provides a unified canvas rather than trying to bolt disparate elements together, and the matrix display gets proper size instead of being minimized into uselessness. You can actually read the information displayed without straining, which already puts it ahead of the Phone (3)’s too-small implementation. The question isn’t whether Infinix executed the feature better, but whether the feature itself is anything more than a solution looking for a problem.

Designer: Infinix

Let’s be direct: this is a derivative design. It’s a collage of other companies’ proven successes, banking on the idea that combining two popular aesthetics will create a third. While the integration is clean, it reveals a lack of a core design identity from Infinix itself. This is the strategy of a market follower, not a leader. The approach is to create something that feels familiar enough to be desirable but different enough to be noticeable. It’s a tactic for grabbing attention in a crowded mid-range space, but it does little to build a unique, recognizable brand language for the long term.

Of course, the spec sheet is designed to impress, and on paper, it does. Switching to a Qualcomm Snapdragon 7s Gen 4 is a solid move for performance credibility. That chip drives a large 6.78-inch display with a 1.5K resolution and a 144Hz refresh rate, numbers that are undeniably competitive. A 6,500mAh battery with 90W charging is equally impressive. The risk with spec-heavy mid-rangers is that the software experience often fails to optimize the hardware. The real test will be in the day-to-day performance, software support, and whether the user interface is clean or laden with bloatware.

As of now, Infinix has not released official pricing or a specific launch date, which keeps the final verdict in limbo. The company’s typical strategy involves aggressive pricing in markets across Africa, Southeast Asia, and India, so we can expect it to land in a competitive sub-$400 bracket to undercut established players. Its success will ultimately hinge on that price tag (as well as how functional that ‘glyph matrix’ is). If it’s priced too close to the devices it’s mimicking, the derivative design becomes a liability. If it’s cheap enough, this combination of high-end specs and borrowed aesthetics could be a disruptive formula in its target regions.

The post Infinix Note 60 Pro looks like an iPhone 17 Pro with Nothing’s Glyph Matrix on the back first appeared on Yanko Design.

Did Ferrari And Jony Ive Just Build The ‘Apple Car’?

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Five years after Jony Ive left Apple, and two years after Apple killed Project Titan, we finally know what the Apple Car’s interior *could* have looked like. It just happens to have a prancing horse on the steering wheel instead of a bitten apple.

The Ferrari Luce, revealed last week in San Francisco, is a transplant of Apple’s design language into automotive form. Everything about this interior, from the E-ink key fob to the OLED dials to the obsessive material purity, carries the unmistakable signature of Apple’s design peak from 2015 to 2019, when Ive still occupied his Cupertino office and the car project remained alive.

The Apple DNA is Everywhere

Walk through the components and the Apple DNA becomes impossible to ignore. The key fob magnetically docks into the center console and changes color via E-ink display. This is MagSafe technology meets Apple Watch complications, translated into a car key. The center screen features an analog clock that transforms into a chronograph and compass with the press of two buttons. Pull up any image of Apple Watch faces and the interaction model is identical.

The toggle switches and knobs scattered throughout the cabin represent the physical interface philosophy Ive has been refining since the original iMac. The Digital Crown on the Apple Watch, the mute switch on the iPhone, the volume controls on the HomePod. These are the same careful considerations about how humans interact with objects through touch and rotation. The OLED binnacle behind the steering wheel uses a parallax effect to create depth perception, the same technology that made the iPhone X’s face recognition possible, now applied to gauge clusters.

Then there’s the material palette: recycled aluminum with a microscopic anodized texture, Corning glass surfaces, leather in muted tan. This is the 2017 iPhone X material story. This is the unibody MacBook recipe. This is every premium Apple product from the past decade, reassembled into automotive architecture.

Wait, Is This the Same Jony Ive?

Consider what Ive said at the reveal: “It’s bizarre and lazy to assume the interface should be digital if the power source is electric.”

This is the man who killed the headphone jack. Who removed every port from the MacBook. Who spent twenty years eliminating physical buttons, physical connections, physical everything. And now he’s arguing that physical controls matter? That tactility is essential? That you can’t just solve everything with a touchscreen?

Maybe the context really does change everything. A phone lives in your pocket. You can look at it. A car moves at 200 kilometers per hour. Looking away kills people. Or maybe Ive has simply evolved. Perhaps LoveFrom represents a different philosophy than Apple did, one less concerned with relentless minimalism and more interested in appropriate solutions. Or perhaps this is who Ive always was, and Apple’s commercial pressures pushed him toward deletion when his instincts wanted refinement.

The Luce interior suggests that physical interfaces weren’t the enemy. Bad physical interfaces were. Give Ive the freedom to perfect a toggle switch, to make a dial that clicks with precision, to create a button that feels inevitable, and he’ll choose physical every time. The question is whether we’re seeing growth or contradiction.

The Timeline is ‘Interesting’

Apple started Project Titan in 2014. By 2016, Ive had become increasingly involved as the project shifted from full autonomy toward driver-focused experiences. He left Apple in 2019 but reportedly continued consulting on the car. In 2024, Apple abandoned the project entirely. During those years, Bloomberg reported that the Apple Car was supposed to feature premium materials, minimalist interiors, physical controls prioritized over touchscreens, and a “living room on wheels” concept.

Here’s what actually happened: Ive leaves Apple in 2019 and forms LoveFrom. Two years later, in 2021, Ferrari announces the partnership. That means conversations started immediately after his departure, possibly before. Ive spent a decade developing car interior concepts at a company with unlimited resources. Then he got to actually build one at a different company with unlimited resources and, crucially, manufacturing capability that Apple never developed.

My guess is Ferrari didn’t hire LoveFrom for an overhaul. They hired them for battle-tested thinking that never shipped.

Why Ferrari Said Yes

From Ferrari’s perspective, the logic is clear. They’ve never built an electric vehicle. Their customer base is deeply skeptical of electrification. They need to signal that the Luce represents something genuinely different, something beyond an electrified 296 GTB. So they hire the two most famous industrial designers on Earth, who happen to have spent years thinking about this exact problem at a different technology giant.

It’s outsourcing credibility as much as design. When people inevitably say “that doesn’t look like a Ferrari,” Ferrari can point to LoveFrom and say “well, exactly.” They’ve purchased permission to break from tradition by hiring people with no Ferrari tradition to break from. The prancing horse gives LoveFrom legitimacy in automotive circles. LoveFrom gives Ferrari legitimacy in technology circles. It’s a perfect exchange.

But the question remains: did Ferrari want Ive’s vision, or did they want Ive’s brand? Because what they received feels unmistakably like Apple-thinking while wearing a Ferrari cap.

The May Reveal Will Answer Everything

The real test arrives in May when Ferrari reveals the exterior. Right now we’ve only seen the interior, which is LoveFrom’s natural domain: screens, materials, ergonomics, spatial relationships. The exterior is different. It has to work in a Maranello showroom next to a 12Cilindri and an SF90. It has to look fast while standing still. It has to carry seventy-nine years of design language forward into an electric future.

Can Ive do that? Has he ever designed anything with that kind of visual aggression? His career has been defined by approachability, by objects that invite touch, by forms that recede rather than announce themselves. Ferraris don’t recede. They dominate spaces. They demand attention. If the exterior looks like an Apple product in May, then this really could be what the Apple Car might have become. If it looks genuinely Ferrari, then maybe LoveFrom understands they serve the brand rather than the reverse.

What This Tells Us About the Car That Never Was

The Luce interior reveals something bittersweet about the Apple Car that never was. This is the closest we’ll get to seeing what that vision might have looked like. But it also proves why Apple was probably right to kill the project. It took Ferrari, a company with seventy-nine years of automotive manufacturing experience, five years and presumably nine figures to turn Ive’s concepts into reality. And they still don’t know if customers will accept it. Imagine Apple attempting this from scratch, competing with Tesla on price, managing recalls and service networks and dealer relationships.

The Luce interior is stunning. It’s also a monument to why the Apple Car would have most likely been an operational nightmare, given that Apple isn’t an automotive company.

The irony is perfect: Jony Ive finally got to build his car. He just needed Ferrari to do the hard part.

The post Did Ferrari And Jony Ive Just Build The ‘Apple Car’? first appeared on Yanko Design.

Facebook is offering Meta AI-powered animations for profile photos

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Meta has been going all in on AI, whether people want it or not, and now it's bringing more features in that vein to Facebook. The network's latest move is to let people use Meta AI to animate their profile photos. Because what better way to express your individuality than to use a pre-canned AI-generated animation on your own face?

Meta AI is also coming for your Facebook Stories and Memories. The network's Restyle lets you use gen-AI to change up the aesthetic of your posts. You can once again use pre-canned stylings or give the AI assistant your own prompt.

In the company's own words, the new tools that will create "share-worthy moments that spark meaningful interactions and conversations with friends." I guess meaning is in the eye of the beholder. If you're desperate to behold even more AI slop, Meta recently said its Vibes feed of exactly that content will be getting a standalone app.

This article originally appeared on Engadget at https://www.engadget.com/social-media/facebook-is-offering-meta-ai-powered-animations-for-profile-photos-201022506.html?src=rss

This Itch.io bundle to help Minnesota includes over 1,200 games and costs just $10

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You have likely heard about the masked agents of ICE mucking around in Minnesota for the past few months, resulting in numerous violent incidents and deaths. Itch.io is hosting a bundle to help raise money for the Immigrant Law Center of Minnesota, which was organized by charity creator Jes Wade.

The No ICE in Minnesota bundle includes nearly 1,300 video games and tabletop games and costs just $10, though those with deep pockets can certainly donate more than that. It has a goal of $100,000, which it certainly is on pace to meet.

There are some nifty titles here, particularly for those interested in indie puzzle games and life sims. The standout is likely the stellar puzzler Baba Is You, which won the Game Designers Award at the Tokyo Games Show in 2020. This is a game that has to be played to be understood, as players are given the opportunity to change the rules to find novel solutions to complex puzzles. It's very good.

The bundle includes the life simulation game Calico, which involves players running a cat cafe on a magical island. The art style is gorgeous and the gameplay is relaxing. Also, calico cats are awesome.

Other titles include the bee-collecting sim Apico, the musical sci-fi adventure Periphery Synthetic and the space-based roguelike Hyperspace Dogfights. Scroll through the list to see if anything else strikes your interest, but mark out some time on the calendar first. Scrolling through nearly 1,300 games can take a while.

The Immigrant Law Center of Minnesota is a nonprofit that provides free representation to low-income immigrants and refugees. The organization also provides support for those who have witnessed violent attacks and advocates for public policies which "respect the universal human rights of immigrants."

I live in Minneapolis. ICE is still here in full force, despite the media moving on to shinier objects. We really do need all the help we can get. The long-term presence of these masked, armed agents is really starting to destroy the local economy and many people are quite literally trapped indoors. To say morale is low would be an understatement. Schools are still being raided and people are still being brutally beaten. American citizens are still being arrested for dubious reasons. This is all happening after the killings of Renee Good and Alex Pretti.

That's why these fundraising bundles on Itch have become so important. They really do shine a light on important topics. This is organizer Jes Wade's second ICE-related bundle, with a former focusing on California relief efforts. There have also been bundles to help raise money for the NAACP Legal Defense and Educational Fund and Community Bail Fund and to raise cash for charities working in Ukraine.

This article originally appeared on Engadget at https://www.engadget.com/gaming/this-itchio-bundle-to-help-minnesota-includes-over-1200-games-and-costs-just-10-190643987.html?src=rss