Tag Archives: Product Design

LEGO Shrinks Hogwarts to 700 Bricks, Keeps the Chamber of Secrets

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Every LEGO Hogwarts has to decide what to leave out. The 2018 71043 kept nearly everything and asked for two feet of shelf in return. The 76419 microscale version kept the grounds, the Black Lake, and the Whomping Willow, and still needed 13.5 inches across. Mini Hogwarts Castle (40975) gets 6.5 inches, total, and somehow still finds room for the Great Hall, the Main Tower, the East Wing, and the Astronomy Tower.

Then it goes further – lift the East Wing and the Chamber of Secrets is sitting underneath. There is a second concealed room holding the Mirror of Erised. LEGO built basements into a model roughly the size of a coffee mug. This thing would genuinely fit in the cupboard under the stairs, which sounds like an inside joke but also sort of feels like a design brief somebody at LEGO actually considered.

Designer: LEGO

The whole thing runs on 700 pieces, which sounds like a lot, but once you actually look at them, the size starts to make sense. This is a build made almost entirely out of 1×1 and 1×2 elements, the tiny stuff that buys you texture and silhouette instead of volume. Every stud is doing double duty here. It is the LEGO equivalent of packing for a weekend trip with a backpack instead of a suitcase: technically everything fits, you just had to get clever about it.

Harry shows up as a full-size, regular minifigure, flying over the castle on his broom with Hedwig in tow, and the scale math immediately breaks. He is basically eye level with the Astronomy Tower. This is either a continuity error or the most honest thing LEGO has ever built, because it turns out putting a normal-sized wizard kid anywhere near Hogwarts was always going to look a little unhinged. LEGO has played this hybrid-scale card before, most recently with this year’s Minas Tirith, where a microscale city cracks open into a minifigure-scale throne room. Mini Hogwarts is running a cheaper, weirder version of the same bit, and honestly it works, mostly because nobody expected them to try.

Even in its tiny avatar, the entire thing is proportional, and more importantly, color accurate. Grey roofs, beige stone architecture, the castle’s familiar silhouette rendered in shorthand rather than detail. You are not meant to stare at brick texture on this one. You are meant to recognize it from across the room in about half a second, the same way you would clock Hogwarts from a two-second trailer clip.

Mini Hogwarts Castle launches August 29 for $39.99, and it is not launching alone. That same day, LEGO Insiders get early access to 76476 The Ministry of Magic Collectors’ Edition, a 3,491-piece, 20-inch beast built to mark 25 years since Philosopher’s Stone hit theaters. Same franchise, same anniversary, same Tuesday, and two sets that could not be more different if they tried. One needs a dedicated shelf and a weekend off work. The other needs a corner of your desk and maybe forty minutes. Somewhere between those two extremes is basically the entire pitch of the Wizarding World lineup in 2026, and I have to respect a company that ships both on the same morning.

The post LEGO Shrinks Hogwarts to 700 Bricks, Keeps the Chamber of Secrets first appeared on Yanko Design.

You Still Can’t Buy Airless Tires Even After A Decade… But You Can 3D Print One

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Back in March 2021, we wrote about a bicycle tire that would never go flat, ever, for the entire life of your bike. It was called METL, it was built out of a shape memory alloy that NASA had cooked up for Mars rovers, and it was coming to a bike shop near you in early 2022. Then early 2022 came and went. So did 2023, 2024, and 2025. The tire is now, finally, genuinely orderable, five years after we first got excited about it. Which raises an awkward question about the entire airless tire industry: if the technology has been sitting there this whole time, propped up by NASA and Michelin and Bridgestone, why has it taken this long to reach a single bicycle?

A YouTuber named Berm Peak got tired of waiting and printed his own. The tire comes out in segments, four at a time on a consumer machine, and bolts together into a ring with basic screws and dovetail joints. Flexible TPU for the tread, a stiffer variant for the structure, and eight foot sections to hold the whole thing to the rim. He rode the finished set into a rock garden in a green so loud it counts as a safety feature, and they absorbed bumps like real rubber. Michelin has been showing off airless tires since 2011 and still has not sold you one. A guy with a printer and a garage got there first.

Designer: Berm Peak

He also had some skin in the game most people wouldn’t. Berm Peak part owns Klik, a valve company, so a viable airless tire flooding the market would technically cost him money too. He didn’t seem too worried about it. He’d already gone through a graveyard of other people’s attempts, including a friend’s genuinely knobby TPU tire that survived real trail abuse, and a completely different build made from sliced up PVC pipe bolted together (which we covered back in 2023). Neither one was quite the science fiction object he had in his head.

His first working prototype was, in his own words, brutally stiff. He’d used X shapes for the suspension because they were easy to model in CAD, forgetting that X shapes are basically made of triangles, and triangles do not flex. Version two ditched the X’s entirely and dropped the weight in half. That’s the one that ended up on the bike, printed overnight on a Bambu Lab H2D with a support material that peels away clean because it’s chemically allergic to the tire filament sitting right next to it. Genuinely clever trick, and one you’d only think of if you’d already burned a few prototypes finding out the hard way.

The ride itself proved to be the ultimate trial by fire. Traction was better than expected, especially climbing, to the point where he didn’t feel a single wheel slip on the way up. Then he started pushing harder and the rear wheel began falling apart one segment at a time, cascading into the next joint over, while the front wheel came home completely untouched. That’s not a flaw in the story. That’s the whole story. Rear wheels take more abuse than front wheels on every mountain bike ever made, printed or otherwise, and watching that principle play out in real time on a tire nobody has ever sold you is a pretty satisfying way to spend fifteen minutes.

The moral of this story is slightly bleak, but worth knowing if you’re up for the project. Airless tires aren’t the solution, they’re A solution – the problem they’re trying to solve is punctures, and something as stupidly simple as liquid sealant solved that problem years ago. Mountain bikers swear by it, and it sure beats carrying a screw and 3D printed spare parts on your expeditions. There is, however, a certain flair to riding a bike sporting tires as eye-catching as these. Berm doesn’t quite say it outright, but maybe the most obvious solution is to mix and match tires, using airless ones on the front, and something more durable at the back.

You don’t need a NASA contract to try this yourself, and that’s the part worth sitting with. The file, the printer, and the material all exist right now, sitting in a hobbyist’s garage instead of a corporate lab. Whether that ever turns into something you can buy off a shelf is a separate question. Whether you can print one this weekend is not.

The post You Still Can’t Buy Airless Tires Even After A Decade… But You Can 3D Print One first appeared on Yanko Design.

Modular Truck Cap Comes Off in Under 15 Minutes and Hangs on a Wall in your Garage

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Pickup trucks are one of the few vehicles people buy specifically to keep their options open. The whole point is hauling, versatility, doing whatever comes up. So it’s a little ironic that the moment you add a cap, you’ve kind of locked yourself in. A traditional hard shell covers the bed beautifully, keeps everything dry, and then asks you to commit. Removing it involves at least two people, a chunk of your afternoon, and then figuring out where a several-hundred-pound fiberglass or metal shell is going to live in a garage that already has a lawnmower situation going on.

Enrique Giner, the automotive veteran behind Modular Truck Gear, built the ADV-BOX around a fairly simple idea: a truck cap should go on and come off on your schedule, not the cap’s. So they split it into six composite panels, designed a latch system inspired by military cargo hardware, and got the whole install-or-remove process down to under 15 minutes solo. The part that earns the most double-takes is the storage. Disassembled, the panels mount to a dolly or wall rack and take up about a quarter of its assembled size, letting you park your truck inside as well. Your truck gets its cap back whenever you need it, and your garage gets its wall back when you don’t.

Designer: Enrique Giner

Click here to Buy Now: $4899 $5699 ($800 off). Hurry, deal ends in 48-hours!

Giner drew design cues directly from tactical military cargo boxes and heavy-duty quick-latch hardware, and the ADV-BOX makes no effort to hide that lineage. It’s blocky, angular, and has zero interest in blending into the soft compound curves of a modern Tacoma or Ranger. The gullwing side windows swing up for easy access, the profile sits tall to maximize internal headroom, and the whole thing reads more mission-ready container than traditional topper. Giner spent over 25 years leading design programs at GM, Kia, and Ford/Lincoln before co-founding MTG, so when he says every detail has a purpose, there’s a resume behind it. The aesthetic is unapologetically tactical, and honestly, on a lifted Tacoma TRD Pro, it looks right at home.

The panels are built from DRTM composite. Dual Resin Transfer Molding (RTM) liquid resin is injected into vacuum-sealed molds lined with fiberglass and targeted carbon fiber patches, forming ultra-precise interior and exterior shells that fuse into a strong, insulated composite structure that’s lighter than traditional fiberglass and better insulated than aluminum. The whole assembled cap lands at around 175 lbs split across six panels, which means each piece is genuinely manageable solo without the usual two-person ceremony. Structurally, the modular architecture does something smart: each modular panel connects to its neighbors through patented heavy-duty aluminum latches with dual safety locks, building a rigid unified structure once everything is clicked into place. The latch design went through multiple iterations during development, allowing MTG to make its ‘removal under 15 minutes’ claim… without any tools, no less. Once locked, they hold in whatever conditions you’d actually drive through.

Position and latch the front and rear panels to the bed anchors, connect the side panels and link them to the front and rear, then drop the roof panels into place and rotate the turn latches closed. That’s the three-step install in full. MTG claims under-15 minutes solo, with no tools, and based on the design logic it tracks, because nothing in the process requires drilling, specialty tools, or anyone’s help but your own. The cap ships pre-assembled to your door with all hardware included, no more dealer visits, no more installation fees, it comes with bed anchors that serve as the mounting foundation that stay on the truck permanently, and every subsequent install gets faster. Removable roof panels are also a separate feature, popping off independently in seconds if you need to load something tall without pulling the whole cap off the truck.

Rather than relying on edge seals alone, the ADV-BOX routes water through engineered channels at every panel joint, keeping the interior dry even during bed torsion, the frame flex that happens when a truck is working rough terrain. Metal caps tend to fail this way over time, vibration loosening screws and compromising seals until water finds its way in. MTG water-tested this extensively during development and rebuilt the sealing system based on exactly where those tests revealed vulnerabilities. The commercial configuration carries an IP56 rating for dust and water resistance, the kind of spec you’d see cited on jobsite power tools. Internal volume runs about 15 percent taller and wider than traditional hard caps, and an overhead cargo net is included in the core package to help you actually use that headroom.

MTG claims the ADV-BOX is the first hard-shell truck cap with a fully integrated roof rack system that attaches to the cap brackets rather than bolted on as an afterthought. The four-pillar architecture is the key here: load transfers directly down to the truck’s bed rails instead of stressing the cap shell, pushing the static capacity past 800 lbs and the dynamic load rating to 400 lbs while driving. That’s enough to support a full rooftop tent setup plus gear, and MTG explicitly designed for that via 80/20 aluminum extrusion crossbars compatible with most standard RTT mounting systems. Removable MOLLE panels attach to the sides for traction boards, recovery gear, or whatever else you want within arm’s reach on the trail. The entire rack comes off alongside the modular panels during removal, keeping the whole system logically consistent from top to bottom.

LEER, the biggest name in truck toppers, launched a modular cap of their own called the NexCap in late 2025, starting at $3,149 in precision-formed aluminum at roughly 240 lbs assembled. The fact that the dominant player in the category moved in this direction at all is useful confirmation that the modular concept has legs, but the two products land quite differently. The NexCap requires standard tools to assemble and doesn’t collapse for dolly or wall-mount storage the way the ADV-BOX does. At 175 lbs, fully tool-free, with a purpose-built dolly and wall storage system that takes the whole thing down to a quarter of its assembled size, the ADV-BOX pushes the modular logic considerably further. Giner brings over 50 combined years of OEM automotive experience to the project, which probably explains why this reads more like a second-generation product than a first attempt.

The ADV-BOX is available now directly through MTG’s website. The core package is available at a discounted $4,899 price tag with free US shipping (you can knock another $200 off the core package with the coupon code ‘211ADVBOX’), covering five mid-size 5-foot truck platforms: Toyota Tacoma (2005-2026, generations 2 through 4), Ford Ranger (2019-2026), Nissan Frontier (2022-2026), Chevy Colorado (2015-2026), and GMC Canyon (2015-2026). Add-ons include the Storage Rack at $469, two Cross Bars at $359, two MOLLE Panels at $249, and the full Rack System at $949, all with free US shipping. A 3-year warranty is included with the core package. Full-size platforms including the F-150, Silverado, RAM 1500, Tundra, and Jeep Gladiator, along with 6-foot mid-size bed variants, are confirmed for a separate future launch.

Click here to Buy Now: $4899 $5699 ($800 off). Hurry, deal ends in 48-hours!

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Sony Is Killing PlayStation Game Discs Exactly How Apple Killed the Headphone Jack

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I got a serious case of déjà vu when Sony announced it was ending physical disc production in 2028. Reading their blog post about “shifting consumer preferences” and this being a “natural direction” felt a little too familiar, like I had seen this exact movie before. It was the same carefully polished language a company uses when it’s about to take away a feature you like, while insisting the decision is actually for your own good. You get the sense they are celebrating a future you never really asked for.

It took a minute to place the feeling, but then it hit me: the headphone jack. The script is identical, just with different actors. Apple told us removing a universal port was an act of “courage” that would push technology forward. Now, Sony is telling us that removing our ability to own, resell, or lend games is just an adaptation to “consumer trends.” In both cases, a simple, reliable, and open standard was sacrificed for a proprietary, walled-off ecosystem that benefits the company far more than the customer.

The ‘Courage’ to Make More Money

When Apple took the stage in 2016, they presented the removal of the headphone jack as a noble sacrifice for the sake of innovation. They needed more space, they said, for a better camera system, a bigger battery, and improved water resistance. While those claims had a kernel of truth, they cleverly obscured the much larger, more profitable truth. The real story, the one that made Apple billions of dollars, was the creation of a new, captive market. Suddenly, every headphone manufacturer had to pay Apple a licensing fee to use the Lightning port, or you, the customer, had to buy an adapter. Better yet, you could just buy their new, wonderfully convenient AirPods.

Sony is playing from the same sheet music, just in a different key. The company points to the very real trend of digital game sales outpacing physical ones as its justification. It’s true, more people are downloading games. But the business logic behind this move is far more calculated than simply following a trend. By eliminating discs, Sony wipes out the costs of manufacturing, packaging, and shipping games globally. More importantly, it lands a fatal blow on the used game market. Without discs, there is no GameStop, no eBay, no lending a copy to your cousin. Every single dollar spent on a new game must pass through the PlayStation Store, where Sony takes a cut, controls the price, and has absolute authority.

A Design That Trusts You Less

I’ve always believed that good product design builds a relationship of trust with the user. You buy a thing, and you expect it to serve your needs, not just the manufacturer’s. The PlayStation’s disc drive was a perfect example of that trust. It was a feature that gave you, the player, autonomy. It let you buy games from any retailer, hunt for deals, borrow from a friend, or sell a game when you were finished to fund your next purchase. It was a gateway to a world outside of Sony’s direct control, and that freedom was a core part of the product’s design. It was a humble component that respected your intelligence and your wallet.

This is what makes Sony’s decision feel like such a step backward. Removing the disc drive is a design choice that actively distrusts the user by removing their options. It funnels a global community of millions into a single, unmissable path that leads directly back to Sony’s pockets. The console transforms from a tool you own into a terminal for a service you rent. Apple did the exact same thing. The 3.5mm headphone jack was an open door, a universal standard that worked with everything from cheap earbuds to high-end studio monitors. The Lightning port and the proprietary chip in AirPods are guarded gates. Sony is simply building its own gate, and the price of admission is your freedom of choice.

Your Digital Library Is Rented. You Own Nothing.

The most significant consequence of this all-digital future is the redefinition of ownership itself. When you buy a game on a disc, you own a physical object. You have a legal right, under the “first-sale doctrine,” to do what you want with that object. You can sell it, lend it, or use it as a very expensive coaster. A company can’t reach into your home and take it back. A digital license, which is what you buy from the PlayStation Store, offers none of those protections. You are paying for permission to access data, and that permission can be revoked at any time, for any reason.

If that sounds like a paranoid exaggeration, just look at Sony’s own actions. A few weeks before this grand announcement about the future of gaming, the company began notifying users in Europe that it would be permanently deleting hundreds of purchased movies and TV shows from their digital libraries because a licensing deal had expired. Acclaimed films like Terminator 2 and Apocalypse Now, which people had paid for, were simply vanishing from their accounts. There were no refunds. This isn’t a hypothetical fear; it’s a demonstrated business practice. The all-digital, streamlined future Sony is so excited about is one where your game collection is not a collection at all. It’s a temporary service that exists entirely at their convenience.

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LEGO Fan Recreates Jeff Koons’ Iconic Balloon Dog In Just 1,026 Bricks

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LEGO already makes a balloon dog. It’s part 35692, it’s about the size of a fingernail, and it shows up as an accessory in carnival and fairground sets so your minifigs have something to hold at the fun fair. It’s charming and completely forgettable, the sort of piece that lives in the bottom of the tub with the croissants and the tiny frying pans.

brxstr looked at that and asked the reasonable follow-up question: why is there no big one? Balloon Dog Mk II is his answer, a 1,026-piece display model in classic glossy red that scales the gag up to 15 inches long and 12.5 inches tall. And in a move I genuinely love, four of the original tiny balloon dogs are hidden inside the finished build, mounted on a wall like lab specimens. More on that in a moment, because the inside of this thing runs on a completely different sense of humor from the outside.

Designer: brxstr

The entire model hinges on one part. Piece 5274, the 8x6x2 curved windscreen, only arrived in the LEGO palette around 2024, and brxstr scrapped an earlier version of this MOC (My Own Creation) to rebuild from scratch once he had it. Two of them mirrored together form a single balloon segment, and every lobe on the dog, the nose, the ears, the barrel body, the four legs, comes from that same trick. The tapered tips get a smaller rounded windscreen to close them off. Technic angled elements do the connecting work inside, hidden entirely, which is the part that took the patience. Hiding structure is harder than building it.

What sells the illusion is something he probably didn’t plan. Along each lobe you can see dashed dark seams where plate edges meet, and rather than reading as sloppy tolerance, they look exactly like the crease lines you get on over-inflated latex. Free realism. The flared nozzle at the front of the nose is my favorite single piece here, one small element doing the entire job of saying “this was blown up by a person.”

Then you lift the top of the body off. Inside sits a minifig in a yellow hazmat suit, radiation warning on his chest, standing over a trans-blue gas cylinder with a chrome pipe feeding in from a printed gauge panel, a valve wheel on the opposite wall, and those four tiny balloon dogs racked up behind him. A second minifig sits in the head, steering. It’s the funniest thing about the build, because the exterior is so serene and the interior suggests the dog is a pressurized industrial vessel operated by two guys.

Two parts, the tapered end pieces and the round 6×6 bricks in the head and tail, don’t currently exist in red, which is a small ask. brxstr has floated other colorways and even a multicolored version, and honestly I want the full clown-cart rainbow. The build sits at 906 supporters with 423 days on the clock, so head to the LEGO Ideas page and give it a vote.

The post LEGO Fan Recreates Jeff Koons’ Iconic Balloon Dog In Just 1,026 Bricks first appeared on Yanko Design.

5 Ways Galaxy Z Fold 7 Still Impresses Over the New Fold 8 Ultra (Including the $600 Price Difference)

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Samsung has perfected the art of making last year’s phone feel obsolete before you have even recycled the box. The Galaxy Z Fold 8 Ultra landed July 22, 2026, with the usual fanfare: bigger battery, upgraded display, new Ultra branding, and a price tag to match. The Galaxy Z Fold 7, meanwhile, has been sitting quietly for a year building a case for itself that the Fold 8 Ultra cannot simply overwrite by being launched 365 days later. The Galaxy Z Fold 7 arrived in July 2025 as the thinnest and lightest book-style foldable Samsung had ever made, and the design bets it placed around weight, thinness, and camera hardware are ones the newer phone essentially confirms rather than replaces. Sometimes the sequel’s biggest achievement is simply showing what its predecessor got right.

At 4.2mm unfolded, 8.9mm folded, and 215 grams, last year’s Fold 7 was truly a generational leap in design and form factor. It shed 24 grams and 3 full millimeters in folded thickness from the Fold 6 (which measured 12.1mm folded shut), gained a 6.5-inch 21:9 cover display that made it genuinely usable without unfolding, and became the first Samsung foldable to carry a 200MP main camera. We covered that form-factor leap when the Fold 7 launched, noting how the hands-on experience felt categorically different from any Fold before it. The Fold 8 Ultra starts at $2,099.99, a full $100 above the Fold 7’s launch price, and street pricing on the older phone has already settled to as low as $1,499.99 with no trade-in required (that’s a $600 discount on what’s essentially last year’s phone). Before anyone files the Fold 7 under “last year’s news,” here are five reasons why I might just end up recommending the Z Fold 7 over this year’s Z Fold 8 Ultra.

1. The 0.1mm Difference You Will Never Actually Feel

The Fold 8 Ultra unfolds to 4.1mm and the Fold 7 unfolds to 4.2mm, a gap of exactly 0.1mm, roughly the thickness of a sheet of copier paper. The Fold 7 was the phone that did the heavy lifting to get here: it jumped from 5.6mm to 4.2mm unfolded in a single generation, dropping folded thickness from 12.1mm to 8.9mm, a shift dramatic enough that GSMArena observed at launch that those numbers put it “well within the range of a normal, non-bendable smartphone.” We noted the same thing in our hands-on coverage when the Fold 7 shipped: the form factor breakthrough had already happened. The Fold 8 Ultra shaves one more paper-thin slice off a number the Fold 7 already made impressive, and then stops. The Fold 7 earned the thinness headline. The Fold 8 Ultra mostly inherited it.

The Fold 8 Ultra holds that same 215g weight while fitting a 5,000mAh battery, up 14% from the Fold 7’s 4,400mAh cell, by switching to a silicon-carbon composite anode that stores significantly more energy per unit of physical volume than conventional graphite. That is real engineering and it deserves credit. The catch is that maintaining a 4.1mm profile with Flex Titanium, a two-layer titanium system replacing the polymer film beneath the OLED panel, also means the display is now physically incompatible with the EMR digitizer the S Pen requires, so neither the Fold 8 nor the Fold 8 Ultra support stylus input in any form. You would need a caliper to prove which phone is technically thinner, and you have lost the S Pen on both. Most people carry neither.

2. Both Weigh Exactly 215 Grams

Samsung’s own comparison page lists both the Fold 7 and the Fold 8 Ultra at exactly 215 grams, which is either proof that Samsung found the sweet spot a year ago or a quiet admission that the successor could not improve on it. When the Fold 7 launched, Samsung made a point of noting it weighed less than the Galaxy S25 Ultra, a legitimately striking benchmark for a book-style foldable carrying a full 8-inch display inside. That weight, combined with the 8.9mm folded profile and the new 21:9 cover screen, was the ergonomic package that made the Fold 7 feel like a phone you could carry all day rather than one you carry as a statement. The Fold 8 Ultra holds that same 215 grams while fitting a larger battery, which is impressive. But from your palm, your jacket pocket, or your wrist after a full day, there is no difference between the two.

The Galaxy Z Fold 6 weighed 239 grams and folded to 12.1mm, numbers that made daily carry feel like a deliberate lifestyle choice rather than an automatic one. Samsung spent multiple generations chipping away at that figure while simultaneously adding larger displays, bigger batteries, and more complex hinge hardware. The Fold 7 was where the weight finally cleared a threshold that stopped being a talking point and started being a genuine advantage. The Fold 8 Ultra confirmed that 215 grams is the number Samsung is now defending, not improving. If daily carry comfort is why you are considering an upgrade, the Fold 7 already delivered that in 2025, and you would be spending $600 more to carry the same weight in a slightly newer chassis.

3. It Is Genuinely, Significantly Cheaper Right Now

By the time the Fold 8 Ultra went on sale at $2,099.99, the Galaxy Z Fold 7 had already dropped to $1,499.99 at Samsung.com with no trade-in required, putting the live price gap between the two at $600. That is not a rounding error in phone pricing; that is practically a separate mid-range device worth of money sitting between the two numbers. As early as May 2026, the Fold 7 was already at $1,599 at Samsung.com and around $1,649 at Best Buy and Amazon. Samsung’s own pre-launch clearance is about as honest a signal as any company sends: the older phone has value worth capturing before the new one dominates the headlines. The bargain is real regardless of the inventory motive behind it.

The Fold 7 at $1,499.99 gives you a 200MP main camera, a Snapdragon 8 Elite chipset, a 6.5-inch 21:9 cover display, an 8-inch main display, and seven years of software updates. The Fold 8 Ultra at $2,099.99 gives you the same display sizes, the same primary camera resolution, a 50MP ultra-wide upgrade, a larger battery, and 0.1mm less thickness. For some buyers, particularly those shooting wide-angle photography deliberately or upgrading from a Fold 5 or earlier, that $600 premium is arguable. For everyone else, the Fold 7 at its current price is the kind of deal where the question shifts from “should I buy this” to “how quickly can I get it here.” Samsung’s pricing history suggests there is room for it to slide further before the year ends, which makes the current window feel worth acting on.

4. The 200MP Main Camera Is Still Doing the Work

The 200MP wide-angle main camera with ProVisual Engine in the Fold 7 is the same sensor class Samsung put in the Galaxy S25 Ultra, one of 2025’s benchmark smartphone cameras, and the Fold 8 Ultra carries that headline resolution forward unchanged. At F1.7 aperture with optical image stabilization and Quad Pixel autofocus, it was the moment Samsung’s foldable camera finally stopped making concessions against its own S-series lineup, and that standing holds a year later. Portraits, street photography, architecture, food, travel, and whatever low-light situation you find yourself in: the Fold 7’s primary camera performs at the same level as the Fold 8 Ultra on the lens both phones share. The Fold 8 Ultra’s marketing emphasizes improved ProVisual Engine processing, which is technically accurate, but the sensor it is working with is the same 200MP hardware the Fold 7 has been running for a year. That does not suddenly change because a newer model arrived.

I will be honest, the ultra-wide is where the Fold 8 Ultra makes its strongest single camera argument, jumping from 12MP to 50MP, and for anyone who uses that lens with intention and regularity, it is a gap the Fold 7 cannot close. The Fold 8 Ultra also adds 8K video recording, which will matter to a specific kind of creator. These are genuine wins, and this article is not pretending otherwise. But the camera most people aim most of the time is the primary 200MP wide, and on that lens, both phones are drawing from the same well. If your photography does not live on ultra-wide frames or 8K timelines, the Fold 7 is not leaving anything meaningful behind.

5. Seven Years of Updates, and the Clock Has Barely Started

Samsung committed seven years of Android OS updates and security patches to the Galaxy Z Fold 7 at launch, tracking it forward to Android 23 from its starting point of Android 16 and One UI 8.0, making it the first phone in the world to ship with Android 16 out of the box. It has since received One UI 8.5, and that support window is fully intact for anyone buying a discounted unit today. The seven-year commitment Samsung formalized across its Galaxy S and Z lineup from 2024 onward makes the Fold 7 a device with a genuine long-term horizon, not a three-year countdown to planned obsolescence. Picking one up at $1,499.99 now does not mean inheriting a depleted window; it means starting from roughly the same point a launch-day buyer started a year ago, with six more Android generations still incoming. You are not buying into a dead end. You are buying into six more years of the same software future.

The Fold 8 Ultra carries the same seven-year promise, so there is no software advantage to paying the premium. Both devices reach Android 23 as their ceiling, and both receive the same One UI update cadence through that window. The only meaningful difference is that the Fold 8 Ultra ships with One UI 9 and Android 17, which the Fold 7 will receive via update anyway. Paying $600 more to have Android 17 on day one, a few weeks before the Fold 7 update ships, is an unusually expensive cure for impatience. Software longevity is the Fold 7’s quietest argument, and it tends to be the most convincing one for anyone who has watched a phone get dropped from updates two years after launch.

Flex Titanium does meaningfully reduce the crease on the Fold 8 Ultra’s inner panel, the 50MP ultra-wide is a real camera leap over 12MP, and fitting a 5,000mAh cell at the same 215g through silicon-carbon anode engineering is the kind of progress that compounds across an ownership cycle. For first-time foldable buyers or anyone on a Fold 5 or earlier, the Fold 8 Ultra is a strong device at a premium price, and it goes on sale August 7. If you are a Fold 7 owner staring at a $600 gap, a 0.1mm thinner profile, and a stylus that neither phone supports anymore as the headline reasons to upgrade, the math is genuinely hard to close. The Fold 7 already solved the problems that made book-style foldables annoying: the weight, the bulk, the pocketability, the camera gap with Samsung’s own flagships. It is doing all of that right now at $1,499.99, and sometimes the smartest phone in the room is just the one that got there a year early.

The post 5 Ways Galaxy Z Fold 7 Still Impresses Over the New Fold 8 Ultra (Including the $600 Price Difference) first appeared on Yanko Design.

5 Home Objects That Look Like They Belong in a Design Museum but Cost Less Than a Dinner Out

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The design museum makes one quiet argument. Certain objects deserve to be looked at, and how a thing is made can matter as much as what it does. Most people accept this on a Saturday afternoon in front of a Noguchi lamp or an Eames chair, then go home to a shelf full of things nobody chose with the same intention. That gap is worth closing, and it does not require a renovation budget.

These six objects cost somewhere between a round of drinks and a dinner for two. None are functional in the way a charging cable is functional. They are functional in the way a good room is, changing how a space reads and getting noticed before anyone can articulate why. That quality has very little to do with price and everything to do with knowing where to look for it.

1. Carte Blanche Ceramics

Dutch designer Annebet Philips began this collection in cardboard rather than clay, cutting shapes with deliberately uneven edges and treating the paper prototype as the design language itself rather than a step to be discarded. Belgian brand Serax carries the result through to porcelain: a coffee and tea service that has since grown to include plates, a breakfast bowl, an egg cup, and a salt and pepper set. Every piece started as a childlike cutout on a blank page. Nothing about that origin was smoothed away in production.

What makes each piece genuinely strange is that it reads as a drawing of itself. Hand-painted black lines trace every fold and seam, giving cups and saucers the flattened quality of ink on paper rather than fired ceramic. Photographed straight on, a cup collapses into what looks like a quick sketch, the handle reading as a doodled loop rather than a ceramic ear. Everything is microwave and dishwasher safe, which keeps the concept in daily use rather than retreating to a shelf nobody touches.

What we like

  • The trompe-l’oeil effect holds in person, not only in photographs
  • Dishwasher safe at a design level that rarely permits it

What we dislike

  • Sold through Serax stockists rather than one direct channel, which makes sourcing specific pieces more work than it should be
  • Hand-painted lines vary slightly between pieces, which is part of the concept but can feel inconsistent in a matched set

2. ECHO Ceramic Speaker

Most speakers announce themselves. They sit on surfaces with blinking lights and trailing cables, with the general suggestion of being placed there temporarily. Kenji Abe’s ECHO arrives from the opposite direction. It is a glazed ceramic chamber built on the acoustic logic of a seashell and a cupped hand that looks exactly like a small vase. Slide a phone underneath, and the cavity carries audio outward in soft, diffused waves. No power. No pairing. Nothing to charge or set up.

The decision to use ceramic was not incidental. Ceramic belongs to the visual grammar of a home, the language of objects that have simply always been there, and ECHO uses that familiarity to disappear into a room entirely. A guest would not identify it as a speaker. The glazed surface catches light the way pottery does, and when the phone is gone, it stays on the shelf with the composure of something that was never trying to perform in the first place.

What we like

  • Looks like a ceramic piece because it is one, not a speaker wearing a vase disguise
  • No charging, no pairing, no batteries to deplete or replace

What we dislike

  • The amplification is warm and subtle rather than loud, better suited to a quiet kitchen than a busy room
  • Designed for smartphones placed directly underneath, which limits where in a room it can be used

3. Petal Vase

Every day, thousands of tons of cut flowers are incinerated at flower markets because they reached the end of their shelf life before a buyer arrived. Rebloom Studio, a Korean design practice, collects those discarded blooms, processes them into pulp with Korean paper pulp and a natural binder, and molds the result around an interior glass cylinder. The finished piece is a vase made entirely from flowers that never got the chance to be seen by anyone.

No two Petal Vases look alike. The flowers used to make each one determine its final color, texture, and edge profile. The jagged rim, the petal compression visible in the walls, the slight asymmetry in the silhouette- all of it is preserved deliberately rather than corrected in finishing. When the vase reaches the end of its life, the biodegradable shell returns to the earth. It is one of those rare objects where the material story requires no explanation because you can already see exactly where it came from.

What we like

  • Every piece is genuinely one of a kind, not in the marketing sense but the literal one
  • The biodegradable origin is visible in the object itself rather than printed on the packaging

What we dislike

  • Availability depends on Rebloom Studio’s production schedule, and stock from a small Korean studio can be intermittent
  • The rough, irregular surface is the whole point, but buyers expecting a conventional smooth ceramic finish may need to adjust

4. Delicato Tray

The entryway surface tells a familiar story, and it is rarely flattering. Keys land wherever there is space, coins scatter to the edges, a watch ends up beside a receipt from last week. Joao Teixeira’s Delicato Tray for Oftwise is cast from Jesmonite AC730, a water-based, fire-rated stone composite, in the form of a rippled disc. The concentric waves are asymmetric by design: wider at the outer ring for keys and glasses, tighter toward the center for rings and coins.

At the center of those ripples sits a recessed pocket sized for a tealight candle, turning the daily ritual of dropping your things at the door into something closer to a ceremony. Because the tray is hand-cast, no two are identical. Small air bubbles, subtle texture variations, and minor color shifts are natural byproducts of the process. The result is two kilograms of warm sandy stone that makes a surface look deliberately arranged before anything has been placed on it at all.

What we like

  • The hierarchy is built into the form itself, so organization becomes almost unconscious
  • Hand-cast production means no two pieces are identical, in the way that actually matters

What we dislike

  • At €235 it sits at the very top of the dinner framing, and that math depends on which dinner you have in mind
  • Currently available in one color, which limits how it integrates into darker or cooler interiors

5. Luna

Robert Spillner spent years building components for Formula 1 teams before reversing the entire premise of his career. Instead of measuring speed, he built an object that stages time. Luna is a 400 x 400mm wall piece framed in matte black solid wood with a cast acrylic pane at its center. Inside, a single pointer moves through Zero Flow Technology, Spillner’s proprietary fluid made from distilled water, additives, micro-particles, and a small quantity of genuine lunar dust. Behind the pointer, turbulent patterns mark what has passed. Ahead of it, the liquid sits completely undisturbed.

The exact composition of the fluid is deliberately undisclosed, and that is the right call. The lunar dust is certified and billions of years old, documented with a certificate of authenticity that ships with each piece. Every Luna is signed, numbered, and limited to 99 per year, all made on demand in Germany. A small LCD touchscreen adjusts time and brightness without competing visually with the fluid. Spillner describes it as an art object with a time function, and the order of those words is correct.

What we like

  • The past-and-future visual logic is legible in the object itself, not only in the written description of it
  • Lunar dust certification and a limit of 99 per year make each piece traceable and unrepeatable

What we dislike

  • No public price is listed; the limited edition, handmade production profile suggests it sits above the other objects in this list
  • The 400mm square format demands a wall that can hold it as a singular focal point rather than one object among several

Editor’s Choice: Japanese Lantern Candle

The paper lantern is one of the oldest resolved problems in lighting design. How do you carry warmth from a candle flame into a room without losing it to the hardness of the fixture? Japanese designers worked through that question for centuries and arrived at a form that required almost no further development: a collapsible structure of thin ribs and translucent paper that diffuses candlelight into a soft, directionless glow.

What separates a well-made Japanese lantern from a decorative replica is the quality of light it produces and how it behaves in a room. Warm and sourceless, candlelight filtered through translucent paper fills a corner the way natural light from a small window does, without the hard edge of a focused lamp or the flatness of overhead lighting. On the floor beside a chair or a side table, it becomes the kind of object people notice and comment on before they have thought to ask what it is.

Click Here to Buy Now: $70.00

What we like

  • The quality of diffused candlelight it produces is genuinely different from any other fixture in a room
  • Stores flat, which matters in a small apartment where every permanent object has to earn its place

What we dislike

  • Works best as ambient lighting rather than a primary source for reading or close work
  • The candle paired with it needs to suit the scale and material to get the full effect

The Best Things in a Room Are the Ones Nobody Can Quite Explain

None of these objects ask for much. A shelf, a corner, a spare stretch of counter. They do not need a gallery to earn the attention they receive. What they share is the quality of being genuinely chosen, the sense that someone worked through a problem not just until it was functional but until it was right. That difference is immediately visible and, unlike most things in a home, it does not fade with time.

The museum argument is that certain objects deserve to be seen. These six make the same case from a kitchen counter, an entryway shelf, a bedroom wall. The price point is almost beside the point, though it helps. What matters is that buying thoughtfully and buying well tend to produce the same result: a home that feels assembled by someone who paid attention, rather than one that simply accumulated things over time.

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This $2,999 Device Turns Your Desktop Into A Custom Apparel Printing Factory (With Air Purification)

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Let’s talk about the math for starting a small apparel brand. You have the designs, the drive, and a growing list of people who want to buy your stuff. Then you look up the gear. Aside from the thousands in hardware, materials, and a good air-purification system (because breathing is generally a good thing), you’re also looking at a massive space investment. Suddenly, you’re nearly $10k in, and need an entire garage for something the XtraMaker M1 Series offers in a tabletop format for a fraction of the price. With a modular printhead design no less, allowing for customization all within the form factor of a large microwave oven.

This is where the XtraMaker M1 Series finally brings apparel creation into the desktop factory era. It takes that sprawling, expensive production line and collapses it into a single, self-contained unit for $2,999. This is the micro-factory for fabric we’ve been waiting for, handling everything from printing the transfer to curing the adhesive inside a fume-filtered system that fits on a desk. It’s the machine that makes the business plan finally make sense, shrinking the startup cost by two-thirds and proving that the next big apparel brand doesn’t need an industrial loan to get started; it just needs a desktop.

Designer: XtraMaker

Click Here to Buy Now: $2999 $6499 ($3500 off). Hurry, only 38/50 left! Raised over $331,000.

The M1’s core innovation is condensing the entire five-step DTF relay race into a single, autonomous sprint. It prints, powders, shakes, cures, and purifies its own air without any manual handoff between stages. This integrated workflow is critical for a desktop machine, as it eliminates the mess and fumes that make traditional DTF printing impossible in a home or small studio. The enclosed system uses a multi-layer filter to capture stray adhesive powder and neutralize the chemical smell from the curing process, keeping the workspace clean and breathable. This turns what was once a multi-machine, garage-only operation into a clean, one-click process you can run from a spare room.

Print quality is anchored to commercial standards, with G7 Master-certified color accuracy ensuring that on-screen RGB designs translate faithfully to the final CMYK print. At a resolution of 1440×1440 DPI, the M1 Series produces sharp, detailed transfers where fine lines and photo-realistic gradients come through cleanly. The resulting prints are just 0.5mm thick, allowing them to blend seamlessly with the fabric’s texture rather than sitting on top like a stiff, plastic patch. This professional-grade output works across a huge range of materials, from cotton, denim, and polyester to more delicate fabrics like silk, giving creators a massive canvas for their ideas.

XtraMaker’s engineers clearly obsessed over reliability, building in a suite of defensive systems to prevent common failures. The most notorious issue in DTF printing, white ink clogging, is addressed by the LoopMaster™ system, which uses automatic 15-minute circulation cycles and continuous cartridge stirring to keep the dense ink from settling and drying in the lines (the white ink circulation system operates with zero ink consumption too). Even more impressive is the built-in UPS battery. If power cuts out, the battery instantly triggers a flush, replacing the ink with a protective fluid to save the printhead from drying out. The UPS battery also powers the printer’s auto-maintenance system while the machine is on standby or powered off. This enables the machine to automatically fill the ink channels with moisturizing liquid and keep the white ink stirring continuously for up to 30 days. Combined with over 20 sensors that monitor the machine’s health and ink levels in real-time, all this creates a system that actively works to prevent the most expensive and frustrating problems before they happen.

The entire package is tailored for small business growth, from the software to the hardware options. The XtraMaker Studios app includes a cost estimation tool that calculates ink and film usage, giving you a precise per-print cost so you can price your products profitably. A 3D preview feature also lets you see how a design will look on a finished garment, saving time and materials. The M1 itself comes in two sizes: the standard M1 for A4-sized prints, perfect for logos and chest graphics, and the larger M1 Pro, which handles A3+ prints for full-back designs on hoodies and jackets. This gives a growing brand a clear upgrade path as their product line and ambitions expand.

XtraMaker’s M1 Series is aimed squarely at the new wave of creators: Etsy sellers, independent streetwear labels, and craft fair operators who need professional output without the industrial overhead. While other desktop DTF printers exist, none integrate the entire five-step workflow, the advanced anti-clog and power-loss protection, and the built-in air purification into a single unit at this price. It’s a machine that understands that for a small business, the real costs are complexity, downtime, and mess.

Click Here to Buy Now: $2999 $6499 ($3500 off). Hurry, only 38/50 left! Raised over $331,000.

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Xiaomi’s $281 Portable Projector is effectively cheaper than paying for Netflix for a year

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Here is what $281 buys you in an American projector aisle right now: TCL’s C1 at $250 with 230 ISO lumens, or XGIMI’s Vibe One at $269 with 250 ANSI lumens and zero HDR support. Both are decent little machines. Both also demand a room dark enough that you stub your toe finding the sofa. The sub-$300 bracket in the West has genuinely improved, but it improved into “acceptable,” which is a low ceiling for a category promising a 120-inch screen. Xiaomi’s newest budget projector landed in China this week and makes that ceiling look even lower.

The Redmi Projector 5 Pro sells for 1,899 yuan, roughly $281, against a 1,999 yuan list price. That buys native 1080p at up to 120 inches, 1,000 CVIA lumens, HDR10, a 120Hz refresh rate with 5ms latency, dual HDMI, Wi-Fi 6, and a metal gimbal arm that swings the body through 150 degrees. A year of Netflix Premium now runs $323.88 after March’s price hike, so the hardware costs less than the subscription. What holds my attention is that the industrial design survived the price target intact, which almost never happens down here.

Designer: Xiaomi

The body is a soft white wedge with a fabric-wrapped front panel, cradled in a U-arm carrying the REDMI wordmark along its cross-member. That arm is structural rather than a bracket bolted on afterward, so the silhouette holds together from every angle instead of looking like a box propped on a stand. Budget projectors usually betray themselves at the seams, with plastic that doesn’t look premium or boast of a perfect surface finish. Here the perforated grille wraps one flank as deliberate texture, and the white-and-grey split keeps the mass visually light. The posture borrows from a studio monitor on a yoke, a smarter reference than the black plastic router look most of this segment settles for.

A ToF sensor, an HD camera and Xiaomi’s algorithms handle focus, keystone, obstacle avoidance and screen alignment without you opening a menu, and wall colour adaptation reads your paint job to adjust the image. The 150-degree tilt lets you aim at the ceiling by nudging the body rather than stacking books under one end. Thirty degrees of side projection correction covers the reality that nobody’s coffee table sits square to the wall. Sealing the optical engine behind an all-glass lens keeps dust off the internals and, Xiaomi claims, sharpens the picture 10% over last year’s model. Both features used to be premium-tier boasts.

Temper expectations on brightness before you get excited. 1,000 CVIA lumens converts to roughly 700 ISO lumens, which puts this firmly in dim-room territory rather than sunlit-living-room territory. CVIA is a stricter Chinese standard than the fantasy figures printed on Amazon listings, where anonymous brands promise 10,000 lumens and deliver maybe 150. So the number is honest, and the honest number is modest. You will still be drawing the curtains.

The catch arrives at the end, as it always does with Redmi hardware. Xiaomi has said nothing about a global release, and Redmi projectors historically stay inside China while the Xiaomi-branded models travel. It runs HyperConnect and the XiaoAI assistant, meaning no Google TV, no Play Store, and no Netflix app. A projector that costs less than a year of Netflix and cannot run Netflix is the funniest possible ending to this story, and also the most frustrating one, because the rest of us are still shopping in a bracket that peaked at 250 lumens.

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This 3D-printed modular sneaker ditches glue for repairable design inspired by Asian craftsmanship

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Sneakers have become more advanced than ever in terms of performance and comfort, yet their construction has barely changed. Most are assembled with permanent adhesives that bind together layers of fabric, foam, rubber, and plastic into a single unit. While this creates durable footwear, it also makes repairs nearly impossible. A worn-out sole or damaged upper often signals the end of a shoe’s life, regardless of the condition of its remaining parts. Designer Daniyar Uderbekov believes there is a better way, creating a pair of sneakers that embraces repairability from the very beginning instead of treating it as an afterthought.

Called UDBR, the modular footwear improves on the earlier sneaker concept by the designer. Rather than relying on glue to hold everything together, the design borrows assembly techniques from traditional Central Asian footwear, specifically the Makhsi and Ichigi. These handcrafted shoes were designed around individual components that could be assembled, maintained, and replaced with relative ease. The idea feels surprisingly relevant in an era increasingly focused on sustainability and product longevity.

Designer: Daniyar Uderbekov

The sneaker is built around just three primary elements: a 3D-printed TPU sole, a leather sock-like inner boot, and a rope-based fastening system that locks the entire structure together. Every component has a defined purpose and can be separated without damaging the others, allowing the shoe to be fully disassembled whenever maintenance is required. Instead of discarding an entire pair because of a single worn component, users can simply replace the part that has reached the end of its lifespan.

At the core of the idea is the updated 3D-printed thermoplastic polyurethane sole, designed to deliver cushioning and flexibility comparable to conventional sneaker soles. If years of use eventually cause the sole to lose its resilience or develop cracks, it can be reproduced using recyclable TPU through 3D printing, extending the product’s usable life while reducing unnecessary waste. The approach shifts the focus from replacement to renewal, offering a practical example of circular product design.

Complementing the sole is a leather inner boot inspired by traditional footwear, wrapping the foot in a soft, sock-like structure that prioritizes comfort while maintaining a handcrafted character. Holding everything together is an intricate rope lacing system that does more than create visual appeal. It eliminates the need for adhesives entirely while allowing the wearer to tighten, loosen, or completely separate the components with minimal effort. The exposed fastening becomes both a functional engineering solution and a defining aesthetic feature.

What makes UDBR particularly compelling is how naturally it blends old and new. Advanced 3D printing supplies precision, customization, and recyclable materials, while traditional construction principles provide a blueprint for repairability that modern sneakers have largely abandoned.

The post This 3D-printed modular sneaker ditches glue for repairable design inspired by Asian craftsmanship first appeared on Yanko Design.