The World’s Tallest Timber Skyscraper Is in Sydney, and It Rises 600 Feet Into the Sky

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Sydney is on the verge of claiming a significant architectural milestone. Atlassian Central, a 39-floor hybrid timber tower currently nearing completion, is set to become the world’s tallest building of its kind, surpassing the existing record holder by a considerable margin.

Designed by BVN and SHoP Architects as part of a larger development in Sydney, Australia, the tower will top out at 183 m (600 ft). That makes it more than twice the height of Milwaukee’s Ascent, which currently holds the title of world’s tallest hybrid timber skyscraper at 86.6 m (284 ft). According to the Council on Tall Buildings and Urban Habitat (CTBUH), the premier authority on building heights, Atlassian Central will claim the record upon completion, ahead of any proposals not yet approved.

Designer: BVN & SHoP Architects

The structure relies on a hybrid system of concrete, steel, and engineered wood, a combination that sets it apart from purely timber towers like Norway’s Mjøstårnet. The use of concrete and steel allows the building to reach heights that timber alone could not sustain, while glued-laminated timber columns and cross-laminated timber slabs, sourced from Europe, are incorporated throughout. In total, roughly 10,000 cubic meters (353,000 cubic ft) of engineered wood will be used in the build.

Sustainability is woven into the design beyond the choice of materials. The facade integrates solar panels alongside an automation system developed by specialist EBSA, which is expected to significantly reduce the building’s mechanical cooling requirements. SHoP Architects describe the commercial floors as being organized into seven stacked four-story “habitat” modules, each framed by the hybrid timber structure and designed to maximize natural ventilation, provide access to landscaped terraces, and support workplace well-being through a connection to natural environments.

The tower’s program is varied. The lower floors will house a hostel, and the project will incorporate an existing building on the site, which is being restored and folded into the lobby. The majority of the remaining floors are dedicated to office space, interspersed with multiple open garden areas that reinforce the building’s emphasis on greenery and natural light.

An exact completion date has not been confirmed, but Atlassian Central is expected to be finished in late 2026 or sometime in 2027. When it opens, it will represent not just a new height record for hybrid timber construction, but a meaningful step forward in demonstrating what sustainable high-rise architecture can look like at scale.

The post The World’s Tallest Timber Skyscraper Is in Sydney, and It Rises 600 Feet Into the Sky first appeared on Yanko Design.

A Maker Just Built A Polaroid Camera for 100x Cheaper Using Thermal Receipt Paper

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Remember when instant cameras were magic? You pressed a button, a mechanical whir filled the air, and moments later you were shaking a photo like it owed you money. Polaroid made photography feel like alchemy, turning light into physical memory right in your hands.

The Poor Man’s Polaroid by Boxart brings that instant gratification back using a thermal printer (the same kind that spits out your CVS receipts) and costs less than a cent per print compared to roughly a euro for each Polaroid picture. The name is a bit tongue-in-cheek since the parts actually cost more than the cheapest Polaroid cameras, but the creator clarifies it’s a “fun DIY project, possibly made by poor hands”.

Designer: Boxart

The whole setup is beautifully straightforward. A Raspberry Pi Zero and camera drive a receipt printer, all housed in a 3D-printed case with the guts of a power bank providing juice. Press the button, wait a beat, and out slides your photo on thermal paper. No film cartridges to buy, no wondering if you loaded it correctly, no accidentally exposing your entire pack to light.

Does the image quality match a real Polaroid? Not even close. The photos aren’t the same quality as self-developing film, but they have some charm to them. You get a not-very-good grayscale image on curly paper. But that’s kind of the point. The beauty of instant photography was never really about pristine resolution. It was about immediacy, about physicality, about having something tangible to pin on your wall or slip into someone’s hand.

This project lives in that sweet spot between nostalgia and practicality. Thermal paper might fade over time and the images might look like they came from a 1990s fax machine, but you can shoot hundreds of photos without bankrupting yourself. The economics are almost absurd when you compare it to authentic instant film, which has climbed to luxury pricing in recent years.

I love that this exists because it reminds us that the tools we carry don’t always need to be the most advanced or expensive. Sometimes the joy is in the making itself, in cobbling together a Raspberry Pi, a webcam, and a thermal printer to recreate something that used to cost hundreds of dollars and came from a factory. It’s technology as craft project, gadgetry as personal expression.

The curling thermal paper and grainy output might not win photography awards, but they capture something else: the spirit of experimentation that made instant cameras revolutionary in the first place. Edwin Land didn’t perfect the Polaroid overnight. He iterated, tinkered, and eventually changed how we thought about photography. Boxart’s version might use Python code instead of complex chemistry, but the impulse is the same.

What makes this project particularly appealing is its accessibility. The parts are 3D printed and the code is in Python, meaning anyone with basic maker skills can attempt it. You’re not locked into a proprietary ecosystem or dependent on a company that might discontinue your film stock. You own the entire chain of production, from capture to print.

Sure, you could buy cheap instant print cameras from import sites for less money. But where’s the story in that? Where’s the satisfaction of building something yourself, of understanding exactly how it works, of being able to modify and improve it over time? This isn’t just a camera. It’s a statement about what technology can be when we strip away the branding and the markup and the planned obsolescence.

The Poor Man’s Polaroid won’t replace your smartphone camera or even a proper instant camera if image quality is your priority. But it offers something more valuable: proof that with a little ingenuity and some off-the-shelf components, you can recreate the magic of instant photography on your own terms. And sometimes that curly thermal paper printout means more precisely because you built the machine that made it.

The post A Maker Just Built A Polaroid Camera for 100x Cheaper Using Thermal Receipt Paper first appeared on Yanko Design.

Social Security watchdog investigating claims that DOGE engineer copied its databases

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The inspector general's office of the Social Security Administration is investigating allegations of a security breach by a member of the so-called Department of Government Efficiency operation spearheaded by Elon Musk. A whistleblower has claimed that a former software engineer from DOGE said he possessed two databases from the SSA, "Numident" and the "Master Death File." The person reportedly asked for help transferring the databases from a thumb drive "to his personal computer so that he could ‘sanitize’ the data before using it at [the company]," an unnamed government contractor where he is currently employed. Those databases include personal information about more than 500 million living and deceased Americans. 

The Washington Post reported that the whistleblower complaint was filed with the inspector general in January. "When The Post contacted the agency and the company in January, both said they had not heard of the complaint. Both said they subsequently looked into the allegations and did not find evidence to confirm the claims," the publication said. It is unclear why the complaint is now being investigated and neither party offered comment this week for The Post's article. The SSA watchdog informed both members of Congress and the Government Accountability Office of its investigation. 

These allegations follow a different whistleblower complaint filed last August about DOGE access and mishandling of data from the SSA. Charles Borges, former chief data officer at the agency, claimed that a SSA database was stored in an unsecured cloud environment. "This is absolutely the worst-case scenario," Borges told The Post of the latest claims. "There could be one or a million copies of it, and we will never know now."

This article originally appeared on Engadget at https://www.engadget.com/cybersecurity/social-security-watchdog-investigating-claims-that-doge-engineer-copied-its-databases-212722061.html?src=rss

Nintendo Patented a Dual-Screen Switch and Never Made It. Here’s What It Looked Like.

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Nintendo had a choice when designing the Switch 2. They could iterate on the formula that made the original a cultural phenomenon, refining the single-screen hybrid into a faster, sharper, better version of itself. Or they could reach back into their own history, pull out the design philosophy that once made the DS family the best-selling handheld hardware line of all time, and merge two eras of thinking into something genuinely new. They picked the first path. Designer Juan Manuel Guerrero just sketched out the second.

The concept arrives as a series of beautifully lit 3D renders: a folding Nintendo Switch with dual screens, a hinge running through the center of the body, and Joy-Cons in the familiar blue-red split attached to either end. The renders carry the finish of product photography, which makes it genuinely easy to forget this never shipped. Closed, it looks like a sleek, pocket-ready device with a tighter footprint than the original Switch. Open, it recalls something older and warmer, the quiet satisfaction of flipping a DS open on a long car ride, except now the screens are large, the controllers are proper, and the whole thing feels built for today. The proportions are deliberate, the design choices are considered, and the whole thing wears its Nintendo identity without apology.

Designer: Juan Manuel Guerrero

The Nintendo DS sat at 154.02 million lifetime units for years, the gold standard for Nintendo hardware, until the Switch finally crept past it in early 2026 with 155.37 million. Two hardware generations, both cultural touchstones, separated by fewer than two million units across a combined history of roughly three decades. The closeness of that race matters. The DS built those numbers on a genuine design idea, a spatial logic where two screens gave developers room for two distinct kinds of information at once, and players responded to that for fifteen years. Guerrero’s concept asks whether the Switch era ever had to leave that behind.

Phantom Hourglass let you draw on the bottom screen to annotate your own maps and solve puzzles, an idea original enough to win awards at the time. Pokemon Diamond and Pearl split the party menu from the battlefield, giving battles a spatial clarity the GBA never had room for. GTA: Chinatown Wars ran the full city map on the lower display and handed the top panel entirely to the action. These were designs built entirely around the format, dependent on the split in a way that made them fall apart on a single screen. That vocabulary has been sitting idle for the better part of a decade.

Samsung’s Galaxy Z Fold 6 runs a 7.6-inch interior display and represents the sixth generation of the company working foldable hardware into something genuinely reliable. Motorola, OnePlus, Google, and Huawei all have competitive entries in the space. Display durability and hinge reliability have been largely solved through successive product generations and real commercial pressure. A dual-screen Switch in 2025 wouldn’t be asking anyone to invent something new; the foldable category has already done the hard engineering work. Guerrero’s concept asks someone to point that already-mature technology at a gaming audience.

The DS touchscreen read as a toy gimmick in 2004. The Wii’s motion controls got laughed at before that console sold 101 million units. The Switch itself looked like a confused category play until it climbed past 155 million units and became Nintendo’s best-selling platform ever. That history of moves that look sideways before they land is the context Guerrero’s concept actually lives in. The foldable technology exists, the Joy-Con design language holds across both halves of the fold, and the IP is coherent. Someone drew it. Now it’s genuinely difficult to look at the Switch 2 without wondering what the other path could have looked like.

The post Nintendo Patented a Dual-Screen Switch and Never Made It. Here’s What It Looked Like. first appeared on Yanko Design.

Metadata company Gracenote is the latest to sue OpenAI for copyright infringement

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AI companies have been spending a lot of time in court arguing copyright cases over the past year and the latest plaintiff is Gracenote, the metadata company owned by Nielsen. Axios reports that Gracenote is suing OpenAI for the unauthorized and unpaid use of both its metadata and its framework for connecting that information.

Gracenote specializes in entertainment metadata, creating descriptions and identifiers for content that clients such as TV providers use to help their own customers with discovery. Most of the lawsuits against AI businesses have focused on the content used to train LLMs, but the Gracenote case brings an extra layer with the alleged infringement of the structure or sequence for a dataset in addition to the actual data. 

"Defendants could have paid Gracenote to license its valuable Gracenote Data. Or they could have sought to train and ground their models only on information in the public domain. They did neither. Defendants instead improperly copied and used Gracenote Data to create their own commercially valuable AI products, all without paying a dime," the complaint states. The company claims that its previous attempts to work with OpenAI for a licensing agreement were rebuffed or ignored. Gracenote has recently inked deals to back AI ventures from other companies, including Samsung and Google.

This article originally appeared on Engadget at https://www.engadget.com/ai/metadata-company-gracenote-is-the-latest-to-sue-openai-for-copyright-infringement-200347812.html?src=rss

Rokid’s Smart Glasses Let You Pick Your AI: Gemini or ChatGPT

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Most wearable tech that puts an AI assistant in your ear assumes you want only theirs. The earpiece, the speaker, the entire software stack, all funneled through one model chosen for you before you even open the box. Rokid’s latest update to the AI Glasses Style takes a different position entirely, turning the glasses into what is effectively an open platform where you pick the brain behind the voice.

The update makes the Style the first smart glasses to natively support Google’s Gemini, sitting alongside OpenAI’s ChatGPT, DeepSeek, and Alibaba’s Qwen in a unified interface. Users toggle between them freely, which means reaching for Gemini for a quick Google Maps query and switching to ChatGPT for something else entirely is up to you.

Designer: Rokid

The glasses themselves debuted at CES 2026 in January, and the hardware makes a reasonable case for the category. At 38.5 grams, with a TR90 frame and titanium alloy hinges, they sit closer to a regular pair of prescription glasses than anything resembling a prototype. The frame takes prescription lenses directly, with a fitting service starting at $79, including photochromic options in over 200 colors that darken within 25 seconds.

Powering the AI and imaging workload is a dual-chip setup: an NXP RT600 handles always-on, low-power tasks, while a Qualcomm AR1 manages heavier processing. The same Qualcomm chip is in Meta’s Ray-Ban glasses, though the battery life here runs to 12 hours, noticeably longer than Meta’s. A 12MP Sony-sensor camera sits at the bridge, capturing 4K stills and 3K 30fps video with up to 10 minutes of continuous recording. A privacy indicator light signals to people nearby when the camera is active.

Audio comes through directional AAC speakers built into the temples, focused toward the ears with minimal bleed. The AI interaction itself works through a two-finger tap to summon any of the four models, head gestures for call management, and voice prompts in 12 supported languages. Real-time translation, navigation, photo recognition, and AI-generated meeting summaries are all part of the feature set, fed through whichever model the user has selected.

For anyone already oriented around a specific AI assistant, the practical appeal is straightforward. Someone in Google’s ecosystem gets Gemini in their glasses without compromise; someone who prefers ChatGPT for writing picks that instead. At $299 to start, with a lens fitting service folding in prescription and photochromic options, the Style has cleared 15,000 units sold ahead of its formal global rollout, which is a reasonable early signal for a category still working out what it wants to be.

The post Rokid’s Smart Glasses Let You Pick Your AI: Gemini or ChatGPT first appeared on Yanko Design.

Epic is increasing the price of Fortnite’s V-Bucks currency

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The real world price of impulse-buying Fortnite skins is going up, Epic has announced. Not because skins themselves are getting more expensive on paper, but because V-Bucks, Fortnite's digital currency, is. The same prices you paid for bundles of V-Bucks in February will now effectively earn you fewer bucks starting on March 19, along with several other Fortnite-related pricing changes.

Epic will still offer bundles of V-Bucks starting at $8.99 and running all the way to $89.99, but with a new "conversion rate.” The new bundle prices breakdown as follows:

  • $8.99 will get you 800 V-Bucks, down from 1,000 V-Bucks

  • $22.99 will get you 2,400 V-Bucks, down from 2,800 V-Bucks

  • $36.99 will get you 4,500 V-Bucks, down from 5,000 V-Bucks

  • $89.99 will get you 12,500 V-Bucks, down from 13,500 V-Bucks

On top of those changes, the cost of Epic's "Exact Amount Pack," which lets you buy the exact amount of V-Bucks necessary to complete a specific purchase, is changing from around $0.50 for 50 V-Bucks to $0.99 for 50 V-Bucks. 

These new prices for V-Bucks are US-specific and will vary in other regions. They're also not entirely representative of the value Epic is offering with each purchase. As part of the company's Epic Rewards program, you get 20 percent back on purchases made in Fortnite, Fall Guys and Rocket League when you use the Epic Games Store or Epic's payment system on Android, iOS, PC or the web. That means you can receive anywhere from $1.79 (for 800 V-Bucks) to $17.99 (for 12,500 V-Bucks) to spend in Fortnite or the Epic Games Store when you use the company's payment system.

Changes to the value of V-Bucks are also impacting Fortnite's various passes. The standard Battle Pass will now cost 800 V-Bucks and award 800 V-Bucks, down from its previous price of 1,000 V-Bucks. Meanwhile, the price of the OG Pass (for Fortnite's throwback game mode) is lowering from 1,000 V-Bucks to 800 V-Bucks, and both the Music and Lego Passes are going from costing 1,400 V-Bucks to 1,200 V-Bucks. For any subscribers to Fortnite Crew, Fortnite's monthly subscription service, your monthly stipend of the digital currency is also shrinking from 1,000 V-Bucks to 800 V-Bucks.

Epic claims that it's making all of these changes because "the cost of running Fortnite has gone up a lot" and raising prices helps pay the bills, but the company is also in a much better position to make money on every transaction that happens in the game. In securing largely favorable outcomes in its lawsuits against Apple and Google, Epic now has a way to point users to its payment system on iOS and Android (all the better to avoid app store fees), and its won major concessions that seem poised to reshape how app store economies work.

This article originally appeared on Engadget at https://www.engadget.com/gaming/epic-is-increasing-the-price-of-fortnites-v-bucks-currency-185800744.html?src=rss

Amazon wins a temporary injunction against Perplexity’s Comet browser

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Amazon has secured a temporary win in its fight with Perplexity over the use of AI shopping bots. Bloomberg reported that a San Francisco federal court has determined that Perplexity must stop using its Comet web browser's AI agent to make purchases for users on Amazon's marketplace. The AI company will have a week to appeal the decision, otherwise it has been ordered to stop accessing any password-protected areas of Amazon's systems and destroy its copies of Amazon's data while the two companies continue to argue their cases.  

"Amazon has provided strong evidence that Perplexity, through its Comet browser, accesses with the Amazon user's permission but without authorization by Amazon, the user's password-protected account," District Judge Maxine Chesney wrote in placing the temporary block.

"The preliminary injunction will prevent Perplexity’s unauthorized access to the Amazon store and is an important step in maintaining a trusted shopping experience for Amazon customers," an Amazon spokesperson told Bloomberg.

Amazon sent a cease-and-desist letter to Perplexity over the AI company's shopping bots in November. According to Amazon, use of the Comet agent to make purchases is a violation of its terms of service. "Perplexity will continue to fight for the right of internet users to choose whatever AI they want," a representative from Perplexity said of this week's decision.

This article originally appeared on Engadget at https://www.engadget.com/ai/amazon-wins-a-temporary-injunction-against-perplexitys-comet-browser-184000462.html?src=rss

Wordle’s creator is back with a new game, and it’s a real chin scratcher

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Josh Wardle had a hell of a tough act to follow. His last game, Wordle, became incredibly popular thanks to its blend of simplicity, clarity and shareability. Over four years (and a seven-figure sale of Wordle to The New York Times) later, Wardle has released his follow-up game. 

Like Wordle and its myriad clones, Parseword offers up one puzzle per day. It taps into the mechanics of cryptic crossword clues. So it might ask you to replace one of the words with a synonym, reverse it or find a homophone. You may need to remove letters from a word or combine it with another one to find the answer. There’s a tutorial to help you get to grips with things and hints are available. 

Wardle told The New Yorker he was inspired by The Last of Us showrunner Craig Mazin, who he heard discuss the logic behind cryptics on a podcast. Wardle brought in two friends, Chris Dary and Matt Lee, whom he worked with at Reddit to collaborate on the new game. They received permission to use clues from long-time cryptic constructors Emily Cox and Henry Rathvon. 

After playing the tutorial and today's puzzle, it seems you may need to be wired in a certain way to play Parseword. It’s certainly less approachable than Wordle. At first glance, it’s hard to see this reaching the same kind of mass appeal as Wardle’s previous game. (Fittingly enough, Parseword feels like a game geared toward New Yorker readers.)

Of course, countless other casual daily games that aim to replicate the success of Wordle have popped up over the last few years, from Quordle, Bracket City and Framed to the Times’ own Connections, Strands and Pips. Catfishing, which asks you to guess Wikipedia article subjects based on their categories, is a new favorite of mine. I still miss the original Heardle, though.


This article originally appeared on Engadget at https://www.engadget.com/gaming/wordles-creator-is-back-with-a-new-game-and-its-a-real-chin-scratcher-182639801.html?src=rss

Here’s the final trailer for The Super Mario Galaxy Movie

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The Super Mario Galaxy Movie is nearly upon us, as the hotly-anticipated sequel arrives in theaters on April 1. Nintendo recently dropped the final trailer for the film, which is filled with quick visual gags and nods to the source material.

There aren't too many actual reveals in this footage, as it covers a lot of the same ground as previous trailers. However, it does show that fan favorite Lumalee is returning as a prison guard of some sort, reversing the storyline from the original film in which the cheerfully nihilistic creature was trapped in a cage.

Nintendo also released a larger presentation that featured the aforementioned trailer, but also included interviews with actors and franchise creator Shigeru Miyamoto. We did get some news in this video.

It was revealed that the long-tongued dinosaur Yoshi will be voiced by Donald Glover. So it's likely the dino will be saying a lot more than "Yoshi" over and over. Actor Luis Guzman will also be playing Wart, the primary antagonist from Super Mario Bros. 2. Issa Rae will be on hand to voice Honey Queen, the gigantic bee character from the Super Mario Galaxy games.

It was even confirmed by lead actors Chris Pratt and Charlie Day that Luigi would be on hand for the entire adventure this time, and not confined to a cage-based subplot. I didn't realize Luigi's role in the first film was enough of a controversy to warrant this kind of mention, but here we are.

Illumination CEO Chris Meledandri also appeared in the video, assuring viewers that there are still "some big surprises" waiting in the actual film. To that end, there's been a rumor floating around that Fox McCloud from the Starfox franchise would be showing up. Is this the start of a Nintendo cinematic universe that will culminate in 10 years with a Super Smash Bros. movie? Stranger things have happened.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/heres-the-final-trailer-for-the-super-mario-galaxy-movie-181819593.html?src=rss