This Macintosh-Inspired Hub Adds SSD Storage, Ports, Shortcuts, and a Mini Screen: Hands-on at IFA 2026

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Everything on my desk right now is some shade of gray aluminum, and I’m starting to resent it a little. Every dock, every stand, every accessory wants to be a slab of cold metal that photographs well and feels like nothing in your hand. Wokyis clearly misses the old days too, back when computers were made of warm, slightly yellowed plastic that looked friendly instead of expensive. Their newest release, the i5, leans hard into that feeling, right down to the off white shell that actually looks like it wants to sit on your desk rather than intimidate it. It splits into two pieces, a tilted head up top holding a small screen, and a control deck below packed with real, clicky buttons.

That plastic shell isn’t just a style choice, it’s basically the whole argument. Anodized aluminum is sleek, sure, but it’s also cold to the touch and forgettable within a week. This off white finish has warmth to it, the kind that made old Macs feel approachable instead of like expensive jewelry. Underneath the throwback shell, the i5 works as a genuine secondary display for your Mac or laptop, mirroring or extending your desktop, with four shortcut keys for copy, paste, screenshot, and screen lock, plus a central knob that clicks for play and pause and rotates for volume. Wokyis brought the 80Gbps Thunderbolt 5 version to IFA 2026 in Berlin, sitting above the 10Gbps model already selling on their site for $169.99.

Designer: Wokyis

The design lineage here is not subtle, and I mean that as a compliment. That tilted head sitting atop a boxy base is a direct nod to the original Macintosh and its compact successors, the machines that first convinced people a computer could look like a friendly little appliance rather than a beige filing cabinet. Wokyis isn’t the first accessory maker to borrow that silhouette, but the i5 commits harder than most, right down to a boot screen greeting that echoes the smiling Mac startup chime era without actually copying Apple’s own iconography. It’s homage rather than imitation, and it lands because the proportions genuinely feel considered instead of slapped together for nostalgia points.

The screen itself deserves a second look before you touch it, mostly because you can’t. It’s a 5 inch, 1280×720 IPS panel, sharp enough to sit next to a real monitor without embarrassing itself, but it skips touch input entirely. There’s no finger smudging that pretty glass, no accidental taps while you reach for your coffee. You either mirror your main display onto it or extend your desktop across it, treating it like a dedicated spot for a music player, a chat window, or scrolling lyrics while the rest of your screen stays clear. It’s a small, deliberate decision in a market obsessed with adding touch to everything, and it works because the i5 never pretends to be anything other than a second monitor.

The control deck below is where the personality really lives. Four mechanical keys handle copy, paste, screenshot, and screen lock, each one a satisfying, precision click that beats fumbling for a keyboard shortcut. The centerpiece is a chunky red knob that clicks down for play and pause, then rotates like a volume dial, doing the job of two separate controls without adding a second component. It’s tactile in a way that most modern hubs never bother with, and it turns a boring task like adjusting volume into something you almost look forward to doing.

Connectivity is where the i5 earns its keep as an actual workstation rather than a desk toy. The 10Gbps model packs an M.2 NVMe slot good for up to 8TB, four USB-A ports, a USB-C port, simultaneous SD and microSD readers, a 3.5mm audio jack, and HDMI-in, all wrapped around a body that measures 145 by 131 by 154mm. The new 80Gbps Thunderbolt 5 variant shown at IFA presumably pushes that bandwidth ceiling considerably higher, though Wokyis hasn’t published pricing or a ship date for it yet.

I like that Wokyis is betting on plastic when everyone else is betting on metal, and I like it more that the bet actually pays off in how the thing feels to use. The i5 won’t replace your monitor and it isn’t trying to. It just wants to sit there, warm and a little goofy, doing real work while looking like it walked out of 1984. That’s a good trade.

The post This Macintosh-Inspired Hub Adds SSD Storage, Ports, Shortcuts, and a Mini Screen: Hands-on at IFA 2026 first appeared on Yanko Design.

Fresh Plant Milk and Tofu From Scratch? Nuvell’s Tabletop Kitchen Appliance Does Both: Hands-on at IFA 2026

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I will admit it outright, I have never once thought about how tofu gets made, the same way most people never think about how gasoline gets made, it is just there, cold and vaguely virtuous in the produce aisle. Roy Chou, brand director at a young company called Nuvell, wants to change that, one countertop machine at a time. At IFA Berlin 2026, his team unveiled the Plantein, built like a superautomatic espresso machine, dial and touchscreen included, except it turns soybeans into warm, fresh tofu in about forty minutes instead of a shot. It also whips up plant milk from oats, almonds, or soy in roughly twenty, no soaking. Chou walked me through it like a proud parent, and I genuinely wanted one on my counter by the end.

The mechanics are simpler than they sound, soybeans and water go in one side, a natural coagulant Chou described as an ocean derived salt goes in too, and heat and pressure do the rest. That coagulant is almost certainly nigari, the traditional Japanese setting agent, which explains why Chou insisted the texture comes out cleaner and sweeter than gypsum set blocks. Firmness gets dialed in by extending the cycle, and Chou hinted at flavored versions already tested in-house, a matcha batch and a berry one meant for dessert. Pre-orders open at CES 2027, with a price tag within the $1000-$1300 range, according to Chou.

Designer: Nuvell

The Plantein wears a brushed stainless front over a matte black chassis, one knurled aluminum dial on its cheek, a small touchscreen up top, and a mug parked on a warming plate exactly where a cappuccino would sit. A swing arm lever holds the press module over a slotted drip tray, and the whole assembly detaches for cleaning the way a portafilter does. It is a smart borrow, since home tofu making has always meant cloth, a mold, and a stack of cookbooks, not an appliance anyone photographed. Leaning on Jura and Breville’s design language buys instant kitchen credibility, even if the guts underneath do something completely unrelated to coffee.

Where Chou got genuinely animated was flavor. He described testing a matcha batch and a ginger and berry version meant to be eaten as dessert, which tracks with how tofu already behaves across Asia, where silken curds get blended into smoothies and sweetened into douhua rather than treated as a meat substitute. That framing does more marketing work than anything else Nuvell said at the booth, since most Western buyers only know tofu as the bland cube used in stir fries and to make plant bacon. It’s only in the past few years that Food YouTubers have extolled the virtues of blending silken tofus to make low-carb high-protein pasta sauces or dessert mousses.

Fully automatic bean to block tofu machines already exist, they just live in commercial kitchens and food plants, built at fifty liter scale for canteens rather than countertops. What Nuvell is actually pulling off, and it is a genuinely new trick, is shrinking that whole process down into something that fits next to your coffee grinder. Pre-orders open at CES in Las Vegas this coming January, with units shipping around February, so the wait is short enough to actually stay excited for. If Chou’s numbers hold, forty minutes for warm tofu and twenty for plant milk turns a genuinely tedious kitchen chore into something you queue up before a shower. I am already thinking about what a matcha version tastes like on toast, and that is a very good sign for a machine that has not even shipped yet.

The post Fresh Plant Milk and Tofu From Scratch? Nuvell’s Tabletop Kitchen Appliance Does Both: Hands-on at IFA 2026 first appeared on Yanko Design.

5 Lamps Designed for Homes That Don’t Have Room for a Regular Light Fixture

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Lighting has evolved beyond basic illumination and has become a flexible, interactive element in modern spaces. As interiors become more compact and multifunctional, designers are prioritizing lightweight, adaptive solutions that respond to changing needs and enhance usability and atmosphere without adding visual or physical heaviness.

For contemporary users, especially Gen Z, lighting is expected to be portable, customizable, and sustainable. This shift is encouraging innovation in materials and systems, allowing lighting to function as a practical necessity and a design feature that supports emotional comfort, spatial clarity, and a more conscious approach to everyday living.

1. Inflatable and Programmable Lighting for Dynamic Use

Lighting design is increasingly focused on flexibility, with solutions that can be easily transported, installed, and reconfigured across different environments. Lightweight construction allows fixtures to adapt to spatial changes, making them suitable for compact homes, creative studios, and temporary setups where mobility and ease of use are essential.

Programmable features further enhance adaptability by enabling control over brightness, color, and ambiance. These systems allow users to tailor lighting to specific activities or moods, ensuring a personalized experience. The combination of physical flexibility and digital control reflects a shift toward responsive, user-centered lighting environments.

ColorPipes introduces a new approach to film lighting by combining lightweight construction with high-performance output. Designed for filmmakers and content creators, these inflatable lighting systems address common challenges associated with traditional setups, such as heavy equipment, complex installation, and limited mobility. Their compact, air-filled structure allows for easy transport and quick deployment, making them especially suitable for dynamic shooting environments and remote locations. Despite their minimal weight, they deliver strong, consistent illumination, enabling professional-quality results without the logistical burden typically associated with conventional lighting rigs.

Equipped with advanced RGBWW technology, ColorPipes offers precise control over color and brightness, allowing creators to shift seamlessly between functional lighting and expressive visual effects. Their durable, waterproof construction ensures reliable performance across varied conditions, including outdoor and wet environments. Wireless control options further enhance usability, enabling real-time adjustments during shoots. With an efficient power-to-weight ratio and fast setup, these systems streamline production workflows while maintaining creative flexibility, redefining how lighting is used in modern visual storytelling.

2. Gravity-Shaped Forms and Material Efficiency

Designers are exploring how natural forces such as gravity can influence the form of lighting objects, reducing reliance on rigid structures and excess materials. This approach allows materials to behave more freely, resulting in softer, more organic shapes that feel natural within contemporary interior environments.

By embracing material efficiency, these designs minimize waste while maintaining structural integrity and visual appeal. The outcome is lighting that feels intuitive and balanced, reflecting a broader movement toward sustainable design practices that prioritize resource optimization without compromising on aesthetic or functional quality.

The Tote lighting piece, designed by Rhea Mehta, redefines how form and function interact in contemporary lighting design. The design allows gravity and internal elements to shape its appearance. A woven metal form encloses glowing glass orbs that both emit light and influence the structure’s fluid silhouette. This results in a dynamic object that feels soft and fabric-like, despite its metallic construction. The absence of visible industrial components such as exposed wires or fixtures enhances its sculptural quality, making the light appear seamless and almost illusory.

The design emphasizes craftsmanship and innovation through a concealed cable system that powers the orbs without disrupting the visual integrity. Each component, including the frame, the woven structure, and the glass elements, functions independently while forming a cohesive whole. The adaptable form allows the piece to shift between different lighting typologies, including pendant, table, or pedestal use. By combining high-quality materials with precise engineering, the design achieves aesthetic refinement and functional performance, presenting lighting as an expressive and evolving object rather than a static fixture.

3. Responsive and Autonomous Lighting Experiences

Lighting systems are becoming more intelligent, incorporating sensors and smart technologies that allow them to respond to user presence and environmental changes. These systems adjust automatically, reducing the need for manual control and creating spaces that feel more intuitive and comfortable for everyday use.

This responsiveness enhances both convenience and energy efficiency, as lighting operates only when required and adapts in real time. Such systems transform lighting into an active participant within a space, improving functionality while supporting a seamless and effortless user experience.

Artificial lighting has traditionally followed a fixed logic, installed in one place, requiring users to adapt around it. However, growing awareness of how light influences mood, sleep, and well-being is pushing designers to rethink its role. Ivana Nedeljkovska explores this shift through the conceptual Flying Moon & Sun, a lighting system that moves with the user rather than remaining static. Inspired by natural cycles, the design proposes a levitating, responsive light that adjusts its position and tone to suit human needs, offering a more intuitive and human-centered approach to illumination.

The concept features two floating glass orbs, one warm-toned and one cool, representing the sun and moon, each aligned with different phases of daily activity. Using magnetic levitation, the orbs hover above a base, reinforcing the idea of mobility and detachment from fixed placement. Designed to support circadian rhythms, the lighting transitions between energizing and calming effects. This adaptive movement also enhances accessibility, particularly for users who benefit from responsive environments. By removing controls and focusing on behavior, the design uses lighting as a supportive, almost natural presence within everyday life.

4. Integrating Architectural Lighting Elements

Lighting is increasingly being integrated into architectural components, moving beyond standalone fixtures. Walls, ceilings, and structural surfaces are designed to incorporate illumination, creating cohesive environments where light becomes an inherent part of the built form.

This integration enhances spatial depth and visual continuity, allowing designers to create cleaner and more unified interiors. By merging light with architecture, spaces achieve a refined aesthetic where illumination supports function and the overall design language without visual clutter.

The illuminated brick system, developed by Omar Gandhi Architects in collaboration with Filo Timo and Aaline, reimagines the concept of wall-mounted lighting. These lights are embedded directly within masonry walls, becoming part of the structure itself. Designed to integrate seamlessly during construction, the units resemble standard bricks and blend into the wall when switched off. This approach eliminates the visual disconnect often seen with conventional wall lamps, creating a more cohesive and architectural lighting solution.

Constructed with a durable metal frame, the illuminated bricks are designed to support surrounding masonry while housing a concealed light source. A mesh covering diffuses the light, producing a soft, warm glow that subtly enhances the ambiance. Available in multiple finishes to match different wall tones, they can be used in interior and exterior settings.

5. Biological and Sustainable Lighting Materials

The shift toward sustainability is driving the use of renewable and biodegradable materials in lighting design. These materials reduce environmental impact while supporting the development of products that align with circular design principles and long-term ecological responsibility.

By considering the entire lifecycle of lighting products, designers are creating solutions that are functional and environmentally conscious. This approach reflects a growing demand for sustainable living, where lighting contributes not only to comfort and usability but also to responsible resource management.

The Mycelium pendant lamps by Sebastian Cox, developed in collaboration with Ninela Ivanova, introduce a radically sustainable approach to lighting design. These lamps are grown using mycelium, the root-like structure of fungi, combined with willow wood. The process creates a natural composite material that is biodegradable, low-impact, and free from synthetic binders. Each lamp develops its own form and texture during growth, resulting in unique pieces that embrace irregularity and natural variation rather than uniformity.

The production process involves weaving thin strips of willow into molds and introducing a specific fungus that binds the material over several weeks. As the mycelium grows, it fuses the wood into a stable structure, eliminating the need for glue or industrial processing. Once fully formed, the lamp is removed and fitted with minimal electrical components. This method highlights a shift toward regenerative design, where materials are cultivated and offer a fully compostable and environmentally responsible lighting solution.

As design continues to progress, lighting will play a more dynamic role within interiors. It will adapt to user needs, integrate seamlessly with architecture, and support sustainable practices, demonstrating how thoughtful innovation can transform even the most fundamental elements of design into meaningful experiences.
By combining flexibility, advanced technology, and sustainable materials, lighting systems are evolving into essential components that actively shape how spaces function and feel in everyday life.

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This New Museum in China Packs 12 Pavilions, a Theater, & a Restaurant Under One Rippling Roof

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Suzhou has always known how to make you slow down. The Suzhou Museum of Contemporary Art, completed in 2026 on the edge of Jinji Lake, leans into that instinct entirely. Designed by Bjarke Ingels Group in collaboration with ARTS Group and VIA Inc., the 60,000-square-metre structure doesn’t announce itself with a single bold gesture – it unfolds, pavilion by pavilion, like a sentence you want to keep reading.

The concept reaches back into Suzhou’s centuries-old design vocabulary. The city is synonymous with the classical garden, a typology built on layered views, threshold moments, and the deliberate choreography of movement through space. BIG’s entry point into that language is the ‘lang’ – 廊 – a covered corridor that traditionally traces a path between garden rooms. Twelve interconnected pavilions are unified beneath a continuous, ribbon-like roof whose gentle undulations recall the silhouette of tiled eaves. It’s a translation rather than a quotation, and it lands with precision.

Designer: BIG

Materiality does a significant amount of work here. The façades are clad in rippled, curved glass and warm-toned stainless steel – surfaces that catch light differently across the day and shift the building’s mood with the sky above Jinji Lake. Where traditional garden walls create enclosure to generate intimacy, BIG’s glazed galleries and porticoes create the inverse: transparency that pulls the landscape inside, dissolving the boundary between exhibition and environment. The result is what the practice describes as a Chinese knot – individual pavilions woven together by circulation into a continuous, interconnected whole.

Programmatically, the museum resists the monolith. Four of the twelve pavilions house the primary gallery experience, while the remaining eight accommodate a grand entrance hall, a multifunction space, a theater, a restaurant, and ancillary functions. Visitors arrive at a generous plaza fronting the main entrance before moving inward or drifting outward along walkways that extend directly into the lake. The sequencing feels deliberate – arrival, choice, wandering – mirroring the logic of the classical garden it draws from.

What makes the Suzhou Museum of Contemporary Art worth paying attention to is not the scale, though 60,000 square metres is considerable, or even the formal ingenuity of the ribbon roof. It’s the discipline of restraint. BIG could have imposed. Instead, the practice listened – to the site, to the city’s spatial memory, to the way Suzhou has always understood architecture as something you move ‘through’ rather than simply look ‘at’. That understanding, built across centuries in garden after garden, is alive here on Jinji Lake.

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