A 3-Part Titanium Rescue Whistle That Combines Into a 120dB Siren

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Most emergency gear has a problem that rarely gets discussed: people don’t actually carry it. A multi-tool left in a drawer or a whistle packed inside a bag at home might as well not exist. Rescue whistles, in particular, haven’t changed much over the years. They’re usually afterthoughts, built to make noise rather than to be trusted or carried without a second thought.

TriReso is Spark Cube’s answer to that problem. Rather than building a louder whistle, the team spent nearly two years designing a three-module system that borrows from the acoustic logic of emergency sirens: irregular, shifting frequencies that are harder for the human brain to ignore. Volume matters, of course, but the real focus is a signal that people actually hear, recognize, and can locate under pressure.

Designer: Spark Cube

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Each of TriReso’s three modules is a fully functional whistle tuned to a different frequency. The Power Chamber sits at 3,600 Hz and 110 dB, built for open terrain and heavy wind. The Alert Chamber pushes up to 4,800 Hz at 105 dB, sharp enough to cut through crowd noise. The Echo Chamber runs at 3,800 Hz and 100 dB, adding a layered resonance to the combined signal.

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What makes the system interesting is what happens when those modules combine. Snap any two together, and you get one of three dual-chamber configurations, each with its own blended sound profile. Snap all three and TriReso reaches up to 120 dB, producing an irregular, multi-frequency output that shifts the way a siren does, spanning a range from 3,600 to 4,800 Hz.

The assembly is just as considered as the acoustic concept. The modules connect through a triple-lock structure using hidden multi-point magnets and guided alignment grooves that snap them into position quickly and securely. When threaded together on a chain or cord, the lanyard holes also merge, adding another layer of physical retention. It’s a satisfying mechanism that makes switching between modes feel deliberate rather than fussy.

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That modularity opens up something a standard whistle simply can’t do. Since each piece works independently, one TriReso system can be split among up to three people, which is particularly handy for group hikes, trail-running teams, or outdoor families. Instead of everyone carrying a separate whistle, one compact system distributes the coverage without adding meaningful weight or bulk to anyone’s kit.

Reliability was clearly a priority in the build. TriReso uses a pealess design, so there’s no moving ball inside that could freeze, corrode, jam with sand, or swell from moisture. Whether you’re hiking in wet weather, scrambling through dusty terrain, or digging it out of a cold jacket pocket in winter, it doesn’t need warming up. Pick it up, blow, and it works.

The material options are titanium and aluminum, and neither feels like a compromise. Titanium delivers strength, corrosion resistance, and a premium, machined feel, available in sandblasted gray or an optional PVD black finish. Aluminum keeps things lighter, coming in orange by default, with blue and green as options. Both bring the kind of build quality that makes a small tool feel worth keeping for years.

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Each module has a dedicated tritium slot, which means the full system can hold up to three tritium tubes. Tritium produces its own glow for up to 25 years without a battery or charge, which keeps TriReso easy to spot in the dark. It’s a handy feature for something small enough to clip to a keychain, slide onto a backpack strap, or wear as a necklace.

There’s also an optional custom engraving, which turns it into a thoughtful safety gift for a partner, a child, or a friend. It’s a subtle touch that says something about what TriReso is going for: a tool personal enough to keep close, reliable enough to trust when things go wrong, and well-designed enough to actually want to carry every single day.

Click Here to Buy Now: $64 $99 (35% off). Hurry, 63/200 left! Raised over $45,000.

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AirPods Max 2 Finally Get Custom EQ in iOS 27 Beta

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Apple has a playbook for innovation that often involves letting a feature mature elsewhere before adopting it, gift-wrapped, as a profound breakthrough. Widgets appeared on the iPhone long after becoming an Android signature, presented not as a catch-up but as a thoughtful redesign. A calculator app on the iPad took nearly 15 years to become reality. Multitasking came years after Android got it, packaged as Stage Manager. Even the simple act of circling an item to search for it, a trick already familiar on other platforms, is being framed as a new kind of magic. That same playbook is now being run on the AirPods Max 2’s equalizer, a feature that was conspicuously absent when the $549 headphones launched four months ago but has now arrived with the July 14 public beta of iOS 27.

The implementation is classic Apple. The new Equalizer screen is lush and responsive, with an animated waveform that pulses to your music under three simple drag handles: Low, Mid, and High. It feels intuitive, and it looks alive on the screen. This is also a stark contrast to the multi-band or parametric controls that have been standard on flagship headphones from Sony and Bose for years. Just as with Widgets and Stage Manager, Apple has delivered the feature on its own terms and on its own timeline, handing users a beautifully designed tool that prioritizes aesthetic simplicity over the technical depth many owners of a $549 headphone were actually waiting for.

Designer: Apple

That polish, though, also reveals the limit of Apple’s ambition here. Three bands is enough to boost bass, pull back mids, or brighten the top end, but it is still a blunt instrument compared to the multi-band and parametric EQ controls that rivals like Sony and Bose have offered on flagship headphones for years. For casual listeners, that may be perfectly fine. Most people do not want to think in frequencies, Q values, or narrow corrective cuts. They want vocals clearer, bass deeper, and harshness reduced. Apple’s interface serves that audience beautifully.

The problem is that Apple has spent real effort positioning the AirPods Max 2 as a premium audio product for creators, podcasters, and Logic Pro adjacent workflows. In that context, a three-band EQ feels less like a full correction and more like the minimum viable answer to a very public complaint. Reviews at launch repeatedly called out the absence of manual EQ, and this update finally closes that gap. What it does not do is move the AirPods Max 2 into the same conversation as tools built for more serious sound shaping.

That leaves the update in a very Apple place: fashionably late, classically elegant, and strategically simplified. The custom EQ finally gives AirPods Max 2 owners control they should have had from day one, but it also reinforces the company’s longstanding instinct to decide how much control its users really need. For some buyers, this will feel like a thoughtful refinement. For others, especially anyone spending $549 on over-ear headphones with professional aspirations, it may feel like Apple arrived to the party with a beautifully wrapped gift everyone else opened years ago.

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Peckham House Balances Brutalism, Warmth, and Garden Living

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Designing your own home gives you a kind of freedom most architects rarely get. There is no outside client shaping the brief, no fixed set of expectations, and far more room to experiment. But that freedom comes with its own pressure. For Surman Weston directors Tom Surman and Percy Weston, it meant setting the rules themselves and making sure the project lived up to the opportunity.

Peckham House, now occupied by Weston and his family, grew out of that unusual setup. The pair wanted to make the most of a small site without overbuilding it, while also using the project to test ideas that may have been harder to pursue with a conventional client and contractor. More than anything, they wanted the house to feel personal, not overly styled or tied to a single theme, but like a real family home with character, texture, and room to evolve.

Designer: Surman Weston

The site sits between three very different architectural settings in southeast London: a large Brutalist multi-storey car park opposite, a row of Victorian terraces to the south, and a local-authority housing estate to the east. Rather than choosing one of these as the main reference, Surman Weston designed the house to sit somewhere between all three. Its blocky, monolithic form takes cues from the car park, but the facade gradually becomes lighter as it rises, helping reduce the building’s visual impact beside the smaller Victorian homes nearby.

At street level, the brickwork is flat and solid. Above roughly 1.2 metres, the header bricks in the Flemish bond begin stepping back by five millimetres every five courses. The change is subtle at first, but becomes more visible toward the top of the house. By the time the wall reaches the roof terrace, the headers disappear completely, leaving behind an open hit-and-miss brick screen.

The house begins with the weight of a brick block and ends almost like a lattice, making the upper part of the building feel as though it is breaking apart into the sky. The same open brickwork forms the handrail around the roof terrace, allowing plants to grow through it and spill down the facade. Over time, the greenery will soften the house’s strong geometry and make the exterior feel less static.

Inside, Peckham House is arranged around an open-plan kitchen, dining, and living area, with three bedrooms and a bathroom upstairs. Despite the tight site, the architects included three gardens: one at the front, one at the back, and another on the roof. The rooftop garden is hidden from the street and reached through a sliding cork hatch. It includes a greenhouse that can be used for coffee, dining, growing fruit and vegetables, or drying clothes.

The greenhouse also plays a practical role in the way the house is ventilated. During warmer months, it draws hot air upward through the building, supporting passive airflow through the spaces below. What looks like a simple rooftop retreat therefore doubles as part of the home’s environmental strategy.

Developed with engineering studio Structure Workshop, the house is built mainly from timber and Lignacite, a type of blockwork made with recycled aggregate. The choice was partly practical, since it was a familiar construction method that Surman and Weston felt comfortable working with themselves. It also helped reduce the embodied carbon of the building while making use of the thermal mass provided by the blockwork.

Instead of covering these materials up, the architects left much of the structure exposed and allowed it to shape the atmosphere of the interior. The main living area brings together rough blockwork walls, lime plaster, exposed timber joists, and end-grain wood flooring. The floor was made using offcuts from the timber structure above, turning leftover material into one of the most distinctive features of the room.

Elsewhere, a bespoke shelving system made from aluminium profiles adds a lighter, more industrial element, while arched doorways crafted by joiner Tim Gaudin soften the otherwise rectilinear spaces. The same shape appears in reverse in the entrance gate on the front elevation, creating a small visual link between the inside and outside of the house.

Peckham House also includes photovoltaic panels, an air-source heat pump, and a mechanical ventilation heat recovery system. These technologies sit alongside passive strategies already built into the architecture, including the rooftop greenhouse and the thermal mass of the blockwork.

Although Peckham House is not Surman Weston’s first self-build project, it is the studio’s largest. Building it themselves meant they could continue adjusting the design as construction progressed. Details were refined on site, materials were reconsidered, and spaces changed as the pair spent more time inside them.

The process was slower and more stressful than a typical client-led project, but it also gave them a much closer understanding of how the house was coming together. That hands-on quality is visible throughout the finished building. The brickwork is structural, decorative, and responsive to the site. Timber offcuts become flooring, while the greenhouse serves as both a garden room and a ventilation tool.

Peckham House is carefully designed, but it does not feel overly controlled. It is solid without being severe, experimental without trying too hard, and personal without losing touch with its surroundings.

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Xero Cool Is the Anti-Fridge Fridge the Planet Badly Needs

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The refrigerator hasn’t changed much since your grandmother got her first one. Same boxy shape. Same petroleum-based insulation. Same low mechanical hum in the kitchen corner. We’ve updated the handles and slapped smart screens on the doors. But the fundamental architecture of how we keep food cold? Basically frozen in time since the early twentieth century, when the appliance was first marketed as a symbol of status and food safety, pitched at what designers of the era apparently called anxious mothers. Then Audrey Levy went ahead and grew one from bacteria. Literally.

Levy’s Xero Cool, developed as part of her MA Biodesign degree at Central Saint Martins and completed in 2026, is one of those rare design objects that makes you genuinely stop and reconsider what a household appliance can look and feel like. The exterior is made from bacterial cellulose xerogel paired with felted wool, giving it this organic, cocoon-like form suspended within a structural frame. Below the main body, a fruit bowl extends storage downward, quietly nudging you toward keeping some things at room temperature rather than defaulting to refrigerating everything out of habit. It does not look like a fridge. It looks like something that belongs in a gallery, or possibly a forest. And I mean that as the highest compliment.

Designer: Audrey Levy

Levy made the xerogel herself in the CSM Grow Lab using non-toxic, largely food-safe ingredients, which is a stark contrast to the expanded plastic foams and synthetic refrigerants that line most conventional appliances. Inside, macrofluidic panels circulate cooled water to draw away heat while protecting the absorbent wool and xerogel from direct contact with food. The system has no moving parts, meaning it operates almost silently and with far less mechanical complexity than a standard compressor-based fridge. Based on recent scientific research, Levy believes it can ultimately be built entirely from bio-based ingredients, with activated carbon and ethanol serving as the absorbent and refrigerant.

If that all sounds niche, the bigger numbers are anything but. Levy told Dezeen that “researching refrigeration became a surprisingly radicalising experience,” and once you sit with why, it is genuinely hard to brush off. Refrigeration technology is currently responsible for eight percent of global greenhouse gas emissions, roughly three times the output of the entire aviation industry. The way we manufacture cold, in short, is actively making the planet hotter.

We talk constantly about electric vehicles, fast fashion, and food waste. The refrigerator almost never comes up, probably because it is so embedded in domestic life that it has become effectively invisible. It sits there humming in the kitchen and nobody questions it. Levy did, and the result is a graduate project that earns the word radical without needing to be loud about it.

A fridge you find beautiful is a fridge you hold onto. That is not a trivial point. One of the most persistent drivers of material waste is the disposability that comes from indifference, and sustainable design struggles when it is joyless or punishing to live with. Xero Cool is neither. It is organic-looking, tactile, nearly silent, and genuinely striking. It treats the kitchen as a space worth caring about aesthetically, not just functionally.

The aesthetic argument Levy makes is also worth sitting with. She observed that the fridge’s “heavy, clunky” and “sterile” look has remained largely unchanged since those early days of marketing it to anxious mothers. Function was always placed above form, and the design simply never got questioned. Xero Cool proposes that both can coexist, and it does so convincingly.

Graduate design projects are often speculative gestures, beautiful ideas that never survive the leap from degree show to production. Whether Xero Cool makes that journey is still an open question. But a graduating student producing something this materially rigorous, this ecologically conscious, and this visually considered is a signal worth paying attention to. The fridge has been boring long enough. Time to let it grow.

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Rezvani Dune is Lamborghini Huracan turned into a desert trail beast on steroids

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What if your supercar didn’t have to stay on the freeway? That’s essentially the notion that Rezvani shatters with an unusual performance machine that adopts the mid-engine character of a Lamborghini Huracán and reimagines it as a vehicle built for desert trails and rough terrain. Instead of lowering a sports car closer to the asphalt, Rezvani has gone in the opposite direction, creating an 800-horsepower off-road machine with the heart of a V10 supercar.

This is the Dune, a trail beast powered by a naturally aspirated 5.2-liter engine mounted behind the cabin. With up to 800 horsepower on tap, it retains the high-revving personality associated with Lamborghini’s V10 powertrain while introducing a very different way to experience it. Rather than keeping all that power confined to smooth roads and racetracks, the Dune is designed to take it into places where a conventional supercar would struggle to go. Sure, there is the Lamborghini Huracán Sterrato, but this one is an altogether different beast.

Designer: Rezvani

The biggest visual change here is the body, as Rezvani replaces the sleek proportions of the Huracán with custom carbon-fiber bodywork that gives the vehicle a much more aggressive, rugged personality. The sculpted panels, raised stance, and wide proportions make it look less like a supercar that has been modified for off-road driving and more like an entirely new species of performance vehicle. The increased ride height of 4.5 inches is matched by a suspension setup designed to cope with uneven terrain, while 31-inch mud-terrain tires on 20-inch wheels add to its ability to venture away from paved surfaces. The chassis is fitted with long-travel shocks that soak up the kind of bumps that would leave a traditional supercar scraping its belly. With a 25-degree approach angle and 35-degree departure angle, it’s built to venture off-road without constantly worrying about what’s happening underneath. Skid plates shield the undercarriage, while a roof-mounted snorkel keeps the engine breathing clean air when the trail gets deep.

The usual formula for a supercar is essentially to be more aerodynamic, while off-road vehicles follow a very different philosophy, favoring ground clearance and suspension travel. Dune brings these contrasting ideas together, pairing the drama of a naturally aspirated V10 with the stance and capability expected from a vehicle designed to tackle rough ground. The carbon-fiber construction also helps distinguish the Dune from conventional off-road builds. It keeps the custom bodywork lightweight while giving Rezvani the freedom to dramatically reshape the vehicle’s appearance around the underlying supercar architecture. The result is a design that feels deliberately exaggerated, with the visual aggression to match its substantial power output. Rezvani has respected the Huracan’s interior and kept it the same as the donor car, which is a great compliment to Lamborghini’s design sense.

For the California-based automaker, this off-roading-capable supercar is yet another experiment in pushing familiar automotive formulas into unexpected territory. Only seven examples will ever be made, with each one built as a one-off, making this an ultra-exclusive supercar you’re unlikely to see twice. A refundable $1,500 deposit secures a place in the production queue, although deliveries aren’t expected until 2028. As for the price, Rezvani is keeping that under wraps for now. Previous models have started with donor vehicles and climbed into six-figure territory, so this one is unlikely to come cheap!

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