Lando Norris’s New LEGO Helmet Is Weirdly Emotional to Build

McLaren just hit 1,000 Grands Prix, which in Formula 1 years is basically ancient royalty status. Only Ferrari has been around longer in this sport, and Ferrari acts like it too. So when a team crosses a milestone like that, you throw a party, you paint a special livery on the car, and apparently, you also get LEGO to build you a commemorative brick helmet with your driver’s face on the box.

That is exactly what happened with Lando Norris’s set, a 793 piece build that packs his signature yellow and black “blob” design (his words, not mine) onto one side of a papaya orange helmet shell. It is McLaren history and Norris’s personal branding smashed together into a display piece, and somehow LEGO made that combination look genuinely good instead of like a marketing fever dream.

Designer: LEGO Design Team, co-created with Lando Norris

What makes this one different from your average licensed tie in set is that Norris was actually in the room for it. This was not LEGO grabbing some reference photos and calling it a day. The drivers worked directly with LEGO’s design team to shape both the Norris helmet and its companion piece for teammate Oscar Piastri, and the real helmets both drivers wore trackside at Monaco were based on the LEGO designs, not the other way around. That is a genuinely rare flex for a toy company. Daniel Meehan, LEGO’s Creative Lead for F1, put it well when he said building organic helmet curves at this scale “presents exciting opportunities for exploring new building techniques and creative parts usage,” which is design speak for “yeah, this was hard and we are proud we pulled it off.”

And they did pull it off. The papaya orange half and the neon yellow squiggle half meet along a seam that somehow still reads as one continuous helmet, not two mismatched shells taped together. Printed tiles handle every sponsor logo along the brow, McLaren, Mastercard, Dropbox, OKX, all sitting exactly where they would on the real thing. The back of the helmet is where the emotional weight lives though. LEGO printed “1.000 GP” and “1963” across the rear in bold anniversary numerals, with a small nod to “Bruce / Mal Est. 1963,” a reference to Bruce McLaren founding the team over sixty years ago. “NEVER STOP RACING” runs along the base of the visor. It is a lot of history packed into a helmet the size of a grapefruit.

My favorite detail, though, is buried in the yellow side paneling where LEGO snuck in a tiny printed minifig head, smiling face and all, hidden right inside Norris’s own design pattern. It is such a small thing, but it is basically LEGO signing its own work, and it tells you the people building this actually cared about more than just slapping a logo on a shelf piece.

The set comes mounted on a black display stand with Norris’s number 1 and a printed signature plaque, plus a minifigure of Norris himself in off track team gear, reportedly the first time he has been rendered as a LEGO minifig. It also plugs into the LEGO Builder app so you can rotate and zoom your progress mid build, which is a nice touch if you like tracking your pit stops digitally.

This helmet drops right after LEGO built ten full size, actually driveable F1 cars for a stunt at last year’s Miami Grand Prix, so the brand’s relationship with the sport is clearly only ramping up. The Lando Norris McLaren Mastercard F1 Team Helmet (set 43023) is available now for $89.99 on LEGO.com and through McLaren’s official store, alongside the matching Oscar Piastri edition if you want the full garage set.

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An Industrial Designer Hid the Chair’s Entire Folding Mechanism Inside the Backrest

Gudmundur Ludvik had a question he couldn’t let go of. Why should a folding chair be a compromise? The answer, for decades, had been accepted without much pushback: folding chairs sacrifice comfort for storage, aesthetics for portability. The category had been quietly settled. Ludvik disagreed.

The Backflip, produced by HAY, is his rebuttal. An Icelandic designer based in Vejle, Denmark, Ludvik trained first as a carpenter and cabinetmaker before studying sculpture at the Icelandic Academy of Arts and furniture design at the Danish Design School, graduating in 2002. That layered background — craft, art, design — shows in the Backflip. The chair doesn’t announce its ingenuity. It keeps it entirely to itself.

Designer: Gudmundur Ludvik

The defining feature is a folding mechanism concealed within the backrest. A single rotation collapses the chair in one continuous motion; one hand is all it takes. There are no exposed hinges, no visible hardware, no visual record of the engineering beneath. The mechanism is part of the structure rather than an addition to it, and that distinction is everything. From the front, the Backflip looks like a chair that simply sits well. Which is the point.

Ludvik’s stated ambition was to approach the folding chair typology from the opposite direction: create a good chair first, and a folding chair second. The frame is solid beech wood, lacquered, with a moulded plywood backrest. The profile is clean and unhurried, shaped by the logic of material and construction rather than any impulse toward decoration. Available in natural beech across a range of coloured finishes, it translates across private dining rooms and public hospitality interiors without trying too hard in either direction.

HAY also offers a matching wall bracket, designed to hold one or two folded Backflip chairs flush against any wall. It’s a satisfying extension of the concept: a chair that folds becomes genuinely space-saving only when storage itself is resolved. The bracket completes that thought without making a fuss about it.

The Backflip was previewed at 3 Days of Design in Copenhagen in 2026, where it sat alongside work from Jasper Morrison and Philippe Malouin in HAY’s exhibition at O-Overgaden, a contemporary art institution in Christianshavn. In that company, it held its own, which is a fair measure of how resolved the design feels.

What Ludvik has made is not a clever folding chair. It’s a chair that happens to fold, and the difference is considerable. That the mechanism disappears entirely into the backrest is less a magic trick than a design argument, made quietly, about where the priorities should lie.

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This Foldable A2 Scanner Fits in a Bag and Doubles as a Live Presenter

Scanners haven’t changed much in how they occupy a workspace. A flatbed sits in the middle and claims that real estate whether it’s in use or not. Overhead models are more flexible, but they still tend to take up a fixed spot in any setup. For anyone working from a compact home office or shared studio, that trade-off rarely gets a proper answer.

Joyusing’s ScanMax 320 approaches the problem from a different angle, quite literally. Rather than occupying the center of a workspace, it’s built to sit at the edge of a desk, positioned in the corner while its arm reaches overhead. It handles documents, books, artwork, and large-format materials up to A2 size, without taking over the surface it’s meant to serve.

Designer: JOYUSING

Click Here to Buy Now: $379 $649 (42% off). Hurry, only 32/220 left! Raised over $88,000.

Folded down, the ScanMax 320 measures 355mm x 68mm x 51mm, slim enough to slip into the included carrying bag and move between rooms without any effort. It runs entirely on USB-C power, so getting started means plugging in a single cable. There’s no proprietary adapter to hunt down, no driver installation ritual, and nothing complicated to deal with before the first scan. You can directly use the ScanMax 320 as a live presenter camera, and scanning as well as other advanced features simply require the free Joyusing Scanner intelligence software.

The shooting area extends to a full A2, or 594mm x 420mm, with a 32-megapixel sensor capturing at up to 380 DPI. That covers blueprints, double-page book spreads, large technical drawings, and oversized artwork in a single pass. An intelligent auto-switching system detects whether the material is A2 or A3 and adjusts accordingly, so there’s no manual input needed between sessions.

Overhead scanners tend to have a lighting problem, particularly near edges or when capturing materials that aren’t perfectly flat. The ScanMax 320 uses a rectangular illumination system shaped to match the scanning area, distributing light evenly and keeping shadows from washing out fine detail near the sides. Three brightness levels, at 30%, 70%, and 100%, are accessible with a single touch for quick adjustments in different environments.

Book scanning is where overhead devices tend to earn their keep, and also where they tend to frustrate. Pages curve at the spine, fingers get in the way, and binding shadows creep in from the edges. The ScanMax 320’s software handles most of this automatically, applying auto-flattening, finger removal, de-skewing, and shadow removal without manual adjustment. Book mode, paired with the included finger cots, keeps pages steady for continuous capture.

Once everything is captured, the software’s OCR engine converts printed text into editable, searchable files, with support for 180 languages and export options including Word, PDF, and TXT. A page of Japanese text, a technical report, or a multilingual research paper can go from physical to fully searchable in seconds, turning raw captures into documents you can actually search, copy, and share.

What’s less obvious about the ScanMax 320, and arguably more interesting, is that it also functions as a live visual presenter. Point it at a printed page, a hand-drawn sketch, or a physical object, and the feed goes live to whatever screen or projector it’s connected to. For a teacher going through annotated notes or a designer reviewing a layout with a client, that extra mode earns its place quickly.

Software compatibility covers Windows, macOS, and several Linux distributions including CentOS, Ubuntu, and Debian, though macOS users will find some features limited compared to the Windows version. Everything connects over USB-C, keeping the setup free of dongles and extra cables. Built-in annotation tools allow for direct markup of scanned content, which makes it easier to prepare materials before presenting or sharing them.

There’s something refreshingly considered about a scanner built to work with your desk rather than on top of it. The ScanMax 320 doesn’t ask you to clear space or rearrange anything. It folds, parks at the edge, and gets on with the job. Whether you’re archiving a collection, digitizing a sketchbook, or presenting something in a meeting, the fact that it stays in its corner is, in itself, the point.

Click Here to Buy Now: $379 $649 (42% off). Hurry, only 32/220 left! Raised over $88,000.

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This Korean Hat Was Always Meant to Be a Lamp and Finally Became One

The gat is one of the more distinctive objects in Korean material culture. Woven from horsehair and bamboo and worn by scholars and noblemen during the Joseon Dynasty, it communicates social standing through form alone. Its silhouette, a tall cylindrical crown on a flat, wide brim, is immediately recognizable. What that shape might become in a different time is a question the GAT lamp was designed to answer.

The lamp takes its name and form from the gat, guided by the concept of Ongojisin, a Confucian idea about discovering new value through tradition rather than reproducing it. The central body replicates the gat’s tall crown, covered in fine horizontal ridging that echoes the woven texture of traditional horsehair. The broad disc below re-creates the brim as a gently expanding, dish-like volume.

Designer: SAQ Design

Ongojisin is usually translated as “warming the old to know the new.” The product title treats that not as a passive historical sentiment but as an active design instruction. Rather than styling a lamp to look vaguely traditional, the GAT takes the gat’s actual structure and recomposes it into a functioning lighting object, keeping every proportion and surface detail connected to a specific precedent.

The interior of the crown carries a lattice pattern drawn from traditional Korean window screens, invisible in ordinary light. Switched on, warm amber filters through the ribbed surface much as it once moved through hanji paper, producing the same quality of diffused, indirect glow that gave candlelit rooms their particular atmosphere. Off, the lamp holds its form as a sculptural object without needing to perform.

The wide disc does more than anchor the form. It serves as a tray, holding rings, earbuds, and whatever accumulates beside a lamp. Combining lighting with surface storage in a single object is uncommon in its category, and the gat’s broad brim is a natural vessel for it. An object worn historically to signal status is repurposed to hold what you put down at the end of the day.

A groove on the underside allows the lamp to mount on a wall. A gat hung on a wall is a familiar image in traditional Korean households; the mounted lamp reproduces that image exactly but as a functioning light. The object becomes what the mounted gat always was: something that signals presence and considered taste in a room without requiring any explanation from its owner.

The lighting module attaches by twisting into place, mirroring how a traditional gat settled on the head: placed, rotated, secured. Multiple units can be stacked together. At no point does the design lose sight of the original. The horizontal ridging, the lattice pattern inside, the brim that becomes a tray, the groove that becomes a wall hook; each element traces back to the form it came from.

A gat was historically placed over a lamp to diffuse its flame; the hat and the light were always paired. The name for what covers a flame and the name for what sits on the head are the same word. The GAT lamp closes that loop, making the act of wearing light not a metaphor but the actual, literal function of the object.

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SonicMax Finally Built a Wireless Cutter That Stays Cool Enough to Use

Ultrasonic cutters have been a genuine revelation for makers. Running at 40,000 vibrations per second, the blade doesn’t force its way through material; it glides, leaving clean, precise edges on foam, leather, plastic, and 3D-printed parts. The SonicMax Slice 10 takes that concept further by going completely cordless and, more importantly, addressing the one frustration that has followed every similar tool: heat.

The appeal of cutting without cords is obvious. What’s less appealing is when the tool becomes too hot to hold, forcing a break every five to 10 minutes. That kind of heat doesn’t just affect the experience; it affects the output, too. Plastic melts unevenly, detailed prints deform at the edges, and cuts that were supposed to be clean end up looking anything but.

Designer: SonicMax

Click Here to Buy Now: $119 $215 (45% off). Hurry, only 80/500 left! Raised over $104,000.

SonicMax addressed this with a redesigned transducer that, according to the company, achieves a quality factor, or Q value, of over 500, compared to around 200 for typical designs. The higher that number, the more energy goes into cutting rather than radiating as heat. It doesn’t make for a flashy headline, but it makes a tangible difference in how long you can actually work without stopping.

The Slice 10 also adjusts in real time as it cuts. Rather than operating at a fixed power level, the system reads resistance from the material and changes its output power and vibration frequency accordingly. This means that whether you’re cutting through a soft piece of EVA foam or pushing through a thicker section of a 3D-printed model, the tool is constantly self-correcting to keep the cut smooth and consistent.

That combination shows up quickly in a working session. Support removal on a detailed 3D print comes out clean instead of tearing. Leather cuts without compression or fraying. Foam and plastic sheet separate with sharp, neat edges. For anyone doing post-processing work on resin or FDM prints, building cosplay armor, or finishing scale models, the improvement is fairly immediate and fairly obvious.

The cordless experience is backed by a 5,000mAh 21700 lithium-ion battery that SonicMax says can deliver up to four hours of cutting on a single charge. What’s more practical, though, is that the cell is user-replaceable. Standard 21700 format means you can carry a spare and swap it out in seconds if needed, essentially extending a session indefinitely without waiting for anything to charge.

For those who’d rather stay plugged in, the Slice 10 supports pass-through charging via USB-C, so you can keep cutting while the battery tops up. A full charge from zero takes roughly 70 minutes, supported by 18W of fast charging. It’s the kind of flexibility that accounts for the reality of a busy workshop, where stopping to wait for a tool to charge isn’t really an option.

Keeping temperatures down is a two-part approach. The redesigned transducer generates less waste heat by design, and a built-in active cooling fan moves whatever heat builds up away from the blade area. There’s also a lift-to-activate sensor that powers the tool on when picked up and shuts it off when set down, quietly helping with both battery life and heat management throughout the session.

Rounding things out is an OLED display showing live battery level, output power, and tool status, so you’re never guessing how much runtime you have left. A built-in LED light illuminates the cut line, especially useful for intricate detail work on small model parts. Overheat protection activates at 80°C motherboard temperature, and the tool shuts itself down after five minutes of idle time.

At 236g and 260.5mm long, it’s light and slim enough for extended use without fatigue. Each unit ships with 10 spare blades, a hex wrench, a blade retaining block, four fastening screws, a dual USB-C cable, and a user manual. SonicMax has built this as a system where thermal management, adaptive control, and battery flexibility serve one consistent goal: more time cutting.

Click Here to Buy Now: $119 $215 (45% off). Hurry, only 80/500 left! Raised over $104,000.

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The $399 Charcoal Grill That Folds Into a Suitcase

If you’ve ever stared down a bulky kettle grill and thought there has to be a better way, Nomad seems to have been listening. Their newest release, the Rodeo Grill & Smoker, looks less like something you’d find at a backyard cookout and more like something a very cool architect would carry through an airport. It’s a full-size charcoal grill and smoker folded into a suitcase footprint, and it’s hard not to be a little captivated by it.

The design concept isn’t new for Nomad. The brand has been making suitcase-style charcoal grills for a while now, but the Rodeo is their most evolved and refined version yet. It’s built from unibody cast aluminum, weighs 22 pounds in its single-grate configuration, and opens up to deliver over 500 square inches of cooking space. That’s enough room for 36 burgers or two full racks of ribs, which is not a small number for something you can carry one-handed. The dual-grate setup is the main unlock here: run both grates for a big cookout, or drop to a single grate for a lighter everyday session at 250-plus square inches. One grill, two configurations. It’s a genuinely smart bit of engineering that doesn’t ask you to overthink it.

Designer: Nomad

Nomad didn’t try to reinvent charcoal cooking with the Rodeo, and I genuinely respect that decision. No Bluetooth thermometer, no companion app, no subscription service hovering in the background. Just charcoal, fire, and flavor, which is a philosophy that’s been working for thousands of years. A built-in analog thermometer lets you monitor temperature without lifting the lid, and four side vents give you precise airflow control whether you’re going hot and fast for a sear or dialing it way down for a long, slow smoke. These are the details that actually matter when you’re cooking something that deserves your full attention.

The material choice also deserves some credit. Cast aluminum handles heat and weather better than the lightweight steel you often find in portable grills. The cooking grates are heavy-gauge stainless steel, and the finish is rated for extreme temperatures, meaning you’re not going to find peeling paint after a season of use. There’s also a solid walnut handle on the exterior, which is a small touch but the kind of small touch that tells you something about a brand’s priorities. Someone made a decision about that handle. It didn’t have to be walnut.

Nomad makes the Rodeo in limited production runs, which is either a deliberate scarcity strategy or simply a reflection of the realities of manufacturing something domestically. Either way, it’s made in the USA, priced at $399, and the first two drops have already sold out. Drop 3 is currently available for preorder with shipping expected in October 2026. The limited-run model does create a certain urgency around it, which works in their favor whether that’s the intention or not.

The $399 price point sits in an interesting spot. It’s not cheap, but for a grill built with this level of material quality and this much design intention, it doesn’t feel unreasonable. The original Nomad Grill & Smoker has nearly 2,400 customer reviews and a 4.9-star average, which is the kind of track record that makes a higher-end purchase feel a lot less risky. The Rodeo builds directly on that lineage with a more integrated design, better heat control, and more cooking space, so the upgrade argument is pretty clear.

Outdoor cooking culture has always had a gear obsession, and the Rodeo fits neatly into that conversation. But it also works just as well for people who simply want to grill well without hauling around equipment that takes up half a garage. It’s portable without being a compromise, and it’s designed well enough that you’d actually want to leave it out on a patio. That combination is rarer than it sounds, and it’s why the Rodeo feels like more than just another portable grill.

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Vietnam Is Building Floating Bamboo Homes Before It’s Too Late

The Mekong Delta has always lived by the rhythms of water. Its rivers rise and fall with the seasons, and the people who call this region home have spent generations learning to move with it rather than against it. But what happens when the water stops being seasonal and starts being permanent? That question sits at the heart of one of the most quietly radical housing concepts to come out of Southeast Asia in recent years: the Floating Bamboo House by Hanoi-based H&P Architects.

The project, also known as Nhà tre nổi, started as a prototype for Vietnamese communities whose lives and livelihoods are tied to the river. The structure is a three-compartment home built from solid-cored bamboo, with pieces ranging from three to six meters in length, joined with latches and ties rather than industrial fasteners. Beneath the floor, a system of plastic drums keeps the whole thing afloat. It sounds almost too simple, which is exactly why it works.

Designer: H&P Architects

The exterior and interior are covered in lightweight materials: compacted bamboo sheets, leaves, perforated iron, and bamboo panels. Doors and panels open and close in ways that reinforce the structure during bad weather, and when skies are clear, the same openings let the house breathe. Two prototypes have been built so far, both in Hanoi province. Neither of them looks like a compromise.

What makes this project feel culturally grounded rather than just architecturally clever is how it draws from Vietnam’s own building history. The open interior mirrors the Rông house, a communal structure used by ethnic minority groups in Vietnam’s Central Highlands, and the Đình pavilion, a longstanding civic gathering space. When the second-floor panels are removed, the home can transform into a classroom, a library, or a meeting hall. The house doesn’t just shelter people. It creates the possibility of community.

It also scales. H&P Architects envision multiple FB Houses eventually forming floating neighborhoods, connected by playing grounds, vegetable-growing rafts, and fish-raising areas. This is not a niche design experiment meant for a magazine spread. It is a serious proposal for how people can continue living with dignity in places the climate is actively reshaping.

Vietnam is one of the countries most exposed to sea-level rise. A predicted one-meter increase would flood nearly half of the Mekong Delta and affect somewhere between 20 and 30 million people. That context reframes everything about this project. Bamboo becomes not just a material choice but a statement about what resilience actually looks like at the scale of everyday life.

I keep coming back to the fact that the most compelling design work right now isn’t coming from luxury firms building dramatic icons for wealthy cities. It’s coming from architects willing to work with local knowledge, accessible materials, and real constraints. H&P Architects didn’t design a vacation house that happens to float. They designed a home that a low-income family can build and maintain, that connects to the land it came from, and that has enough cultural intelligence to feel like it belongs there.

The Floating Bamboo House isn’t trying to be photogenic. But it is. The studio’s own description of the finished structures as “like flowers amidst floating waters” is one of those rare phrases that makes you pause because it actually earns its poetry.

If the broader design world is paying attention, and I think it should be, projects like this are worth more than admiration. They are worth studying, funding, and scaling. The climate conversation in design tends to get stuck on materials certifications and carbon metrics. What H&P Architects is offering is something harder to quantify: a model of living that bends rather than breaks, that takes its cues from the place and the people it was made for, and that treats resilience not as an aesthetic but as a form of care.

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Huawei Pura 90s Pro Max Review: A Beautiful Comeback With Caveats

It has been a long time since I last reviewed a Huawei phone. The last one was the Huawei P50 Pocket Premium Edition. I still remember that phone well because it was genuinely beautiful. It had the kind of design that instantly felt premium, and it reminded me how good Huawei can be when it wants to make a phone stand out.

A lot has changed since then. The P series is now called Pura, but Huawei’s approach to hardware and design still feels very familiar. The company still knows how to make a flagship look different, and in a market where so many phones are starting to blend together, that still matters.

Designer: Huawei

This time around, Huawei is offering the Pura 90s Pro and the Pura 90s Pro Max. What is interesting is that there is no Ultra model in the lineup, unlike before. That means the Pura 90s Pro Max now sits at the top of the range. It also brings back 5G, which makes this release feel a bit more important than just another yearly update.

The Pura 90s Pro Max has all the right flagship ingredients at first glance. Big screen, ambitious cameras, premium build, and fast charging are all here. The question is whether that is enough to make it a great phone overall.

Aesthetics

The Huawei Pura 90s Pro Max carries the now-familiar triangular camera island that has become a signature since Pura 70. It features two black circular cutouts for the ultra-wide and main cameras, along with a larger black circle for the telephoto camera. A pill-shaped LED flash also sits within the module, completing the layout. It is the kind of design detail that makes the phone instantly recognizable from across a table.

Huawei has also put real effort into the color finishes this year. The Pura 90s Pro Max comes in four colors, and two of them stand out immediately because of their dual-tone gradient treatment. The Blaze Purple unit I received pairs a purple upper half with an orangish-pink lower section, matched with a glossy gold frame that adds even more flair. It is bold, but it never tips into looking gaudy. Instead, it still feels polished and premium.

The other standout is Orange Ocean, which arguably takes the two-tone concept even further. It combines light blue at the top with orange at the bottom, while the center transitions smoothly between the two shades. Even the side frame follows the same color story, which makes the overall design feel more cohesive and more intentional. It is the kind of finish that feels playful at first glance, yet refined enough to belong on a flagship.

For those who prefer something safer, Huawei also offers Blush Gold and Graphite Black. These are more traditional options, but that is not necessarily a drawback. Not everyone wants their flagship phone to double as a statement piece. Still, if you are buying a Huawei at this level, the more expressive finishes are where the personality really comes through.

Ergonomics

In hand, the Pura 90s Pro Max feels better balanced than its bold design might suggest. I was unsure at first whether the large triangular camera island would make the phone feel awkward, but in daily use it never really did. If anything, when I held it one-handed in my right hand, the raised module gave my index finger a natural place to rest.

There is a tradeoff, though. When holding the phone horizontally for gaming, the camera island becomes more noticeable and can get in the way a bit. It is not a huge problem, but it stands out more in landscape use than it does during normal day-to-day handling.

The finish also looks better from a distance than it does up close. Both the glossy back panel and the glossy side frame tend to pick up fingerprints and smudges quite easily, so the phone does need regular wiping if you want it to stay looking clean. That is a little disappointing for a device that puts so much emphasis on design.

Huawei has also gone with a side-mounted fingerprint scanner rather than an in-display one. The power button on the right side doubles as the fingerprint reader, and in practice it feels intuitive enough. It is a small detail, but one that fits naturally with the overall handling experience.

Performance

The Pura 90s Pro Max is powered by Huawei’s Kirin 9030S, paired with 12GB of RAM and either 256GB or 512GB of storage. It also supports 5G, which makes it feel more competitive than some of Huawei’s recent flagships. In daily use, the phone feels fast enough. Scrolling is smooth, apps open quickly, and multitasking is handled well. For things like web browsing, social media, messaging, navigation, and streaming, it behaves like a proper flagship.

The bigger question is whether that is enough at this price. Huawei is not really chasing benchmark dominance here, and that may matter more to enthusiasts than to casual users. If all you want is a phone that feels quick and responsive day to day, the Pura 90s Pro Max delivers. If you expect class-leading performance, though, it is less convincing.

The phone runs EMUI 16, and Huawei has spent years building a more workable ecosystem around its devices. The experience today feels much less daunting than it used to, and most of the apps people need can be downloaded easily through GBox, which is now available via Huawei AppGallery.

For me, one of the biggest remaining inconveniences is file sharing across different phone ecosystems. Huawei does offer solutions such as Huawei Share for transferring files to other devices, but the experience still does not feel as seamless or as universal as what you get with iPhones or across the wider Android ecosystem. That becomes especially noticeable if you regularly share photos and videos between phones from different manufacturers.

The display is one of the easiest things to like about the Pura 90s Pro Max. It is a 6.9-inch panel with a resolution of 2880 x 1308 and a refresh rate that scales from 1Hz to 120Hz. It is large, sharp, and well suited to a phone of this size and price.

Huawei says the anti-reflective screen reduces reflections by up to 70 percent compared with conventional glass. It is not as effective as the matte-style display treatment Huawei uses on some of its tablets, but it still makes the screen easier to view outdoors under bright sunlight.

The speaker setup is solid too. The stereo speakers are good enough for videos, games, and casual listening, with enough volume to avoid sounding weak in everyday use. They do not deliver especially rich or powerful sound, but they do the job well and help round out the phone’s media experience.

Cameras remain one of the main reasons to pay attention to Huawei’s flagship phones, and that is still true here. The Pura 90s Pro Max has an ambitious camera setup, even if some of Huawei’s decisions this time feel a little unusual. On paper, it is a system that feels both impressive and slightly puzzling at the same time.

Most notably, Huawei has moved from a 1-inch main sensor to a smaller 1/1.28-inch sensor. That is not entirely unprecedented, and other brands have made similar moves before, but it still feels surprising at this level. The new 50MP main camera uses an RYYB sensor with LOFIC technology, OIS, and a 10-step physical aperture from f/1.4 to f/4.0, though aperture control is limited to Pro mode.

Huawei has also dropped the dual telephoto setup with sensor-shift technology. In its place is a 200MP 4x telephoto camera with a 1/1.28-inch RYYB sensor, an f/2.6 aperture, and OIS. The rear setup is completed by a 40MP ultra-wide camera with an f/2.2 aperture, while the front camera is a 13MP unit.

In actual use, though, the cameras are excellent. The main and telephoto cameras are the standouts, but the ultra-wide and front cameras are also very good. Colors are generally accurate thanks to Huawei’s True-to-Color Camera system, although the XMAGE Vivid profile can look a little oversaturated in some scenes.

Switching to XMAGE Original gives images a more natural look. Photos also tend to be slightly bright and a touch over-sharpened. Even so, the overall image quality is consistently strong and easy to like.

Video is strong too. All four cameras can record at up to 4K 60fps, and the footage is crisp, sharp, and pleasingly colorful. The tradeoff is that there is no 8K, no 24fps option, and no Log recording, which may be down to chipset limitations.

The weaker part of the experience is usability. There is no timer shortcut in the main camera interface, so you have to dig into settings to find it. Double-tapping the preset zoom levels also does nothing, unlike on many rival phones.

They are small issues, but they make the camera app feel less polished than the image quality itself. It is a little frustrating because the hardware and output are strong enough to deserve a more refined shooting experience. Huawei gets the fundamentals right, but some of the smaller interface decisions still feel oddly behind the curve.

The EU version of the Pura 90s Pro Max comes with a 5,270mAh battery, while other regions get a larger 6,000mAh cell. Even so, battery life was still solid in my use. The phone comfortably lasted a full day with a mix of camera use, browsing, and general daily tasks.

That said, 5,270mAh does not feel especially big by current flagship standards. The good news is that charging is very fast. The phone supports up to 100W wired charging and up to 80W wireless charging with compatible chargers.

Sustainability

On paper, the Pura 90s Pro Max looks well protected. It is rated IP68 and IP69 for dust and water resistance, and Huawei says its Kunlun Glass offers 25 times better drop resistance and 16 times better scratch resistance. Those are strong claims, and they help reinforce the sense that this is a phone built to handle daily wear reasonably well.

The bigger issue is what happens over time. Huawei still does not clearly say how long the phone will receive software updates or security patches, and that matters just as much for a flagship at this price. Good physical protection is important, but long-term software support is what really determines how well a phone ages.

Value

Starting at €1,149, or roughly $1,250, the Pura 90s Pro Max sits firmly in flagship territory. That is still a lot of money, but compared with some other camera-focused flagships like the Xiaomi 17 Ultra, Vivo X300 Ultra, and Oppo X9 Ultra, it is around €500 to €800 cheaper. Huawei is also offering the kind of hardware you would expect at this level, including a standout design, strong cameras, a large high-quality display, and very fast charging.

At the same time, that price leaves less room to overlook the phone’s weaker points. Performance is solid rather than class-leading, the software ecosystem still comes with some friction, and Huawei remains unclear about long-term update support. That makes the Pura 90s Pro Max feel less convincing on value than some of its rivals, even if the hardware itself is often impressive.

Verdict

The Pura 90s Pro Max is a phone I ended up liking more than I expected. It looks distinctive, feels premium, and delivers where Huawei has long been strongest, especially in camera performance. There is a lot here that feels thoughtfully done, even if some of Huawei’s decisions remain a little hard to understand.

At the same time, it is not a flawless flagship. The chipset does not feel best in class, the software ecosystem still asks for compromises, and the lack of clarity around long-term support is difficult to ignore at this price. The Pura 90s Pro Max is still a very good phone, but whether it makes sense for you depends a lot on how much you value Huawei’s design and camera strengths over a more complete all-round flagship experience.

The post Huawei Pura 90s Pro Max Review: A Beautiful Comeback With Caveats first appeared on Yanko Design.

Watti Is the Robotic Desk Lamp That Wants to Know What You’re Doing Before You Ask for Light

The desk lamp has been, essentially, a solved problem since Edison. A light source, a shade to direct it, and a switch. Every design evolution since then has adjusted the aesthetics or added a dimmer; the functional premise, that a lamp sits passively until pointed and switched, has remained largely untouched for more than a century. Watti is an attempt to challenge that premise at every level, simultaneously and on purpose.

At first glance, Watti reads as a robotic arm that happens to have a light on the end. Five independently motorized axes control the base, shoulder, elbow, neck, and head, each driven by a RobStride motor that reports its position back to the computer. That range of motion gives the lamp the articulation of a traditional Anglepoise-style design, except it can get there on its own with measured precision.

Designer: Nikolay Tyulkin

A ring of 45 individually addressable WS2812 RGB LEDs provides the actual light output, and a Raspberry Pi 5 running ROS 2 coordinates the whole system. The camera is what separates Watti from a sophisticated motorized fixture. An Orbbec Astra Mini S captures both color and depth data at 640×480 resolution and 30 frames per second, giving the system a three-dimensional view of whatever sits in front of it.

Those streams are visible in the companion software but not yet acted on in a meaningful way; the lamp can see the desk without fully understanding what’s happening there. That gap is precisely what the project is working to close. Hand tracking, automatic work-area illumination, and 3D scanning are all on the development roadmap, which would let the lamp decide where to point itself based on where hands are positioned and what is being worked on, without any manual adjustment.

Even before those features arrive, Watti is already more programmable than most dedicated lighting tools. Watti Studio, a browser-based visual editor, lets users compose scenes that coordinate motion and light on a shared timeline. A virtual model of the five-axis lamp renders in the editor so poses and LED configurations can be arranged, previewed, and refined without a physical unit present. When a scene is ready, it’s packaged and transferred to the Raspberry Pi, which runs it locally without a continuous connection back to the browser.

The prototype runs on an external 24 V, 10 A power supply and uses approximately $700 worth of parts. That puts it firmly in research and enthusiast territory for now. Plans to release hardware files, the bill of materials, electrical diagrams, the communication protocol, and example scenes would eventually make it a fully buildable project for others who want to take the concept further.

What Watti points toward is a lamp that treats lighting as a spatial and contextual problem rather than a manual adjustment. A light that can track where work is happening, adapt its position in real time, and coordinate color and intensity without interrupting the task at hand is a fundamentally different object than a lamp with a flexible neck. The premise sounds obvious once stated, which is usually a sign that someone should have built it sooner.

The post Watti Is the Robotic Desk Lamp That Wants to Know What You’re Doing Before You Ask for Light first appeared on Yanko Design.

10 Best Tech Gadgets for Men In 2026 Who Think Their Smartphone Has Gotten Too Big for Its Boots

The smartphone got away from us. What started as a communication tool is now an alarm clock, a boarding pass, a camera, a bank, a navigation system, a social anxiety machine, and a reason to check the time without ever actually knowing what time it is. The problem is not the phone. The problem is that the phone agreed to do everything, and now it does nothing particularly well.

The products on this list make a quieter argument. Not that you should live off the grid or carry a brick from 1997, but that some jobs are better left to objects designed specifically for them. A dedicated music player sounds better than Spotify on a phone. A screen-free band tracks your sleep without lighting up your wrist at 2 am. Seven gadgets. One idea.

1. Casio F-B100W

The F-91W is 37 years old and still in production because Casio got it right the first time. The F-B100W takes that template and adds exactly what a watch in 2026 needs and nothing it does not. Bluetooth syncs the time automatically and lets you find your phone when you can’t. A step counter and 200-lap timer handle the fitness side. A 2-year battery means you will have forgotten you own this before you need to charge it.

At 26 grams and 41.9mm across, it fits on the wrist without announcing itself. The bio-based plastic strap has ventilation slits for comfort during long wear, and the amber LED backlight handles low-light legibility without theater. Five daily alarms and water resistance round out the spec sheet. Japan launched it at ¥8,800, roughly $55, and it sold out immediately. That tells you most of what you need to know about whether this needed to exist.

What we like:

Bluetooth time sync and phone finder cover the only two reasons you would reach for your phone while wearing a watch
2-year battery life means this costs $55 once, not $55 plus ongoing attention

What we dislike:

No heart rate monitor or sleep tracking will rule it out for anyone replacing a fitness device rather than a fashion statement
Currently sold out in Japan; US availability not confirmed at time of publishing

2. FiiO Echo Mini

Your phone is a mediocre music player that borrowed the job from something better. The FiiO Echo Mini, released under the Snowsky imprint, takes it back. Inside a body shaped like a vintage portable player sit a pair of Cirrus Logic CS43131 DAC chips and a Hi-Res certification from the Japan Audio Society, which is not a marketing claim but a measured standard. The sound it produces from lossless files is categorically different from the same tracks streamed through a phone speaker.

It supports FLAC, DSD, WAV, and OGG, and accepts microSD cards up to 256GB, so a library that would have filled an entire shelf in 1988 now fits in a slot smaller than a thumbnail. Dual headphone outputs handle both wired and wireless listening from the same device. An independent power supply isolates the audio circuitry from interference, which is the kind of engineering detail that does not show up in marketing copy but surfaces immediately in how it sounds. The design references early Sony and Aiwa portables with enough conviction that it earns the comparison rather than simply borrowing the silhouette.

What we like:

Dual DAC chips and Hi-Res certification produce a measurably better result from lossless audio, not just a perceived one
256GB microSD support means a serious library travels in one pocket

What we dislike:

Playback only, with no recording function, which rules it out for anyone who wants to make their own mixes
The retro cassette aesthetic is a strong visual commitment that will not suit every context

3. RetroWave 7-in-1 Radio

Your phone does radio badly because it was never designed to do radio specifically. The RetroWave was. AM, FM, and shortwave reception with no Wi-Fi dependency and a tactile tuning dial that works the way tuning dials are supposed to. The Japanese-inspired frame houses seven functions: radio, Bluetooth streaming, MP3 playback from USB or microSD, an LED flashlight, an SOS alarm, hand-crank charging, and solar charging. At $89, it is the most practical object on this list per dollar spent.

The 2000mAh power bank charges other devices when yours runs low, and 20 hours of radio playback on a single charge means it runs a full working week without returning to a socket. The hand-crank and solar inputs are genuine backup systems rather than novelty features, which places it in the emergency preparedness category as much as the desk companion one. For a device that replaces your phone as a radio, this is the one that actually means it.

Click Here to Buy Now: $89.00

What we like:

AM/FM/shortwave with no internet dependency means it works exactly when your phone cannot
Seven functions at $89 is the most direct value proposition on this list

What we dislike:

8W speaker output is modest and will not satisfy anyone expecting outdoor or room-filling volume
Solar charging supplements rather than replaces a proper charge and cannot refill the battery independently

4. BOOX Go 6 Gen II

The e-reader has always made a better case for itself than most people give it credit for. The Go 6 Gen II is built around a 6-inch 300 ppi E Ink display in a body genuinely small enough to pocket, and unlike a standard Kindle, it runs Android underneath, which means the reading experience is not locked to a single storefront or ecosystem. The addition of stylus support in this generation moves it further from a dedicated reader and closer to a carry-anywhere notebook.

What it cannot do is exactly what makes it useful. There is no notification shade worth checking. No camera. No feed. The E Ink display is too slow for video and too monochrome for social content, which means using it for anything other than reading or note-taking feels like the wrong tool for the job. That deliberate friction is not a limitation. It is the design working as intended, built into the hardware itself rather than dependent on your own willpower to enforce it.

What we like:

Android underneath means your reading library is not tied to one retailer or ecosystem
Stylus support in Gen II turns it into a portable note-taking device, not only a reader

What we dislike:

E Ink refresh rate makes it a poor experience for anything requiring fast screen updates, which is the point but may frustrate new users
6 inches is genuinely pocketable but small for extended document review or annotation

5. Portable CD Cover Player

Streaming reduced most music libraries to a scrollable grid of thumbnails no larger than a postage stamp. The Portable CD Cover Player puts album artwork back at the physical center of the listening experience. The form factor echoes the proportions of a CD sleeve — slim enough to carry on a commute or into a hotel room without planning. It is built for the kind of listening that requires an album, a decision, and an uninterrupted hour to follow through.

The CD format offers something streaming has never replicated — intentionality. You chose this album. You put it in. You listened front to back, the way it was meant to be heard. At a moment when cassette players and vinyl decks have staged a credible commercial comeback, there is a real and growing audience for physical music hardware that does not apologize for existing in 2026.

Click Here to Buy Now: $199.00

What we like:

Restores album artwork as a physical, tactile part of the listening experience rather than a compressed thumbnail on a scrollable grid
The intentionality of the CD format — choosing one album and committing to it — is something streaming has not managed to replicate

What we dislike:

The $199 price requires an existing or rebuilt CD collection to justify the investment

6. Garmin CIRQA

The smartwatch has a notification problem that nobody at the smartwatch companies will admit is a design problem. The screen is the issue. Put a screen on the wrist, and the wrist becomes another surface for the phone to reach you. Garmin solved this by removing the screen entirely. The CIRQA is Garmin’s first screen-free smart band, tracking sleep, HRV, strain, and recovery with the same sensor quality as their wrist-worn GPS watches while showing you nothing in real time.

Data syncs to your phone when you ask it to, not whenever the band decides it has something to say. At $199.99, it undercuts Whoop by removing the subscription entirely, which is either the most straightforward value proposition in the wearable category right now or the one that somehow took the longest to arrive. The band disappears into daily life in a way that a glowing watch face never fully manages. You stop thinking about your wrist. That is the whole idea.

What we like:

No screen means no notification surface on the wrist, which breaks the feedback loop the smartwatch quietly created
No subscription at $199.99 makes the comparison with Whoop uncomfortable for Whoop

What we dislike:

Screen-free design means you cannot check anything on the band itself, which will feel like a regression to anyone coming from a smartwatch
All data lives in the phone app, which adds a dependency the hardware does not fully acknowledge

7. Polaroid Now Generation 3 Instant Camera

Your phone takes hundreds of photographs a week, and you have looked at almost none of them. The Polaroid Now Generation 3 makes that impossible by design. Autofocus handles the technical side; everything else is deliberate. You frame a shot knowing there is no burst mode, no undo, no near-identical folder to sort through later. The print emerges from the front of the camera, develops in your hand, and exists as an object. That constraint is not a limitation. It is photography made meaningful.

The Now Generation 3 continues the line’s proven mechanics: i-Type and 600 film compatibility, a built-in flash, double exposure mode, and USB-C charging. The direction is refinement over feature expansion, which suits a camera built around a single clear purpose. Image quality is not competing with your phone’s computational photography and was never trying to. It produces a credit-card-sized print with warmth and grain that no filter has convincingly replicated, because the artifact is the point, not the resolution.

What we like:

Physical prints cannot be scrolled past, filed away, or forgotten in a camera roll — they exist and stay existing
The deliberate, one-shot-per-frame process changes how you think about framing before you press the shutter

What we dislike:

Film cost per shot makes casual, consequence-free shooting expensive relative to a phone camera
Exposure in bright outdoor conditions can be inconsistent without careful management of the built-in flash

8. Light Phone III

The Light Phone III costs more than most flagship Android devices and does less than any of them. Calls, texts, maps, music, and a small set of tools the company determined were useful rather than engaging. No browser. No social media. No email. No rabbit holes. The $799 price is the editorial provocation: you are paying a premium specifically for what it refuses to do, and the people who buy it tend to find that the most honest price tag in consumer electronics.

Building on a decade of iteration across two previous models, the design is confident enough not to explain itself. The screen is small. The interface is slow by smartphone standards, which turns out to be a feature rather than a limitation. Reaching for it in a meeting does not result in 40 minutes disappearing into a feed. Putting it in your pocket while walking somewhere means you notice the walk. The Light Phone III does not make you a better person. It removes several of the reasons you might not be.

What we like:

No browser and no social media means the phone cannot become a distraction device regardless of willpower
A decade of development across three models shows in the coherence of the product, not just the philosophy behind it

What we dislike:

$799 for a device that does less than a $200 Android requires genuine philosophical commitment rather than casual interest
The restricted app set means practical tools some users rely on daily are simply not available

9. Camp Snap 2

Your phone takes hundreds of photographs a week, and you have reviewed almost none of them. The Camp Snap 2 makes that behavior structurally impossible. There is no rear LCD, no Wi-Fi, no delete button, and no ability to check what you captured before downloading later. You shoot. You find out what you got when you get home. That removal of the review loop is not a limitation. It is the only camera built around the premise that the moment itself is the point.

The second generation is 15 percent slimmer than the original and genuinely pocketable now. An 8-megapixel sensor handles capture. A new filter button cycles through six built-in looks — Standard, Vintage 1, Vintage 2, Vintage 3, Analog, and Black and White — without needing a computer, which was the friction that kept most V1 owners on the default setting permanently. Nine colorways include translucent jelly finishes that land somewhere between Y2K nostalgia and fully intentional. At $69.95, it costs less than most phone cases.

What we like:

No screen means no delete button — every shot taken is a shot kept, which changes how deliberately you frame before pressing the shutter
Six filter options now cycle on-device with a single button, solving the only meaningful complaint against the original

What we dislike:

8-megapixel resolution does not compete with computational phone photography and was never designed to
Exposure errors only surface at the download stage, too late to reshoot the moment that mattered

10. Divoom FlowToo

The reason your phone stays on the nightstand is not that you need it there. It is that the phone is also the alarm, the white noise machine, and the speaker, and nothing has offered a convincing single replacement — until now. The Divoom FlowToo costs $99.99, sits where the phone used to be, and handles all three jobs without demanding anything in return except a power socket. That is the most straightforward case for removing a phone from the bedroom that the category has produced.

A 10W amplifier and 45mm full-range driver make this a real speaker rather than an alarm clock with Bluetooth added as an afterthought. More than 90 built-in sounds cover rain, ocean, forest, and focus ambience without needing your phone open. The 2.26-inch display cycles through clock faces, music visualizers, and sleep animations depending on the time of day. The wake-up sequence builds naturally — sounds that increase in volume while the screen gradually brightens. Available in White and Black.

What we like:

Replaces three separate nightstand devices with one object that does all three without a subscription or an app permanently open
The gradual light-and-sound wake sequence is a meaningfully better way to start the morning than a jarring alarm tone

What we dislike:

Full feature access requires the Divoom app, which adds a phone dependency to a device designed to remove the phone from the equation
Dedicated white noise machines and standalone speakers will each outperform it in their individual categories

The Best Tech Knows When to Stop

None of these products asks you to give up modern life. The Casio has Bluetooth. The Echo Mini has wireless output. The RetroWave streams over Bluetooth when the AM signal drops. The Camp Snap 2 charges over USB-C. The FlowToo pairs to your phone when you want it to. The argument they make together is not that technology is the problem, but that objects built for one job tend to do it better than a single object built for everything.

The smartphone is not going anywhere. What these ten suggest is that not everything needs to live inside it. A watch that tells time without a notification. A camera that hands you a physical print. Another that makes you earn every shot. A nightstand unit that ends the phone-as-alarm excuse for good. A CD player that demands you choose an album and see it through. The sum of what they replace is not a phone. It is the version of a phone that borrowed more of your attention than it ever needed.

The post 10 Best Tech Gadgets for Men In 2026 Who Think Their Smartphone Has Gotten Too Big for Its Boots first appeared on Yanko Design.