A 355-Square-Foot Tiny Home With Room to Actually Walk Around

Most tiny homes are upfront about their limitations. The Florence isn’t interested in that conversation. The Florence, by Alberta-based Teacup Tiny Homes, is the argument against all of that. Sitting on a triple-axle trailer, the Florence stretches 36 feet long and 8.5 feet wide, placing it at the roomier end of the towable tiny home spectrum. Its 355 square feet of interior space is arranged with the kind of logic you’d expect from a full-size home — not an afterthought. That discipline in planning is what separates it from the crowd.

Step inside and the first thing you notice is light. White tongue-and-groove paneling wraps the walls, 11-foot vaulted ceilings push the space upward, and generous windows pull the outdoors in. The living area anchors the layout, centered around a sofa and electric fireplace, with room for a television and a large built-in storage unit near the entrance. It doesn’t read like a compromise. It reads like a considered home.

Designer: Teacup Tiny Homes

Immediately adjacent is one of Florence’s more thoughtful touches — a dining nook that doubles as a home office, complete with an extending desk and integrated storage. For remote workers or anyone who needs a dedicated workspace without sacrificing a room, this dual-function zone is quietly brilliant. The kitchen runs along the galley wall nearby, equipped with a four-burner propane stove, oven, microwave, fridge/freezer, a large sink, and storage that actually holds things.

The master bedroom is located on the main floor, which is rarer than it should be in the tiny home world. Positioned next to the living area, it fits a double bed with genuine walking clearance on both sides and enough built-in storage to feel like a real room. A secondary sleeping loft sits above the kitchen and bathroom, accessed by a removable wooden ladder, offering space for a second double bed. The bathroom, tucked between the kitchen and bedroom, features a glass-enclosed shower, flushing toilet, and vanity sink.

Teacup Tiny Homes, a 100% female-owned and operated company founded in 2016, offers the Florence with a range of customization options — a soaking tub in place of the shower, choice of materials and furnishings, and permanent foundation installation if mobility isn’t the priority. Delivery runs across both the US and Canada. The Florence starts at roughly US $122,000. For a home this size, it’s a number that’s easier to justify than it might first appear.

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Nothing killed the Glyph Interface. This Teenage Engineering synth concept argues that was a mistake

Nothing spent three phone generations convincing us that a few light strips on the back of a device counted as a personality. The Glyph Interface was the whole brand in one gesture, a Morse code of notifications you could read with the phone face-down on a bar table. Then Phone (3) arrived in July 2025 with the Glyph Matrix instead, a small dot matrix circle tucked in the corner, and the comment sections held a funeral. “NO GLYPH” became the shortest and angriest review of the year. Which makes it pretty funny that the most convincing argument for reviving that light language has come from a fan concept for a synthesizer.

Abdelrahman Shaapan’s Mini OP-3 wraps a semi-transparent rear panel around a compact synth, with LED effects and dynamic graphics that pulse along to whatever you’re playing. Flip it over and the front is pure Teenage Engineering, a clamshell with a touchscreen lid and a control deck of encoders, transport keys, numbered pattern buttons, and one red COPY key doing a lot of emotional labor. Shaapan calls the project an exercise in translating the design DNA of both brands into a single object. He also added a charm attachment point on the screen corner, because it is 2026 and everything needs a little guy hanging off it. The pitch is a smaller OP that keeps you off your laptop during production and live sets.

Designer: Abdelrahman Shaapan

Ten function keys run across the top of the deck, covering waveform and tape banks, sync, split, copy, paste, metronome, scissors, monitoring, and loop. Below them sit eight encoders arranged in a greyscale gradient from black to white, which is the single most OP-1 gesture available to any designer working in this language. A transport row follows with record, play, and numbered pattern keys, then a modifier row carrying shift, divide, ramp, and a random button. The hinge hides a perforated speaker band, and the front edge packs two USB-C ports beside four 3.5mm jacks. Every control is round, tactile, and spaced like it expects to be hit fast in a dark room.

Nothing built its identity on light as an interface, then retired it on the Phone (3) in favour of a dot matrix that most owners still describe as a downgrade. Shaapan’s rear panel puts that language back to work, running LED effects and dynamic graphics that respond to your audio in real time. On a phone, reactive lighting was always slightly decorative, a party trick for incoming calls and little else. On an instrument, it has an actual job, giving you a visual read on your track from across a stage or a crowded studio. Relocating the Glyph to the one product category where it earns its keep is a sharper piece of brand analysis than most fan concepts manage.

Shaapan rendered the whole thing in KeyShot. The soft-touch black body, the subtle sheen on the encoder caps, and that partially translucent rear panel with internals showing through all read as convincingly manufacturable rather than aspirational. The charm attachment point is the detail I keep coming back to, since TE has always sold straps and cases as identity objects and phone charms are having a genuine cultural moment. We covered a Teenage Engineering DJ console concept a couple of years back, and this one clears that bar comfortably. The presentation is good enough to be mistaken for a leak.

One thing undercuts the pitch. Shaapan says the goal was minimizing laptop dependence, but three renders show Ableton Live running on the touchscreen, which means the device became a laptop instead of replacing one. Ableton’s own Push 3 already solves the standalone problem and charges around two thousand dollars for it. That gap between the stated intent and the renders is the part a real product team would have to close first. Everything else here, though, is a better Nothing product than Nothing’s last one.

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Michelangelo’s iconic David bust gets recreated in LEGO, turning plastic into sculpted marble

If you ever took a drawing class, you have met this face. Art schools spent about two centuries buying plaster casts of David’s head and parking them on shelves so students could sit there for six hours learning to render a nostril. The Victoria and Albert Museum owns a full size cast of the whole statue, and famously kept a plaster fig leaf on standby in case Queen Victoria dropped by and needed the shock absorbed. So David has been getting copied, shrunk, cast, and occasionally censored for a very long time. Turning him into a toy is not the sacrilege it sounds like. It’s basically the family business.

Which brings us to Ysien, a LEGO Ideas builder who decided the next material in that lineage should be ABS plastic. The build renders David’s head, neck, shoulders and upper chest as a classical bust, entirely in white, sitting on a proper stepped pedestal. No color, no minifigure, no cheeky accessories. Just light and shadow doing all the work, exactly like the plaster casts it descends from.

Designer: Ysien

The hair is the whole reason this MOC (My Own Creation) works. Hair is where sculptors get found out, because faces have anatomy underneath that you can reason your way through, while hair is a mass of overlapping nothing that somehow has to read as soft. Michelangelo’s answer was a tangle of deep drilled curls. Ysien’s answer is a genuinely absurd stack of curved slopes and half arch elements layered at varying depths, so each curl throws its own little shadow instead of flattening into texture. “The hair was one of the greatest challenges, with each curl contributing to the overall silhouette, depth, rhythm, and movement,” he says, which is a very polite way of describing what must have been several evenings of quiet suffering.

My favorite decision, though, is that the seams stay visible. Ysien could have chased a smooth marble finish and lost, because bricks do not do smooth. Instead he let the geometry become part of the sculpture, so the thing reads as a portrait from across the room and as unmistakable LEGO up close. The eyes get a similar treatment, built from inverted round elements that give David that vacant classical stare, which is a nice accident given the real statue has heart shaped pupils drilled into it. Monochrome white does the rest, forcing every bit of the anatomy to be described by shadow alone. There’s no piece count listed yet, although I wouldn’t be surprised if it was in the high hundreds.

Ysien’s David is currently sitting at just over 400 supporters with 424 days on the clock, which means there is a long road to the 10,000 votes that trigger an official LEGO review. LEGO Ideas is where fan builds get their shot at becoming retail sets, and this one deserves a look. The only thing I’d add is a black variant, because a basalt David would be an absolute menace on a shelf. You can head to the LEGO Ideas page and cast your vote!

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The Echo Chair Makes 3D Printing Feel Refined

ZHA has collaborated with Spanish design brand Nagami to create the Echo Chair, a 3D-printed seat made from recycled plastic waste. Formerly known as Zaha Hadid Architects, the studio developed the chair through parametric design and large-scale additive manufacturing. Its form is fluid and sculptural, with an arched backrest that extends towards the floor and a seat that curves upwards at the sides.

The two parts look separate at first, but they are printed as one continuous piece. Both surfaces grow from the same structural edge and share the same underlying geometry. One becomes the seat, while the other rises to form the backrest and support.

Designer: ZHA and Nagami

This continuous construction gives the chair a clear sense of logic. The shape is doing several jobs at once: supporting the body, holding the structure together, and defining the overall visual character.

The Echo Chair was developed through an iterative research process at ZHA Lab and manufactured by Nagami, a brand known for its work in large-format 3D printing. The studios used recycled PETG sourced from industrial waste, including single-use medical plastics.

As the chair is printed layer by layer, the process leaves a ribbed texture across its surface. Those lines have been kept visible rather than hidden or polished away. That decision gives the chair much of its character. The texture follows the curves closely and makes the manufacturing process easy to read. It also gives the recycled plastic a more tactile, less generic appearance.

There is something useful in that honesty. The material is not being forced to look like timber, stone or metal. It keeps the visual qualities created by the printing process and uses them as part of the design. The surface does still reference natural materials in a subtle way. Its layered finish recalls mineral formations and carved stone, which helps the chair feel less industrial when placed in an interior.

ZHA and Nagami developed four colourways for the chair: white, black, a white-to-translucent gradient and a caramel tone made using a bio-based cork composite. The colour choices help shift the mood of the design. White makes the form feel lighter and more architectural, while black gives it a stronger, more graphic presence. The translucent version draws attention to the printing layers, and the caramel finish adds warmth to what could otherwise feel like a very technical object.

The caramel version is especially successful because it softens the synthetic quality of the plastic. It feels easier to imagine in a home, hotel lobby or lounge space, rather than only in a gallery or design exhibition. According to ZHA project design director Sebastian Andia, the goal was to turn an abundant and overlooked material into something people would genuinely want to live with. That idea matters because recycled material alone is rarely enough to make a product successful. People still need to like the object, find it comfortable and see a place for it in their environment.

The Echo Chair handles this well. Its sustainable story supports the design, rather than becoming the whole design. The seat’s raised sides create a more enclosed sitting position, while the curved backrest gives the chair a supportive and almost cocooned feel. The shape is expressive, but it still looks usable. Its scale and neutral colour options also make it easier to place than the form might suggest. It has enough presence to work as a statement piece, yet it does not depend on bright colour or decoration to stand out.

The 3D-printing process allows the chair to be produced without visible joints or separate components. This gives it a seamless appearance and keeps the connection between the digital model and final object very direct.

That connection is one of the strongest parts of the project. The manufacturing process does not sit behind the design. It shapes the design. The ribs, curves and continuous structure all come from the same production method. Each part of the chair feels related because it has been developed through the same system.

The Echo Chair continues ZHA and Nagami’s existing collaboration. Nagami launched its first collection of 3D-printed chairs in 2018, which included two designs by the architecture studio. Their latest project shows how much more refined large-scale 3D printing has become. The chair feels less like a technical experiment and more like a finished product with a clear place in contemporary interiors.

The Echo Chair is currently on display as part of London Creates at The Truman Brewery. What makes the chair interesting is the way it brings together material, form and manufacturing without overcomplicating the idea. Recycled plastic is treated as a starting point for the design, rather than something that needs to be disguised.

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Ross Lovegrove’s Hi-Fi Speakers Look Like River Pebbles, Stream 384 kHz Audio

Ross Lovegrove has spent his whole career convinced that nature already nailed industrial design and humans are just slow to catch up. His portfolio backs it up fast. The Ty Nant water bottle looks like a puddle caught mid freeze. The DNA Staircase he built for the Belgian Pavilion at Shanghai Expo 2010 spirals like an actual double helix. His Go Chair for Bernhardt Design curves like it was grown in a lab rather than welded together in a factory. Give the guy a chair, a bottle, a staircase, anything, and he finds the organic shape hiding inside it. Speakers are trickier though, since somewhere inside all that flowing curvature you still need drivers, amplifiers, and wiring that behaves itself.

KEF’s new LS LUXE is Lovegrove’s answer, and it is a genuinely convincing one. Picture two smooth pebbles sitting on your shelf, the kind you would find polished at the bottom of a river, except one of them has a gold driver staring back at you like a tiny mechanical flower. The cabinet skips every straight edge in favor of that rounded, water worn shape, finished in shades like Mineral White and Eclipse Black. Spec wise, you get 380 watts of amplification and network streaming up to 384 kHz, all packed into a form that reads more like sculpture than stereo gear. It launched in Asia Pacific at 4,910 US dollars a pair, with US availability and pricing still to come.

Designer: Ross Lovegrove for KEF

Inside that pebble shaped shell sits KEF’s 12th generation Uni-Q driver array, a 165 mm aluminium cone wrapped around a 25 mm dome tweeter that fires from the exact same point in space. That single point origin is why Uni-Q speakers spread sound evenly instead of beaming it at whoever grabbed the best seat. Behind the driver, KEF’s Metamaterial Absorption Technology claims to soak up 99 percent of unwanted rear sound, the same maze like structure found in flagship lines like the Blade. Two amplifiers split the work, 280 watts for the lows and mids, 100 watts for the highs. That is serious firepower for something the size of a grapefruit.

The rear ripples with vertical ribbing like sand under shallow water, broken only by an oval bass port and a connections panel etched with Lovegrove’s own signature. That same engineering ambition carries over to VECO, KEF’s new Velocity Control Technology, debuting here in a wireless speaker for the first time. VECO uses motion sensing feedback to catch distortion and power compression before they turn audible, letting the speaker correct itself in real time rather than waiting for you to notice something is off. Network streaming tops out at 384 kHz, with AirPlay, Chromecast, Bluetooth, and Tidal, Qobuz, and Spotify Connect built in. Roon support is coming too, just not until 2027.

Dusk Titanium, Eclipse Black, and Mineral White are the three finishes on offer, and KEF ties each one back to cymatics, the way sound visibly ripples across a surface, which is a bit much on paper but looks genuinely premium in person. A pair runs 6,299 Singapore dollars, about 4,910 US dollars, with the launch limited to Asia Pacific for now. The US page is live for early access through myKEF membership, though American pricing has not landed yet. Twenty kilos a pair also means double checking that shelf before committing. KEF is betting people will pay a premium for a speaker that looks like it belongs in a gallery instead of a media console.

KEF tried this design forward approach before with the LS50 Wireless II, and the LS LUXE feels like that idea with the leash finally taken off. Where the LS50 stayed rounded but fairly conventional, Lovegrove pushed KEF into a shape that competes with furniture for shelf space instead of hiding next to it. The real test is whether that sculptural ambition holds up once these sit in an actual living room instead of a studio render, since renders always flatter reality. At 4,910 dollars a pair, this is priced for people who already care about hi-fi and design in equal measure, not newcomers to either. Lovegrove has spent a career getting objects into museums. Whether the LS LUXE joins them or just earns a very nice shelf, KEF has made sure nobody mistakes it for furniture nobody asked for.

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Vollebak Made a $3,995 Jacket for the End of the World

Vollebak has never been the kind of brand that plays it safe. Since launching in 2016, the British label has built a reputation for making gear that reads more like science fiction than seasonal fashion. Their products come with essays instead of product descriptions, and their material choices lean toward graphene, solar-charged fibres, and military-grade composites. So when their latest release landed with an acronym for a name and a price tag that could cover a month’s rent in most cities, most of us weren’t entirely surprised. Just a little stunned.

FWAHBL stands for “For When All Hell Breaks Loose.” That’s the actual name. Not a placeholder, not a working title, not a wink-and-nod provocation. The brand looked at the current state of the world and decided the most honest thing they could do was name a jacket after it.

Designer: Vollebak

Only 10 of these exist. They’re priced at $3,995. They arrive in retro video game packaging alongside a comic book and a trailer for an upcoming game. The whole thing reads like a fever dream, and yet, once you look at what’s actually inside it, the jacket starts making a strange kind of sense.

The material comes from Fothergill, a British manufacturer that has been producing protective gear for the military since 1847. The fabric is double-faced polychloroprene rubber coated over a woven polyester core, built to resist oils, chemicals, flame, and extreme weather. This isn’t performance wear with a dramatic name slapped on it. The engineering is real, even if Vollebak is quick to clarify that it isn’t certified safety equipment. What it is, they say, is clothing designed for extreme weather and existential dread. I appreciate the specificity.

A jacket that could theoretically withstand a chemical spill but comes dressed for a gallery opening is a very particular kind of product. The hazard yellow finish makes it look like something you’d find on a nuclear site inspector who also happens to have excellent taste. It’s alarming and considered at the same time, which feels very intentional. Vollebak’s whole design language leans into that tension, the idea that what we wear should be able to meet us at our worst, not just our most polished.

The narrative wrapped around the jacket is what separates it from a typical limited-edition fashion drop. Vollebak didn’t just make a jacket and photograph it on a rooftop. They built a universe: the comic book, the video game, the worldbuilding. The jacket becomes almost secondary to the story it’s trying to tell, which is either a genius move or a complete overreach, depending on how you feel about brands constructing mythology around outerwear. Personally, I find it more compelling than a seasonal lookbook ever manages to be. At least it commits to a point of view.

The collectible angle is also hard to ignore. Ten pieces worldwide isn’t a production run. It’s closer to an art edition, which raises the question of who actually buys this. Probably not someone planning to commute in it. Most likely it’s the kind of person who understands that certain objects carry cultural weight beyond their function, the same kind of person who collects a Helmut Lang archive piece or a first-edition sneaker that never touches the ground. Whether we call that fashion, collecting, or very expensive storytelling, the outcome is the same.

Objects that sit at the intersection of design, utility, and narrative have always existed, from limited-run furniture to bespoke motorcycles to museum-acquired concept cars. The FWAHBL Jacket fits that lineage more comfortably than it fits any fashion calendar.

Whether or not you’d wear it, or could, the jacket asks a useful question. How much are we expecting from the things we put on our bodies? Vollebak’s answer has always been: more. More protection, more engineering, more intention. The FWAHBL Jacket takes that philosophy to its logical, slightly unhinged conclusion. A trench coat for the end of things, made by people who clearly hope you never actually need it.

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First Chinese SUV with built-in rooftop tent is co-developed by Huawei and is all set for preorder

Chinese automotive and technology stalwarts are combining to give the off-road camping industry a new twist. It’s for the first time that a flagship SUV is gearing up to hit the Chinese market with a rooftop tent pre-installed. The tent would deploy into a fully-fledged habitat on top of the off-road vehicle at the push of a button from its cockpit.

So, when the Stelato G9, built in a joint effort by Huawei and Beijing Automotive Group (BAIC Group), goes on preorder starting August 5, according to Chinese sources, the luxury SUV will include an optional tent built into its roof and sunroof assembly. This would be completely different from aftermarket rooftop tents that have to be bolted on the roof of the vehicle.

Designer: HIMA

Rooftop tents are common in North America. So, they are in China as well. But this is the first time that a vehicle is entering the market pre-fitted with a rooftop tent from the factory. At the time of writing, not much is available in the public domain about the Stelato G9, except for the fact that it will come with the optional choice of a camping solution on its roof.

Other than that, from information collected through Chinese regulatory filings, we can confirm that the vehicle will be available in a fully electric option and an extended-range electric model comprising a gas engine to generate charge for the battery. The G9 measures 5.2 m (17 ft) long and has a wheelbase of 3.16 m (10.4 ft). Its interior will come in either a 5- or 6-seater layout and would be certified to tow 2,000 kg. For its off-road capability, the vehicle will offer a wading depth of 900 mm. It will feature a side-opening tailgate, an external storage box, roof rack, and tow hook.

Stelato, according to the information shared on the Chinese microblogging site Weibo, will begin accepting preorders for the G9 starting at 2:30 pm Beijing Time on August 5. The SUV – with an optional rooftop camping tent – is expected to officially launch in the third quarter of 2026. Stelato G9, in addition to being the first with an integrated push-button rooftop tent, is also the brand’s first foray into the rugged off-road segment.

Stelato, an electric vehicle brand, operates under Harmony Intelligent Mobility Alliance (HIMA), a collaboration between BAIC and Huawei. The latter provides a HarmonyOS-assisted autonomous driving system and LiDAR tech to manage the technology within the vehicle. The tent, which is also activated through the Huawei system onboard, is part of the sunroof assembly. When it’s not in use, the tent appears sitting flush against the roofline of the G9.

When the tent is deployed, the roof lifts from one side and extends into a two-part tent. The main triangular portion has a low front and tall back. A built-in lighting pole separates it from the smaller auxiliary tent that extends from the other side of the main structure. Reportedly, the roof tent also unlocks a side awning. It is also deployed using the same single button press as the tent itself. We do not have the exact pricing details at the moment, but reports suggest the Stelato G9 could start somewhere around $74,000. It is currently planned for the Chinese market only.

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Smart Rings Finally Got a Reason to Exist Beyond Sleep Tracking

The smart ring market has had a good run on heart rate and sleep tracking. Oura, Samsung Galaxy Ring, and their growing circle of competitors have made it genuinely useful to wear a small device on your finger all day. But if you’ve been waiting for wearable health tech to go deeper than pulse and REM cycles, engineers at UC San Diego may have just drawn the roadmap.

Their prototype, called CHARM (Continuous Health Analyzing Ring Module), doesn’t check your heart. It reads your sweat. Specifically, the microscopic amount of sweat that your fingers naturally produce throughout the day, no gym session required. Through a built-in osmotic hydrogel that draws moisture out passively, the ring collects and analyzes up to four chemical biomarkers at a time: glucose, ketones, vitamin C, uric acid, lactate, and alcohol. It then sends that data wirelessly to a smartphone.

Designer: UC San Diego engineers

That list of biomarkers is worth sitting with for a moment. Glucose and ketones tell you about your metabolic state and how your body is processing energy. Lactate relates to physical exertion and muscle activity. Uric acid is linked to inflammation and conditions like gout. Vitamin C reflects dietary intake. Alcohol levels speak for themselves. Getting any one of these readings from a non-invasive wearable is already impressive. Getting all of them simultaneously, continuously, and without drawing a single drop of blood, is something else entirely.

The research, published in Nature Communications and led by postdoctoral researcher Tamoghna Saha in the lab of Joseph Wang at UC San Diego, has already passed some important early tests. In trials with participants both with and without Type 1 diabetes, CHARM’s sweat-based glucose readings closely matched results from a standard continuous glucose monitor. Its ketone data similarly aligned with readings from a traditional blood meter. For a prototype, that’s a meaningful validation and a strong signal that the underlying science holds up outside of a lab setting.

What makes this feel like a genuine step forward, rather than just another research headline, is how clearly it names the gap in current wearable technology. As Saha put it, commercial rings only provide biophysical information but lack the molecular data that offers deeper insights into an individual’s health. That is a polite way of saying that knowing your resting heart rate is useful, but it doesn’t tell you whether you’re running low on vitamin C or how your body actually responded to what you ate for lunch.

The design challenge here is real, and I think it deserves more credit than the flashier headline about sweat gets it. Cramming accurate chemical sensors, a hydrogel layer, data processing, and wireless connectivity into a ring-shaped form factor is not a small engineering problem. The current prototype, which clamps around a finger, is still a long way from the slim, polished bands we’ve grown used to slipping on without thinking. Getting it there, while keeping the sensor accuracy intact and the battery life practical, will be the hard part. But that is exactly the kind of design and miniaturization problem that tends to get solved once the underlying science is proven. The history of consumer health tech is basically a series of “we figured out the science, now let’s make it wearable” moments.

The smart ring category has felt a little flat lately, if I’m being direct. The differences between most devices come down to software features and companion app design, not any fundamental leap in what they can actually detect. CHARM points toward a version of the smart ring that is genuinely measuring your body’s chemistry in real time, the kind of data that has historically required a clinic visit or a prescription-grade device. Putting that on a finger, passively, all day, changes what personal health monitoring can realistically mean.

It’s still early. CHARM is a prototype, the paper is fresh, and a consumer version is nowhere near announced. But the direction is right, and the science backs it up. If biochemical monitoring eventually becomes a standard feature of smart rings rather than a research novelty, this prototype will be one of the moments worth pointing back to.

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Chuwi Just Put a Real Performance Chip in a $469 Tote-Bag Laptop

Mini laptops have never quite shaken the reputation of being underpowered novelties. The appeal is undeniable: a real Windows laptop that slips into a small bag is genuinely useful for anyone who spends their days moving between locations. But the processors that typically power these tiny machines have struggled to keep up with even moderate workloads, which turns the form factor’s biggest selling point into a quiet disappointment.

The Chuwi MiniBook X U300 addresses that by pairing the same compact, 360-degree convertible format with Intel’s U300 processor, a 13th-generation Raptor Lake chip with five cores and a dedicated performance core at its center. That shift from the pure efficiency cores found in N100 and N150 machines delivers stronger single-core speed and better multitasking headroom, without meaningfully adding to the machine’s size, weight, or thermal footprint.

Designer: Chuwi

The 10.51-inch WUXGA display packs a 1920×1200 resolution into the compact chassis, with a 16:10 aspect ratio and 100% sRGB coverage. At 300 nits, it handles well-lit rooms comfortably and stays readable during extended sessions. The in-cell IPS touchscreen sits behind ultra-thin bezels, and the 360-degree hinge lets it shift between laptop, tablet, tent, and stand modes to suit whatever task is on the table.

That four-mode flexibility is where the touchscreen earns its keep most convincingly. In tablet mode, the screen becomes the only interface you need, making it natural for note-taking on the go. Flip it back partway for tent or stand mode during a presentation, and it becomes a display you can position toward an audience without spinning a full laptop around.

16GB of LPDDR4X memory and a 512GB PCIe SSD handle everyday tasks without hesitation, and the M.2 slot accepts PCIe 4.0 and SATA III drives if you decide to upgrade later. The Intel UHD Graphics runs 48 execution units, double the count found in earlier MiniBook X versions, which makes a noticeable difference for smooth 4K video playback and lighter creative workloads without switching to a dedicated card, or at least on paper.

Both USB-C ports are full-featured, handling charging, data transfer, and external display output from the same two connections. Unfortunately, there’s no mention of Thunderbolt compliance. A 3.5mm audio jack covers wired headphones, Wi-Fi 6 and Bluetooth 5.2 take care of wireless, and an active cooling system keeps temperatures under sustained loads without causing distracting fan noise. A 2MP front-facing webcam handles video calls, which is about what you’d expect from a machine this compact.

Unlike earlier MiniBook X models that shipped with Windows 11 Home, the U300 version comes pre-installed with Windows 11 Pro. That’s not a minor footnote: it means BitLocker encryption, remote desktop access, and other tools that the Home edition locks away are available right out of the box. For anyone who travels with sensitive documents or manages devices remotely, it’s a practical upgrade that earlier models didn’t include.

The whole package measures 244mm x 166.4mm x 17.2mm and tapers to 11mm at its thinnest, all wrapped in an aerospace-grade aluminum alloy unibody shell. At 920 grams, it disappears into a tote bag or slides under a seat without much thought. The 28.88 Wh battery charges at up to 36 W via USB-C, and the full-layout keyboard completes a package priced at $469.

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Khadas Just Made a $199 Amp That Snaps to Your iPhone Like a Wallet

Portable audio has long been a game of compromise. DAC dongles give you a modest step up from your phone’s built-in output, but connect anything more demanding than a pair of featherweight earbuds, and they start to run out of steam. Desktop amplifiers solve the power problem but chain you to a desk, a power outlet, and a bag heavy enough to make you think twice about bringing them anywhere.

The Khadas Tea Pro sits firmly in the space between those two options, offering enough amplification for serious headphones without the bulk or the cable tangle. At 7.85 mm thin and 96 grams, it genuinely disappears into a pocket, and its magnetic back panel snaps directly onto any iPhone 12 or later, turning your phone and DAC into a single, tidy unit that doesn’t need a pouch of its own.

Designer: Khadas

The connection is handled by 19 N56SH magnets, holding the Tea Pro against the back of the phone without straps or brackets. Android users and those with older iPhones can attach a magnetic ring to their case and get the same result. A premium wear-resistant leather panel covers the back, giving the device a tactile quality that’s a step removed from the usual plastic-and-aluminum DAC dongle aesthetic.

Inside, an ESS ES9039Q2M DAC chip works alongside an XMOS XU316 USB bridge for wired playback, delivering PCM up to 768kHz at 32-bit and DSD up to 512 native. The signal chain runs through TI OPA1612 op-amps and Ricore RT6863 amplifier chips, achieving a total harmonic distortion of -118 dB, a specification more at home in a studio rack than a 96-gram device that slips into a shirt pocket.

Both a 4.4mm balanced and a 3.5mm unbalanced output are on board, with the balanced jack putting out 165mW into 33 ohms and the unbalanced delivering 120mW. The Tea Pro also manages 41.67mW into 600 ohms, meaning even demanding full-size headphones with high impedance get a fully powered signal rather than an underpowered afterthought by a device that’s trying too hard to be small.

Wireless connectivity comes via a Qualcomm QCC5181 Bluetooth 5.4 chip that covers SBC, AAC, aptX, aptX Adaptive, aptX HD, and LDAC, keeping the Tea Pro compatible with virtually any device. The Khadas app adds a feature-rich equalizer that works over Bluetooth, letting you shape the sound to your taste without touching the hardware. There’s also a built-in microphone, so taking a call doesn’t require unplugging anything.

A 2100mAh battery supports up to 11 hours of wireless playback or just over eight hours wired, enough to outlast a full day of commuting without reaching for a charger. A 0.95-inch AMOLED color display on the front keeps output format, volume, and battery status visible at a glance, while independent power management keeps the battery from draining your phone when you aren’t connected to a power source.

Volume control runs through a dedicated analog chip rather than a software slider, keeping noise out of the signal path. The Tea Pro is priced at $199, which puts it well above the typical dongle but far below a battery-powered desktop DAC/amp that requires its own carrying case. For a device that fits in a jacket pocket and holds itself to the back of your phone, that’s a narrowing of the gap that’s hard to argue with.

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