A BB Pod-Shaped CD Player Straight Out of Death Stranding

When Kojima Productions does something, it rarely feels like a simple product release. It feels like a statement. The new Instant Disc Audio Cp1 DEATH STRANDING 2 Model, a limited-edition wireless CD player made in official collaboration with Japanese audio brand km5, is proof of exactly that. It dropped on August 1, 2026, and it may be the most thoughtfully designed piece of gaming merchandise I’ve seen in years.

If you’ve played Death Stranding, you already know what a BB Pod is. If you haven’t, here’s the short version. BB stands for Bridge Baby, a term for an unborn infant kept alive inside a transparent life-support unit called a Pod, which serves as a supernatural navigation tool in the game’s hauntingly quiet, post-apocalyptic world. The Pod is one of Death Stranding’s most memorable visual symbols: eerie, delicate, and somehow deeply moving, a small glowing capsule that you cradle, protect, and come to care about over the course of the game. Turning that object into a CD player is either a stroke of genius or complete madness. I’m going with genius.

Designer: Kojima Productions x km5

The design is where this whole thing earns its price tag. The Cp1 features a translucent orange shell, and that’s not just for aesthetics. It lets you actually watch the disc spin and the internal mechanics move in real time. As someone who grew up watching cassette tapes wind through their spools, that level of visible mechanical action hits a very specific nostalgic nerve. The translucency echoes the BB Pod’s gel-filled, see-through casing, and it works so well that it almost feels like the CD player was always meant to look this way. It didn’t need Death Stranding to be beautiful, but the collaboration gave it a context that makes it feel intentional rather than just decorative.

The base Cp1 by km5 isn’t a new product. It’s been around for a while as a compact, Bluetooth-enabled CD player with a Nixie tube-style LED display and a wall-mount option that honestly makes it look more like modern furniture than consumer electronics. The Death Stranding 2 model takes that foundation and pushes it into collector territory. Priced at 25,300 yen, around $160, it connects via Bluetooth 5.3, runs for approximately 7 to 8 hours on a single charge, and notably doesn’t come with a built-in speaker. You’re meant to pair it with your own headphones or external audio setup, which keeps the device compact, sculptural, and true to its aesthetic. It’s not trying to be a Bluetooth boombox. It’s something much quieter and more considered than that.

The fact that this exists at all says something interesting about where we are with physical media right now. CD sales have been quietly climbing again, especially among younger audiences who want a more intentional, tactile way to listen to music. Vinyl gets most of the headlines, but CDs are genuinely having their own moment, and a device like this taps right into that energy. It gives you a reason to care about the format all over again, not just as a nostalgia trip, but as an object worth owning and displaying on a shelf next to your records.

The timing works in its favor, too. Death Stranding 2: On the Beach launched earlier this year and carries forward everything the first game did best: gorgeous world-building, deeply strange storytelling, and a visual identity unlike anything else in gaming. Releasing this CD player alongside that cultural wave makes it feel like part of something larger, not a cash grab bolted onto a recognizable franchise. km5 and Kojima Productions clearly put thought into this, and the result reflects that. This isn’t just a piece of merch. It’s a collaboration that understood its source material well enough to let the design carry the story.

The Instant Disc Audio Cp1 DEATH STRANDING 2 Model is available directly through km5’s official website and at the KOJIMA PRODUCTIONS × PARCO GAMES STRAND STORE in Shibuya PARCO. Stock is limited, and if history tells us anything about Kojima collaborations, waiting around is usually the fastest way to miss out entirely.

The post A BB Pod-Shaped CD Player Straight Out of Death Stranding first appeared on Yanko Design.

The 5 Best Tech Gifts for the Guy Who Thinks He’s Already Seen Everything in 2026

There’s a specific kind of person who is genuinely difficult to shop for. He already owns the good headphones, already upgraded the keyboard, already knows the spec sheet of whatever you’re about to suggest before you finish the sentence. The products that actually land with him aren’t better versions of things he already has. They’re objects that make him stop, turn it over in his hands, and ask a question he hasn’t thought to ask before. That’s the bar this list is built around.

Every pick here does something the category wasn’t supposed to do. A power bank thinner than a phone. A mouse that folds flat enough to slip into an envelope. A speaker you can see straight through while it plays. A notebook that records the room while you write in it. A handheld Linux computer that doubles as a keyboard for any machine on earth. Five gifts, five moments of genuine surprise, and a price range wide enough that none of them feel like settling.

1. piBrick Pocket-CM5

The piBrick Pocket-CM5 is the size of a smartphone and runs a full Linux desktop. Built from a custom PCB, a 3D-printed shell, and an open-source parts list that totals $172, it arrives at 80mm × 145mm × 19.6mm with a 3.92-inch AMOLED display running at 1080×1240 pixels, 90Hz, and 560 nits of brightness. A BBQ20 BlackBerry-style keyboard sits on the face, complete with an integrated trackpad, rotary encoders on the sides, and five user-programmable buttons. Asahi Tempered Glass covers the display, and a 5,000mAh battery keeps everything running without a desk.

The feature that makes it genuinely surprising lives in the USB stack. Plugging the piBrick into any external computer or server activates USB-HID mode, turning its keyboard and trackpad into a fully standalone input device, independent of the Linux system running underneath. A sysadmin arrives at a server rack without a spare keyboard. The piBrick already is one. Full-size and micro-HDMI outputs let the same device drive an external display. NVMe SSD support in 2230 and 2242 formats adds real storage headroom.

What we like

A full Linux machine that moonlights as a USB keyboard for any device on earth — two completely distinct, genuinely useful capabilities in smartphone dimensions
Built for significantly less than a budget phone, with an open-source design that belongs to anyone who wants to build on it

What we dislike

Building the piBrick requires sourcing parts and assembling the hardware yourself, which puts it out of reach for anyone not comfortable with a soldering iron
The $172 figure is the parts cost floor, not a retail price — the full build investment in time and effort needs to be factored in

2. OrigamiSwift Mouse

Horace Lam designed the OrigamiSwift around a single constraint: a Bluetooth mouse that collapses small enough to carry without thinking about it. Folded, it measures 0.18 inches thick and weighs 40 grams, lighter than most pens. Open, it becomes a full-sized working mouse in under half a second. The origami-inspired triangular structure gives the folded form real rigidity, so it holds its shape through actual work sessions rather than shifting on the desk after the first hour. The soft-click buttons keep things quiet in shared spaces, which turns out to be something you notice immediately.

The internals match the ambition of the form. A 4,000 CPI HD infrared sensor tracks at up to 4,000 frames per second, Bluetooth 5.2 pairs across Mac, Windows, Android, and iPadOS within a 32.8-foot wireless range, and a single USB-C charge delivers up to three months of use. That last figure is the one worth sitting with. Most wireless mice need charging every few weeks. The OrigamiSwift needs it roughly once a season.

Click Here to Buy Now: $85.00

What we like

Folds to 0.18 inches thick and weighs 40 grams — small enough to forget it’s in a bag until you actually need it
Three months of battery life on a single USB-C charge, which makes every other wireless mouse feel like a maintenance obligation

What we dislike

Stock is limited at the time of writing, so availability may not line up with gift timing
The 4,000 CPI ceiling may feel restrictive for anyone whose work involves precision-heavy creative or illustration workflows

3. Xiaomi UltraThin Magnetic Power Bank

The power bank category has been stuck in the same design rut for a decade. Bigger capacities, same uninspired bricks. Xiaomi broke that logic at MWC 2026 in Barcelona with a magnetic power bank measuring 6mm thick, thinner than any current smartphone on the market, including the iPhone 17. The 5,000mAh capacity is made possible by silicon-carbon battery chemistry with 16% silicon content, the same material science pushing next-generation electric vehicle batteries into smaller form factors. It weighs 98 grams. The aluminum alloy shell has a photolithographically etched logo on the back, and the phone-facing surface uses fire-resistant fiberglass with an excimer coating for heat management.

Wireless charging tops out at 15W when paired with the Xiaomi 17 series and 7.5W for iPhones via MagSafe. A USB-C port pushes 22.5W wired, and the bank charges two devices simultaneously. Ten layers of protection cover overvoltage, overcurrent, overheating, and short circuits, with dual NTC temperature sensors monitoring heat in real time.

What we like

At 6mm and 98 grams, it snaps magnetically to the back of a phone and disappears there — the first power bank in the category to make you genuinely forget you’re carrying one
Silicon-carbon battery chemistry packs 5,000mAh into a profile that has no business fitting that much capacity

What we dislike

The 7.5W cap on iPhones is an Apple MagSafe restriction rather than a Xiaomi design choice, but it still stings
US buyers will need to source it internationally for now, as domestic availability is unconfirmed at the time of writing

4. Huion Note E

Huion built the Note E to pass as a paper notebook from any angle. The sides are rigid to mimic the page block of a bound journal. The cover is PU leather with a felt lining on the inside. At exactly A5 proportions and 348 grams without the cover, it is the size and weight of an 80-page notebook. The 8.4-inch laminated LCD screen uses anti-glare nano-etching that Huion’s own reviewer describes as writing on smooth Japanese paper, with DC dimming over PWM to reduce the eye strain that builds across a long writing session. Turning it to the side, nothing about it reads as electronic.

What genuinely separates it from every other stylus tablet is a feature buried in the note-taking app. The Note E records audio while you write. Play it back later and the recording advances in sync with your handwriting reappearing on screen, line by line, exactly as it was written. Every word is anchored to the sound in the room at the moment it landed on the page. The included PW510 stylus is battery-free, offers 8,192 levels of pressure sensitivity with tilt support, and attaches magnetically to the side of the device.

What we like

The audio-sync playback turns any page of notes into a timestamped recording — you can replay exactly what was being said in the room at the moment each line was written
The battery-free PW510 stylus with 8,192 levels of pressure sensitivity is included, alongside a cover that genuinely looks like a premium leather journal

What we dislike

No microSD expansion means 128GB is the ceiling, which fills up faster than expected once drawing files enter the picture
The cover attachment mechanism feels less robust than a product at this price point should, with prongs that require a specific sliding motion to engage

5. MorningBlues SonicGlass A1

The MorningBlues SonicGlass A1 is a speaker most home audio brands would not have the confidence to make. The front face is a 21.5-inch TFT panel with over 90% light transmission, framed in black with the driver sitting fully visible behind the glass. When a song plays, licensed lyrics appear across the transparent surface in motion styles tuned to the track’s emotional character, a feature called MoodLyric, trained on hundreds of millions of playbacks with all lyrics licensed through LyricFind to properly credit the artists. The driver is not hidden. The mechanics are not disguised. The whole object is designed to be looked at.

A second layer called SceneSync generates AI visuals in real time matched to the genre playing, with pop, hip-hop, R&B, and rock each triggering distinct visual aesthetics on the glass. When the music stops, it shifts to ambient room mode: rotating backgrounds, a dynamic clock face, or an ASMR sleep display for winding down. A microphone turns it into a karaoke setup with live scrolling lyrics. The MorningBlues Music Hub 1 controller handles playback without involving a phone.

What we like

A transparent 21.5-inch display that animates licensed lyrics while the music plays and becomes ambient room art when it stops — the speaker category has needed something this committed to its own idea for a long time
SceneSync and MoodLyric together mean the visual experience is never the same twice, tuned in real time to the genre and emotional character of whatever is playing

What we dislike

At $646, the price is a meaningful ask for a product that hasn’t shipped yet

The Best Gifts Don’t Improve on What He Already Has – They Make Him Rethink the Category

What makes each of these worth picking is that none of them are better versions of something he already owns. The piBrick isn’t a better mini PC. The OrigamiSwift isn’t a better travel mouse. The Xiaomi power bank isn’t a higher-capacity brick. Each one rethinks the category assumption from the ground up, which is the only kind of product that genuinely surprises someone who already knows the market well and has largely stopped being surprised by it.

The price range runs from $85 to $646, which means there’s a real pick at every budget with no filler option anywhere in the list. Whether it’s the SonicGlass as the room’s defining object or the piBrick as the most interesting thing in a bag, each earns its place the way the best gifts do — by being something the person would never have bought for himself, but won’t want to give back.

The post The 5 Best Tech Gifts for the Guy Who Thinks He’s Already Seen Everything in 2026 first appeared on Yanko Design.

This $400 Tablet Comes With a Stylus, a Case, and Eyes That Don’t Hurt

Screen time on tablets has never been higher, but comfort hasn’t kept pace. Most tablet displays are still optimized for brightness and color gamut, with eye protection largely an afterthought or a toggle buried in settings. Reading long documents, annotating notes, or watching videos for hours on a typical panel can leave your eyes feeling the aftermath in ways that aren’t exactly encouraging.

TCL’s TAB A1 Plus NXTPAPER approaches that problem with something more deliberate than a simple blue-light filter. Built around the brand’s fourth-generation NXTPAPER display technology, it brings a large 12.2-inch 2.4K panel that combines seven integrated eye-comfort technologies, including Nano Crystal Shield Glass and an OmniSoft Light System, to more closely replicate the gentler, less fatiguing qualities of reading on paper.

Designer: TCL

The aspect ratio is worth noting too. At 3:2, the screen is taller than typical tablets, which means more of a document or webpage fits on screen without endless scrolling. That might sound like a minor detail until you’re cross-referencing notes during a study session or keeping track of multiple open documents across a long work afternoon. The adaptive 120Hz refresh rate keeps every interaction smooth throughout.

Switching between display modes is handled by the dedicated NXTPAPER Key, which cycles through paper-like and standard color modes without digging into settings menus. The 3-in-1 VersaView feature goes a step further, letting you pin specific apps to stay in full color while the rest of the interface remains in the easier-on-the-eyes paper mode. It’s a level of personalization that’s genuinely thoughtful.

NXTPAPER isn’t attempting to replicate E Ink or compete with dedicated e-readers on texture alone. It preserves the advantages of a conventional color display, including smooth video playback and vivid visuals, while adding the glare reduction and light softening that make extended reading sessions less punishing. The result is a screen that can move from a video stream to a study session without demanding any trade-off.

A suite of built-in AI tools handles the more tedious parts of daily work. Google Gemini and Circle to Search are onboard, alongside Writing Assist, Text Assist, a Smart Translator, and Smart Voice Memo. The tablet also runs Android 16 with Split Screen, Floating Windows, and Sidebar features built in, which means going from writing a draft to pulling research doesn’t require closing anything.

Under the hood, the Snapdragon 4 Gen 2 chip pairs with up to 16GB of RAM and 256GB of storage, expandable to 2TB via microSD. The 10,000mAh battery is large enough to carry through extended sessions without anxiety, and the 33W fast charging means a dead tablet doesn’t stay that way for long. The metal unibody keeps the whole package under 6.70mm thick.

The IP54-rated splash and dust resistance is a practical safeguard for a device that moves with you, and the build weighs in at 556 g. It comes in Aerolite Grey, and the box includes the tablet, a stylus, and a flip case, making the $399.99 asking price a fairly well-rounded deal for a package that doesn’t require additional accessories just to get started.

The post This $400 Tablet Comes With a Stylus, a Case, and Eyes That Don’t Hurt first appeared on Yanko Design.

KONKR Pocket Advance handheld is AYANEO’s modern take on the Game boy Advance

AYANEO leans towards Nintendo nostalgia more often than not for its handhelds, as we’ve seen in the past. The Flip DS and Pocket DS were their previous handhelds popular with the gaming community. Now they’re back at it with a Game Boy Advance-inspired device that’s released under the KONKR moniker as a part of the new REMAKE series. Some of the previous releases from the sub-brand include the KONKR Pocket Block AI  and the KONKR Fit.

Even the naming convention is a whole lot similar to the 32-bit horizontal handheld from 25 years ago, as the new gadget revealed by CEO Arthur Zhang at a livestream event is called the KONKR Pocket Advance. At the event, Zhang said, “The familiar silhouettes, unique button layouts, and exceptional control experiences together form the most precious memories of the golden age of gaming for a generation of players.”

Designer: AYANEO

It has a similar wide-body design language to the GBA for nostalgia and playing retro games in a 3:2 aspect ratio. However, the LCD display on this one is a little bigger, measuring 3.5 inches (compared to the 2.9-inch on the GBA) with an upgraded resolution of 960 x 640 (240×160) on the original. This means the original titles meant for the Game Boy Advance can be played with 4x pixel scaling, sans any distortion or artifacts during gameplay. The Shell of the handheld also gets a slight bump up to 5.96 x 3.24 x 0.87 inches, and weighs 224 grams as compared to the 140-gram GBA.

Pretty obviously, the handheld debuting decades after the Game Boy Advance is destined to have other upgrades as well. The KONKR Pocket Advance gets a full spectrum of ABXY buttons, extra shoulder clickers, and Menu buttons for better navigation. Other hardware additions come in the form of Wi-Fi 5.0, Bluetooth compatibility, a USB-C port, and a microSD card expansion slot. The retro nostalgia flows into the volume adjustment wheel and the inclusion of a 3.5 mm headphone jack. According to AYANEO, the handheld  isn’t just a replica from the past; rather, it “integrates modern product concepts and manufacturing techniques to breathe new life into retro aesthetics.”

There is no word yet about the other specifications like the processor or the battery configuration, nor the pricing and availability. That said, we should hear soon regarding those details from the maker. The only thing revealed so far is the two-color options: navy blue and coral orange, which look similar to the classic indigo and the spice orange version, respectively. We just hope that AYANEO produces a substantial number of the devices, as the Pocket Micro 2 released a couple of months ago sold out in mere minutes.

The post KONKR Pocket Advance handheld is AYANEO’s modern take on the Game boy Advance first appeared on Yanko Design.

Every single curve on this coffee dripper has a job, from preserving heat to guiding flow

Most coffee nerds can tell you the difference between a bean from Colombia and one from Ghana, or even one from Brazil, without hesitation. Some are arabica, some robusta, some carry caramel notes while others lean fruity, some taste gentler thanks to high-altitude growing conditions, while others pick up the character of the soil they’re grown in. Most coffee nerds can taste the difference between two cups brewed with two different beans. What they usually can’t do at a glance is look at two pour-over drippers and instantly tell how each design shapes the brewing process and, ultimately, the flavor in the cup. They obsess over coffee, and sometimes maybe even the device they brew the coffee in, but not everyone can identify the hidden engineering details that make your coffee maker do its job consistently.

The fun part is that JUNE wears all that engineering incredibly well. It has the clean, almost gallery-like silhouette of a countertop design object you’d actually want to leave out, but every part of that shape is secretly working double duty. The dual-wall vacuum body is there to stop heat from escaping mid-brew, the ceramic-coated interior keeps your coffee tasting like coffee instead of metal, and the 12 internal ribs are designed to manage filter contact and airflow with a surprising amount of precision. It’s the kind of thoughtful design that makes you realize some drippers are basically just bowls with ambition, hoping for the best. JUNE, on the other hand, tries to account for every unknown variable, make it known, and then control it obsessively to ensure that your brew is consistent to the point where it feels like science meets art meets coffee.

Designer: Shelbru

Click Here to Buy Now: $63 $99 (37% off). Hurry, only a few left!

Temperature is the variable most pour-over gear quietly ignores. Glass, ceramic, and single-wall steel drippers all absorb heat from brewing water rapidly, sometimes dropping the temperature by as much as 15-20°C in the first thirty seconds of a brew, which changes how compounds extract from the grounds and ultimately changes what ends up in the cup. Most people never realize it’s happening because the result is just a slightly flatter, slightly less interesting version of what the coffee could have been. JUNE’s double-wall vacuum structure builds a thermal barrier directly into the dripper itself, maintaining a more stable brewing environment from bloom to drawdown. Shelbru’s own testing showed JUNE holding within roughly 1-2°C of its starting brew temperature over four minutes, while glass and metal competitors dropped far more aggressively. The practical payoff is straightforward: you can dial in a recipe and actually repeat it, which sounds obvious but is genuinely harder than it should be with conventional gear.

The 12 concave ribs inside JUNE are doing more brewing work than they look like. Their primary job is holding the paper filter flush against the dripper wall, which reduces the gap through which water can slip around the coffee bed instead of through it, a problem that quietly leads to under-extracted, uneven cups. Between each rib, recessed air channels let pressure escape smoothly as water flows down, helping maintain a steadier, more controlled drawdown from start to finish. Then there’s the Aroma Flow outlet at the base, which centers and stabilizes the coffee stream as it exits the dripper, pointing it precisely where it needs to land. For people using a standard server, that’s a nice quality-of-life detail. For people pairing JUNE with ICOSA’s Avensi Cyclone, it becomes the entire point.

JUNE’s Aroma Flow outlet was designed with a specific destination in mind, and the Shelbru x ICOSA Avensi Cyclone is it. The Cyclone is a borosilicate glass sensory carafe featuring a raised Aroma Peak at its center, a form inspired by high-end wine decanters, which coffee cascades over as it drips from JUNE’s outlet, diffusing and magnifying aromatics into the air as it does. The Avensi Alto tasting cup extends that philosophy further, with an hourglass form and Aeration Waves geometry that amplify the aromatic complexity of each sip. Both pieces are handcrafted from borosilicate glass and designed to stack cleanly for storage. Together they push the serving and tasting half of the pour-over ritual well past what a standard mug typically offers.

The Shelbru Smart Canister handles everything that happens before the kettle even comes out. It’s a vacuum-sealed bean storage container with an automated pressure sensor that monitors internal conditions and reactivates vacuuming whenever pressure drops below -20 kPa, keeping beans in a stable, low-oxygen environment without any manual effort on your part. Press once to seal, press again to open, and the canister takes care of the rest. It holds 250 to 300 grams of roasted coffee, runs on a 1,500 mAh battery rated for around 4,000 hours of standby, and charges fully in three hours. For anyone who has bought genuinely excellent beans and then watched them go stale in a poorly sealed bag, this is the container that fixes that specific, recurring regret.

Swapping JUNE’s silicone base for a Hario Switch converts the entire setup to immersion brewing in seconds, giving you a different extraction profile from the same dripper body without buying a second piece of equipment. Pairing JUNE with Nucleus Paragon opens up rapid cooling and temperature-controlled experiments for brewers who want to get more technical about what’s in the cup. The detachable base makes JUNE feel like a platform rather than a fixed tool, one that grows with how seriously you decide to take this whole thing. For casual daily brewers, this is context they may never need. For the kind of person who already owns a precision kettle and a gram scale, this is where JUNE gets very interesting very fast.

JUNE starts at $63 for the single dripper, with the Fresh Brew Bundle pairing JUNE with the Smart Canister at $103. The Complete Aroma System, which brings together JUNE, the Avensi Cyclone, the Avensi Alto, and the Smart Canister, covers the full pour-over journey from bean storage to brewing to serving to tasting, and is priced at $137. Yanko Design readers get an exclusive deal on that Complete Aroma System at $135, against an MSRP of $235. The Cold Brew Bundle, which includes the Shelbru Brewer, Carafe, and Smart Canister, comes in at $83. Mass production is already underway with delivery expected in September 2026, and full details are available on the Kickstarter page below

Click Here to Buy Now: $63 $99 (37% off). Hurry, only a few left!

The post Every single curve on this coffee dripper has a job, from preserving heat to guiding flow first appeared on Yanko Design.

This Transparent Box Opener Handles Tape & Tags Without You Ever Putting The Package Down

Most box cutters do one thing and leave the scissors somewhere else. The ritual of tearing into a delivery becomes a hunt for a second tool, or a decision to use the first one for everything and hope it does not cut too deep. The ClearSlide Box Opener removes that problem. A blade and scissors in a single compact body, it handles packaging tape and tags in one uninterrupted motion, without putting the package down.

What makes it worth keeping on the desk is the mechanism. A sliding thumb control moves between lock, cutter, and scissors without requiring both hands; each position locks in before releasing cleanly. The blade extends just 0.12 inches, enough to slice through tape without reaching the contents inside. The transparent body shows the internal mechanism’s shift with every adjustment, turning a utility object into something that actually earns its spot next to the keyboard.

Click Here to Buy Now: $30.00

One Tool, Two Functions

Box cutters and scissors solve the same last step in two different ways. The ClearSlide puts both into a single form factor small enough for a pocket. The sliding mechanism moves through three positions: lock, cutter, and scissors, each one clicking into place before releasing with a clean spring action. That kind of tactile confirmation in something this compact is not common. It changes how deliberate the tool feels in use and removes the uncertainty from every position change.

The blade extension is limited to 0.12 inches, which sounds like a constraint until you consider what it actually prevents. Most damaged deliveries come from a blade that cuts too deep on the first pass. At this depth, the cutter handles tape without reaching the contents underneath, which is the only job it needs to do. The scissors handle the rest: tags, inner packaging, anything that a blade would otherwise make worse rather than better.

Transparent by Design

Most tools hide their engineering inside an opaque body. The ClearSlide does the opposite. The transparent shell makes the internal sliding mechanism visible with every position change, so you can see the active mode before making the cut. It is a functional decision dressed as an aesthetic one, or an aesthetic one that happens to be functional. The result is a tool that communicates clearly and carries a retro-tech character most utility objects never bother developing.

Compact enough for a pocket, fitted with a built-in strap hole for clipping onto a bag, and retractable for safe carry, the ClearSlide is designed to stay within reach. The frustration of opening packages is rarely about the cutting itself. It is about the pause before it: the drawer search, the tool switch, the moment where the delivery wins. This closes that gap. One tool, one pocket, one motion from the moment it arrives at the door.

What We Like

Blade-and-scissors combination: replaces two tools with one slim body that handles packaging tape and tags in a single session, without switching grip or setting the package down

Single-hand operation: the thumb-controlled slider moves between lock, cutter, and scissors with one hand, leaving the other free to hold whatever is being opened

Controlled 0.12-inch blade depth: cuts through tape cleanly while staying clear of the contents underneath, solving the most common frustration of opening deliveries with a standard blade

Visible internal mechanism: the transparent body lets you confirm the active mode before every cut, and gives the tool a distinct retro-tech character that sets it apart from every other cutter in a drawer

What We Dislike

Blade replaceability: the product does not specify whether the cutter blade is replaceable, which matters for anyone opening packages regularly and expecting long-term performance from a $30 tool

Limited color range: Clear, White, and Smoke Black are clean choices, but the transparent body has the visual potential to carry a wider palette than three colorways currently allow

The Tool That Ends the Two-Step

The ClearSlide Box Opener was built around a problem most people have learned to live with rather than solve. Two functions in one tool, controlled by a single thumb, with a blade depth engineered to protect what matters. For something that lives on a desk or clips onto a bag, that level of considered detail at $30 makes it difficult to justify keeping a box cutter and scissors as two separate jobs.

If the current setup involves reaching for one tool and then switching to another halfway through, that is the exact friction this replaces. Pick it up in Clear, White, or Smoke Black. Let the next delivery be the last time the packaging feels harder to deal with than whatever is inside it, and let the scissors that used to live in the desk drawer finally earn a proper rest.

The post This Transparent Box Opener Handles Tape & Tags Without You Ever Putting The Package Down first appeared on Yanko Design.

Smart’s Place Turns a Covent Garden Rooftop Into a Full-Blown London Home

London has always demanded creative solutions from its architects. Space is scarce, plots are irregular, and the city’s historic fabric rarely makes room for anything new without a fight. Smart’s Place, designed by David Kohn Architects for developer Baylight Properties, found its answer not on the ground, but above it — perched atop a 19th-century Covent Garden warehouse where a rooftop became the foundation for a proper two-story home.

At 3,046 square feet, the residence doesn’t read like a rooftop addition. It reads like a house. The exterior is clad almost entirely in brick, but not laid in the conventional staggered pattern found across London’s surrounding streetscape. Here, each brick is turned on its narrow side and stacked vertically, producing a tighter, more textured surface. The dark plum tone and pale mortar still acknowledge the neighborhood’s palette — it fits without blending in.

Designer: David Kohn Architects

The ground floor is organized as an enfilade — dining room, library, and lounge arranged in an open sequence with no doors between them, flowing as one continuous space. It’s a layout that suits the owner well; the brief called for a home built around hosting. Each room faces south, framed by bay windows that pull London’s skyline into view, with a terrace extending the living space outward. Behind this sequence sits the kitchen, bathrooms, and a lift connecting the home to the warehouse below, which the owner uses as an office.

Upstairs, the character shifts slightly. Two bedrooms, each with its own bathroom, are lined with shelving and wood paneling — a deliberate backdrop for the owner’s collection of art and ceramics. Picture rails run throughout, and a study completes the floor. The staircase connecting both levels is lit from above by circular skylights, a quiet architectural gesture that makes the climb feel considered. Each bedroom has bay windows set back from the facade, carving out private terraces landscaped by Todd Longstaffe-Gowan.

David Kohn himself acknowledged the layered references embedded in Smart’s Place. He cited Sir John Soane’s Museum and the Villa Necchi in Milan alongside the studio’s own Red House — the Dorset project that won RIBA’s House of the Year in 2022, praised specifically for its enfilade that “magically flows.” That same spatial logic reappears here, refined and transported to a London rooftop.

What Smart’s Place demonstrates, much like the studio’s previous work, is an ability to find genuine domesticity inside unlikely shells. Two years in the making, it doesn’t try to look temporary or apologetic about its position above the city. It simply looks like a home — which, given where it sits, is the hardest thing to pull off.

The post Smart’s Place Turns a Covent Garden Rooftop Into a Full-Blown London Home first appeared on Yanko Design.

London’s Barbican Now Has Furniture You’re Allowed to Move

Most public spaces don’t trust you. They’re designed to move you through them efficiently, seat you for a limited time, or keep you from lingering too long. Benches with armrests in the middle to prevent sleeping. Spikes on flat ledges. Gaps between seats so no one gets too comfortable. Somewhere along the way, cities stopped being places you inhabit and started being places you pass through.

Päivi Raivio’s Basic Forms (of Urban Life) is a direct and cheerful argument against all of that. The Finnish artist and urban designer has taken a set of geometric plywood pieces, painted in colors borrowed from the Barbican’s own brutalist architecture, and placed them in the middle of one of London’s most famous cultural complexes. No instructions. No fixed configuration. No single correct answer. Visitors are invited to pick them up, move them around, stack them, sit on them, or arrange them into something entirely new. What looks like furniture is actually a question: what do you want this space to be?

Designer: Päivi Raivio

I’ve seen a lot of participatory design installations over the years, and most of them fail for the same reason: they participate for you. They have a predetermined “correct” arrangement that visitors slowly discover through guided cues. There’s no real agency. Raivio’s work is different because it genuinely means it. A seat can become a table. A table can become a platform. A platform can become a wall, a stage, or a privacy screen between two strangers who both needed a quiet corner at the same moment. The work shifts with whoever is using it, and that feels radical compared to what most public design offers.

The Barbican is a fitting backdrop for all of this. Designed through the 1950s and completed in 1982, it’s one of the most monumental pieces of brutalist architecture in the UK, all exposed concrete and sharp geometry. Raivio’s lightweight, colorful pieces don’t fight the setting. They echo it quietly, picking up the shapes and tones of the architecture without trying to compete with several acres of concrete. The contrast between the fixed permanence of the building and the cheerful rearrangeability of the installation is part of what makes the whole thing click.

For Raivio, play isn’t a decorative layer applied over the surface of serious design. It’s a foundational principle. Her studio, RaivioBumann, focuses on transforming public spaces into places that are genuinely livable, not just functional. The idea that disorder and disruption can be design tools, rather than problems to be solved, runs through everything about Basic Forms. Public space, in her view, is most alive when it hasn’t been entirely decided for you.

The installation is part of the Barbican’s Play Make Do festival, running 14 to 16 August 2026, and it’s free, unticketed, and open to anyone who walks through. It previously showed at Concéntrico in Logroño, Spain, where it was met with the kind of spontaneous collective enthusiasm that designers spend careers hoping for. People of all ages rearranged, combined, balanced, and rebuilt the pieces for hours. The images from that presentation are worth looking up. They show something you don’t see often enough in public space: strangers making decisions together.

That’s the detail that sticks with me. Not the form, not the color palette, not even the clever way the installation adapts to its environment. It’s the fact that two people who don’t know each other will naturally start negotiating, collaborating, and eventually laughing over how to arrange a pile of plywood. Raivio has essentially built a permission slip for connection, disguised as furniture.

Cities don’t lack benches or tables. They lack reasons to linger. They lack spaces that say, figure it out, make it yours, stay as long as you want. Basic Forms gives London exactly that, even if only for a weekend. The real question it raises is why we aren’t building this kind of thinking into cities permanently, instead of treating it as a festival-season novelty.

The post London’s Barbican Now Has Furniture You’re Allowed to Move first appeared on Yanko Design.

Triumph Added Gold Accents to Its New 1200cc Roadster

Gold is a bully. Put it anywhere near black and it wins every argument, which is why most manufacturers use it sparingly, on a badge, maybe a border, probably just a little accent here or there, that’s it. Triumph used it five times on the new Speed Twin 1200 TFC and somehow the bike does not look like a trophy. There’s gold in the tank pinstripe, gold outlining the Triumph badge, gold on the fork lowers, gold on the Öhlins adjusters, and a full gold chain spinning away back there like it’s showing off.

The trick is what’s holding it all down. Every other surface on this thing is either gloss black, matte carbon, or blacked out titanium, so the gold has nowhere to bounce. It reads as punctuation instead of paint. Look at the tank in daylight and the metallic flake in Obsidian Gold does something sneakier still, glinting only when the light hits at an angle.

Designer: Triumph

Carbon fiber handles the unglamorous half of the equation. Gloss-lacquered panels wrap the mudguards, side panels, and heel guards, keeping the bike visually quiet enough for the gold to register. It also drops wet weight to 214 kg, 3 kg under the Café Racer Edition and 2 kg under the standard Speed Twin 1200 and RS, roughly a six-pack of beer permanently removed from a bike you’re about to fling around corners. None of it shouts about lap times. It’s there because a factory custom still has to look hand-built even when a robot laid up half the panels.

Fully adjustable Öhlins units replace the Marzocchi suspension at both ends, and Brembo Stylema calipers grab the front discs through a radial master cylinder, hardware you’d expect on a race bike, not a numbered plaque. Low clip-on bars and end-mounted mirrors push the rider into a sportier crouch, backed by a billet aluminum top yoke laser-etched with each bike’s number out of the 750-unit run. It’s parked right where your eyes land every time you glance at the bars, a reminder that you did, in fact, pay for something rare.

The engine is the one thing Triumph left alone, correctly. It’s the same 103.5 hp, 112 Nm parallel twin found in the standard Speed Twin 1200, the RS, and the Café Racer Edition, so nobody’s buying this for a bigger number. What’s different is how it exits, through black titanium Akrapovič silencers with carbon end caps that trade a bit of restriction for a better soundtrack. Shift Assist, cornering ABS, traction control, and three riding modes round out the electronics on a color TFT and LCD combo, with a USB-C port instead of some ancient proprietary plug.

Bullet-style LED indicators double as brake and tail lights, freeing up the space where a central lamp usually sits for a clean, logoed blanking plate instead. It’s a small deletion custom shops would charge extra for, and here it comes standard. The seat is a one-piece bench in hand-stitched leather with a suede pad, the kind of detail you only clock once you’re sitting on it.

At $21,995, with 180 units earmarked for the US and 30 for Canada, the Speed Twin 1200 TFC is priced and rationed like the collector’s item Triumph wants it to be. Deliveries start in October, and every bike ships with its own numbered yoke, turning “limited edition” into something you can actually point to. Neither the horsepower nor the price tag really sells this bike. It’s that Triumph resisted throwing everything at it, building a bike where five points of gold do more design work than most manufacturers manage with an entire livery.

The post Triumph Added Gold Accents to Its New 1200cc Roadster first appeared on Yanko Design.

This NASA-inspired Kojima Watch lets you wear Ludens’ futuristic vision on your wrist

NASA-inspired timepieces have always been hot property for astronomy fanatics and watch collectors alike. The minimalist Nova Watch, geeky  NASA Artemis Watch 2.0, and the ultra-exclusive Amida watches prove it, all right. Now, Anicorn Watches has unveiled another space-themed creation that channels the spirit of interstellar exploration through its collaboration with Kojima Productions.

According to Anicorn, the timepiece captures the essence of Hideo Kojima’s iconic Ludens character. Conceived by the legendary artist Yoji Shinkawa, Ludens is imagined as an astronaut venturing into the digital universe, symbolizing the studio’s philosophy of exploring the unknown through creativity. Described by the watchmaker as a once-in-a-lifetime collaboration, the Space Ludens transforms that futuristic vision into a collectible mechanical watch.

Designer: Anicorn Watches

The NASA “worm” logo serves as one of the defining visual elements, reinforcing the idea of “bringing fun into the unknown universe.” Housed in a 42 mm 316L stainless steel case with a scratch-resistant sapphire crystal, the watch embraces an industrial aesthetic inspired by the Ludens EVA Creative Suit. Four exposed screws on the bezel echo the suit’s structural details, while the monochrome dial is accented with subtle futuristic graphics that stay true to Kojima Productions’ signature visual language. Super-LumiNova-coated hands and hour markers ensure the watch remains easy to read after dark without compromising its clean appearance.

Powering the Space Ludens is the dependable Miyota 8215 automatic movement with 21 jewels and a beat rate of 21,600 vibrations per hour. A transparent exhibition caseback reveals the movement in action, giving enthusiasts a glimpse of the mechanics behind the design. The watch also offers 50-meter water resistance, making it practical enough for everyday wear despite its collector-focused appeal.

Comfort hasn’t been overlooked either. The timepiece comes paired with a durable black FKM rubber strap that complements the rugged case while providing a secure fit for daily use. Each watch is individually numbered and presented in custom collector packaging that celebrates the collaboration between Anicorn and Kojima Productions.

For enthusiasts seeking an even more exclusive offering, Anicorn also introduced the Space Ludens with Ludens Mask VIP edition limited to just 100 units. In addition to the watch, the premium set includes a detailed Ludens mask display piece presented in a collector-grade package, turning the release into a display-worthy tribute to one of gaming’s most recognizable creative icons. Priced at $1,540, the rare edition is without doubt “EVA Creative Suit on the wrist” for enthusiasts to own.

The post This NASA-inspired Kojima Watch lets you wear Ludens’ futuristic vision on your wrist first appeared on Yanko Design.