$95 Lambertus strap will turn the Audemars Piguet × Swatch Royal POP pocket watch into a wristwatch

High-end collaborations, at times, give us meaningful outcomes that no matter how hard you try, you cannot sidestep. In my recent memory, Audemars Piguet x Swatch Royal Pop – a mindboggling amalgamation of the Royal Oak and the Swatch Pop – is definitely one such example. While everything is a Pop of color and high-end horology, what remains missing is the fact that this collaborative model is not meant to be worn on the wrist; it’s designed as a pocket watch, but one you’d definitely fall for even in 2026.

However, there is a school of thought comprising watch enthusiasts that believes the Royal Pop deserves to rest on the wrist. While the creators themselves don’t believe it, Lambertus, an independent maison, is a firm advocate that it should, and is therefore creating case-straps for the Audemars Piguet x Swatch Royal Pop, now going on pre-order, in whole, for $95 through the Royal Pop Wrist Bands website.

Designer: Lambertus

That amount will reserve a case-strap for you, but there’s a caveat. The creation of these straps has not kicked off the blocks at the time of writing. For the reservation price of $95, therefore, you are banking on Lambertus to carry out all the phases of development i.e., the roadmap from R&D, prototyping, final design, to manufacturing, with no clear deadline for assurance.

The Lambertus creation is called Chapter I. It’s now in the R&D, and should present, on development, as an excellent accessory to the AP × Swatch Royal Pop. The cult timepiece comes in eight different colorways and two design iterations: the Lépine and the Savonnette. The Lépine pocket watch is designed with hour and minute hands and a crown at 12 o’clock. It comes in six color options. Available in two colorways, the Savonnette Royal Pop, features a crown at 3 o’clock and along with the hour and minutes, also has a small second hand at 6 o’clock.

Since Lambertus has a vision to match everything in the Royal Pop portfolio to the T. It will also tailor the straps to match the eight colors of your pocket watch. Even commendable – or you may say requisite – is that the case-straps will be split in two models, like the AP x Swatch collaborative pocket watch itself. The Strap I of the Chapter I will come in six Lépine-style models and the Strap II in two options for the Savonnette-style watches.

Of course, from how it appears as of now, the machined, octagonal watch holder straps from Lambertus will let you snap in the AP x Swatch Royal Pop and flaunt it with passion. But how well the strap material (which remains unclear as I write), of the eight luxury designs in two crown orientations, complements the Bioceramic case of the actual watch is anybody’s guess. And if that’s not as premium as you would like to trust with your AP, we know where the $95 you put in is headed. To ensure the backers have little legal ground to confront, the Royal Pop Wrist Bands website puts out “Our Royal POP compatible straps and wristbands are not affiliated with, endorsed by, or sponsored by Audemars Piguet or Swatch Group,” in fine print.

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Ferrari Made One Last Non-Hybrid V8 Spider Before The Brand Hands Its Future To Jony Ive

Two Ferraris arrived within months of each other in early 2026, and they could not be more different in what they represent. The Luce, Ferrari’s first EV, debuted its interior in February, designed by Jony Ive and Marc Newson’s LoveFrom studio, all Gorilla Glass panels, pivoting OLED displays, and a key fob that docks into the center console like a miniature iPhone. CEO Benedetto Vigna defended the outside collaboration by saying Ferrari needed people with the experience to prove that electric does not have to mean screen-dominated, which is a reasonable argument until you consider that Ferrari’s own designers have been doing exactly that, beautifully, for decades. The HC25 is what those designers produced at the same moment, for a single client, using the last non-hybrid V8 spider platform the brand will ever build.

Unveiled at the Circuit of the Americas by Flavio Manzoni’s Ferrari Design Studio, the HC25 is formally part of the Special Projects One-Off programme, a two-year collaboration between Maranello and one unnamed client who wanted the F8 Spider’s 710-hp twin-turbo V8 reimagined in a body that spoke the brand’s new formal language. The result is 4,758mm of matte Moonlight Grey bodywork, a three-dimensional glossy black central band housing the cooling intakes, bespoke headlamps using LED modules never before fitted to any Ferrari, and an interior that Manzoni’s team designed themselves: grey technical fabric, yellow-stitched leather, physical paddle shifters, analogue warmth. Put the HC25 and the Luce side by side and you are looking at a brand mid-transition, one foot in the cockpit of everything it has always been, one foot somewhere Jony Ive is leading it.

Designer: Flavio Manzoni (Ferrari Design Studio)

The organizing idea of the HC25’s exterior is that black band, and once you see what it does structurally you cannot unsee it. It begins at the base of the rear wheels, sweeps forward with an arrow-like momentum, curves up and over the door, where it conceals a handle milled from a single block of aluminum, then dissolves into the dramatically raked engine screen at the rear. The band houses the radiator air intakes and routes powertrain heat extraction, so every millimeter of it is functional, thermal management rendered as pure form. It divides the matte grey body into two distinct sculptural volumes, front and rear, that read as separate masses held in tension by this single binding element. The car appears to be moving at standstill, which is either a cliché or a genuine design achievement depending on whether the surfacing actually earns it. Here, it does.

The bespoke headlamps feature one-of-a-kind lighting modules that have never appeared on any other car wearing the Prancing Horse badge. The lens profile is exceptionally slim with a central indentation that mirrors the split geometry of the rear lights, reinforcing the car’s dual-volume logic end to end. The DRLs adopt a vertical boomerang arrangement along the leading edge of the front wings, a first for Ferrari, and when lit the front of the car carries the focused, sharp-edged expression of the F80 rather than the softer face of the F8 it replaced. The five-spoke wheels complete the picture with a diamond-cut outer rim and a double-recessed groove that optically enlarges the diameter without adding physical size, a compositional trick borrowed directly from product design.

Inside, the cabin is a lightly evolved F8 Spider, and that is entirely the point. Grey technical fabric meets black leather across deeply bolstered sports seats, yellow graphics trace a boomerang shape across the upholstery that directly echoes the DRL signature outside, and the stitching matches the brake calipers and Prancing Horse badges in the same acid yellow. Physical paddle shifters. Analogue gauges. An HC25 badge on the passenger side of the dash that will mean nothing to anyone who does not already know what they are looking at, which is how bespoke Ferraris have always announced themselves. The yellow is the one chromatic frequency that detonates against the controlled grey and black palette, and it connects exterior to interior with the kind of material consistency that makes a car feel designed rather than assembled.

What the HC25 ultimately represents in Ferrari’s 2026 timeline is the clearest possible articulation of what Manzoni’s studio produces when it works entirely on its own terms. The Luce will be the car everyone talks about when Ferrari’s electric era is discussed, and Jony Ive’s name will be attached to that conversation for years. The HC25 exists for one person, carries no electrification, and will never be replicated. For a brand standing at the edge of its own reinvention, that kind of commission has a particular kind of gravity.

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Huawei MatePad Pro Max PaperMatte Edition Review: Thinnest 13-inch Tablet Nails Portability and Creativity

MatePad Pro Max PaperMatte Edition is the company’s largest tablet yet, and it arrives with a design that feels almost implausible in person. It is remarkably thin, unusually light for its size, and still positioned as a serious performance tablet rather than a pure showpiece. On paper, the appeal is immediate. You get a full-metal body, a 13.2-inch flexible OLED display, a 94 percent screen-to-body ratio, and a chassis that measures just 4.7mm thin.

Huawei is also aiming for a premium experience that extends well beyond the tablet itself. The ultra-thin bezel, the optional matte display treatment, the large battery, and the refined metal construction all work together to make the MatePad Pro Max feel elevated before the screen even turns on. Add in optional accessories like the Glide Keyboard and M-Pencil Pro, and it is clearly designed to stretch beyond entertainment into productivity and creative work. The real question is whether all of that sleek hardware leads to a meaningfully better everyday experience, or if it is simply a beautiful piece of industrial design wrapped around the usual tablet compromises.

Designer: Huawei

Aesthetics

The MatePad Pro Max is a sleek, premium-looking slate that relies on clean proportions and refined finishes rather than flashy details. It comes in Blue and Space Gray, and the blue version I received is especially striking. Its fine glitter finish catches the light beautifully and gives the back panel a more expressive look.

The full-metal body keeps the design simple and clean, while the round camera bump on the upper right adds a bit of visual weight to one corner, and the centered Huawei branding keeps the back from feeling too plain. Around the sides, the glossy frame adds a bit of contrast, with the power button and fingerprint scanner on the left side from the display view, and the volume rocker along the top. Huawei’s optional accessories also fit the design well, with the keyboard offered in white or black and the folio cover available in black.

Ergonomics

The MatePad Pro Max PaperMatte Edition is surprisingly manageable for a tablet this large. A 13.2-inch display usually suggests a device that is best left on a desk or propped on a stand, but here the physical experience feels far more inviting. At just 4.7mm thin and 509g, it feels notably easy to carry and hold for longer stretches.

Huawei calls it the world’s thinnest 13-inch-plus tablet, and that slimness is immediately noticeable in use. Even so, it does not feel flimsy or overly delicate in hand. The build still feels solid, though I would still handle it with some care, given just how thin the body is.

The Glide Keyboard adds 439g, but the full setup still feels very manageable for its size. What I like most is the integrated pen slot, which stores the M-Pencil more securely than a simple magnetic attachment on the side of the tablet. That small detail makes a real difference if you tend to toss your tablet into a bag and go, since the stylus feels less likely to come loose.

The keyboard itself is pleasant to type on, and the hinge feels sturdy in use. It gives the MatePad Pro Max a more laptop-like feel when you need to get work done. The main limitation is that the viewing angle is fixed to two positions, so it is less flexible than some other tablet keyboard setups. It also lacks a backlight, which makes it less convenient to use in darker environments.

Performance

Performance starts with the display, because it shapes nearly every interaction you have with the MatePad Pro Max. The 13.2-inch flexible OLED panel is large, sharp, and visually immersive, with a 3000 x 2000 resolution, 144Hz refresh rate, and up to 1,600 nits peak brightness. It is the kind of screen that makes reading, streaming, and multitasking feel immediately premium, especially with the PaperMatte finish, which helps cut glare and makes the display more comfortable to use in bright environments.

A big part of that immersive feel comes from the tablet’s extremely thin bezel. At just 3.55mm, the border around the display is slim enough to make the front feel almost all screen, helping the MatePad Pro Max reach a 94 percent screen-to-body ratio. Even more impressive is how Huawei has tucked the front camera into that narrow bezel so discreetly that it nearly disappears from view. The result is a front design that feels remarkably clean and uninterrupted, making the display look even more expansive and giving the tablet a more refined, almost futuristic presence in everyday use.

The display quality also lives up to the tablet’s premium design. OLED gives the MatePad Pro Max the deep contrast and rich color you want from a flagship tablet, while the 144Hz refresh rate keeps motion looking fluid and responsive. Whether you are scrolling through documents, flipping between apps, or watching high-quality video, the screen carries a polished sense of smoothness that fits the hardware well. Huawei also gets the basics right when it comes to unlocking the device. Both face recognition and the side-mounted fingerprint scanner worked reliably in my testing. Face unlock was even able to recognize me in the dark, which made the tablet feel quicker and more seamless to use throughout the day.

The MatePad Pro Max runs HarmonyOS 4 out of the box. Huawei does not specify the chipset, but in day-to-day use, performance feels strong and responsive. Apps open quickly, multitasking feels smooth, and the tablet has no trouble keeping up with entertainment, browsing, note-taking, and general productivity. It feels like a flagship tablet in everyday use, even without Huawei sharing much detail about the chip inside.

HarmonyOS also makes decent use of the large display. You can keep up to three apps active and move between them easily, though only one is fully visible at a time in that setup. For more direct multitasking, split-screen lets you run two apps simultaneously, either side by side in landscape or stacked vertically in portrait. On top of that, you can open up to two floating windows, which appear as smaller, resizable panels for quick access to other tasks without fully leaving your main app.

The M-Pencil is also a big part of the experience. It feels very responsive, with no noticeable latency in writing or drawing, and pressure sensitivity works very well. Combined with the PaperMatte display, the writing and sketching experience feels closer to paper than on many other tablets, which makes the MatePad Pro Max especially appealing for note-taking, annotation, and creative work.

Huawei also has one genuinely compelling creative advantage in GoPaint. It is a surprisingly sophisticated painting app that feels much more advanced than a basic bundled sketch tool. You get a wide range of features, including more than 100 brush options, color picking tools, and effects like a splatter brush, which makes it feel like a serious canvas for illustration rather than a simple note-taking extra. Paired with the M-Pencil, it gives the MatePad Pro Max a stronger identity as a creative tablet, not just a productivity device with stylus support.

The bigger consideration is software rather than speed. Because of ongoing U.S. trade restrictions affecting Huawei, the MatePad Pro Max does not come with Google Services, so users who rely heavily on Google’s apps and services will need to find workarounds.

Audio also helps sell the experience. Huawei includes a 6-speaker crossover system with a quad-driver bass unit, and the sound has enough scale to match the size of the display. It gives movies, music, and games more presence than you would expect from something this thin, which makes the tablet feel like a stronger all-around entertainment device rather than just a beautiful screen.

Battery life is also a strong point, given the 10,400mAh battery. Huawei also includes 40W reverse charging, which adds some practical versatility if you want to top up another device in a pinch. The MatePad Pro Max is clearly designed to deliver a premium media and productivity experience, with the display doing most of the heavy lifting and the rest of the hardware supporting it well.

Sustainability

Huawei’s sustainability story here feels understated, which is often the case with premium tablets that prefer to lead with design and experience. The full-metal body should help the MatePad Pro Max feel durable over time, and there is something inherently longevity-friendly about hardware that feels physically refined. A device that remains pleasant to touch, carry, and look at tends to stay in use longer, and that matters even if it is not framed as a sustainability feature.

At the same time, there is not much information that speaks directly to repairability, recycled materials, or long-term software commitments. That absence is worth mentioning because sustainability is no longer just about whether a product looks durable. It is also about whether it can remain relevant, supported, and serviceable over the years. Without stronger messaging around those areas, the MatePad Pro Max feels more premium than progressive on this front. The tablet feels built to last physically, but the broader ownership story remains less defined.

Value

The MatePad Pro Max is priced like a premium tablet. The 12GB + 512GB model with the Folio Cover costs EUR 1,399, or roughly $1,520 USD. The 12GB + 256GB version with the Smart Keyboard is EUR 1,499, about $1,630 USD, while the 16GB + 512GB model with the Smart Keyboard goes up to EUR 1,649, or around $1,790 USD.

At those prices, the MatePad Pro Max is really selling its hardware. The thin and light design, matte OLED display option, slim bezels, and strong stylus experience help it stand out from other large tablets. That said, it is worth noting that this is a Wi-Fi-only tablet with no LTE or cellular option, and there is no microSD card expansion. Storage tops out at 512GB, which should be more than enough for most users, but heavier users who install a lot of AAA games, edit high-resolution video, or keep large media libraries may want to factor that in.

Verdict

The Huawei MatePad Pro Max gets a lot right where it matters most. It is impressively thin and light for a tablet of this size, and that alone changes how approachable it feels in daily use. The 13.2-inch OLED display is the star of the experience, not just because it is large and vibrant, but because the ultra-thin bezel and discreet front camera integration make the whole front feel unusually clean and immersive. The matte screen is also a real treat, giving the display a more comfortable, paper-like quality that makes watching, reading, writing, and drawing feel more enjoyable over longer stretches.

What makes it stand out is how well the hardware and creative experience come together. The writing and drawing feel is excellent, GoPaint is more capable than expected, and the Glide Keyboard adds real utility without making the setup feel cumbersome. There are still a few tradeoffs, including the keyboard’s limited angle adjustment, lack of backlight, and the Wi-Fi-only setup with no microSD expansion, but for many users, those will be secondary to the overall experience. Huawei’s software situation also still requires some adjustment depending on your workflow.

Even with those caveats, the MatePad Pro Max is a thoughtfully designed tablet that feels distinct in a crowded category. It is not simply trying to be a bigger screen with flagship specs. It is trying to offer a more refined, paper-like, design-conscious experience, and for the right user, it succeeds very well. If your priorities are portability, display quality, and creative work, this is one of the most compelling large tablets Huawei has made.

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A Chair With a Drawer, a Calendar, and a Point of View

The first thing you notice about Massimiliano Malagò’s chairs is that the bottom half looks like it’s giving up. The ceramic bases appear to be softening, pooling, their surfaces undulating in slow waves as if the weight of everything sitting on top has finally gotten to them. The upper halves, either blond plywood cut with clean geometric precision or yellow foam dense as old mattress padding, hold their shape with complete indifference. The contrast is the whole conversation.

Malagò is an Italian architect based in New York who teaches at Columbia University’s Graduate School of Architecture and runs the practice HHMM with set designer Helene Helleu. His body of work has a recurring habit of using furniture as intellectual argument, treating each piece as a spatial essay. These chairs, created as part of On the Calculation of Volume for a Greenpoint apartment renovation he developed alongside client Kathleen Pongrace, are his most layered statement yet. Literally and figuratively.

Designer: Massimiliano Malagò

Each chair is essentially two objects in a standoff. The bases are hand-sculpted ceramic glazed in a crackled off-white, decorated with small blue motifs that range from heraldic figures and crests to lunar phase calendars marked with numbers from one to thirty. Depending on which chair you’re looking at, the surface texture shifts too. Some bases have a wavy, rippled undulation. Others are pocked with circular voids, perforations from which actual small flowers grow, as if nature has decided to quietly move in through whatever gaps the city left open.

The upper chair structures sit on top of these organic, softened bases like they arrived from a different address entirely. The plywood versions are laminated and layered, their cut edges revealing the strata of material inside like a cross-section of something ancient, while the foam versions have a raw, utilitarian quality that reads somewhere between construction material and domestic comfort. Both feel deliberately unfinished in a way that is not careless but considered. Malagò is clearly not interested in making the perfect chair. He is interested in making a chair that has something to say about what living in New York actually costs you, in time, in money, and in compromises.

The storage element is where it gets genuinely clever. Pull open a drawer concealed within the ceramic base and you find a sliding metal mechanism holding books. The idea that a chair can house your library inside its own body, that seating and storage are so compressed in a small New York apartment that they must physically merge, is either a practical solution or a quiet diagnosis of how little room the city actually allows. I’d argue it’s both.

The lunar calendars printed across the ceramic surfaces in blue add another layer. Numbers arranged around moon phases suggest cycles, passing time, the rhythm of days that accumulate in a place where rent comes due whether you’re thriving or barely holding on. These aren’t decorative flourishes. They’re documentation. Malagò treats the surfaces of these chairs the way someone might treat the margins of a notebook, filling them with information that only makes full sense once you step back and read the whole thing together.

The material pairings are where the real honesty lives. Ceramic is permanent, archival, the kind of material you associate with objects meant to outlast the people who made them. Foam and plywood are impermanent, budget-conscious, the materials of first apartments and temporary solutions. Putting them together isn’t a design provocation for its own sake. It’s a portrait of how most people actually live, reaching for something lasting while working with whatever is available. The chair holds that tension without resolving it, which feels exactly right.

Design that tries to tell you something about city life usually does so at a comfortable, critical distance. These chairs plant themselves in the middle of it. They sit in a real apartment, used by a real person, and they carry the full weight of that reality in every surface.

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ASUS’ $849 XREAL R1 glasses deliver console-sized 3D gaming anywhere without bulky gear

The race to create the most practical AR glasses is still on, and Asus already showed its development curve with the collaborative Xreal One Pro. Now, the VR gaming glasses get an exciting newer version, the Xreal R1. They are lighter than other options and less punishing on the eyes, offering a comforting viewing experience. First shown off at CES 2026, the glasses are finally up for preorder at a steep $849. Will they live up to the claims and compete with the much cheaper Meta Quest 3 VR glasses? Only time will tell.

The upgrade from the previous model is incremental, as the display now boasts a smoother 240Hz refresh rate and an ultra-fast 0.01 ms response time, and it comes with a dock to connect to gaming consoles or PCs for streaming content via DisplayPort 1.4, HDMI 2.0, or USB-C. While the control dock is a bit on the heavier side, weighing at 230 grams and measuring 215 x 100 x 25mm, the option of connecting compatible hardware is a big plus. Other things that stay the same include the 57-degree FOV that renders a 171-inch virtual screen from a perceived distance of four meters, and the 1080-pixel resolution Sony 0.55-inch micro-OLED display, which should have been preferably bumped up beyond HD at that price range.

Designer: Asus

According to Asus, the R1 smart glasses, weighing just  91 grams, are the logical extension of the ROG Ally gaming handheld as a result of the unified hardware and software integration, along with the XR technology. To make the users feel as if they’re using a handheld gaming console on their face, the highly responsive display has reduced motion blur and smoother visuals. The finer adjustments, like pumping up the display brightness to 300 nits, adjusting the aspect ratio based on the content, and other visual effects, can be toggled in real time, which is a great feature.

The glasses are equipped with “Electrochromic Lens” technology that automatically makes the screen transparent as soon as the vision focus shifts away. As soon as the wearer’s focus returns, the screen turns tint to black, which can be adjusted to three different dimming levels in settings. For a heightened level of spatial awareness, these AR glasses come with built-in Bose-tuned speakers. This comes in very handy in FPS games where identifying the source of enemy steps is vital to in-game survival. If you are willing to shell out another $100 on the XREAL EYE add-on, the glasses unlock 6DoF tracking capability, which deepens the level of realism in a virtual 3D world.

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Galaxy Z Fold 7 Hit 4.2mm by Killing the S Pen: Worth the Trade?

Foldables have spent the last two years chasing a simpler goal: to feel less like category experiments and more like normal premium phones that happen to open wider. Samsung pushed that idea hardest with the Galaxy Z Fold 7, officially measuring 4.2mm when unfolded and 215 grams in weight, making it the company’s slimmest and lightest book-style foldable yet, with thinness as the product’s defining promise.

That promise came with a quieter subtraction. Samsung removed S Pen support from the Galaxy Z Fold 7, cutting off a feature that had helped earlier Fold models feel connected to the company’s productivity-first identity. Nearly a year later, that choice carries more weight because the Fold 7 can now be judged as a finished design decision rather than a fresh flagship still riding its novelty.

Designer: Samsung

In practice, the Fold 7’s thinness changes behavior more than bragging rights. Reviews consistently described it as startlingly slim and easier to carry, suggesting Samsung had something more deliberate in mind than a good keynote number. The lighter frame, narrower pocket profile, and more usable 21:9 cover display all push toward the same goal: making the Fold feel less like a second device and more like your actual main one.

The missing stylus, though, changed the Fold 7’s identity as much as its feature list. On earlier Fold devices, pen support helped justify the large inner display as a workspace, somewhere to annotate documents, sketch ideas, and do precise work beyond just tapping through apps. The Galaxy Z Fold 7 doesn’t support S Pen in any form, which means the phone has let go of that precision-first promise entirely.

Outside reporting helps explain why Samsung made that call. T-Mobile’s comparison notes the company removed a layer from the inner display to help achieve the slimmer, lighter body, while others report Samsung cited low stylus adoption among Fold users to justify the cut. Even if that logic makes business sense, it still leaves the Fold 7 feeling like a foldable optimized for comfort over creative ambition.

Samsung also tried to reassure buyers that the thinner body wasn’t a weaker one. The Fold 7 uses a thicker Ultra-Thin Glass layer, a Grade 4 titanium lattice, new adhesive materials, and IP48 resistance, all meant to reinforce a slimmer chassis without making it feel fragile. Those details speak more clearly to Samsung’s engineering intent than to any definitive verdict on how the phone holds up over months of folding.

The rest of the hardware tells a similar story of selective advancement. Samsung paired the Fold 7 with Snapdragon 8 Elite for Galaxy and launched it on One UI 8 with Android 16, giving the device a solid performance base. The battery stayed at 4,400mAh, and the ultra-wide camera remained a 12MP unit alongside the more attention-grabbing 200MP main sensor. The phone moved forward, just not evenly.

That unevenness becomes more interesting when you consider where Samsung might be heading next. We’ve already covered early renders suggesting the Galaxy Z Fold 8 could bring back S Pen support and a bigger battery, at the cost of a thicker chassis. If those rumors hold, the Fold 7 starts to look less like the start of a permanent direction and more like a controlled experiment in subtraction.

For buyers who want the most elegant Samsung foldable for everyday carry, the Fold 7 still makes a strong case. It’s the first Fold that genuinely reduced the physical friction of ownership without a compromise you’d notice daily. For former Note loyalists and pen-reliant users, though, the trade reads differently, because Samsung made the Fold 7 easier to live with by moving it away from the Fold line’s original ambition.

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The 5 Best LEGO Designs of May 2026 for Collectors & Design Lovers

May 2026 is one of the most eclectic and genuinely impressive months LEGO has assembled in recent memory. The lineup stretches across an almost improbable range of reference points, from Victorian astronomy and space photography fresh off the Artemis II mission to British absurdist comedy and Parisian haute couture, and in each case the people behind these builds have done something more ambitious than simply reproduce a recognizable subject. They’ve found a reason for it to exist in brick form specifically, and that distinction matters.

The five builds collected here sit at different points on the spectrum from official sets to community MOCs, but they share one defining quality. Each one earns its shelf space with a level of craft and intention that makes conventional display objects feel considerably less interesting by comparison. Whether you’re a collector, a casual admirer, or someone who simply appreciates when a design medium gets pushed somewhere unexpected, this month offers five compelling reasons to make room.

1. LEGO Ministry of Silly Walks

Few comedy performances have earned the kind of cultural permanence that John Cleese’s Silly Walk claimed in 1970. Fifty-six years later, the sketch remains the fastest and most widely understood shorthand for British absurdism in popular culture, and LEGO has finally given it the brick-built treatment it deserves. Mr. Teabag arrives in plastic form with exaggerated proportions that somehow capture every ridiculous knee-flinging motion from the original performance. The Technic joints embedded throughout are not decorative additions. They allow for a genuine range of articulation, letting you pose this figure mid-stride with a conviction that most articulated collectibles simply cannot match.

The facial expression is the detail that lifts this build above novelty status entirely. The sculptors working on Mr. Teabag captured his deadpan seriousness with a precision usually reserved for museum-quality reproductions, and the resulting silhouette reads as instantly recognizable from across any room. The bowler hat and umbrella complete the bureaucratic aesthetic with the restraint that good comedy has always required, nothing exaggerated beyond what the source material already provided. Display it alongside LEGO architecture, and it holds its ground completely, functioning as a standalone celebration of British wit that works whether you’ve seen the sketch fifty times or are encountering the joke for the very first time.

2. LEGO Hermès Birkin

The Hermès Birkin has one of the most theatrical purchasing rituals in luxury retail. You cannot simply walk into a boutique on Rue du Faubourg Saint-Honoré and ask for one. Hermès makes you earn it, cultivating a relationship with a sales associate over months and sometimes years, demonstrating cultural fluency with the house before they will even have the conversation about availability. LEGO Ideas builders BOI_Design and KittyJW have found a considerably more democratic workaround. Their MOC reimagines the Birkin 20 Faubourg, the special edition inspired by Hermès’s flagship Paris store, as approximately 1,400 bricks of deep navy, dark green, and gold that carry the mythology of the original without the waiting list.

What makes this MOC genuinely exceptional is its dual identity. The exterior facade doubles as a miniature rendering of 24 Rue du Faubourg Saint-Honoré itself, complete with arched boutique windows and the house’s signature orange awnings, a level of specificity that rewards anyone who knows the address on sight. And it opens. Inside, a secret runway scene transforms this from a luxury replica into a piece of interactive design with something worth discovering. For collectors who appreciate the gravity of the fashion world but not necessarily its access barriers, this build offers something rare: the cultural weight of the Birkin in a format that anyone can actually acquire.

3. LEGO Icons Road Bike

Cycling culture has always had a particular obsession with beautiful objects. The sport attracts a breed of enthusiast willing to spend hours debating titanium stem weights or the relative merits of ceramic bearing sets, and the objects at the center of that obsession tend to be genuinely elegant pieces of functional design. The LEGO Icons Road Bike (set 11380) understands this audience precisely. At 1,015 pieces and $129.99, it builds into a red road bike that stands 14.2 inches tall and stretches a full 23.6 inches in length on its stand, a genuinely substantial presence that captures the aerodynamic geometry of a road frame with an accuracy that will speak directly to anyone who has ever spent a lunch hour deep in a component forum.

The engineering choices go significantly further than surface accuracy. The set includes a fully functional drivetrain with a one-way gear chain drive mechanism, meaning the rear wheel pedals with genuine freewheel action. Brake calipers, derailleurs, and clipless pedals are rendered with the kind of specificity that separates a serious build from a shelf decoration. A removable water bottle and a wheel-lift bike stand complete the picture. Arriving ahead of the summer sporting season, the LEGO Icons Road Bike gives cycling enthusiasts an indoor companion that celebrates the object of their obsession in an entirely new medium, one that requires no maintenance schedule, no garage, and no chamois cream.

4. LEGO Artemis II Earthset Photo

On Christmas Eve 1968, astronaut Bill Anders looked out of Apollo 8’s window and took Earthrise, arguably the most reproduced environmental photograph in history, an image that reframed humanity’s relationship with the planet more profoundly than any scientific paper ever had. On April 6, 2026, the Artemis II crew performed a near-identical act, pointing their cameras backward as Orion swung behind the Moon and capturing Earth in the process of setting below the lunar limb. That photograph existed for barely nine days before LEGO builder BuildingDreams submitted an Ideas project to preserve it in brick form, a response time that says everything about how significant the moment felt to those watching from the ground.

The result is a 48 by 32 centimeter wall-art panel that translates the soft curves of Earth’s atmosphere, the brown and blue patchwork of continents and ocean, and the pale grey sweep of lunar regolith into a grid of plastic studs with a faithfulness that genuinely stops you mid-scroll. As a design object, it functions simultaneously as wall art, historical document, and conversation piece, a brick-built record of one of the most significant human achievements of 2026, rendered in a medium that will outlast any digital photograph on a phone screen. For space enthusiasts and design collectors with wall space to commit, this is a compelling reason to watch the LEGO Ideas voting page.

5. LEGO Functional Vintage Telescope

There is a specific category of object that makes a room feel more deliberately assembled: the brass sextant on the windowsill, the leather atlas propped open on a reading table, the tripod-mounted telescope angled toward a high window. Bricked1980’s LEGO Ideas submission belongs in that category without qualification. At around 600 pieces, the Functional Vintage Telescope stands 40 centimeters high and stretches 53 centimeters in length, with a color palette of deep reddish-brown and pearl gold that reads as genuinely antique from across any room. Modeled on a classic brass refractor telescope mounted on a fully articulated tripod, this is the kind of build that makes visitors assume you’ve spent considerably more than the actual price.

The period detail throughout is what elevates this from a visually striking model to something that feels genuinely researched. The barrel is rendered in warm dark brown with surface texture suggesting wrapped leather or lacquered wood, banded at intervals with pearl gold rings that evoke the ferrules of a real antique instrument. The tripod legs splay convincingly outward in reddish-brown, connected at the apex by Technic hardware functioning as an azimuth mount that allows the barrel to rotate and pivot in all directions. A small gold chain hangs from the objective end, terminating in what appears to be a lens cap. It is exactly the kind of fussy, historically accurate touch that separates a remarkable build from a merely good one.

Bricks Worth Believing In

May 2026 confirms something that LEGO enthusiasts and design writers have understood for years: the best builds are never just toys. They function as design objects, historical records, cultural statements, and engineering exercises, sometimes all four at once. The five designs collected here represent the full range of what brick-built creativity can achieve this month, from a 600-piece Victorian telescope with genuine period accuracy to a 1,400-brick homage to fashion’s most mythologized handbag.

What connects all five is a commitment to solving a real design problem. Each creator had to answer the same fundamental question: how do you translate physical comedy, haute couture, cycling precision, space photography, or Victorian craftsmanship into interlocking plastic bricks without losing what made the original worth caring about? These builds answer that question with conviction, and they are worth your attention whether you add one to your cart this month or simply appreciate the quality of thinking that went into making them.

The post The 5 Best LEGO Designs of May 2026 for Collectors & Design Lovers first appeared on Yanko Design.

The Orion PDA Runs on Sunlight and Ignores the Internet by Design

The smartphone has become so dominant in daily life that it’s hard to remember what it felt like to carry a device that did only a handful of things. Every swipe, tap, and notification competes for your attention, turning what was once a communication tool into a cycle of endless distraction. The maker community, however, has quietly been building an alternative.

The Orion PDA is one of the more convincing results of that effort. Built by a YouTuber who goes by MVLab, it’s a compact clamshell computer designed specifically for people who’d rather write, listen, or record than scroll. There’s no internet connection out of the box, no cloud, no algorithms, and no push notifications. What it offers is a deliberately focused pocket machine that strips away the noise.

Designer: MVLab

The design takes its cues from the Sharp Zaurus line of pocket computers popular in the early 2000s, and the resemblance is unmistakable. It folds open to reveal a small screen on top, and a full QWERTY keyboard with rubber dome switches below. Function keys run across the top row, letting you access common actions without digging through any menus. It’s compact enough to fit in a jacket pocket.

That screen is a 3.16-inch Sharp Memory LCD with a resolution of 536×336 pixels, rendered in 1-bit black and white. It might sound like a regression, but the display operates on the same basic principle as E Ink, drawing almost no power between refreshes and staying perfectly legible in direct sunlight. Take it out on a park bench or a café terrace, and it won’t let you down.

The custom operating system is built around doing a few things exceptionally well. You can pull up albums stored on an SD card, play them through an external speaker or headphones, and even record voice notes that go straight to removable storage. A lightweight calendar app handles basic scheduling. There’s also a text-scaling setting and a USB mass-storage mode for moving files to and from a desktop computer.

Powering everything is an STM32U575 microcontroller clocked at up to 160 MHz, an ultra-low-power chip that keeps the device running for long stretches between charges. The lid houses an integrated solar panel, which can supplement the battery enough to keep things topped up with occasional exposure to sunlight. A USB-C port also handles charging, firmware updates, and data transfers. An expansion port leaves room for future community-developed modules.

The Orion PDA also packs in a dedicated digital-to-analog converter for audio playback, putting it above the lo-fi output you’d expect from a device this small. A MEMS microphone handles voice recording with reasonable fidelity. It isn’t trying to replace your dedicated music player or studio recorder, but for capturing quick ideas or dictating notes on a long hike, it does what it needs to. For anyone tired of carrying a device that’s simultaneously a computer, a TV, a game console, and a social distraction, this one might be worth the wait.

The post The Orion PDA Runs on Sunlight and Ignores the Internet by Design first appeared on Yanko Design.

Fosi’s $150 Headphone Amp Snaps to Your iPhone Instead of Dangling

The dongle DAC has become a familiar but awkward sight plugged into the bottom of a smartphone, a small reminder that the headphone jack didn’t disappear quietly. Portable audio has come a long way in sound quality, but the form factor hasn’t kept pace. Most of these tiny dongles hang loose from the charging port, tugging at cables and generally getting in the way of an otherwise pleasant listening session.

Fosi Audio’s MD3 MagDac tries to solve this with a fundamentally different approach to portability. Instead of hanging from a charging port, it snaps magnetically to the back of a MagSafe-compatible smartphone using 16 N52 magnets, sitting flush against the device like a compact audio module. The result is a pocket-sized DAC and headphone amplifier that actually looks like it belongs there, not like an afterthought.

Designer: Fosi Audio

The design doesn’t stop at clever attachment. The MD3 is precision-machined from 6063 aluminum alloy with a sandblasted anodized finish, available in silver or black, both with orange leather on the magnetic back. At just 50g and 12m thick, it slides in and out of a pocket without protest. What you’ll notice first, though, is the 1.28-inch circular LCD display on the back.

That screen handles volume in 100 steps, shows audio information, and rotates its orientation depending on how you’re holding the device. There’s also a Vista Button that opens a personal photo album, a small but unexpectedly human touch for a piece of audio hardware. A dedicated Ease Button and physical navigation controls keep everything accessible without ever needing to tap your phone’s screen.

For the audio itself, Fosi didn’t compromise on components. The MD3 uses the ESS Sabre ES9039Q2M DAC chip paired with four ES9603Q amplifier chips in a true balanced circuit, supporting PCM up to 32-bit/384kHz and native DSD256. Total harmonic distortion and noise sit at just 0.00075%, and the noise floor drops to 1.7 μV. For most IEMs and portable headphones, those figures translate to noticeably cleaner, more resolving sound.

The MD3 offers both a 3.5mm single-ended output and a 4.4mm balanced output, delivering up to 180 mW through the latter, enough for headphones ranging from 16 to 300 ohms. An aluminum alloy shielding plate sits between the magnets and the audio circuitry to prevent interference from coloring the signal, a careful engineering detail that keeps the magnetic attachment trick from undermining the whole point of the device.

Dual USB-C ports handle both audio and charging simultaneously, so you’re not forced to choose between listening and keeping your phone powered. The top port handles audio decoding and charging, while the bottom manages audio decoding and firmware updates. There’s also a volume memory feature, so the MD3 picks up at the same level every time you connect it, without having to reset anything.

The wired audio revival has been building for a while, drawing listeners who want something more intentional than Bluetooth. A magnetic DAC that attaches to the back of your phone without cables or cases seems like a sensible next step in making that experience practical. Fosi has been laying the groundwork quietly, and at $149.99, the MD3 might just be the portable amp that finally stays out of the drawer.

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24x Optical Zoom on an iPhone, Balanced Like a DSLR. REEFLEX’s 600mm Lens Is Brilliantly Absurd.

Zoom has won. Of all the specs that used to dominate camera phone conversations, optical reach is the one that stuck because it is the most visible and the most immediately felt. At any major live event, the phones come out and the zoom wars begin. Samsung loyalists will have their periscope lenses trained on the far end of the pitch. iPhone users will be framing tight, stable shots of the stage from the back row. FIFA 2026 is nearly here, and across dozens of stadiums and billions of shared clips, zoom will quietly be the deciding factor in whether those memories look spectacular or just… small.

REEFLEX built the Ultra Telephoto 300-600mm for people who refuse to settle for small. Attaching to the telephoto camera of iPhone 17 Pro, Pro Max, and the Samsung S26 Ultra series, the lens compounds the phone’s native optical strength and extends it into a focal range, up to 600mm and 24x magnification, that genuinely belongs to another category of photography entirely.

Designer: REEFLEX

Click Here to Buy Now: $302 $441 (32% off) Hurry! Only 10 of 180 left. Raised over $640,000

Most clip-on telephoto lenses grow forward in a long tube that looks great in renders but becomes a liability the moment you try to hold your phone steady. The weight pulls forward, the center of gravity shifts away from your grip, and at long focal lengths, that imbalance shows up as jitter in video and smeared detail in stills. REEFLEX went wide instead of long, packing everything into a compact cylinder that keeps the mass directly over your hand. Your wrist stays neutral, your grip stays firm, and the setup feels closer to holding a DSLR than balancing a makeshift telescope. That distinction matters enormously once you’re standing in a stadium trying to track a fast-moving subject.

Machined from aerospace-grade aluminum, the body weighs 308 grams and holds its optical tolerances without adding unnecessary bulk. The glass inside is lanthanum, a material chosen specifically for its high refractive index. In practical terms, that means sharper resolving power, richer contrast, and far less color fringing along edges than standard glass can manage at these focal lengths. The optical formula runs four elements, one doublet and three singlets, tuned to work with the tetraprism telephoto cameras in current flagship phones rather than fighting against their characteristics. The matte black finish, the green accent ring around the barrel, and the large front element all contribute to something that looks and feels like a deliberate optical instrument.

REEFLEX designed this lens specifically for the tetraprism telephoto systems introduced in the iPhone 17 Pro lineup and Samsung’s S26 Ultra series. Those cameras already deliver impressive native zoom performance, and the Ultra Telephoto 300-600mm takes that foundation and multiplies it. On iPhone 17 Pro and Pro Max, you get 24x magnification and a 600mm equivalent focal length. On Samsung S26, S25, and S24 Ultra, magnification reaches 30x with an equivalent focal length stretching to 660mm. For context, that is the kind of reach wildlife photographers use to capture birds without disturbing them, the kind of compression architectural photographers rely on to isolate distant details, and the kind of range that makes concerts and sports events feel immersive rather than distant.

The lens mounts via a standard 17mm threaded connection that attaches to REEFLEX’s dedicated phone cases, which feature an integrated camera bumper designed to align perfectly with your phone’s telephoto lens. The threading ensures a secure, wobble-free connection, and the whole assembly stays compact enough to slip into a jacket pocket or small camera bag. REEFLEX also built in compatibility with their ReeMag magnetic accessory system, so you can stack filters, attach lens caps, and expand your creative toolkit without needing adapters or workarounds.

FIFA 2026 will be the first time many people realize just how limiting their phone’s native zoom really is. Sitting in the stands, even a few rows back from the pitch, most phone cameras will reduce the action to distant, flat shapes. The Ultra Telephoto 300-600mm changes that equation completely. You can isolate a player’s expression during a penalty kick, compress the depth of the field into a cinematic frame, and capture moments with the kind of detail that looks deliberately composed rather than accidentally caught. The same logic applies to concerts, where the stage often sits 50 meters or more from general admission, and wildlife, where getting close means ruining the shot.

The focus range starts at 6.8 meters and extends to infinity, which means you can use this lens for everything from isolating architectural details across a plaza to capturing the moon with surprising clarity. The lanthanum glass keeps distortion minimal and sharpness high even at the edges of the frame, and the compact form factor means you can shoot handheld without needing a tripod or gimbal for stability.

The Standard tier comes with the Ultra Telephoto 300-600mm lens and a phone case for $302, against a retail price of $441. The Ultra Tele + Super Tele Bundle adds the Super Telephoto 240mm and both macro add-ons (200mm and 300mm) alongside a phone case for $568, down from $849. The full Reeflex Ultra Set at $1859 (retail $2883) covers ten lenses spanning fisheye to ultra telephoto, a complete filter collection including fixed NDs from ND8 to ND64, variable NDs, a polarizer, and a black mist filter, plus filter adapters, a waterproof impact-resistant hard case, and a phone case.

Case options vary by device. iPhone 17 Pro and Pro Max users choose between Tech-Woven MagSafe or Leather MagSafe. iPhone 16, 15, and 14 Pro and Pro Max receive the Leather MagSafe version. Samsung S26, S25, S24, and S23 Ultra users get a Carbon case. Shipping begins June 2026, completing by early July.

Click Here to Buy Now: $302 $441 (32% off) Hurry! Only 10 of 180 left. Raised over $640,000

The post 24x Optical Zoom on an iPhone, Balanced Like a DSLR. REEFLEX’s 600mm Lens Is Brilliantly Absurd. first appeared on Yanko Design.