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3D Printed case for Halcyon Elora split mechanical keyboard has magnetic wrist pad attachments

KeyChron brought the world’s first split keyboard that retained the vibe of a regular keyboard to spice up the rather boring accessory, which has seen ergonomic design changes, addition of custom keys, and not much of a design DNA evolution. The idea of a PC split keyboard stems from the notion that it alleviates long-term strain and gives the user more freedom to set up a productive desk layout. The Halycon Elora split keyboard (based on the popular Kria keyboard) has an added row of keys for easier access to numbers and symbols, which all goes well for fast typing. But does this split keyboard take the title for being ergonomically comfortable? Surely not.

That’s the reason why a DIYer decided to create an open-source 3D printable split mechanical keyboard case for the Halycon Elora. With this tweak, the everyday accessory feels more comfortable to work with, especially for long sessions. To take things a step further, the custom design makes sure you have a case to put the keyboard in, literally fitting like a glove.

Designer: Fatih Arslan

The barebone Elora keyboard does look a bit incomplete and could hamper the look of your desk setup. Nor does it provide any support for your wrist, which prompted Fatih to draw inspiration from the Kinesis Wrist Pads to create the perfect split keyboard case for the accessory. After careful planning, he made a prototype that added a 5-degree tilt to the keyboard for better reach, especially for people with small hands. There are customizable top and bottom plates, integrated magnetic wrist pads, and rubber stops for stability and control.

Depending on the user, the case can be attached with a wrist pad or the faceplates, thanks to the optional support for attaching an encoder, touchpad, or display to the Elora keyboard. The new accessory for the split keyboard comes with dual USB-C ports for the left part, and one for the right. Magnetic holes at the bottom base fit the compatible Kinesis leather wrist pads, and the DIYer also created versions that have magnetically snapping top plates for people who prefer a different typing position. There are holes at just the right place to route the cables, which the eager users will appreciate.

Most of all, the custom-designed case makes the mechanical split keyboard sturdier and gives it a more finished look that it lacked earlier.  The accessory comes with 12 top plate designs in total that the maker has put up for download, so that users can 3D print and use right away. Of course, there is the freedom to modify the designs to fit individual needs as well.

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This Budget Swiss Villa Looks Like It Costs Millions

In Geneva’s exclusive Zone 5 district, where pristine villas typically command premium budgets, Lacroix Chessex Architectes has achieved something remarkable: a stunning concrete residence that embraces bold brutalist aesthetics while working within strict financial constraints. The newly completed villa in Pregny-Chambésy challenges preconceptions about both budget architecture and the warmth potential of raw concrete.

Geneva’s Zone 5 regulations presented the architects with a complex puzzle. Distance requirements from property boundaries, strict limits on built square meters as a percentage of plot area, and environmental mandates governing everything from permeable surfaces to solar panel quotas could have stifled creativity. Instead, the team found freedom within these parameters.

Designer: Lacroix Chessex

“In terms of the proposed architecture, we had quite a lot of freedom,” explains practice partner Virginie Fürst. “It was not complicated to propose this type of architecture for the permission.” This freedom manifested in a neo-brutalist exterior where vertical shuttering marks create dramatic texture across the facade, paired with polished concrete floors and exposed interior walls that maintain visual continuity between inside and outside.

The economic constraint became the design’s greatest strength. Rather than viewing the tight budget as a limitation, the architects embraced raw concrete construction paired with interior insulation as an “unbeatable” combination. Their innovative approach involved pouring solid concrete walls without window openings, then creating floor-to-ceiling gaps for doors and windows between structural elements. This method eliminated costly structural complications while achieving dramatic visual impact.

Perhaps the villa’s most ingenious feature lies in its “fragmentation of cascading volumes.” The ground floor features numerous step-backs and angled elements that create an illusion of expansiveness far beyond the actual square footage. Long axial views contrast beautifully with diagonal sightlines between angled walls, niches, and full-length windows. The architects carefully avoided large spans that would require expensive structural solutions, yet never compromised the sense of openness.

The interior layout flows seamlessly from the entrance hall through the kitchen and dining areas to the living room, while private spaces like the study and bathroom occupy more intimate corners of the idiosyncratic floor plan. Stone edging adds material warmth and textural contrast to the concrete surfaces, preventing the interior from feeling cold or institutional.

Practical considerations shaped the program thoughtfully. A self-contained one-bedroom flat provides independent living space for an older relative, while the traditional Swiss basement houses storage alongside a media and games room. These functional elements integrate seamlessly into the overall design narrative. The villa demonstrates that architectural sophistication doesn’t require unlimited budgets.

By embracing material honesty and working creatively within regulatory frameworks, Lacroix Chessex Architectes has created a residence that feels both contemporary and timeless. The exposed concrete surfaces, rather than appearing harsh, develop character through natural light and shadow play across the textured surfaces. This Geneva villa proves that constraints often breed the most innovative solutions. When budget limitations meet thoughtful design, the result can be architecture that’s both economically sensible and aesthetically compelling, challenging assumptions about what makes a luxury home.

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This $100 Alarm Clock Finally Wakes You Up Without the Rage

There are people who set their alarms every 15 minutes to make sure that they actually wake up but oftentimes they still hit the snooze button several times. I am one of those people. When I still lived with other people, it became a joke that the whole house wakes up from my alarms except me. And even now, this abrupt disruption to my beauty sleep doesn’t really help me adjust to a morning routine. What if there was a device, aside from a clock and my mobile phone, that can help me wake up better and healthier?

That’s the idea behind the Sunrise 1 device by Dreamegg. Not only does it look so much better than regular alarm clocks, but it is actually a 4-in-1 multifunctional device that serves as your sunrise alarm, sound machine, bedside light, and dimmable clock. The most important feature of this is that it is able to simulate a natural sunrise glow so that your circadian rhythm is not so abruptly interrupted and you wake up naturally and gently. We are not meant to be jarred out of our sleep and so this device is a wonderful option to get a more restful morning routine.

Designer: Dreamegg

The Sunrise 1 is able to simulate the sunrise so you can gradually wake up over 15, 30, 45, or 60 minutes. The light emitted from the device goes from 0% to 100% brightness before your scheduled alarm goes off. And even when you’re supposed to wake up, you can choose other sounds rather than the annoying sounds that break through our slumber. There are 29 soothing sounds to choose from: 8 nature sounds, 5 baby sounds, 2 meditation sounds, 2 brown noise, 2 white noise, 3 pink noise, and 7 fan sounds. You can also choose from 15, 30, 45, or 60 minute timer options. The sounds can also be used to help you sleep at night, to relax in the middle of the day, or to drown out unwanted noise.

The device can also serve as your dimmable night light as you get 9 color options that range from warm amber tones to cooler shades. You can independently control it if you don’t want to use it as a sound machine at the same time. It also serves as an actual clock with an easy-to-read clock face and adjustable brightness as well. Setting it up is pretty easy as you don’t need to connect it to your phone or another gadget. You are also able to customize both your morning wake-up routine and your night sleep routine just the way you want it.

Design-wise, it’s also an aesthetic bedside piece that beats your typical plastic gadgets. It is crafted with cotton-linen fabric which is pretty soft and gentle on the skin, in keeping with its gentle wake-up call. The sleek, rounded design can fit in with the usual bedroom decor. Because it is only 2.87 inches thick and 5.91 inches in diameter, which is around the size of an adult palm, you can actually bring it with you when you travel so you can still wake up and sleep the way you want to even outside of your house.

The way that the Sunrise 1 is designed and the features that come with it will make you feel like you’re on vacation every day and not always in a hurry to start work, school, or your chores. Our usual jarring wake up routines may be a reason why we start off our day grumpy or already tired. Having a device like this may slowly turn you into a morning person if you aren’t already. I mean, sure, you may still wake up reluctantly, but at least not angrily.

The post This $100 Alarm Clock Finally Wakes You Up Without the Rage first appeared on Yanko Design.

Louis Erard Brings Astro Boy to Swiss Watchmaking

Manuel Emch still remembers rushing home from school to catch the latest Astro Boy episode. That childhood ritual, shared by millions across generations, now finds its way onto your wrist through Louis Erard’s latest collaboration with Tezuka Productions. This isn’t just another licensed character watch. It’s a thoughtful exploration of how nostalgia, craftsmanship, and cultural heritage can coexist on a 40mm canvas.

Designer: Louis Erard x Tezuka Productions

The Dial: Layered Storytelling in Metal and Color

The dial construction here deserves your attention. Louis Erard didn’t simply print Astro Boy’s image and call it done. Instead, the brand created a multi-layered stage where each element exists in three-dimensional space. The base dial carries Metro City’s vertical satin-brushed finish, stamped with the iconic urban backdrop that defined Osamu Tezuka’s futuristic vision. Those parallel lines create texture and depth while staying subtle enough that Astro Boy and the villain read clearly. The stamped buildings and urban elements provide context without becoming busy. This textured foundation provides depth before you even notice the characters.

Astro Boy himself appears as a fully applied element, not a flat print. He bursts from the six o’clock position in full color, captured mid-flight with his signature red boots and determined expression. Behind him, a monochrome robot villain looms in black, creating visual tension between hero and threat. The satin-brushed finish on these applied elements creates distinct shadow lines that change with wrist angle. This isn’t decorative layering for its own sake. Louis Erard built genuine depth into the dial architecture, with the Metro City backdrop recessed, the robot villain raised slightly, and Astro Boy’s appliqué sitting highest. The hands float above all of it without visual interference.

The artwork comes from Tezuka Productions’ archives, based on early illustrations by the manga master himself. A raised circular rehaut frames the scene, printed with a white minutes track and filled with Super-LumiNova C1 for blue nighttime glow.

What makes this dial work is restraint. There are no indexes cluttering the composition. No date window interrupting the narrative. The rhodium-plated hands with diamond-cut edges float above the scene without competing for attention. With Super-LumiNova C1 on just the hands and minutes track, the watch remains legible at night while Astro Boy stays visible in color against the dark dial. If they’d added lume plots or traditional indexes, this balance would collapse into visual noise. The blue glow complements rather than competes with the manga artwork. Louis Erard understood that when your dial tells a story, everything else should step back and let it speak.

The Case: 2340 Architecture Meets Hybrid Materials

The 2340 case represents Louis Erard’s first integrated bracelet design, and it brings legitimate technical interest to the table. The case body uses brushed titanium, keeping weight down to levels that disappear on your wrist. The crown, bezel, and lugs switch to polished steel, creating contrast without the flashy two-tone look that dominated the 1980s.

At 40mm in diameter and 8.95mm thick, the proportions work for most wrists without making compromises. The case shape follows the integrated bracelet design language that’s dominated sports watch design since the Royal Oak rewrote the rules. Louis Erard’s interpretation doesn’t reinvent this formula, but the execution is clean. The transitions from case to bracelet flow smoothly, and the finishing quality on the alternating brushed and polished surfaces shows attention to detail.

The sapphire crystal carries anti-reflective treatment on both sides, which matters more than most people realize. When your dial features this much visual information, glare becomes your enemy. Louis Erard addressed this properly. The caseback features a custom Astro Boy engraving showing him in his classic flying pose with the Louis Erard collaboration text. The engraving quality shows crisp detail with good depth, a nice touch for collectors even if you won’t see it during normal wear.

Water resistance sits at 5 bar (50 meters), which translates to splash resistance in practical terms. This isn’t a dive watch, and the hybrid titanium-steel construction makes that clear. It’s designed for daily wear with careful handling near water.

The Bracelet: Three Years of Development Shows

Louis Erard spent three years developing this integrated bracelet, and that investment shows in the details. The links combine brushed titanium and polished steel in a pattern that mirrors the case treatment. The 2340 case handles the integrated bracelet challenge by echoing the case angles without copying Genta’s Royal Oak geometry. The alternating brushed and polished surfaces on both titanium and steel create visual rhythm down the bracelet, and the link width taper from 28mm at the case to 20mm at the clasp looks proportional rather than forced.

Each link tapers from 28mm at the case to 20mm at the clasp, following the gradual taper that helps a watch hug your wrist naturally. The butterfly folding clasp uses a spring-blade mechanism rather than traditional push-button deployment. This approach provides smoother operation and reduces the number of moving parts that could wear over time. Torx screws handle the bracelet attachment points, signaling serious intent about secure attachment over easy adjustment. You’ll need the proper tool for sizing, but you also get more secure connections than traditional spring bars.

The bracelet length measures 220mm total, accommodating most wrist sizes with proper link removal. The titanium construction keeps overall weight down despite the integrated design’s typically chunky appearance. When you pick up the watch, the lightness surprises you given the visual mass.

What This Collaboration Actually Means

Louis Erard positions this release as more than a one-off character watch. Manuel Emch frames it as the first step in a long-term creative direction, working with cultural references that shaped his generation. The 2340 case becomes a canvas for these collaborations, with Astro Boy leading a planned series that will include video games and other cult icons from collective memory.

The limited production of 178 pieces ties to Astro Boy’s atomic power level in the original manga (100,000 horsepower, which somehow equals 178 pieces in collaboration logic). At CHF 3,990 before taxes, the pricing sits below the CHF 4,000 threshold while delivering legitimate watchmaking through the Sellita SW300-1 élaboré grade movement. That automatic caliber provides 56 hours of power reserve and runs at 28,800 vibrations per hour, which translates to reliable daily performance.

The Design Verdict

This collaboration succeeds because it respects both the source material and the craft of watchmaking. Louis Erard understood that dial storytelling requires hierarchy, contrast, and negative space. They resisted the temptation to fill every millimeter with manga references, keeping the composition focused on Astro Boy’s dynamic pose against a thoughtfully detailed backdrop. Tezuka Productions provided original artwork rather than generic licensing assets. Louis Erard invested in three-dimensional dial construction rather than taking the easier print-and-forget route. The 2340 case architecture provides a solid foundation that could support future collaborations without feeling like a gimmick.

The watch will connect most strongly with the generation that grew up watching Astro Boy, the same people who now have the disposable income to spend four thousand Swiss francs on nostalgia. But even without that emotional connection, the technical execution and finishing quality deliver enough substance to justify the price. The dial craftsmanship alone demonstrates why Swiss watchmaking maintains its reputation, even in an entry-level collaboration piece.

Louis Erard x Astro Boy Ref. 35123TA23.BMT12 arrives as a 178-piece limited edition at CHF 3,990. It launches with the 2340 integrated case in brushed titanium and polished steel, housing a Sellita SW300-1 automatic movement. The applied dial elements create three-dimensional storytelling depth, while the three-year-developed bracelet proves that even character collaborations can demonstrate legitimate horological craft.

The post Louis Erard Brings Astro Boy to Swiss Watchmaking first appeared on Yanko Design.

These Custom LEGO Pacific Rim Jaegers Are Low-Key Better Than Most LEGO Builds

“Today we cancel the apocalypse.” With just five words, Idris Elba’s Stacker Pentecost became the rallying cry of a generation – the gruff, determined voice that turned Guillermo del Toro’s Pacific Rim from a spectacular mecha-vs-kaiju brawl into something more: a tribute to human resilience, teamwork, and the unyielding belief that we’re stronger together. His speech before the final assault on the Breach remains one of the most quoted moments in modern sci-fi cinema, right up there with the Jaegers themselves – those towering mechanical defenders that became instant icons the moment they lit up the screen in 2013.

Now, nearly a decade later, one passionate LEGO builder is bringing the Jaeger program home. Din0Bricks’ stunning fan-made tribute to the film’s most iconic mechs – Gipsy Danger, Crimson Typhoon, and Cherno Alpha – has earned a coveted Staff Pick on LEGO Ideas, and with 661 supporters already rallied to the cause, these titans of engineering might just march onto store shelves. Featuring 2,218 pieces of screen-accurate detail, from retractable swords to rotating saw blades and support helicopters, this isn’t just a fan project – it’s a love letter to del Toro’s iconic film as well as the power of LEGO creativity. The question is: are you ready to suit up (or brick up) and help make it a reality?

Designer: Din0bricks

At first we’ve got Gipsy Danger, a personal favorite because honestly, if you’re going to lead with anything, it’s the Mark-3 American Jaeger that punched a Category 4 kaiju with a cargo ship. At 807 pieces and standing 8.8 inches tall, this blue beast captures everything that made the hero mech memorable. The broad shoulders, that distinctive head design with the yellow visor, the nuclear reactor core prominently displayed on the chest – Din0Bricks nailed the proportions.

It comes with its iconic retractable sword (which becomes a chain whip of sorts when expanded), but you could ditch the sword for the aforementioned cargo ship, which does come included in this MOC (My Own Creation!). The articulation appears robust too, with visible ball joints at the shoulders, elbows, hips, and knees. This thing can actually pose, which matters more than most people realize when you’re displaying an 800-piece mecha on your shelf.

Next meet the Crimson Typhoon. The Chinese Jaeger’s triple-arm configuration was always going to be the toughest to pull off in LEGO form, and at 630 pieces, this is actually the smallest of the three builds. That makes sense when you consider the original design philosophy: Crimson was built for speed and agility, not brute force. The red and black color blocking works beautifully here, and those rotating saw blade hands are exactly the kind of detail that separates a good fan build from something worth producing. The regular pincer hands are included too, and you can merely swap out weapons, which I personally love.

What impresses me most is how Din0Bricks managed to engineer three functional arms while maintaining structural integrity. Anyone who’s built complex LEGO mechanics knows that adding a third articulated limb to a bipedal figure is asking for stability problems. The fact that this thing can stand at 7.6 inches tall without looking like it’s about to collapse tells me the internal skeleton is solid.

Then there’s Cherno Alpha, the true underdog in the series. The Russian Jaeger always had that brutalist, Cold War aesthetic that screamed “Soviet engineering will outlast your fancy technology,” and this 781-piece build captures that perfectly. Standing 10.5 inches tall, it’s the biggest of the three, which tracks given Cherno’s status as the oldest and most heavily armored Mark-1 still in active service. The olive green and grey color palette gives it that military hardware vibe, and the boxy, industrial frame looks like something that was built to take a beating and keep swinging.

While the Cherno Alpha doesn’t come with external weapons (this thing was a spring-loaded punching machine), it does have optional helicopters that attach to its shoulders, as a call-back to how these jaegers were deployed on the battlefield. Sure, a jaeger could merely walk to the scene of the crime, but it’s faster (and honestly safer for the city) to have these massive bots deployed via air. Each jaeger would be carried by at least two copters, and unleashed into the waters (or on land) to exact revenge on the kaijus.

The beauty of this project existing on LEGO Ideas is that it actually has a shot at becoming real. For those unfamiliar with the platform, LEGO Ideas is basically crowdfunding meets product development. Fans submit their original designs, other fans vote by supporting the project, and if a submission hits 10,000 supporters, LEGO’s review board considers it for official production. Din0Bricks currently sits at 661 supporters with 405 days remaining to hit that 10K threshold. Given that the film’s been criminally underserved in the collectibles market compared to other genre properties, this feels like the moment to actually make something happen. If you’ve ever wanted to own a piece of the Jaeger program, head over to the LEGO Ideas website and throw your support behind this thing. Sometimes the apocalypse doesn’t cancel itself; sometimes you need 10,000 people and a lot of Danish plastic to get the job done.

The post These Custom LEGO Pacific Rim Jaegers Are Low-Key Better Than Most LEGO Builds first appeared on Yanko Design.

Lexus LS Goes Bold: Three Radical Concepts Redefine Luxury Space

When Lexus rolled three radically different concepts onto the floor of the 2025 Japan Mobility Show, each wearing the LS badge, the message was clear: the future of luxury isn’t about four doors and a trunk anymore. A six-wheeled van with a convertible day bed in the third row. A single-seat autonomous pod that looks like it escaped from Minority Report. An SUV coupe that might actually see production. These are Lexus’s answers to a market that no longer wants what the LS was built to be.

Designer: Lexus

The context makes the radical pivot necessary. Much like Taylor Swift, the Lexus LS was born in 1989 and went on to redefine its category, but unlike the pop icon, the luxury sedan’s star has dimmed considerably in recent years. The brand sold fewer than 3,000 units annually in the US for the past three years, losing market share even against rivals facing the same headwinds. In September, Lexus announced a “final year tribute” for the existing fifth-generation car, effectively confirming what industry watchers already knew. The sedan era is ending, but the LS name still carries tremendous cachet and brand value as the badge that launched Lexus itself.

Rather than let that heritage fade, Lexus chose to reimagine what “LS” could mean. The three concepts presented in Tokyo replace “Luxury Sedan” with “Luxury Space,” each interpreting that brief in dramatically different ways.

The Six-Wheeled Van That Dares to Dream

The LS Concept, revealed via teaser images a couple weeks before the show, represents the most audacious reinvention of the luxury minivan formula yet attempted. This isn’t a tarted-up people mover with captain’s chairs and a nicer badge. This is a six-wheeled statement piece that looks more like a land yacht than a family hauler, with proportions that dwarf the luxury minivans currently popular in markets like China.

Much of that impact comes from the wheel configuration itself. Four smaller wheels cluster at the rear while two larger ones handle steering duties up front, creating what observers have called a “backwards Tyrell P34 look.” It’s probably the only time a Lexus van will be compared to a 1970s Formula 1 car, but the reference fits. The wheel arrangement does more than look interesting. The additional rear wheels potentially distribute weight more effectively across the long wheelbase required for three comfortable rows, while the larger front wheels maintain steering precision and road presence.

The exposed wheel arches feature chrome or polished metal trim that catches light and emphasizes the mechanical complexity underneath, celebrating the engineering rather than hiding it behind body panels. Sharp character lines run the length of the vehicle’s flanks, creating distinct upper and lower volumes. The greenhouse sits atop a substantial lower body, with blacked-out pillars creating a floating roof effect that’s become common in luxury vehicles but feels fresher here thanks to the unconventional proportions. The front fascia maintains Lexus’s spindle grille signature but stretches it horizontally rather than vertically, creating a wider, more planted stance that suits the van’s substantial dimensions. LED lighting elements integrate into the bodywork with minimal interruption, suggesting a future where lighting becomes part of the surface rather than discrete components bolted to the structure.

Inside, the LS Concept seats six across three rows, with the first row offering a somewhat bench-like layout while the second and third rows feature individual thrones upholstered in what appears to be premium materials. The interior demonstrates a deliberate progression from functional to luxurious as passengers move rearward, with the driver zone maintaining traditional automotive ergonomics while the rear rows transition into lounge-style seating that prioritizes comfort over conventional automotive packaging. The material palette appears to blend warm earth tones in the seating surfaces with cooler metallic accents on structural elements, creating separation between soft touch points and hard architecture.

The third row takes the concept furthest, with armrests that detach to allow the seats to convert into a reclining day bed configuration. The leg rest extends while the seat backs transition closer to flat, creating a genuine rest space rather than the token reclining function found in conventional three-row vehicles. This transformation suggests Lexus studied yacht interiors and private aviation more than automotive precedents, prioritizing the ability to fully relax during extended travel over maximizing passenger count.

The lighting design throughout the cabin uses vertical striping patterns that echo traditional Japanese shoji screens, with illuminated surfaces creating ambient glow rather than point-source lighting. These vertical elements repeat on the exterior as well, establishing a consistent design language that bridges interior and exterior spaces. The dashboard features nested screens in a layered configuration that suggests depth rather than the typical flat panel array, with physical controls integrated around the displays rather than banished to capacitive touch zones. Despite the futuristic styling, this isn’t an autonomous fantasy. The LS Concept features a proper steering wheel flanked by a pair of screens and a pleasing number of actual physical buttons, suggesting Lexus envisions this as something a human would actually drive.

The Micro: When Personal Mobility Gets Absurdly Personal

If the six-wheeled van represents luxury maximalism, the LS Micro swings to the opposite extreme. This single-seat autonomous vehicle exists as pure concept exploration, the kind of mobility solution that automakers love to sketch but rarely build.

The Micro appears to run on three wheels based on the revealed images, with a vertically oriented battery pack or cargo compartment mounted along its spine that can slide out for easy access. This central spine element serves as both functional storage and visual anchor, creating a clear organizational logic for the compact vehicle’s interior packaging. The exterior surfaces flow in continuous curves broken only by minimal character lines, with the transparent canopy creating an almost bubble-like greenhouse that maximizes interior volume perception while maintaining a compact exterior footprint.

The seating position looks genuinely comfortable rather than compromised, with a warm cocoon-like environment and touchpad controls integrated into both armrests in a configuration that recalls Captain Picard’s chair on the bridge of the Enterprise. The seat itself appears to wrap around the occupant in a 270-degree embrace, with padding that extends beyond typical automotive bolstering to create a genuine relaxation space rather than just transportation seating. Lexus even managed to fit multiple cupholders into the compact package, a luxury amenity not afforded to Galaxy-Class starship captains. The material treatment suggests a mix of technical fabrics and soft leather, with the touchpad controls finished in what appears to be brushed metal or high-quality plastic that maintains tactile feedback despite the digital interface underneath.

The color palette inside the Micro stays deliberately neutral, with warm beiges and soft grays dominating to create a calming environment rather than the typical concept car explosion of saturated hues. Ambient lighting appears integrated into the structural ribs of the canopy, washing the interior with indirect illumination that changes the space’s mood without creating harsh shadows or glare. The exterior styling leans heavily into sci-fi territory, with smooth surfaces and minimal details that wouldn’t look out of place in Minority Report, though given that film is now set just 29 years in the future, perhaps that’s less of a compliment than it once was.

Lexus describes the Micro as “micro-mobility that allows you to move freely in small streets and alleys of cities” and “a relaxing space for a new value of private travel experience.” That use case suggests ride-hailing services in dense urban environments rather than personal ownership. Given the autonomous technology requirements and the narrow market appeal, both scenarios remain theoretical for the foreseeable future. The Micro’s compact dimensions and autonomous capabilities could theoretically allow it to access areas traditional vehicles cannot, from pedestrian-friendly zones to narrow historic district streets. The single-seat configuration eliminates the social dynamics and scheduling compromises inherent in shared mobility, offering a middle ground between private car ownership and riding in someone else’s vehicle.

The Coupe: The One That Might Actually Happen

Of the three concepts, the LS Coupe stands the best chance of reaching production. Industry watchers have speculated for more than half a decade that the fifth-generation LS’s successor would take the form of a high-end crossover rather than another traditional sedan, and this concept bears all the hallmarks of that rumored vehicle.

The design melds the elevated seating position and easy entry of an SUV with the flowing roofline and proportions of a sedan, complete with a trunk rather than a hatchback opening, though Lexus describes it more as an extending shelf than a conventional cargo area. Four doors provide access to what appears configured as a four-seat interior, though the rear bench looks like it could accommodate a third passenger without much compromise. In a premium touch reminiscent of Rolls-Royce, the rear doors open backwards for easier entry and exit.

The interior continues design themes Lexus explored in the Sport Concept coupe revealed the same day, with a colorway divided between the driver and passenger areas to create distinct zones within the cabin. The driver side appears finished in darker, more focused tones that emphasize the task of driving, while the passenger side transitions to lighter, more relaxed materials that signal the leisure aspect of luxury travel. This asymmetric approach represents a departure from the typical automotive interior that treats both front occupants identically, acknowledging that driver and passenger have fundamentally different relationships with the vehicle.

The seating surfaces showcase what appears to be a combination of perforated leather in high-wear zones and smooth textile panels in areas that benefit from stretch and comfort. The perforation pattern isn’t just functional ventilation but creates a geometric texture that catches light differently depending on viewing angle, adding visual interest without relying on contrasting stitching or piping. The rear seats maintain the same material approach but appear to offer more adjustment range and cushion depth, confirming this vehicle prioritizes rear passenger comfort despite its four-seat configuration.

Nested instrument panel screens sit in front of a yoke-style steering control rather than a traditional wheel. The screen configuration potentially hints at a future instrument and infotainment layout designed to rival BMW’s Neue Klasse digital interface approach, though production versions typically dial back the concept car ambition. The layering of these displays creates a sense of depth behind the yoke, with primary driving information appearing to float in the foreground while navigation and vehicle status occupy background layers. Physical controls appear concentrated on the center console and steering yoke spokes, maintaining tactile interfaces for frequently used functions rather than forcing everything through touchscreen menus.

The exterior proportions demonstrate careful attention to the balance between SUV utility and sedan elegance. The roofline starts its descent behind the B-pillar, creating a fastback silhouette that maintains rear headroom while achieving a lower drag coefficient than a traditional SUV profile. The rear haunches swell slightly outward from the cabin, muscular shoulders that suggest performance capability without resorting to aggressive body cladding or fake vents. The wheel arches appear sculpted into the body rather than applied as separate elements, creating a cohesive surface that flows from front to rear without interruption. The strongest indicator of production intent comes from an observation about what the concepts include rather than what they promise. The LS Coupe features visible seatbelts in all the marketing imagery and show floor presentations, a detail neither the six-wheeled van nor the autonomous Micro show.

What Luxury Space Actually Means

These three concepts reveal Lexus’s challenge and opportunity in equal measure. The LS name carries enough brand equity to justify continuation, but the original brief no longer works in a market that has decisively moved away from large luxury sedans.

By reinterpreting the badge as “Luxury Space” rather than “Luxury Sedan,” Lexus creates room to explore what premium personal mobility could mean across multiple form factors and use cases. The six-wheeled van targets the ultra-luxury multi-passenger market that traditional minivans never quite captured, the Micro explores personal urban mobility as a premium experience, and the Coupe directly addresses the luxury crossover segment that has cannibalized sedan sales industry-wide. Whether any of these concepts reach production remains uncertain, but the LS Coupe’s seatbelts and rumors of a high-end crossover successor suggest at least one interpretation of “Luxury Space” will make it to dealerships.

Each concept also reflects different regional market priorities. The six-wheeled van speaks directly to Asian luxury markets where chauffeur-driven vehicles remain popular and rear passenger comfort takes priority over driver engagement. The Chinese market in particular has embraced luxury MPVs in ways Western markets never did, with vehicles like the Mercedes V-Class and Lexus LM commanding premium prices and generating substantial sales volumes. The Micro addresses urban mobility challenges most acute in dense Asian and European cities where parking costs remain prohibitive and congestion pricing schemes make large vehicles increasingly expensive to operate. The Coupe takes the safest bet by pursuing the luxury crossover segment that currently dominates premium vehicle sales globally.

Every luxury brand from Bentley to Rolls-Royce now offers or plans to offer a high-riding crossover, recognizing that buyers want elevated seating positions and practical cargo space more than they want low-slung driving dynamics. The LS Coupe’s sedan-influenced proportions and trunk configuration position it as a more sophisticated alternative to the increasingly common luxury SUV, offering crossover practicality without abandoning the design language that made Lexus sedans distinctive. For a nameplate that once redefined luxury sedans, this evolution from four doors to multiple futures seems fitting.

The post Lexus LS Goes Bold: Three Radical Concepts Redefine Luxury Space first appeared on Yanko Design.

AirPods Max 2 Concept Brings The Vision Pro’s Comfy Band Into The Mix

The AirPods Max dropped in 2020, that’s 5 years ago, making it one of the oldest products to not see a single design iteration in a significant time. Yes, sure, Apple upgraded its Lightning-powered models to USB-C recently, and gave the AirPods Max some fresh new colors, but other than that, there’s been absolutely no change to the product in half a decade. It’s time we saw a few upgrades.

Not that there’s anything broken with the AirPods Max, but it could use a few key upgrades. Users complain often that it’s heavy, can often get uncomfortable, and early adopters noticed some weird condensate on the inside after sustained listening. While Apple hasn’t officially fixed any of these problems, Parker Ortolani decided to give the AirPods Max a refresh – with a few key visual changes that all lead to a better product (except for one detail which I personally dislike).

Designer: Parker Ortolani

Ortolani’s design retains the iconic shape of the AirPods Max earcups, but transforms a major part of its otherwise memorable silhouette. Most importantly, the band on top gets a revision, ditching the metal and  tensile fabric for something more familiar. The new band gets made from the same material used on the Vision Pro, giving it flexibility within a much more lightweight and comfortable design. Sure, there has to be something inside providing structure, but the chances of it being stainless steel is low. That instantly cuts the AirPods Max 2’s headband weight while providing a wider surface for it to rest on the cranium, so you can wear the cups for longer without that strain.

A knob on the side lets you easily adjust the band’s design, lowering or raising the earcups so that they sit higher or lower (depending on how big your head is). The crown stays exactly where it is, but Ortolani adds buttons to the mix too, just to make intuitive control easier. The padded cups get upgraded to a cushion-like material, and for that weird condensation issue, vents at the bottom promote breathability, so you can worry about sweat accumulating inside the cups from listening for too long.

My only significant gripe is that Ortolani ditched the Lightning/USB-C port for a proprietary snap-on connector like the one found on the Vision Pro. To be fair, Ortolani did design this concept before the USB-C AirPods Max dropped, so it’s certainly an upgrade over the lightning port, but otherwise seems like bit of a drag. I’d personally change that, but barring this tiny little oversight, the AirPods Max 2 concept truly feels like an iterative improvement on its predecessor. The plastic bands flex so you can actually curl the headphones for easy carrying (and no more using that weird handbag).

Ortolani debuted his concept in a variety of subtle colors (barring that electric Project RED version), but I wouldn’t mind seeing a few vibrant options too. Hopefully Apple has plans to upgrade its flagship audio wearable next year, along with the AirTag, which has remained entirely unchanged in 4 full years!

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