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Insta360 X5 Dominates 360-Camera Market as DJI Osmo360 Arrives Nine Years Too Late with Borrowed Features

DJI announced the Osmo360 on July 31, 2025, nine years after Insta360 launched the first consumer 360-degree camera in 2016. During those nine years, Insta360 solved fundamental 360-degree capture challenges while established manufacturers focused on proven market segments. DJI’s entry applies conventional imaging principles to an established format rather than developing breakthrough solutions for 360-degree capture.

The timeline reveals the difference between market creation and market participation. Insta360 invested years developing purpose-built 360-degree technologies when success remained uncertain. DJI observed this market development while focusing on drone segments. Even in action cameras, DJI entered the market in 2019 – two years after Insta360’s 2017 pivot with FlowState Stabilization and “shoot first, point later” editing innovation. This pattern continued with 360-degree capture, entering only after Insta360 proved market viability and solved core technical problems. Creators now choose between nine years of specialized 360-degree innovation and a brand that consistently follows proven markets with adapted solutions.

Designer: Insta360

Innovation Leadership Versus Late Market Entry

Insta360 launched the first consumer 360-degree camera in 2016 when spherical capture required technical expertise and produced mediocre results. Established camera manufacturers dismissed the format as a niche experiment while Insta360 committed resources to solving fundamental challenges. The company pioneered computational photography for spherical content, developed consumer-friendly stitching algorithms, and created mobile editing workflows that made 360-degree content accessible to mainstream creators.

DJI focused on drone technology while Insta360 solved early adoption challenges. DJI’s entry represents a response to Insta360’s proven market success, applying conventional imaging approaches to an established format. The timing shows DJI following proven demand rather than creating new markets.

The X5 brings together years of work to solve common creator frustrations such as scratched lenses, poor low light performance, and complicated editing. It introduces Insta360’s most durable lenses to date, which are also fully replaceable. PureVideo mode manages spherical lighting in ways that conventional systems cannot. The extended 208 minute battery keeps creators recording throughout the day. A redesigned mobile app makes editing easier than ever, and clips can be exported directly in seconds.

Feature Implementation Reveals a Following Strategy

DJI’s Osmo360 appears to build on Insta360’s established innovations rather than developing original 360-degree solutions. Every major feature comparison reveals the same pattern: Insta360 innovates first, files patents, and brings features to market. DJI watches, adopts the functionality, and releases similar features months later with different names but identical technology.

Bullet Time vs Vortex Mode: Patent Innovation vs Imitation

Insta360 pioneered Bullet Time in 2017 with the first generation ONE, introducing cinematic effects using dedicated handles and auto-editing algorithms. Users swing the camera around their head while horizon leveling, smart speed control, and slow motion freeze the moment. Insta360 filed patents related to Bullet Time technology and continues this innovation in the X5.

DJI’s “Vortex Mode” delivers identical functionality with no meaningful improvements or originality. Both use rotating handles with 1/4″ screw mounting, though DJI’s handle measures ~187mm versus Insta360’s more compact ~169mm design. The interface designs show almost no difference, revealing DJI’s strategy of following proven innovations rather than developing original solutions.

Hardware Design Mimicry: Even Industrial Design Gets Copied

DJI OSMO360

DJI’s mirroring extends beyond software features to hardware design. Their Invisible Selfie Stick shows remarkable similarities to Insta360’s established design language. Insta360’s 114cm Invisible Selfie Stick weighs ~124g with distinctive diamond pattern texturing. DJI’s 1.2m version also weighs ~124g but uses different textured patterns while maintaining identical mounting methods and connection systems.

The top design, bottom design, and extendable connection systems show minimal innovation, suggesting DJI studied Insta360’s successful formula rather than developing original solutions.

Gesture and Voice Control: Following the Feature Roadmap

Insta360 first introduced Gesture Control with the X4, enabling users to take photos with peace sign gestures and start/stop video recording with palm gestures. The system supports Voice Control in English, Chinese, and Japanese with commands including “take a photo,” “start recording,” “stop recording,” “mark that,” and “shutdown camera.”
DJI’s Osmo360 offers matching functionality with comparable voice control features. Interface screenshots reveal nearly identical gesture and voice control menus, continuing the pattern of feature-by-feature replication without meaningful innovation.

App Design Similarities: DJI Mimo Copies Insta360’s Interface

DJI’s pattern of following extends to mobile application design. The DJI Mimo app incorporates features directly inspired by older Insta360 App versions, with player styles and design elements clearly drawn from Insta360’s established interface. Settings page layouts and visual styles appear remarkably similar to Insta360’s proven design language.

DJI’s Quick Framing feature mirrors Insta360’s Quick Edit in function, interaction, UI visuals, and color schemes. Both record user swipes and phone movements to reframe footage, but the operation steps, button texts, and animations remain virtually identical between platforms. Control functions use matching gyroscope motion control, finger swipe, virtual joystick, FOV slider zoom, and preset angles. Even icon line thickness, rounded corners, shadows, and interface elements show suspicious similarities. The Verge also pointed out that DJI’s mobile app looks suspiciously similar to the X5’s.

Core Technology Rebranding: Same Innovation, Different Names

Insta360’s AI Highlights becomes DJI’s “Best Moments.” Camera movement features in DJI Mimo closely resemble Insta360’s “Movement” feature from previous app versions, sharing concepts, motion template styling, and naming conventions. DJI’s Osmo 360 replicates Insta360’s “Me Mode” under the rebranded name “Selfie Mode,” and adds a nearly identical “Twist Shot” in an August 2025 firmware update after widespread media coverage of Insta360’s “Twist to Shoot”

Replaceable Lens System Eliminates Creator Equipment Anxiety

Insta360’s modular lens architecture solves the most persistent fear in 360-degree shooting through field-replaceable optics that maintain creative confidence in challenging environments. Adventure creators and extreme sports enthusiasts can pursue ambitious shots without equipment destruction concerns that traditionally limit creative risk-taking.

The implementation extends beyond simple replacement capabilities to create an expandable platform for specialized applications. Underwater lenses, low-light optics, and extreme weather protection become possible through the modular system rather than requiring separate camera purchases. Field maintenance eliminates expensive service requirements that interrupt production schedules and affect client relationships during professional shoots. When lens damage occurs, users swap in fresh optics and continue filming without missing critical moments.

DJI’s approach emphasizes conventional durability through established construction methods with IP68 waterproofing extending to 10 meters depth. The protection proves solid through traditional engineering techniques, but lens damage still requires complete camera service rather than field solutions. The magnetic mounting system adapts directly from DJI’s action camera ecosystem, providing workflow familiarity but incremental improvement rather than innovative solutions to 360-degree specific challenges. Professional users must plan for equipment downtime during lens repairs that can affect project timelines.

Real-World Performance Reveals Practical Usage Differences

Extended field testing across multiple shooting scenarios demonstrates significant power management and thermal differences between the systems that affect real-world production planning. The X5 achieves 208 minutes of recording in 5.7K long-lasting mode with its 2400mAh battery, compared to the Osmo360’s 190 minutes maximum with its 1950mAh battery. However, the Osmo360 faces critical overheating issues that severely limit actual recording time. Phillip Bloom said on Threads that Osmo suffers from when you shoot in temperatures over 26 Celsius. Anyone who tells you it doesn’t have an overheating issue isn’t being honest with you. And potential fogging issues can impact image quality and equipment performance during water sports, winter sports, and other low-temperature environments.

Software Ecosystem Highlights Market Leadership

Insta360’s mobile application ecosystem demonstrates years of 360-degree optimization that competitive offerings cannot easily replicate. AI-powered editing tools specifically designed for 360-degree content automate complex post-production tasks including object removal, deep tracking, and automatic scene detection. Creators can generate social media content, apply reframing effects, and export multiple aspect ratios without desktop software requirements.

With an Insta360 Cloud subscription, X5 footage is automatically backed up, ensuring creators never have to worry about losing an SD card or running out of phone storage.
The ecosystem maturity shows in community resources and learning materials that accelerate user skill development. Insta360’s established user base has generated extensive tutorials, techniques, and creative applications specific to 360-degree content. New users can access optimized learning paths rather than adapting traditional video production knowledge to 360-degree requirements.

DJI, on the other hand, emphasizes its broader hardware portfolio and places less focus on software. The Osmo360’s internal storage and familiar mounting systems are designed to fit smoothly into established equipment workflows, allowing multi-camera productions to add 360-degree content without significant process changes or additional training for crew members.

Market Leadership Defines Future Direction

Insta360’s continued investment in 360-degree specific innovations demonstrates long-term format commitment that extends beyond current market trends. The X5’s transformative features solve problems that users accepted as inherent limitations in 360-degree capture. The replaceable lens system, software processing, and extended battery architecture represent innovations that will likely influence future competitive products.

Real-world user experiences consistently reinforce the X5’s practical advantages over the Osmo360’s approach. Multiple independent reviewers have identified persistent warping problems with the Osmo360 that required post-launch firmware updates, highlighting first-generation product risks. Professional content creators report frustration with DJI’s steep learning curve compared to Insta360’s intuitive interface, while availability challenges expose DJI’s uncertain commitment to long-term 360-degree investment.

DJI’s market entry validates Insta360’s format development while applying proven action camera technologies to spherical capture. The timing suggests competitive response rather than visionary development, leaving creators to choose between proven innovation and incremental adaptation of existing technologies.

The post Insta360 X5 Dominates 360-Camera Market as DJI Osmo360 Arrives Nine Years Too Late with Borrowed Features first appeared on Yanko Design.

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virgil abloh’s creative legacy comes alive at expansive grand palais exhibition in paris

Virgil Abloh’s Multidisciplinary Legacy Comes to Life in Paris

 

From September 30 to October 10, 2025, the Grand Palais in Paris is set to stage Virgil Abloh: The Codes, the first major European exhibition devoted to the late designer’s work. Organized by the Virgil Abloh Archive in partnership with Nike, the show surveys nearly two decades of Abloh’s career by drawing from his 20,000-object personal archive. It highlights how his creative ‘codes,’ the recurring principles that guided his approach, connect disciplines as different as fashion, footwear, architecture, music, and advertising.

 

One part of the exhibition reactivates the Paris concept store colette, long a central platform for Abloh’s early work. Co-founded by Sarah Andelman, the iconic store is recreated inside the Grand Palais as a hybrid installation and functioning shop, where limited-edition objects shaped in partnership with Abloh will be available, including a reissue of his collaboration with Braun and a French-language edition of his book Abloh-isms. 

Virgil Abloh: The Codes is devoted to the late designer’s work | image by Tyrone Lebon

 

 

the grand palais exhibition expands the archive

 

Curated by Chloe and Mahfuz Sultan, Virgil Abloh: The Codes expands on an earlier edition presented in 2022, this time with a broader view of Abloh’s practice. Alongside well-known projects, the show presents prototypes, sketches, and items from his own collections and library. The archive seeks to make Abloh’s methods available for study and reuse, reflecting his belief in openness and collective learning by focusing on process as much as on outcomes.

 

The project is supported by the Virgil Abloh Foundation and accompanied by a series of public programs, from workshops and dialogues to performances and screenings. For the late designer’s wife, Shannon Abloh, who leads the archive and foundation, the exhibition is both a celebration and a teaching tool, a way of ensuring that Virgil Abloh’s ideas remain accessible to future generations.

the show surveys nearly two decades of Abloh’s career | image by Julien Cedolin courtesy of Galerie kreo

drawing from the designer’s 20,000-object personal archive | image by Bogdan Chilldays Plakov

image by Tyrone Lebon

the archive seeks to make Abloh’s methods available for study and reuse | image by Julien Cedolin courtesy of Galerie kreo

VAA x Braun x Colette BC20 Clock

one part of the exhibition reactivates the Paris concept store colette

limited-edition objects shaped in partnership with Abloh will be available

the iconic store will be recreated inside the Grand Palais

the exhibition is both a celebration and a teaching tool

 

 

project info:

 

name: Virgil Abloh: The Codes

organizer: Virgil Abloh Archive in partnership with Nike

location: Grand Palais | @le_grand_palais, Paris

 

curators: Chloe Sultan & Mahfuz Sultan

dates: September 30th – October 10th, 2025

support: Virgil Abloh Foundation | @virgilabloh___foundation, Nike

The post virgil abloh’s creative legacy comes alive at expansive grand palais exhibition in paris appeared first on designboom | architecture & design magazine.

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Why Peloton Tanked and Racing Sims Soared

Something interesting happened during the pandemic: Since real-life Formula One races were shut down, drivers competed in virtual events using racing simulators. No one could have predicted how wildly popular these events would be. Some 30 million people, all trapped in their homes by COVID restrictions, tuned in to 2020’s F1 Virtual Grand Prix series.

The popularity of the series drove sales of F1 2019, Formula One’s official Xbox/PlayStation/PC game. That in turn drove the sales of racing sim set-ups, which have now exploded in popularity; the racing sim market was around $384 million two years before the pandemic; today it’s around $500 million; and it’s projected to hit almost $2 billion by 2033.

All of which explains why PC and gaming perirpherals company Logitech is now selling an official, licensed McLaren Racing Seat for racing sim set-ups.

The seat is made of aluminum and padded with ModuFoam; these are modular foam insert pads that the user can place for a custom fit. The seat sits within a high-carbon steel frame, to which the user can attach (non-included) pedals and steering rigs.

The seat runs $600 and comes in any color you want, as long as that color is McLaren Orange.

Lastly, it’s interesting to note the very different fate of another type of sim. Peloton also saw a massive boost during the pandemic, going from $910 million in sales in 2019 to $1.8 billion in 2020—but after that, the company fell off of a cliff. Peloton’s shares, which peaked at $162, are worth about $8 today.

Why the difference in fates, since both offer simulated experiences? Probably because racing sims provide users with a simulation of an experience that they could never have in real life, whether we’re under lockdown or not. But once things opened back up, it turns out that cyclists prefer the real thing, and/or doing it at a gym. There’s a business lesson in there somewhere.

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Circularity and Digitalization: The Next Material Frontier for CMF Designers

This post is presented by the K-Show, the world’s No.1 trade fair for the plastics and rubber industry. Visionary developments and groundbreaking innovations will again lead the industry into new dimensions at K 2025 in Düsseldorf, Germany.

Chris Lefteri: Hi Thomas, thanks for being here. How are the preparations going for the K Show?

Thomas Franken: Preparations for K are in full swing, as you can imagine. We have already started to prepare some of our halls where our big exhibitors are placed, especially with the big machines. We are using the entire exhibition center here at Messe Dusseldörf which translates to roughly 180,000 square meters net exhibition space, which is the equivalent of 25 football pitches. That’s sometimes easier to get an idea how big the show is!

Chris Lefteri: That’s incredible. And you’re starting to build the K Show three months before, more or less?

Thomas Franken: Yes, because we have the big machines in some of the bigger halls like hall numbers 17, 16 and 15, we always have to install extra air conditioning, so for that reason we start roughly three months in advance.

Chris Lefteri: The K Show happens every three years which is a good amount of time for you to be able to overview the big changes in the industry. What do you see as the current and future trends, for example, within sustainability or technology, AI that you think are going to become more significant?

Thomas Franken: The most important topic currently is the circular economy, which has been evident in the last two or even three editions of the show. And digitalization is part of the circular economy because we always know from the industry that you cannot do the circular economy without digital and AI solutions. I’m also very interested in the reputation of plastics from a sustainability point of view and the responsibility our industry holds in terms of taking care of our people.

I’m also very interested in the shortage of skilled workers. We have always been interested in exploring how to attract young talent to the industry, but it has never been the highest priority. For the 2025 edition however it is becoming one of the hot topics. This will be mirrored in our program as for the first time we have a lot of things to attract young talents to the industry. This is something that is quite new and not seen in the previous editions.

Chris Lefteri: You mention digitalization, sustainability and circularity. Is there an example of something that you want to highlight as a subject?

Thomas Franken: For sure, we have a lot of exhibitors, especially from the recycling sector, coming up with new solutions, like tracking materials, sorting materials, etc. Here AI is one of the key enablers to make the circular economy for plastics happen. I think it’s very important to see plastic waste as a resource in the future and not just material for landfill. So, the question then becomes how to really sort the waste. I think the industry has been collecting data for a while and it’s now able to really make use of this data with AI. The digitalization is really the enabler to make the circular economy happen. Some of the exhibitors have already announced that they will have some new solutions for especially these kinds of things, let’s say, using AI solutions in technology to make circular economy happen.

Chris Lefteri: Recycling must be one of the big areas in terms of exhibitors that has been growing?

Thomas Franken: Yes. That’s the case. As you can see from the layout of the exhibition, we have three different colours and almost two-thirds of the exhibition is in blue, which is technology. We have tried to place all exhibitors coming up with recycling solutions in halls 9 and 10, creating a clear segmentation. This is for sure a growing part of the show and also a growing part in the industry – more and more exhibitors are coming up with new solutions and innovations.

Chris Lefteri: Yes, for me, processing innovation is one of the most interesting areas.

When I’m walking around scouting for exhibitors to visit for my design tour, you have to really look quite precisely to find some material innovation. In previous years, there’s always been the new materials, let’s say new waste streams that are being used as fillers. But also, the exhibitors that really got my interest were those with the processing innovation and I think this year recycling is going to be the area that I will focus on. It’s the big raw material suppliers that have, let’s say, new grades of circular materials or bio-based materials, but I think these are quite well known. The recyclers however are less media-interesting and they are harder to find.

Thomas Franken: You’re right there. And I think even the recyclate’s are somehow a new type of new material and will be used more and more in the future with different kinds of application. Yet it is hard I think how to have a clear standard or quality of these recyclate’s because you don’t always know where they’re coming from. It is different to if you use natural resources such as oil for example. This is becoming one of the tough questions in the industry – it is the industry’s job to keep the quality and also find more and more applications, where you can use them.

Chris Lefteri: I notice the K Show has the slogan The Power of Plastics. So why did you choose that?

Thomas Franken: Yes, as you know, for each edition of the K Show we have key themes, chosen as interesting topics and discussion points in the industry. For K 25 however we wanted to frame these three hot topics for the first time with the slogan. The three hot topics are Circular Economy, Digitalization and Caring about People and for that reason we created the slogan, The Power of Plastics. It’s meant to underline, or sum up the important role of plastics in shaping the future and where the industry is heading to.

Chris Lefteri: For me, The Power of Plastics is about understanding the value, the opportunity and the scale that plastics have. It’s very easy to be drawn into catchy stories about, let’s say, unusual waste streams but actually, the biggest opportunity is through plastics. Let’s say, for example, one single plastic is used to make an entire product. This has much more opportunity for impact because I can recycle it and it’s a stream of material that already exists. Yet, plastics is something that people almost don’t see as being the opportunity to solve the problem. And what I love about the K Show is finding these very, very niche suppliers who do something really quite incredible that for me as a designer, I interpret in my own way and say, “Oh, but you could use it for this instead!” And they’ve never thought about it like that.

Thomas Franken: You’re right. I think people always see plastic as a problem. But without plastics, you cannot really answer the questions in the future. Plastics will play an important role in answering and finding solutions for the challenging times we might have in the future. There are so many real solutions with plastics, if you think about reducing CO2 emissions with lighter vehicles, or using less energy. For instance, packaging is one of the biggest applications for plastics, but plastic packaging is also helping to reduce food waste, which is a positive thing that needs to put more to the public. This is The Power of Plastics tries to underline. Plastic is also helping to solve these questions and matters in future and the easiest answer people find at the moment is to say, “Well, plastic is a problem, and we have to avoid plastic,” but plastics will play an important and essential role in the future. Without plastic, it’s not possible to.

Chris Lefteri: Yes. But like you said, it’s these secondary benefits of plastic, like packaging that keeps food for longer, that people forget to look at and see the opportunities and the benefits.

What I would like to see, what I hope to see, is what kind of new materials are coming through, like technology that can analyze traditional plastics to formulate bio-based compounds based on existing technologies, using AI. This is where I’m really keen to look this year, to see where that level of technology is going to have an impact and how AI is used, for example, in modeling technology to create surface effects or surface functionality, like staying clean or water resistance or antibacterial. I mean where AI isn’t just about the chemicals, but about the surface and creating textures that have some added functionality. For example, the lotus effect as a natural texture. So that’s for me where I’ll be looking. I’m trying to really look past the, I wouldn’t say greenwashing, but “Hey, come on, you’ve got to back this up!” You’ve got to show me something a little bit more because I’m going to be quite particular in making sure that they deliver if they say something.

I also believe it isn’t just about problem solving and functionality, it’s also about aesthetic and the story of materials. This is where the opportunity lies as a CMF designer. I go to the Milan Furniture Fair in April every year, because this is where we see the trends. This is where we see the aesthetics. If I then go to the K Show, I can put these two things together. I’d say that’s the power of the K Show actually.

Thomas Franken: Yes, I also think the material producers and the processors, and the kind of products they’re showing, are really interesting for CMF designers.

Chris Lefteri: How should people best prepare when visiting the K show? The only thing I personally can say in terms of preparation is to just keep a bottle of water in your bag and wear the most comfortable shoes you have because I don’t want to stop. I mean, really, when I go, I don’t stop. I don’t stop for breaks because there’s no time for me and I’m very determined, I’m very much on a mission. For me, it’s not just a casual thing. I really want to soak up as much as possible and by the end of it, I’m absolutely, absolutely exhausted. That brings to me the question of the Matchmaking tool to make the visit efficient, which seems like the perfect tool to help with this?

Thomas Franken: Yes, what makes trade show so special is that you want to see as much as possible in the short timeframe people often have. I think you can get some general orientation with our exhibitor database and the mapping. We offer a lot of services on our homepage and also in the apps you can browse our exhibitors so that you can find out the exhibitors you want to visit and then ask the system to make the best tour.

Chris Lefteri: That’s great! So you have a tool that allows me to find the most efficient route between the exhibitors? I didn’t know that that existed. Is that on the app or is that on a website?

Thomas Franken: It’s on both. If you log in as a visitor for the show you can just browse the exhibitor database, choose all the exhibitors you would like to visit and then you can also see where they are placed and then – it’s like on Google Maps – you can plan a route for visiting all the destinations you would like to see.

We also have our new matchmaking tool where you can get in contact with our exhibitors. The main aim of this system is to bring together our visitors on one side and exhibitors on the other side, even in advance before the show starts. You can say, “Well, I’m interested in different parts of the industry and I would like to find innovations for a specific topic.” And then the system will give you suggestions and recommendations of some exhibitors. If something is really interesting for you, you can even get in contact with the company before the show starts.

Chris Lefteri: Yeah, fantastic, fantastic.

Thomas Franken: This is also available in the app because for sure you don’t want to bring your laptop with you everywhere. If you already arranged meetings with some of the exhibitors, you can directly see it in your app because it’s linked to your profile.

Chris Lefteri: Yes, when I’m giving talks about resources that designers can go to in order to understand and research materials, even if it’s in Asia, where they’re not likely to travel to Düsseldorf, I highlight the opportunities that the website has in terms of finding resources and inspiration so you don’t necessarily have to go there because there’s also a lot of information that’s on the website. It’s a very rich tool.

Here’s another question for you. What are you personally looking forward to?

Thomas Franken: There are many things I’m really looking forward to, because as you can imagine, if you’re preparing a massive show like K, more than two years in advance, everything is in preparation for the final opening moment. This is the most important and exciting point for me, especially on the first day when we’re opening the gates and you see that people from all over the world are coming together, it really is an incredible atmosphere. Everyone is really motivated and curious to discover what’s new in the industry.

Chris Lefteri: Yes, I think you touched on something, which is the feeling that it has. And on the opening day, like you said, literally people are flooding into the halls. That’s something that I should have asked at the beginning: what’s your general feeling from the plastics industry? We talked about technologies and advancements and trends, but you have a very unique position because you’re talking to many exhibitors visiting different countries. So, in capturing the mood of the plastics industry, what do you think the mood is?

Thomas Franken: Especially right now, economically speaking, the situation is more challenging than maybe in the past. But something really special in the industry, is that everyone is really optimistic about the future. Everyone wants to be a part of shaping and setting the course for the future for our industry.

Chris Lefteri: There must be new types of business models that are developed, let’s say, as a result? One, for example, that I worked with, was a company who evaluate the circularity potential of a compound, and they give you a scorecard, like a traffic light. Apart from the recyclers, are there new types of companies that you see have been set up? New types of exhibitors?

Thomas Franken: We see that there are a lot of exhibitors coming up with digital solutions for the industry. And maybe also, as you just mentioned, with evaluating these new materials and the recycling part. Especially if I look into the Start-Up Pavilion, you see that the young and dynamic companies are always coming up with new solutions from the digitalization part and also the circular economy.

Chris Lefteri: Yes. So again, like you said at the beginning, this connection between the digital and the circular, this is where there is opportunity for new things.

Thomas Franken: Is there anything you’re really looking forward to?

Chris Lefteri: I love German food, I love a beer and a good traditional German meal, which is something I always look forward to! In terms of the K Show, it is this moment of unexpected discovery. Of seeing opportunities that the exhibitor doesn’t always see, but through my lens as a designer, as a material CMF designer, I can interpret. Yes, and also being able to get a sense of where the industry is, where plastics is going in the future.

So, my last question for you, which is something that I’ve asked everybody that I have interviewed: what’s your strongest memory of a material from childhood, and why?

Thomas Franken: I think it’s quite funny. I’m thinking of a material like foam or something like that. Something you can really change the shape of, but then it comes back to its original shape. I always thought that was interesting because wood for instance, you can cut it down, but it stays as it is. Foam on the other hand you can really change but then it always goes back to its original form. It was something I remember that was quite special for me when I was three or four years old.

Chris Lefteri: Was it a toy?

Thomas Franken: I think it was maybe bath sponge, it was in the shape of a boat or something and you could play with it, you could squeeze it, you know, you could put the water in it, but then it always came back to the original design or form. Somehow, I remember that I really liked these kinds of things.

Chris Lefteri: Good. Good. Then that’s it. Thank you for our conversation. Really looking forward to the K Show!

Thomas Franken: Same. Thank you!

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Tiny Vinyl Crams Big Sound and Sustainability in a 4-Inch Collectible Record

The vinyl revival has brought back the tactile joy of physical music, but it has also highlighted some persistent challenges around cost, storage, and environmental impact. Standard LPs can cost upward of $35, take up significant shelf space, and require substantial materials to produce, creating barriers for both casual fans and eco-conscious collectors.

What makes Tiny Vinyl particularly compelling is how it addresses these issues while tapping into our natural love for miniature things. These 4-inch records offer a playful, sustainable alternative that makes vinyl collecting more accessible without sacrificing the authentic experience that makes records special in the first place.

Designer: Neil Kohler, Nashville Record Pressing

Each Tiny Vinyl holds one song per side, with up to 4 minutes of music that plays at 33 RPM on most manual turntables. You don’t need any special equipment, just make sure your tonearm can reach the center of the platter and disable auto-stop features. The records are sequentially numbered with “TV numbers” printed on both the packaging and the vinyl itself, making each pressing a verifiable, limited-edition collectible.

Of course, the sustainability angle sets Tiny Vinyl apart from traditional pressing methods. Each record uses 100% bio-attributed vinyl made from renewable plant materials instead of fossil fuels. The process creates vinyl that’s chemically identical to traditional records, so you get the same sound quality and tactile experience, but with a significantly reduced carbon footprint during production.

The size difference makes a dramatic impact on environmental costs. At just 15g per record compared to 140g for a standard LP, Tiny Vinyl uses a fraction of the materials while also reducing shipping weight and storage requirements. You can fit dozens of these records in the space that would normally hold a handful of full-size albums, making them perfect for collectors with limited space.

That said, the real appeal lies in how these tiny records change the entire collecting experience. You can easily carry one in your pocket to a concert, display them on your desk at work, or give them as affordable gifts to fellow music lovers. For artists and labels, Tiny Vinyl offers a fresh way to release singles, special tracks, or limited editions that still count toward RIAA certifications and Billboard charts.

The format has already attracted major artists like Black Sabbath and Chappell Roan, with releases available at retailers like Target. You’ll notice how the customizable packaging and vinyl colors turn each release into a unique artistic canvas, making the physical object as important as the music itself.

Tiny Vinyl taps into something fundamental about how we connect with music in the digital age. These little records offer collectors and artists a fresh way to experience physical music without the traditional barriers of cost, space, or environmental guilt. You might find yourself reaching for these tiny treasures more often than their full-sized counterparts, discovering that sometimes the smallest formats create the biggest smiles.

The post Tiny Vinyl Crams Big Sound and Sustainability in a 4-Inch Collectible Record first appeared on Yanko Design.

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Starmork Knocks Off Wyrmwood’s Gaming Table Designs

This is a tricky one to write about.

Wyrmwood Gaming is a company whose designs I admired. The Massachusetts-based company designs and builds innovative gaming tables, which transforms from dining table to gaming configurations laden with modular accessories. The company launched over 20 successful Kickstarter campaigns for their products, landing millions in funding.

In 2023, io9 released an investigative report on Wyrmwood, containing allegations of a sexual assualt cover-up and malfeasances ranging from misogyny to dangerous working conditions. No charges were filed, but an online backlash ensued.

Today the company still exists, selling gaming tables that start around $2,800; larger models with exotic woods can approach $8,000. However, while they’ve managed to weather their scandals, a Kickstarter from an overseas competitor provides a larger existential threat.

A startup called Starmork has copied key features of Wyrmwood’s designs. Starmork’s Multi-Mission Game Table boasts the same accessory rail and modular attachments, and adds LED lighting and power outlets.

Here’s the kicker: Starmork’s table is being offered on Kickstarter for as low as $300. It’s practically 90% less than Wyrmwood’s entry-level design, and eager backers have propelled Starmork’s Kickstarter to five times their funding goal.

Starmork manufactures overseas (Wyrmwood employs American workers at a plant in Pennsylvania) and uses Rubberwood, a tropical hardwood common in Southeast Asia. Rubberwood is cheap to come by; the trees are grown in rubber plantations and produce latex, and when their yields grow low, the trees are felled and burned as waste. In contrast, the woods Wyrmwood uses—Cherry, Maple, Elm, Walnut, etc.—are valued and pricey.

Following io9’s report, it’s difficult to feel sorry for a company alleged to have a toxic workplace culture. That said, companies are not a monolith, and the allegations against Wyrmwood were leveled at the company brass, not the workers. If Starmork drinks Wyrmwood’s milkshake, it’s the men and women on the production line who will suffer.

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A Plate Designed Specifically for Ikea Meatballs, by Architect/Designer Gustaf Westman

Ikea has teamed up with Gustaf Westman, a Swedish architect who defected to industrial design, on an unusual line of tableware. This has yielded the holiday-themed VINTERFINT serving plate, designed specifically to serve the company’s famous meatballs:

“For so many in Sweden, there’s no Christmas without meatballs,” says Gustaf Westman. “This plate is my interpretation of that tradition. It’s a simple, fun idea designed to honor the meatball, but it works perfectly for so many other things, too.”

While it looks like it’s plastic, it’s actually made out of feldspar porcelain. (Feldspar is a mineral, and feldspar porcelain is more durable and chip-resistant than soft-paste porcelain or bone china.)

The $25 plate is part of the larger VINTERFINT line, which includes plate/bowl hybrids of various sizes and a cup and saucer set.

The line will be released in Ikea stores on October 1st and online on October 3rd.

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Portable productivity seat concept is perfect for the mobile workforce

As someone who moves around a lot from one place to another, I sometimes get tired easily and would like a place to just rest in for a bit or to work in when needed. But I also live in a city that doesn’t have a lot of resting places aside from cafes and restaurants. I’m sometimes tempted to bring along a portable chair everywhere I go but it’s also not convenient to be lugging around something heavy like that.

The OmniSeat is a fresh design concept that envisions a compact, ergonomic seat built for people who need to stay productive while traveling, commuting, or working outdoors. Created by designer Tejash Raj, the project has already attracted attention. While the prototype remains a concept rather than a market‑ready product, its innovative features suggest how future furniture could adapt to mobile work habits.

Designer Name: Tejash Raj

At its core, the OmniSeat combines a lightweight frame with integrated storage and built‑in device holders. The seat folds into a slim profile that can be slipped into a backpack or attached to a bike rack, turning any bench, train seat, or park bench into a personal workstation. The design also includes a detachable tray that can hold a laptop, tablet, or notebook, along with cable management clips to keep chargers tidy. By integrating these elements, the OmniSeat aims to reduce the friction of setting up a temporary office wherever you are.

Tejash Raj’s inspiration stems from the growing “work‑anywhere” culture accelerated by remote‑work trends. The designer observed that many commuters struggle with cramped spaces, unstable surfaces, and tangled accessories when trying to answer emails or join video calls on the move. The OmniSeat addresses these pain points by offering a stable, comfortable platform that also protects devices from spills and bumps. The visual presentation highlights sleek, minimal lines and a neutral color palette that would blend into both urban and natural settings.

Although the OmniSeat is still a prototype, the project’s reception hints at broader interest in adaptable work furniture. The concept also aligns with sustainability goals; its modular components can be replaced individually, extending the product’s lifespan and reducing waste. Potential users range from digital nomads and freelancers to students and commuters who need a reliable spot to focus. Imagine waiting at an airport gate, pulling out the OmniSeat, and instantly having a stable desk for a quick presentation. Or picture a cyclist who can attach the seat to the bike’s rear rack, turning a coffee break into a productive pause. By making productivity portable, the OmniSeat could help people reclaim time that is often lost to uncomfortable or improvised work setups.

The post Portable productivity seat concept is perfect for the mobile workforce first appeared on Yanko Design.

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Best of Techtember: 10 Game-Changing Designs That Defined September 2025

September 2025 will be remembered as the month technology finally caught up with our crazy dreams. Companies across every category seemed to collectively decide that incremental updates were no longer enough. From phones thinner than physics should allow to robots that actually climb stairs, each launch pushed boundaries we didn’t even know existed. The timing wasn’t coincidental; this felt like a coordinated assault on mediocrity.

What makes these September 2025 releases special isn’t just their individual brilliance, but how they collectively redefined what’s possible. Every product tackled a fundamental compromise that we’d accepted as unchangeable law. Whether solving ergonomic puzzles that plagued entire categories or introducing interaction methods that feel genuinely futuristic, these ten designs prove innovation isn’t slowing down – it’s accelerating into territories that seemed impossible just months ago.

1. iPhone Air – When Physics Meets Artistry

Apple’s iPhone Air makes every other smartphone feel clunky the moment you pick it up. At 5.6mm thick, it defies everything we thought we knew about what’s possible when cramming flagship performance into impossibly thin dimensions. The Grade 5 spacecraft titanium frame isn’t just marketing speak – this is the same material that survives atmospheric reentry, now precision-machined into something that weighs less than most phone cases. Ceramic Shield 2 protection extends to both front and back glass for the first time, creating durability that matches the premium materials throughout.

The internal engineering borders on miraculous, with Apple’s team precision-milling cavities from both sides of the titanium frame to create space for components without adding thickness. High-density battery cells fill every remaining cubic millimeter, somehow delivering all-day power despite the razor-thin profile that should make extended battery life impossible. The 6.5-inch display achieves Pro-level brightness and color accuracy while weighing practically nothing. When closed, it disappears in your pocket so completely you’ll instinctively pat down to make sure it’s still there.

What we like

• The titanium construction creates an impossibly premium feel that makes every other phone seem heavy and outdated by comparison.

• Apple’s precision milling from both frame sides achieves internal space efficiency that shouldn’t be physically possible at this thickness.

What we dislike

• The mirrored titanium finish attracts fingerprints and smudges that require constant cleaning to maintain the pristine appearance.

• Battery replacement will demand specialized tools and expertise due to the incredibly tight internal packaging that leaves no room for error.

2. Dreame Cyber X – The Stair-Conquering Revolution

Most robot vacuums treat stairs like kryptonite, creating invisible barriers that divide your home into separate cleaning zones. Dreame’s Cyber X laughs at this limitation with its QuadTrack system that turns tank-like treads into genuine stair-climbing capability. Watching it grip each step and methodically ascend feels like witnessing something from a sci-fi movie, especially when the 3D vision sensors map upcoming obstacles and plan safe routes around furniture legs or irregular steps. The engineering confidence required to let a robot literally climb stairs shows remarkable faith in its mechanical systems.

The modular two-piece design reveals brilliant thinking about competing engineering demands. Instead of compromising both stair climbing and floor cleaning in a single overloaded unit, Dreame separated functions – the actual vacuum docks inside a specialized carrier that handles all the climbing mechanics. This means your floor cleaning performance stays optimal while the climbing system gets dedicated engineering attention. The base unit maintains all the suction power and navigation smarts you’d expect, while the carrier handles the complex mechanical ballet of stair traversal.

What we like

• The modular approach ensures floor cleaning performance doesn’t suffer from compromises needed for the stair-climbing functionality.

• Tank-style tracks provide genuine stability and grip on stairs rather than risky suction-based systems that could catastrophically fail.

What we dislike

• The two-part system requires double the storage space and creates a more complex charging setup compared to traditional single-unit robots.

• Maintenance complexity increases significantly with two separate mechanical systems that need regular cleaning and potential repairs.

3. Lenovo ThinkBook VertiFlex – Portrait Mode Finally Makes Sense

Every laptop forces you into landscape orientation even when your work desperately needs vertical space. Reading documents means endless scrolling, while coding in cramped horizontal windows feels like programming through a letterbox slot. The VertiFlex concept finally solves this ancient frustration with a 14-inch display that rotates seamlessly between orientations based on what you’re actually doing. The mechanical precision feels reassuring rather than fragile, with smooth rotation that locks securely in both positions. Software detection automatically adjusts layouts, though manual control lets you override when needed.

The display technology itself impresses beyond the rotation gimmick, maintaining perfect brightness, color accuracy, and touch responsiveness regardless of orientation. Intel’s Core Ultra 7 processors with integrated Arc graphics provide enough power for serious creative work, while the dedicated NPU handles AI acceleration without breaking stride. Despite the complex rotating mechanism, the overall thickness remains surprisingly reasonable for a laptop that essentially packs two different form factors into one device. The viewing angle optimization works differently for each orientation – perfect for document reading vertically and media consumption horizontally.

What we like

• Instant orientation switching eliminates the constant scrolling frustration when reading documents or viewing code in traditional landscape laptops.

• The mechanical rotation system feels solid and precise rather than delicate, despite the complex internal engineering required.

What we dislike

• The rotating mechanism adds unavoidable thickness compared to traditional laptops, even though portability remains impressive.

• Long-term reliability questions arise from mechanical systems experiencing frequent rotation cycles during daily use over the years.

4. AirPods Pro 3 – Audio Perfection Redefined

The moment you slide AirPods Pro 3 into your ears, everything about the previous generation feels primitive. Apple completely reimagined the internal architecture while redesigning the external ear tip geometry for stability that stays comfortable during hours of listening. The pre-installed tips create that perfect acoustic seal immediately – no more cycling through sizes hoping something works properly. Five different tip options, including an XXS size, mean virtually everyone finds their ideal fit without the pressure points that made earlier generations uncomfortable.

Active noise cancellation reaches almost supernatural levels, delivering twice the effectiveness of AirPods Pro 2 while quadrupling noise removal compared to the original Pro generation. Apple’s demo environments proved this isn’t marketing hyperbole – restaurant chatter vanishes completely, airplane drone disappears entirely, and office HVAC systems become silent background elements. The H2 chip handles this processing intensity without destroying battery life, maintaining the all-day performance that makes them genuinely practical for extended use. The leap in noise cancellation effectiveness feels like jumping generations ahead rather than a typical annual update.

What we like

• The redesigned ear tip geometry creates comfortable, secure sealing that eliminates pressure points during extended listening sessions.

• Noise cancellation improvement is genuinely massive, making them effective in challenging environments like busy restaurants or airplane cabins.

What we dislike

• Five different ear tip sizes create decision paralysis when trying to determine optimal fit compared to the simpler three-size system.

• The dramatically improved noise cancellation can feel too isolating when you need environmental awareness for safety reasons.

5. Apple Watch Ultra 3 – Display Technology Breakthrough

Apple Watch Ultra 3 pushes display technology into a territory that seemed impossible for wrist-worn devices. The largest screen ever fitted to an Apple Watch uses advanced wide-angle OLED and LTPO3 technology that remains readable from extreme angles – crucial when checking pace during runs or reading depth measurements while diving. Apple achieved the larger display by shrinking bezels without changing case dimensions, maximizing usable screen space while maintaining the rugged construction that Ultra users demand from extreme environments and demanding outdoor activities.

LTPO3 technology allows much higher refresh rates in always-on mode without destroying battery life, enabling real-time seconds display on watch faces that previously drained power too quickly. The revamped Workout app becomes genuinely faster for customizing training views and accessing personalized feedback during sessions. Workout Buddy represents Apple Intelligence at its most practical – a generative AI voice that provides personalized motivation based on your actual performance patterns rather than generic cheerleading. The coaching feels genuinely helpful rather than annoying because it learns from your specific training data and goals.

What we like

• The larger display fits significantly more information without making the already substantial Ultra unwieldy on most wrists.

• AI-powered Workout Buddy delivers genuinely personalized coaching that adapts to your performance patterns rather than generic motivational phrases.

What we dislike

• The expanded display makes the already prominent Ultra even more noticeable on smaller wrists despite unchanged case dimensions.

• AI coaching features require constant data connectivity to function properly, limiting usefulness in remote locations where Ultra watches typically excel.

6. Nothing Ear (3) – Transparency Meets Walkie-Talkie Innovation

Nothing has built a cult following by making technology that looks like it belongs in a design museum while poking fun at Apple’s closed ecosystem approach. The Ear (3) continues that transparent aesthetic tradition but adds recycled metal accents and refined ergonomics that eliminate pressure points during extended listening. At $179, the price creeps upward, but you’re getting 12mm drivers that deliver genuinely punchy bass, Bluetooth 5.4 with reliable multipoint connectivity, LDAC support for high-quality audio, and adaptive ANC that actually works in real-world environments rather than just marketing demonstrations.

The Super Mic feature transforms the case from simple storage into an actual functional tool. Press the Talk button and suddenly you’re speaking directly into the case itself, bypassing the earbuds entirely for voice calls and recordings. Nothing claims their dual-mic system cuts up to 95dB of background noise, making it genuinely useful in challenging environments like subway platforms or crowded cafes. The case becomes your personal microphone stand, creating voice clarity that cuts through ambient chaos while offering voice note recording with automatic transcription on compatible devices.

What we like

• The Super Mic concept turns the storage case into a genuinely useful tool that provides exceptional voice clarity in noisy environments.

• The transparent design remains visually striking while improved comfort makes them suitable for extended listening without fatigue.

What we dislike

• The walkie-talkie functionality feels more like a novelty feature than essential functionality that justifies the added complexity.

• Higher pricing puts them in direct competition with established brands offering superior overall audio quality at similar price points.

7. Meta Ray-Ban Display Glasses – Augmented Reality Done Right

Meta’s latest Ray-Ban collaboration finally adds the visual component that makes smart glasses genuinely useful rather than just fashionable tech accessories. The full-color monocular display in the right lens creates a heads-up interface that provides information without completely blocking your vision like traditional VR headsets. The 120-degree field of view delivers 600×600 resolution at 42 pixels per degree, remaining sharp and readable across various lighting conditions from bright sunlight to dimly lit indoor environments that challenge most display technologies.

The embedded 12MP camera with 3x zoom levels makes preview and capture genuinely convenient without reaching for your phone constantly. Meta bumped refresh rates to 90Hz for media content and 30Hz for scrolling, creating smooth visual experiences that don’t feel laggy or choppy. AI processing happens on-device rather than requiring constant cloud connectivity, enabling real-time object identification, live text translation, and contextual information about your surroundings while maintaining privacy through local processing. The classic Ray-Ban styling means they look like normal glasses rather than obviously technological devices.

What we like

• The monocular display provides genuinely useful information without completely blocking vision like traditional VR headsets that isolate users.

• Classic Ray-Ban styling makes them look like normal eyewear rather than obviously technological devices that draw unwanted attention.

What we dislike

• The single-eye display creates a visual imbalance that can cause eye strain and discomfort during extended use sessions.

• Battery life remains insufficient for true all-day wear, requiring frequent charging that interrupts the seamless experience Meta promises.

8. Samsung Galaxy Tab S11 Ultra – True Desktop Power, Finally Portable

Premium tablets have tortured users with false choices for years – accept smartphone-level performance for true portability or embrace laptop thickness that defeats the entire tablet concept. Samsung’s Galaxy Tab S11 Ultra obliterates this compromise through engineering breakthroughs that pack genuine desktop-class performance into its thinnest tablet design ever at just 5.1mm and 1.52 pounds. The advanced thermal architecture maintains peak performance during marathon creative sessions without throttling, while Samsung DeX Extended Mode creates seamless dual-monitor workflows between tablet and external displays that actually feel productive rather than cramped.

The redesigned S Pen abandons unnecessary Bluetooth complexity, focusing entirely on creative expression through cone-shaped tip geometry that supports expanded tilt angles and hexagonal ergonomics for comfortable extended drawing sessions. The 2800×1752 display with 120Hz refresh rates makes scrolling feel effortless while maintaining color accuracy that rivals professional monitors used in creative studios. Fast charging gets you back to work quickly during brief breaks, while the premium materials create a device that feels appropriately expensive for the engineering complexity contained within such impossibly thin dimensions.

What we like

• Desktop-class performance in an impossibly thin form factor finally eliminates the traditional compromise between power and true portability.

• Samsung DeX Extended Mode creates genuinely productive dual-monitor workflows that transform tablets from consumption devices into creation tools.

What we dislike

• Premium materials and advanced engineering result in pricing approaching high-end laptop territory without including essential keyboard accessories.

• The ultra-thin profile makes it more fragile than thicker tablets despite the advanced materials used throughout the construction.

9. Lenovo Legion Go 2 – Handheld Gaming Without Traditional Compromises

Handheld gaming usually means accepting painful compromises that drain the joy from portable play sessions. Tiny screens strain your eyes, graphics look years behind your home setup, and battery life barely lasts through loading screens. The Legion Go 2 eliminates every traditional limitation with an 8.8-inch OLED display delivering colors and clarity that genuinely rival home gaming setups while running demanding games at full resolution with 144Hz smoothness. AMD’s Ryzen Z2 Extreme processor, paired with up to 32GB memor,y refuses to bottleneck anything you throw at it.

The detachable controller system solves ergonomic problems that have plagued handheld gaming since the original Game Boy era. Use it tablet-style during flights with touch controls, then separate the controllers for comfortable couch gaming at your destination without cramping your hands. The cooling system uses dual fans and vapor chamber technology typically reserved for gaming laptops, maintaining peak performance during demanding sessions without thermal throttling. Battery technology provides genuine all-day gaming rather than the few hours typical of competing devices that die during extended sessions.

What we like

• Detachable controllers provide genuine flexibility for different gaming scenarios without compromising comfort during extended play sessions.

• The cooling system actually maintains peak performance without thermal throttling that plagues most handheld gaming devices under load.

What we dislike

• The larger screen size sacrifices pocketability compared to traditional handhelds despite the significantly improved gaming experience.

• Detachable controllers create multiple components that can be lost or damaged compared to integrated handheld designs.

10. Antigravity A1 – The Invisible Drone Revolution

Aerial videography has suffered from a fundamental problem since drones became consumer products – you’re always pointing the camera in the wrong direction when the perfect shot happens. The Antigravity A1 solves this ancient frustration through 8K 360-degree capture that records everything simultaneously, using dual lenses and advanced stitching algorithms to make the drone completely invisible in final footage. At just 249 grams, it flies legally in most regions without special permits or training requirements that complicate traditional drone operations.

FreeMotion technology breaks the traditional link between flight direction and camera pointing, letting you look anywhere while flying elsewhere. Post-production becomes creative exploration rather than damage control as you reframe any shot from any angle after recording, rather than hoping you pointed correctly during the crucial moment. Advanced stabilization works omnidirectionally, eliminating traditional gimbal limitations that restrict camera movement to preset ranges. The companion app uses AI to automatically create highlight reels from your footage based on movement patterns and visual interest rather than requiring manual editing skills.

What we like

• 360-degree capture eliminates the frustration of missing perfect shots because the camera is pointed in the wrong direction during flight.

• Lightweight design keeps it legal in most areas without requiring special permits or training that complicate traditional drone operations.

What we dislike

• 360-degree recording creates massive file sizes that quickly overwhelm storage and require powerful computers for smooth editing workflows.

• Dual-lens system makes repairs more expensive if crash damage occurs to either camera module during inevitable accidents.

Setting New Standards

September 2025 established benchmarks that will influence product development for years. Each design solved problems the industry had accepted as unchangeable limitations rather than engineering challenges waiting for creative solutions. These weren’t incremental updates disguised as breakthroughs – they represented genuine leaps forward that required rethinking basic assumptions about form factors, interaction methods, and user expectations across established categories.

The concentrated innovation suggests we’re entering a phase where engineers refuse to accept traditional compromises as permanent constraints. Whether rotating laptop screens, invisible drones, or walkie-talkie earbuds, each solution demonstrates that creative problem-solving can eliminate limitations we considered immutable laws of physics and design. September 2025 will be remembered as the month technology caught up with our imaginations.

The post Best of Techtember: 10 Game-Changing Designs That Defined September 2025 first appeared on Yanko Design.

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all-terrain exoquad V2 for people with reduced mobility has customizable brake and throttle

Exotek introduces upgraded all-terrain exoquad V2

 

Exotek unveils the upgraded all-terrain Exoquad V2 for people with reduced mobility, which features customizable brake and throttle controls. The design team introduces changes to the frame, cockpit, electrical system, brakes, suspension, lights, battery pack, and tires of the four-wheeled vehicle, as well as adds new functions such as a trailer hitch, snowplow option, and software updates via smartphone app.

 

The most visible change is in the front section of the frame. The first version used a straight tube across the front, and the all-terrain Exoquad V2 replaces this with a curved design. The frame is now built with fewer welding points, which reduces weak spots and increases overall strength. The sidebars now run directly to the bottom of the frame instead of being joined with multiple smaller tubes, and the rear section also follows this continuous construction.

all images courtesy of Exotek

 

 

New designs with Extended cockpit area and colored display

 

The footrest of the all-terrain Exoquad V2 has been redesigned as one large piece, welded directly onto several points of the frame. A snowplow can be attached to the side bar of the footrest, and at the rear, the frame supports a trailer hitch to allow the vehicle to pull trailers. Both the 2WD and 4WD models come with high motor power that boosts the vehicle for towing the trailer. The cockpit area has been extended by five centimeters to accommodate taller riders (up to 2 meters in height). Despite the longer cockpit, the overall axle width and axle length are unchanged, meaning the all-terrain Exoquad V2 still fits into cars and trailers in the same way as the first model.

 

The electrical system has been fully replaced with the new version using updated motor controllers, a new wiring harness, and improved waterproofing. The display has been changed to a color screen to vividly show the battery percentage, real-time power usage, distance traveled, speed, and other riding data. Menus on the display let the rider choose what information to track. Exotek has also announced a mobile app for the all-terrain Exoquad V2, which will allow riders to update software and adjust driving modes directly from a phone.

detailed view of the four-wheeled vehicle

 

 

larger tires and reinforced sidewalls for puncture resistance

 

For the brakes, the all-terrain Exoquad V2 uses Tektro T-split brakes, which the team believes are stronger than the earlier brakes in the V1. The system includes an integrated hand brake to let the rider stop on a slope and keep the vehicle still without holding the brake levers. Both brakes can be locked in place when needed. The V1 model used air shocks. These are still offered as an option, but the V2 is delivered with coil shocks as standard, as they require less maintenance and can last longer without service.

 

The vehicle has two headlights instead of one to increase visibility for night driving. The new battery pack is supplied by Atlium, a Norwegian partner, and it can handle higher current draw and provides more power than the first version. The casing is thick and protects the cells from impact, and a new connector has been added, which makes it secure and simple to connect or disconnect during charging. The all-terrain Exoquad V2 uses larger-volume tires, and the sidewalls are reinforced, which increases puncture resistance. The tread has larger knobs for extra grip on uneven ground. Exotek’s all-terrain Exoquad V2 comes in four colors, including copper, olive green, and graphite.

Exotek unveils the upgraded all-terrain Exoquad V2 for people with reduced mobility

the design team introduces changes to the frame, cockpit, electrical system, brakes, suspension and more

the upgraded version comes with customizable brake and throttle controls

detailed view of the tires

the vehicle has two headlights to increase visibility for night driving

 

project info:

 

name: Exoquad V2

company: Exotek | @exotek_norway

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