World’s Comfiest Mouse looks legitimately ugly… but it somehow works
Nov. 8th, 2025 01:30 am![[syndicated profile]](https://www.dreamwidth.org/img/silk/identity/feed.png){kind=small}
yankodesign_feed
I remember being in the third year of design college when I was introduced to this massive book titled “Indian Anthropometric Dimensions.” For the uninitiated, this book contained practically all the dimensions of the average (and non-average) Indian person, male and female, old and young. The purpose of such a book was to understand ergonomics numerically, rather than visually. And for designers, this meant adding the ultimate constraint to our wild designs… so humans could actually use them.
This YouTuber’s take on an ergonomic mouse is the antithesis of everything I was taught. The problem is, however, it works! See, designers have to balance this ergonomic approach with actual aesthetics. That’s why ergonomic mice actually look stylish, rather than being shaped exactly like the inverse of your hand. It’s why gun grips look the way they do; why bike seats, or car seats have an abstract-ness to them, and don’t actually have your individual buttocks molded into their designs. The world’s comfiest mouse works, but at a rather painful aesthetic cost!
Designer: Play Conveyor
Play Conveyor’s design process ignites a pretty strong debate between aesthetics and comfort. The Apple Magic Mouse, for example, is a prime example of the former completely ignoring the latter… and almost every mouse (even the ergonomic ones) aim at trying to achieve a balance between the two. Play Conveyor’s experiment swings the pendulum the absolute opposite way – what if a mouse was hideous as sin, but legitimately comfortable?
The process starts fairly simply. Play Context first ripped apart a wired mouse to see what the inner components looked like. He then 3D printed a plastic chassis on which he added play dough, filling in all the negative space created by his hand. This basically turned the mouse into a direct inversion of his hand, creating something that quite literally fit like a glove. After the play dough model was made, he scanned it, refined it, and printed it. What we see here is pure anthropometrics at work – no design, no aesthetic study, nothing.
What’s interesting is how accessible the whole process has become. A decade ago, this would’ve required industrial equipment, professional 3D scanners, and a hefty budget. Now it’s an iPhone, a 3D printer that costs less than a decent laptop, and some squishy molding compound. The democratization of manufacturing tools means anyone can now ask the question: what if products were designed for me, specifically me, and nobody else? It’s selfish design in the best possible way.
The first iteration (top left) was way too sharp, with jagged edges left behind either during the molding process or the scanning process. Play Context merely softened the edges down to create something that looks like, well, the Millennium Falcon covered in goo. Cutouts was added for left and right clicks, but soon ditched for actual hinged buttons, along with a central groove for the scroll wheel.
The final result is, well, a mouse that’s too ugly to be seen in the outdoors. It’s also a mouse that uniquely ONLY fits the ergonomic grip of one user. The justification for this can be two-fold: First, just accepting that there’s no way a company would be able to mass-produce this. People have different grips, different hand sizes, and even usage frequencies. That’s why companies like Logitech or Razer make mice the way they do, blending ergonomics with a healthy dose of aesthetics to have peripherals that actually look good while functioning flawlessly. The second justification, however, is for more edge-cases. Maybe a mouse designed for someone with Parkinsons, or with a genuine handicap or special need. We’ve seen special-needs gaming controllers from Sony for the PlayStation and Microsoft for the Xbox, but they’re mass-produced too. What if we could somehow build outer bodies of gadgets to suit our anthropometric needs? As Play Context demonstrates, the process is fairly easy, requiring only a 3D printer as a specialized equipment. All you need is a fair bit of free will, determination, and play dough!
The post World’s Comfiest Mouse looks legitimately ugly… but it somehow works first appeared on Yanko Design.
Oh, Hey, Server Upgrade
Nov. 8th, 2025 01:15 amsmartbitches_feedThe server got a whole makeover and I need to test some things, including new posts.
Hi!!!
So, uh, what was for dinner? We had Korean takeout and my cat has now discovered that bulgogi is the only thing he wants to eat for the rest of his furry life. oh no..
RISD’s $100K Loop Lab Creates Art Supplies From Campus Waste
Nov. 8th, 2025 12:30 amyankodesign_feed
The Rhode Island School of Design has discovered something remarkable hiding in plain sight: their trash bins contain tomorrow’s art supplies. Through the newly launched Loop Lab initiative, what once headed to landfills now becomes raw material for the next generation of designers and artists. The Edna W. Lawrence Nature Lab spearheaded this ambitious pilot project with backing from a substantial $100,000 grant from the Maxwell/Hanrahan Foundation. The concept appears deceptively simple yet revolutionary in practice. Rather than purchasing new materials while simultaneously discarding potentially useful waste, RISD has created a closed-loop system that transforms campus refuse into studio-ready resources.
Walking through the Loop Lab reveals an almost alchemical process. Blotter paper that once absorbed spilled paint finds new life as a substrate for experimental work. Cotton muslin scraps, previously destined for disposal, emerge as carefully prepared materials ready for student projects. The transformation extends beyond mere recycling, representing a fundamental shift in how educational institutions can approach resource management. Students participate directly in this material resurrection, learning firsthand about circularity principles while solving practical design challenges. The hands-on approach ensures that sustainability becomes integral to creative education rather than an abstract concept discussed in theory classes.
Designer: Rhode Island School of Design
Each transformed material carries embedded stories about waste reduction, resourcefulness, and environmental responsibility. Recent media attention from design publication Dezeen highlights the broader implications of RISD’s approach. The coverage emphasizes how the initiative addresses what project leaders call “the lowest hanging fruit” in institutional sustainability efforts. By focusing on internal waste streams, the school creates immediate impact while developing scalable solutions for other educational institutions. The timing proves particularly significant as design schools worldwide grapple with sustainability mandates and environmental consciousness among students.
Loop Lab offers a practical framework that other institutions can adapt, creating measurable change without requiring massive infrastructure investments or complete curriculum overhauls. Material circularity research forms the theoretical backbone of the project, but practical applications drive daily operations. The lab expands understanding of how discarded matter can inform regenerative design practices, presenting students with materials that carry environmental narratives alongside creative possibilities. Each project becomes an exploration of both aesthetic potential and ecological responsibility.
The Nature Lab’s documentation through social media platforms reveals ongoing discoveries and successes. Students share their experiences working with transformed materials, creating a growing archive of circular design practices that extends the project’s influence beyond campus boundaries. Loop Lab represents more than waste reduction or cost savings. The initiative fundamentally questions traditional material sourcing while providing tangible alternatives. Students graduate with direct experience in circular design principles, carrying these approaches into professional practice where sustainable material choices increasingly influence client decisions and project outcomes.
As design education evolves to meet environmental challenges, RISD’s Loop Lab demonstrates how institutions can transform operational necessities into educational opportunities. The pilot project’s success suggests a future where campus waste streams become integral components of creative curricula, turning every scrap into a story worth telling. This innovative approach positions RISD at the forefront of sustainable design education, creating a model that combines environmental stewardship with creative excellence while preparing students for a future where circular design principles define industry standards.
The post RISD’s $100K Loop Lab Creates Art Supplies From Campus Waste first appeared on Yanko Design.
Beekeeb Toucan: The Split Ergonomic Keyboard Built for Travelers
Nov. 7th, 2025 11:30 pmyankodesign_feed
The Beekeeb Toucan asks a question that ergonomic keyboard enthusiasts have been wrestling with for years: why should comfort stay home? Split keyboards and columnar layouts have long belonged to desk-bound workers, their benefits tethered to permanent workstations and cable management systems. This 42-key wireless design challenges that assumption.
Designer: Beekeeb
Two halves sit independently, angled outward to match natural shoulder width. Keys follow a columnar stagger rather than traditional row offset. Each key positions directly beneath a finger’s natural arc of movement. These principles are well-established in ergonomic design, but the Toucan’s interpretation focuses on what most split keyboards treat as secondary: portability without compromise.
Engineering Movement Into Ergonomics
Material choices reveal priorities. An anodized aluminum top plate provides structural rigidity and premium typing surface, while 3D-printed construction sheds weight from the bottom case. This hybrid approach answers the specific demands of travel: constant packing, unpacking, shifting between surfaces that may or may not be level. The result weighs significantly less than comparable mechanical keyboards yet maintains the solid feel necessary for confident typing. Low-profile Kailh Choc V1 switches keep everything close to the desk surface, reducing wrist extension while preserving tactile feedback.
The columnar stagger deserves particular attention. Traditional keyboards offset keys horizontally because that layout accommodated typewriter mechanisms, not human anatomy. But fingers move more naturally up and down than side to side. Aligning keys in vertical columns adjusted for each finger’s length reduces lateral reaching and finger curling. Small reductions compound significantly over hours of use.
Placing a 40mm circular touchpad on the right keyboard half solves a familiar problem for anyone who has tried maintaining ergonomics while traveling. Laptop trackpads force users to center their body with the screen, pushing the keyboard into asymmetric position. External mice require desk space and introduce reaching movements that negate split layout benefits. The Toucan’s integrated trackpad keeps both hands on home position. Cursor control becomes thumb movement rather than arm extension, maintaining portability while eliminating separate pointing devices through the Cirque GlidePoint sensor’s precision tracking in a compact footprint.
This integration matters particularly for mobile work environments where desk space is limited or nonexistent. Coffee shop tables. Airplane tray tables. Hotel desks. These spaces punish conventional ergonomic setups that sprawl across multiple square feet, but the Toucan consolidates typing and pointing into two connected halves that adapt ergonomic principles to constrained real estate.
Efficiency Through Component Selection
The memory-in-pixel display on the left half exemplifies the keyboard’s efficiency-focused design. This technology, borrowed from smartwatch engineering, updates only changed pixels rather than refreshing the entire screen, dramatically reducing power consumption compared to conventional displays. Battery life can extend to 4,000 hours on a modest 1,500 mAh cell when paired with ZMK firmware. That figure is not theoretical. ZMK optimizes wireless efficiency through aggressive power management, putting the keyboard into deep sleep between keystrokes and waking instantly when needed.
The open-source nature allows users to customize power profiles, though even default settings deliver weeks or months between charges depending on usage patterns. Beyond efficiency metrics, the display serves practical ergonomic purposes: current layer information, battery status, and connectivity indicators appear without requiring users to memorize LED blink patterns or consult software. This immediate feedback reduces cognitive load and maintains workflow continuity, particularly valuable when switching between devices or adjusting layouts on the fly.
ZMK firmware provides more than power efficiency. Open-source programmability allows users to adapt the keyboard to their specific ergonomic needs rather than conforming to preset layouts. Key positions can be remapped to reduce finger stretching. Frequently used combinations consolidate to single keys. Custom layers accommodate different tasks without abandoning muscle memory. This flexibility becomes particularly valuable for users with specific ergonomic requirements. Someone with limited finger mobility can consolidate modifier keys to thumb clusters, while a user prone to repetitive strain can spread common key combinations across multiple fingers. The ability to experiment with different configurations without hardware limitations transforms the keyboard from static tool into adaptive interface.
The open-source heritage traces back through the Piantor to the Cantor design, demonstrating how community-driven development can accelerate ergonomic innovation. Each iteration addresses real-world feedback from actual users, refining dimensions, switch positions, and feature integration based on practical experience rather than marketing assumptions.
Compromises and Considerations
Split keyboards traditionally require users to choose between portability and features. Compact designs sacrifice programmability or build quality, while feature-rich options become too bulky for travel. The Toucan attempts to resolve this through modular availability options: DIY kits at $189 appeal to enthusiasts comfortable with soldering and assembly, offering the lowest entry price while maintaining complete control over switch selection and build quality. Pre-soldered options at $298 eliminate assembly complexity but still require sourcing keycaps and switches separately. Fully assembled units with switches and keycaps push toward $352, competing directly with established options like the ZSA Voyager at $365.
That pricing positions the Toucan as a considered purchase rather than impulse buy. However, the Voyager lacks wireless connectivity and integrated pointing, requiring additional purchases for equivalent functionality. The Keychron Q13 Max, while more affordable at $250, weighs substantially more and uses wired connection that limits portability. The optional carrying bag reflects practical travel considerations. Split keyboards create packing challenges with two separate pieces, exposed switches, and electronics. A purpose-designed case protects components while keeping both halves together during transit.
The Toucan does not eliminate all compromises inherent to portable ergonomics. The 42-key layout requires layers for numbers, function keys, and special characters, creating a learning curve for users accustomed to dedicated keys for every function. This cognitive overhead can temporarily reduce productivity during the transition period. The Choc V1 switch ecosystem offers fewer options than standard MX switches. While tactile, linear, and clicky variants exist, enthusiasts seeking specific force curves or exotic switch types will find selection limited. Keycap availability similarly constrains customization, with Choc spacing requiring dedicated sets that cost more and offer fewer aesthetic options than MX keycaps.
Battery procurement adds friction to the purchase process, as shipping regulations prevent Beekeeb from including batteries. Users must source compatible cells separately. While standard hobby batteries work, this extra step complicates what should be straightforward unboxing. These limitations reflect genuine constraints rather than oversights. Compact layouts inherently sacrifice dedicated keys for portability, niche switch formats will always offer less variety than dominant standards, and battery shipping restrictions affect all manufacturers equally. Understanding these trade-offs helps potential users evaluate whether the Toucan’s strengths align with their specific needs.
Portable Ergonomics as Design Goal
The fundamental proposition the Toucan advances: ergonomic benefits should not require permanent workstation installations. Coffee shop workers, digital nomads, frequent travelers, and anyone who splits time between multiple locations have historically chosen between comfort and mobility. Heavy split keyboards stay home. Laptop keyboards cause strain but pack easily.
By packaging columnar layout, split design, integrated pointing, and extended battery life into travel-friendly form factor, the Toucan suggests a third option. Ergonomics become portable. The setup that reduces wrist strain at a home desk can accompany users to temporary workspaces without requiring compromises in either direction.
Whether this approach succeeds depends on individual priorities. Users who value maximum key count, premium switch feel, or comprehensive keycap selection will find the Toucan’s compromises too limiting. Those who prioritize portability above all else might find even this compact design too complex compared to minimalist 40% layouts. But for workers who move between locations while maintaining significant typing demands, the Toucan addresses a genuine gap. It proposes that ergonomic design can serve movement rather than constraining it, that comfort can travel alongside laptops and cables rather than waiting at dedicated desks.
The question is not whether everyone needs this approach. It is whether enough people recognize they have been making unnecessary compromises.
The Beekeeb Toucan is available for pre-order starting at $189 for DIY kits, with shipments beginning in December. Pre-assembled options with switches and keycaps reach approximately $352.
The post Beekeeb Toucan: The Split Ergonomic Keyboard Built for Travelers first appeared on Yanko Design.
This Bridge-Shaped House Hangs Weightlessly Between Two Forested Hillsides
Nov. 7th, 2025 10:30 pmyankodesign_feed
Amid the dense, monsoon-fed vegetation of Karjat, India, The Bridge House by Wallmakers, under the direction of architect Vinu Daniel, appears as if it were woven into the landscape itself. A natural stream has carved a seven-meter-deep gorge through the terrain, splitting the land into two disconnected parcels. What could have been a limitation became the defining opportunity to create a dwelling that does not conquer the landscape but hovers above it, merging architecture with the act of crossing.
Rather than filling the void, Wallmakers chose to span it, crafting an occupiable bridge that physically and symbolically unites the site. Since no foundations could be placed within the 100-foot spillway, the design evolved into a suspended home anchored delicately by only four footings on either side of the gorge. The result is a structure that appears to levitate, a line of lightness drawn between two fragments of land.
Designer: Wallmakers
Necessity became invention. The form of The Bridge House emerged from the challenge of building across a natural divide without disturbing it. Conceived as a 100-foot-long suspension bridge, the home is composed of four hyperbolic parabolas, mathematical forms that achieve strength through geometric efficiency. Steel tendons and pipes provide tensile stability, while a thatch-and-mud composite forms the compressive shell.
This combination, simultaneously ancient and modern, generates a dialogue between tension and compression, precision and softness. The house becomes both structure and skin, taut like a bowstring yet flexible enough to adapt to the living landscape.
True to Wallmakers’ ethos of contextual minimalism, the house sits lightly upon its site. The thatched surface, arranged in overlapping scales reminiscent of a pangolin’s skin, blends seamlessly with the forest canopy. Beyond aesthetics, this cladding provides thermal insulation, maintaining cool interiors amid Karjat’s humid climate.
The decision to use only four anchoring points ensures that the gorge and its contours remain untouched. The house becomes a visitor, not an intruder, in the ecosystem it occupies.
Every material used in The Bridge House carries intention. The mud plaster coating that envelops the thatch serves as both armor and adhesive: it prevents pests from entering, enhances compressive strength, and eliminates the need for vertical pillars. In doing so, it underscores the project’s central belief that material intelligence can achieve structural innovation without technological excess.
Inside, the design continues its conversation with nature. At the core of the house lies an oculus, an open circle framing the sky. During rainfall, water filters through this void into a central courtyard, transforming the climate into a sensory event. The interplay of light, water, and air activates the interior, making the house respond to every passing hour.
The interiors are minimal yet warm, defined by reclaimed ship-deck wood, jute, and woven mesh screens that modulate light and airflow. Four bedrooms open outward, some toward the treetops, others overlooking the stream, creating a rhythmic dialogue between enclosure and exposure. The transitions are seamless: the line between “inside” and “outside” dissolves into filtered light and moving shadows.
In The Bridge House, Wallmakers once again demonstrate their mastery of building with the land, not on it. The project stands as an exploration of local materials, structural logic, and ecological sensitivity, a philosophy that defines Vinu Daniel’s work across India.
Suspended above the gorge yet rooted in its context, The Bridge House does more than connect two parcels of land. It connects technology with tactility, structure with story, and human presence with the pulse of nature. In doing so, it reimagines architecture not as a static object, but as a living, breathing bridge between worlds.
The post This Bridge-Shaped House Hangs Weightlessly Between Two Forested Hillsides first appeared on Yanko Design.
Stanley’s Pour Over Kit Might Be the Last Coffee Brewer You’ll Ever Need to Buy
Nov. 7th, 2025 09:30 pmyankodesign_feedThe brand famous for its tumblers (and how incredibly durable they are) is looking to upend the coffee industry too. Stanley’s ‘Perfect Pour Over Brew Set’ is the company’s take on pour-overs, redesigning them in a way that’s simple, robust, and reusable. The set features a pour-over top (with a metal filter) and and a Stanley cup for its base. No coffee filters, no disposable liners. Every inch of this brew set is designed for travel, durability, and sustainability.
The Perfect Pour Over Brew Set’s design feels unmistakably ‘Stanley’. The simple metal outer construction, with powder-coated color-ways. The Stanley logo front and center, and a 2-part design that’s simple yet ruthlessly effective, whether you’re brewing a cuppa in your kitchen or the great outdoors. I guess the Perfect moniker suits it, no?
Designer: Stanley
The pour-over set is capable of brewing anywhere from your standard 8oz cup, to a whopping 1.4 quart (44.8 oz) bottle. Its wide top holds enough grounds to make a large batch for an entire family or your average caffeine-addict. You don’t need anything more than what the Perfect presents you with. No scales, no fancy kettle to pour water, not even a coffee filter. The Perfect’s upper element features a 2-part design, with a lower half that unscrews to reveal a fine perforated mesh filter. This reduces waste but also ensures cleaning remains a breeze… but as far as pouring goes, all you do is load the top over your Stanley mug (it even fits the larger Stanley bottles), add the grounds, and pour hot water up until the line marked on the inside.
Once you’ve poured out the hot water, the process takes anywhere in the 5-10 minute range depending on how much coffee you’re making. A single cup doesn’t take long, and once the water’s percolated, your cup of coffee is ready to enjoy – either immediately, or on the go, thanks to a sipper lid that comes with the brew set, designed for the mug. Cleaning the upper portion out is simple. Just suspend it over a waste bin and tap vigorously against the sides to make the grounds fall out. Then, just rinse with water and your brew set is ready for round 2.
Just like their tumblers, this one is built to survive pretty much anything. Whether it’s your standard LA girlie brewing coffee in her boutique apartment’s kitchen, or the average outdoor lover taking this to the campsite for a cup of joe, the Perfect Pour Over Brew Set travels really well, and its color palette lends itself perfectly to the outdoor landscape, your tailgating setup, or even that KitchenAid mixer or Smeg fridge adding vibrant life to your kitchen!
The post Stanley’s Pour Over Kit Might Be the Last Coffee Brewer You’ll Ever Need to Buy first appeared on Yanko Design.
The Mortal Thor #2 - "Storm Warning"
Nov. 7th, 2025 02:57 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
laughing_tree posting in ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png){kind=small}
scans_daily
Emphasis on "beats", because some fascists take a beating in this one. They take a beating to the extent that you might be worried about whether this is the Thor you know. It's not! It's Sigurd Jarlson, and he's Just Some Guy. From Norway, I think? His neighbor thinks Norway's in Europe. -- Al Ewing
( Read more... )
Finally, You Can 3D-Print Real Silicone Molds and Gaskets on Your Prusa 3D Printer
Nov. 7th, 2025 08:15 pmyankodesign_feedAnyone who’s worked with flexible 3D printing filaments knows their limitations; TPU and TPE only go so far, and nothing on the desktop market has matched the heat resistance and elasticity of real silicone. We’ve been stuck making parts that feel rubbery but fail the moment they get too warm or need to seal properly. That’s all changed with the arrival of Prusa’s new XL printhead, developed in collaboration with Filament2. This toolhead uses a pioneering dual-filament system to produce actual, industrial-grade silicone prints, a feat that moves desktop printing into a whole new category of material science.
Instead of extruding a simple thermoplastic, this system feeds two liquid-core filaments into the nozzle, where their outer sheaths are stripped away. The liquid silicone components are then mixed and cured in real time as they are deposited. This is not some rubber-like substitute; it is genuine silicone with all its useful properties, created right on the print bed of a standard Prusa XL. The elegance of containing the entire two-part mixing process within a clean, self-contained filament and toolhead system is a massive engineering win, solving the mess and complexity that has kept liquid printing out of reach for most people until now.
Designer: Prusa
This method completely sidesteps the need for the clumsy pumps and reservoirs seen in previous experimental liquid printers. The genius is in the filament itself. By encasing the two liquid parts in a stable sheath, Filament2 has created something that handles just like a standard spool of PLA. The printhead does the heavy lifting, performing a micro-scale version of what you would do with a two-part epoxy, but with incredible precision. You get the benefits of a reactive polymer without the hazardous mess, which opens up a world of possibilities for creating functional, end-use parts, not just look-alike prototypes.
Think about the immediate applications for this technology. In the automotive world, the ability to print custom, one-off silicone gaskets, seals, and vibration dampeners is a game changer for restoration and prototyping. No more waiting weeks for a custom mold or settling for a close-enough part. For product designers, this means creating truly functional prototypes with soft-touch grips, flexible waterproof seals, and even custom ergonomic components for wearables. Because silicone is skin-safe and can be sterilized, it also opens up possibilities for custom medical models and assistive devices. We are talking about end-use parts, not just look-alike models.
The choice to launch this on the Prusa XL platform is also incredibly clever. The XL’s main selling point is its automatic tool-changing capability, which suddenly makes it the perfect machine for true multi-material fabrication. You could print a rigid nylon housing with one toolhead, then have the printer automatically swap to the silicone head to print integrated waterproof seals and vibration-dampening feet onto the same part in a single, uninterrupted job. This elevates the machine from a multi-color printer to a genuine multi-property manufacturing station. It’s a level of automation and material integration that was previously reserved for machines costing tens of thousands of dollars.
Now, it’s important to keep expectations grounded. This will not be as simple or cheap as printing with standard PLA. The specialized filament from Filament2 will undoubtedly carry a premium price, and I anticipate a learning curve. The process requires incredible precision; any imbalance in the mixing ratio or inconsistency in the liquid cores could lead to failed prints where the silicone doesn’t cure properly. We still need to see long-term reliability data and learn about the maintenance requirements for a printhead that handles what are essentially reactive adhesives. Still, even as a niche application, it pushes the entire industry forward by showing what’s possible when you rethink the entire printing process, from the filament spool to the nozzle tip.
The post Finally, You Can 3D-Print Real Silicone Molds and Gaskets on Your Prusa 3D Printer first appeared on Yanko Design.
very odd
Nov. 7th, 2025 02:36 pmtwistedchickYesterday I was coming home from Laurel along Rt. 29 -- what you need to know is that I was moving toward the southwest -- and the sky was very clear but looked ... odd.
When I looked up at it, I could see five white slashes in the sky, what looked like contrails from jets -- but they didn't budge, and there were no planes on the front of them to make the slashes longer. The slashes curved downward, not what you expect with an airplane trail. The longest one was closer to me, and they got smaller moving away.
All perfectly parallel, all curving downward. All unmoving. They looked like claw marks on the sky from an enormous bear.
Those were on the left. On the right, a regular contrail indicated a plane heading toward one of the local airports, probably Dulles. I could see that trail growing longer, while the others didn't move.
After I got home, I checked the 'net to see if something up above the atmosphere had broken, like a satellite, and was falling down, but didn't find anything.
It was still so weird.
And this was on my mother's birthday. She would have been 111 this year if she were still alive. I miss her every day, though as I get older I get a longer view of her life, seeing how one thing and another influenced her, and how she managed.
But still. Bear claws.
When I looked up at it, I could see five white slashes in the sky, what looked like contrails from jets -- but they didn't budge, and there were no planes on the front of them to make the slashes longer. The slashes curved downward, not what you expect with an airplane trail. The longest one was closer to me, and they got smaller moving away.
All perfectly parallel, all curving downward. All unmoving. They looked like claw marks on the sky from an enormous bear.
Those were on the left. On the right, a regular contrail indicated a plane heading toward one of the local airports, probably Dulles. I could see that trail growing longer, while the others didn't move.
After I got home, I checked the 'net to see if something up above the atmosphere had broken, like a satellite, and was falling down, but didn't find anything.
It was still so weird.
And this was on my mother's birthday. She would have been 111 this year if she were still alive. I miss her every day, though as I get older I get a longer view of her life, seeing how one thing and another influenced her, and how she managed.
But still. Bear claws.
Late but still trying.
Nov. 7th, 2025 02:29 pmtwistedchickThis is a prayer for Samhain; this is a prayer for Resistance.
This is the cry that rends the Veils; this is a prayer for Resistance.
Samhain is a dark festival, the feast of the dead, a crone’s picnic. Samhain is a Sabbat of Resistance.
The bones beneath the Earth cry out, and, more than that, the colonizers fear that they will. The hungry crowd the dumb supper table and, more than that, the greedy fear that they will. The chains of slaves clank in the graveyard and, more than that, the slavers fear that they will.
This is the cry that rends the veils; this is a prayer for Resistance.
Samhain is a dark festival, the feast of the dead, a crone’s picnic. Samhain is a Sabbat of Resistance.
The ancestors throb in our blood and the merchants of Lethe try to distract. Our raped grandmothers drag ragged nails across their cheeks and the armies wish that they wouldn’t. Under the earth, dead children scream for their fathers and Wall Street distracts us with sex and beer.
This is a prayer for Samhain; this is a prayer for Resistance.
This is the cry that rends the Veils; this is a prayer for Resistance.
Samhain is a dark festival, the feast of the dead, a crone’s picnic. Samhain is a Sabbat of Resistance.
Owls hoot in the darkness and the guilty fear that wisdom. Bats flap against a dark Moon sky and the predators quiver in fear. The innocent of Salem jerk at the end of the rope and the church collects the money.
This is a prayer for Samhain; this is a prayer for Resistance.
This is the cry that rends the Veils; this is a prayer for Resistance.
Samhain is a dark festival, the feast of the dead, a crone’s picnic. Samhain is a Sabbat of Resistance.
Samhain is how our ancestors paid for the right to be part of the cycle. Samhain is how they remembered the mighty dead, the miscarried child, the beloved ancestors. Samhain is how they built a bridge to the Isle of Apples, how they ate both the flower and the seed, how they saw a Spring at the end of Winter. May we have their courage.
Samhain is a dark festival, the feast of the dead, a crone’s picnic. Samhain is a Sabbat of Resistance.
This is a prayer for Samhain; this is a prayer for Resistance.
This is the cry that rends the Veils; this is a prayer for Resistance.
The cells of our bodies are a prayer for Resistance.
This is a prayer for Samhain; this is a prayer for Resistance.
This is the cry that rends the Veils; this is a prayer for Resistance.
Samhain is a dark festival, the feast of the dead, a crone’s picnic. Samhain is a Sabbat of Resistance.
May it be so for you.
-- by Hecate Demeter
This is the cry that rends the Veils; this is a prayer for Resistance.
Samhain is a dark festival, the feast of the dead, a crone’s picnic. Samhain is a Sabbat of Resistance.
The bones beneath the Earth cry out, and, more than that, the colonizers fear that they will. The hungry crowd the dumb supper table and, more than that, the greedy fear that they will. The chains of slaves clank in the graveyard and, more than that, the slavers fear that they will.
This is the cry that rends the veils; this is a prayer for Resistance.
Samhain is a dark festival, the feast of the dead, a crone’s picnic. Samhain is a Sabbat of Resistance.
The ancestors throb in our blood and the merchants of Lethe try to distract. Our raped grandmothers drag ragged nails across their cheeks and the armies wish that they wouldn’t. Under the earth, dead children scream for their fathers and Wall Street distracts us with sex and beer.
This is a prayer for Samhain; this is a prayer for Resistance.
This is the cry that rends the Veils; this is a prayer for Resistance.
Samhain is a dark festival, the feast of the dead, a crone’s picnic. Samhain is a Sabbat of Resistance.
Owls hoot in the darkness and the guilty fear that wisdom. Bats flap against a dark Moon sky and the predators quiver in fear. The innocent of Salem jerk at the end of the rope and the church collects the money.
This is a prayer for Samhain; this is a prayer for Resistance.
This is the cry that rends the Veils; this is a prayer for Resistance.
Samhain is a dark festival, the feast of the dead, a crone’s picnic. Samhain is a Sabbat of Resistance.
Samhain is how our ancestors paid for the right to be part of the cycle. Samhain is how they remembered the mighty dead, the miscarried child, the beloved ancestors. Samhain is how they built a bridge to the Isle of Apples, how they ate both the flower and the seed, how they saw a Spring at the end of Winter. May we have their courage.
Samhain is a dark festival, the feast of the dead, a crone’s picnic. Samhain is a Sabbat of Resistance.
This is a prayer for Samhain; this is a prayer for Resistance.
This is the cry that rends the Veils; this is a prayer for Resistance.
The cells of our bodies are a prayer for Resistance.
This is a prayer for Samhain; this is a prayer for Resistance.
This is the cry that rends the Veils; this is a prayer for Resistance.
Samhain is a dark festival, the feast of the dead, a crone’s picnic. Samhain is a Sabbat of Resistance.
May it be so for you.
-- by Hecate Demeter
Hongqi HS6 PHEV: Where Art Meets Engineering in China’s Record-Breaking Luxury SUV
Nov. 7th, 2025 06:20 pmyankodesign_feed
FAW’s Hongqi brand just proved that plug-in hybrid SUVs can go the distance. The Hongqi HS6 PHEV set a Guinness World Record by traveling 2,327.343 kilometers on a single full charge and fuel tank without refueling, departing from Shangri-La on October 30 and arriving in Guangzhou on November 3. The achievement surpassed previous record holders including Chery’s Fulwin T10, establishing new benchmarks for plug-in hybrid range capability. But beyond the impressive range figures, this 5-seater SUV makes its strongest statement through two areas where Chinese automakers are increasingly competing with global luxury brands: exterior design presence and interior craftsmanship.
Designer: Hongqi
A Grille Designed by Rolls-Royce Royalty
The Hongqi HS6 PHEV’s front fascia bears the unmistakable signature of Giles Taylor, the former Rolls-Royce chief designer who now leads Hongqi’s design direction. The closed grille reinterprets traditional Chinese design language through the lens of British ultraluxury aesthetics, featuring a waterfall design with 12 vertical chrome strips that create a sculptured, three-dimensional effect rather than the flat appearance common in many electric and hybrid vehicles. Each strip catches light differently as you move around the vehicle, creating visual depth that changes with viewing angle and ambient lighting conditions.
The vertical chrome elements flow from top to bottom in a cascading pattern, clearly echoing the iconic Rolls-Royce grille treatment, with Hongqi’s signature red brand logo anchoring the composition. This approach solves a design challenge facing many plug-in hybrid and electric vehicles: how to maintain brand identity and visual presence when traditional grilles are no longer needed for cooling. Rather than simply blanking off the grille area or adding fake vents, Taylor and the Hongqi design team have created a distinctive design element that serves as both brand signature and sculptural statement.
The HS6 PHEV measures 4,995mm in length, 1,960mm in width, and 1,760mm in height, with a 2,920mm wheelbase. These dimensions place it firmly in the mid-size luxury SUV segment, competing with vehicles like the BMW X5, Mercedes-Benz GLE, Toyota Highlander Hybrid, and Lexus RX Hybrid in terms of physical presence and market positioning.
Interior: Where Functionality Meets Premium Comfort
Step inside the HS6 PHEV and you encounter a layered dashboard design that prioritizes both technology integration and visual sophistication. The design team created distinct horizontal layers that separate different functional zones while maintaining cohesive aesthetics. An integrated dual-screen setup spans the upper dashboard section, consisting of a central control screen and a dedicated co-pilot entertainment screen. This is complemented by a digital instrument cluster behind the three-spoke multi-function steering wheel.
Physical buttons have been nearly eliminated in favor of digital controls, a hallmark of modern Chinese luxury design that maximizes clean surfaces and reduces visual clutter. The transmission selector is mounted on the steering column, freeing up valuable center console real estate for practical features like 50W wireless charging for mobile phones, dual cupholders, and access to an onboard refrigerator. A 12-speaker audio system is distributed throughout the cabin for balanced sound delivery across all seating positions.
The Zero-Gravity Front Passenger Experience
The standout interior feature is the zero-gravity co-pilot seat, which goes beyond the typical power adjustment and heating functions found in this segment. While all seats in the HS6 PHEV support electric adjustment, ventilation, and heating functions, the front passenger seat adds an integrated legrest and a 10-point massage system. This level of front passenger pampering is more commonly found in luxury sedans than SUVs, positioning the HS6 PHEV as a vehicle designed for both drivers and passengers who value comfort on longer journeys.
The rear seats also feature electric adjustment, ventilation, and heating capabilities, ensuring premium comfort extends throughout the cabin. The standard trunk offers 503 liters of capacity, with an additional 49 liters of hidden storage space. Folding the rear seats expands total cargo volume to 1,977 liters.
Performance and Range: The Record-Breaking Formula
Power comes from a 1.5-liter turbocharged engine producing 110 kW (148 hp) and 225 Nm of peak torque, with a thermal efficiency of 45.21%. Consumers can choose between two-wheel and four-wheel drive configurations, both with a top speed of 205 km/h. Combined system power outputs are 168 kW (225 hp) for the two-wheel drive version and 369 kW (495 hp) for the four-wheel drive variant.
Battery options include 23.9 kWh and 39.5 kWh lithium iron phosphate packs, offering CLTC pure electric ranges of 152 km, 250 km, and 235 km depending on configuration. The hybrid design combines electric efficiency for daily commuting with fuel flexibility for longer journeys, particularly valuable in markets like China where charging infrastructure varies significantly by region. Comprehensive ranges reach 1,580 km, 1,650 km, and 1,460 km according to Chinese news outlet Sohu. Curb weight varies from 2,040 kg to 2,285 kg depending on battery and drivetrain configuration.
Global Ambitions
Pre-sale is scheduled to begin November 15 in China, but Hongqi’s ambitions extend well beyond the domestic market. The brand is planning international expansion into Europe and the Middle East, positioning the HS6 PHEV as evidence that Chinese automakers can compete in premium segments where design execution, luxury features, and engineering credibility matter as much as specifications.
The HS6 PHEV represents Hongqi’s strategy of combining record-breaking engineering capability with design leadership from one of the luxury automotive world’s most respected figures. Giles Taylor’s influence is evident throughout the vehicle, from the Rolls-Royce-inspired grille to the sophisticated interior execution. The sculptured grille and premium interior features position the vehicle as a credible alternative to established luxury SUVs, with the added benefit of plug-in hybrid efficiency and impressive total range.
For buyers seeking a luxury SUV that doesn’t compromise on either electric driving capability or long-distance flexibility, the HS6 PHEV’s Guinness World Record provides tangible proof of its engineering credentials, while the design details demonstrate that Chinese automakers are increasingly competitive in the premium segments where aesthetic execution matters as much as performance numbers.
The post Hongqi HS6 PHEV: Where Art Meets Engineering in China’s Record-Breaking Luxury SUV first appeared on Yanko Design.
The Invisible Kitchen Revolution: IGT Phantom Stove
Nov. 7th, 2025 05:20 pmyankodesign_feed
You know that moment when technology becomes so intuitive it practically disappears? That’s exactly what Shenzhen Juyouhang Technology Co. just pulled off with their IGT Phantom Stove, a MUSE Design Award winner that’s making waves in the outdoor cooking scene for all the right reasons.
At first glance, the name “Phantom” might sound a bit dramatic for a camping stove. But spend a minute looking at this design, and you’ll get it. This isn’t your clunky, utilitarian camping gear that screams “I’m roughing it in the wilderness.” Instead, it’s a sleek piece of equipment that bridges the gap between serious outdoor functionality and the kind of minimalist aesthetic we’ve come to expect from our favorite tech gadgets.
Designer: Shenzhen Juyouhang Technology
The IGT system, for those not already deep into the camping world, stands for Iron Grill Table, a modular camping kitchen concept that originated in Japan. Think of it like LEGO blocks for your outdoor cooking setup. Different components slot into a unified system, letting you customize your camp kitchen however you want. The Phantom Stove takes this concept and refines it with a sophistication that feels more Apple Store than sporting goods aisle.
What makes this stove particularly clever is how it manages to be simultaneously present and absent. When you need it, it’s there, ready to boil water or cook a gourmet camp meal. When you don’t, its foldable design and clean lines mean it practically melts into your setup. There’s no visual clutter, no awkward bulk taking up precious space in your gear collection or on your camp table.
The design philosophy here speaks to a broader shift happening in outdoor equipment. We’re moving past the era when camping gear had to look rugged and intimidating to be taken seriously. Today’s outdoor enthusiasts want products that perform brilliantly but also respect their aesthetic sensibilities. They’re taking Instagram-worthy photos of their campsites, hosting friends for glamping weekends, and expecting their gear to look as good as it functions.
Shenzhen Juyouhang Technology clearly understands this market evolution. The Phantom Stove’s stainless steel construction suggests durability without sacrificing elegance. Its compatibility with the IGT system means it plays well with others, fitting seamlessly into existing setups rather than demanding you rebuild your entire camp kitchen around it. This kind of thoughtful integration is what separates good design from great design.
The portability factor can’t be overstated either. Modern campers are increasingly mobile, whether they’re van-lifers constantly on the move, backpackers counting every ounce, or weekend warriors who want setup and breakdown to be as painless as possible. A stove that folds down without complicated mechanisms or fragile parts is worth its weight in gold. Or in this case, stainless steel.
There’s also something refreshing about seeing Chinese design firms like Shenzhen Juyouhang Technology getting recognition on the international stage. The MUSE Design Awards spotlight excellence from around the globe, and this win reflects how innovation in outdoor equipment is truly becoming a worldwide conversation. Great ideas can come from anywhere, and the camping community benefits when designers from different cultures and perspectives bring their unique approaches to solving common challenges.
What’s particularly exciting about products like the Phantom Stove is how they lower the barrier to entry for people curious about outdoor cooking. When gear looks approachable and fits naturally into your life rather than requiring a complete lifestyle overhaul, more people are willing to give it a try. You don’t need to be a hardcore backpacker to appreciate clean design and smart functionality.
The recognition from MUSE Design Awards validates what many outdoor enthusiasts already know: the gear we use matters, not just for performance but for the entire experience. When your equipment is well-designed, intuitive, and beautiful, it enhances every moment of your adventure. You’re not fighting with finicky mechanisms or tolerating eyesores. You’re just cooking, enjoying nature, and living well.
The IGT Phantom Stove represents where outdoor design is heading: smarter, sleeker, and more integrated into our lives. It’s proof that we don’t have to choose between function and form, between serious performance and sophisticated aesthetics. We can have both, and honestly, we should demand both.
The post The Invisible Kitchen Revolution: IGT Phantom Stove first appeared on Yanko Design.
Bury me in stardust
Nov. 7th, 2025 04:07 pmshadowhiveSo this is gonna be one of those posts about a bunch of stuff.
First off, good news. So about three weeks ago there was an issue when I went to see Tron Ares/Zoopcalypse, with ticket inspectors being assholes. Short version: the ticket machine wasn’t working and instead of helping people they were being assholes, including not believing people and slapping them with penalty fares. Well it took a few attempts, including having to quote the penalty dar act back to them, but the thing got withdrawn so that’s a stress gone. Also I heard back from the train company when I complained and they also admitted that they were in the wrong and would be reprimanded. So woo!
On Wednesday night I decided to get back to the Doctor Who run, with Planet Of Evil. The ep itself was ok. Like I watched and it was a decent enough story but it’s not one that exactly lingers you know? Also the name is a total misnomer cause the planet isn’t evil.
While the story didn’t feel special the same can’t be said about the sets. The spaceship has a nice model and interiors were nice. But the standout was the jungle of the planet which looks fantastic. The designers did such an incredible job (and even the bbc at the time acknowledged it, the behind the scenes mentions it was included inan in house film about goood design) and it really manages to be such a strange and alien landscape.
Yesterday was the trip out to Telford, which was a place I’d not been to before. It meant an early stuff which is annoying (especially after having one for the prior day) but we got there in good time. (And it was so beautiful seeing all the trees on the way in oranges and yellows) The place overall was… it was fine, but the stores just felt so much smaller than I expected, especially the hmv.
Primark didn’t have the hellfire jacket I wanted (which wasn’t a surprise it seems only bigger stores do) but I got a lil coin purse and a Hellfire tee. The tee is a new design and I can’t help but wonder if that’s significant. (I can’t imagine Dustin changing the design, so I feel it has to mean something? But what I dunno) But cause they didn’t have the jacket mum fixated on it, like making me wanna decide what to do about it. (She kept asking, ‘what’re you gonna do? Are you gonna order it? Are you going to ask your cousin to look for it?’ And I’m like ??? I can’t do any of those things now why can’t you wait till we’re home)
We went in a few places after that. Game didn’t have much, m and s had the new party food so I looked at it but it felt really expensive. (Ie they have mini tacos this year and they’re over twice the price that they were in sainsburys). Then in Pandora they had the Stranger Things charms so I could finally see them (I’ve wanted to see them for about a year but this is the first store that’s had them) and I got the one I always liked. I dunno if mums putting it up for Christmas or if I’m giving the money for it next week.
Then when we got to entertainer and b and m mum just got more agitated about the time so we didn’t do much in either. I got the stranger things tin and glass from b and m though which is nice and I saw the cute new Steve plushie in the entertainer, though I wish I’d picked him up.
HMV was really small and didn’t have stuff I was looking for. I did get two CDs from the 2 for £16, DJO and Twenty One Pilots (mostly to see what the fuss is about with the latter, I do wonder if I should’ve checked for Biffy’s new album instead. As I went to the till I also picked up a Young Frankenstein blu ray which was meant to have 20% (though when I checked the receipt email later didn’t) and an impulse purpose from ‘the discount with purchase’of chainsaw man season 1.(will I regret that? Who knows)
Then we had noms before heading home and aww Midna was so sweeet she just climbed straight into my lap the moment I sat down.
When we got back we were tired, though it seems the tiredness hit mum more. She completed zonked out half way through Art Detectives and didn’t wake for almost two hours. As a result I didn’t see Celebrity Traitors until this lunchtime. I knew there’d been some spoilers so I had avoided them yesterday… but this morning I saw one quickly and mum heard on the radio who won.
(Spoiler cut for people)
( Read more... )
Before that (and I know I’m going backwards but shh) this morning magazines came. I had hoped they’d come yesterday so I could read them in the car but oh well (not that I had reading focus anyway). I’ve not had chance to look at either, but I had a flick through of Sfx. It’s a Stranger Things one and I got a Dustin cover (other options are Will, Mike and Lucas) which is nice, plus there’s a poster, stickers and art card. Next month’s one is also Strnager Things so I’m curious if that’ll have more freebies or covers. Hopefully I’ll be able to read some of it, and the Doctor Who one, tomorrow.
(Also there’s gonna be Stranger Things coming back to Fortnite, I’m hoping for a Steve or Eddie skin. The game only has a Demogorgon, Hopper and Eleven so far)
Also this morning (and again I’m going back) I listened to the new Set It Off album, but just once before walking Naryu. It’s a strange one cause 8 of the 12 songs have already been released which is definitely an odd choice. It’s hard to judge after one full listen of the thing, I feel I definitely like some of the unreleased stuff but I don’t care much about Pathological (the opener and last single) and Ithink it’s an odd choice to have a redone version of an old song take up one slot.
It’s also the release of the new Hyrule Warriors but I’ve not got it yet. Usually I preorder Zelda stuff, but the timing has been so bad. I’m hoping to get it next week (I want it as a download but that means getting an sd card for it which ugh) I do wanna finish Pokémon ZA beforehand though, so I hope to go back on it more this weekend. The thing with ZA is it’s hard to know how far I’m into it. With Pokémon games it’s usually easy, you can track how far you are by how many of 8 badges you have, but with this there’s no clear indicator and I’ve not really wanted to look into it to find out (cause I don’t wanna spoil myself) I guess we’ll see though.
Tonight’s plan is to watch Beyond Paradise, Sister Boniface and hopefully to fic some after noms. This weekend I might watch a film with mum but I dunno what, maybe Hocus Pocus, Fantastic 4 First Steps or both. Or neither if I get too sidetracked, who knows.
First off, good news. So about three weeks ago there was an issue when I went to see Tron Ares/Zoopcalypse, with ticket inspectors being assholes. Short version: the ticket machine wasn’t working and instead of helping people they were being assholes, including not believing people and slapping them with penalty fares. Well it took a few attempts, including having to quote the penalty dar act back to them, but the thing got withdrawn so that’s a stress gone. Also I heard back from the train company when I complained and they also admitted that they were in the wrong and would be reprimanded. So woo!
On Wednesday night I decided to get back to the Doctor Who run, with Planet Of Evil. The ep itself was ok. Like I watched and it was a decent enough story but it’s not one that exactly lingers you know? Also the name is a total misnomer cause the planet isn’t evil.
While the story didn’t feel special the same can’t be said about the sets. The spaceship has a nice model and interiors were nice. But the standout was the jungle of the planet which looks fantastic. The designers did such an incredible job (and even the bbc at the time acknowledged it, the behind the scenes mentions it was included inan in house film about goood design) and it really manages to be such a strange and alien landscape.
Yesterday was the trip out to Telford, which was a place I’d not been to before. It meant an early stuff which is annoying (especially after having one for the prior day) but we got there in good time. (And it was so beautiful seeing all the trees on the way in oranges and yellows) The place overall was… it was fine, but the stores just felt so much smaller than I expected, especially the hmv.
Primark didn’t have the hellfire jacket I wanted (which wasn’t a surprise it seems only bigger stores do) but I got a lil coin purse and a Hellfire tee. The tee is a new design and I can’t help but wonder if that’s significant. (I can’t imagine Dustin changing the design, so I feel it has to mean something? But what I dunno) But cause they didn’t have the jacket mum fixated on it, like making me wanna decide what to do about it. (She kept asking, ‘what’re you gonna do? Are you gonna order it? Are you going to ask your cousin to look for it?’ And I’m like ??? I can’t do any of those things now why can’t you wait till we’re home)
We went in a few places after that. Game didn’t have much, m and s had the new party food so I looked at it but it felt really expensive. (Ie they have mini tacos this year and they’re over twice the price that they were in sainsburys). Then in Pandora they had the Stranger Things charms so I could finally see them (I’ve wanted to see them for about a year but this is the first store that’s had them) and I got the one I always liked. I dunno if mums putting it up for Christmas or if I’m giving the money for it next week.
Then when we got to entertainer and b and m mum just got more agitated about the time so we didn’t do much in either. I got the stranger things tin and glass from b and m though which is nice and I saw the cute new Steve plushie in the entertainer, though I wish I’d picked him up.
HMV was really small and didn’t have stuff I was looking for. I did get two CDs from the 2 for £16, DJO and Twenty One Pilots (mostly to see what the fuss is about with the latter, I do wonder if I should’ve checked for Biffy’s new album instead. As I went to the till I also picked up a Young Frankenstein blu ray which was meant to have 20% (though when I checked the receipt email later didn’t) and an impulse purpose from ‘the discount with purchase’of chainsaw man season 1.(will I regret that? Who knows)
Then we had noms before heading home and aww Midna was so sweeet she just climbed straight into my lap the moment I sat down.
When we got back we were tired, though it seems the tiredness hit mum more. She completed zonked out half way through Art Detectives and didn’t wake for almost two hours. As a result I didn’t see Celebrity Traitors until this lunchtime. I knew there’d been some spoilers so I had avoided them yesterday… but this morning I saw one quickly and mum heard on the radio who won.
(Spoiler cut for people)
( Read more... )
Before that (and I know I’m going backwards but shh) this morning magazines came. I had hoped they’d come yesterday so I could read them in the car but oh well (not that I had reading focus anyway). I’ve not had chance to look at either, but I had a flick through of Sfx. It’s a Stranger Things one and I got a Dustin cover (other options are Will, Mike and Lucas) which is nice, plus there’s a poster, stickers and art card. Next month’s one is also Strnager Things so I’m curious if that’ll have more freebies or covers. Hopefully I’ll be able to read some of it, and the Doctor Who one, tomorrow.
(Also there’s gonna be Stranger Things coming back to Fortnite, I’m hoping for a Steve or Eddie skin. The game only has a Demogorgon, Hopper and Eleven so far)
Also this morning (and again I’m going back) I listened to the new Set It Off album, but just once before walking Naryu. It’s a strange one cause 8 of the 12 songs have already been released which is definitely an odd choice. It’s hard to judge after one full listen of the thing, I feel I definitely like some of the unreleased stuff but I don’t care much about Pathological (the opener and last single) and Ithink it’s an odd choice to have a redone version of an old song take up one slot.
It’s also the release of the new Hyrule Warriors but I’ve not got it yet. Usually I preorder Zelda stuff, but the timing has been so bad. I’m hoping to get it next week (I want it as a download but that means getting an sd card for it which ugh) I do wanna finish Pokémon ZA beforehand though, so I hope to go back on it more this weekend. The thing with ZA is it’s hard to know how far I’m into it. With Pokémon games it’s usually easy, you can track how far you are by how many of 8 badges you have, but with this there’s no clear indicator and I’ve not really wanted to look into it to find out (cause I don’t wanna spoil myself) I guess we’ll see though.
Tonight’s plan is to watch Beyond Paradise, Sister Boniface and hopefully to fic some after noms. This weekend I might watch a film with mum but I dunno what, maybe Hocus Pocus, Fantastic 4 First Steps or both. Or neither if I get too sidetracked, who knows.
Romantic Suspense, Caroline Linden, & More
Nov. 7th, 2025 04:30 pmsmartbitches_feedThe Raven Scholar
The Raven Scholar by Antonia Hodgson is $1.99! I mentioned this on Hide Your Wallet when it released earlier this year. I’ve heard nothing but good things from those who have read it. Did you pick this one up?
From an electrifying new voice in epic fantasy comes The Raven Scholar, a masterfully woven and playfully inventive tale of imperial intrigue, cutthroat competition, and one scholar’s quest to uncover the truth.
Let us fly now to the empire of Orrun, where after twenty-four years of peace, Bersun the Brusque must end his reign. In the dizzying heat of mid-summer, seven contenders compete to replace him. They are exceptional warriors, thinkers, strategists—the best of the best.
Then one of them is murdered.
It falls to Neema Kraa, the emperor’s brilliant, idiosyncratic High Scholar, to find the killer before the trials end. To do so, she must untangle a web of deadly secrets that stretches back generations, all while competing against six warriors with their own dark histories and fierce ambitions. Neema believes she is alone. But we are here to help; all she has to do is let us in.
If she succeeds, she will win the throne. If she fails, death awaits her. But we won’t let that happen.
We are the Raven, and we are magnificent.
Whiteout
RECOMMENDED: Whiteout by Adriana Anders is $1.99! Elyse gave this one an A-:
I love romantic suspense with survival elements (especially cold weather survival) and I also really enjoyed the espionage/global threat aspect of the mystery. I wish I’d read the prequel novella first, but it wasn’t a huge issue, and I’m delighted to have a new series to look forward to.
Angel Smith is finally ready to leave Antarctica for a second chance at life. But on what was meant to be her last day, the remote research station she’s been calling home is attacked. Hunted and scared, she and irritatingly gorgeous glaciologist Ford Cooper barely make it out with their lives…only to realize that in a place this remote, there’s nowhere left to run.
Isolated with no power, no way to contact the outside world, and a madman at their heels, Angel and Ford must fight to survive in the most inhospitable—and beautiful—place on earth. But what starts as a partnership born of necessity quickly turns into an urgent connection that burns bright and hot. They both know there is little chance of making it out alive, and yet they are determined to survive against the odds—and possibly, the world.
An Earl Like You
An Earl Like You by Caroline Linden is $1.99! This historical romance is the second book in The Wagers of Sin series. Elyse read this one and, while she loved the heroine, she couldn’t forgive the hero for his actions and behavior. Have you read this one?
When you gamble at love…
When Hugh Deveraux discovers his newly inherited earldom is bankrupt, he sets about rebuilding the family fortune—in the gaming hells of London. But the most daring wager he takes isn’t at cards. A wealthy tradesman makes a tantalizing offer: marry the man’s spinster daughter, and Hugh’s debts will be paid and his fortune made. The only catch is that she must never know about their agreement.
You risk losing your heart…
Heiress Eliza Cross has given up hope of marriage until she meets the impossibly handsome Earl of Hastings, her father’s new business partner. The earl is everything a gentleman should be, and is boldly attentive to her. It doesn’t take long for Eliza to lose her heart and marry him.
But when Eliza discovers that there is more to the man she loves—and to her marriage—her trust is shattered. And it will take all of Hugh’s power to prove that now his words of love are real.
Hammajang Luck
Hammajang Luck by Makana Yamamoto is $1.99! This one released in January and I mentioned it on Hide Your Wallet. I’m a sucker for anything heist related.
HAMMAJANG | adjective. Definition: In a disorderly or chaotic state; messed up. Chiefly in predicative use, esp. in all hammajang. Etymology: A borrowing from Hawaiian Pidgin. Source: Oxford English Dictionary.
Edie is done with crime. Eight years behind bars changes a person – costs them too much time with too many of the people who need them most.
And it’s all Angel’s fault. She sold Edie out in what should have been the greatest moment of their lives. Instead, Edie was shipped off to the icy prison planet spinning far below the soaring skybridges and neon catacombs of Kepler space station – of home – to spend the best part of a decade alone.
But then a chance for early parole appears out of nowhere and Edie steps into the pallid sunlight to find none other than Angel waiting – and she has an offer.
One last job. One last deal. One last target. The trillionaire tech god they failed to bring down last time. There’s just one thing Edie needs to do – trust Angel again – which also happens to be the last thing Edie wants to do. What could possibly go all hammajang about this plan?
Ocean’s 8 meets Blade Runner in this trail-blazing debut science fiction novel and swashbuckling love letter to Hawai’i about being forced to find a new home and striving to build a better one – unmissable for fans of Gideon the Ninth by Tamsyn Muir and Six of Crows by Leigh Bardugo.
yankodesign_feed
If you’ve ever admired the sculpted lines of a Lamborghini supercar and thought, “I wish I could bring that into my living room”, then the new collaboration from iXOOST offers exactly that in audio form. Known for their bold pieces that bridge high-end hi-fi and automotive design, iXOOST ESAVOX Bluetooth speaker system, crafted from real Lamborghini exhaust components and carbon-fibre supercar materials, is designed to blur the line between listening room and showroom.
The ESAVOX isn’t just a styled speaker; it is built around the actual exhaust cover of a Lamborghini Aventador, nestled in a monocoque chassis made from autoclave-cured 3K twill carbon fiber, with hexagonal motifs and sharp edges that echo Lamborghini’s design language.
Designer: iXOOST
Inside this sculptural cabinet lies serious audio hardware: two 1-inch tweeters, two 6.5-inch mid-bass drivers, and a 10-inch down-firing subwoofer, powered by a total output of 640 W amplification. The frequency response extends down to 20 Hz, delivering bass you feel as much as hear. Weighing in at approximately 117 lb and measuring 49 inches x 20 inches x 26 inches, the ESAVOX is clearly not for casual portability but for a dedicated listening space or display garage.
Its styling comes in the iconic Lamborghini palette: Green Gea, Grey Keres Matte, Orange Anthaeus, Red Epona, Blue Uranus and White Siderale. The speaker is produced in a strictly limited run of just 63 units worldwide, which makes it highly desirable. On the connectivity front, you get Bluetooth 5.0 and traditional RCA inputs, allowing both wireless streaming and classic wired sources. The power supply supports 110–240 V, making it globally deployable.
So what makes this more than just a flashy statement piece? For one, the use of genuine Lamborghini parts and automotive-grade materials lends it a storytelling edge: a carbon fibre monocoque, passive vibration damping (akin to a race-car chassis), and an aesthetic lifted directly from the supercar world. On the other hand, from an audio-engineering perspective, the configuration of large mid/bass drivers plus a substantial subwoofer and dedicated amplification points to real performance ambitions rather than just looks.
That said, its size, weight, price, and niche appeal mean the ESAVOX is designed for a particular buyer: a Lamborghini owner or ultra-luxury audio aficionado who wants a unique ‘hero piece’ for home audio, not someone seeking a practical bookshelf speaker. The iXOOST ESAVOX for Automobili Lamborghini fuses automotive heritage, high-end craftsmanship, and serious audio hardware into a distinctive luxury item. If you have the space, budget and passion for both supercars and high-end sound, this is a conversation piece that delivers both visually and sonically. As ever, buyers should consider installation logistics, room-tuning, and source equipment to make the most of its capabilities.
Automobili Lamborghini ESAVOX is going to be up for grabs in the U.K. via Harrods of London, and also on display at the renowned Knightsbridge store in the pristine Green Gea color. The speaker is priced at £34,999 (approximately $46,000) for which you can buy a Ford Mustang, if you want to go for the real thing.
The post Limited Edition iXOOST Esavox Speaker features a real Lamborghini exhaust to power your sound first appeared on Yanko Design.
A Side Table That Doubles as a Bookmark for Your Favorite Reads
Nov. 7th, 2025 03:20 pmyankodesign_feed
Side tables typically end up holding whatever gets set down near them. Coffee mugs accumulate next to half-read novels that slide beneath remote controls and charging cables. Books in progress disappear into this visual clutter, creating friction between the intention to read and the reality of finding where you left off. Most furniture treats books as afterthoughts rather than priorities, offering no dedicated space that keeps them visible and within reach.
Bookmarker addresses this by treating reading as an activity worth designing for specifically. The table’s form creates a clear place for books in progress, making them visible rather than buried. Japanese cypress construction gives it a warm, tactile presence that reads as furniture first, while its cutouts and slots serve the practical needs of someone settling in with a novel and a drink.
The entire piece cuts from a single board of vertically laminated cypress, producing three interlocking parts with minimal waste. This efficient approach allows the table to ship flat and assemble without hardware, reducing both material use and packaging volume. The cutouts that enable this nesting also define the table’s visual character, creating geometric negative space that feels intentional rather than incidental.
Assembled, the table forms a C-shaped profile with a circular opening and a vertical slot running through its center. Books slide into that slot and rest upright, accessible from either side depending on where you’re sitting. The circular cutout provides another grab point for reaching volumes stored within. This dual access removes the awkward leaning or reaching that happens with conventional side tables when you want a book stored underneath.
The top surface holds a mug, small plate, or reading glasses without crowding the book storage below. Water-repellent ceramic coating protects the cypress from condensation rings and accidental spills, which matters when hot drinks sit directly on wood. The coating maintains the natural wood finish rather than creating a glossy sheen that would feel out of place.
Leftover material from production becomes small cardholders included with each table, extending the zero-waste philosophy to packaging and accessories. The flat-pack design collapses the assembled table back into its three nested components, making storage or relocation straightforward if living situations change.
What distinguishes Bookmarker from typical side tables is how it makes reading visible in daily spaces. Books stored vertically in the slot create a small display of current interests rather than hiding beneath surfaces or leaning against walls. The table becomes a physical reminder of reading intentions, turning background clutter into foreground presence.
The cypress grain varies across each piece, ensuring no two tables look identical. Wood’s natural characteristics mean some sections show tighter grain while others spread wider. This variation reinforces the handmade quality and material honesty. The light tone works across different interior palettes without demanding specific color schemes.
Bookmarker occupies a specific niche between purely decorative furniture and purely functional storage solutions. It handles the practical needs of readers who want books and drinks close at hand while maintaining a sculptural quality that justifies its presence even when not in use. The table makes reading visible in daily spaces without forcing aesthetic compromises or demanding reorganization of existing routines.
The post A Side Table That Doubles as a Bookmark for Your Favorite Reads first appeared on Yanko Design.
Kartell Revives a 1967 Icon: The KD28 Lamp Gets a Modern Makeover
Nov. 7th, 2025 02:20 pmyankodesign_feed
There’s something magical about design pieces that refuse to fade into history. They sit there in archives, quietly waiting for their moment to shine again, proving that good design really is timeless. That’s exactly what’s happening with Joe Colombo’s KD28 lamp, which Kartell is bringing back to life after its original debut in 1967.
If you’re not familiar with Joe Colombo, let me paint you a picture. This Italian designer was basically the poster child for optimistic, forward-thinking mid-century design. He created bold, colorful furniture and objects that perfectly captured the era’s “the future is bright” energy. Colombo sadly passed away in 1971 at just 41, but his work continues to influence designers today. The KD28 lamp is a perfect example of why his pieces remain relevant decades later.
Designer: Kartell
What makes this relaunch particularly interesting is how Kartell has managed to honor the original design while addressing contemporary concerns. The lamp’s silhouette stays true to Colombo’s 1967 vision, but the materials tell a different story. This new iteration is manufactured using recycled materials, which feels like exactly the kind of innovation Colombo himself would have championed. He was always about pushing boundaries and embracing new technologies, so it’s fitting that the lamp’s comeback includes a sustainability angle.
The technical updates go beyond just eco-friendly materials. The shade now features a satin finish treatment that creates a warmer, more enveloping glow compared to the original. Anyone who’s ever dealt with harsh lighting in their home knows how much of a difference this makes. It’s the kind of thoughtful detail that transforms a lamp from merely functional to genuinely cozy. Even the power cable gets the deluxe treatment, covered in fabric that matches the base color. It’s a small touch, but it shows that Kartell understands that design is about the complete package, not just the flashy parts.
Now let’s talk about the color options, because this is where maximalists are going to lose their minds. The KD28 comes in eight shades: Bordeaux, Woodland Green, Dove Grey, Orange, Petroleum, Mustard, Black, and White. That’s quite a spectrum, ranging from neutrals that’ll blend seamlessly into minimalist spaces to bold statement hues that demand attention. The Mustard and Orange options feel particularly vintage in the best way, channeling those groovy 60s and 70s vibes without feeling like a costume. Meanwhile, the Petroleum and Woodland Green speak to today’s preference for moody, sophisticated tones.
What’s really compelling about this reissue is what it represents for Kartell as a brand. They’re not just randomly dipping into their archives to capitalize on nostalgia. The KD28’s return demonstrates a clear through-line in their design philosophy, connecting past innovation with present-day values. It’s proof that their commitment to pushing materials and manufacturing forward isn’t new, it’s been part of their DNA all along.
This approach to heritage design feels refreshingly honest compared to some of the trend-chasing we see in the furniture world. Rather than trying to make the lamp “relevant” by completely reimagining it, Kartell recognized that the original design already had everything it needed. The updates are practical improvements that make it work better for contemporary life, not desperate attempts to chase Instagram aesthetics.
For anyone building a collection of iconic design pieces or just looking to add something special to their space, the KD28 offers an interesting proposition. You’re getting a legitimate piece of design history, crafted by one of the 20th century’s most influential designers, but with the practical benefits of modern manufacturing. It’s the best of both worlds: vintage credibility with contemporary functionality.
The KD28 lamp proves that sometimes looking backward is the best way to move forward. In a market flooded with disposable products, there’s something deeply satisfying about investing in a design that’s already proven its staying power over five decades.
The post Kartell Revives a 1967 Icon: The KD28 Lamp Gets a Modern Makeover first appeared on Yanko Design.