Portugal has long exported culture, cuisine, and craftsmanship. Now, it’s quietly exporting a new kind of living — one that fits on a trailer. The Gerês is Casagaea’s most ambitious tiny home to date. Named after one of Portugal’s most breathtaking national parks, the Gerês is built on a double-axle trailer stretching just 7.8 meters (25.7 ft) in length — compact enough to tow, generous enough to actually live in.

The exterior is clad in engineered wood that ages gracefully, with a small storage box tucked near the tow hitch — a quiet, practical detail that tells you everything about how thoughtfully the whole thing has been considered.

Designer: Casagaea

Step inside and the 30 square meters (322 sq ft) feel surprisingly unhurried. The layout centers on an open-plan kitchen and living area, the kind of space that rewards the people who believe a home doesn’t need to be large to feel alive. The kitchen includes a breakfast bar that seats two — a social anchor in a compact floorplan — while the bathroom sits neatly off to the side. The interior leans into simple wood finishes throughout, which keeps the warmth tangible and the aesthetic clean without veering into the sterile.

What makes the Gerês genuinely surprising is its sleeping capacity. The home sleeps up to six adults — two bedrooms do the heavy lifting, with the living area stretching to accommodate two more when needed. For a structure that can be hitched to a truck and moved across the country, that’s a remarkable feat of spatial thinking. It doesn’t feel like a compromise. It feels like a decision — one made by people who understand that mobility and comfort don’t have to cancel each other out.

Casagaea also offers optional off-grid upgrades, which open the Gerês up to placements far beyond the reach of traditional infrastructure. Whether parked at the edge of a pine forest or settled on a rural plot in the Alentejo, the home carries its context well. The engineered wood cladding doesn’t fight the landscape — it joins it.

The tiny home movement has produced no shortage of novelty concepts that look better in renders than in reality. The Gerês sits in a different category. It’s a road-ready home built by a Portuguese studio that seems less interested in hype and more interested in the long game — designing spaces that hold up not just aesthetically, but in the day-to-day texture of actual life. That restraint, in a category prone to excess, might be its most compelling design feature of all.

The post This Portuguese Tiny Home on Wheels Sleeps Six and Looks Better Than Your Apartment first appeared on Yanko Design.

The first time I saw images of Jongjin Park’s Strata of Illusion, I genuinely could not figure out what I was looking at. It reads like a compressed canyon wall, like strata lifted from geological time, like something that took millennia to form. It does not look like something a person assembled in a studio over a matter of months. That disconnect between the familiar and the seemingly impossible is, I think, exactly the point.

Park is a Korean ceramic artist and assistant professor at Seoul Women’s University, and earlier this year he took home the 2026 LOEWE Foundation Craft Prize for Strata of Illusion, one of the most prestigious honors in contemporary craft. The prize comes with €50,000, but the work itself is worth far more attention than a check.

Designer: Jongin Park

Here is what makes it so remarkable. The sculpture is built from thousands of sheets of ordinary tissue paper. Park coats each sheet in porcelain slip mixed with hand-mixed pigments, then folds, stacks, and presses them together into a dense, rectilinear mass that resembles a partially collapsed seat. Then he fires the whole thing in a kiln. At high temperatures, the paper burns completely away. What remains is a ceramic body that has shifted, bent, and settled under its own weight and the heat, shaped not entirely by the artist’s hands but by forces the material encounters on its own.

The part of his process that genuinely floors me is the surrender in it. Park is not a sculptor in the traditional sense of someone who carves away or imposes a rigid vision onto a material. He sets up conditions. He coats the paper, arranges the layers, builds the compression, and then he cedes control to the kiln. The collapse is not an accident, but it is also not entirely planned. That charged zone between intention and surrender is exactly where Strata of Illusion lives, and it is a hard place to hold without losing your nerve.

The work also occupies a fascinating gray area between ceramics, sculpture, and design, which is part of why it travels so naturally across contexts. Park has shown at Design Miami and PAD London, and the piece feels equally at home in those collectible design spaces as it does in a fine art exhibition. A seat that cannot really be sat upon. A ceramic form that started as something you blow your nose with. A work that looks ancient but was completed last year. The contradictions stack up as deliberately as the paper layers themselves.

Park’s approach demands a kind of trust that is actually quite radical. Not just from the artist, but from the viewer too. You have to accept that the unpredictability is the craft, not the failure of it. We are so conditioned to equate mastery with perfect control that a work like this can feel destabilizing at first. That slight unease is doing something useful, though. It is making you examine what you actually value when you look at something made by hand.

The LOEWE Foundation Craft Prize has long recognized artists who use traditional craft languages to say something larger and more conceptually ambitious. Park’s win feels like a precise fit for that legacy. Strata of Illusion is not just technically extraordinary. It is philosophically loaded in a way that rewards slow, patient looking, which is increasingly rare and increasingly worth seeking out.

The exhibition featuring Park’s work alongside other shortlisted artists is on view at the National Gallery Singapore through June 14. If you happen to be anywhere near it, photographs alone will not prepare you for what the actual scale and texture of the object must feel like in person. There is a density to those compressed layers that images have no way of translating.

For the rest of us, Strata of Illusion offers a genuinely compelling answer to the question of where craft is headed. Not backward into nostalgia, not forward into pure concept. Somewhere in between, fired at high temperatures, shaped by forces no artist fully controls.

The post Thousands of Paper Sheets, One Kiln, One $58K Prize first appeared on Yanko Design.

Every time you open an umbrella, you’re deploying a canopy of wasted real estate. That dark stretched fabric sits between you and the sun, absorbing heat, blocking light, doing absolutely nothing with the energy raining down on it. For a surface that spends its entire working life pointed directly at the sky, that feels like a missed opportunity of the highest order.

Victoria García Moreno, a student at Universidad Casa Blanca in Mexico, decided to do something about it. Her James Dyson Award entry takes the umbrella’s canopy and lines it with waterproof solar panels, routing that captured energy down through the shaft and into an internal power bank housed in the handle. USB and USB-C ports let you plug your phone in while you walk. Sun protection and emergency charging, packaged into one familiar object.

Designer: Victoria García Moreno

The material logic here is sound, even if the execution remains at concept stage. Solar panels have been conformal and flexible enough for curved surfaces since the early 2000s, and the umbrella canopy offers a genuinely generous collection area compared to most portable solar products on the market. Foldable solar chargers sold today typically max out at panels smaller than a laptop screen. A full umbrella canopy, by comparison, gives you something closer to the kind of surface area that actually moves the needle on solar harvest. The panels García Moreno specifies are waterproof, which solves the obvious problem of a device that lives outdoors and frequently encounters rain.

All the electronics, the power bank, the activation circuitry, the output ports, sit inside the grip in a cylindrical housing that keeps the umbrella’s overall silhouette completely conventional. Two buttons sit on the front face: one to power the system, one to activate charging output. The USB and USB-C ports are recessed into the rear of the handle, keeping them protected when not in use. From the front, this reads as a slightly premium umbrella. The technology announces itself only when you need it to.

The honest limitation García Moreno’s concept faces is the gap between solar panel flexibility and the mechanical demands of a folding umbrella. Current flexible panel technology can handle curves, but repeated folding and unfolding introduces stress concentrations that standard rigid cells handle poorly. That’s a solvable engineering problem, and the James Dyson Award has a history of surfacing student concepts that identify the right problem before the manufacturing world catches up with a solution. For now, the Portable Outdoor Emergency Charger makes its case as a provocation worth taking seriously. The umbrella canopy has been wasted real estate for far too long, and someone had to say it.

The post This Umbrella Has Solar Panels… And It Doubles As An Emergency Power Bank first appeared on Yanko Design.

The Nest Audio came out in September 2020. If you bought one that fall, you were probably still navigating pandemic grocery runs and wondering when offices would reopen. Nearly six years later, Google has finally shipped something new to put on your kitchen counter. The Google Home Speaker, now landing in June 2026 after a “Spring 2026” promise that tested the meaning of the word spring, is the company’s first new standalone smart speaker in half a decade. Six years is a long time in consumer electronics. Apple refreshed AirPods three times. Sonos launched and then partially broke its app and still found time to make new speakers. Google, meanwhile, treated the entire category like a parked car, leaving the Nest Audio to quietly collect dust while the company sprinted elsewhere.

Where was Google sprinting? Toward Gemini, mostly. The AI model has been grafted onto Search, Maps, Workspace, Android, Chrome, YouTube, and practically every other product in the portfolio with enough surface area to carry a chatbot. Google even announced the Googlebook at I/O 2026, a new category of premium Android laptops billed as the successor to the Chromebook and the Pixelbook, built, predictably, around Gemini Intelligence. When Google finally announced the new Home Speaker at its Made by Google event in October 2025, the device was framed almost entirely around its role as a Gemini endpoint. The speaker came back because Gemini needed somewhere new to live, and the kitchen seemed underserved.

Designer: Google

There was a time when the company’s smart home pitch felt like a real platform strategy, ambient computing, voice everywhere, helpful devices fading into the background. The original Google Home arrived in 2016 with a sense of ambition. It was a bet that Google could own the center of the connected home by making voice control feel natural, useful, and quietly omnipresent. Then came the Mini, the Max, the Hub, the Nest rebrand, and eventually the Nest Audio. After that, the energy drained out of the room. The category was never formally abandoned, but it entered that peculiarly Google state where a product remains alive enough to avoid a funeral and neglected enough to make users wonder whether anyone still remembers where the light switches are.

The new speaker itself looks perfectly pleasant. It is small, rounded, soft, and available in the sort of colors Google hardware teams always seem to get right, the kind that make every room look slightly more curated than it probably is. Google says it has 360 degree audio, faster processing for more fluid conversations, and a new light ring that signals when Gemini is listening, thinking, or responding. Fine. Great, even. The problem is that none of this arrives in a vacuum. Google has trained people to see its hardware launches through a second lens, one that asks a less flattering question: for how long is this category going to matter to the company?

That question hangs over almost every Google device that is not a Pixel phone. The company loves a fresh start, a new naming scheme, a reset button disguised as a vision statement. It also has a long history of treating hardware categories like experiments that can be deprioritized the minute a more interesting internal narrative comes along. Smart speakers spent years as a central piece of Google’s ambient computing story. Then Gemini became the story, full stop. Once that happened, every product had to justify itself in AI terms. Phones became Gemini phones. Search became Gemini search. The smart home became Gemini for Home. Laptops became Googlebooks. And now, after years of silence, the speaker has returned as a vessel for the new corporate religion.

There is a certain irony in that. Smart speakers were already one of the clearest examples of what AI in the home was supposed to feel like: conversational, contextual, present without demanding attention. Google had the hardware footprint. It had the installed base. It had a brand that, for a while, was practically synonymous with talking to your house. If the company had kept iterating steadily, this new moment could have felt like a natural evolution. Instead, it feels like a rediscovery. Google wandered away from the category long enough that its return carries a faint air of surprise, as if someone opened a closet at Mountain View headquarters and found an entire product line under a sheet.

Maybe the Google Home Speaker will be excellent. Maybe Gemini will finally make the smart speaker feel smarter than a kitchen timer with good branding. But this launch still lands as a reminder of how erratic Google’s hardware attention span can be. The company did not so much nurture this category back to health as remember it was still on the org chart. After nearly six years, Google has a new smart speaker, and the most Google part of that sentence is that it only happened once the device could be recast as AI infrastructure. The speaker is back on the counter. Whether Google stays in the room this time is the harder question.

Image Credits: 9to5Google

The post After 6 Years, Google Finally Remembered To Launch A New Smart Speaker, This Time with Gemini Built-in first appeared on Yanko Design.

The tiny home showed up at exactly the right time. Post-2008, when the American Dream had basically become a meme, a whole generation watched housing prices climb while their salaries flatlined, and somewhere in that frustration, a 200-square-foot cedar box on wheels started looking really, really good. HGTV ran the episodes. Instagram fed the algorithm. Millennials pinned the floor plans. Tiny homes have consistently been one of the biggest, most-clicked categories on Yanko Design for years now, and that number reflects something real. When the conventional path feels rigged, you build a new one, even if it fits in a parking space.

The average first-time homebuyer in America is now 40 years old. In 1981, that number was 29. That eleven-year gap tells a specific story about a generation that expected homeownership at 29, got handed a tiny home at 30, and was told to call it a win. The term ‘Shoebox Apartment’ should tell you everything you need to know about how respectable or enjoyable micro-living actually is for most people. The backlash to tiny homes is coming, and it won’t arrive from critics or policy wonks. It’ll come from the people who actually bought one.

A Generation Priced Into a Movement

The numbers are staggering in a way that should make anyone uncomfortable. First-time buyers accounted for just 21% of all home purchases last year, the lowest figure recorded since the National Association of Realtors started tracking the data in 1981. Before 2008, first-timers regularly made up around 40% of the market, and the typical buyer was in their late twenties. That collapse didn’t happen because millennials suddenly decided they preferred renting. The price-to-income ratio on homes now sits at 5.5, against a benchmark of 2.6 that economists consider healthy. The market structurally closed on an entire generation, and tiny homes rushed in to fill that gap in a way that felt empowering and intentional rather than desperate. That framing was incredibly convenient for a lot of people who weren’t actually solving the problem.

Meanwhile, boomers are sitting on roughly $82 trillion in accumulated home equity and wealth, more than double what Gen X holds and four times what millennials have. A record 26% of 2025 home purchases were made entirely in cash, up from 20% the year before. Repeat buyers, now with a median age of 62, are moving through the market with resources that younger generations simply don’t have access to. So when the housing conversation gets redirected toward whether a 28-year-old can fit their entire life into 200 square feet and feel good about it, that is a deliberate choice about where collective energy gets focused. Tiny homes gave a generation something to do with their hands while the wealth gap quietly widened.

The Problem with Tiny Home “Ownership”

Here’s the thing nobody puts in the Instagram caption. Most tiny homes don’t build equity the way traditional real estate does. A significant share of the tiny home market, particularly Tiny Houses on Wheels, are treated by lenders more like RVs than real property, which means standard mortgages don’t apply. Financing either doesn’t exist or it comes with vehicle loan rates and shorter terms that dramatically inflate the actual cost of ownership. The land is almost always rented. The structure typically depreciates. When it’s time to sell, the resale market is thin, unpredictable, and offers nothing comparable to traditional real estate. All of that sounds manageable if you entered tiny home life as a genuine lifestyle choice with full awareness. It sounds considerably less fine when that was the only door available.

Research consistently shows that tiny homes are deceptively expensive on a per-square-foot basis, often running $300 to $400 per square foot when construction, fixtures, and systems are properly accounted for, which is comparable to or higher than conventional builds in many markets. Bankrate has pointed out that buyers missing the conventional ownership window aren’t just delaying a purchase; they’re losing years of appreciation on an asset that historically doubles in value roughly every decade. Getting locked out of traditional homeownership could cost Gen Z approximately $150,000 in lost equity over their lifetimes. A tiny home with no land, no appreciation, and no mortgage pathway is a beautifully designed object. As a long-term financial strategy, it’s a significant liability.

Where Tiny Homes Are Actually Legal (Hint: Not Where You Need Them)

Around 40% of urban municipalities impose zoning or regulatory restrictions on tiny home construction, and the places with the tightest rules are overwhelmingly the ones dealing with the worst housing shortages. States with strict residential codes commonly require homes to be between 600 and 1,200 square feet, which means a 200-square-foot build doesn’t pass without special variances. Those variances require time, legal fees, and political goodwill that most individual builders don’t have. New York, New Jersey, and Georgia all maintain minimum square footage requirements that functionally prohibit tiny homes as primary residences. The cities that most urgently need affordable housing solutions have zoning laws written specifically to keep density low and existing property values protected, and tiny homes run directly into that wall every time.

The geography problem is particularly brutal. The places where tiny homes are legally viable, where land is cheap and regulations are relaxed, are almost always rural or semi-rural. That means poor access to jobs, healthcare infrastructure, transit networks, and schools. The design press loves a tiny home surrounded by pine trees and open sky. The unsexy reality is that a tiny home three hours from an employment hub solves very little for a 32-year-old with student debt and a career to build. It relocates the affordability problem geographically and reframes it as a lifestyle upgrade, which is a very different thing from actually addressing it.

The Urbanism Problem Nobody Wants to Have

From a pure planning standpoint, tiny homes placed on individual plots are a land-inefficient response to a density problem. Planting a handful of tiny homes on an acre delivers dramatically fewer units of housing than a mid-rise multi-family building on the same footprint. Researchers have also found that tiny homes consume more construction materials per capita compared to apartment buildings. Apartment blocks house more people per floor area, so even with concrete and steel involved, the per-capita resource math heavily favors density. Small structures on large lots are, architecturally, a suburban pattern. The housing crisis is overwhelmingly an urban one, and solving an urban crisis with a suburban pattern is a bit like treating a fever with a decorative fan.

Here’s where the politics get genuinely uncomfortable. Cities sometimes approve tiny home villages because neighborhood opposition to apartment buildings is too intense to override politically. When a city council greenlights ten tiny homes instead of a 60-unit mixed-income apartment building, it frequently has less to do with construction costs and everything to do with avoiding the density fight. Tiny homes photograph beautifully, signal good intentions, and change almost nothing structurally. They give local politicians a way to announce action on affordable housing without delivering anywhere near enough of it. That’s not the fault of the tiny home as an object, but it is exactly how the tiny home gets weaponized as political cover.

Cities Are Running a Smarter Play

While the tiny home conversation has been spinning in its familiar circles, cities have been quietly executing something considerably more effective. Office-to-apartment conversions are surging, with nearly 71,000 units in the pipeline as of 2025, a record. We covered this in depth right here last month: the 90,300 offices already identified for residential conversion represent a fundamentally different philosophy about housing supply. These are buildings that already exist, sitting inside city centers, connected to transit, surrounded by employment and services. Converting them to housing requires no new land, no greenfield construction, and no fight about density because the density is already there. The infrastructure question is already answered.

Los Angeles expanded its Adaptive Reuse Ordinance citywide in late 2025, with officials estimating the move could unlock over 43,000 housing units in former office towers, including projects targeting 100% affordable housing. Chicago committed $260 million in tax increment financing for five major downtown office-to-residential conversions, with 30% of units designated affordable. The Urban Land Institute projects adaptive reuse could account for 20 to 50% of new housing supply in major American cities going forward. Converting office space to co-living cuts construction costs by 25 to 35% compared to conventional residential builds. On scale, location, economics, and sustainability, adaptive reuse operates in an entirely different league.

The Reckoning Is Already Building

The backlash won’t arrive as a manifesto. It’ll show up as a 38-year-old who bought a tiny home on rented land at 30, discovered eight years later she can’t sell it for what she paid, can’t access a conventional mortgage to move up, and watched her parents’ suburban home double in value across the same window. It’s already building in Reddit threads from tiny home owners trying to figure out how to exit a purchase that lenders won’t touch. It’s in the zoning battles where municipalities keep manufacturing new reasons to say no, and in the quiet exhaustion of people who romanticized small living and discovered the romance has a specific expiration date once a second person, or a child, enters the picture.

Housing advocates have said this for years. Adequate housing was never about minimum viability. A home should be a place where people build financial security, raise families, and live with genuine dignity, not just technically survive in. When affordability gets defined downward to mean “small, impermanent, and asset-free,” the problem hasn’t been solved; it’s been repackaged. The tiny home movement grew from a real wound, and the people who built these homes did so with genuine conviction. But a generation deserves actual equity in actual cities on actual land, and no amount of shiplap and clever storage solutions changes that math. The backlash is coming. Honestly, it’s overdue.

The post Get Ready for the Tiny Home Backlash first appeared on Yanko Design.

The Raspberry Pi Compute Module has always been more useful as a component than as a standalone board. Stripped of the standard ports that make the full-size Pi easy to reach, the CM5 was designed to disappear into purpose-built hardware, doing exactly what a system needs it to do in exactly the space available. That modularity invites projects, and Pi handheld computers have been a natural expression of it for years. Most of them never quite cross the line from capable experiment to genuinely polished device.

The piBrick Pocket-CM5 is an open-source hardware project that comes significantly closer than most. Built from a custom PCB designed for manufacturing at JLCPCB, a 3D-printed shell, and a parts list that totals around $172, it lands at smartphone proportions, 80mm x 145mm x 19.6mm, with the kind of feature density that makes it credible as a daily carry tool rather than a desk ornament.

Designer: Ahmad Amarullah

The display is a 3.92-inch AMOLED panel running at 1080 × 1240 pixels and 90Hz, with 560 nits of brightness and capacitive multitouch for up to five fingers. A custom Asahi Tempered Glass cover sits over the top, which is the kind of detail that separates a considered design from a prototype that happens to work. Full-size and micro-HDMI outputs mean the same device can drive an external display, when a keyboard and mouse are more useful than a pocket-sized one.

That keyboard is a BBQ20, a compact QWERTY design with an integrated trackpad derived from the BlackBerry layout. Side rotary encoders and five user-programmable buttons extend the input options beyond a standard phone form factor, giving the device a tactile depth that touchscreen-only handhelds don’t have. The battery is a 5,000mAh LiPo, and the USB port set covers both USB 3 and USB 2 in Type-A and Type-C configurations, plus an internal expansion header for add-on modules.

One of the more quietly useful features sits at the intersection of the keyboard and the USB stack. The BBQ20 can operate in USB-HID mode, which means plugging the piBrick into any external computer or server turns its keyboard and trackpad into a fully functional USB input device, independent of the Pi. A sysadmin arriving at a server rack without a spare keyboard doesn’t need to find one; the piBrick already is one. That framing, as a tool for engineers and sysadmins rather than simply a hobbyist novelty, runs through the whole project.

A full Linux desktop runs on the CM5, alongside the system administration and networking tools that tend to be useful in those situations. NVMe SSD support in 2230 or 2242 formats adds storage headroom when the SD card isn’t enough. Stereo speakers, a microphone, and an optional camera module round out a spec sheet that covers more ground than the form factor suggests. The project files, schematics, and build instructions are all available as open source, which means the $172 cost is the floor, not a retail price, and the design itself belongs to anyone who wants to build on it.

The post This $172 Raspberry Pi Handheld Doubles as a USB Keyboard first appeared on Yanko Design.

Most lamps exist to solve a problem: you need light, so you buy a lamp. THE MIROR Collection, by design studio MIRORlab, starts from a completely different premise. Rather than asking how to illuminate a room, it asks what light could be if it were designed to make you feel the passage of time. The answer is a kinetic lighting system that is part optical instrument, part ambient installation, and one of the more quietly radical design concepts I’ve come across in recent memory.

At its heart, THE MIROR is built around a slowly rotating light source paired with a set of six interchangeable magnetic glass lenses. Each lens contains embedded micro-patterns and textures that refract and fragment light into shifting projections across walls, ceilings, and floors. Nothing in the room physically changes. Yet from one minute to the next, the space looks and feels entirely different. The effect is genuinely mesmerizing, the kind of thing you notice out of the corner of your eye and then can’t stop watching.

Designer: MIRORlab

The detail worth dwelling on is the rotation speed: exactly one revolution per minute. That’s not an arbitrary number. It’s calibrated to align with a natural perceptual rhythm, slow enough to feel meditative rather than dizzying, but active enough that you remain aware of it at all times. The light is always doing something. It’s the design equivalent of a really good ambient soundtrack, present without being intrusive, affecting the room without demanding your full attention.

What MIRORlab is essentially arguing is that most lighting design treats time as irrelevant. You flip a switch, the room is lit, and that’s the end of the relationship. THE MIROR reframes light as a time-based medium, something that unfolds, rotates, and transforms continuously. No two projected moments are ever identical, even with the same lens. In that sense, it has less in common with conventional lighting and more in common with kinetic sculpture or generative art. The lamp isn’t just a tool for visibility. It’s a system for experiencing duration.

The six lenses, named Earth, Nebula, Dune, Bloom, Warmwhite, and Metropolis, were each developed through research into atmospheric perception and environmental light conditions. The reference points are genuinely cinematic: sunset diffusion across open landscapes, deep-space nebula imagery, solar eclipse transitions, water reflections under shifting cloud cover, and city lights seen from altitude at night. Most product designers think in finishes and colorways. MIRORlab thought in atmospheres. Swapping a lens doesn’t just adjust the quality of the light; it changes the entire emotional register of the room, and that’s a remarkable thing to get out of a piece of magnetized glass.

I think the broader cultural moment makes THE MIROR feel especially timely. We spend more time than ever in rooms that don’t change, and the relationship between a person and their living space has become both more intimate and more psychologically loaded. Design has started responding to that shift with a growing category of objects that prioritize atmosphere over function: white noise machines, scent diffusers, smart lighting systems, biophilic elements. All of them are answers to the same underlying question about how space should make us feel. THE MIROR fits cleanly into that conversation, but with a level of optical and conceptual depth that most of its peers simply don’t reach. It doesn’t just set a mood. It gives the room a sense of time passing, which is a genuinely different thing.

The more I sit with THE MIROR Collection, the less it feels like a lighting product and the more it feels like a quiet philosophical statement. It suggests that a room should move with you rather than simply surround you, that ambient experience doesn’t have to be passive, and that something as unassuming as a lamp can carry a real point of view about how we inhabit space. That’s a significant ask of a rotating glass lens. But if the projections look anything like the concept promises, it’s a completely fair one.

The post One Revolution Per Minute: How THE MIROR Makes Time Visible first appeared on Yanko Design.

Controllers come in all shapes and sizes, depending on the gamers’ needs, and most importantly, their holding comfort. Things get really interesting as a lot of big tech companies invest a lot of effort in designing a one-size-fits-all controller, which holds good for long gaming sessions. While most controllers are more or less the same size, there’s always that element of curiosity for accessories that are radically different from the standard proportions.

YouTuber Crux, who’s known for interesting creations with an infusion of gaming, has crafted a mini controller out of pure curiosity. Having got the Backpack Buddies GameCube controller keychain, he asked himself the question – can this be turned into a functional controller? That led to this interesting DIY project that is as intricate as things can get, since the maker is dealing with the super small size of things.

Designer: Crux

We all have keyrings in some form or another, and these cute little accessories evoke the feeling – what if these were functional? The DIYer addresses this curiosity with the functional GameCube controller keychain that looks extremely satisfying as it takes shape. Since he was dealing with very small proportions here, the rotary motor tool does the trick of shaving off the extra bit on the inside of the keychain controller to make space for all the electronics. To put together the intricate joysticks, D-Pad, and other buttons, the DIYer goes down the 3D printing lane. Of course, the button controls and the joysticks had to be mounted on a sturdy base on the inside; that’s why Crux goes for the surface-mount tactile switches.

The DIY progresses with splitting the two controller halves and making up the necessary space to fit the electronics. The ultra-thin enameled wires connect the different components to the Waveshare RP2040-Zero microcontroller board, which is programmed with firmware that makes the cute little keychain gamepad act like a native GameCube controller. The final step involved salvaging the wire and plug from the real controller and attaching it to the output ports. Once everything is in place, it’s time to connect the controller to the port and enjoy some gaming. He demonstrates a session of Fortnite and then moves to Mario Kart Wii. All the inputs work as intended, and you just wish this thing were available to grab right away.

If you manage to check out the complete video till the end, Brux hints at more keychain projects in the future. These include the SNES controller, N64 controller, and 3DS controller, which are absolutely cool. Somehow, if he can manage a wireless keychain controller DIY, that would be sublime.

The post DIYer turns tiny GameCube keychain into a fully-functional controller first appeared on Yanko Design.

The soundbar has become the default home theater upgrade for anyone who doesn’t want to fill a room with floor-standing speakers and receiver cabinets. It’s a sensible trade-off, but most soundbars operate as completely passive objects once they’re set up, reflecting nothing about what’s actually playing or offering any real interaction beyond a remote nobody can ever find. The visual side of the experience has always been an afterthought.

WiiM is entering the soundbar market for the first time with the WiiM Bar, and the defining choice it made is a 2.1-inch round touch display embedded in the center of the bar’s front face. That decision drives the entire product concept, making the soundbar itself a point of interaction rather than something you control exclusively from your phone or a remote that lives behind a couch cushion.

Designer: WiiM

The glass-covered round display sits within a gentle wave-shaped recess on the bar’s surface, showing album art, track info, the time, EQ settings, Smart Presets, and Recently Played content in a format readable from across the room. A tap plays, pauses, skips, switches sources, or selects an EQ profile without reaching for anything else. Clock faces and dynamic wallpapers take over when nothing’s actively playing.

Sonically, the WiiM Bar delivers a true 3.0.2 Dolby Atmos configuration using an eight-driver array: three front mid-woofers, three front tweeters, and two full-range drivers on top that fire upward for height effects. Four passive radiators, two on the front and two on the rear, extend the bass response. The system peaks at 135W and includes HDMI eARC alongside optical, line-in, and configurable USB audio connections.

RoomFit auto-correction measures the acoustic characteristics of the space and adjusts the output accordingly, so placement against a wall doesn’t work against the sound. A Clear Voice mode uses AI-powered dialogue separation in real time, which is genuinely useful for anyone who reaches for subtitles not because a show is quiet, but because the mix buries speech under effects. Night Mode keeps that clarity intact at lower volumes.

The 3.0.2 configuration is a starting point rather than a ceiling. Compatible WiiM devices can be added wirelessly as surrounds and a subwoofer, taking the system to a full 5.1.2 home theater without additional wiring. The WiiM Home App manages EQ, Smart Presets, and multi-room grouping, letting the bar sync with WiiM Amp, Ultra, Pro, and Mini devices across the rest of a home.

Streaming reaches over 20 services through the app, with direct casting via Spotify Connect, TIDAL Connect, Qobuz Connect, Google Cast, Roon, and Amazon Music Cast. Wi-Fi 6E covers all three bands, Ethernet offers a wired fallback, and Bluetooth 5.4 with LE Audio handles device pairing. A USB host port lets the bar serve a personal media library to other WiiM and DLNA devices on the network.

The WiiM Bar ships in July 2026, priced at $479, available for pre-order now through wiimhome.com, Amazon, and select retail partners. For a market full of soundbars that treat control as an afterthought and expansion as an expensive aftermarket exercise, it offers a fairly direct argument: an on-device touch interface, honest Dolby Atmos performance, and a clear path to a proper surround setup whenever the moment calls for it.

The post WiiM’s First Soundbar Has a Round Touch Display Built Into the Front first appeared on Yanko Design.

Thirty years ago, Pokémon taught an entire generation that the real adventure was the journey, not the destination. Now, RIMOWA is making that philosophy literal, and the result is one of the most covetable travel accessories of the year.

The collaboration, a Japan-exclusive capsule released on June 2, brings Pokémon-themed accessories to RIMOWA’s iconic suitcase lineup. We’re talking Poké Ball wheel sets, Pokémon-inspired luggage tags, and a limited-edition sticker set. The pieces are showcased alongside RIMOWA’s Essential line in bold Orange and Magenta, and the classic Original Cabin in Silver. If you need a moment to process how good that combination looks, take it.

Designer: RIMOWA

Collaborations between luxury brands and pop culture franchises are not new. We’ve seen high fashion shake hands with anime, streetwear collide with fine art, and sneakers morph into collector’s items worth more than a month’s rent. But the RIMOWA x Pokémon drop feels different, and not in the way that brands usually claim something is “different.” The distinction is in the credibility of both sides. RIMOWA has spent over a century building a reputation for precision engineering and design integrity. Pokémon has spent thirty years becoming one of the most enduring cultural franchises in history. When these two come together, the output isn’t just a product. It’s a statement.

The luggage tags are the quiet stars of this collection. Most people treat luggage tags as an afterthought, just a way to identify your bag on the carousel. But a Charmander or Charizard tag dangling from a polished aluminum case changes the conversation entirely. It turns your luggage into a flex, and the best kind: one that’s playful rather than pretentious. Charmander and Charizard are arguably the most beloved starter evolution line in the franchise, which means these tags carry genuine sentimental weight for anyone who spent their childhood glued to a Game Boy.

Then there are the stickers, and they matter more than you might think. RIMOWA has long encouraged travelers to use their suitcases as a canvas, a rolling record of everywhere they’ve been. The Pokémon sticker set fits that tradition naturally. It gives you something to place with intention, something that says a little about who you are before you even open your mouth at baggage claim. There’s a generational intimacy to Pokémon stickers on a luxury suitcase that feels earned rather than gimmicky.

The Poké Ball wheel sets round out the collection in the most theatrical way possible. You only really see them when the suitcase is moving, which makes the reveal almost cinematic. It’s design thinking at its most fun, and I appreciate that neither brand tried to make it subtle.

The Japan-exclusive angle is worth sitting with, though. It makes sense: Japan is the birthplace of Pokémon, and RIMOWA has a strong presence in the Asian market. A region-specific drop honors that cultural connection and keeps the collection genuinely limited. But if you’re a Pokémon fan, a RIMOWA enthusiast, or both, and you happen to not be in Japan, you’re essentially watching this happen through glass. Resale prices will be predictably painful, and that accessibility gap is the one thing that slightly dulls the shine of an otherwise excellent collaboration.

Still, Pokémon’s 30th anniversary has been a celebration done right. The franchise has rolled out collaborations across fashion, collectibles, and experiential activations throughout 2026, and the RIMOWA partnership sits at the top of that list in terms of design quality and cultural resonance. It understands its audience. It doesn’t try to be ironic or overly self-aware. It simply takes two well-crafted worlds and lets them coexist beautifully.

Good design is about making people feel something. A Charizard luggage tag on a polished aluminum suitcase makes you smile before your flight, and that’s not a small thing. Travel can be exhausting and deeply impersonal. A little bit of joy attached to your carry-on goes further than any airport lounge ever could. For collectors, this one is worth the chase. For everyone else, it’s a good reminder that luxury and nostalgia can share the same overhead bin, and sometimes, the most unexpected pairings are the ones that last.

The post RIMOWA’s Pokémon Collab Proves Nostalgia Travels Well first appeared on Yanko Design.