The Raspberry Pi has spent over a decade proving that small, affordable computers can do serious things. What has sometimes held those builds back isn’t the processor or the memory; it’s the display. The original 7-inch touch screen, launched alongside the Pi back in 2015, became a reliable staple of maker projects everywhere, but its modest resolution and size kept more ambitious builds looking a little rough around the edges. That gap just got a lot smaller.

Raspberry Pi has released a 10-inch variant of its Touch Display 2, completing a family that now spans 5-inch, 7-inch, and 10-inch options. At $80, it’s the largest and most capable screen the company has offered as an official first-party accessory, and it arrives with a meaningful set of upgrades beyond simply being bigger. The resolution jumps to 1200×1920 pixels from the 720×1280 available on the smaller models, and touch support doubles to ten-point capacitive from the five-point that the 5-inch and 7-inch variants offer.

Designer: Raspberry Pi

That resolution increase matters more than the raw numbers suggest. On a 10-inch IPS panel with an anti-glare surface and 400 cd/m² brightness, the extra pixel density makes text and UI elements genuinely crisp rather than just adequate. Anyone who’s tried building a home automation dashboard or a workshop control panel with a 7-inch screen knows how quickly the interface can feel cramped. Ten inches gives those layouts room to breathe.

The physical setup follows the same principle the Touch Display 2 family has always used. The display mounts to the rear of a Raspberry Pi 5 using four M2.5 screws, and it draws power directly from the board’s GPIO, so there’s no need for a separate power supply. Raspberry Pi OS detects the screen automatically with full driver support, including the on-screen keyboard. No manual configuration, no hunting for drivers.

The 10-inch model does require a Raspberry Pi 5 or a Compute Module paired with a compatible carrier board. The panel uses four DSI lanes to maintain a stable 60Hz refresh rate, and earlier standard Pi models only support two, so they can’t run this display. For the builders already working with a Pi 5, that’s a natural fit. For those still on older hardware, the 7-inch and 5-inch options remain in production.

A display this size changes what a Pi-based project can realistically look like in a finished state. A kiosk that actually feels like a kiosk. A digital signage panel that doesn’t look like a proof-of-concept. A robotics control interface with enough screen real estate to show sensor data without squinting. Even a portable gaming system that approaches the comfort of a commercial handheld.

The IPS panel supports an 85-degree viewing angle and operates across a temperature range of −20°C to +70°C, which makes it a reasonable fit for environments that aren’t strictly climate-controlled. Both portrait and landscape orientations are supported in software, giving builders flexibility in how they mount the display relative to the rest of the build.

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Anyone who’s deep in the Apple ecosystem knows the charging problem all too well. There’s an iPhone that needs its MagSafe puck, an Apple Watch on its magnetic disc, and AirPods waiting for their wireless spot. Before long, the desk or bedside table has turned into a tangle of cables and pads, and that’s without thinking about what happens when you need to travel.

The wireless charging accessory market has responded with a wave of multi-device stands, but most of them tend to pick a lane. Either fast and capable or foldable and portable, premium-looking or compact, but rarely all of the above. ADAM elements is trying to change that with the Mag 3 Ultra, a foldable 3-in-1 charging station designed to cover all those bases without asking you to give something up.

Designer: ADAM elements

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The first thing you notice about the Mag 3 Ultra is that it doesn’t look like most charging accessories. It’s made from precision CNC-machined aluminum alloy with a sandblasted texture and anodized finish, so it sits well alongside the premium devices it’s designed to power. It comes in three colorways: Titanium, Gray, and Orange, with Orange being the most visually striking of the three.

On the performance side, the Mag 3 Ultra’s main phone module is certified under the WPC Qi2 25W standard, which ADAM elements says delivers notably faster charging efficiency than 15W-class Qi2 chargers. The 25W output works best on the iPhone 16 and 17 series, while MagSafe-compatible iPhones from the 12 through 15 series still get Qi2 15W. Either way, it’s well ahead of older wireless charging speeds.

What makes the Mag 3 Ultra genuinely convenient is how it handles all three devices at once. Your phone snaps magnetically onto the main pad, your Apple Watch or Samsung Galaxy Watch sits on the dedicated watch dock, and your AirPods rest on the base charging area. It all happens concurrently, and the whole setup takes up a small footprint with just one USB-C cable.

The phone charging pad sits raised above the base, which keeps the camera bump clear and unobstructed. It’s a small but thoughtful design choice that makes the charger genuinely usable while it’s working. The magnetic connection holds the phone in both portrait and landscape orientations, so you can catch up on messages, follow a tutorial, or stream something while your battery climbs.

The watch module is worth noting for its dual-system compatibility. It supports both Apple Watch and Samsung Galaxy Watch via magnetic charging, which makes the Mag 3 Ultra a practical option for households where not everyone is on the same wearable platform. It’s a sensible call that broadens the charger’s appeal well beyond the strictly Apple-only crowd that most competitors in this category target.

The foldable design is arguably where the Mag 3 Ultra makes its strongest case. It collapses to 66mm x 66mm x 29.5mm and weighs 205.5g, small enough to slip into a bag pocket or carry-on. A 100cm USB-C cable and protective fabric pouch are included, so the same station that lives on your desk can just as easily go on the road.

There’s also a solid set of safety protections built in, including Foreign Object Detection to prevent metal interference during charging, along with overcharge, overheat, and short-circuit safeguards. It carries Qi2, CE, FCC, RoHS, BSMI, and NCC certifications. For peak simultaneous three-device performance, ADAM elements recommends pairing it with a 45W or higher USB-C PD adapter, and it comes backed by a three-year limited warranty.

Wireless charging accessories rarely get talked about the same way a well-designed product would, but the Mag 3 Ultra is a good reason to start. The three colorways it comes in, especially that bold Orange, are a clear sign that ADAM elements wants this sitting on your desk where people can actually see it, not tucked behind your laptop where most chargers tend to end up.

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During the mid-’90s to the early 2000s, all my friends knew that you couldn’t disturb me on Thursday nights because I was glued to my television set, watching The X-Files. I was so absorbed in the series’ mythology, the strange cases of the week, and all things alien during those years, even though I lived in a country where those monsters didn’t really exist (we had our own monsters, of course). Thinking about that era brings a certain sense of nostalgia and a longing for those kinds of TV series in this age of streaming.

If you’re of that certain generation, then this newest LEGO build birthed from the Ideas factory would make you absolutely delirious. For those unfamiliar, LEGO Ideas is a fan-first initiative where enthusiasts submit concepts that, once they gain enough votes and approval, become officially produced sets, and The X-Files Set #21369 is one that clearly earned its place. This almost 1,500-piece set lets you relive those days when we went on vicarious adventures with the unconventional FBI Agent Fox Mulder and the smart but skeptical Dr. Dana Scully, and all the aliens and monsters they encountered along the way.

Designer: LEGO

This set, which is obviously meant for grown-ups given its scale and subject matter, features three distinct scenes. You have a detailed replica of Mulder’s iconic basement office, a forest clearing scene straight out of one of their paranormal investigations, and a hovering UFO to complete the eerie atmosphere of the build. You can display the office and the forest separately, or put all of them together as one grand set. And if you act quickly, purchasing the set between August 1–10, 2026 will also net you a bonus Scully’s Lab set, a recreation of the classroom lab at the FBI National Academy, complete with a Scully minifigure in her lab coat and scrubs.

The set includes eight minifigures that will be instantly familiar to faithful viewers of The X-Files. Aside from Mulder and Scully, of course, you have their beleaguered boss Assistant Director Walter Skinner, the infamous Cigarette-Smoking Man, the mysterious informant Mr. X, villainous henchman Alex Krycek, one of their classic monsters-of-the-week The Flukeman, and a grey alien. There are also several Easter eggs and authentic details packed into the build, including the “I Want to Believe” poster, a “The Truth Is Out There” tile, pencils stuck in the ceiling and sunflower seeds (two of Mulder’s most iconic habits), and an X-Files dossier.

What makes this set even more special is its origin story. The X-Files (21369) was chosen as the winner of LEGO’s “Build Your Nostalgia – 90s Throwback!” fan design challenge, meaning this build began as a dream submitted by a devoted fan before making its way to store shelves. It’s a love letter from one generation of fans to another, and that passion clearly shows in every carefully crafted detail. Even Gillian Anderson herself got in on the fun, starring in a cinematic mini-film reveal where she essentially steps into Scully’s shoes one more time, uncovering the LEGO set brick by brick.

Just thinking about building such a set brings me back to the days when I would eagerly devour everything I could about The X-Files universe, the fan sites, the collectibles, the episode guides dog-eared from obsessive rereading. This LEGO Ideas build would definitely appeal to big nerds (and I mean that lovingly) and anyone who appreciates the insane attention to detail given to this trip down nostalgia lane. At $199.99, it’s an investment, but for a set of this caliber, packed with character, memory, and the kind of Easter eggs only true fans will catch, it feels absolutely worth every cent. Whether you’re building it solo on a quiet weekend or proudly displaying it on a shelf, The X-Files LEGO set is a beautiful reminder that the best stories never really leave us. The truth is out there, and apparently, so are the bricks.

The post LEGO Just Built the X-Files Set Every ’90s Fan Always Wanted first appeared on Yanko Design.

In the Komagome neighborhood of Tokyo’s Johoku district, tucked near Rikugien — one of the two great gardens of old Edo — a new building is quietly rewriting what a ballet studio can be. Completed in September 2024, the Tokyo Ballet House by Kenta SANO & Associates, Architects is a dwelling house combined with a ballet studio, and its most radical gesture is the one you don’t immediately see: the city outside is treated as the audience.

The project sits in a neighborhood that was once dense with plant merchants and samurai residences. That green legacy is fading fast. Mini-developments are eating into what was once one of Tokyo’s largest urban green belts, replacing mature trees with token landscaping planted just to satisfy ordinance requirements. SANO’s response was to design something that holds greenery rather than displaces it — a small act of repayment to a neighborhood the client was born and raised in.

Designer: Kenta Sano & Associates

The building is four stories of steel structure, and its massing reads as two separate volumes stacked with an intentional gap between them. The lower level holds the garage and the studio’s supporting functions — changing rooms, service spaces. The ballet studio itself sits above, its floor detached from the ground and its ceiling set at 4.2 meters, generous enough for the kind of large, airborne leaps that define the art form.

The upper level is a compact residence, penthouse-like in character, with a terrace that wraps the perimeter and connects seamlessly with the interior floor. The sloped roof, boldly cut to navigate Tokyo’s setback regulations, folds into the interior as a sloped ceiling, giving the one-room living space a sculptural quality the floor plan alone can’t convey. The void between the two volumes becomes the building’s lungs — open eaves and a terrace that pull greenery into the heart of the structure. What could have been wasted space becomes the reason the building breathes.

But the real conceptual weight belongs to the studio itself. The ballet school’s owner has always prioritized performance over practice — recitals over rehearsals — and SANO built that philosophy into the architecture. The north-facing glass screen becomes the proscenium. Full-height textiles hang like stage curtains.

The studio floor, kept close to street level by minimizing the garage ceiling height above, reaches toward the city rather than hiding from it. The neighborhood outside the glass is not an intrusion — it’s the audience. A structural engineer visiting from abroad looked out from the interior and called the view unmistakably Tokyo. SANO agreed, and the building’s name followed from that moment.

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“Glasshole” entered Urban Dictionary as word of the day in March 2013, which tells you roughly how long it took society to make up its mind about face-mounted cameras. Google Glass had barely reached early users when bars, restaurants, and theaters started banning it. The device died from a social verdict so decisive it became a punchline. A decade later, Google is back. At Samsung’s Galaxy Unpacked in London today, the company helped reveal a new generation of AI-powered smart glasses, co-engineered with Samsung, dressed up in Warby Parker frames, and powered by Gemini. Same idea. Different fonts.

The climate into which these glasses arrive is not quiet. Meta spent the better part of 2026 trying to convince the public that AI glasses are aspirational, recruiting Kylie Jenner for the Meta Starfire Kylie Edition at $399 and positioning it as a style statement. What followed was a wave of coverage about covert recordings, a social media tutorial on disabling the LED light meant to prevent covert recording, and a protest campaign near Meta’s headquarters branding the glasses “fascist.” Some owners are reportedly now reluctant to wear them in public, having learned that the street name for their $399 fashion statement is “pervert glasses.” Google could not have picked a stranger moment to try again.

Designers: Samsung, Google, Warby Parker, and Gentle Monster

So what exactly did Samsung and Google show up with today? The glasses, branded Intelligent Eyewear, come in two designs: a slim black frame from Gentle Monster with a refined, fashion-forward silhouette, and a rich brown Warby Parker edition with a subtly upswept brow line meant for everyday wear. Under the hood, the Snapdragon AR1 Gen 1 chip handles the processing, the same silicon inside Ray-Ban Meta’s glasses, which is either reassuring or ironic depending on your mood. Gemini runs as the AI assistant on Android XR, the platform Samsung and Google co-developed, delivering information spoken into your ear rather than displayed on a screen. Battery life sits at nine hours, with a charging case that carries up to seven additional full charges. There is a built-in camera. There is always a built-in camera.

The positioning is reasonably clever and deliberate. By going audio-first with no display, Samsung sidesteps the cyborg-visor aesthetic that made Google Glass so alienating, and by partnering with Gentle Monster and Warby Parker, two brands with genuine fashion credibility, they are betting that good frames can do what celebrity endorsements and $400 price tags couldn’t for Meta. The glasses also pair with both Android and iOS, which removes the ecosystem friction that would otherwise halve the addressable market before a single unit ships. On paper, this is the most considered entry into smart glasses anyone has made.

The paper, unfortunately, has to reconcile with the sh*tstorm that is Meta and Kylie’s brand collab. Kylie Jenner’s job in the Meta Starfire campaign was to make AI glasses feel safe and aspirational, particularly for women. She wore them, posed with them, starred in content shot from the glasses’ own point of view. What nobody at Meta apparently modeled was the possibility that Jenner’s involvement would become the story, and the story would be unflattering. Lorde publicly called the glasses “not sexy.” Women across Brussels and beyond reported being filmed without consent by men wearing the exact product Jenner was paid to glamorize. Meta had to patch their own hardware to stop people from disabling the recording indicator light. The fact that a patch was required is its own headline.

Samsung and Google have built in visible recording indicators and user-controlled privacy settings, which they are smart to advertise loudly. But the problem Meta created for the entire category goes deeper than indicator lights. The public now has a fixed mental model of what a camera on someone’s face means, and it was not built by reading spec sheets. It was built by watching someone get filmed on the bus, by the NameTag story, by “pervert glasses” becoming the phrase that stuck when “Intelligent Eyewear” didn’t.

Google killed Glass in 2015 because society rejected the behaviour the device enabled before the technology even had a chance to mature. Everything Samsung unveiled today is genuinely more refined, more considered, and more fashionable than anything Glass ever was. The question is whether any of that is the actual problem. Going by recent evidence, the frames were never really the issue.

The post Samsung and Google Are Trying Smart Glasses Again, at the Worst Possible Time first appeared on Yanko Design.

I’ve tried on almost every rugged smartwatch worth talking about at some point, Garmin’s Fenix line, the Coros Vertix, Apple’s Watch Ultra, a few G-Shocks that technically count as smart now. And every single one turned my wrist into a doorstop. Titanium and steel cases solve durability by adding mass, and mass has a way of showing up as thickness, the one spec nobody brags about in a press release. Samsung’s original Galaxy Watch Ultra fit right into that pattern, a genuinely capable watch that still felt like strapping a hockey puck to your arm. So when Samsung says the Galaxy Watch Ultra2 shed 12% of its case height, that’s worth a second look, because that number usually comes at the cost of battery, and Samsung didn’t make that trade this time.

The new Ultra2 measures 10.7mm thick, down from 12.1mm, while its battery grew 35% to 800mAh. For comparison, the Apple Watch Ultra 3 still ships in the same 14.4mm case Apple has used since 2023, meaning Samsung’s rugged flagship is now meaningfully thinner than Apple’s. It comes in one 47mm size, priced at $699.99, up for preorder now with an August 7 release. The case shape hasn’t changed though, and that squircle silhouette is, well, it’s something.

Designer: Samsung Electronics

The trick isn’t hiding in the tooling, it’s in what Samsung tore out of the motherboard this year. Swapping the in-house Exynos W1000 for Qualcomm’s Snapdragon Wear Elite isn’t just a performance story, it’s a real estate story, since a different chip package almost always means a different board footprint underneath the display stack. Shrink or flatten that board and you free up vertical space for exactly the two things Samsung actually wanted more of, glass and battery. That’s likely how a watch gets thinner and holds 35% more charge in the same breath, a trade that usually isn’t available to engineers. The one wrinkle is that the Ultra2 is about a gram heavier than before, which tells me some of that freed space went right back into denser cell chemistry rather than thinner titanium.

Every hands-on published this week reaches for the same word to describe that flat-topped case, polarizing, as if refusing to be a circle is some kind of design crime. I’d push back on that read, because the squircle is doing real functional work, not just standing out at a Samsung keynote. A flat bezel lets Samsung etch actual hour numerals into the metal for a glanceable readout, something a curved rotating bezel can’t do nearly as cleanly. It also gives the sapphire front a flush, uninterrupted seal against the frame, which matters more once you’re strapping this thing on for a dive. Casio figured this out decades ago with the square DW-5600, a shape divers and soldiers kept buying long after round watches became fashionable again.

That instinct pays off literally underwater this year, since the Ultra2 is the first Galaxy Watch to earn EN13319 certification for dive instruments, alongside IP69K and 10ATM. Professional dive computers from Suunto and Shearwater have never been round for the same reason Samsung’s case isn’t, a flat face reads better through a mask and seals better against water pressure. The watch auto-detects submersion and logs depth, time and temperature on its own, while a dedicated Mares app arriving later this year unlocks ascent tracking and safe dive limits. Samsung says that partnership stays exclusive to the Ultra2 for two years, which is a long runway on Wear OS. All of that ships for $699.99, a full $100 under Apple’s Ultra 3, in a case that’s now thinner than Apple’s too.

None of this makes the Ultra2 a subtle watch, and it was never trying to be one. What it proves is that Samsung finally stopped treating “rugged” as a synonym for “thick,” which is a harder engineering problem than adding another millimeter of titanium ever was. Whether the Mares app actually delivers a usable dive computer later this year will decide if that squircle earns its keep beyond marketing slides. Until then, the case shape stops looking like a stubborn styling choice and starts looking like the reason the rest of this watch works at all.

The post Samsung’s Galaxy Watch Ultra2 Is Now Thinner Than the Apple Watch Ultra 3, and Its Battery Still Grew 35% first appeared on Yanko Design.

The floor is the canvas. That’s the premise behind Geometry of Play, Sharmistha Ray’s new public art installation at Arts Landing in downtown Pittsburgh, and it might just be the most quietly radical thing to happen to both art and sport this year.

Ray, an artist, writer, and educator born in Kolkata and raised in Kuwait before settling in the United States, has always worked in the language of vibrant geometric abstraction. Their paintings draw from South Asian visual traditions, including kaleidoscopic mandalas and architectural ornamentation, filtered through a lens of queerness, migration, and belonging. It’s rich, layered work. So when the Pittsburgh Cultural Trust commissioned Ray to create a mural across three pickleball courts for their inaugural public art program at Arts Landing, the choice wasn’t arbitrary. They needed someone who understood that abstraction isn’t just decoration. It’s meaning.

Designer: Sharmistha Ray

Geometry of Play is made up of large-scale murals painted directly onto the playing surfaces of three 22-by-40-foot pickleball courts, making them the first artist-designed pickleball courts in the entire country. Interlocking circles, triangles, and grids move across the pavement in bold, saturated color. Up close, it reads like a painting you’d frame and hang in a gallery. From a drone view, it’s something closer to architecture, or maybe a quilt, or a mandala. All of those things at once.

What strikes me about this project is how well it understands its context. Pickleball is famously communal. It’s not a solitary sport of stoic concentration. It’s loud and social and a little chaotic, and the people who love it tend to love it deeply. Ray’s work doesn’t ignore that energy; it amplifies it. The mural creates a constantly shifting visual and physical experience as players move across the court. The geometry doesn’t sit still. It responds to motion, to foot traffic, to the unpredictable choreography of the game itself.

That’s a pretty smart relationship between art and function, and I’ll be honest: I think it puts a lot of conventional public art to shame. So much public art, especially the kind installed on flat, horizontal surfaces, tends to feel like an afterthought. A logo. A pattern that exists to fill space without challenging it. Geometry of Play actually does the opposite. It treats the court not as a site that needs decorating but as a site that can carry meaning, even while a game is being played on top of it.

Ray is also a founding member of Hilma’s Ghost, a feminist artist collective, and currently teaches at Carnegie Mellon University. That connection to Pittsburgh runs deeper than a single commission, and you can feel it in the work. This isn’t a project that was parachuted in from another city. Geometry of Play is part of a larger program featuring 23 works by 10 artists, all commissioned for Arts Landing. It’s part of something being built slowly, intentionally, in one place.

The installation debuted during Picklesburgh, Pittsburgh’s beloved annual festival, in July 2026. But the courts aren’t going anywhere. They remain open for public use, which means people will be playing pickleball on top of a painting for years. I find that genuinely exciting. Art in a museum demands a certain mode of attention: quiet, reverential, scheduled. Art on a pickleball court demands nothing. It just shows up where life already is.

Ray has said that they treat abstraction as “a spatial and cultural gesture of joy, inclusion, and shared encounters across identities, generations, and modes of seeing.” That framing matters. Geometry of Play isn’t trying to be monumental. It’s trying to be present, in the middle of things, where people are actually gathering and moving and having fun. We talk a lot about making art more accessible. Most of the time, that conversation stays theoretical. Sharmistha Ray just painted it onto the ground and said: here. Come play.

The post Pittsburgh Just Built the Most Beautiful Pickleball Courts in America first appeared on Yanko Design.

When we think of invisibility, the idea centers around shielding the form with invisible cloaks or trying to make the object camouflage in the surroundings. Northwestern University in Illinois, however, has a very different approach. Taking advantage of the limitations of the human eye to focus on objects, the team of engineers has come up with a nifty science trick to make a drone that disappears when in flight.

The neat motion is attributed to the drone chassis spinning at 25 RPS, which tricks the human eye into perceiving the flying object as a faint smudge in the air. Dubbed the Phantom Twist, this drone was first demonstrated as a part of a Robotics: Science and Systems 2026 presentation. According to team lead Michael Rubenstein, “the idea of low visibility through persistent motion is something few people have explored.”

Designer: Northwestern University

Unlike most quadcopters that have four rotors to generate lift, Phantom Twist has one motor and a propeller. The propeller spins in one direction, forcing the rest of the body to go in the other direction. The team used AI and optimization configurations to generate around 20,000 drone configurations to finally arrive at the stable flight model. Of course, they had to put together the drone’s components like the motor, circuit boards, counterweight and batteries to arrive at this odd form. Over 500 final models were run in the optimizer against the simulated spinning mid-flight and overlaid on the 100 real-world backgrounds to arrive at this final design.

Michael added that “For a typical quadrotor drone, the propellers are spinning, but the robot is stationary. So, you still see its body. For our drone, the whole thing is rotating, so there are no stationary parts.” The human eye takes time to process the information, just like a camera exposure shot. The quick spinning drone therefore goes completely transparent as the partially opaque elements average out against the background, creating a slight haze. This makes the Phantom Twist drone 10 times more difficult to spot than a standard quadcopter.

The only giveaway is the whirring sound the drone makes. Also, the support wires and the rods are partially visible, but still you can’t see this flyer from a distance. Further improvements of this unique design hint at the use of more transparent materials and a quieter propulsion system. So, we can expect to see a drone that is closer to complete invisibility in the future from the Northwestern University team. The applications are endless, including secret military missions behind enemy lines or a world where drones just operate in the background without anyone ever realizing.

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Somewhere between a weekend cabin and a permanent address, the N2 finds its footing. The N2 by Escape Tiny Homes doesn’t try to pretend it’s anything other than a compact, well-considered dwelling — and that clarity is precisely what makes it compelling.

Built by Escape Tiny Homes, the Wisconsin-based manufacturer that has spent years refining the craft of small-space living, the N2 is a tiny home on wheels designed for people who want permanence without the footprint. It sits on a steel trailer frame, certified by NOAH, meaning it meets rigorous construction standards that most DIY tiny homes never approach. That certification isn’t just a badge — it’s the difference between a home that lasts decades and one that warps after a few winters.

Designer: Escape Tiny Homes

The exterior carries Escape’s signature modern aesthetic: clean lines, board-and-batten siding, and a low-profile roofline that reads more like a Scandinavian cabin than a road-bound structure. It photographs beautifully, which matters in an era where the first impression of any home happens on a screen. Inside, the design logic is just as deliberate. The layout prioritizes flow over square footage, with an open-plan living and kitchen area that feels generous despite its dimensions. Large windows pull in natural light throughout the day, doing the work that extra square footage usually does in a conventional home.

The kitchen is functional without being minimal to the point of frustration — there’s actual counter space, cabinetry that reaches the ceiling, and room for a full-size refrigerator. The loft bedroom above offers a sleeping area that, depending on your ceiling preferences, works best for those who prefer a cozy, nest-like rest environment rather than something you can stand up in. The bathroom is compact but finished with the same attention to detail as the rest of the space.

What Escape understands, and what the N2 demonstrates well, is that tiny home living is a mindset shift before it’s a spatial one. The home doesn’t ask you to sacrifice comfort — it asks you to reconsider what comfort actually requires. For remote workers, weekend retreat seekers, or anyone looking to reduce overhead without reducing quality of life, the N2 presents a genuinely livable answer.

At a price point that undercuts most traditional builds by a significant margin, the N2 makes the case that thoughtful design doesn’t demand a large canvas. Sometimes the most interesting work happens when the constraints are real.

The post Escape Tiny Homes’ N2 Is the Tiny Home That Makes You Question Why You Ever Needed More Space first appeared on Yanko Design.

Wireless gaming headsets have carried a quiet contradiction since they first appeared. Cutting the cable was supposed to mean more freedom, but the moment the battery dropped, you were plugging back in anyway, tethered to a wall or a charging dock and waiting. The industry’s answer has been to push battery life further with each generation, but even a 60- or 70-hour headset runs flat eventually, usually in the middle of something.

Glorious took a different angle with the GHS Wireless InfinitePlay. Rather than chasing a single larger battery, the headset ships with two hot-swappable 85-hour battery packs and an internal Guardian Battery reserve that bridges the gap during the moment of the swap. The result is a headset that, in practical terms, never actually stops playing, because by the time one pack drains, the other is already charged and ready.

Designer: Glorious

The system works through a dual-purpose charging base that also serves as the 2.4 GHz wireless dongle. One battery sits in the headset while the other charges on the base. When the depleted pack comes out and the charged one slots in, the Guardian Battery, which can run the headset independently for about 3 hours, has already kept audio uninterrupted through the swap. There’s no pause in sound and no drop in connection.

Combined, the two packs add up to more than 170 hours of capacity. For any kind of extended session, a long run at a tournament, a weekend of back-to-back play, or everyday use where charging gets forgotten, the swap-based approach removes the anxiety from the equation entirely. Swap the battery, put the depleted one on the dock, and carry on without another thought about it.

The headset is built around 40mm custom-tuned drivers angled to improve clarity and stereo imaging, covering a frequency response of 20Hz to 20kHz. The detachable boom microphone is noise-cancelling, and the ear cups use memory foam padding over a suspension headband that distributes the 360g weight across the top of the head. Connectivity covers both 2.4 GHz wireless for low-latency gaming and Bluetooth 5.4 for everything else, switchable with one button press.

That Bluetooth mode makes the headset practical outside the gaming setup too. Moving from a PC session to a phone call or a commute doesn’t require switching to a different pair of headphones. The same swap-and-go logic applies to any situation where the headset is living on your head for extended stretches, and the battery system works just as well whether you’re at a desk or out the door.

Most hot-swappable headsets at higher price points make the process awkward or require specific docking sequences. Glorious kept it simple enough to execute mid-session without missing a beat, which is ultimately the only version of this feature that actually matters. The GHS Wireless InfinitePlay is priced at $229.99 and comes in black and white. Both battery packs and the charging base are included in the box, so the whole swappable system is ready to go from day one, not sold separately as an add-on down the line.

The post At $230, This Gaming Headset Keeps Playing While You Swap Its Battery first appeared on Yanko Design.