Most sustainable beauty products come with a visual apology. You know the look: matte recycled paper, utilitarian shapes, a general aesthetic that signals good intentions while quietly penalizing you for having taste. Designer Sanya Jain’s unsolicited concept for a Tata Harper foundation system refuses that trade-off entirely, and the result is one of those rare design exercises that feels more polished than half the things sitting on Sephora shelves right now.
Tata Harper, for anyone who hasn’t fallen into that particular rabbit hole, is the brand that built its entire identity on the idea that luxury and purity don’t have to be in conflict. Founded in 2010 and formulated on an organic farm in Vermont, the brand made its name in skincare with 100% natural, high-performance formulas free of synthetic chemicals, toxins, and fillers. It’s a rigorous philosophy, and one that its existing packaging already respects to a degree. But the color cosmetics side of things has always felt like an unfilled gap. Jain spotted that gap independently, and used it as the brief for something worth paying attention to.
Designer: Sanya Jain
The concept, which she calls PureDose Foundation, centers on a refillable, modular system. The product lives inside a Viomer pod, a material valued for being lightweight, durable, and designed for circular reuse. That pod slots cleanly into a polished, gold-toned dispenser that looks less like something from a drugstore and more like a small piece of modernist sculpture you’d display on purpose. Press the top button once, and the foundation dispenses in a controlled drop directly onto a detachable metal slate positioned at the base. You load your brush from there and go. No squeezing, no guesswork, no wasted product sitting in the cap.
That last part matters more than it sounds. Foundation is one of the more quietly wasteful categories in makeup. Products get dispensed in excess, oxidize before you can blend them, or sit in bottles that are technically not empty but practically impossible to finish. The PureDose concept sidesteps most of that friction by making the application point clean, controlled, and hygienic. The metal slate rinses under the tap. The pod refills. The dispenser stays on your vanity indefinitely. It’s a smarter loop, and the fact that it manages to look this refined while doing it is not accidental.
Jain pulled from biomimicry and clean geometry throughout the design. The rounded, organic silhouettes of both the pod and the dispenser echo the natural world that Tata Harper draws from as a brand, and that kind of visual consistency is harder to achieve than it appears. The colorway options, gold, rose gold, silver, and matte black, give the system range without diluting the identity. And the unboxing experience is worth noting: a velvet-lined jewelry box for the dispenser and a kraft-paper octagonal carton for refill pods. It’s one of the more layered packaging stories I’ve come across in concept work. It understands that luxury is at least partly emotional, and that the ritual of opening something should feel like it belongs to the rest of the experience.
What makes this project compelling beyond the aesthetics is how faithfully it mirrors the brand’s existing values without any official mandate to do so. Tata Harper already commits to FSC-certified paper, transparent ingredient sourcing, and eco-conscious material choices. Jain’s concept simply asks the next question: what would a color cosmetics line look like if it operated with the same level of rigor? The answer is something that sits on your vanity like a design object, performs with precision, and leaves significantly less behind when it’s done.
Concept work in industrial design usually lands in one of two places. It either solves a real problem with no aesthetic investment, or it produces something visually stunning that would fall apart after a week of actual use. This one manages to hold both ends of that tension together, which is the harder achievement. Jain didn’t find a way to make sustainability bearable. She found a way to make it worth wanting. Whether or not Tata Harper ever sees this, the question it raises is one the beauty industry should be sitting with.
Pocket real estate is non-negotiable. Every gram you carry should earn its spot — by solving a problem you actually face, doing it better than what’s already in your rotation, or pulling off both without adding the kind of bulk that defeats the purpose of carrying light. April delivered a focused set of drops that clear that bar across the board.
The drops include a tool built on a patent that predates the first World War, a carabiner that turns an AirTag into proper hardware, a collaboration piece that turns Japanese wave motifs into functional grip texture, and a flashlight that rethinks how a carry light should deploy. None of these is an impulse purchase. They’re the work of people who thought seriously about what an object owes the person carrying it.
1. MetMo Pocket Grip — A 1913 Patent, Finally Fulfilled
The Pocket Grip is proof that the best ideas don’t expire — they wait for the manufacturing era that can do them justice. MetMo pulled a 1913 Anderson patent from near-total obscurity and rebuilt the concept from scratch using CNC machining and modern metallurgy. The double-ended, central-pivot architecture that made the original mechanically clever is still the structural engine here, but the tolerances, surface finishing, and material quality are generations ahead of what Anderson’s era could produce. It doesn’t feel like a revival. It feels like the tool is arriving for the first time, fully formed.
What keeps it from becoming a novelty is the design discipline packed into every surface. The central pivot, a structural requirement in the 1913 concept, is machined to serve as a 1/4-inch hex drive for standard bits. The jaws split into distinct functional zones: a chomping area for raw grip, dedicated geometry for round and flat objects, and a nipping point for edge work. Nothing is decorative. Every millimeter carries a job, which is a genuinely rare quality in a category that usually trades specificity for the appearance of versatility.
What We Like
CNC precision transforms a century-old mechanical concept into a tool that performs to modern standards
Jaw geometry, divided into distinct zones, removes the clumsy generalism of traditional multi-tool pliers
What We Dislike
The central-pivot format will feel unfamiliar to anyone who’s built habits around conventional plier-style tools
Specialized architecture means it won’t replace a full multi-tool on extended technical trips
2. AirTag Carabiner — Aerospace-Grade Metal for Your Most-Forgotten Gear
The problem with most AirTag holders isn’t the tracker — it’s the housing. Plastic shells and rubber sleeves cheapen what should feel like a permanent fixture in your carry system. This Duralumin composite carabiner takes a different position entirely, using a material cleared for aircraft, spacecraft, and marine environments to do a job most people hand off to a keyring loop. The result is a carabiner that snaps onto a bag strap, bike frame, or umbrella handle and genuinely disappears into the hardware without looking like an afterthought.
What makes it worth calling out specifically is the handcrafted construction and the material choices available at checkout. Duralumin keeps the weight negligible while delivering structural integrity that synthetic alternatives simply can’t match at this scale. Untreated brass and stainless steel variants let you match the finish to what’s already on your keychain or bag without compromising the function. The AirTag sits cleanly inside the carabiner body, turning a tracker that would otherwise rattle around a pocket into something secured, accessible, and built to last well beyond the device it’s carrying.
The collaboration between Audacious Concept and URBAN EDC produced something the limited-edition tool market rarely manages — a piece that’s genuinely better because of its design, not just more expensive because of its branding. The titanium body is milled with the Chaos Seigaiha pattern, a Japanese wave motif that reads immediately as art on a shelf. Hold it, and the texture resolves into a real grip surface, tactile enough to prevent slip under pressure without being rough against pocket fabric or a keychain ring. Lightweight, corrosion-resistant, and built to outlast most objects you’ll carry alongside it for the next decade.
Inside the body, a neodymium magnetic core holds seven micro bits in place and releases them cleanly on demand. The selection covers Phillips and flathead sizes, which handle the practical scope of most small-scale fastener work — eyeglass adjustments, consumer electronics, and pocket gear maintenance. Bit retention is tight enough that nothing rattles loose in a jacket pocket, but the swap is smooth and one-handed. For something designed to live on a keychain, the functional depth is serious enough to make reaching for a larger screwdriver feel unnecessary for anything outside heavy-torque work.
What We Like
The Seigaiha milling functions simultaneously as a visual identity marker and a genuine grip surface
Magnetic core bit retention secures seven micro bits without adding measurable weight to the titanium body
What We Dislike
Limited-edition status means supply is finite, and secondary market pricing will reflect that quickly
Micro bit format won’t satisfy tasks requiring full-size driver torque or a longer shaft reach
4. 8-in-1 EDC Scissors — The Tool That Benefits From Being Underestimated
The instinct to dismiss a palm-sized pair of scissors is exactly what makes this carry piece a reliable surprise. At 13 centimeters, it disappears into a zipper pocket or bag compartment without registering as weight or bulk — but the eight integrated tools inside that frame cover a range of everyday situations that most dedicated items can’t individually match. Scissors, knife, lid opener, can opener, cap opener, bottle opener, shell splitter, and degasser. The oxidation film finish resists rust and gives the whole object a clean matte black profile that holds its look through daily contact and pocket friction without complaint.
Where compact multi-tools often make you feel the engineering compromises in your hand, these scissors stay intuitive throughout. The scissors work like scissors. The openers work without awkward repositioning or a three-step learning process. The geometry is uncomplicated, and the execution is clean, which matters more than mechanical cleverness when you’re opening a can at a campsite or dealing with packaging without a workspace. This is the kind of tool that earns its spot precisely by disappearing into the carry and only surfacing when it’s actually needed.
13cm form factor fits cleanly into zipper pockets and bag compartments without displacing other carry items
Eight functions without mechanical complexity keep the tool immediately usable under real-world time pressure
What We Dislike
Compact size limits leverage, meaning heavier cutting tasks will push past what the scissors can comfortably handle
First-time users need a short adjustment period to locate each function quickly without looking
5. Olight Baton 4 Premium Edition — The Flashlight That Figured Out Deployment
The 5,000mAh flip-top charging case is the real innovation here, and it changes how a flashlight behaves as an EDC item in a way that’s easy to underestimate until you use it in the dark. Flip the cover, press the side button, and 1,300 lumens activate while the light stays seated and secured inside the case. That one design decision removes the most persistent friction point in carry lighting — the fumble of finding, pulling, and orienting the flashlight when time actually matters. The case fits jacket pockets and pack hip belts without issue, keeping the light charged and immediately accessible across a full day of use.
The Baton 4 flashlight itself delivers 1,300 lumens at a 170-meter throw from a cylinder compact enough to stop registering as a presence after the first few carries. LED indicators display brightness level and remaining battery without guesswork, which becomes meaningful on longer backcountry trips where runtime management is part of staying prepared. One-handed case operation keeps the other hand free on technical terrain. The case charges other compatible Olight models, which adds genuine ecosystem value for anyone already carrying their hardware. For the output-to-size ratio it delivers, this is a difficult flashlight to argue against at any level of the carry conversation.
What We Like
Flip-top case enables immediate one-handed light activation without removing the flashlight from its housing
Case charges multiple compatible Olight models, turning one accessory into a multi-device carry solution
What We Dislike
Premium pricing places it well above the entry-level EDC flashlight bracket, narrowing its practical audience
The charging case adds volume that won’t suit ultra-minimalist or slim front-pocket carry configurations
The Best EDC Gear Doesn’t Ask for Attention — It Just Performs
What connects these five drops isn’t price point or category — it’s intentionality. Each one reflects a design process where the question wasn’t “what can we add?” but “what does this object actually owe the person carrying it?” That shift in thinking is what separates a tool worth carrying from one that looks convincing in product photography but quietly disappears from rotation after the first week. April’s strongest EDC offerings share that quality, and it shows.
The carry conversation has matured past the spec sheet arms race. Lumen counts, blade counts, and material callouts matter less than how an object behaves in the hand at the moment it’s needed. The MetMo earns its pivot. The RetroWave earns its seven roles. The Baton 4 earns its case. When gear is designed with that level of accountability, it doesn’t just fill pocket space — it justifies every square centimeter of it.
Furniture has always had a love-hate relationship with art. Some pieces are so carefully considered in form that they become objects of admiration, almost too precious to actually use. Others are purely utilitarian and couldn’t care less about looking good. Few pieces try to genuinely blur that line, but that’s the territory experimental artist and designer Michael Jantzen has been working in for decades.
His Interactive Segmented Tables are a compelling example of that approach. These aren’t concepts or prototypes; they’re actual, built furniture that sits in a room and waits for you to decide what they should be. At any given moment, they can work as a proper low table for a drink or a book, and with a few turns of their knobs, transform into something that belongs in a gallery.
The mechanism behind this is disarmingly simple. Each table is made up of identical segments threaded along a center support rod, held in place by two disc-shaped knobs on either end. Loosen those knobs, and you can rotate each segment independently into any configuration you like. Each segment has at least one flat side, so aligning enough of them with flat faces pointing upward turns the whole thing into a stable surface.
This is where the tables stop being passive objects and start being tools of expression. You might rotate the segments into something visually striking when guests arrive, then pull them flat when you need an actual surface for a lamp or a tray. The piece adapts to the occasion rather than the other way around, which is rarely something a table can honestly claim to do.
What makes this even more interesting is that the segments are two-toned, so rotating them doesn’t just change the table’s shape; it also shifts its color pattern. A configuration that shows one dominant tone can open up into a mix of both with a single rearrangement. You could work with the same piece for years and never feel like you’ve fully exhausted what it can look like.
The Interactive Segmented Tables also aren’t locked into a single form factor. Jantzen designed them to be available in many different sizes and table shapes, and they can be made from a range of materials. This means the same essential concept can translate into very different objects, depending on what a space or an owner calls for, without losing what makes them worth owning in the first place.
For anyone tired of furniture that commits too hard to a single personality, these tables offer something different. There’s a quiet pleasure in knowing you can reach down, loosen two knobs, and change what’s sitting in your living room without buying anything new. Few objects manage to be this honest about the fact that taste and function aren’t always fixed, and that’s a more useful quality than it sounds.
The commercial laptop market has gotten good at making portable computers slim and powerful, but it hasn’t quite figured out what to do with people who want something truly pocketable. A growing number of DIY enthusiasts have taken matters into their own hands, building compact personal computers known as cyberdecks from scratch, and the results have been growing increasingly polished and impressive.
The CyberFold is a recent and remarkably polished example of just that. Made by a pseudonymous duo going by Eggfly and MeiYao, it’s a foldable clamshell cyberdeck that bears a striking resemblance to an oversized Nintendo Game Boy Advance SP. But flip it open, and what you’ll find inside is a surprisingly capable Linux computer, complete with a touchscreen, a full QWERTY keyboard, stereo speakers, and a proper port selection.
The computing heart of the CyberFold is a custom motherboard that accepts the Raspberry Pi Compute Module family, specifically the Compute Module 4, Compute Module 5, or the affordable Compute Module Zero. These are the embedded variants of the popular Raspberry Pi 4 and Raspberry Pi 5, shrunk to a compact form factor without sacrificing real processing power, making them a natural fit for a pocketable machine.
Open the CyberFold mid-commute or at a workbench, and you’re greeted by a 1024×768 capacitive multi-touch display, responsive enough for everyday computing and comfortable for touch-based navigation. Below it is a compact QWERTY silicone keyboard based on Solder Party’s open-source KeebDeck design, which Eggfly built from the original design files. It’s the kind of input that calls to mind old-school palmtop computers, but with a full operating system running underneath.
One of the more clever details on the CyberFold is the touchpad, which pulls double duty as a secondary display. Running on an Espressif ESP32-S3 microcontroller, it shows live battery percentage and power consumption data, independent of the main computer. It’s the kind of thoughtful feature you’d normally see on a commercial device that went through multiple rounds of product refinement, not something you’d expect from a maker’s personal project.
Connectivity isn’t something the CyberFold cuts corners on. Full-size USB 3.0 and USB 2.0 ports handle peripherals easily, while two HDMI outputs let you extend to a larger screen when needed. A microSD card slot, a debugging port, and stereo speakers flanking the display round things out, and a rotary encoder scroll wheel adds a satisfying tactile element to everyday navigation.
Power comes from a pair of batteries in an integrated holder with a built-in charging circuit, so you can top it off without cracking the device open. The clamshell form factor keeps the screen and keyboard protected when closed, making the whole thing practical enough to slip into any bag. Eggfly hasn’t released the design files publicly yet, but the maker community has already taken a keen interest.
There’s something appealing about the CyberFold that goes beyond its spec sheet. It represents a very specific kind of ambition: the desire to own a computer that fits in your jacket pocket, runs whatever software you choose, and was assembled by hand. Commercial products can maybe deliver two of those three things at best, and that gap is exactly what keeps the cyberdeck community building.
Blue Origin has successfully reused its first-stage New Glenn booster for the first time after it landed in a cloud of smoke and fire on a recovery ship. It marks the second flight and reuse of Never Tell me the Odds, after the booster was recovered from New Glenn's previous launch in November last year. However, the rocket company's first commercial mission was marred by a failure to place the communications satellite payload into orbit.
The launch went smoothly to start with, with the first-stage GS1 booster separating from New Glenn after three minutes and landing smoothly 10 minutes after launch following two braking burns, as shown in a post on X from Blue Origin's owner, Jeff Bezos.
However, several hours later the Blue Origin team and satellite manufacturer, AST SpaceMobile, announced that the payload had failed to reach orbit. "We have confirmed payload separation," Blue Origin announced on X. "AST SpaceMobile has confirmed the satellite has powered on. The payload was placed into an off-nominal orbit. We are currently assessing and will update when we have more detailed information."
Later on in a press release, AST SpaceMobile revealed that "the satellite separated from the launch vehicle and powered on, [but] the altitude [was] too low to sustain operations with its on-board thruster technology and will de-orbited. The cost of the satellite is expected to be recovered under the company’s insurance policy."
The upper stage was supposed to position the satellite into a 285 mile orbit after completing two burns. It would have then unfolded a 2,400 square-foot antenna and linked with six other satellites in a test for AST's high-speed direct-to-cell network. However, early telemetry data showed that the satellite only reached 95 miles, well below a sustainable orbit. It's not yet clear how the failure occurred.
Despite that, Blue Origin can take some solace in its successful first-stage reuse, particularly since it happened on just the third New Glenn mission (NG-3). It took SpaceX, by comparison, 32 flights before its first successful reflight of a previously flown orbital-class booster.
Blue Origin will definitely want to solve the upper stage issue soon. Its next flight is the first New Glenn launch of Amazon Leo (formerly Project Kuiper) broadband satellites. It plans to put 48 of those into orbit to significantly expand the Starlink rival's constellation, which currently sits at 241 satellites.
This article originally appeared on Engadget at https://www.engadget.com/science/space/blue-origin-landed-its-recycled-new-glenn-booster-but-failed-to-put-payload-in-orbit-055846419.html?src=rss
A few years ago, I bought my mom a simple powerful handheld fan that she now swears by (it’s small enough to be a permanent fixture in her purse). She discovered it also works as a perfect cool-air hair dryer for her, a small, unexpected bonus that turned a simple gadget into an indispensable tool. Finding a truly great Mother’s Day gift is a unique challenge, but it’s exactly these kinds of gifts that make a lasting impression, the ones that solve a small daily annoyance and bring a little bit of comfort into her life. It is about gifting an experience, the experience of personal comfort, which is something that can be appreciated whether she is gardening, running errands, or just relaxing.
This is where a device like the TORRAS COOLiFY takes that concept of personal comfort to an entirely new level. It is a piece of technology built to provide that relief, anytime and anywhere. The concept moves beyond just moving air and into active cooling, using technology to help manage everything from a hot day to an unexpected hot flash. The COOLiFY lineup offers two great choices; the Cyber Fold delivers the strongest cooling performance for immediate and powerful relief, while the 2S Pro is built for lightness, comfort, and longer battery life, making it an easy and practical part of her daily routine.
The Cyber Fold: Maximum Cooling Power
The TORRAS COOLiFY Cyber Fold is for the mom who wants the most powerful cooling she can get – think 100°F weather, sweltering summers, unbearable days and nights. Its main claim to fame is having the largest cooling coverage of any device of its kind, and it backs that up with some impressive tech. Instead of just blowing air, it uses three cooling plates that get genuinely cold to the touch, wrapping the entire neck, face, and back in a refreshing wave of coolness. This is the kind of device you reach for when you need immediate, serious relief from the heat. The design is also surprisingly clever; a smart hinge system allows it to fold down to half its size for easy storage and adjust to fit her neck perfectly, while a neat color-changing surface turns blue when it is cool so you can see it working.
Beyond its raw power, the Cyber Fold is also smart. It has automatic sensors that detect the surrounding temperature and adjust the cooling levels on their own, so she does not have to constantly fiddle with the settings. This makes it a truly set-it-and-forget-it experience. The battery is large and charges quickly, getting to 80% in about an hour, even while it is still running. For moms who experience intense hot flashes or simply want the absolute best cooling technology for their time outdoors, the Cyber Fold is the top-tier choice that delivers on its promise of immersive, powerful relief.
Where the Cyber Fold focuses on power, the COOLiFY 2S Pro is all about all-day comfort and endurance. It uses a similar cooling plate technology to deliver that same instant relief, but it is engineered to be lighter and more comfortable for long periods of wear. It is the kind of device she can put on in the morning and almost forget it is there. The battery life is the real standout feature here, offering up to 28 hours of use in fan mode, which is more than enough for a full day of errands, gardening, or relaxing on the patio. When it does need a charge, it powers up fully in just a couple of hours.
The design of the 2S Pro is focused on a comfortable and secure fit. Its patented hinge not only adapts to various neck shapes without pinching, but also allows her to rotate it to adjust the airflow direction, putting the breeze exactly where she wants it. Combined with soft memory foam cushions, it rests gently on her neck without feeling bulky, making the wearing experience even more comfortable. It also has smart controls through a mobile app and a memory function that saves her favorite settings, making it incredibly easy to use. The display is hidden, giving it a clean, modern look. For the mom who values practicality and wants a reliable companion to keep her cool throughout her entire day, the 2S Pro is the perfect fit. It delivers that essential cooling comfort in a lightweight, easy-to-wear package that is built to last.
Both devices are built on the thoughtful idea of giving moms more control over their personal comfort. They are designed to help relieve the discomfort from temperature fluctuations or hot flashes that can interrupt an otherwise perfect day. Giving a gift like this is about helping her enjoy being outside again, without having to give up the moments she loves because of the heat. Choosing between the two simply comes down to her lifestyle; whether she would appreciate the maximum cooling power of the Cyber Fold or the lightweight, all-day endurance of the 2S Pro.
Most architects fold when the rules change. The Trim House by Polish firm KWK Promes, completed in 2025 in a forested suburb of Vilnius, Lithuania, is exactly that kind of project. It began in 2016, when KWK Promes, led by Robert Konieczny, won a closed competition to design a luxury single-family home on a wooded plot in suburban Vilnius. The site carried its own quiet history, once dotted with interwar wooden cottages that had long since disappeared, leaving behind open ground and a loose scatter of trees. What followed was a straightforward brief and an optimistic timeline. Then, mid-design, local planning regulations changed everything.
The allowable building footprint was slashed in half. The driveway was also repositioned, now cutting directly through the garden. The client’s instinct was to abandon the site altogether. KWK Promes had a different idea. Rather than retreat, the firm persuaded the client to stay, reduce the total area by 40%, and let the new constraints rewrite the geometry entirely. The result was a triangular floor plan, precise, deliberate, and oddly inevitable once you see it.
The name does exactly what it says. The house was trimmed. And in being trimmed, it became something far more interesting than the original design might have been. Spanning 299 square meters, the Trim House is a composition of concrete and glass, its sharpest corner cutting through the landscape like an ocean liner carving through ice. The most dramatic elevation reads almost like a flatiron building scaled down to domestic life, angular, taut, and satisfying in a way that’s hard to place. The surrounding pine trees press close, softening what could have felt severe.
Inside, the two-level plan is organized around a central patio that pulls daylight deep into the heart of the structure. The ground floor holds the living spaces and opens seamlessly into the garden, while the raised first floor contains the private bedrooms, each with access to a terrace that sits above the ground-floor volume. The section plays the two zones off each other, the social, grounded, garden-facing level below, and the quieter, more elevated, view-oriented rooms above. Privacy and nature, held in careful balance.
What makes the Trim House worth paying attention to isn’t just its sculptural confidence. It’s the story behind the form. Constraints aren’t obstacles but essential drivers of innovation, as KWK Promes put it. The Trim House makes that argument with concrete and glass, and it’s hard to argue back.
Some design ideas are so quietly right that they take decades to find their full audience. Oliver Michl’s Architect’s Lamp from the 1980s is exactly that kind of piece. It is a ceiling-mounted light that borrows its entire visual logic from equal space dividers, the spring-loaded drafting tools that architects and engineers use to plot perfectly even intervals across a surface. The concept sounds almost too clever when you say it out loud. And yet, the moment you see it, it just makes sense.
Michl designed the lamp during a very specific cultural pivot. The 1970s had been all about flowing, organic plastic forms. Soft curves, warm earth tones, a kind of material optimism that felt almost comforting. Then the 1980s arrived and jolted design in the opposite direction. Hard lines, industrial materials, a theatrical confidence in structure that felt almost confrontational compared to what came before. Michl, a German lighting designer who would later found Lucelab in Berlin, built the Architect’s Lamp squarely in that spirit. Steel and aluminum, full articulation, no softness anywhere.
What makes the lamp genuinely interesting, beyond its visual bravado, is how it actually functions. The scissor-like expanding structure allows the piece to adjust both in height, ranging from about 41 to 79 inches, and in width, from 41 to 60 inches. Because it hangs from the ceiling rather than sitting on a desk or floor, the light it casts is ambient rather than task-focused. This was never a reading lamp. It was always a statement, and a rather bold one. Michl made the deliberate choice to take a mechanism that belongs at a drafting table and scale it up for overhead use. That kind of lateral thinking, the willingness to transplant a tool from one context and drop it into a completely different one, is harder than it looks. Most attempts at it feel gimmicky. This one feels inevitable.
There is a particular intelligence in designing a lamp that operates like this. Most lighting from that era leaned one way or the other, either purely functional or purely decorative, rarely both at the same time. The Architect’s Lamp refuses that binary entirely. It performs, and it reads as kinetic sculpture. The expanding grid of its structure, when viewed from below, creates a repeating geometric pattern that visibly shifts with every adjustment. You are not moving a lamp. You are editing a composition, and that distinction matters more than it might sound.
Michl has always worked at that intersection of function and spectacle. His FleXXXibile luminaire, also produced under Lucelab, became a cult object among designers for similar reasons. It features a concertina lattice that can be precision-aimed at a specific point, and it has never really left the design conversation. The Architect’s Lamp arrives at the same sensibility from a different angle. Both pieces suggest a designer who finds moving parts not just practical but genuinely compelling. The mechanism, in Michl’s work, is always part of the message.
The lamp currently lives at Blackman Cruz, the Los Angeles gallery that specializes in exactly this kind of historically significant object. It is listed at $5,500, which is real money, but it is also an original piece from Germany, circa 1980, in steel and aluminum. It has survived four decades intact, which tells you something. The pieces that do not hold up tend to disappear. The ones that keep getting rediscovered tend to deserve it.
The reason this lamp keeps resurfacing in design conversations right now is not nostalgia. It is recognition. The industrial-meets-sculptural vocabulary that dominates so many contemporary interiors, the hard edges, the mechanical articulation, the idea that a light fixture can function as architecture, all of it circles back to what Michl was already doing forty years ago. He was early, and the design world was not paying close enough attention. The Architect’s Lamp is a reminder that some of the most interesting ideas do not announce themselves loudly. They just wait.
Despite the months-long feud between Anthropic and the Pentagon, the National Security Agency is using the AI company's new Mythos Preview, according to Axios, which spoke to two sources with knowledge of the matter. Anthropic announced Mythos Preview at the beginning of April, describing it as a general-purpose language model that is "strikingly capable at computer security tasks." But back in February, Trump ordered all government agencies to stop using Anthropic's services after the company refused to budge on certain safeguards for military uses during contract talks.
The news comes days after Anthropic CEO Dario Amodei met with White House chief of staff Susie Wiles and other officials, reportedly to discuss Mythos. The White House later said the meeting on Friday was "productive and constructive," though President Trump said he had "no idea" about it when asked by reporters, Reuters reports. According to Axios' sources, the NSA is one of the roughly 40 organizations Anthropic gave access to Mythos Preview, and one said it's "being used more widely within the department" too.
This article originally appeared on Engadget at https://www.engadget.com/ai/the-nsa-is-reportedly-using-anthropics-new-model-mythos-211502787.html?src=rss
Aston Martin’s hypercar trajectory over the past decade has followed a clear arc: the Valkyrie brought F1 aerodynamics to road car design, the Valkyrie AMR Pro pushed that concept to track-only extremes, and the Valhalla promised a more accessible (relatively speaking) interpretation of the same philosophy. Hyunwoo Kim’s Veil concept asks a different question entirely. What if you took that same performance intent but wrapped it in surfaces that flow like liquid metal rather than faceted carbon fiber? The result is a hypercar concept that trades the Valkyrie’s angular muscularity for something closer to organic sculpture, where every surface transition happens so smoothly you’d need calipers to find the break points. The teal paint, a near-perfect match for Aston’s current F1 team livery, catches light like water, emphasizing the continuous curves that define the entire form language.
Kim developed the concept through an unusual process that started with paper mock-ups, physically exploring three-dimensional forms before committing to digital modeling. The approach paid off in ways that pure CAD work rarely does, producing proportions and surface relationships that feel discovered rather than designed. From above, the Veil reads like a manta ray or a fighter jet, with massive rear fender volumes extending from a central spine that bisects the cockpit. The track photography showing the concept alongside Aston Martin F1 team members suggests this caught someone’s attention at Gaydon, which makes sense. This is the kind of design exploration that belongs in a manufacturer’s advanced studio, where production constraints can be temporarily suspended in service of pushing the brand’s visual language into new territory.
Designer: Hyunwoo Kim
The cockpit architecture is pure Le Mans Hypercar, with a central spine running the length of the cabin that appears to house structural elements while creating a visual separation between driver and passenger space. The canopy looks like a single piece of formed glass, which would be a nightmare to federalize but makes perfect sense for a track-focused prototype where visibility and weight reduction matter more than crash regulations. That spine continues rearward past the cabin, creating a vertical stabilizer element that would provide high-speed stability without the drag penalty of a traditional rear wing. It’s smart aero thinking disguised as sculptural drama.
The rear fender volumes are doing the heavy lifting here, both literally and aerodynamically. They’re not just aesthetic flourishes but functional channels that guide air along the body sides and over the rear diffuser, creating the kind of ground-effect downforce that current regulations are pushing Le Mans prototypes toward. The negative space carved between those fenders and the central body creates tunnels that would accelerate airflow underneath the car, feeding the diffuser with high-velocity air for maximum suction. You can see diffuser strakes underneath, multiple elements suggesting active management of that airflow to prevent stall at different speeds and ride heights.
From above, the silhouette becomes even more dramatic. A central spine runs from the nose through the cockpit and terminates at the rear, bisecting the car into two distinct halves. This isn’t purely stylistic theater. That spine likely houses a vertical stabilizer fin, the kind of element you’d find on the Valkyrie AMR Pro or the Mercedes-AMG One, designed to provide high-speed stability without the drag penalty of a massive fixed rear wing.
The front end is deliberately minimal, almost to the point of being featureless. There’s no traditional grille, because there’s likely no traditional front-mounted radiator. Cooling has been pushed to the side intakes, which are substantial enough to handle serious heat rejection from what would presumably be a mid-mounted hybrid powertrain. The headlights are slim horizontal elements that emphasize width rather than aggression, a departure from the angry-eye aesthetic that dominates the current hypercar segment. It’s a more mature approach, one that prioritizes visual cleanliness over intimidation.
The diffuser dominates the rear view, with multiple vertical strakes channeling air from underneath the car. This suggests the Veil relies heavily on ground effect for downforce, using the floor as a giant wing to generate vertical load without the drag penalty of traditional aero elements. It’s the same philosophy underpinning the current generation of F1 cars and Le Mans prototypes, where managing airflow underneath the car has become more critical than what happens above it. The exhaust outlets are integrated into the diffuser structure, which is both aesthetically cleaner and functionally smarter than the typical quad-pipe arrangements you’d find on a Lamborghini or Pagani.
What makes the Veil genuinely compelling is how it navigates the tension between heritage and innovation. Aston Martin’s design language has always leaned heavily on elegance, even when building something as unhinged as the Valkyrie. The Veil preserves that elegance while acknowledging that the next generation of hypercars will be shaped more by aerodynamics and electrification than by nostalgic callbacks to DB5s and vintage racers. The form is contemporary without being aggressively futuristic, a balance that’s harder to strike than it looks. If Aston’s internal advanced design studio isn’t already exploring something similar, they should be.
