Pink Floyd has never gotten a LEGO set. This fan built the one everyone’s been waiting for

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Fifty one years. That’s how long Wish You Were Here has been sitting in the canon, selling something like 20 million copies, topping the charts on both sides of the Atlantic, and generally being the album your dad puts on when he wants you to know he had a personality before you were born. In that same window, LEGO has given us a Fender Stratocaster, a Rolling Stones tongue, a Beatles mosaic, an Elvis portrait, and a grand piano that talks to your phone. Pink Floyd? Nothing. Not a brick. The band that basically invented album art as a medium, and LEGO has never once picked up the phone.

Funny enough, we’ve seen this exact gap close before. Back in 2020 we covered a scrappy little fan-made Stratocaster MOC chasing votes on LEGO Ideas, and a year later it was sitting on shelves as an official 1,074-piece retail set. Rustiest_Brick is running the same play now, except instead of a guitar he’s rebuilt the most famous handshake in rock history, one businessman calmly on fire, framed like a museum piece. Early days, sure, but so was the Strat once.

Designer: Rustiest_Brick

Two brick-built figures, roughly BrickHeadz-scale but fully posed and articulated, clasp hands in front of a glossy black tiled wall, one in cool grey, the other in a black suit with a white shirt and skinny tie. Trans-orange and amber flame pieces erupt off his shoulder, back and hat, and because they’re semi-transparent they actually catch light the way real flame photography does, which is a smarter solve than painting fire in brick would ever be. Rustiest_Brick has said he kept both figures deliberately stiff and manufactured looking rather than natural, and honestly, that’s the whole joke of the original photo anyway. Two men performing warmth while one of them burns.

The base doubles as a proper display plinth, with a framed platinum disc bolted to one side, the same George Hardie mechanical handshake logo from the actual 1975 shrink wrap sticker printed on its center label, and a UCS-style plaque up front reading Wish You Were Here. Slide that plaque out, though, and there’s a small trans-blue gem tucked in a hidden compartment behind it. Rustiest_Brick isn’t saying what it’s for outright, but if you know your Floyd lore, that’s Shine On You Crazy Diamond hiding in plain sight, a quiet nod to Syd Barrett folded into a set that’s supposedly just about a handshake. That’s my favorite detail here by a mile, the kind of thing only a genuine fan bothers to hide.

The project just went up on LEGO Ideas and currently sits at 120 supporters, with 425 days on the clock to reach the first 1,000-vote milestone before the real climb to 10,000 even starts. It’s a long road, but the Strat took one too. If you’d like to see Pink Floyd finally get their overdue LEGO moment, you can head over to the Ideas page and cast your vote. Just don’t let the wind change direction on your way there.

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This $249 Clip-on Device Shines ‘Invisible’ Infrared Sunlight On You To Boost Your Mood

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Amsterdam gets around 1,600 hours of sunshine a year. Los Angeles gets close to 2,500. Anne Berends spent years feeling that difference, which is a very common Dutch experience and a very uncommon reason to start a hardware company. She was a nanomaterials scientist, so rather than buying a lamp she asked herself, “What if I could mount a piece of the sun on top of my laptop, which I spend roughly 8 hours in front of everyday?” The answer was near-infrared, the invisible band that shoots out of your TV remote. Turns out, at the right wavelength and focus, it provides a similar physiological experience as being in the sun. Berends built a webcam-ish device that sits on top of your laptop/desktop screen, giving you that dose of “sunlight” you wouldn’t get in most northern countries between September and March.

I have had a unit from IFA 2026 clipped to my screen for roughly twenty days now. It is a 120 gram puck, 83mm across, aluminum and plastic, USB-C powered, with three LEDs running at 850nm. A presence sensor confirms you are between 30 and 100cm away and cuts the light the moment you leave the desk. Berends co-founded SunLED with lighting industry veteran Ayhan Siriner, out of the Amsterdam research lab Seaborough. It sells for $249 and carries a 2026 iF Design Award in Medical and Healthcare.

Designers: Dr. Anne Berends & Ayhan Siriner (SunLED Life Science)

SunLED did not start with a clip-on gadget. The original plan baked near-infrared into ceiling fixtures, so whole rooms got a dose without anyone changing habits. That idea collapsed under basic physics, since near-infrared only works on skin, and light scattered from three meters up wastes itself on the walls. Berends summed up what the ceiling version would require in one blunt line: you’d need a nuclear plant, basically. That is not a metaphor she reached for lightly. The whole product shrank from architecture down to arm’s length, landing on the surface everyone stares at for eight hours a day.

The product does not do anything you can perceive, which is the strangest part of the brief. No warmth, no glow, no hum. At MWC, SunLED’s team had to hand journalists a special viewer just to prove the beam was there, since 850 nanometers sits outside what human eyes register. Most companies faced with an invisible feature would have cheated and added a soft status light for reassurance. SunLED skipped that. What you get instead is a presence sensor that checks your distance, and an app that logs weekly exposure after the fact.

On the desk, the SunBooster reads less like a wellness gadget and more like a webcam that wandered off from a video call. That is deliberate, since it never screams self-care at anyone glancing at your monitor mid meeting. Compare that to the SAD lamps this category grew up on, glowing slabs you sit in front of like you are serving a sentence. Or compare it to red light panels, which mix visible red with near-infrared and demand a timed session standing in front of them. SunBooster skips the ritual and the spectacle both.

The science leans on a study from the University of Groningen, double-blind and placebo-controlled: participants reported better mood after a single day, most pronounced in winter, and more energy after four weeks. A separate UBC study found near-infrared exposure improved emotional stability under demanding cognitive tasks. None of that is nothing, for a category that usually runs on vibes over citations. I will admit upfront that I live somewhere the sun works unpaid overtime year round, so whether this does anything for a hypothetical Dutch February version of me, I genuinely cannot tell. What I can report is that it has never once made my desk feel cluttered, which is more than most wellness gadgets manage.

The standalone device might not even be the real plan here. SunLED has shown concept hardware alongside it, including a phone case with the same LEDs built in and a laptop with near-infrared woven into the display housing. The company is licensing the tech to monitor and laptop makers, and Berends has pitched it as adding roughly the cost of a Netflix subscription to a device’s bill of materials. If that lands with even one major laptop brand, the object on my screen stops being a product and becomes a proof of concept that shipped first. That is bigger ambition than most $249 gadgets carry.

Winning an iF Design Award for a wellness gadget is not rare anymore, the category has gotten crowded with panels and pods chasing the same jury. What sets the SunBooster apart is that it never asked to look like medicine. It looks like hardware, sized and finished the way a camera accessory would be, sitting on a bezel instead of a bathroom shelf. If SunLED pulls off the licensing play, this unit gets remembered less as a product and more as the pitch deck that worked. Until then, it sits on my monitor, doing something I will never see, for a winter I will never have to survive.

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A Hidden $1.7M A-Frame That’s Actually an Hour From NYC

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Every few months, I go down the rabbit hole of homes for sale that promise total escape without an actual commitment to distance. The pitch is always some version of “close to the city, far from everything else,” and it rarely delivers. What usually shows up is a subdivision with a few extra trees or a renovated farmhouse that swapped one kind of sameness for another. That gap between what people want (real quiet, real nature, real character) and what’s actually on the market is the exact problem the Woods Home in Yorktown Heights solves, and it does it without pretending the answer is another gray-and-white farmhouse flip.

Built in 1966, the Woods Home sits on 6.74 wooded acres in Westchester County, perched on the property’s own natural rock outcroppings. It’s a four-sided A-frame, which is rarer than it sounds. Most A-frames top out as cozy ski cabins under 1,500 square feet. This one stretches to nearly 5,000, with four bedrooms and two bathrooms, soaring ceilings, and walls of glass that turn every room into a framed view of the trees. Listing agent Douglas Dill of Houlihan Lawrence put it plainly when he said he’s sold plenty of A-frames, just never one this size, with this much acreage and this much light. That’s not sales talk. That combination genuinely doesn’t come up often.

What makes the place feel honest rather than staged is that it was actually lived in, not flipped for a listing photo shoot. The current owners bought it three decades ago as a weekend retreat from Manhattan and eventually made it their full-time home. That kind of ownership shows. The kitchen has updated granite counters, sure, but the bones are untouched: the wood paneling, the built-in shelving, the sliding glass doors that open the lower level straight onto a patio and a pool tucked below the house. There’s a second living area set up as a rec room with its own deck, bedrooms with private balconies, even a small potting shed and a garage converted into an artist’s studio. None of it feels added for resale value. It feels like a family actually used every inch of it.

The price is $1.7 million, which will read as either shocking or refreshingly reasonable depending on which coast you’re comparing it to. For a house this distinct, on this much land, an hour from Manhattan by train, I’d argue it’s the second one. You’re not paying for granite and crown molding. You’re paying for a genuine piece of midcentury design history that never got gutted, plus a rock outcropping and a swimming pool most suburban lots twice the price can’t offer.

I’ll admit a small bias here. Midcentury homes that survive fifty-plus years without losing their identity are becoming harder to find, especially near major cities where land value tempts owners to tear down and build something forgettable but bigger. Every time one of these shows up still intact, it feels like a small win against that pattern. The Woods Home never got flattened into a colonial or stretched into a McMansion. It stayed exactly what it was built to be: a bold, slightly eccentric retreat that trusts its architecture instead of hiding it.

What I actually appreciate most is that the house doesn’t ask you to choose between wilderness and convenience. You get the boulders, the deck views, the sense of being tucked into a forest, and you still get a train that pulls you into Manhattan when you need it. That balance is rarer than people admit, and it’s why listings like this one tend to move fast once word gets around. If you’ve ever wanted proof that a genuine escape and a short commute aren’t mutually exclusive, this one hour, wooded acre by wooded acre, quietly makes the case.

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An $1,165 Pencil Sharpener That Refuses to Stay Boring

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Most desk objects disappear the moment they do their job. A stapler staples. A tape dispenser dispenses. A pencil sharpener sharpens, and then it goes back to being a small plastic or metal box that nobody looks at twice. That is the actual problem MB&F and Caran d’Ache set out to fix with their new GorillaSharpener, a device that takes the most forgettable tool on any desk and turns it into something you would rather display than hide in a drawer.

The design comes from Maximilian Maertens at MB&F, the Geneva-based outfit better known for building watches that look like they escaped a spaceship. Here, they have grafted a set of muscular, knuckle-walking gorilla limbs onto Caran d’Ache’s classic desktop sharpening machine, the kind of hand-crank sharpener that has sat in Swiss schoolrooms for decades. The arms and legs are cast in chrome-plated zinc alloy and steel, textured to mimic coarse fur, and they lift the sharpener’s body into a forward-leaning stance, as if it is about to charge across your desk. It stands about 150mm tall, finished in a pale Alpine Frost blue that somehow makes the whole thing look calmer than it has any right to.

Designer: Maximillian Maertens

I like objects that admit they are having fun without apologizing for it. This is one of them. It is limited to 300 pieces, priced at CHF 850 plus tax, which works out to roughly $1,165 in the US. That is an absurd amount of money for something that puts a point on a pencil, and MB&F seems to know it. Their own materials describe it as the least expensive thing the brand has ever made, which tells you everything about the company’s usual price range and nothing about whether this thing is worth it. Function still matters here, though. It takes round or hexagonal pencils between 4 and 10mm, the cutter is interchangeable, and it comes with a clamp so it can actually be mounted to a desk rather than just posed on one.

What makes this release land, at least for me, is the timing and the reasoning behind it. It launched on September 24th, World Gorilla Day, and it is not the first time these two brands have played in this space. In 2024, MB&F gave a DinoSharpener to its collector community as a gift, dressing the same base machine in dinosaur legs instead. Before that, back in 2016, Caran d’Ache and MB&F built Astrograph, a rocket-shaped writing instrument. The GorillaSharpener continues that pattern, but it also marks 15 years of M.A.D.Gallery, MB&F’s platform for mechanical art, which explains why this piece leans harder into sculpture than the earlier ones did.

There is also a cause attached, and it does not feel bolted on for marketing points. MB&F has partnered with the Dian Fossey Gorilla Fund, symbolically adopting the historic Pablo mountain gorilla group in Rwanda, with proceeds supporting field protection teams and conservation research. A silly desk toy funding actual gorilla conservation is the kind of pairing that should feel forced and somehow does not.

Every piece ships in its own case with an instruction booklet, the securing clamp, and a set of Caran d’Ache pencils packaged in artwork by illustrator Maxime Schertenleib, built around MB&F’s own line about creativity: a creative adult is a child who survived. That phrase does a lot of explaining. Nobody actually needs a gorilla to sharpen a pencil. Plenty of us do it just fine with a two-dollar plastic version from the drugstore. But there is a difference between an object that works and one that makes you want to sharpen a pencil you did not need sharpened, just to watch the arms do their thing.

Design like this will not solve anything important, and it is not trying to. What it does is remind you that even the most utilitarian corner of a desk can still hold a little bit of wonder, and that sometimes the best response to a boring object is to give it arms.

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