With the debut of Apple‘s iPhone 17 series, SKINARMA unveils a phone case collection that transforms the everyday tech accessories into a bold statement of survivalist design. This release is a deliberate evolution, drawing inspiration from the rugged aesthetics of post-apocalyptic landscapes and the intricate mechanics of retro-futuristic survival gear. Each case embodies a fusion of robust functionality and design-centric style, with engineering firmly rooted in the demands of modern-day tech. The collection brings back classics like SAIDO and HELIO with significant upgrades, while introducing entirely new designs engineered for enhanced protection.

all images courtesy of SKINARMA

SINGAPOREAN BRAND REWRITING THE RULES OF EXPRESSION

Founded in Singapore in 2018, SKINARMA emerged from a desire to push the boundaries of self-expression and style. The lifestyle brand merges fashion and technology, fostering a sense of creative freedom that resonates with global underground subcultures. With a growing niche following spanning Shanghai, Tokyo, Bangkok, and Dubai, the brand is continuously expanding its reach, always seeking new ways to connect with its community and the diverse cultures that inspire its distinctive design language.

SKINARMA unveils SURVIVALIST TECH collection for iPhone 17

IPHONE 17 CASE COLLECTION IN POST-APOCALYPTIC DESIGN

SKINARMA’s iPhone 17 case collection sees the return of past favorites alongside entirely new concepts, all infused with a relentless focus on both form and enhanced protection. Beloved classics like the SAIDO and HELIO cases make a significant comeback, meticulously upgraded with redesigned all-round side bumpers for superior impact resistance, chunkier tactile buttons for improved user interaction, and a refreshed magnetic-charging ring that seamlessly integrates with the iPhone’s capabilities. These thoughtful enhancements ensure that while the aesthetics evoke a sense of rugged, survivalist function, the engineering is firmly rooted in the demands of modern-day tech.

the collection transforms the iPhone 17 into a bold statement of survivalist design

Complementing these revitalized classics are a wave of brand-new designs that further articulate SKINARMA’s unique vision. AEGIS offers rugged sophistication with its minimalist leatherette finish and a built-in grip-stand for practical usability. VEKTOR takes a sharper, more tech-driven approach, boasting a forged carbon back and a unique 1-of-1 metallic speckled finish. Meanwhile, SPECTRA stands out as a layered case that intentionally reveals intricate inner wirings and circuitry.

Beyond their striking appearances, the case range is unified by a commitment to functional design. All cases are compatible with interchangeable lanyard loop bumpers, which can be used to easily pair with SKINARMA lanyards, transitioning the device from hand to body. Many cases also feature full-length integrated extendable grip-stands for enhanced usability. The meticulous attention to detail extends to matching aluminum side buttons on models like MAGMA and VEKTOR. With this range, SKINARMA continues to merge streetwear sensibilities with advanced, design-centric functionality, ensuring every iPhone 17 case is not merely a protective shell, but a fashionable everyday statement piece.

merging fashion and technology, SKINARMA resonates with global underground subcultures

the lifestyle brand emerged from a desire to push the boundaries of self-expression

project info:

brand: SKINARMA | @skinarma

products: AEGIS, HELIO, MAGMA, PHANTOM, SONIX, SPECTRA, VEKTOR, VIGOR

The post skinarma upgrades iphone 17 cases with grip-stands & interchangeable lanyard bumpers appeared first on designboom | architecture & design magazine.

The wearable sandal-like controller named GO-OZ allows users to walk and move around VR games without any buttons or control sticks. Instead of using a handheld controller, the device relies on people’s legs and feet, as the system digitally tracks natural steps and translates them into movement inside the virtual world and game. 

Most of the VR games today need handheld controllers before the users can fully play them since the movement is simulated using the buttons and thumbsticks. GO-OZ tries to bridge this gap by allowing the players to directly use their feet and legs and give them the sensation that they’re walking and moving around what they’re playing. The wearable VR controller GO-OZ heads to Tokyo, Japan, for the Tokyo Game Show 2025, where visitors can try on the prototype on-site between September 25th and 28th.

all images courtesy of GO-OZ

Foot-worn device with adjustable straps

The wearable VR controller GO-OZ can adapt to any feet size, even while the players are wearing their shoes, because of the adjustable straps. The foam-like and soft bottom part is chunky and curvy to allow the users to tilt forward and backward. This area also houses the sensors of the device, which measure foot pressure, step length, and rhythm. They also detect when the wearer lifts a foot, shifts weight, or pushes forward. The device is linked to VR software through a wireless connection or cable, depending on the setup. Once connected, every natural step is translated into forward, backward, or sideways movement inside the VR world. 

During the prototype debut at the Tokyo Game Show 2025, attendees are seen to put on the wearable VR controller GO-OZ and tilt themselves forward to walk and backward to reverse. So far, the system uses the sensors more around the feet to detect the movement, so players don’t need to actually walk around. They can stay in place and just lean depending on where the player is heading in the VR game. At the present time, there’s only a prototype available for the wearable VR controller GO-OZ, and the design team has yet to announce its commercial and potential availability. When this happens, it may be possible that they upgrade the design, which can allow the players to physically walk around a designated space instead of just tilting.

wearable sandal-like controller GO-OZ allows users to walk and move around VR games

the straps can adapt to any feet size, even while the players are wearing their shoes

the chunky bottom houses the sensors and mechanics of the device

the device relies on people’s legs and feet, as the system digitally tracks natural steps

view of the user playing the game while wearing the foot-worn device

project info:

name: GO-OZ

partner: Altair4 Multimedia | @altair4_multimedia

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Meta introduces Ray-Ban Display with a neural wristband and OAKLEY Vanguard AI glasses that come with earbuds-free (video) calls and an autocapture feature. Unveiled during the Connect event on September 17th, 2025, the devices house optical modules with transparent lenses. In the Meta Ray-Ban Display, the module contains a small projector that places text or images on the lens surface, while Vanguard replaces the projector with OAKLEY PRIZM lenses for outdoor vision but keeps the same lens mount. Both models share a camera unit positioned at the top corner of each frame, containing a 12-megapixel sensor, autofocus motor, and protective cover. Microphones and open-ear speakers sit inside the temple arms, connected by flexible printed circuits.

Power blocks sit in the ends of the arms, where they hold rechargeable lithium-ion cells and a small power-management board. Charging contacts align with portable cases that also store extra battery capacity, and wireless antennas for Bluetooth and Wi-Fi are laid along the arms. The frames differ in shape: the Meta Ray-Ban Display follows classic eyeglass lines, while the OAKLEY Meta Vanguard has a sport wrap, but both use impact-resistant polymer shells with metal cores at stress points. The nose pads and lens elements are removable, so repairs or upgrades use the same attachment system. The difference is only the OAKLEY Meta Vanguard has the autocapture feature, which allows users to take photos and videos without taking out their smartphones.

all images courtesy of Meta

AI glasses with wearable neural band for gesture commands

The Meta Ray-Ban Display combines a pair of lightweight glasses with a color display, microphones, speakers, cameras, and an AI system. The display is built into the lens area but set off to the side for a clear forward view, and the projection turns on only when requested via verbal command or gesture. The eyewear lets users read short text, preview photos or videos, make video calls, follow navigation, see captions, translate speech, control music, and take photos or videos through an onboard camera, while a real-time viewfinder and zoom allow framing shots. 

The lenses use Transitions technology, so the same pair works indoors and outdoors. Battery life is about six hours of mixed use, extendable to thirty hours with a folding charging case. So far, the frame comes in two colors: Black and Sand. With the Meta Ray-Ban Display comes the Neural Band, a wearable wrist device that links to the AI glasses. It reads muscle signals through electromyography (EMG) sensors and converts them into commands. Subtle finger or wrist actions allow scrolling, swiping, selecting, or adjusting volume without touching the glasses or a phone. The band has three sizes and a strap made from Vectran, a high-tensile fiber also used on Mars Rover landing pads. It carries an IPX7 water rating, runs up to 18 hours, and is light enough for extended wear.

view of the Oakley Meta Vanguard AI glasses

AI-powered sports eyewear with autocapture feature

Then, there’s the OAKLEY Meta Vanguard, a pair of AI glasses mainly used for sports. The wraparound frame houses open-ear speakers, a five-microphone array, a 12-megapixel wide-angle camera, and video tools such as slow motion and hyperlapse, and the eyewear can automatically capture video hands-free in up to 3K resolution when requested. 

They connect to the Meta AI app and integrate with Garmin and Strava for live performance data and automatic video capture at training milestones. The product ships with three interchangeable nose pads for different fits and is compatible with helmets. It is rated IP67 for dust and water, and there’s an included charging case that gives an extra 36 hours of power (with quick charging to 50 percent in 20 minutes). The Meta Ray-Ban Display with Neural Band launches on September 30th, while the OAKLEY Meta Vanguard comes out on October 21st.

the eyewear comes with removable lenses

view of the Metal Ray-Ban Display AI glasses

the eyewear allows for earbuds-free (video) calls

the display is built into the lens area but set off to the side

the the Neural Band is a wearable wrist device that links to the AI glasses

project info:

name: Meta Ray-Ban Display, OAKLEY Meta Vanguard

companies: Meta, Ray-Ban, OAKLEY | @meta, @rayban, @OAKLEY

The post meta ray-ban and OAKLEY AI glasses come with earbud-free calls and autocapture feature appeared first on designboom | architecture & design magazine.

Studio Beyond conceives Sometimes, a wearable headband device that sends electrical signals to the wearer in hopes of lowering people’s stress. A smart, non-invasive tool, the piece, a similar shape to a fitness tracker or smart band, fits around the head and allows direct contact with the skin. Electrodes on the surface of the device send gentle electrical pulses, and these pulses target the nervous system, which may help to lower stress or balance mood. The Cambridge-based studio led by designers Paul Gibson and Matt Maitland says that the device’s process draws from the research that shows how electrical signals can influence brain activity.

There’s an elastic band around Sometimes to adjust to and fit the wearer’s head, and it comes with a slider or clasp mechanism at the back for a snug and custom fit. Around the band, modules are attached to the headband, positioned on either side of the head, likely over the temples or forehead regions. These are the main functional components housing the electronics that send the electrical signals. The surface of these pods appears smooth and matte, an even surface for comfort during long-time use. On one of the electrode pods, a small, subtle white indicator light is visible, which can indicate the device’s power status, activity, or battery level. Adjacent to the indicator light, the possibly touch-sensitive power button lies to activate or turn off the wearable headband device.

all images courtesy of Studio Beyond

Sensors inside neurotech tool send electrical signals

The Sometimes wearable headband device includes sensors and a small processor within it. These components send and control the electrical signals, which are carefully measured and adjusted to stay within safe limits to make sure that the user doesn’t feel pain or discomfort. Studio Beyond creates the tool as such so that there’s no surgery or medical training required to use it. The team adds it can be worn daily, depending on the user’s needs.

The team designs Sometimes with user experience in mind, as they want it to look and feel like a regular wearable product. There may be a stigma on people wearing medical devices, so the studio wants to curate and create a look that is already familiar to many people, which can help people stay committed to using the device over time. In the past, medical devices were used mostly in hospitals or clinics. Now, with wearable technology and headband devices like Sometimes, people can access treatment or support at home. So far, the project is still a concept.

different pastel-like colors are designed for the tool

electrodes on the surface of the device send gentle electrical pulses

a small, subtle white indicator light is visible, which can indicate the device’s power status

view of the slider for a snug fit

stitched-in design of waves hinting at the electrical signals

the piece fits around the head and allows direct contact with the skin

so far, the project is a concept neurotech tool

project info:

name: Sometimes

studio: Beyond | @studiobeyond.cc

lead designers: Paul Gibson, Matt Maitland

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: Matthew Burgos | designboom

The post ‘sometimes’ is a wearable head device that sends electrical signals to lower people’s stress appeared first on designboom | architecture & design magazine.

Dmitry Morozov, known as ::vtol::, develops technology-based installations and kinetic sculptures that combine robotics, sounds, coding, and interactive systems. The Moscow-born, Ljubljana-based transdisciplinary artist and researcher centers his practice on electronic installations that react and respond to environmental changes and the proximity of the viewers. They include robotic systems, sound generators, and mechanical devices that operate independently once activated. ::vtol:: presented three of his recent projects at Sónar+D between June 12th and 14th, 2025, during which designboom also hosted a live talk with the artist.

In a recent interview, the artist, who’s the mastermind behind the tattoo-based instrument Reading My Body and wearable mask organ Last Breath, shares with us that when he creates works, he’s creating a form of entities with agencies rather than just tools. ‘Ultimately, I perceive my works as participants in a gigantic performance called technological art. This kind of art is very ephemeral, as the lifespan of any object is quite limited—either the electronics will break down, the software will be updated, or the mechanics will fail,’ he tells us.

view of Last Breath | all images courtesy of Dmitry Morozov, known as ::vtol::

microcontrollers process sensors and control mechanics

::vtol:: constructs his kinetic sculptures, robotics, sounds, and code-driven installations using electronic components, sensors, motors, and custom programming code, and each work includes microcontrollers that process sensor data and control mechanical movements. The systems respond to sound, motion, light, or other environmental inputs, allowing these machines to exhibit unpredictable behaviors that seem to react to the user’s mood and handling methods. The artist applies sculptural methods to electronic construction, too. Instead of following engineering protocols, he treats circuit boards, sensors, and actuators as sculptural materials. 

This approach of ::vtol:: produces kinetic sculptures, robotics, and installations that have personality traits with their operational patterns. Sound generation systems are often a recurring theme in his practice, where mechanical components create acoustic outputs through vibration, striking, or air movement. Electronic circuits process these sounds and feed them back into the mechanical systems, creating feedback loops. The works operate as autonomous performers, and sensors detect audience presence and environmental changes. The systems modify their behavior based on this input data, so different audience interactions produce varying mechanical responses.

side profile of Last Breath

Technology-based artworks that demonstrate lifelike behaviors

::vtol:: shares with designboom that while he creates what may be considered as a ‘set of electronic components and code’, he always puts his soul into these kinetic sculptures, robotics, and installations. After all, he’s partly a sculptor, and not an engineer, as he describes himself. ‘I grew up in the 80s and 90s when half of all devices were still analog. These devices behaved so unpredictably that it seemed to depend even on your mood transmitted in the field around the object. I believe this quality has also transferred to many of my works. Since childhood, I have been accustomed to perceiving devices not just as soulless objects, but as living beings,’’ he explains to us. 

It’s worth noting that he’s not inclined towards esotericism, but the artist admits that there is certainly more for people to discover about how living and non-living objects interact on different levels. As a result, the kinetic sculptures, robotics, and installations of ::vtol:: explore relationships between living beings and technological systems, and he investigates how people interact with machines that demonstrate lifelike behaviors. The installations then respond to human presence in ways that suggest awareness or intention. Below, we continue our conversation with the transdisciplinary artist and researcher, who tells us the beginning of his artistic journey, his creative process, the backstories of the projects he presented at Sónar+D in Barcelona, and the ways he sees the ever-evolving climate of contemporary digital art.

the exhaled air (its pressure and flow rate) activates the generative process

Interview with Dmitry Morozov, known as ::vtol::

Designboom (DB): Your practice spans kinetic sculpture, robotics, sound, and code-driven installations. Can you walk us through your trajectory as a transdisciplinary artist and researcher? What were some of the pivotal moments or turning points that shaped your current approach?

Dmitry Morozov / ::vtol:: : I started my journey as an artist completely unaware that I was one. I understand that this sounds unusual or even strange, but I truly became a media artist before I even realized it myself. Initially, I became very fascinated with electronic experimental music: formless, strange, and endlessly testing new ways of extracting and creating timbres. This led me into the world of electronics as a DIY practice: circuit-bending, DIY synthesizers, and so on. I began building my own synthesizers and strange controllers for creating and manipulating sound around 2006-2007. At that time, I didn’t yet understand that there was a vast scene where interactive art, multimedia, music, and sound art intersected. 

The format of installations, sculptures, or performances didn’t interest me much back then, although many of my early objects were in some way related to them. Everything changed when a few of my more knowledgeable friends in this practice told me that with my skills, I could easily fit into much more prestigious events like exhibitions and contemporary art festivals, unlike the underground noise concerts I was used to. All it took was to make my ‘instruments’ larger and more friendly for audience interaction. I tried it, and I really enjoyed the audience’s reaction; seeing viewers interact with your work is incredibly energizing.

‘топот-м’ explores the concept of an extended body

::vtol:: (continues): By that time, I had already created many instruments for other musicians, such as Aphex Twin, but usually, my instruments ended up in studios and collections, and you rarely receive feedback or get to observe how they are used. With interactive art, everything is quite different; essentially, you witness the act of interaction or observation, which is the artwork itself. It emerges at that moment, not when you finish creating the mechanism. At first, my works only included sound, but very quickly the media expanded – light was added, movement, more complex interactivity; the works became more conceptually thought out, addressing various complex themes – sometimes social, sometimes very abstract or historical (for example, media-archaeological). 

In fact, when you master one technical language as your tool – like electronics or programming – other ‘mediums’ become clearer and easier to learn quickly. The main thing is to understand the logic of data and signals and how they can interact with each other if needed. This rapidly and easily expands your expressive range. Thus, I quickly shifted to kinetic and robotic works, and since programming is necessary for their operation, you begin to see the potential in works that primarily consist of code, regularly venturing into that territory (for example, my project Hotspot poet). I believe that the combination of different media can greatly support each other when revealing a particular concept, especially if it is embodied in a design and visually appealing object.

‘you, me and all these machines’ is a performance for voice and electronic devices

DB: Your projects often carry a strong DIY ethic, open-source tools, hacked hardware, self-built systems. How do science, tinkering, and the ethos of experimentation inform your creative process? What role does risk or failure play in how you develop new work?

::vtol:: : DIY is the most important ideology in my work. I believe that an artist should do as much as possible by themselves and use as little ready-made material or outsourcing as possible. Of course, this approach can lead to absurdity, and one might even start making electronic components themselves (like my project Resistor) or wires, but I am endless in this pursuit, and whatever happens, happens. Essentially, the more that is done exclusively by you in your work, the more it reflects you, although this is not so simple in technological art. This leads to many mistakes – some of them are fatal for the project, while others open new horizons, often turning the meaning of the work 180 degrees. By introducing something into it that is beyond your control, you simply allow it to exist. 

Overall, I subscribe to the concept that ideas don’t belong to their authors; we are just lucky to snatch them from the flow of something and, given the right circumstances, embody them in a piece of art. Therefore, I am always happy to share both ideas and technical components of projects; this even affects their appearance. I rarely hide elements in a case; it is usually immediately clear how everything is made. In the last 5 – 6 years, I have also actively taken up teaching, which is very energizing. You systematize and structure your knowledge to share it more successfully, and this, in turn, inspires new ideas. It’s really cool to see how your students pick this up; you show them some technique that has become clichéd for you, and they suddenly apply it in a very unconventional way.

‘drop’ is a small automatic device consisting of a Geiger counter

DB: A few years back we published two of your projects, Reading My Body and Last Breath, on designboom. Can you take us inside the making of those pieces? What were the conceptual or technical challenges, and how did they evolve during the process?

::vtol:: : Reading My Body was initially inspired by some silly sci-fi movie where people had barcode tattoos that worked as passes to different zones. I liked the idea of a functional design on the body, but instead of control, I wanted it to be something more elegant. At that time, my friends were organizing a sound art festival of performances, and I decided to create a strange performance there – I would get a tattoo and make a robot that would use it as a score. 

Everything happened lightning fast; I drew the tattoo in Photoshop in probably about 20 minutes, then immediately ran to find a salon with an available artist, but it was already evening and everyone was either busy or didn’t want to do such a tattoo. Eventually, in despair, I stumbled into the last salon that happened to be on my way; everything there was in a biker-rocker style, far from what I needed, but they liked the idea when I started explaining it, and the artist did everything very quickly. I didn’t wait for the tattoo to heal and immediately started ‘building’ the object for reading it; a couple of times I touched the tattoo with the details – it was very painful and funny.

there’s a hydraulic system involved in the work ‘drop’

::vtol:: (continues): In the end, it turned out to be a very successful work – when I shot the video and posted the documentation, the project spread all over the internet. I understand that from both a sound and technical perspective, it could have been much more complex or successful, but everything turned out as it did – thanks to the DIY approach and quick decision-making! I was very pleased with myself, and a few years later, I learned that this project inspired experimenters at MIT Media Labs to conduct their research in this direction, creating smart tattoos for medical purposes. So sometimes even DIY artists can be useful to society. As for the project ‘Last Breath,’ it was born when I was in India in 2019 and became seriously ill with some virus. 

COVID was still a whole year away, so I anticipated a trend a year in advance; artists sometimes have good intuition. I was very scared of dying back then, but not because I was afraid for my life, but because I didn’t want to stop creating, playing music, and engaging in creativity. So, I essentially made myself a pre-mortem instrument, in case I could no longer move but would still be breathing. It turned out epic and even a bit brutal. This is, by the way, a good example to illustrate co-participation with a technological object – it cannot exist without me, and I cannot exist without it, but I do not define everything it does; the instrument has its own working algorithm, and all it needs from me is a flow of air. This significantly changes the hierarchy between the instrument and the performer, establishing rather a horizontal connection.

view of j2000.0

DB: This year, you presented a series of projects at Sónar+D’s Project Area. What did you showcase, and how does it build on, or depart from, your previous projects? Are there any shifts in your materials, methods, or conceptual interests that this new work reveals?

::vtol:: : I presented three works, quite different and from different periods of my life. The first work is ‘Drop,’ a small sound sculpture-fountain. The work uses a small Geiger counter that measures radiation levels. It’s a simple but very precise device capable of detecting even individual particles passing through it. There is always a slight background radiation on any point of Earth, which is absolutely normal. 

Each time one of the particles passes through the device, a drop falls from a small tube into a basin equipped with optical sensors that detect the ripples in the water after the drop falls. These sensors control a small synthesizer that produces sounds. The longer the device operates, the more complex its timbre becomes; that is, it is a sound composition developing over time, dependent on a natural phenomenon. It’s quite a meditative device.

iPot is a device for performing a digital tea ceremony

::vtol:: (continues): The second work is ‘Remember Me, Erase Me,’ which, strangely enough, has no sound. Essentially, it’s a selfie machine – anyone can approach it and take their picture simply by pressing a button. But as soon as they take the shot, the photo starts to distort as if it is being forgotten; they need to press another button to stop the degradation and print the photo. So, it’s like memories –  the longer ago something was, the worse the image is preserved, although it remains recognizable for quite some time. The third work is a collaborative project with artist Alexandra Gavrilova called ‘iPot.’ Essentially, it’s a robot for a tea ceremony. The machine heats water and then pours it into a transparent reservoir, above which there is a camera. After that, a small ball of Chinese tea falls from a tube, which looks like a blooming flower during brewing. 

This ball gradually unfolds, and the camera connected to a program tracks this and transforms its movement into digital abstract graphics and sound. After some time, this process stops, and the prepared tea is automatically poured into five small cups offered to the audience. Even in hot Barcelona, viewers were very happy to taste exquisite tea from such an unusual machine, especially after observing the entire process. Despite the fact that these works were created some time ago, they are still quite new, and in response to your question, I would say that the most significant change is a certain lyrical and poetic quality in my works that has become more characteristic of me in recent years. Perhaps long interaction with technology has generated in me a desire to convey increasingly human qualities using non-human agents.

‘reading my body’ is а sound controller that uses tattoo as a music score | read more here

DB: Looking ahead, what excites you most about where digital art is going? Are there any current trends or technologies you find troubling, ethically, politically, or artistically?

::vtol:: : I am closely following how contemporary digital art is changing. There are aspects that I really like – such as the fact that materials and many technologies are becoming increasingly compact and accessible. However, there are other things that I like a bit less – like how everyone has jumped on the AI bandwagon, even when it may not be particularly relevant to a specific project. The technology itself is wonderful and holds endless potential, but I often see its use merely in favor of trends. 

It would be foolish to deny its significance for art, but personally, I use it very little; perhaps that will change in the near future. What I undoubtedly appreciate is that AI has greatly simplified programming for people who have never learned it, and most artists are initially quite distant from programming. The way ChatGPT can skillfully handle code and assist in creating programs of various levels is astonishing; I see how quickly my students are progressing because of this. It opens up new horizons in art.

‘hotspot poet’ distributes wi-fi masked as wireless network

project info:

artist: ::vtol:: | @vtol_

name: Dmitry Morozov

The post inside the world of ::vtol:: and his kinetic sculptures, robotics and code-driven installations appeared first on designboom | architecture & design magazine.

Pud makes headphones that let users carry the CD player, remote control, and even a jewel case on top of their head. A functional device, the different audio components are mounted on a shelf-like frame, and each of them works independently but connects to the same audio output system. The CD player sits in the front section of the device, where users can insert compact discs just above their forehead and control playback using a remote control on the left side of the headphones. As usual, the remote has buttons for play, pause, skip, and volume functions.

all images courtesy of Pud

self-powered battery pack embedded onto the frame

Behind the headphones by maker Pud lies a self-powered battery pack that keeps the CD player going for some time. In this way, users don’t need to have the device plugged in, and they can just walk around with their wireless headphones as they vibe with their music. The frame looks like it uses metal with mounting points for each audio component. Green-colored accents mark connection points and adjustment mechanisms throughout the device.

The frame also distributes weight across the user’s head so it’s not weighing down on them when they wear it for a long time. The speakers inside the headphones that Pud assembled mount directly to the frame structure, so users hear sound directly from them as soon as they slide the disc into the CD player just above their forehead.

Pud makes headphones that let users carry the CD player, remote control, and even a jewel case on top of their head

CD player from car mounted onto wireless headphones

In a Reddit comment, Pud says that the weight of the headphones with CD player, remote control, and jewel case box can be around two kilos, excluding the discs on the spindle. The player the creator embeds into the frame comes from the one typically used in cars. The battery life can depend on how actively the wearer is using the device, but it can last for several hours given the self-powering and rechargeable battery pack embedded onto the frame. Pud, known for his headphone works, created the system as a personal project that can bring all essential audio equipment with the user anywhere they go and without needing to bring cases and bags with them.

the CD player sits in the front section of the device, where users can insert compact discs just above their forehead

there are embedded speakers into the headphones

detailed view of the side

 

 

 

 

 

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A post shared by Pud Makes Headphones (@pudphones)

Pud explaining his project

project info:

name: Headphones with integrated CD player, remote control, battery, disc storage, and jewel box compartment

design: Pud | @pudphones

The post headphones carry CD player, remote and jewel case above user’s head for on-the-go music appeared first on designboom | architecture & design magazine.

Halo has arrived, the open-source glasses by Brilliant Labs embedded with a private AI agent that can see, hear, and speak. An upgrade of Frame, the eyewear interacts with both the wearer and what it sees by assisting users in real time and having its own memory. At the center of the Halo system is Noa, the private AI assistant. It works like a real human, having live conversations with the wearer, which they can hear from the bone-conduction speakers at the tail of the glasses. The agent can also answer the user when they want to know what they’re looking at, the title of the song that’s playing, or if the wearer just has a question in general. 

For the Halo design team, the open-source glasses are a hands-free device to get information or even process visual or audio content from the users’ surroundings. The private AI agent even has memory support, which means it can remember what the wearer saw, heard, or said. Over time, this saved memory can make the assistant more personal and allow it to predict what its owners want. It stores the conversations and behavior in its memory, even recalling personal details. The team says, however, that the open-source glasses Halo are still built to protect the user’s privacy, so all memory storage and AI processing are managed with privacy controls in place.

all images courtesy of Brilliant Labs

Eyewear that can create and develops its own apps

Halo’s hardware includes several components around the open-source glasses, like a color display, a low-power optical sensor used for AI processing, two microphones with sound activity detection, a low-power AI processor, and two bone conduction speakers. These eyewear parts support the real-time functions and allow the user to hear without blocking the ears. Since the device is open-source, anyone can view, change, or share the software and hardware designs, especially developers and researchers (the design files and source code are available online). 

This also allows others to make custom versions of the Halo system, and the open-source model supports learning, testing, and community-driven improvements. The glasses also include a function called Vibe Mode, which is a tool inside the system that lets users turn ideas into apps. The user types their idea into a terminal called Vibe Mode, and Noa reads the idea and starts creating it. The AI agent takes the input and generates a version of the application, and after that the user can then edit or adjust the design. 

the device has two microphones with sound activity detection and a low-power AI processor

Wearable technology that projects info in front of the eyes

The eyewear also acts as a display system, meaning that information created or shared by Noa directly appears in the user’s view. The user can see results, images, or app interfaces without using a phone or computer since the display is small and built into the glasses. The open-source glasses support building custom applications, so developers can write code to add new tools or features directly into Halo. These apps can use visual or audio data from the glasses, and they can also use the memory functions of Noa to track long-term tasks or goals.

The team says that Halo is designed to fit most people, but not all. The device has been designed for an IPD (inter-pupillary distance) range of 58–72 mm, and this includes most users. The issue is that not every person falls within this range, so the team advises wearers to use the Eye Measure app to check whether the device suits their eyes. The device weighs slightly over 40 grams, and under regular conditions, it can last for a full day on a single charge. The Halo pool to pre-order the open-source glasses has opened, and the shipping starts in late 2025.

at the tail of the wearable technology, there are two bone conduction speakers

the device supports real-time functions and allows the user to hear without blocking the ears

the AI agent has memory support, which means it can remember what the wearer saw, heard, or said

this saved memory can make the assistant more personal and allow it to predict what its owners want

the shipping of the device begins in the late 2025

project info:

name: Halo

brand: Brilliant Labs | @brilliantlabsar

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Vollebak releases the Electromagnetic Shielding Bomber jacket made with the materials used in NASA’s Mars rover. Based on the technology used by the space agency for the Curiosity Rover during its Mars mission, the fashion piece can block any kind of signal, including text messages, microwave waves, and signals from space. The wearable follows the brand’s Shielding Suit with the same aerospace-grade fabric by Shieldex, which is used to protect electronics from cyberattacks, block thermal detection of satellites, and support wearable sensors for health monitoring. 

It is the same Bremen-based laboratory that created the tent that blocked all outside electromagnetic waves for NASA’s Curiosity Rover that flew to Mars. The outer layer of Vollebak’s Electromagnetic Shielding Bomber is made from ripstop nylon with the silver being grown into the fabric instead of sewn in. Because of this, the silver is built inside the fibers of the material, which makes up about 20 percent of the jacket’s surface. Since silver is known as an antimicrobial material, the surface of the fashion piece can kill bacteria, becoming another purpose of the wearable aside from blocking the electromagnetic waves.

all images courtesy of Vollebak | photos by Sun Lee

Silver-made jacket that can kill bacteria

Radio waves and microwaves travel far and are used for things like phone networks and radar, while ultraviolet rays, x-rays, and gamma rays are powerful but do not travel far. These waves can change atoms and damage living tissue, and the Electromagnetic Shielding Bomber by Vollebak can block certain parts of this spectrum. Its silver layer shields radio waves and microwaves between 0.2 GHz and 14 GHz, meaning it can impede 99 percent of signals in this range. The piece also includes a pocket for a phone, which acts like a Faraday cage. Once the phone is placed inside the pocket, it cannot send or receive signals, and this happens whether the phone is turned on or off. 

In this way, the pocket works like a sealed container for signals, similar to a waterproof bag but for electromagnetic waves. Explaining the silver used in the jacket that kills bacteria, it releases ions when it touches bacteria, and these ions break the outer part of the bacteria cell, enter the cell, and stop it from working or spreading. Vollebak says that they’ve created the Electromagnetic Shielding Bomber as a preparation for future risks from electromagnetic radiation. So far, the team is also working on new materials for different future problems, including health, climate, space travel, and digital security. With the bomber jacket, it currently blocks low-frequency waves, but the team adds that future versions may block stronger radiation like x-rays or gamma rays.

Vollebak releases the Electromagnetic Shielding Bomber jacket made with the materials used in NASA’s Mars rover

the fashion piece can block any kind of signal, including text messages and signals from space

the outer layer is made from ripstop nylon, with the silver being grown into the fabric

silver makes up about 20 percent of the jacket’s surface

detailed view of the cuff

the piece also includes a pocket for a phone, which acts like a Faraday cage

the wearable currently blocks low-frequency waves

project info:

name: Electromagnetic Shielding Bomber

brand: Vollebak | @vollebak

laboratory: Shieldex

space agency: NASA | @nasa

photography: Sun Lee | @sunleestudio

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Meta and Reality Labs introduce the surface electromyography (sEMG) wristband, a smart bracelet that can replace and work as a keyboard and a mouse for computers and other devices. Instead of using keyboards, mice, or touchscreens, the wearable technology lets people control devices with small movements in their hands and fingers and by allowing the wristband to read signals from the muscles in the wrist. It is designed by Reality Labs, the augmented and virtual reality division of Meta, and works together with the company’s augmented reality glasses.

Meta’s smart bracelet, which works like a keyboard and mouse, resembles a band worn around the wrist, but inside each belt are sensors that can read the electrical signals from the wearer’s brain and send them to their hand muscles. These signals control movements like tapping, swiping, or pinching, and even if the user’s hand doesn’t move so much, the wristband can still understand what they want to do. These signals are then sent to the AI-powered device and turned into actions like opening apps, writing messages, or selecting something on a menu.

all images courtesy of Meta, Reality Labs, and the researchers

AI trained using data gathered from over 300 people

Meta and Reality Labs’ smart bracelet uses AI and machine learning to function. The teams say it has been trained using data from over 300 people who agreed to take part in research, meaning the system understands different hand shapes, skin types, and movement styles. The device, which works like a keyboard and mouse, functions for most people without an additional setup. It can also learn from personal use to become more accurate over time and improve how it understands handwriting by learning from a writing style. Users can even type a message without a keyboard by tapping their fingers slightly on a surface or desk.

They can also write by pretending to draw letters on a table or even their leg. Then, the system recognizes the letters as they move their hands and translates each movement into text on the screen. The teams say that their device is noninvasive, so there’s no need for any surgery or implants, as it reads signals directly from the skin contact. They add that it also works ‘quietly,’ which can be useful in case users can’t talk in private or public. Since it is replacing the keyboard and mouse for computers, Meta’s smart bracelet, then, is the only device to be used for these machines. So far, the teams have published their study, and they see the device as useful for people with physical disabilities to give them relieving ways to control their devices.

Meta and Reality Labs introduce the surface electromyography (sEMG) wristband

the wearable technology lets people control devices using signals from the muscles around the wrist

inside each belt are sensors that can read the electrical signals from the wearer’s brain

these signals control movements like tapping, swiping, or pinching

project info:

name: A generic non-invasive neuromotor interface for human-computer interaction

teams: Meta, Reality Labs | @meta, @realitylabs

researchers: Patrick Kaifosh, Thomas R. Reardon, CTRL-labs at Reality Labs

study: here

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Headfirst introduces a self-adjusting bike helmet that comes with a glowing brake light when the rider slows down. It is to signal the other riders behind, and even vehicles, to take their cruising speed down a notch. The brake light is positioned just below the top of the user’s head and at the rear of the self-adjusting bike helmet. The lighting is bright and thick enough to glow in daylight and at night, which can help the riders cruise safely at both times. 

Another feature that the Amsterdam-based collective highlights in their design is the fitting of the gear. Headfirst’s bike helmet can adjust itself depending on the shape and size of the rider’s head because of the team’s patented SafeFit technology. After putting the helmet on, riders push the sides together as if they were styling their hair, and the integrated mechanical system automatically adjusts and locks to create the fit. Unlike traditional dial systems that adjust from the back, this approach prevents the ‘mushroom head’ look and messing up the hairstyle after use.

all images courtesy of Headfirst

Removable inner fabric to wash after use

Looking at the design of Headfirst’s self-adjusting bike helmet, there are numerous open slits for airflow, especially during sunny seasons. The design team says that they craft the outer shell from ABS with 15 percent recycled materials, while they use expanded polypropylene, a thermoplastic polymer, for the inner protection of the gear. The padding is breathable, and it is even removable, so the riders can wash it after use. The straps lock in using recycled magnetic buckles, and these parts themselves are also made from recycled polyester.

Headfirst says that its self-adjusting bike helmet has multi-impact protection that safeguards the riders when they crash (and beyond, they add). The shape of the gear also focuses on protecting the back and sides of the head the most, mainly the occipital region of the brain, which controls critical functions like vision and coordination. While the gear can adapt to any shape, Headfirst still offers a small and large size to accommodate the children, too. At the present time, the campaign has been backed, and the team plans to undergo quality control and testing for their self-adjusting bike helmet around September 2025. After that, the delivery begins in late 2025.

the brake light is positioned just below the top of the rider’s head behind

the lighting is bright and thick enough to glow in daylight and at night

the can also adjust itself depending on the shape and size of the rider’s head

there are lots of grilles above for airflow

the outer matte shell is from ABS with 15 percent recycled materials

so far, the delivery of the gear begins in late 2025

project info:

name: Self-adjusting bike helmet

startup: Headfirst | @headfirst_helmets

campaign: here

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