Japanese company Atoun is dedicated to assisting human mobility with robot technology. Their Model Y, which has nothing to do with Tesla, is a partial exoskeleton whose shape tells you where the name came from:
The unit does not supply any power to the wearer’s arms. Instead it bears the load that would normally be borne by the lower back in bending and lifting, and provides extra power to straighten to a standing position once the load is acquired.
Sensors can tell when the wearer starts to walk, at which point the motors shut off.
When the wearer is lowering a load, the suit goes into “Brake Mode,” lowering the wearer’s rate of descent, or helping the wearer hold the bent-over position for longer tasks (e.g. agricultural work).
The Model Y is made of carbon fiber, weighing just 4.5kg (about 10 pounds). It’s waterproof and dustproof, and can be worn by construction workers in challenging conditions.
Here’s what it looks like in action:
The company’s website does not list a price, nor mention if they distribute internationally.
Perriand originally conceived Paravent Ambassade for the residence of the Japanese ambassador to France in Faubourg Saint-Honoré, designed by architect Junzo Sakakura.
Each screen contains 313 wooden blocks connected by metal rods
The screen contains 313 wooden blocks connected by metal rods, allowing it to be easily adjusted to suit different spaces.
“The furniture was partly integrated into the architecture and partly intended to be mobile,” Cassina explained.
The original Paravent Ambassade was made from discarded rosewood pieces from the production of Perriand’s Tabouret stools.
The screen is available in natural oak or Canaletto walnut
But now, the screen has been reimagined in collaboration with Perriand’s daughter Pernette Perriand-Barsac and made available in natural oak or Canaletto walnut.
“These wooden elements are offset to create a visual interplay of volume and voids,” Cassina said. “An elaborate weave of wood, the screen becomes a work of art that reveals transparencies and at the same time creates privacy.”
About Dezeen Showroom: Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.
Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.
Founder Lucia Rollow shares how she breathes new life into the analog practice through affordability and inclusion
When Lucia Rollow rolled her Volkswagen down New York’s Long Island Expressway back in 2010, she had no idea she was on the brink of founding a thriving film photography community and one of the only 24/7 darkrooms in the city. A recent college graduate with no spare change, Rollow longed for a place to continue developing film and honing the craft she loves. After scouring NYC for an affordable darkroom without success, she made one of her own.
Roughly one week after she had the idea, during her trek along the highway, Rollow launched a Kickstarter campaign to turn the empty basement of her apartment building into a price-friendly darkroom—accessibility being an integral component for Rollow from the get-go. This dedication to providing processing resources to not only herself, but also to those around her, led her basement workshop to become the flourishing 4,000-square-foot Brooklyn studio it is now. Located on Troutman Street, the comprehensive Bushwick Community Darkroom (BCD) is a refreshing hub for professional and beginner photographers, who share a passion for analog—and each other.
More than a film studio, Rollow’s darkroom operates as its moniker suggests: with the community. Between hosting art shows, musicians and zine swaps with local nonprofits and schools, BCD ushers in a new era of analog photography, offering low rates ($15 to scan and develop 35mm or $20 for 120mm), no-questions-asked financial aid, around-the-clock access and classes on developing film. Online, their website and social media continues to champion inclusivity within the industry, spotlighting Black film photographers from the area. Internally, BCD prioritizes employees who can best serve and reflect NYC’s diversity, forgoing typical hiring impediments like checking the legal history of candidates.
We spoke with Rollow on the analog practice’s whitewashed past, how to build a blossoming film family in spite of it and why the medium will never die.
Great Dunes by Lucia Rollow, courtesy of Bushwick Community Darkroom
How has the film photography industry shut out marginalized individuals?
The only people that have ever received real recognition in this industry are straight white men. For instance, did you know there was a whole cadre of Black photo studio owners throughout the USA in the late 1800s? I had no idea until just a few years ago. Have you ever attended any sort of photography meetup? Probably not, if you’re not a straight white man.
I’m not trying to exclude cis white men, but I am not not trying to exclude them. The darkroom is a space for the rest of us. They have the world; I just want this little piece to be a safe place for people who are curious to ask questions, learn and fall in love with this incredible craft.
The ethos of your studio is obviously helping the community and rectifying the industry’s inaccessibility. How does film photography allow you to do this in ways other mediums may not?
It has to do with the ease of picking up a camera. My father was a painter and was always teaching me to draw, but I was frustrated by my inability to translate the images from my brain onto the paper. Whenever I picked up a camera, it just seemed to happen naturally. I think despite its exclusionary history, photography is one of the most accessible art forms. Painting and drawing were extremely frustrating to me, and I’m not the only one. Especially today, when everyone has a camera in their pocket, I think it’s important that people have the resources and opportunity to learn its history and craft no matter their background or skill level. In the darkroom, people can gather, learn and build off each other—give feedback on prints but also teach each other how to load cameras and have those basic spontaneous conversations that simply don’t occur in other environments.
Great Dunes #3, 2018 by Lucia Rollow, courtesy of Bushwick Community Darkroom
How does BCD engage with the neighborhood and the culture of Brooklyn’s photography at large?
Since the pandemic started, it’s been more challenging, but we’ve collaborated on events and exhibits with Brooklyn Film Camera and the NYC Street Photographers Collective a bunch over the years. We’ve done workshops and shows with kids from local schools. Engaging with the photography community at large is challenging, because it is so dominated by cis men, but hopefully we’ll have more and more opportunities to work with youths from the neighborhood. That is a large piece of the long term vision for BCD, and it got tabled when the kids all stopped going to school. When I was in graduate school, I wrote an entire curriculum draft for an after school high school program that directly connected all the academic subjects back to analog photography. That is something I would really like to explore more in our second decade.
BCD offers a bounty of educational programs to learn processing. What has teaching meant for you and the mission of the darkroom?
Teaching is, always has been and always will be a fundamental pillar of what we do. Personally, I can’t teach anymore because I have too many other things to pay attention to, but we’ve got plenty of people on staff. Back in the day, when I did teach all the classes, it really helped me develop a perspective of what I was doing. The joy people express when they realize just how simple all this stuff really is—it’s like nothing else. People are extremely intimidated by the equipment and chemicals involved but after a few hours of explanation and experimentation, all that fear disappears and they see the magic. It’s the most joyful reminder of what we love about this process. There is nothing like watching someone see a print appear for the first time, seeing that world unlock for them, realizing that they’re experiencing that magic that you once experienced… I should probably teach more.
If someone is saying that film is dying, it means that they’re not aware of what’s going on in the world
It’s been a little over a decade since BCD opened. How do you feel about this dedication to photography? Did you expect so many people to be invested in film, especially as it’s often known as a “dying art”?
Once you get in, you get in and you’re addicted. It’s like you can’t quit. The idea was to provide a space where people could get addicted to it, as well. But I always knew that if the right resources were available, then people are going to take advantage of them because it’s just not the same as digital. The tactile quality of the paper, the act of getting in the darkroom, and watching all this magic happen: it’s different. If someone is saying that film is dying, it means that they’re not aware of what’s going on in the world. They’re just wrong. Film photography has been on a major uptick over the last like six or seven years.
“Looking Into the City” and “Sofija on the beach I, Long Island” by Elisabeth Ciaccio (a member of BCD) courtesy of Bushwick Community Darkroom
What do you attribute the success of the BCD to?
It’s a community space, so it has a lot of appeal to a lot of different people. It’s not just me trying to make money off of other people’s art; it’s about creating a space for people to exchange ideas. That sense of people thinking the same way and doing the same thing is not something that exists in a whole lot of places—at least not in New York’s photo world. Most of them are much more expensive. If you wanted to do something at the ICP [International Center for Photography] or wherever, you’re going to be dishing out at least $1,000 for a month-long class. And that’s just not feasible for most young people.
What do you think the future of this practice looks like? Are you seeing newer, younger generations interested in film?
Oh yeah, we have a lot of kids coming in. We have high school interns and we’ve done a lot of high school programs. They’re always kids coming in, and we get a number of phone calls from parents asking if they’re 12-year-old can join. I don’t think film photography is ever going to go anywhere. The younger generations are just as interested as the older generations. I started doing this stuff in the mid ‘90s, when it was everywhere. Even then, being interested in darkroom photography was a small thing, not a whole lot of people were interested. So to see it going the way that it is now is cool. People want to say all this shit about film, but it’s not going to die. It’s archival. It’s the only archival material. It will never die.
Hero image “Jump, 2019” by Jorge Morse (a member of BCD) courtesy of Bushwick Community Darkroom
Two hundred potted trees that adorned the Supersalone fair in Milan earlier this month will be planted as part of an initiative to grow three million new trees in the city by 2030.
Launched last year, the ten-year Forestami project will see 300,000 trees planted each year, with over a quarter of million planted already.
“To this day we’ve planted 281,160 trees,” said a spokesperson for Forestami. “The 200 trees at the Supersalone are waiting to be planted in the next few weeks in some specific areas of Milan.”
Top and above: trees that were on display at Supersalone will be planted as part of the Forestami project
The trees will be planted around the greater metropolitan area of Milan. This includes the city and surrounding towns and villages and has a population of 3.2 million people in an area of 1,575 square kilometres.
The project is thought to be the most ambitious urban greening project in the world.
“One of the most democratic” ways to tackle global warming
“It’s basically one tree for every inhabitant,” said Milanese architect Stefano Boeri, who proposed the project in 2005.
“It’s one of the most democratic, inclusive and less expensive ways to tackle global warming and it also cleans up the air,” Boeri said. “Because Milano has this problem. It’s pretty bad.”
The “forest” of potted trees aimed to draw attention to the project
The project is being managed by the Politecnico di Milano, which is identifying locations, choosing species of trees and organising planting and maintenance.
“The goal is not only about planting, but also it’s about creating social environments,” Boeri said. “We have invested a lot in the edge of the city. We are working with schools to create public spaces and playgrounds.”
Tree are being planted across Milan’s metropolitan area including in the Parco dei Fontanili
As part of his design for the Supersalone fair earlier this month, Boeri installed a “forest” of potted trees at the entrance to the Fiera Milano fairground.
Other trees were dotted around the exhibition halls.
Temporary forests being installed in cities across the world
Other recent examples include Es Devlin’s Forest for Change, which saw 400 trees temporarily installed at Somerset House in London, and Klaus Littmann’s For Forest, which featured 400 trees placed in an Austrian football stadium.
Boeri has pioneered the use of trees on buildings with his bosco verticale (vertical forest) concept.
Swiss architecture studio Herzog & de Meuron has created an extension to the dockside MKM Museum Küppersmühle in Duisburg, Germany.
The brick extension adds an additional 2,500 square metres of exhibition space to the MKM Museum Küppersmühle, which is located in a historic grain mill that was originally converted into a museum by Herzog & de Meuron in 1999.
Herzog & de Meuron has added an extension to MKM Museum Küppersmühle
Set on the dockside, the four-storey extension was informed by the museum’s existing 19th-century buildings that line the waterfront.
“The extension accords with the sequence of impressive historical brick structures lining the dockside,” said Herzog & de Meuron.
“Consequently, the new structure completes the existing museum and harbour basin in a visually appropriate way, and forms a suitable conclusion to the row of buildings along the harbour basin. The new project constitutes an integrating and complementary architecture.”
Two bridges connect the extension with the original museum
The extension contains additional gallery space for the museum, which displays an extensive collection of German and European post-war art.
In total, 35 brightly lit gallery spaces have been created over the four stories.
“Bricks on the outside, white cube on the inside,” said the studio.
“The MKM extension combines industrial culture with contemporary museum architecture.”
The silos are visible in some of the gallery spaces
The extension stands alongside a silo tower and its upper floors are connected to the museum’s original building by a series of bridges that pass through the silos.
According to the studio, the silos have been restored as “industrial monuments”. They are topped with a viewing gallery, which will be open to the public when the weather allows.
The extension contains multiple white box galleries
Swiss studio Herzog de Meuron was established in 1978 by Jacques Herzog and Pierre de Meuron.
It has created numerous cultural buildings around the world including the Tate Modern in London, which occupies a converted power station. The firm added a brick extension to the building in 2016.
A stair connects the museum extension’s four floors
Dezeen Showroom: German brand Wilkhahn has expanded its versatile Occo seating line by Jehs + Laub, adding a lounge chair model and a relaxed-looking upholstery option.
The Occo lounge chair retains its predecessors’ characteristic shell seat, with its cutout backrest section, but adapts the design for the living room by way of a lower and slightly tilted seat position.
The Occo lounge chair has a lower base and tilted seat
The seat is mounted at an angle of eight degrees onto the base, which is available as an aluminium star base or a four-leg solid wood frame.
There are also two backrest heights to choose from, and the option of a looser-fit upholstery option, which makes the fabric gather around the backrest seam and gives an inviting, laidback appearance.
The new additions allow Occo to fit into the home, office, and spaces somewhere in between
This new upholstery option is also available on the premium Occo Conference models, for which there is a wide selection of base frames including star bases with glides, casters, an optional height adjustment and active rocking technology.
The new additions allow Occo to fit into the home, office, and spaces somewhere in between.
About Dezeen Showroom: Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.
Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.
Architecture schools must prioritise teaching students net-zero design skills to effectively prepare them for future work, says Anthropocene Architecture School founder Scott McAulay.
Speaking to Dezeen, McAulay said that if the industry is to help alleviate climate change, emerging architects must be taught how to eliminate carbon emissions from the built environment, which is responsible for around 40 per cent of all greenhouse gas emissions.
A failure to do this so far has left a “massive knowledge gap in the industry” in which many architects practice sustainability as a method of damage control, he explained.
Scott McAulay (above) believes architecture students must learn net-zero design skills. He is founder of Anthropocene Architecture School (top) where he teaches climate literacy to architects
“We need to have a really frank conversation about the way we’ve been practising sustainability as a whole, it has become a buzzword and it is effectively just damage control,” McAulay told Dezeen.
“At this point, it needs to be entirely normal to start an architecture degree and to be taught in a context of a climate emergency where we have been told that we should be net-zero and curbing carbon emissions as fast as possible,” he continued.
“If [the design of a building] is not basically near net-zero, it’s already outdated, it’s already archaic,” he explained. “It’s not performing as we know it needs to, so that has to be the established standard.”
“Everything has to change”
Net-zero carbon buildings are designed to eliminate all possible emissions in both embodied carbon, which are emissions caused by the construction supply chain, and operational carbon, which are emissions caused by the building’s use. Any remaining emissions must be offset using schemes that remove carbon from the atmosphere.
According to UN champion Nigel Topping, architects are also “one of the least well-represented businesses” in the UN initiative to get companies to commit to net-zero emissions by 2050.
However, the latest IPCC report said that “immediate, rapid and large-scale” cuts to greenhouse gas emissions such as carbon dioxide are what is required to tackle human-induced climate change and help to stabilise global temperatures.
“If you understand the gravity of that report, and you understand what it says about buildings, then you know everything has to change,” McAulay reflected.
Climate literacy “has to be rooted”
In addition to teaching zero-carbon design skills, McAulay explained that a wider overhaul of architectural curricula is required to make emerging architects “climate literate”.
“Climate literacy means understanding that buildings have a significant impact upon climate change,” he explained. “That has to be rooted.”
This should start with teaching architecture students that “when you work with any building, or you design any building, it goes into an existing ecosystem”.
But skills such as landscaping and retrofitting must also be learned, he said, alongside gaining hands-on building experience with sustainable materials such as hempcrete.
He said an example of this is at the Weitzman School of Design’s McHarg Centre, where courses are built on the guidelines of the Green New Deal – a proposal for a government-led remodel of the US economy to address climate change by Alexandria Ocasio-Cortez and Edward Markey.
Anthropocene Architecture School provides support
While individual institutions beginning to teach climate literacy is a positive step, McAulay said that legislation and collaboration between different schools are needed for it to be truly effective.
“To not educate students about climate change and sustainability is negligent and verges on denialism,” he explained.
“We definitely need [the teaching of climate literacy] to be in legislation, it can’t just be left to each individual institution that feels like it,” McAulay continued.
“We are yet to see a united collaborative effort, freely sharing learnings and resources, between as many institutions as we need to build the critical mass to catalyse the necessary, transformative change.”
However, recognising that changes in legislation may not happen at the required speed, McAulay is now taking educating emerging architects into his own hands as part of the Anthropocene Architecture School (AAS) – a decentralised architecture organisation that he founded in 2019.
The AAS offers a mix of online resources and workshops that shed light on the changes needed in the industry and the existing resources available to do so. They are available to schools of architecture and their students, as well as tutors, practitioners and the public.
So far this has seen him conduct lectures for staff and students at 15 universities in the UK, the Netherlands and Canada. More recently, he collaborated with students from Manchester School of Architecture as part of its annual programme of student-led live projects, during which they developed replicable Climate Literacy toolkits.
Architecture students feel let down by education
McAulay is far from alone in his concerns about the lack of climate literacy in education. A recent survey conducted by the Architects Climate Action Network (ACAN) revealed that 76.9 per cent of students do not feel their course is properly preparing them for future work.
It also found that 88.5 per cent of students wanted to be tested on their ability to design net-zero buildings, but that “aesthetics are valued more than sustainable design” at their institution.
Achieving net-zero carbon architecture and is one of the topics that Dezeen has explored in its recent editorial series called Carbon revolution. The series also explored ways of removing carbon from the atmosphere through direct air capture and natural processes such as mineral carbonation.
A labyrinth of brick walls and angular mirrors define the Dutch Holocaust Memorial of Names, which Polish-American architect Daniel Libeskind‘s studio has completed in Amsterdam, the Netherlands.
Located on Weesperstraat street close to the Jewish Cultural Quarter, the memorial was realised by Studio Libeskind with local studio Rijnboutt to commemorate 102,000 Dutch victims of the Holocaust.
Studio Libeskind has completed the Dutch Holocaust Memorial of Names
The victims, who were largely Jews, Sinti and Roma people, were killed by the Nazis during the second world war and have no known graves.
To honour each of these victims individually, the walls of the memorial are constructed from 102,000 bricks that are inscribed with the names of the victims – giving the project its title.
Alongside these bricks, 1,000 extra bricks were left blank to memorialise those who remain unknown.
The bricks are inscribed with the names of Dutch Holocaust victims
The bricks are arranged in a series of two-metre-high walls across the site, which are crowned by four mirrored stainless steel volumes.
Studio Libeskind’s arrangement of the brick walls gives rise to a dynamic labyrinth of passages across the site for visitors to explore.
A labyrinth of brick walls make up the memorial
The mirrored volumes were designed by Studio Libeskind to emulate four Hebrew letters, which form a word that translates as “in memory of” when viewed together from above.
They are also designed to appear as though they are floating above the walls, which the studio said represents “an interruption in the history and culture of the Dutch people”.
The combination of brick and stainless steel at the memorial is also symbolic.
“Brick, a ubiquitous building material in the Netherlands and cities of Western Europe, paired with the highly reflective and geometric forms of the steel letters reference the connection between Amsterdam’s past and present,” Studio Libeskind said.
The walls are crowned by mirrored volumes
Woven around the brick walls are crushed stones, trees and monolithic seating that complement the geometric angles of the memorial, while the border of the site is lined with hedges and bronze-coloured panels.
The Dutch Holocaust Memorial of Names was commissioned by the Nederlands Auschwitz Comité and officially inaugurated on 19 September 2021.
The mirrors appear to hover above the walls
Studio Libeskind was founded by Libeskind with his partner Nina Libeskind in Berlin in 1989. Elsewhere, the studio has designed Holocaust memorials in the United States and Canada.
Architect: Studio Libeskind Team: Daniel Libeskind, Stefan Blach, Johan van Lierop and Alex Tahinos Architect of record: Rijnboutt General contractor: Koninklijke Woudenberg Project management: Paul Rohlfs Construction management: Aumento bv Construction: IMd Raadgevend Ingenieurs Brick manufacturer: Rodruza Masonry: Metselwerk Adviesbureau Vekemans Stainless steel: AIP partners BV, ABT Engravings: Reijnders Engraving and Laser Engineering B.V. Installations: Swart installatietechniek
My AirPods are one of my prized Apple possessions! I use them multiple times in a day, whether’s it’s for calls, to watch videos during work breaks, or to listen to some pumped-up tunes during my evening jogs. You’ll find them around me almost all the time. I’m sure there are other AirPods addicts in the house, and for those individuals, here’s a collection of AirPods accessories that we swear by! From earrings that hold your AirPods in place to a dual-tone leather AirPods case, these nifty product designs will completely elevate and enhance your AirPods experience. They serve as the perfect sidekick to your AirPods, either by taking the best care of them, boosting their functionality, or making sure you never lose them again. These are a must-have for all AirPods fanatics!
Suhani Parekh of MISHO designed a series of earrings that keep your beloved Apple AirPods accessories in place! Named the Pebble Pods, these earrings wrap and clip around your AirPods to prevent them from falling out of your ears. Not only do they keep your AirPods in place, but they also function as earrings individually! The product comes in three versions-Pebble Pods, Minimal/Active Tall Pods, and Minimal/Active Tiny Pods. I love how they not only support your AirPods but also double up as the cutest earrings ever. They’re a stylish personal and AirPods accessory!
The Snapshot case for the AirPods Pro comes with a camera-shaped design that neatly houses an AirTag inside the faux camera lens. Aside from looking like a tiny little point-and-shoot, the Snapshot protects your AirPods Pro from physical damage as well as theft. The all-silicone design helps absorb shock, while still enabling wireless charging… and the fact that you’ve now got an AirTag strapped to your AirPods Pro makes it really easy to use the Find My feature to track the exact location of your earphones.
Bullstrap’s Leather Case (codenamed Terra) for the Apple Airpods definitely gives it a lovely handcrafted appeal. The case comes with black and tan leather trims, double-stitched together with robust Nylon thread, and lined on the inside with microfiber to protect your AirPods. The Bullstrap Terra’s V-shaped design detail feels unmistakably like a popular cigarette brand, but while I’m the last person to ever endorse tobacco, it’s definitely memorable and visually striking. The V’s slightly offset though, creating a little bit of drama (which I really like, if I’m being honest), and the soft leather feels incredible to the touch.
Power1 takes portability and functionality to a new level giving you a system that’s doubly useful because it doesn’t just charge and protect for your iPhone… it charges and protects your Airpods too and ensures they are always with you and ready for use. Designed as an evolution of traditional battery cases, Power1 not only holds an extra battery but also manages your Airpods like no other system. Armed with a proprietary design, Power1 comes with two modes. One, where it charges your Airpods only (up to 30 times on a full battery), and a second mode that charges your Airpods as well as your phone, giving both gadgets full advantage of Power1’s 3000mAh internal battery. Power1 uses its intelligent power monitoring system to see which device is running low on charge, supplying power to them accordingly. Using its USB-C port, when you plug Power1 into an outlet, its priority charging feature kicks in, routing power to your phone and Airpods first before charging its own internal battery.
Antón’s redesign turns the Apple AirPods Pro case from something that looks like a ‘box of floss’ to a really classy-looking ‘chewing-gum-stick dispenser’. The rounded-box shape gets ditched for a taller and sleeker capsule shape, with lids on both ends, allowing individual earpieces to fit into each end of the case. Sure, the redesign presents some structural issues – like where would one place the Qi charging coil or the battery, but what Antón’s concept really provides is a sense of variety, while sticking to Apple’s design philosophy of building sleek products. The redesigned AirPods Pro case also fundamentally changes the UX of the AirPods. The two separate openings house the left and right earphones, and while they do that, they also hint at behavior that’s common within the AirPods user community of using just one AirPod at a time to maximize battery life.
The Air Omni’s biggest defining feature is that it comes built to dock the iPad too, which should honestly be given the same status as the iPhone, Watch, and AirPods… after all, the iPad is a mobile device too. Designed for not just charging but docking too, the Air Omni comes with a dedicated pop-up wireless charging hub for your Watch, specified wireless charging zones for your phone and AirPods, and a stand that lets you dock the iPad vertically and charge it via a cable – all while complying with Apple’s MFi charging standards. The docking zone’s unique design is truly innovative as it shapeshifts to let you alternate between docking your iPad as well as your iPhone.
Zens’ Magnetic Dual Powerbank comes with an internal 4,000 mAh battery that’s good for 1.5 full smartphone charges. The power bank is MagSafe compatible on one side too, allowing you to easily snap your iPhone to it without worrying about alignment. The other non-magnetic side is good for your AirPods, or potentially even a second smartphone (if you’re that kind of person). The power bank is perfect for all your on-the-go charging needs, although it comes with its own flip-out kickstand for when you’re working at a desk and want your phone angled towards you.
Designed as a sleeker upgrade to Genki’s Bluetooth adapter from 2018, the Genki Audio Lite is a tiny, plug-and-play Bluetooth module that fits right into your Nintendo Switch Lite, allowing you to connect Bluetooth earphones and speakers to your gaming console. The Genki Audio Lite’s tiny size adds a great deal of functionality to the already capable device. You can now use your TWS earphones, AirPods, or even the AirPods Max with it, allowing for a portable, private gaming session. The Genki Audio Lite comes with Bluetooth 5.0 and is equipped with aptX high fidelity low latency codecs that provide lag-free audio while you game.
The dock/stand’s choice of wood as a material gives it a classic appeal, making it look elegant even when it’s empty. The underlying tray provides a nice surface to keep your keys, USB sticks, and even AirPods; while channels running along its base you cleverly organize your charging cables. The stand’s waist provides the perfect place to stash/charge your Apple Watch, and the lightning port on the upper surface lets you easily dock your iPhone vertically, so you can charge it while you answer calls, view your calendar, attend conferences, or just browse through social media!
Elago’s AW6 cases for the AirPods help cover Apple’s musical journey from beginning to end. Designed to mimic the iPod Classic’s jog-dial, the silicone sleeve for the AirPods is a nice bookmark in time, while also acting as a protective cover for your AirPods case . Compatible with 1st and 2nd gen AirPods, the sleeve comes with a slot for the charger as well as a carabiner clip so you can hang that piece of audio-nostalgia from your belt-loop or your backpack… and that tiny hole right above the menu for the charging light just sweetens the deal!
The sixth edition of Radical Softness as a Boundless Form of Resistance continues to meditate on how tenderness is reflected, resonated and realized within different practices. Released by Genderfail—a publishing initiative dedicated to intersectional queer subjectivity—and edited by Be Oakley, the zine includes essays written by the editor, as well as writing by Lora Mathis, Alexis Ruiseco-Lombera, Noah LeBien and Kimi Hanauer. It also features new translations and unreleased writing, titled “Collective Self Isolation: In the Care of Others.” This edition is limited to 100 copies.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
high fidelity low latency codecs that provide lag-free audio while you game.
