This LEGO Mechanical Heart Beats Just Like A Real Heart Would

A real heart beats at roughly anywhere between 60bpm or 100bpm on average… LEGO builder Anatomical_Brick’s ‘Motorized Beating Heart’ outputs 55bpm, providing a near-perfect replication of what an actual beating heart looks like. The coolest part, the entire thing is made from LEGO bricks and is powered by a set of replaceable batteries.

Designer: Anatomical_Brick

At the heart of the model lies a LEGO Technic frame equipped with two interlocking slider mechanisms and a scissor element. This ingenious design allows for dynamic adjustments to the width and height of the central structure. A flexible outer shell, crafted from interconnected segments joined by rubber bands, envelops the core frame. This construction creates a captivating illusion of movement as the structure expands and contracts. The entire model is roughly 3x in scale (to make sure the heart moves effortlessly), and is powered by a motor linked to a battery pack, bringing it to life.

“I initially wanted to make a heart for Brickvention due to my fascination in the organ and had never seen it done using LEGO pieces. When telling others about this project, the reoccurring feedback was that it should move. They were absolutely right! After many months of trial and error, I’m finally happy with the results and so were the people at Brickvention,” said Anatomical_Brick.

The final result is a marvel of technology as well as biology. Sure, LEGO bricks only get you so much realistic detail, but watching the heart beating feels nothing short of captivating, The auricles and ventricles of the heart expand and contract, simulating the effect of blood being pumped through the organ. The red part of the heart indicates where oxygenated blood passes through the organ, whereas the blue part shows the passage of deoxygenated blood.

Currently a submission on the LEGO Ideas forum, Anatomical_Brick’s MOC (My Own Creation) is gathering support from the broader LEGO community. With more than 700 votes under their belt, the submission is en-route to the coveted 10,000 vote mark, following which LEGO’s internal team will review it before turning it into a buyable box set!

The post This LEGO Mechanical Heart Beats Just Like A Real Heart Would first appeared on Yanko Design.

Carpenters Workshop Gallery exhibits modernist furniture design from Brazil

Brazilian modern furniture

Work by Lina Bo Bardi and José Zanine Caldas was on view at Carpenters Workshop Gallery in New York City as part of an exhibition on modernist Brazilian furniture.

Called Turning Tides: Designing a Modern Brazil exhibition, the show highlighted 75 years of design from the South American country.

High gallery with hanging lights and Brazilian furniture
Carpenters Workshop Gallery showcased modernist Brazilian furniture in its New York location

It was launched to survey the impact of influential objects and furniture on daily life in the country and elsewhere, according to Carpenters Workshop Gallery.

The exhibit included works by post-war designers from Brazil such as Joaquim Tenreiro, Jorge Zalszupin and Sergio Rodrigues but also contemporary talents, such as Studio Campana, who have been influenced by these historical figures’ experimental use of colour, texture, material, form and traditional crafts.

Tri-part wooden table
The exhibition included the wooden furniture of José Zanine Caldas

“Turning Tides honours a diverse cadre of artists who navigated and shaped their creations in the crucible of Brazil’s culturally rich history, reflecting significant social, cultural, and political changes that influenced various aspects of society,” said Carpenters Workshop Gallery.

Produced using a single Pequi tree trunk, sourced in the Região Centro-Oeste region, the Dining Table by Caldas demonstrates these designers’ interpretation of modernism and contribution to the development of a distinctive Latin American style.

Sergio Rodrigues tables and chair
Post-war designers such as Lina Bo Bardi Sergio Rodrigues were included. Pictured are stools by Sergio Rodrigues and a desk by Bo Bardi

Caldas led the Móveis Denúncia movement which aimed to preserve local forests and often used materials from fallen trees.

“The exhibition presents the fabric for modern living in Brazil,” said Maria Cecilia Loschiavo, associate professor of Design at the School of Architecture and Urbanism, University of São Paulo.

“The public saw the various trends, the avant-garde and the diversity of materials] used, but also the sovereign presence of wood, which established the designers’ link with vernacular culture and the beginnings of Brazilian furniture.”

Joaquim Tenreiro coffee table
It featured a variety of Brazilian furniture styles. Pictures are armchairs by Jorge Zalszupin and a coffee table by Joaquim Tenreiro

Many of the furniture pieces were designed by architects who also created furniture, such as Italy-born Lina Bo Bardi.

Her 1950s Writing Desk was produced using Caviuna wood and includes Z-shaped legs, which, according to the gallery, was a major part of Brazil’s contribution to modernism.

Brazilian modern furniture
Wood featured heavily in the designs. Pictured is the Hauner sofa by Sergio Rodrigues and the Scipanelli coffee table

Other European designers who moved to the country during this time period include Carlo Hauner and Martin Eisler, who developed the organic, tubular metal frame Reversible Armchair.

The concave steel-and-glass-topped Side Tables by architect Oscar Niemeyer, who was responsible for the master plan of the country’s capital Brasilia, was also on view.

“Turning Tides pays tribute to Brazil’s design legacy, highlighting the historical impact of Modernism, local craftsmanship, and innovation,” said Carpenters Workshop Gallery fo-founder Loic Le Gaillard.

“Every piece – from Joaquim Tenreiro to Sergio Rodrigues and Lina Bo Bardi, tells a story of resilience, ingenuity, and the unwavering pursuit of beauty.”

Brazilian modern furniture
Many of the designers were born in Europe and moved to Brazil later in life

Brazilian design has featured in a number of recent shows in the American city, including a recent solo show by Estúdio Campana, the first since the passing of studio co-founder Fernando Campana.

The Photography is by Matt Harrington.

The Turning Tides: Designing a Modern Brazil exhibition is on view from 7 March to 31 May at Carpenters Workshop Gallery. For more architecture and design exhibitions visit Dezeen Events Guide.

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AI-powered robot vacuum concept brings both brains and heart to your cleaning chores

A lot of people like me leave the house early in the morning and return late at night just to rest and sleep. I rarely have time and energy to actually clean the house thoroughly. But of course you need to make time to get rid of dust or else your health and your peace of mind will be affected. Robot vacuums are the best friends of those who need a bit of clean up without exerting much energy and we’re seeing a lot of options and concepts for this kind of cleaning tool.

Designer: Raye

Hestia is a concept for one such tool, named after the Greek goddess of the hearth and the home because it protects your home from germs and dust. It is basically a robot vacuum cleaner but it uses AI technology to make the cleaning process easier and more convenient. The AI, together with the ultrasonic sensors located on both sides, helps the cleaner set a path to clean your home and also avoid obstacles (probably as long as you don’t leave random things lying around your floor). It has two rear wheels that can give it a good “kick” while the front wheels lets it go forward and sideways.

The vacuum itself looks like a small, flat robot with a small head on top. It has an external display that shows off the “emotion” of the robot with its camera and lidor sensor while the Demeter CPU enables the smart space cleaning feature. The default face is its normal, tranquil mode while the cleaning mode shows off an angry face because of the dirt and dust she needs to clean. When the battery is low, it shows off a weak face. The monitor also displays the battery level and the cleaning process.

The Hestia robot vacuum cleaner uses anodized aluminum and polycarbonate material so you get a more “sophisticated” but clean and minimalist look. The charging station which looks like the robot’s mother ship is able to empty the dustbin so you can just gather all the dirt and dust inside it for disposal later on. It seems like something that will greatly benefit people like me who are too busy (or sometimes lazy) to do regular cleaning.

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Dezeen Debate features "whimsical and reverent" slaughterhouse conversion

Plato contemporary art gallery

The latest edition of our Dezeen Debate newsletter features a conversion of a Czech slaughterhouse into an art gallery. Subscribe to Dezeen Debate now.

Architecture studio KWK Promes has repurposed a slaughterhouse in the Czech Republic into the Plato Contemporary Art Gallery, featuring exhibition spaces lined with rotating concrete walls.

These additions comprise six large rotating walls. Three act as entrances to the gallery, while the remaining three open their exhibition spaces to the surroundings.

Commenters were stunned by the renovation, with one lauding it as a “very smart intervention” and a “highly cultural architecture refurbishment”. Another agreed, describing it as “simultaneously whimsical and reverent”.

Stacked towers
Rafael Viñoly Architects designs four skyscrapers for first Canada project

Other stories in this week’s newsletter that fired up the comments section include four skyscrapers and a series of public spaces in Toronto designed by Rafael Viñoly Architects, the winner of the Mies van der Rohe Award for Europe’s best new building and a collection of surreal furniture created for Schiaparelli.

Dezeen Debate

Dezeen Debate is sent every Thursday and features a selection of the best reader comments and most talked-about stories. Read the latest edition of Dezeen Debate or subscribe here.

You can also subscribe to our other newsletters; Dezeen Agenda is sent every Tuesday containing a selection of the most important news highlights from the week, Dezeen Daily is our daily bulletin that contains every story published in the preceding 24 hours and Dezeen In Depth is sent on the last Friday of every month and delves deeper into the major stories shaping architecture and design.

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Ten architecture student projects by the Confluence Institute

Visualisation with yellow elements

Dezeen School Shows: a project proposing a refurbishment of Paris‘ Montparnasse centre is included in Dezeen’s latest school show by students at the Confluence Institute.

Also included is a diploma project that examines the role of textiles within buildings and a group project that examines the possibilities of combining contemporary 3D printing methods with ancient materials such as clay.

Confluence Institute

Institution: Confluence Institute for Innovation and Creative Strategies in Architecture
Course: Cycle 1 and Cycle 2
Tutors: Odile Decq, Lionel Lemire, Colin Fournier and Didier Faustino

School statement:

“At Confluence Institute, students shape their own educational journey by selecting thematic vertical studios, participating in intensive workshops and attending tailored seminars.

“The following selection of projects highlights the diversity of the student’s work and their engagement within and beyond the realm of architecture.

“Cycle 1 is a three-year programme validated at RIBA Part 1 level by the Royal Institute of British Architects (RIBA).

“Cycle 2 is a two-year programme validated at RIBA Part 2 level by the Royal Institute of British Architects (RIBA).”

Visualisation of a large building with holes in its facade

Mineral Grafting by Charles Edgard-Lincoln

“As an alternative strategy to the renovation of the Montparnasse centre in Paris, this project explores the morphological potentials of stone structures rising from the existing multilayer ground infrastructure on-site to create spatial interconnections between the street, the envelope, and the existing buildings.

“In this rehabilitation, the site is converted to integrate the existing infrastructure and the surrounding context through the growth of a connective multilayer architecture.”

Student: Charles Edgard-Lincoln
Course: Confluence Institute Cycle 2 Diploma (RIBA Part 2)
Tutor: Lionel Lemire
Email: charles-edgardlincoln[at]

Thinking upside down by Jhila Prentis

“Jhila Prentis examines the issue of migration and its impacts on societies and individuals.

“Through a series of reflections and examples, the author discusses the challenges faced by refugees and asylum seekers, including administrative difficulties in France and precarious living conditions in camps.

“The text highlights feelings of sadness and injustice experienced in response to migrants’ distress.

“Jhila Prentis criticises the inadequate and often inhumane responses of host societies while calling for awareness and a radical change in the approach to migration and integration.”

Student: Jhila Prentis
Course: Confluence Institute Cycle 2 Diploma (RIBA Part 2)
Tutor: Lionel Lemire
Email: jhilaprentis[at]

Visualisation of a large building from above

Metaphasis by Emma Miglietta

“This project imagines a temporary structure capable of evolving over time and adapting to the needs of its users.

“Events centred on exchange and interaction would bring life to a community-based social scene and help re-establish the city’s identity through its inhabitants.

“The wounds caused by the war, visible in the urban fabric of the city, would serve as the starting point: what would normally be hidden and built upon becomes instead the statement of a landmark that bridges future possibilities with the memory of past events.

“Drawing from the negative volume of destruction, a new place takes shape, fostering flexibility and experimentation.”

Student: Emma Miglietta
Course: Confluence Institute Cycle 1 (second year)
Tutor: Colin Fournier
Email: emmamiglietta[at]

Photograph of a figure behind a translucent piece of fabric

Soft Tectonic by Domitille Roy

“This diploma work investigates the integration of textile technologies in architecture to create responsive, dynamic spaces.

“It explores the role of textiles in the architectural fabrication process, utilising digital tools and additive manufacturing.

“This involves experimenting with textile flexibility, strength and its potential as a constructive element through various tests and practical applications.

“The research is framed within a hybrid theoretical and practice-based approach, pushing the boundaries of traditional architectural methods and concepts.”

Student: Domitille Roy
Course: Confluence Institute Cycle 2 Diploma (RIBA Part 2)
Tutor: Odile Decq
Email: domitille[at]

Visualisation of a city with pastel-coloured modules

Los A(I)ngeles by Lorenz Kleeman

“Amid rising political and environmental instability, there is a need for resilient structures that can adapt to changing circumstances such as pandemics, extreme weather events and shifting aesthetic trends, without contributing to the gentrification of existing areas.

“As climate change renders rural regions less habitable, pushing populations towards cities, Los Angeles is projected to experience significant densification – by 2070, its population could reach around 26 million, leading to the formation of high-density sub-centres within the metropolitan area.

“I envision AI-managed structures that develop a form of consciousness, enabling rapid adaptation based on real-time data – these self-sustaining habitats, complete with automated factories and distribution systems, would be capable of expanding, contracting and repurposing themselves as necessary, efficiently utilising available space.”

Student: Lorenz Kleeman
Course: Confluence Institute Cycle 1 (Third year)
Tutor: Colin Fournier
Email: lorenzkleemann[at]

Cityscape with colourful added structures

Parametric Participatory City by Aiden Newsome

“In this scenario, the role of the architect would be to design the skeleton or master plan of a building.

“Every architectural element in the scene would simply be a bounding geometry or volume, which can be broken down into points.

“The objects that would populate these points could be designed by the people or a group of people from the community – this could be done by hand, through software, or in real-time using thoughts and emotions through a Brain-Computer Interface.

“The result is a collage of objects uniting to create the final product, wherein software helps organise the pieces, create connections, orientating them and connecting systems in an environmentally friendly way.”

Student: Aiden Newsome
Course: Confluence Institute Cycle 1 (Third year)
Tutor: Odile Decq
Email: aidennewsome[at]

Photo of two people with their heads connected by a grey fabric tube

Common skin by Anastasia Kublashvili and Louis Bouvrande

“The instructions in the brain are translated into nerve signals to drive the hand muscles, and the movements of the hand muscles are once again translated into electrical signals for input into the machine.

“The movement of the machine then generates signals through our eyes and transmits them to the brain, where adjustments are made, and the cycle repeats.

“Fast or slow, this series of translations constitutes the communication between man and machine.

“The stronger this communication, the more the machine tends to become integrated with the human body.”

Student: Anastasia Kublashvili and Louis Bouvrande
Course: Confluence Institute Cycle 1 (Second year)
Tutor: Didier Faustino
Email: annastasiakublashvili[at]

Architectural model made from clay and wood

Between Limits group project

“The project explores the innovative technique of 3D clay printing within the construction industry, blending digital design with ancient materials like clay to revolutionise architectural possibilities.

“This method promises efficiency through minimal waste, rapid construction and automated processes.

“The process begins with creating a parametric design digitally, followed by prototyping to refine factors such as material liquidity, air pressure and layer spacing.

“Through iterative testing, the project enhances control over the design and printing process, culminating in the construction of a model with a timber roof and multiple supporting walls.

“This exploration not only optimises construction techniques but also expands the design potential in architecture.”

Course: Confluence Institute Cycle 1 and 2
Tutor: Edouard Cabay and Paco Pioline

Visualisation of a building by a river

Architecture/Nature – A Hybrid by Lucia Landivar

“Lucia Landivar’s thesis presents a revolutionary approach to architectural design, merging natural elements with modern construction methods.

“This concept is demonstrated through a detailed exploration of sustainable materials and innovative structural solutions that integrate the natural environment into urban settings.

“Lucia emphasises the use of bioplastics, bamboo and mycelium-based concrete to reduce the ecological footprint of buildings while enhancing their aesthetic and functional qualities.

“Her work challenges traditional architectural paradigms by proposing designs that are both environmentally responsible and adaptable to changing urban landscapes, advocating for a future where architecture and nature coexist harmoniously.”

Student: Lucia Landivar
Course: Confluence Institute Cycle 2 Diploma (RIBA Part 2)
Tutor: Lionel Lemire
Email: lucialandivar[at]

Visualisation with yellow elements

Nonsense Abstract Mechanics by Adrien Espejo Fernandez

“The instinct of the individual is an inseparable aspect of each of us – this aspect of our beings is sometimes considered a defect but it conditions and directs our activities.

“It is such notions that distinguish us from the machine. Exchanges are faster, information is instantaneous.

“Hasn’t the city become a monster machine, always eager for maintenance, improvements, resources and manpower? In a way, do we no longer live for city systems, rather than through them?

“The observation of our ways of living in this extremely complex environmental system brings to light a fundamental and haunting question: what is the role of the instinct of the individual in the course of the city?

“Through abstract mechanics that may seem nonsensical, I confront reality with questions about the qualification and identity of today’s space, giving free rein to the appropriation of space and its function.”

Student: Adrien Espejo Fernandez
Course: Confluence Institute Cycle 2 Diploma (RIBA Part 2)
Tutor: Lionel Lemire
Email: adrienespejo[at]

Partnership content

This school show is a partnership between Dezeen and Confluence Institute. Find out more about Dezeen partnership content here.

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Eero Saarinen's Black Rock skyscraper refurbished in New York

CBS mural in renovated Black Rock building

The first and only skyscraper designed by Finnish-American architect Eero Saarinen in New York City has undergone a renovation by Vocon Architects and MdeAS Architects to help it “meet the expectations of today”.

At the behest of developer HGI, local architecture studios Vocon Architects and MdeAS Architects renovated and restored the 51W52 skyscraper, also known as Black Rock, which was completed as a headquarters for American media giant CBS in 1964.

CBS moved all of its facilities out in late 2023 and Black Rock now contains offices for a variety of companies, including HGI itself.

Street view of renovated Black Rock skyscraper
Eero Saarinen’s first and only skyscraper has been renovated

Designed by modernist architect Saarinen as his first and only skyscraper, 51W52’s original symmetrical facade of granite, bronze and travertine has survived, with the bronze fins updated by the renovation team.

At the time, Saarinen called it the “simplest skyscraper statement in New York”.

The original design was mostly maintained, and the developer, which purchased the landmarked building in 2021, said that the relatively column-less floor plans made it a perfect candidate for a contemporary office, though the interiors needed an update.

The renovation included restoration of the facade and an overhaul of the interiors
The building’s facade is made of granite, bronze and travertine

“From the beginning, we understood the immense potential of 51W52 given its architectural significance, desirable floor plans, and central location in Midtown,” said HGI president T Richard Litton Jr.

“The structure of the building was optimal, we just needed to make subtle enhancements to reflect and appreciate its original design.”

Most of the structural elements in the building were left intact. The architectural team completely renovated two lobbies on the ground floor, including a revamp of the finishes and the elevators. They also redid the building’s rooftop garden.

Lobby of Black Rock with dangling lights
Contemporary details and furnishings were added to the lobby

The project also included the renovation of key amenities spaces including a lounge, fitness centre and a private cafe.

The studios said that instead of completely rethinking the aesthetics of the 900,000-square-foot (83,600 square-metre) building, they aimed to “let the significant architecture speak for itself”.

The wide, long walls of the lobby were finished in detailing that echoes those used for the original facade. Some of the walls were covered in brass-tipped wooden slats, while others feature monolithic granite slabs.

Elevator bay inside Saarinen skyscraper New York
The elevator bay was clad in light-coloured stone

Back-lit stone clads the reception desk, above which was placed a modernist fresco that incorporates the CBS logo to call attention to the history of the building.

This artwork, by artist Vincent Ashbahian, was originally displayed in the building in the 1970s and willed back to the building after his death.

Toronto outfit Viso created a massive lighting fixture made of dangling lights on strands to cover a large swath of the lobby.

“By conceptualizing the experience from the outside in, we were able to restore the fundamental beauty of his design and apply the principles of form, light, and even water to new elements such as the feature stair and water feature that meet the preferences of contemporary office users,” said MdeAS Architects managing partner Dan Shannon.

From the lobby, a glass-lined stairwell leads down to lounge areas. The stairwell shaft is clad in stainless steel rendered in an undulating pattern.

Models of furniture originally designed by Saarinen and architect Florence Knoll were placed throughout the renovated spaces.

Water feature below staircase
A water feature was placed underneath the staircase leading to the below-lobby lounge

As it leads to lounge areas below, it passes over a small, still water feature: a small pool of water retained by black-painted metal.

“The creation of private lounges, a conference center, and fitness studios help the building meet the expectations of today’s best corporate talent, while their designs maintain the integrity of Saarinen’s original architecture,” said Vocon Architects principal Tom Vecchione.

Saarinen is known for his modernist architecture, with built work across the United States and Europe. Recently, a number of his buildings have been undergoing renovation, including his TWA terminal at JFK, which was repurposed into a hotel.

Other modernist skyscrapers that have undergone restorations and renovations in New York City include the famous Lever House skyscraper, which was restored by SOM, its original architects.

The photography is by Colin Miller.

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Serving Trays Inspired by the Icelandic Environment

These Vök trays are by Icelandic industrial designer Dögg Guðmundsdóttir.

The name makes immediate sense—if you speak Icelandic:

“Inspiration and the name for these trays were found in the cracks and holes in ice that are known in Iceland as vök.”

“The Vök trays are three asymmetrically folded forms. They can be used separately and stored together to create a space saving solution.”

“Vök is a part of the ROOTS collection, where Dögg goes back to her roots in Iceland and uses the shape of the trees, mountains, cracked ice and dried sand as an inspiration for the shapes of her new series.”

I’d reckon the inspiration for the color also came from the Icelandic environment. This is a shot taken by Guðmundsdóttir at Hvaleyrarvatn Lake:

The materials used are Oak and powder-coated aluminum. The trays are made to order.

Elegant Oil Cruets That Appear to Float

These elegant, double-walled Cilindro oil cruets are by Italian industrial designer Corrado Dotti. They’re handmade, out of borosilicate glass.

There’s also a Cubo version…

…and finally the Sfera. (The vessel without a spout is a salt shaker.)

They’re also available with tinted interiors.

All are in production by glassware manufacturer Ichendorf Milano.

nubia Flip 5G Foldable Phone Review: Finally, A Foldable Phone You Can Afford


  • Simple yet beautiful design
  • Large, bright, and vibrant foldable screen
  • Distinctive “porthole” external screen design
  • Attractive and affordable price point


  • Dated hardware and software
  • Unimpressive camera output




The nubia Flip 5G delivers the essentials of a foldable phone experience without burning a hole through your wallet.

In order to sell more foldable phones, this niche market segment needs to be as common as regular, non-folding phones. These normal phones, however, appeal to the masses because they can cater to a wide range of buyers, including those with tighter budgets. There has long been a clamor for more affordable foldable phones, both the larger book-style design as well as the clamshell type, but few manufacturers have dared to heed the call. The nubia Flip 5G is arguably the first flip-style foldable to really bring the design to the masses, boldly claiming the title of most affordable foldable. Nothing comes for free, however, especially in this industry, so we naturally wonder what nubia had to sacrifice to meet such an unbelievably low price point. We give the nubia Flip 5G a good turn to find out.

Designer: nubia


Right off the bat, you wouldn’t be able to tell the nubia Flip 5G’s price just from its looks. The word “cheap” has unfortunately acquired a negative reputation, but there is definitely nothing cheap about this phone’s design. Aside from the large black disc on its back, which we’ll get to later, the phone is a poster child for minimalist design, simple yet evocative in its pleasing appearance. There is not a line, edge, or corner out of place, making it exude class and style that would shock you if you knew the price tag it carried.

nubia didn’t skimp on materials either, giving the phone a matte AG glass for its back that not only adds a better grip but also makes the “sparkling sand” surface of the design stand out even more. This is better seen on the Cosmic Black cover which gives you the impression of looking at a starry night sky, while the Sunshine Gold of our review unit gives off a more calming and ethereal presence. The aluminum alloy frame isn’t far behind with its zircon sandblasted finish, adding texture that won’t be easily smudged by fingerprints.

Of course, the nubia Flip 5G needs to have cameras and a second screen on its back, and this is done just as tastefully as the rest of its design. The large black circle is located dead center, giving it symmetry and balance that is admittedly becoming less common in smartphone designs, foldable or otherwise. Once the screen lights up, however, that darkness becomes something like a window to another world, a technological equivalent of the porthole of old ships. This gives the phone a completely different vibe from other clamshell foldables that, while not unattractive, tend to focus more on the technical functionality at the expense of overall design.


Foldable phones promise a different level of usability and flexibility, but they also demand some changes in the way we use phones. For example, we need to open them up to be able to fully utilize their functions, but the external screen also offers some interactions while the phone is closed. Being able to comfortably and confidently hold such a device in both forms is even more important with foldables than it is for regular, flat smartphones.

Fortunately, the nubia Flip 5G delivers exactly that, and in both forms no less. Holding the folded phone is the easiest thing to do with one hand, and you don’t even have to turn the block around because the external display will automatically adjust itself depending on how you’re holding it. Whether your top is bottom or your bottom is top, you can instantly dive into the notifications, controls, or the camera without having to turn it right side up.

That said, the nubia Flip 5G is admittedly taller and wider than other flip phones, so those with smaller hands might have even more difficulty using it with a single hand. The flat, textured edges help with the grip, but reaching for the other side of the screen with your thumb will still be a tedious task. Then again, most phones these days really take single-handed use for granted, so it’s not exactly alone in this area.


So far, the nubia Flip 5G seems to punch above its price when it comes to design and comfort, so it raises the question of how the brand was able to push that price tag so low. The answer, if you haven’t guessed it already, is in the hardware. It’s not terrible, mind you, but you would do well to manage your expectations that this isn’t a $1,000 phone.

If you were to really put the flip phone in a box, you would file it under the “mid-range” category. The Qualcomm Snapdragon 7 Gen 1 processor it uses is from way back in 2022, and its 8GB of RAM sounds almost meager. Fortunately, this combination has enough silicon muscle to drive a fluid and responsive user experience (especially if you boost the RAM by 12GB by taking away some internal storage space), so you might not even notice the difference. Yes, games need to be set to medium or lower, and certain activities will really raise the temperatures, but there are no show-stopping flaws that would make you throw the phone in frustration.

Even better, the 6.9-inch 120Hz OLED foldable display is actually impressive in its brightness and performance. You’ll have to fiddle with the refresh rate settings to get the right speed you want, but the screen is no joke when it comes to responsiveness and colors. Thanks to the phone’s hinge design, you’ll hardly see the crease unless you intentionally go looking for it. Your finger with definitely feel its existence, but you’ll barely notice it in day-to-day operations. The 1.43-inch circular OLED screen on the back shares these same properties, minus the flexibility, but its small size looks odd when placed side-by-side with other flip phones. At the same time, however, this allows nubia to craft simpler, more beautiful, and less distracting experiences rather than giving you another phone on the back of your phone.

In addition to older hardware, the nubia Flip 5G also runs MyOS 13 which is based on, you guessed it, Android 13. We’re past the time when new devices would come out with old Android versions, so this comes as a bit of a surprise. In 6 months, Android 15 will also be out, making this version very old in terms of features and bug fixes. What makes the situation a little worse is that we’re not confident about nubia’s track record in pushing timely updates, so new owners of this foldable phone might be stuck with the same Android version for a long time.

Battery life is a bit of a mixed bag. On paper, its 4,310mAh capacity is definitely the highest in this foldable category, but the older technology of the Snapdragon 7 Gen 1 is less battery-efficient, so it all evens out at the end. The 33W charging speed, however, makes up for its short battery life, letting you get as much as a 50% charge in just 15 minutes. In other words, you’ll still be charging almost every night, despite having a bigger battery capacity.

nubia’s cost-cutting strategy, however, really shows when it comes to the cameras. The 16MP front-facing camera is serviceable and takes OK selfies, but for all intents and purposes, you’ll probably end up using the main 50MP camera even for the latter. There are two sensors on the back of the nubia Flip 5G, but you can actively use only one of them as the 2MP camera is really just a depth sensor. That means you’ll be relying on that lone 50MP shooter for everything, including a 2x lossless digital zoom. And yes, there is no ultra-wide camera at all.

While megapixel count isn’t always everything, it still matters when that’s all you really have. In practice, the nubia Flip 5G’s lone camera is like a hero, doing everything to the best of its abilities, even when it sometimes fails. Images are passable and at least have enough details to make the mark. Colors, however, can sometimes look a bit washed out or dull, and there is a clear loss of detail when you zoom in. There’s no OIS, so you’ll have to make sure your subject stays still for a second or two. On the upside, this rear camera takes great portrait photos with pleasing blurs and correct separation of subject and background. With so many smartphones boasting impressive photography chops, the nubia Flip 5G sadly comes up glaringly short of expectations. Then again, it’s not exactly that shocking given how much you’re paying for it anyway.


Compared to regular phones, foldable phones are still infants, and some brands are just as new to playing this game. In that sense, it’s really not surprising that using more sustainable materials is probably the farthest from their minds at this point. They first want to establish the durability and reliability of their design before they change the formula to boast about the use of recycled plastics and metal. The nubia Flip 5G is no different in this regard.

That said, it naturally takes the topic of durability very seriously, even if it doesn’t make any guarantees about even being splash-proof, let alone waterproof and dustproof. The waterdrop-style hinge that allows it to fold completely flat does come with the claim of having withstood more than 200,000 folding and unfolding actions. There is a bit of a crunching sound when opening and folding the phone, though, but that’s probably more from how rigid the hinge is rather than anything breaking inside.


If this were a regular smartphone, we’d consider it pretty basic to the point of being disappointing and leave it at that. But the nubia Flip 5G isn’t your regular smartphone, not by a long shot. It’s hardly the first clamshell-style foldable phone either, but it’s definitely the most affordable one in this specific category. It starts at $499 for 8GB of RAM and 256GB of storage, but $699 will get you double that memory. When you consider that something like the Samsung Galaxy Z Flip 5 starts at $1,000, then it’s really no contest.

That said, nubia’s real competition would come from its peers, like the TECNO Phantom V Flip launched last year. Yes, the $600 price tag puts it above the nubia Flip 5G, but it also comes with some important upgrades, like a more recent processor, faster charging, and more importantly, a better camera system that includes an ultra-wide shooter. It all boils down to how much you’re willing to cut out for a basic foldable experience, and you might be surprised at how much the nubia Flip 5G is able to deliver for less.


Foldable phones are here to stay, though it’s taking quite some time for them to become the norm. Part of it is because of consumer hesitation regarding seemingly fragile devices, but an even bigger factor is the price attached to such products that may easily break from the slightest accident. Offering an affordable yet decent foldable phone goes a long way in allaying fears, and the nubia Flip 5G is the commendable hero that is bravely paving the way for others like it.

The $499 price tag for a foldable phone is nothing short of tempting, but it also raises questions about what corners were cut to get there. The camera story is definitely disappointing, as is the use of somewhat older hardware and software. None of these, however, take away from the truth that the nubia Flip 5G is a surprisingly decent foldable smartphone for its price. If you want to sink your teeth into this still-young device category but are too reluctant to spend too much on it, the nubia Flip 5G is definitely a great way to get started, as long as you set your expectations right.

The post nubia Flip 5G Foldable Phone Review: Finally, A Foldable Phone You Can Afford first appeared on Yanko Design.

Milwaukee's Alternative Designs for Drill Dust Shrouds

Most power tool manufacturers you’ve heard of, and some you haven’t, offer some form of vacuum-connected dust collector for drilling. The lamprey-like devices use the vacuum’s suction to stick to a wall or ceiling, while a hole in the middle admits the bit.

Milwaukee has two alternative takes on this device. Their Air-Tip Dust Collector has an open-shroud design, allowing it to work with both drills and saws.

Their crazy-looking SDS Plus Dust Trap Drilling Shroud is designed specifically for overhead work. The shroud can accommodate bits up to 8″ long, and compresses via spring as you increase the depth of drilling.

The second device’s use case is an interesting design problem. I’d imagine the visibility is challenging, for one. And while the object has gotten some good reviews online, one reviewer points out a central design flaw that should have been revealed in user testing: “[The] product works as a design and does a good job catching the dust. Only problem, the first time your hot bit touches that thin plastic, it melts a hole right through it.”