Historic England welcomes demolition of 1960s building on site to make way for 76 new student bedroomsCGI showing how the redevelopment of the Waynflete building will look when complete1/6show captionStanton Williams plans to redevelop a historic student accommodation site at Magdalen College, Oxford have been approved by the local council.The scheme for the college will see the construction of six new buildings on the banks of the River Cherwell housing 76 student bedrooms and mixed-use space.The early 1960s Waynflete building will be demolished and several extensions will be added to two grade II-listed buildings dating to the 18th and early 19th centuries.The proposals had been opposed by the Oxfordshire Architectural and Historical Society due to the loss of the Waynflete Building, which the group described as one of the few large remaining buildings of this period in Oxford, which is one of the best.However, Historic England, which raised no objection to the scheme, argued the existing building is of limited significance and the design quality does not compare to the best in Oxford during this period or respond to the surrounding landscape sensitively.Describing the site as important because of its views across Magdalen Bridge towards the college, Historic England said it agreed with the decision to replace the Waynflete Building and backed a conservation area appraisal which found it detracted from the heritage value of the area.The proposed design has been thoroughly thought out and responds to the context and the tower element is particularly successful and will act as a local landmark but does not compete with historic towers, the heritage advisor said.The 1960s Waynflete building will be demolishedIt added: The development responds to the river and then steps down towards the listed buildings effectively.The treatment to the listed buildings themselves is also sensitive and the loss of the rear of the buildings would be outweighed by the benefit of fully bringing these buildings into the scheme.Magdalen College, founded in 1458, is one of Oxford Universitys wealthiest and best performing academically.But it considers the Waynflete site, which is currently home to first-year students, to be disconnected from the main college site located across the river on the other side of Magdalen Bridge.The redevelopment will enable the first-year students to be relocated to the main site to allow them to better integrate into the college community with the new buildings to house second year students.Gavin Henderson, principal director at Stanton Williams, said: This is a project that will support the wellbeing and vitality of the collegiate community at Magdalen for many decades to come. The design expresses a confidence in the future which is grounded in the history and culture of the college and its unique setting on the banks of the River Cherwell.The new accommodation will be laid out in a series of cluster flats with large shared kitchens along with a handful of separate apartments for visiting fellows and subdeans.The existing listed buildings on St Clements will be refurbished and extended to the rear to link them to the new blocks, which will be up to seven storeys in height.A new riverside terrace will also be built, linking into a central quad garden, a landscaped courtyard and a smaller winter garden.Ground floor space on St Clements will be reserved for retail use with the scheme also including a multipurpose room for exhibitions, recitals, conferences and gym classes.The project team also includes heritage consultant Donald Insall Associates, structural and civil engineer Eckersley OCallaghan, project manager Bidwells, cost consultant Gardiner & Theobald, planning consultant Carter Jonas and landscape architect Seed Landscape Design.The scheme is a return to Oxford for Stanton Williams following the completion of the firms restoration of Rhodes House in 2023.The 38m scheme at the historic grade II*-listed premises of the Rhodes Trust in the centre of the town included the creation of new offices, conference rooms and residential space set within newly landscaped gardens.

Mercato Metropolitano Ilford opened last July on Chadwick Road in the London Borough of Redbridge, promising business opportunities, cultural exchange and 100 new jobs all with expectations the Elizabeth Line would help bring an influx of people to the area. As of February this year, only an ice cream kiosk remains of its former 20-plus traders and less than a quarter of the food halls floor space is open to the public and at reduced opening hours. This is most likely a symptom of a gloomy post-Christmas blip, but it is just the latest of many challenges that the market has seen on its seven-year stop-start ride from conception to completion. This is not a story of a failing entrepreneurial endeavour but one of perseverance and about attempts to fulfil a promise to one of the most diverse communities in the country.The low-tech community food markets journey began in 2018 as part of Redbridge Councils Spark Ilford regeneration project for the creation of a cultural quarter, funded through the Mayor of Londons Good Growth Fund. An existing surface car park earmarked for housing was identified as one of three council sites for five years of meanwhile use, along with Redbridge Town Hall. Sustainable food and community market provider Mercato Metropolitano was introduced to Redbridge Council following the successful opening of its flagship market at Elephant and Castle, boasting a sustainable and community manifesto that aligned with Redbridges vision of an Ilford for all.AdvertisementIn 2018, Redbridge ran a day-long charrette-style competition for the pop-up market-cum-cultural hub commission. Four teams including Asif Khan, Jestico + Whiles with Goldfinger Factory and Greig were contenders, and Interrobang was chosen. Interrobang was at the time an architecture and engineering practice, founded in 2015 by Smith Mordak within natural materials-specialist engineer Webb Yates. However, it was wound up in 2020 when Mordak, who is now chief executive of the UK Green Building Council, moved to Buro Happold to become a director of sustainability and physics.Interrobang was the laziest, jokes Marc Clark, regeneration programme manager at Redbridge, recalling that the winning team put together just two pages during the day-long charrette in the neighbouring town hall. The process was intended to give emerging and smaller design practices a chance to bid for mayoral-supported projects, as well as to inform the brief, adds Clark. However, it had nailed down exactly what client Mercato was looking for: ideas for a covered commercial and community facility featuring a rooftop hydroponic farm and education space, useable for community events, music, urban farming and studio space, and meeting Mercatos own ambitions for an element of self-sufficiency.Clark speaks positively about the charrette, saying it set up a good working relationship from the outset. We werent the direct client, but everyone wanted it to succeed, he adds. Unusual at the time for Greater London Authority-funded projects, the process of a charrette was selected to encourage the client to engage with the ideas of the design teams, rather than focusing primarily on fees.The designs starting point was the car park that is used to being rained on, says Webb Yates associate Dan Cole, recalling that the projects core philosophy was to return the site undamaged at the end of the lease period, leaving the site free from buried structures that would need to be removed. Initial proposals were for a hyper-flexible timber structure with demountable frame that could be reconfigured or relocated to other sites. Circular design principles were central, and the project would be detailed to eliminate material wastage through maintenance.AdvertisementSo, no foundations, just timber feet, he adds, the idea being that these feet would sit atop the car park site, spreading the structures load with vertical bracing and just three sets of concrete ballast to tie the shed structure down and prevent it from being blown away. Only two lengths of column would be needed across the whole building, these structural feet essentially comprising two projecting prongs at either side of columns that can be extended and adapted for other sites as and when needed. Finally, unusually, the team proposed hydroponic cultivation for the roof plants growing in water instead of soil.Mercato Metropolitano began in 2015 with a pilot project during the World Expo in Milan, regenerating a 14,000m2 disused railway station. Set up by Italian businessman Andrea Rasca, the heavily branded venture made a move to London, successfully opening a popular venue in a former paper factory in Elephant and Castle in 2016 apparently after a chance meeting with Mayor Sadiq Khan. Now there are three more: one in a Grade I-listed building in Mayfair; one in Elephant Park; and another, perhaps most suited to its bougie food prices, in Wood Wharf.Mercato Metropolitano claims its core aim is regenerating areas and bringing communities together, as well as being sustainable and inclusive in its offering. Its focus is on sustainably sourced products, artisan producers and being hyper-local. Its dreaMM campaign aims to nurture and support young businesses, transforming them into budding entrepreneurs. Mercatos key rules for the markets programme were to serve food on crockery, with cutlery, and have a central wash-up area for these, eliminating plastic waste; to have a 24-hour biodigester for breaking down organic food waste into biogas and fertiliser; to send no waste refuse to landfill; and to provide flexible space for local food traders and community activities.During the pandemic, the market was put on hold. And, with the wind-up of Webb Yates architecture arm, a new tender was put out to take the project forward in its construction phase. Hotel, bar and restaurant specialist Clark Architecture, led by Anthony Clark, was brought on board, having completed Mercatos other London venues.At about the same time, two other consultants were brought into the project to value-engineer the design. The first element to go was the second-storey hydroponic farm. Specialists suggested that the multi-span polytunnels would work best in a large shed rather than on a roof and, in view of the additional weight of the water, it was decided that a rooftop community garden instead would be the best compromise.The next elements to come under scrutiny were the external ducts and chimney flues, which provide extraction from cooking zones. They were deemed oversized, but Anthony Clark and his team fought hard to keep them as they are. Aesthetically they are a major part of the sheds visual appearance and typical of Webb Yates exposed M&E design. Theyre a genius part of the design, says Clark. Theyre very low-tech.When the project started on site, more issues arose. Beneath the car park were several Second World War air raid shelters. Although the design took account of these, additional undocumented tunnels were discovered, which limited the structure to one storey. The team had to conduct plate tests to ensure the structural loads onto the markets bespoke-designed timber feet would work.As there was a 1.2m drop across the site, drains had to be put in place around the sites perimeter and the car park resurfaced with asphalt to tackle surface water concerns. Building Control was cautious about the buildings structural integrity, sitting so lightly on sloping ground, and didnt sign off the project until it was literally about to open.The scheme that has so laboriously been built is a large, airy shed, clad in translucent polycarbonate cladding simply fixed so that it can be easily removed, if needed. The demountable structure of glulam columns and beams with CLT infill panels all sits lightly on the ground as envisaged seven years ago, but the feet for the columns are made out of standardised steel plates instead, due to budgetary constraints.The timbers have been set out on a kiosk grid to the standard dimensions of the scrapped polytunnels. Bolted connections and waterproofing systems mechanically fixed in small sections also enable localised repair in the event of damage. The difficulty was not knowing who was going to come in, says Anthony Clark, pointing out that the schemes adaptability was about both functionality for the different vendors and circularity.The ducts and chimneys are a real celebratory moment, says Redbridges Marc Clark. The symmetry is key. Hes right. Standing along Clements Road, the scheme perhaps seems the most stripped-back shed-like form there can be for good reason but it should be celebrated that the flues and chimneys were kept as originally designed, with vents boldly placed on the column gridlines.The flues were reduced in height slightly, but the simple, main moves are still evident. Shiny, wide and tall chimneys, coming out of the external sides of the faade, both give articulation to an otherwise simply detailed, empty expanse and hint at the sheds uses within. They are the key aesthetic of the scheme in terms of proportion and set a horizontal datum for the long elevations so that the sloping ground isnt immediately noticeable.Along the north edge of site are the back-of-house spaces biodigester and zero-landfill recycling facilities simply cordoned off by an acoustic wall to keep the noise down.A mezzanine level has been built inside the hall for community use but as of February, it remained unused. Provision is left for a lift and stair core to one side. Stage two including this and the rooftop garden is expected to get under way in the next eight months.The L-shape of the market can be changed and set up in a different way, if needed, says Cole, pointing to the flexibility of the sheds redeployable modules. Its essentially giant Meccano. Webb Yates went as far as to bring a contractor and cost consultant on board to price the hypothetical eventuality of disassembly and reconstruction. We wanted to show it was feasible, Cole says.At the time of opening last year, filled with more than 20 traders local to Ilford, the market drummed up plenty of excitement in the local press. However, since then, prospects have changed and it has become clear Mercatos financial performance over the past couple of years has taken a drastic hit. At the end of last year, founder Rasca resigned and a new director was appointed. In December last year the group surrendered the lease of its Elephant Park site to a third party.Although the market isnt operating at full capacity, the team is still pleased. Its a beautiful outdoor structure, says Marc Clark. The low-tech structure is truly flexible, and its an example of a fully demountable structure: everyone agrees it could be used for something else. Hopefully, with Mercatos change of management and a bit more investment the scheme can live up to its intentions of being an incredible asset for Ilford and the local community.And, technically, despite its numerous challenges, this scheme provides learning opportunities for others and shows that, with forward planning, demountable architecture is possible.Architects viewHaving collaborated previously with Mercato Metropolitano, Clark Architecture was appointed at Stage 4 to help move the Ilford project forward. Construction was planned to start on site in late 2020. The team was determined to deliver the project for the community after the unavoidable disruption of the pandemic.The building is essentially a covered market and therefore has no heating or cooling demand. It is open to the elements at the base of all faades and at the eaves to allow fresh air to circulate and to prevent overheating in warmer months. Plastic reusable wind curtains can be installed to provide a sheltered lobby when required in colder months. The building is considered to have low energy demand with respect to Approved Document L2 (Conservation of fuel and power).Timber lends itself to reuse and was the natural choice for a sustainability-focused temporary community space. The building is formed from glulam columns and beams with CLT softwood infill panels at low level and polycarbonate cladding at high level. The roof is a softwood CLT slab covered with a single-ply membrane. Internally, the language of the various kiosks, services and centralised areas creates a cohesive feel through the use of standard sawn timber planking.The acoustic fence was also specified to be demountable. The internal face is clad in Quietstone light a rigid, durable absorber made from 94 per cent recycled expanded glass beads, while self-bearing panels are mechanically fixed direct to walls for easy maintenance and demountability.The next phase of the project intends to unlock the multipurpose mezzanine space and create a community garden on the roof. Pre-planning applications have been discussed with the London Borough of Redbridge, whose feedback was positive. Were looking forward to seeing the structure evolve to serve both its current and future communities.Anthony Clark, director, Clark ArchitectureEngineers viewThe brief, which centred around a building that would occupy a site for only five years, was the perfect opportunity to explore the principles of circular design. The compressed building lifespan meant that not only was a demountable timber frame the sustainable choice, but one that made the project economically viable, extending the return period of the initial capital expenditure.Demountability was core to the structural philosophy and informed both the overall arrangement and detailing. Recognising that the current configuration might not always work on future sites, the grid was rigidly set so that the glulam timber components formed a kit of parts, allowing the structure to be re-assembled in arrangements to suit other plots. Connections between the timber members were detailed with clip-in concealed connectors that allow the elements to be taken apart without any damage or modifications that might hinder their re-use.Foundations were also initially conceived to be in the form of adjustable timber feet that bear directly onto the car park surface and, at the same time, take out level differences across the site. However, below-ground structures and budget constraints meant these didnt make it to the constructed frame.The novel brief of this project led us to innovate solutions, ending up with a truly demountable structure (the feasibility of which was demonstrated through a costing exercise between a cost consultant and contractor for a hypothetical building move).While these solutions certainly threw up new challenges, it helped shed some light on to how we might adapt designs of more permanent structures to be disassembled in the future.Dan Cole, associate, Webb YatesWorking detailManufactured in Italy by X-LAM Dolomiti, a company well-versed in offsite prefabrication of timber structures, the exposed engineered timber frame revolves around the principle of repeating standardised elements.This serves the dual purpose of reducing the initial construction time as well as allowing it to be easily moved and reconfigured without the need for additional bespoke elements or excessive waste. Due to Covid-related travel restrictions at the time, X-LAM handed over erection of the frame to UK-based companies B&K Hybrid Solutions and Oyster Design and Construction. It was delivered in eight loads to coincide with the assembly programme.A unique plate test methodology was devised during early conversations to provide some information as to the performance of the installed foundations under load. Plate testing equipment was used to load the pads and mimic the loading of the proposed structure in an attempt to show that the settlement encountered was within the limits allowed by the structural design, and again to develop the lifting plan and position of the mobile cranes around the site for the most efficient and safe assembly of the frame.A flame-retardant impregnation treatment a polymeric blend of organo-phosphate and nitrogen salts was applied to the timber to achieve a Class 0 rating. The cladding and waterproofing were fixed in small sections so that repair and maintenance could be carried out in localised sections and not cause disproportionate replacement of materials.Panels were installed by means of a panel coupling, provided by tongue-and-groove joints and aluminium fixing clips fixed back to a secondary structure.Anthony Clark, director, Clark ArchitectureProject dataLocation Mercato Metropolitano Ilford, 3 Chadwick Road, London IG1Start on siteOctober 2020CompletionJuly 2024Gross internal floor area1,128mConstruction cost2.9 millionConstruction cost per m2,570ArchitectInterrobang (up to Stage 4), Clark Architecture (Stage 4 onwards)ClientMercato MetropolitanoStructural engineerWebb Yates (up to Stage 4), Rebus Engineering (Stage 4 onwards)M&E consultantWebb Yates (up to Stage 4), Bocca Consulting (Stage 4 onwards)Quantity surveyorJackson Coles (up to Stage 4)Project managerClark Architecture, MilbankApproved building inspector StromaTimber specialist X-Lam DolomitiLocal timber specialist B&K Hybrid SolutionsAcoustic consultant Blackbird AcousticSurface water drainage Pura DesignMain contractorOyster Design and ConstructionCAD software usedRevitSustainability dataPercentage of floor area with daylight factor >2%N/APercentage of floor area with daylight factor >5%N/AOn-site energy generationNilHeating and hot water load152 kWh/m/yrOperational energy183 kWh/m/yrTotal energy load235 kWh/m/yrCarbon emissions (all)32 kgCO2/m/yrAnnual mains water consumption3.3 m/occupantAirtightness at 50PaN/AOverall thermal bridging heat transfer coefficient (Y-value)N/AOverall area-weighted U-valueN/AAnnual CO2 emissions32 kgCO2/mEmbodied carbon140 kgCO2eq/mWhole-life carbon160 kgCO2eq/mPredicted design life50 years

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Doom: The Dark Ages is set to release this May, but last week I had a chance to sit down for several hours to play the game on a high-end PC. What I can say and show is limited, but the latest modern Doom and its idTech 8 underpinnings already look hugely impressive. There's plenty to praise here - as well as a few caveats that are worth bringing up. First, the engine. Machine Games' Indiana Jones showed just how capable modern versions of idTech have become, and The Dark Ages shares the same extremely realistic visuals - albeit in starkly different setting. Everything feels alive, with a tremendous amount of secondary animation - blowing trees and flags and pouring rain and storm clouds. Though I didn't get a chance to see the game at max settings - or in its upcoming path tracing mode - the game was running with standard RT enabled, including RT reflections (like Doom Eternal) and RTGI (like Indiana Jones). This looks nice, with more watery levels showing off full RT reflections with atmospherics layered on using SSR. There are plenty of reflective surfaces around despite the move to more naturalistic environments, but it's precisely that shift in tone that allows the RTGI to shine. This enables much more accurate and dramatic lighting across a huge space that's almost entirely lit by natural sources like flames and the sun. Here's the John Linneman video preview of Doom: The Dark Ages. Watch on YouTubeIt works well, as it did in Indiana Jones, but there's more of a focus here on destructible, physics-driven dynamic objects. Eliminating baked lighting means that these objects can blend more seamlessly into the environment, and allows for Crysis-style destruction that was absent from the prior two games. Wooden structures can be blasted away until they buckle under their own weight, leaving remnants that can be hacked at further to separate them into even smaller pieces. This makes arenas in the game feel much more active, with things changing and structures breaking apart as you engage enemies. Later sequences with a huge Doom mech take this even further, as you can stomp around destroying a massive city environment - very cool. There are also more realistic water effects, such as proper geometric ripples when you run through a body of water that nicely complement the RT reflections. You also get an interesting effect when swimming below the surface which I liked quite a bit. There also seems to be a virtualised geometry system similar to Unreal's Nanite, though I can't actually confirm this yet. In short, you won't see big chunks of the scene changing in terms of visual complexity as you move through the world, with more seamless changes that avoid noticeable pop-in. That said, this doesn't seem to work with grass and certain types of foliage, but it's still an interesting development - and hopefully one we get more detail on in the final game. To see this content please enable targeting cookies. Apart from the level geometry itself, the number of on-screen enemies has increased dramatically - to levels unseen since the original sprite-based Doom games. Right at the beginning of a mission, for example, I counted more than 30 on-screen enemies, with more appearing as you fight. It's wild to consider that idTech 8 is able to handle dozens of enemies in this manner while also delivering a world with virtualised geometry, full RT lighting and reflections and robust physics simulation, all while targeting 60fps. I haven't played the game on consoles, but knowing id's prior work I have full confidence they'll get it to 60fps. The point is that The Dark Ages combines cutting-edge tech with very high levels of performance. How high remains to be seen, but this demo suggests we're in for a real treat. Beyond the tech and visuals, it's worth underlining how different the game plays to Doom (2016) and Doom Eternal. In the latter game, as you progress, battles can become quite long, often locking players into a single space as enemies pour in until you reach an arbitrary level of destruction that allows further progress. You spend a lot of time watching cool-down metres for various power-ups, and you need to leverage the glory kill and chainsaw systems to keep your health and ammo topped up - so you're watching these animations again and again, relinquishing control. I love the movement and flow of the game, but there are some issues with pacing that stood out. In Doom: The Dark Ages, this has changed completely. Smaller foes go down much quicker, sometimes in a single shot or two, though they're still viable threats that can eat away your health. You can also take out multiple opponents at once, eg with the shield that can crash into a mob and explode. Glory kills have been almost completely eliminated from normal enemies, with similar prompts that can appear but don't take control away from the player. Only in rare instances do you get the full glory kill experience, and normally it's deployed on big bosses - to the point that I don't think the term is even used any more. Similarly, chainsawing enemies is not necessary for regaining ammo. Different tech systems complement each other here, with the RTGI allowing for accurate lighting and shadows of destructible physics objects. See how blowing a hole in a section of wood replaces shadow with natural lighting. | Image credit: Bethesda/Digital FoundryAs a result of these changes, battles flow more smoothly. You'll need to change your strategy against different enemy types, but you don't lose control as in Doom Eternal. It actually feels like a marriage between classic Doom and modern Doom combat, which really impressed me. Similarly, abilities available on a cool-down feel more optional, though they're fun to use, and the game feels more free-form. There are fewer moments where you're trapped in a room, and you're able to sprint past some enemies - though they may follow you or simply stick around to trouble you the next time you enter a given area. One thing that doesn't really return is aerial moves and platforming, which is minimised here. The shield mechanics are also very interesting. You can bash enemies, throw your shield in combat or to solve puzzles, and there's also a block and parry system which doesn't feel obligatory but is fun to use. Some parts remind me of Returnal, with enemies shooting particles you can parry back, but it's not a scripted animation and you retain control. The options menu is also incredible, with settings to dial in gameplay exactly the way you like it. You can adjust things like game speed, enemy agression, particle speed and so on. I played most of the demo at 150 percent speed and had a blast. Water looks good from above or below, with geometric ripples on the surface and a beautiful look underneath. | Image credit: Bethesda/Digital FoundryThe game also changes quite a bit from level to level. The opening stage, which I couldn't capture, had a classic Doom gameplay loop - all about finding keycards to unlock new areas - and it still works well. There are also mech levels, where you're smashing city buildings and fighting giant demons. I don't kow how often these will appear in the game, but I enjoyed the sequences quite a bit. There are also dragon missions, where you can fly around freely in 3D space, locking onto and destroying enemies, or land to fight on foot for a while. It reminds me of vehicle missions in Halo or Titanfall 2. There's also a large open map. Marketing materials deliberately don't say "open world", and that feels fair - it's a larger level with objectives, bonus encounters, collectibles and even new weapons scattered around for the player to find. I still have a lot of questions about how the game will play out. There seems to be more of a focus on story here, with cutscenes at the beginning and end of missions I played. This is not The Last of Us by any stretch, and it's all action-orientated, but I did play is super promising. I do have some nitpicks about certain elements of the game as I played. For example, due to the focus on shield mechanics, there's no option to have a centred weapon in the classic Doom style. There's also no dot crosshair, which I prefer. The soundtrack also doesn't quite hit the highs of the Doom and Doom Eternal, with quite good individual tracks that don't seem to have as much impact while actually playing the game. One complaint, and one compliment. Left, it would be nice to have the option to tone down the brightly coloured projectiles and/or the full-screen red overlay at low health. Right, you do have interesting options to adjust the game speed, projectile speed, player/demon damage and enemy aggression to suit your preferences. | Image credit: Bethesda/Digital FoundryAnother minor complaint is the intensity of the colours of powerups, which obviously need to be easy to spot for gameplay reasons, but perhaps could be optionally toned down to better mesh with the environment. The entire screen staying red while your health drops below a certain level is also annoying. Thankfully, the HUD does have one awesome touch: a kind of simulation of the original Doom guy, complete with low frame-rate animation. Lastly, this is a weird complaint, but the game loads so fast on PC that the loading screens feel a bit pointless - even faster than Doom (2016), which is just wild. Therefore, having an option to disable loading screens entirely and just dip to black might make sense rather than requiring a key press after a second or two. Overall though, I hugely enjoyed my time with Doom: The Dark Ages, and while I still have some questions and concerns, this has a good chance of becoming the best of the three recent Doom titles. I guess we'll have to wait until May to be sure.

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games hereThe latest Nintendo Direct was focused entirely on games that are coming to the original Nintendo Switch handheld with Metroid Prime 4 gameplay being the star of the show. Showing off Samus long-awaited return with new psychic powers, the game already looks stunning, but was that gameplay running on the original console or its upcoming successor?According to the video game technology buffs over at Digital Foundry, the technical makeup of the Metroid Prime 4 gameplay reveal was evident of the original Switch hardware. While the game looks absolutely stunning in its 60fps showing, theres nothing technically that cant be done on the 2017 handheld.Metroid Prime 4 definitely wasnt Switch 2In the latest two-hour DF Direct Weekly podcast, Digital Foundrys Oliver McKenzie explained why the Metroid Prime 4 gameplay reveal was undoutedly running on the original handheld. Essentially, the games technical makeup is extraordinarily similar to that of 2023s Metroid Prime Remastered, albeit with stunning new art direction.I actually think that theres some interesting evidence in this trailer, just in terms of how the game is constructed, the way it appears, that can kind of give you some hints as to whether its Switch 2 or not, the graphics analyst said.Essentially, the technology seen in Metroid Prime 4 is a straight comparison to Retro Studios remaster of the original game. The game makes heavy use of baked lighting and shadows and seemingly takes place in exclusively smaller areas to limit rendering load.Ultimately, what were seeing here looks very similar to a 2023 game that we know runs on Switch 1, because it shipped on Switch 1, which is Metroid Prime Remastered, McKenzie said. When you go back to that Metroid Prime Remastered a lot of the compromises that were present in that first game are still kind of present here there are some positives, its a 60FPS trailer, but thats the same as Metroid Prime Remastered.Metroid Prime 4 runs at 900p, 60FPS when docked, but theres no news on the games handheld resolution.As for the visuals, while the game does look great, pixel counts show the game running at 900P in its docked form at 60fps with little-to-no anti-aliasing. It still looks great, but with Nintendo Switch 2 being leagues more powerful than the 2017 original and rumoured to support some form of DLSS, a 900p image does seem weird for the new handheld.Its a pretty jagged, raw-looking game, not that thats a bad thing necessarily, but I did some pixel counts here and resolutions hold at around 900p or so which, again, is is reminiscent of Metroid Prime Remastered, they continued. Theres no sign of Nintendo Switch 2 features such as DLSS or TAA or higher-res rendering.I think overall, the visual appearance of this trailer is firmly in Switch 1 territory, they said. If it was Switch 2, Id be pretty shocked.At the end of the day, Metroid Prime 4 is still an absolutely standout release for the Nintendo Switch, pushing the console to its absolute limits. The game is reminiscent of late-gen Xbox 360 games like Halo 4 which look leagues better than other games on the console. Its a truly gorgeous game that we cant wait to play. And hey, maybe the game will receive a Switch 2 enhancement that makes it look even better.Metroid Prime 4Platform(s):Nintendo SwitchGenre(s):Action, ShooterSubscribe to our newsletters!By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime.Share

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games hereKraftons InZoi life simulator has launched to a massive audience with millions of players diving into the new Sims competitor. While the game isnt without issues, largely due to its early access state, the biggest issue right now relates to new Nvidia drivers on PC.In the games latest patch notes, the team behind InZoi has warned players about updating to the latest Nvidia drivers. Getting in the way of players installing the best mods, or playing with the games barrage of lewd mods, the new Nvidia drivers are heavily reducing the games stability.Nvidia drivers break InZoiAs explained in updated patch notes for the game, players on RTX 40-series graphics cards should avoid driver version 572.83. The latest patch notes warn players that the new drivers will cause unexpected issues with the game.Nvidia users who have installed the latest drivers on for their 40-series GPUs have been advised to rollback to the December 566.36 driver update. At the time of writing, players on RTX 30-series cards are also expected to encounter issues, albeit not to the same degree as those on the 40-series GPUs.Despite these issues on older GPUs, players using the brand-spanking new Nvidia RTX 50-series cards can install the latest drivers without issues. As other PC players encounter unexplained stability issues, those who forked out a hefty amount for the more powerful components can play without issue.Nvidias graphics driver 572.83 update isnt only an issue for InZoi. In fact, The First Berserk Khazan developer has also warned players about the exact same stability problems as InZoi. Additionally, gamers who have updated to the newest drivers have encountered general stability and stuttering issues across a large number of titles.For more InZoi coverage, check out guide on how to get a job in the game as its easier than real life. Additionally, read about how modders are already uncensoring the game as players hope for the games Whicked Whims equivalent to arrive.InZoiPlatform(s):PCGenre(s):SimulationSubscribe to our newsletters!By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime.Share

Vice President Walter Mondale (left) and President Jimmy Carter talk in the shade of the White House Rose Garden in this 1978 photo.Photo: The White House via CNP/Getty ImagesPractically speaking, pavement is a common choice for a heavily trafficked outdoor area in a mid-Atlantic climate. We get heavy thunderstorms throughout the warm season and rain during the colder months, says Bell Design Inc president Robert J. Bell, a landscape architect based in Washington, DC. Bell also works extensively in Palm Beach, Florida, and has a good sense of what the goals and pitfalls are in terms of Trumps proposed changes to the garden. Anyone who has walked on spongy turf in formal shoes knows that queasy feeling you get when youre not sure if youre going to sink into a soft patch, Bell says.What is Mar-a-Lago Style?We dont know the extent to which Mar-a-Lagos design aesthetic will inform the Rose Garden renovations beyond what is referenced by the New York Times report, but according to Miami interior designer and founder of IV Atelier, Irena Viitiuk, Mar-a-Lagoinspired design doesnt necessarily mean directly replicating the private club and spas particular brand of extravagance. Instead, she says, the White House Rose Garden could selectively embrace sophisticated hardscaping techniques, maybe using limestone or bluestone, which is more elegant, carefully chosen landscaping, and subtle nods to historical motifs.Mar-a-Lago style can be thought of as a particular look typically found in high-end Florida estates and private golf clubs. Its a blend of Mediterranean revival with hints of Palm Beach, drenched in gold finishes, grand chandeliers, patterned floors, heavy drapery, and plenty of oversized everything, says Angie Kreller, an interior designer at Yabby. For her, the Mar-a-Lago aesthetic leans maximalist and embraces the theatrical, and while it has historical European influences, it is mashed together in a way that feels more about impact than restraint, she adds.A 2015 photo of the tiled patio at Mar-a-LagoPhoto: Mary Jordan/The Washington Post via Getty ImagesDid Trump redesign the White House Rose Garden in his first term?Melania Trump spearheaded a restoration of the White House Rose Garden with landscape architecture firm Oehme, van Sweden during Trumps first term. The renovations were controversial and drew backlash, leading to a petition that called for the changes to be reversed. As Paulus points out, the White House Rose Garden has undergone several renovations since it was originally created in 1903 by first lady Edith Roosevelt. The first major redesign was by well-known garden designer Rachel Bunny Mellon during the Kennedy administration, says Paulus, who adds that Mellons design included the large central grass panel.

He was born and raised in Manhattan, but where does Timothe Chalamet live now? For years, the star of A Complete Unknown held onto his New Yorker identity when he wasnt traveling for work, but he took the plunge and invested in a Beverly Hills home base about three years ago. The move conveniently brought him closer not only to Hollywood, but also to his current girlfriend of two years, the one and only Kylie Jenner.Read on for the details of the Dune actors digs.Childhood homeManhattan Plaza, the apartment building where Chalamet was raised. (Photo: Deb Cohn-Orbach/UCG/Universal Images Group via Getty Images)UCG/Getty ImagesChalamet grew up in Manhattan Plaza, a 46-floor complex in Manhattans Hells Kitchen neighborhood that has provided subsidized housing for middle-income families as part of New Yorks Mitchell-Lama Housing Program since its completion in 1977. In particular, Manhattan Plaza houses performing artists, which is why it also has the nickname Broadways Bedroom. Other famed tenants have included Colman Domingo, Alicia Keys, Angela Lansbury, Mickey Rourke, and Larry David (the real-life inspiration for Seinfelds Kramer resided next door). At one point, Samuel L. Jackson worked there as a security guard. The Wonka stars parents still reside in the structure, which Chalamet regularly visits when hes in NYC.I could draw the picture of an unconventional upbringing. I grew up in arts housing, Manhattan Plaza, which is a funky way to grow up, the actor said of the home in Rolling Stone last year. I could try to paint it negatively to you. I could try to paint it positively, but its a bit of everything. Its nuanced. Chalamet described some of his complicated feelings towards growing up in the arts residence during an interview with Anderson Cooper in February. This building truthfully made me scared of acting, he said, because its a tough lifestyle, and a lot of people arent doing fantastically.NYC rentalsAfter graduating high school in 2013, the Little Women actor bounced around rentals and hotels in the Big Apple. He studied for a year at Columbia, then retreated to an apartment near Yankee Stadium in the Bronx while trying to nab a role on his next big project after 2014s Interstellar. Then he moved to an apartment with two roommates in the East Village during a stint at NYU before dropping out of there, too, to focus on acting full time.In the summer of 2020, Chalamet secured a Manhattan apartment of his own for the first time. The French Dispatch star relished the mundanity of setting up his own place, according to an interview with GQ, but he needed a little help along the way. Zendaya helped me set up my first apartment in New York years ago, he said of his Dune costar in February 2024. The vibe was very teenage boy, Zendaya added. We just needed a few necessities. You know, cups and plates, knives and forks, things to clean. The Euphoria star brought Chalamet to Bed Bath & Beyond to help him hook up his bachelor pad with all the big boy stuff, she said.Beverly Hills homeChalamet eventually decided he wanted to spread his wings and fly a little further from home. After one too many days of doing the same thing, I just got this overwhelming sense that I was still playing the same hand of cards Id had for a long timebut that I had a better hand to play, he told GQ. I was living in this rental place that didnt feel like home. I was getting the same bacon, egg, and cheese at the same deli. Resisting any lifestyle change. Ready to take a new leap, the Oscar-nominated actor gave up his New York apartment and bought a house in Beverly Hills. I was able to spend 10 days in it before I went to Dune [2], and just having it as the home base, it psychologically helped.