From DIYers to photographers Looming tariffs are making it extra hard to be a tech geek Looming tariffs are already making electronics shopping harder. Scharon Harding – Apr 25, 2025 5:33 pm | 32 Credit: Getty Credit: Getty Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more If I knew how much I’d end up loving my Logitech mice, I would’ve taken better care of them from the start. The MX Master 3S and Lift are my favorite mice for productivity, but their rubber coating can get grimy quickly. My white MX Master 3S looks especially shameful atop my desk, so I’ve been considering purchasing a replacement for a while. Overturning my plans, though, Logitech recently raised prices across 51 percent of its portfolio, as detailed by YouTube channel Cameron Doughterty Tech. The firm has raised prices by as much as 25 percent. The MX Master 3S I just mentioned is now $120, which is $20 more than before. That 20 percent increase makes it even harder to justify a new mouse, which I already considered a luxury purchase. Logitech didn’t respond to Ars Technica’s requests for comment about the price changes and what drove them. But it’s largely suspected that higher prices are due to tariffs expected to hit goods imported from China soon. Mice and keyboards face a 20 percent tariff, but that could change, including by May 2, when the duty-free de minimis exemption is set to end. On April 10, Logitech withdrew its outlook for fiscal year 2026, “given the continuing uncertainty of the tariff environment.” As manufacturers and Americans lack clarity on how tariffs will ultimately impact their wallets, companies like Logitech are preparing by raising prices and delaying or halting product releases in the US. “More expensive and more annoying to get” I pretty much always consider myself in the market for a new mechanical keyboard, but some options are off the table. Qwerteykeys, for example, markets itself as an alternative to mechanical keyboards that are expensive due to their brand name. It gets its parts from Guangdong, China, and the company announced on April 18 that “US customers are responsible for possible 20 percent tariff and customs clearance fee,” while acknowledging that “situations may change daily” and urging customers to: Please consider your purchase thoroughly before ordering. Providing more detail around how tariffs impact a company like Qwerteykeys and its customers, the company noted that DHL, its “primary shipping partner,” will start charging a minimum handling fee of 17 percent plus 20 percent of the declared value as import duty starting May 2. Meanwhile, Keyboardio, known for high-end, split mechanical keyboards, paused US orders as of April 23. In a blog post, the company said it fulfills orders out of Hong Kong because it’s “close to our factory, reasonably priced, and can easily handle fulfilling orders going all around the world.” The blog said: The exact mechanics of how this is going to work are fuzzy. While we expect that people will stop importing as much due to tariffs making it unaffordable, it still implies a lot of additional work for custom[s]. It's not clear to us—or the carriers—that customs is staffed up to handle this increased volume, and we’re expecting that any packages arriving to the USA once the de minimis rule goes away may have long processing delays. Keyboardio also highlighted uncertainty around “which carriers will be operating, what documentation we’ll need (possibly including customers’ social security numbers), what clearance fees or additional customs bond fees will be assessed, or most critically, what the actual delivery timeline will be.” Keyboardio admitted that if it does start shipping to the US again, its products are “going to be more expensive and more annoying to get.” With many mechanical keyboard switches coming from China as well, building mechanical keyboards will likely get more costly and complicated soon, too. I’m not alone The looming threat of tariffs is throwing a wrench into the plans of all types of technology enthusiasts. People who love things like computers, computer peripherals, maker projects, and retro gaming are all being impacted, regardless of their political or economic viewpoints. As the world waits to see how the US tariff situation plays out, hobbyists wonder if we’ll be able to make that upgrade or finish a project with manageable costs. DIY projects, for instance, have been thrown into disarray as tariffs make budgets and timelines difficult to predict. Prices are in flux at retailers like AliExpress, which sells maker materials like 3D-printing filament, 3D-printed parts, solder, cable, wires, small screens, and development boards. If Chinese imports are taxed at higher rates next month, these components will likely get pricier and harder to find. There’s been a lot of talk about how tariffs might impact the Nintendo Switch 2’s price. Some analysts expect a price bump, perhaps next year, if tariffs continue. New gaming consoles are often hard to find when they come out, but the likelihood of the Switch 2 getting more expensive may exacerbate stock concerns. Impending tariffs have already affected prices for Switch 2 accessories. On April 18, Nintendo increased prices for Switch 2 add-ons, “due to changes in market conditions." Even retro gaming isn’t immune to tariff chaos; several retro console makers—Anbernic, Retroid, and AYN—have delayed shipments. It’s unclear what pricing, availability (including different colorways), and shipping times will look like should shipping resume. Less pressing, but still notable, is the potential for tariffs to essentially turn physical game discs into a form of retro gaming, too. As we’ve previously reported, tariffs on goods imported from Mexico could lead to new physical game discs being non-existent in the US. Most game discs are made in Mexico, so it's possible that physical games subject to new Mexican tariffs would "simply not get made, with [publishers] moving to an all digital strategy," Circana analyst Mat Piscatella said via Bluesky in March. Donald Trump has since suspended plans for a 25 percent tariff on most Mexican imports, but with the US president frequently flip-flopping on tariffs, anything's possible. Mainstream gadgets getting elusive Even people with broader, more mainstream tech interests see tariffs impacting their options. Guangondong-headquartered OnePlus hasn’t confirmed it, but the surprisingly inflated price of its Watch 3 ($500 instead of the $330 it was first announced at) is likely due to tariffs. If you were hoping to buy a new laptop this year, your selection may also be limited. Earlier this month, Framework “temporarily” paused sales of some laptop configurations in the US, and we don’t know when they might be available again. Razer hasn’t confirmed why, but it also isn’t selling certain laptop configurations, or even its new laptop stand, in the US. In February, CEO Jason Chen warned that prices for Acer PCs sold in the US would increase by 10 percent in response to tariffs. Asus has already raised prices of some of its computers, and last month, a company representative suggested to Mashable that more price hikes are possible. “Unfortunately, since things are constantly changing as we receive new information, we don’t have a finalized list," Asus’ spokesperson told the publication. More PC OEMs are likely to follow suit. Earlier this month, Morgan Stanley said that the “most viable path forward” for hardware vendors is to raise prices. “Raising prices is the most likely mitigation tool, in our view (all imports now face tariffs, so the playing field has been somewhat leveled), but it's inflationary and guaranteed to negatively impact demand, given the severity of some pricing increases,” the analyst wrote in early April. Photographers and people buying chargers are also being hit. There’s no way around it. Trump’s tariffs can have a major impact on all of our electronics, from mainstream purchases to hobbyist endeavors. Those hoping to ignore the impacts of the current political landscape are seeing their heads forced out of the sand by tariffs. We still have days before the duty-free de minimis exemption ends. Between now and the rest of Trump’s term, though, US tariffs could continue to sway. What we do know, though, is that buying electronics is now more expensive. Scharon Harding Senior Technology Reporter Scharon Harding Senior Technology Reporter Scharon is a Senior Technology Reporter at Ars Technica writing news, reviews, and analysis on consumer gadgets and services. She's been reporting on technology for over 10 years, with bylines at Tom’s Hardware, Channelnomics, and CRN UK. 32 Comments

Government jobs lost application share over the past year, Handshake revealed in a Class of 2025 report. rob dobi/Getty Images 2025-04-26T10:19:01Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Handshake data seen by BI reveals federal job interest dropped 40% after a wave of executive orders. Meanwhile, interest in state and local jobs grew over 30% year over year in the second half of the school year. Some job seekers initially interested in government roles are also going back to the private sector. A year ago, the hashtag "government jobs" was trending on TikTok, with videos of employees hyping up the stability and perks of the field and explaining best practices to get a job.Interest in the industry was surging. Not so much anymore.In a highly competitive year, federal employers were the only industry that saw year-over-year applications decline in the second half of the school year, according to Handshake data shared with BI.The federal government lost more application share than any industry year-over-year, aside from tech, the platform said.Government roles, including state, local and federal sectors, received about 4.4% of the Class of 2025's total applications, down from about 5.5% for the Class of 2024 last year, according to Handshake's Class of 2025 report released Thursday.Last year, the hiring platform reported a significant uptick in job availability and interest from college students to work for the government. At the time, stability was the top priority for graduating students, and government jobs delivered exactly that."People presumed at the time, there's nothing more secure than a government job," Handshake chief education strategy officer Christine Cruzvergara told Business Insider in an interview.Cruzvergara said the class of 2025 was on track to follow and surpass that trend until a series of executive orders signed by President Donald Trump hit the federal workforce in January.Around mid-January, federal jobs were drawing 2.7 times as many applications as state roles or local roles, despite state and local roles outnumbering federal roles over six to one, Handshake told BI.But by early April, state employers were receiving 1.5 times as many applications as federal employers, and local employers were just below, the platform told BI."January hits and, all of a sudden, government lost a ton," Cruzvergara said, adding that the federal government specifically "lost a ton of applications." Increased interest in state and local rolesWhile federal job applications dropped 40% year over year in the second half of the school year, local roles increased by 31% and state roles by 35%. The graph shows how interest in government jobs has shifted in different sectors. Handshake Cruzvergara said there's essentially been "a flip" between the government sectors. Prior to the executive orders, students were more interested in federal jobs, and there was some interest in state and local roles. This year, interest in state and local jobs went up after mid-January.That's not a total surprise. Trump implemented a federal hiring freeze just about as soon as he got into office. He also created DOGE, led by tech billionaire Elon Musk, which has been on a mission to reduce the federal workforce and dismantle agencies.Meanwhile, states like New York, California, and Virginia released hiring campaigns within their local and state governments for federal workers. Cruzvergara said that students who were really set on working in government likely ended up looking at state or local positions instead.The priorities of this year's graduating class may have also influenced their interest in state and local positions. While stability was the top priority last year, it came in second this year, behind location, Handshake said in its report.State and local roles allow job seekers more flexibility to choose where they want to work.Back to the private sectorCruzvergara told BI that some job seekers from the class of 2025 who had high intentions of entering the federal government are shifting back to the private sector. Handshake told BI that there was an increase in applications to roles in tech, finance, healthcare, and consulting among seniors who had previously applied to federal roles before the executive orders."You've got students that are going back into finance, back into tech, back into some of the areas that they were leaving to go to the federal government last year," Cruzvergara told BI.Cruzvergara said that there have also been increases in applications to nonprofits, law, and even real estate, which can also intersect with state and local policy.The choice to reconsider the private sector often came down to practicality, Cruzvergara. The Class of 2025, in particular, is less rigid about sticking to one path and more open to using their skills across different areas.Handshake's report found that out of 57% of the Class of 2025 who started college with a "dream job" in mind, fewer than half still have the same goals. Recommended video

Clubs are, first and foremost, for dancing. One could theoretically do other things there — drink, meet strangers, conduct important and possibly illicit business deals, anything really — but likely everything but dancing could probably be done more efficiently somewhere else. At the same time, while no one’s stopping anyone from dancing in other places that are more accessible and less expensive to shake and shimmy, from the gym to the bar to your own home, there isn’t a better place to dance to loud music than a club. But what happens if the dancing stops?According to DJs, nightclub owners, frequent club-goers, and a number of front-facing camera complaints over social media, a growing frustration at the dancery is a growing number of people not dancing. These nondancers are threatening to turn the club — a place where jumpin’ jumpin’, dancin’ dancin’, and maybe even love have all been promised — into one of those other places where no one dances. On the surface, the divide seems split between movers and non-shakers (with a little sprinkle of generational warfare), but it speaks to the very tenets of nightlife. The puzzling act of not dancing at a place designated for dancing is one of those mysteries that raises questions, if not calls for a full-blown investigation. Why did people stop dancing? What are they doing at the club if they’re not dancing? Who’s sitting out and who can we blame? Who’s complaining? And perhaps most importantly: Is this really happening? Where did the dancing go?The complaint, found at nightclubs all over, is simple: Instead of dancing on dance floors at nightclubs, people are doing everything but. They’re standing around. They’re trying to talk to everyone else. Worst of all, they’re on their phones, scrolling or taking selfies.“The killer is when I see someone scrolling through Facebook or Instagram,” says Ru Bhatt, who has been a professional club DJ for over a decade. “Really? This is the time that you want to engage with the most vapid version of social media?”Bhatt understands when someone is quickly texting their friends, possibly to tell them that they’ve arrived or where they are on the dance floor. He acknowledges that people get nervous — understandable if you’re at a function by yourself — and that a phone can feel like a bit of a security blanket. But when someone’s actively disengaging with the people around them and the DJ that’s playing, he says it’s soul-crushing to see. “To be honest, I’m a stickler for not using your phone in a lot of places,” Bhatt says, explaining that some of his distaste for phones comes from feeling protective of the space — as a millennial, he’s part of the last generation to experience what clubs were like before the rapid acceleration of the smartphone. “Presumably, if you’re at the club, you want to connect with others, right?” Bhatt says. “I consider dancing with someone else a form of communication whether it’s flirtatious or fun. It’s a way we can connect physically.”The trend of people on their phones on the dance floor (instead of dancing) could be traced to festivals like Coachella. Jason Kempin/Getty Images for CoachellaThe concern that some people see nightclubs as places to be experienced phone-first, is strikingly similar to the post-pandemic grievances about people pulling their phones out at movie theaters or at concerts. Through a smartphone camera lens, everything becomes content to post rather than an experience to be had, and it’s more important to look cool and be seen than actively participate in what’s happening around you.RelatedPeople forgot how to act in public“It also seems like people tend to discover electronic music or events through Instagram and TikTok now, so we do have a generation of new attendees who saw a 15 second clip and it looks cool to them,” says Z, the moderator for the Reddit forum r/avesnyc, a subreddit dedicated to nightclubs, DJs, raves, and dance culture — which has over 70,000 members. “But that [clip] doesn’t really capture the experience of going out all night and dancing for eight hours straight.” Z, who asked to go by their nickname to speak more frankly about nightlife and rave culture, said that crowd complaints often surface on the forum, but noted that people are more likely to post when they have a bad night rather than a good one, hence the seemingly oversized number of gripes. That said, Z doesn’t solely blame phones or social media for the drop off in dancing. He suggests factors like the shift toward large-scale nightlife venues mimicking festival culture, where DJs are treated more like a concert; the lack of space at venues in denser cities, which may make club-goers more hesitant or sensitive; or the problem that those experienced in nightlife aren’t keen on sharing their favorite parties or clubs with newbies, essentially gatekeeping the good parties from dance-floor duds. Other experts I spoke to also noted that participation varies from club to club, and that dance parties catering to the LGBTQ community tend to see more movement. The other thing to consider? This might not be new at all. “There’s also just a reality that tons of people in the US who go to clubs, are not necessarily there to dance,” Z says. “Lots of people go to socialize with their friends, or to drink or do drugs, or to hook up with other people. Even on good dance floors, people who really have a passion for music and dancing tend to be a minority in my perception.” How clubs can fix the dance-floor problemJean’s, a restaurant with an exclusive club space in downtown Manhattan, has never had a problem with people on their phones. “We famously have poor cell service downstairs,” general manager Carlos Cansados says. “It’s kind of a joke, but we’ve never seen an issue with people on their phones because our reception is so bad.” Clubs without bad cell situations like Jean’s have had to figure out their own solution. Some have soft suggestions about how the dance floor is strictly for dancing, and others have implemented a rigid no cell rule.Though he respects the dance-first vibe that’s been created in those spaces, that isn’t necessarily the direction that Eli Escobar, a DJ and club co-owner, wants to take. Because so many clubs around the world struggled financially post-pandemic and shut down, it created a lack of diversity of the kinds of clubs that exist.“I don’t want to have to micromanage the way people are having fun,” Escobar says. “Nightlife is supposed to be a little bit wild. Micro-managing is not wild.” Back in December, Escobar and his partners opened Gabriela, a nightclub in another club-heavy neighborhood of New York City. Gabriela has a separate lounge and dance area. Escobar hopes that it’s a little more self-evident that you should step off the dance floor if you want to get on your phone, that yapping is for the lounge, and that if you show up, you aren’t there to stand around. “We were really intentional about our club,” Escobar says. “You can go upstairs and talk or text, or you can sit out front, but when you’re on the dance floor, you don’t need to do all of those things, and you hopefully just won’t want to.”That intentionality has also led to Escobar’s current challenge at Gabriela: figuring out the door policy, which could mean turning away people based on a completely subjective vibe. By trying to ensure that everyone who’s there wants to be there, it cuts down on the number of people ruining the vibe — aka people who don’t dance. It enhances the experience for everyone (who gets in). At the same time, having a tougher door introduces rejection, which can feel at odds with being a place where everyone who wants to dance can find joy. Exclusivity can also make some places more desirable to people who are chasing the feeling of being let in while keeping someone else out. It’s all in the balance when trying to create the right mood. “It’s basically like, if your intentions are just to go out drinking for a night, then you don’t need to come to Gabriela,” Escobar says. He added that there are so many bars in the city where people can just drink. What he wants to see at Gabriela are people who are there to hear good music, vibe, and dance, all while respecting the people around them. Escobar also posited a theory about why there’s often people showing up to places that they may not enjoy, to listen to music that does not move them to dance. Because so many clubs around the world struggled financially post-pandemic and shut down, it created a lack of diversity of the kinds of clubs that exist. There aren’t many places that, for example, play top 40 pop music — so the people looking for that music don’t have a place to go. Yet, they still want to party, so they may end up going to a different kind of club that they see on social media — one that they may not enjoy. In the ‘90s — when this picture was taken — people were already fighting about the nuances of nightlife. Corbis via Getty Images“I don’t want to put, like, any bad energy out there,” Escobar says. “I don’t want anyone to feel unwelcome if they legitimately were coming for the right reasons. We’re still figuring it out, because we’re still new, and we’re still having talks like, ‘How can we do this differently? How could we have made that a bit of a friendlier interaction?’”There’s a door policy at Jean’s too. Casados, the general manager, says having a door at Jean’s is integral to the experience that they want to create there: People having the time of their lives underneath a disco ball. The door, the acts they’re booking, the design of the space, and the lighting — Casados says it’s all thoughtfully put together so no one (who gets in) has complaints about vibe-snuffers at the end of the night. “The challenge is that people get mad,” Casados says. “Pro tip: Bring your mom. You’ll skip the line.” Just make sure she wants to dance. As long as clubs exist, there will always be a generation of people saying other, often younger people are ruining it. “I call it ‘back-in-the-day-ism,’” Escobar says. “I’ve gone through this cycle already a few times with older people complaining about the way younger people do things.” Escobar, who is Gen X, said that “back in the day,” older people complained about then-younger people facing the DJ booth — i.e., the concertification of a DJ that Z called out. This backlash also stemmed from a belief that some club-goers weren’t properly engaging with one another, and were ruining the evening. “Old heads will be like, ‘These kids will never know about Limelight.’ And I’m like, ‘Yeah, but Limelight wasn’t that great,’” Escobar says, adding that there were grievances about nightlife — doormen, pretentious venues, bottle service — before the great “facing the DJ” controversy. There will be new gripes, he says, long after your, mine, and everyone’s knees have all forced a retirement from clubbing. Escobar said that the key to having a great night out is to be seasoned enough to develop your own metrics of which parties, nights, and venues match your energy. It also means having the experience to know (and accept!) that every night isn’t going to be a perfect night out. Inevitably there will be some times the vibes are just off — whether people are on their phones or not. See More: Culture

6 GameCube games that need to come to Nintendo Switch 2 – Reader’s Feature GameCentral Published April 26, 2025 9:00am What’s your favourite GameCube game? (Nintendo) A reader names the GameCube games he’d like to see come to the Nintendo Switch 2’s online service, from Eternal Darkness to Super Smash Bros. Melee. The long-awaited announcement of GameCube games being added to the Nintendo Classics library, as part of their Nintendo Switch Online service, has been cause for rejoicing amongst fans. To finally play the console’s iconic classics, as well as a few rare gems, on a modern system in HD is extremely exciting. But there are still some must-see titles missing from the currently confirmed line-up that I hope will be added in the near future. Mario Kart: Double Dash!! One of the most obvious omissions so far is the GameCube’s own entry in the Mario Kart series. Double Dash is still one of the most unique Mario Karts to date, with its two drivers to a kart concept, character-specific power-ups, and some of the best tracks in the whole franchise. These features still make a great case for revisiting Double Dash all these years later, and with it supporting up to 16-players, additional online play would make for a chaotic experience! Kirby Air Ride Kirby’s often forgotten kart racer on the GameCube made for a great alternative to the Mario Kart formula. Utilising Kirby’s mechanics in its racing, players inhale enemies around the track and use their gained abilities in lieu of power-ups, plus there was as an open-ended challenge mode. The game went under the radar and has become a rather rare title, but with the newly announced sequel for Switch 2 – called Kirby Air Riders – it would be great to experience the GameCube original alongside it. Eternal Darkness: Sanity’s Requiem One of the most ambitious and unique horror games of its time, Eternal Darkness became an icon of the genre and one of the GameCube’s most interesting exclusives. Telling a sprawling story across history, with three branching paths and touting its renowned *sanity effects* mechanic that range from subtle details to breaking the fourth wall, delivering at the time an incredibly effective and memorable psychological horror experience. It’s sadly never been seen again outside of its sole GameCube release but now is a perfect opportunity for many to experience this terrifying masterpiece again. The Legend Of Zelda: Twilight Princess Arguably the superior version, when compared to the Wii port, Twilight Princess delivered the more cinematic and realistic Zelda experience fans had been clamouring for. Some incredibly memorable characters, a fantastic atmosphere, and some of the best dungeons in the entire series make it a standout and one that many would be glad to see return. If we’ll never see the fantastic Wii U remasters come to Switch, then having them join the classic line-up alongside The Wind Waker would certainly be welcome. Super Smash Bros. Melee It was almost baffling to see Melee excluded from the launch line-up, considering its immense popularity, being arguably the best entry in the series. Melee has remained a fan favourite and mainstay within the competitive scene for good reason; its fast-paced nature combined with some of the most precise, responsive, slick, and varied controls and mechanics in any fighting game has allowed it to really stand the test of time. It seems like a no-brainer to eventually bring it to the Switch; combine that with the potential for online multiplayer, and you’re onto a winner. The Simpsons: Hit & Run This is a very personal pick and not even a GameCube exclusive, but I know for definite I won’t be alone in this one. The Simpsons take on the GTA formula is as cult classic as it gets; not breaking any new ground but simply being an incredibly fun, nostalgic, and hilarious experience. More Trending Elevated by that Simpsons charm, exploring the show’s world with the original cast and too many references to count. Demand for a remaster or simply any modern port has been immense; even a spot in the Classics line-up would be triumphantly hailed by many. By reader George Buckland Not a GameCube exclusive but that doesn’t mean it won’t return (EA) The reader’s features do not necessarily represent the views of GameCentral or Metro. You can submit your own 500 to 600-word reader feature at any time, which if used will be published in the next appropriate weekend slot. Just contact us at gamecentral@metro.co.uk or use our Submit Stuff page and you won’t need to send an email. GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

In an interview with Variety, writer Beau Willimon discussed the fan-favorite properties he’s currently a part of: he’s an executive producer on Apple TV+’s Severance and wrote episodes for both seasons of Andor. In the chat with the trade he likened writing on Star Wars to “being a session musician on someone’s album.” His collaboration with Andor creator Tony Gilroy began on the Willimon-created Netflix series House of Cards, with Gilroy coming aboard as a consulting producer. “When he was developing Andor, he asked if I wanted to write a few episodes and I thought he was joking because I grew up with and love Star Wars but I’m not an aficionado,” Willimon said. “He said, ‘the less you know, the better because I want to tell a human story and a grown-up story.'” Willimon continued to describe the six-week period he, Gilroy, and Tony Gilroy’s brother Dan Gilroy spent breaking the story for Andor. “I didn’t have to bear any of the burden of what a showrunner usually has to deal with. All I had to do for the first time in my life was function as a writer who was delivering scripts to my friend Tony Gilroy. As long as he liked them, I was good.” About the current season of Lucasfilm’s hit series, he added, “I’m very proud of the second season.” The writer also had in hand in helping flesh out the world of Severance for the Apple TV+ show’s second season. It wasn’t something he usually does but he took the job as an executive producer to provide extra help. “I came in to assist on the production side of it, with the writers,” shared Willimon. “It was an extraordinary experience because there is nothing like this show. I am really interested in doing projects where I don’t fully know how to do it. With Severance, it was this beautifully built world and tone and I challenged myself to help that team bring the second season to fruition. I was in service of the story like anyone else.” He continued to describe how the experiences of Andor and Severance to “facilitate someone else’s vision” have given him a new love of producing. “Sometimes I have a bit of distance and perspective that can be helpful, or it can purely facilitate on a practical level. I don’t have to bear the burden of this being my baby, I can simply help someone raise this child.” Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

Die Macherei Building Ensemble / Sauerbruch HuttonSave this picture!© Jan Bitter•Germany Architects: Sauerbruch Hutton Area Area of this architecture project Area:  10040 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Jan BitterMore SpecsLess Specs Save this picture! Text description provided by the architects. The master plan for the site of the former Postscheckamt in Berlin Kreuzberg reintegrates the existing high-rise from the 1970s into the urban structure, establishing a connection between the Wilhelminian style quarters nearby and the urban landscape of post-war modernism. On the previously commercially used site, a spatial weave of typological diversity and quality public space unfolds between the quiet residential area by the park and the vibrant neighborhood by the canal.Save this picture!Save this picture!Part of this ensemble is an eight-story office building directly adjacent to Hallesches Ufer, which, together with a neighbouring housing development, encloses a jointly used courtyard. The ground floor with restaurant and retail spaces opens up invitingly on all sides and provides views into the landscaped inner courtyard. Each floor is divided into two units and can be configured either as a single or multi-tenant model. The building's rational structure with a compact central core, optimized structural grid, and surrounding ribbon windows maximizes daylighting and allows flexible floor plans for a wide range of office concepts.Save this picture!The building's materiality is influenced by the former industrial character of Berlin's Kreuzberg district. The ribbon façade is characterised by the use of contoured ceramics glazed in green tones. This rather robust cladding alternates with the filigree glazing of the window bands. A gentle folding of the parapet and the outer window panes sets the strict horizontality of the façade in motion. Depending on the time of day and the viewer's position, the reflections of glass and ceramics offer a constantly changing appearance.Save this picture!Save this picture!Save this picture!Overall, the building elements of rough and refined materials complement each other both along the façade and within the interiors, giving the building a harmonious appearance of simple elegance and lightness.Save this picture! Project gallerySee allShow less Project locationAddress:Hallesches Ufer 40-60, 10963 Berlin, GermanyLocation to be used only as a reference. It could indicate city/country but not exact address.About this officeSauerbruch HuttonOffice••• MaterialsMaterials and TagsPublished on April 26, 2025Cite: "Die Macherei Building Ensemble / Sauerbruch Hutton" 26 Apr 2025. ArchDaily. Accessed . <https://www.archdaily.com/1028133/die-macherei-building-ensemble-sauerbruch-hutton&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

From Makeup Effects to AI: Aaron Sims on the Future of Art | A New Era for Artists Join Aaron Sims as he shares his journey through the evolution of visual storytelling — from practical effects to CGI, and now to AI. Discover how ASC is embracing AI tools to expand artistic possibilities and empower the next generation of creators. The future of art is here — let's explore it together! 👉 Drop your questions about AI in the comments—we’ll continue to answer them in our next video! Subscribe to follow the journey and get tutorials, behind-the-scenes content, and more!

Say hello to the latest release of #AdobeFirefly and the next evolution of creative AI, unveiling at #AdobeMAX London 🙌 The new Firefly model unifies AI-powered tools for image, video, audio, and vector generation into a single, cohesive platform and sets a new standard for visual content generation! Learn more about the future of Firefly: https://adobe.ly/4izlbEm

Say hello to the latest release of #AdobeFirefly and the next evolution of creative AI, unveiling at #AdobeMAX London 🙌 The new Firefly model unifies AI-powered tools for image, video, audio, and vector generation into a single, cohesive platform and sets a new standard for visual content generation! Learn more about the future of Firefly: https://adobe.ly/4izlbEm

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