APEX – Ep. 03: APEX Script by Anthea Eichstetter 12.05.2025 comment 0 Free Course It is finally time for Apex Script! In this episode Magnus will dive into the world of APEX script with you. As he said himself, what he covers in this video is only the “tip of the iceberg”, since there are so many more possibilities with APEX Script. You will learn in this first Introduction the overall structure of APEX script, how your code gets executed and you will create a tiny little sausage-rig just by APEX Script! If you enjoyed this course, leave us your feedback – so that Magnus hopefully can come back to slowly uncover this APEX-iceberg with you guys! Watch Episode 2 here Liked it? Take a second to support Anthea Eichstetter on Patreon!

Architect, artist and entrepreneur Hedwig Heinsman is presenting the Tiny Penthouses at the 19th International Architecture Exhibition – La Biennale di Venezia, held from 10 May to 23 November 2025. The project proposes placing modular living units on the rooftops of existing buildings to address urban challenges such as climate change, housing shortages, and social fragmentation. By building upwards instead of outwards, it offers a strategy for densifying cities without large-scale demolition or new construction. The exhibition features Tiny Penthouse 02, a housing concept designed for art students atop the Stedelijk Museum in Amsterdam. The exhibition also includes a full-scale 3D printed wall made from recycled materials, featuring smooth, rounded forms, which visitors have dubbed the “Tette Wall” due to its distinctive shape. Tette Wall. Photo via Hedwig Heinsman. Tiny Penthouses Hedwig Heinsman’s Tiny Penthouses project centers on the concept of “radically reincarnating” architecture—a sustainable design philosophy that leverages 3D printing technology to produce building components from recycled materials. These modular elements are designed for circular use: they can be shredded, reprinted, and reconfigured, supporting a continuous process of architectural adaptation rather than a fixed end product. Tiny Penthouses. Photo via Hedwig Heinsman. The temporary structures featured in Tiny Penthouses function as both practical elements and sculptural installations. From afar, they resemble luminous objects or abstract light fixtures; up close, they reveal intricate models that cast shadows outlining floorplans and speculative designs. These forms are intended not only to enrich the visual landscape but also to invite reflection and dialogue on the future of urban living. Modular elements in the Tiny Penthouse. Photo via Hedwig Heinsman. Advances in 3D Printing for Sustainable Housing Development In March, VeroTouch, a construction technology company specializing in automated 3D printing for housing, has completed Colorado’s first 3D printed homes. The firm secured up to $618,000 in funding from the state’s Innovative Housing Incentive Program (IHIP) to support further development. The funding will facilitate expansion into Cleora, where the company plans to build a 31-home development using its proprietary printing system. In February, International design studio Hassell has completed a 3D printed community building in Hope Village, Tanzania, using locally sourced earth.  The project is part of a broader effort to create a safe and supportive space for vulnerable young girls in Kibaha. Developed in partnership with fellow architect ClarkeHopkinsClarke, the plan also includes family housing, a school for 480 students, and facilities for childcare and skills training, extending its impact to the wider community. Who won the 2024 3D Printing Industry Awards? Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news. You can also follow us on LinkedIn, and subscribe to the 3D Printing Industry Youtube channel to access more exclusive content. Featured imageshows Tiny Penthouses. Photo via Hedwig Heinsman.

Caja Granada Savings Bank | © Hisao Suzuki In the undefined periphery of Granada, where infrastructure precedes urban identity, Alberto Campo Baeza inserts a resolute and luminous object: the central offices of the Caja General de Ahorros. Designed in 1992 and completed in 2001, the Caja Granada Savings Bank is not merely a corporate headquarters. It is an architectural essay on the materialization of light. Framed within a rigorous conceptual structure, the project challenges the conventions of commercial office typologies by elevating light, geometry, and permanence as its core protagonists. Caja Granada Savings Bank Technical Information Architects1-8: Alberto Campo Baeza Location: Carretera de Armilla s/n, Granada, Spain Project Year: 1992 – 2001 Photographs: © Hisao Suzuki, © Fernando Alda, © Duccio Malagamba, © Roland Halbe It is simply a stone and concrete box that traps sunlight in its interior to serve the functions carried out within this ‘impluvium of light. – Alberto Campo Baeza Caja Granada Savings Bank Photographs © Hisao Suzuki © Fernando Alda © Duccio Malagamba © Hisao Suzuki © Hisao Suzuki © Alberto Piovano © Hisao Suzuki © Roland Halbe Caja Granada Savings Bank Conceptual Framework The project is essentially governed by a singular idea: the impluvium of light. Echoing the Roman typology of a central atrium designed to collect rainwater, Campo Baeza reinterprets the impluvium not as a hydraulic device but as a spatial and phenomenological mechanism to harvest light. The building becomes a luminous vessel designed to trap and distribute sunlight through a precise orchestration of form and material. The formal gesture is clear and disciplined: a semi-cubic volume elevated on a monumental base. This stereotomic plinth, embedded into the sloped terrain between two major roads, houses the archives, data center, and parking functions anchored to the earth. Upon this base rises the cubic mass of the main building, structured by a 3x3x3 meter reinforced concrete grid. This grid is not merely structural but the ordering system through which light is captured, filtered, and diffused. The conceptual clarity of the cube operates as a spatial manifesto, engaging with the theoretical dichotomies of stereotomic and tectonic (as articulated by Kenneth Frampton) and container and contained (per Hans Sedlmayr), both of which underpin Campo Baeza’s architectural language. Spatial Organization and Programmatic Clarity The building’s spatial organization is as deliberate as its geometry. The podium functions as a silent base, concealing technical and logistical operations. Above, the cube contains seven floors of offices arranged around a central courtyard. This interior void, void in mass but saturated in light, serves both a symbolic and functional role. It becomes the building’s lung and eye, a space that breathes and sees. Circulation is organized along a continuous perimetral ring surrounding the central impluvium, punctuated by four equidistant vertical cores. This configuration allows for both spatial clarity and programmatic flexibility. The southern façades, equipped with brise-soleils, host open-plan workspaces softly lit by filtered southern sun. In contrast, the northern façades accommodate individual offices, bathed in the uniform, cool light of the north and clad in alternating bands of stone and glass. These sectional variations respond not just to programmatic needs but to the nuanced choreography of light and orientation. Light, Materiality, and Atmosphere Light is the architectural protagonist of the Caja Granada building, not merely as illumination but as a spatial substance. The skylights embedded in the thick concrete roof channel sunlight into the central courtyard, where alabaster-lined surfaces catch and reflect it with delicate diffusion. This alabaster, chosen for its semi-translucent properties, acts as both membrane and mirror, modulating the intensity of incoming light and amplifying its reach across the interior. Campo Baeza establishes a profound dialogue between materiality and perception. The stereotomic box, the heavy, load-bearing frame of concrete and stone, embodies gravity and containment. The tectonic box within, light iron frames, translucent alabaster panels, and delicate glass invoke lightness and transience. The architecture is neither monolithic nor immaterial. It is the tension between the two that generates its poetics. Atmospherically, the building offers a calibrated interior landscape where light is never incidental. It is directed, reflected, and framed with an almost liturgical care. The experience of space is defined not by decorative features or formal exuberance but by the shifting intensity of light across surfaces, by shadow as much as by brightness. Caja Granada Savings Bank Plans Site Plan | © Alberto Campo Baeza Ground Level | © Alberto Campo Baeza Floor Plan, Typ. | © Alberto Campo Baeza Level 6 | © Alberto Campo Baeza Section | © Alberto Campo Baeza Section | © Alberto Campo Baeza Caja Granada Savings Bank Image Gallery About Alberto Campo Baeza Alberto Campo Baeza is a Spanish architect renowned for his minimalist and poetic approach to architecture, emphasizing clarity, light, and geometric order. Influenced by classical principles and modernist thought, his work often explores the interplay between solid and void, weight and lightness, using restrained materials like concrete, stone, and alabaster to create profound spatial and emotional resonance spaces. As a practicing architect and a longtime professor at the Madrid School of Architecture (ETSAM), Campo Baeza has significantly shaped contemporary architectural discourse through built work and theoretical writings. Credits and Additional Notes Architect Collaborators: Felipe Samarán Saló, Ignacio Aguirre López, Gonzalo Torcal Fernández-Corugedo, Emilio Delgado Martos, Raúl del Valle, María Concepción Pérez Gutiérrez, Tomás García Píriz Structural Architects: Andrés Rubio Morán, Víctor Martínez Segovia Engineer: Rafael Úrculo Aramburu Client: Caja General de Ahorros de Granada Design Competition: 1992 Design Development: 1998 Construction Period: 1999–2001 Contractors: OHL (A. Padilla), LKS (F. Varela)

Refreshingly Familiar Lovers Unite blends French New Wave and Los Angeles chic for Bar Etoile By Kelly Pau • May 12, 2025 • Interiors, West (Kort Havens) SHARE Warm and cool tones inform the wine bar and French restaurant Bar Etoile from Jill Bernheimer of popular natural wine shop Domaine LA, chef Travis Hayden, and Julian Kurland. Lovers Unite, a design and architecture studio led by Karen Spector and Alan Koch, approached the space by blending elements of French New Wave and the spirit of the city it’s located in, Los Angeles. Other contrasting elements, namely tone and temporality, result in an interior that is comfortingly familiar yet refreshingly new. The space can be thought of in three parts: the bar at the center of the space and the two halves on either side of it. The sides, while similar, are not identical. On one half of the Melrose Hill space, the bistro-like outpost is clad in dark brown wood panels set against rounded blue banquettes. Lovers Unite continues the paneling around the back of the space toward the wine coolers with fridges framed in blue. The outward-facing seating and moody lighting are chic but not too fussy, like a fictitious restaurant in a Godard film. Read more about the restaurant on aninteriormag.com. Los AngelesRestaurants

An open international competition – featuring a $20,000 prize fund – is being held for new housing concepts to boost affordability and quality in Denver, Colorado (Deadline: 18 September) The competition invites architects, designers and urban planners to put forward proposals for new ‘bold, forward-looking’ homes which help address Denver’s housing crisis while also delivering a ‘more vibrant, inclusive, and resilient urban fabric.’ Organised by Buildner in collaboration with AIA Colorado and the City and County of Denver – the contest aims to re-imagine materials, construction, urban integration and sustainability at a range of scales from individual units to neighbourhood-wide strategies or policy frameworks. Concepts which are ‘scalable, adaptable, and deeply rooted in the specific environmental and social context of Denver’ are encouraged. According to the brief: ‘While housing affordability remains one of the city’s most urgent issues – exacerbated by population growth, economic pressures, and shifting demographics – this initiative calls on architects, designers, and urban thinkers to propose visionary solutions that do more than meet basic housing needs. ‘Participants are encouraged to reimagine the role of affordable housing as a tool for elevating neighbourhoods, reinforcing urban identity, and addressing broader challenges such as climate change, biodiversity loss, and social inclusion.’ Denver is the capital and most populous city of Colorado with 725,000 residents. Between 2010 and 2020 the settlement witnessed a 20 per cent increase in population, contributing to a severe local housing crisis and a rise in homelessness. The latest competition aims to explore ways that new housing in Denver can bring together both ‘affordability and design excellence’ and create ‘innovative, high-quality housing solutions tailored to Denver’s specific context.’ Participants are encouraged to submit ‘imaginative and context-sensitive’ proposals and are free to choose any existing or theoretical location within the city to focus on. Concepts should respond to both ‘environmental crises and the opportunities that technology provides.’ The jury has yet to be announced. Submissions should include up to four, A2-sized boards featuring images and drawings. The overall winner – to be announced 10 December – will receive a $10,000 top prize. A second prize of $5,000 and third prize of $3,000 will also be awarded along with two special awards each worth $2,000 and six honourable mentions. How to apply Deadline: 18 September Fee: Until 28 May: €110; From 29 May to 17 July: €120; From 18 July to 18 September: €130 Competition funding source: Not supplied Project funding source: Not supplied Owner of site(s): Not supplied Contact details: contact@buildner.comVisit the competition website for more information

“Torn Spin” (2025). All images courtesy of the artist and Hashimoto Contemporary, shared with permission Gregory Euclide Explores the Anthropocene in Verdant Mixed-Media Collages May 12, 2025 ArtNature Kate Mothes Smeared, flattened, and rough around the edges, Gregory Euclide’s mixed-media collages explore nature through the lens of human experience. Organically meandering outlines suggest shallow reliefs; foraged prairie botanicals complement human-made materials; and abstracted landscapes emerge from drawings, photographs, ripped paper, paint, and more. “The artist tears and layers these elements to build a new pictorial space which more accurately resembles the way he takes in the land,” says a gallery statement for Assembled Lands, Euclide’s current solo exhibition with Hashimoto Contemporary. “Torn: Double Sun” (2025) Breaking down his observations of nature into its fundamental parts, Euclide merges overviews of trees, shrubs, meadows, and the horizon with the intimate details of leaves or branches. One might approach his subject matter through the lens of the Anthropocene, which describes our present era of accelerating changes to the environment due to humans’ unrelenting impact. Each collage (previously) merges recognizable forms and terrain with abstract shapes and compositional spirals or whorls. The effect toys with perception and our understanding of relationships between flatness and depth, land and sky, and nature and ourselves. Assembled Lands continues in New York City through June 14. See more on the artist’s website. “Washed Up On The Beach 2” (2025) “Plat Map” (2025) “Torn: Silhouette” (2025) “Random Invader Memory” (2025) “Torn Landscape Spun” (2025) “Torn: Forest Silhouette” (2025) Next article

I change this ChatGPT setting for almost everything - even mundane chats - to protect my privacy. Here's why.

In a world that’s rapidly automating and personalizing processes, having a dedicated tool for managing underwriting may be the key to success.

Editor's take: It's no secret that Intel is in a very tight spot right now. The company that invented the microprocessor doesn't seem to understand how to make great products anymore, and users are suffering significant performance issues as a consequence. Intel changed its approach to silicon manufacturing with Meteor Lake CPUs, moving from a monolithic approach to a disaggregated, tile-based design. However, the significant technology switch is clearly providing a headache or two; reviewers and power users can't stop discovering new performance issues affecting Chipzilla's latest Core Ultra processors. The Arrow Lake CPUs, which Intel introduced on October 24, 2024, under the Core Ultra Series 2 brand, proved to be slower than Raptor Lake processors (Core i9-14900K). They are also much slower than the 9800X3D, which is why AMD sales are soaring right now. But wait, there's more: Intel Core Ultra 200 CPUs are even slower when it comes to driving the fastest SSD units available on the market. The SSD Review discovered the issue while testing PCIe 5.0 SSDs. These drives should theoretically be able to reach a 14GB/s data rate, but the actual benchmark results were falling short of that target. The storage-focused website experienced the problem with the Samsung 9100 Pro and Micron 4600 SSDs, pairing the two drives with both high-end Raptor Lake (Z790) and Arrow Lake-compatible motherboards (Z890). The Z790 board was able to achieve speeds of 14.3GB/s with both SSDs, while the same storage units weren't able to exceed 12.3GB/s when paired with Arrow Lake CPUs and motherboards. The reviewer also tested the drives through a PCIe add-in storage card (Asus Hyper M.2), discovering that the issue mostly affects the bandwidth available through the CPU's PCIe lanes. The expansion card provided higher sequential I/O rates, while random-performance figures were still lacking compared to Z790 motherboards. The issue isn't limited to specific motherboard brands. Asus and ASRock confirmed and replicated the performance downgrade in their labs, and they also explained why the issue is actually happening: Core Ultra 200 CPUs experience higher latency to the I/O tile that feeds the processors' Gen5 PCIe lanes. // Related Stories Intel also confirmed The SSD Review's discovery. The company said that PCIe lanes 21 to 24 feeding the Gen5 port "may" exhibit increased latency compared to PCIe lanes 1 to 16 because the Arrow Lake design uses a longer die-to-die data path. Intel has tried to improve gaming performance on its chiplet-style CPUs with a few firmware (microcode) updates. But we don't see how the Santa Clara corporation will be able to fix the newly discovered issue with fast storage drives without a significant readjustment of the CPU design.

The Samsung Galaxy Z Flip 7 is anticipated to feature significant design changes. Previously leaked information from Android Headlines suggested it would include a larger, approximately 4-inch cover display, drawing inspiration from the Motorola Razr Plus. This display may occupy most of the device’s front, integrating cutouts for the two cameras. Now, leaked One UI 8 firmware (via Android Authority) seems to confirm this information, which is big news to would-be Galaxy Z Flip 7 owners. Recommended Videos Beyond this big change to the phone’s cover display, the inner display, primary camera, and ultrawide camera are expected to remain similar to the current Galaxy Z Flip 6, the hinge mechanism is rumored to be smoother and more durable, potentially reducing the display crease. Related Under the hood, the Z Flip 7 may feature either the Snapdragon 8 Elite chipset or Samsung’s own Exynos 2500, depending on the region, both promising a performance leap from its predecessor. In terms of memory and storage, it is likely to offer 12GB of RAM with options for 256GB or 512GB of internal storage. The battery capacity is also expected to increase to 4,300mAh, a notable boost from the Z Flip 6’s 4,000mAh battery. The camera system is rumored to remain similar, featuring a 50MP main sensor, a 12MP ultrawide lens, and a 10MP front-facing camera. However, there is hope for improved image processing. The device is also expected to debut with Android 15 and Samsung’s One UI 7, and like recent Samsung flagships, it should provide an extended period of software updates. Overall, the Galaxy Z Flip 7 appears to focus on refining the foldable experience with larger displays, enhanced performance, and improved battery life. Samsung is likely to reveal the Galaxy Z Flip 7 alongside the Galaxy Z Fold 7. This will follow the long-expected release of the Galaxy S25 Edge this month. Stay tuned.