OpenAI envisions teachers using its AI-powered tools to create lesson plans and interactive tutorials for students. But some educators are wary of the technology and its potential to go awry. Today, OpenAI released a free online course designed to help K-12 teachers learn how to bring ChatGPT, the companys AI chatbot platform, into their classrooms. Created in collaboration with the nonprofit organization Common Sense Media, with which OpenAI has an active partnership, the one-hour, nine-module program covers the basics of AI and its pedagogical applications.OpenAI says that its already deployed the course in dozens of schools, including the Agua Fria School District in Arizona, the San Bernardino School District in California, and the charter school system Challenger Schools. Per the companys internal research, 98% of participants said the program offered new ideas or strategies that they could apply to their work.Schools across the country are grappling with new opportunities and challenges as AI reshapes education, Robbie Torney, senior director of AI programs at Common Sense Media, said in a statement. With this course, we are taking a proactive approach to support and educate teachers on the front lines and prepare for this transformation.But some educators dont see the program as helpful and think it could in fact mislead.Image Credits:OpenAILance Warwick, a sports lecturer at the University of Illinois Urbana-Champaign, is concerned resources like OpenAIs will normalize AI use among educators unaware of the techs ethical implications. While OpenAIs course covers some of ChatGPTs limitations, like that it cant fairly grade students work, Warwick found the modules on privacy and safety to be very limited and contradictory.In the example prompts [OpenAI gives], one tells you to incorporate grades and feedback from past assignments, while another tells you to create a prompt for an activity to teach the Mexican Revolution, Warwick noted. In the next module on safety, it tells you to never input student data, and then talks about the bias inherent in generative AI and the issues with accuracy. Im not sure those are compatible with the use cases.Sin Tres Souhaits, a visual artist and educator at The University of Arizona, says that hes found AI tools to be helpful in writing assignment guides and other supplementary course materials. But he also says hes concerned that OpenAIs program doesnt directly address how the company might exercise control over content teachers create using its services.If educators are creating courses and coursework on a program that gives the company the right to recreate and sell that data, that would destabilize a lot, Tres Souhaits told TechCrunch. Its unclear to me how OpenAI will use, package, or sell whatever is generated by their models.loIn its ToS, OpenAI states that it doesnt sell user data, and that users of its services, including ChatGPT, own the outputs they generate to the extent permitted by applicable law. Without additional assurances, however, Tres Souhaits isnt convinced that OpenAI wont quietly change its policies in the future.Image Credits:OpenAIFor me, AI is like crypto, Tres Souhaits said. Its new, so it offers a lot of possibility but its also so deregulated that I wonder how much I would trust any guarantee.Late last year, the United Nations Educational, Scientific, and Cultural Organization (UNESCO)pushedfor governments to regulate the use of AI in education, including implementing age limits for users and guardrails on data protection and user privacy. But little progress has been made on those fronts since and on AI policy in general.Tres Souhaits also takes issue with the fact that OpenAIs program, which OpenAI markets as a guide to AI, generative AI, and ChatGPT, doesnt mention any AI tools besides OpenAIs own. It feels like this reinforces the idea that OpenAI is the AI company, he said. Its a smart idea for OpenAI as a business. But we already have a problem with these tech-opolies companies that have an outsize influence because, as the tech was developed, they put themselves at the center of innovation and made themselves synonymous with the thing itself.Josh Prieur, a classroom teacher-turned-product director at educational games company Prodigy Education, had a more upbeat take on OpenAIs educator outreach. Prieur argues that there are clear upsides for teachers if school systems adopt AI in a thoughtful and responsible way, and he believes that OpenAIs program is transparent about the risks.There remain concerns from teachers around using AI to plagiarize content and dehumanize the learning experience, and also risks around becoming overly reliant on AI, Preiur said. But education is often key to overcoming fears around the adoption of new technology in schools, while also ensuring the right safeguards are in place to ensure students are protected and teachers remain in full control.OpenAI is aggressively going after the education market, which it sees as a key area of growth. Image Credits:OpenAIIn September, OpenAI hired former Coursera chief revenue officer Leah Belsky as its first GM of education, and chargefd her bringing OpenAIs products to more schools. And in the spring, the company launched ChatGPT Edu, a version of ChatGPT built foruniversities.According to Allied Market Research, the AI in education market could be worth $88.2 billion within the next decade. But growth is off to a sluggish start, in large part thanks to skeptical pedagogues.In a survey this year by the Pew Research Center, a quarter of public K-12 teachers said that using AI tools in education does more harm than good. A separate poll by the Rand Corporation and the Center on Reinventing Public Education found that just 18% of K-12 educators are using AI in their classrooms. Educational leaders have been similarly reluctant to try AI themselves, or introduce the technology to the educators they oversee. Per educational consulting firm EAB, few district superintendents view addressingAI as a very urgent needthis year particularly in light of pressing issues such as understaffing and chronic absenteeism.Mixed research on AIs educational impact hasnt helped convince the non-believers. University of Pennsylvania researchers found that Turkish high school students with access to ChatGPT did worse on a math test than students who didnt have access. In a separate study, researchers observed that German students using ChatGPT were able to find research materials more easily, but tended to synthesize those materials less skillfully than their non-ChatGPT-using peers.As OpenAI writes in its guide, ChatGPT isnt a substitute for engagement with students. Some educators and schools may never be convinced its a substitute for any step in the teaching process.

Audiences can finally get their first look at How to Train Your Dragon, the live-action reimagining of the first film in the hugely successful animated franchise launched by DreamWorks Animation back in 2010. Like so many productions, it was delayed by last years SAG-AFTRA strike, but is now set to fly into theaters June 13, 2025.The new filmis written, produced and directed by three-time Oscar nominee and Golden Globe winner Dean DeBlois, who along with The Wild Robot director Chris Sanders, wrote and directed the original. It is also produced by three-time Oscar nominee Marc Platt (Wicked, La La Land) and Emmy winner Adam Siegel (Drive, 2 Guns).Christian Manz is serving as production VFX supervisor; VFX studios on the film include Framestore and Clear Angle Studios.The film is set on the rugged isle of Berk, where Vikings and dragons have been bitter enemies for generations, Hiccup (Mason Thames; The Black Phone, For All Mankind) stands apart. The inventive yet overlooked son of Chief Stoick the Vast (Gerard Butler, reprising his voice role from the animated franchise), Hiccup defies centuries of tradition when he befriends Toothless, a feared Night Fury dragon. Their unlikely bond reveals the true nature of dragons, challenging the very foundations of Viking society.With the fierce and ambitious Astrid (BAFTA nominee Nico Parker; Dumbo, The Last of Us) and the villages quirky blacksmith Gobber (Nick Frost; Snow White and the Huntsman, Shaun of the Dead) by his side, Hiccup confronts a world torn by fear and misunderstanding.As an ancient threat emerges, endangering both Vikings and dragons, Hiccups friendship with Toothless becomes the key to forging a new future. Together, they must navigate the delicate path toward peace, soaring beyond the boundaries of their worlds and redefining what it means to be a hero and a leader.The film also stars Julian Dennison (Deadpool 2), Gabriel Howell (Bodies), Bronwyn James (Wicked), Harry Trevaldwyn (Smothered), Ruth Codd (The Midnight Club), BAFTA nominee Peter Serafinowicz (Guardians of the Galaxy) and Murray McArthur (Game of Thrones).Inspired by Cressida Cowells New York Times bestselling book series, DreamWorks Animations How to Train Your Dragon franchise earned four Academy Award nominations and grossed more than $1.6 billion at the global box-office.How To Train Your Dragon is part of the Filmed For IMAX Program, which offers filmmakers IMAX technology to help them deliver high-quality immersive movie experience to audiences around the world.Source: NBC Universal Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.

Chin Han, Hoa Xuande, Justin Chien, Amanda Zhou, Crystal Yu, Kelemete Misipeka, Lourdes Faberes and Rekha Sharma join the Netflix show currently in production in partnership with Nickelodeon.

Meet the man who turns the jungle into his playground: Kraven the Hunter! Watch this featurette for a glimpse into the ruthless skills and primal force of the MCUs most dangerous hunter!The VFX are made by:Image Engine (VFX Supervisor: Martyn Moose Culpitt)MPC (VFX Supervisor: Michele Alessi)Rodeo FX (VFX Supervisor: Mai-Ling Dydo)Crafty Apes (VFX Supervisor: Dave Morley)Distillery VFX (VFX Supervisor: Greg Kegel)The Production VFX Supervisor is Richard R. Hoover.The Production Additional VFX Supervisor is Mag Sarnowska.The Production VFX Producer is Geoff Anderson.Director: J.C. ChandorRelease Date: December 13, 2024 (USA) Vincent Frei The Art of VFX 2023The post Kraven the Hunter appeared first on The Art of VFX.

Breakdown & ShowreelsThe Lord of the Rings: The Rings of Power Season 2: VFX Breakdown by Outpost VFXBy Vincent Frei - 19/11/2024 The second season of The Rings of Power showcases the work crafted by Outpost VFX across various visual effects, including continuing the story of the ring-forging from Season 1, improving expansive environments, simulating large FX, and adding depth to fight sequence action!WANT TO KNOW MORE?Outpost VFX: Dedicated page about The Lord of the Rings: The Rings of Power Season 2 on Outpost VFX website.WATCH IT ON Vincent Frei The Art of VFX 2024

This week, the team reviews the film HERE by director Robert Zemeckis. Earlier, we spoke to visual effects supervisor Kevin Baillie for the FXpodcast. In that earlier FXPodcast, Kevin discussed the innovative approaches used on set and the work of Metaphysics on de-aging. Starring Tom Hanks, Robin Wright, Paul Bettany, and Kelly Reilly, Here is a poignant exploration of love, loss, and the passage of time.The filmmaking techniques behind this film are undeniably groundbreaking, but on this weeks episode of The VFX Show, the panel finds itself deeply divided over the narrative and plot. One of our hosts, in particular, holds a strikingly strong opinion, sparking a lively debate that sets this discussion apart from most of our other shows. Few films have polarized the panel quite like this one. Dont miss the spirited conversation on podcast.Please note: This podcast was recorded before the interview with Kevin Ballie (fxpodcast).The Suburban Dads this week are:Matt Wallin * @mattwallin www.mattwallin.com.Follow Matt on Mastodon: @[emailprotected]Jason Diamond @jasondiamond www.thediamondbros.comMike Seymour @mikeseymour. www.fxguide.com. + @mikeseymourSpecial thanks to Matt Wallin for the editing & production of the show with help from Jim Shen.

The 3D Printing Industry Awards are designed to highlight both established applications of additive manufacturing and the next generation of AM. Our profiles of this years nominees for the 2024 3DPI Awards continue with a look at FIDENTIS, selected by our panel of experts, and the pubic nomination process for the shortlist in the 3D Printing Industry Awards Start of the Year.FIDENTIS, led by CEO Max Horn, is using 3D printing for dental prosthetics to address a critical supply gap in high-quality dentures. With an aging population and a retiring workforce of skilled dental technicians, FIDENTIS aims to industrialize the production of precision dental prostheses using advanced additive manufacturing techniques. A spin-off from the renowned Fraunhofer IGCV, FIDENTIS combines over 20 years of additive manufacturing expertise with insights from industry experts, like co-founder Josef Schweiger, a leading dental technician. Their innovative solutions deliver high-quality, reproducible, customizable parts that streamline dental lab workflows, reduce costs, and enhance patient satisfaction.Max Horn CEO. Photo via FIDENTIS.3DPI: What problem are you solving, and why is it important?Max Horn: Tooth loss is prevalent. The supply of high-quality dentures is limited because they are handmade by the best dental technicians. With many dental technicians retiring and an aging population, we face a supply gap of high-quality dentures. Industrial production is limited to low-quality solutions. Therefore, it is important to enable the industrial production of high-quality dentures in order to meet the rising demand.FIDENTIS Multi-Material Telescope. Photo via FIDENTIS.3DPI: Who is your target market?Max Horn: Our customers are dental technicians and dental laboratories. Our made-to-order products are delivered to dental technicians to finish the prostheses. This reduces production time, increases lab throughput, and eliminates unprofitable steps in the dental lab. Our customers receive high-quality, reproducible, customized parts that save them time and money. Dentists benefit from fewer patient visits, and FIDENTIS quality, time, and cost benefits increase patient satisfaction.3DPI: Who are the founders and core team members, and what is their experience in this industry?Max Horn: FIDENTIS is a spin-off from the Fraunhofer IGCVthe worlds leading research institute for multi-material additive manufacturing of metals. As a scientist at Fraunhofer IGCV and doctoral student at TUM, I have been researching and shaping the technology since 2017. A few years ago, Josef Schweiger, one of Germanys most renowned dental technicians, discovered the manufacturing solution, mainly used in toolmaking and aerospace, and immediately recognized its potential for the dental industry. We joined forces and, together with our colleagues, further developed the technology to process precious metals and meet the high demands placed on dental prostheses. Together, our founding team has over 20 years of additive manufacturing experience and a strong background in medical technology. We bring the perfect mix to innovate dental production with our mentors and advisors from the dental industry. Our mission is to use scalable production technologies, collaborate effectively, and create an environment that fosters talent to ensure sustainable access to products that make people smile.Founding Team FIDENTIS. Photo via FIDENTIS.3DPI: What technical challenges have you encountered so far, and how did you overcome them?Max Horn: The regulatory framework in the EU has not yet been a setback, but it is at least a major challenge. It goes without saying that patient welfare has top priority and that peoples health must not be jeopardized by new care solutions. At the same time, the legal framework and the way in which it is implemented is extremely restrictive to innovation and costs a lot of energynot just for us as a start-up. In order to counteract the shortage of specialists and rising costs in the healthcare sector as a society, we need to be more agile in our approach to innovation.FIDENTIS Multi-Material Lasermelting Technology. Photo via FIDENTIS.3DPI: Who do you consider to be the competition in this market? How does your proposition meet underserved needs or outperform?Max Horn: We do not compete with dental technicians, but rather create synergies with them by improving their efficiency and allowing them to focus on their core activities. Industrial production is at the moment limited to solutions without friction telescopes, which are critical for a secure fit in the patients mouth. Our solutions enable dental laboratories to scale their production of high-quality solutions with friction telescopes.3DPI: What milestones have you achieved, and what are your next major goals?Max Horn: In May 2024 we have secured EXIST Transfer of Research Funding of 1.6M, which enables us to further develop our technology accordingly to the needs of patients and dental technicians. We also won the 3D Pioneers Challenge in the MedTech category. The positive response from industry experts shows us that we are on the right track and motivates us to keep up the pace and drive our vision forward intensively. Our next major goal is to make our first patients smile again.FIDENTIS Robot Integration. Photo via FIDENTIS.3DPI: Is there anything else you would like to add?Thank you to everyone who supported us on our way. Without the tremendous support of experts, mentors, colleagues, and funding bodies this would not have been possible.Want to share insights on key industry trends and the future of 3D printing? Register now to be included in the 2025 3D Printing Industry Executive Survey.What 3D printing trends do the industry leaders anticipate this year?What does the Future of 3D printing hold for the next 10 years?To stay up to date with the latest 3D printing news, dont forget to subscribe to the 3D Printing Industry newsletter or follow us on Twitter, or like our page on Facebook.While youre here, why not subscribe to our Youtube channel? Featuring discussion, debriefs, video shorts, and webinar replays.Michael PetchMichael Petch is the editor-in-chief at 3DPI and the author of several books on 3D printing. He is a regular keynote speaker at technology conferences where he has delivered presentations such as 3D printing with graphene and ceramics and the use of technology to enhance food security. Michael is most interested in the science behind emerging technology and the accompanying economic and social implications.

In the build-up to the 2024 3D Printing Industry Awards, we take a closer look at some of the enterprises nominated as leaders in the additive manufacturing sector.Dr. Olga Dr. O Ivanova, Ph.D., is the Director of Applications & Technology at Mechnano, LLC. Specializing in advanced material science, Dr. O and her team have developed DFunc technology, a pioneering solution that prevents the issue of carbon nanotube (CNT) agglomeration, thereby enhancing the base material properties and enabling features like conductivity. By optimizing electrostatic discharge (ESD) performance, Mechnano addresses critical challenges faced by industries such as electronics and healthcare, where inconsistent ESD can lead to equipment damage and safety hazards. The company is poised to expand its influence by developing versatile, next-generation materials.Read more about this years 3D Printing Industry Awards, including Start-up of Year, and leading innovations and technology. Dont forget to vote!3DPI: Can you describe your 3D printing innovation and how it differs from existing technologies in the market?Dr. O: Our technology, known as DFunc, is designed to target the innate tendency of carbon nanotubes to agglomerate. By achieving a distinct state and making modifications to the sidewalls to prevent re-agglomeration, we are able to improve the performance of the base materials and unlock additional properties such as conductivity. This, in turn, broadens the range of applications for additive manufacturing materials. Competitors in the market utilize agglomerated CNTs, leading to inconsistent performance and failure points in fabricated components.The difference in the CNT dispersion quality achieved by Mechnano compared to that of competitor. Microscopy images by Mechnano.3DPI: What specific problem does your innovation solve, and what makes it a groundbreaking solution in the 3D printing space?Dr. O: Dfunc in additive manufacturing (AM) materials serves as a crucial solution to combat the challenge of inconsistent Electrostatic Discharge (ESD) performance, ultimately preventing part failure. In certain industries, the unreliability of ESD performance in AM materials has led to a sense of disappointment, causing some to abandon the use of AM solutions altogether. Furthermore, the variability in ESD values found in injection molding materials has added to this complexity. Mechnano has taken a proactive approach by refining materials from resins to powders and pellets, strategically optimizing the ESD performance of our materials. This meticulous process ensures the materials are finely tuned to address the issue, providing a reliable solution for consistent ESD performance.3DPI: Which industries or sectors do you see your technology bringing the most benefits, and why?Dr. O: The use of Mechnanos materials is advantageous for any industry facing issues with electrostatic discharge. In the electronics sector, for instance, a major concern is the potential harm to delicate electronic components. When ESD occurs near electronic devices, it can produce a high voltage surge that exceeds their tolerance levels, resulting in irreversible damage and system malfunction. Additionally, ESD can lead to data loss in computer systems or disrupt the operation of medical devices. In addition to these technical challenges, ESD can also pose safety risks to individuals, such as electric shocks or fires in environments with flammable materials.An assembly gig fabricated with Mechnanos PK ESD SLS powder ensures reliable ESD performance across the entire component. Photo by Mechnano3DPI: Is your 3D printing solution scalable for mass production, and if so, what steps have you taken to ensure scalability without compromising quality?Dr. O: Our 3D printing material manufacturing is highly scalable for mass production due to the implementation of meticulous quality assurance and quality control protocols. We have taken proactive steps to ensure scalability without compromising quality by investing in state-of-the-art equipment, streamlining production processes, and continually monitoring and optimizing our procedures. Robust QA/QC protocols are an integral part of our production line, guaranteeing that each and every batch meets stringent quality standards before reaching our customers. By maintaining strict adherence to these protocols, we can confidently scale our production to meet increasing demands while upholding the highest standards of quality and consistency.3DPI: What milestones have you achieved, and what are your next major goals?Dr. O: At Mechnano, we take pride in the milestones we have achieved thus far. By developing a range of innovative resins that meet diverse performance targets, and by introducing powders for SLS and pellets for extrusion processes, we have significantly advanced our product offerings. Looking ahead, our next major goals include the release of two additional pellet products in the coming months. Furthermore, we are focused on expanding our portfolio beyond ESD applications, showcasing our dedication to continuous growth and innovation. Stay tuned for more exciting developments as we strive to push boundaries and meet the evolving needs of our customers in the industry.A wave solder pallet made with Mechnanos high temperature ESD resin C-Lite. Photo by Mechnano3DPI: Can you say something about the development process behind your innovation, including key challenges and how they were overcome?Dr. O: Incorporating carbon nanotubes into additive manufacturing materials poses several complex challenges that require careful attention and ongoing research efforts. The unique characteristics of carbon nanotubes, including their high aspect ratio and remarkable strength, have the potential to enhance the mechanical and electrical properties of manufactured components. However, issues such as their dispersion within the material, bonding with the surrounding matrix, scalability of production, and cost-effectiveness must be addressed for widespread adoption. Mechnano scientists are working tirelessly to overcome these obstacles through rigorous scientific research, with the goal of fully realizing the benefits of carbon nanotubes in additive manufacturing. Our efforts are focused on developing innovative techniques to improve the uniformity and distribution of nanotubes within materials, as well as optimizing manufacturing processes to ensure consistent quality and performance. By consistently pushing the boundaries of research and innovation, our team aims to transform the additive manufacturing industry and pave the way for the next generation of advanced materials.Want to share insights on key industry trends and the future of 3D printing? Register now to be included in the 2025 3D Printing Industry Executive Survey.What 3D printing trends do the industry leaders anticipate this year?What does the Future of 3D printing hold for the next 10 years?To stay up to date with the latest 3D printing news, dont forget to subscribe to the 3D Printing Industry newsletter or follow us on Twitter, or like our page on Facebook.While youre here, why not subscribe to our Youtube channel? Featuring discussion, debriefs, video shorts, and webinar replays.Michael PetchMichael Petch is the editor-in-chief at 3DPI and the author of several books on 3D printing. He is a regular keynote speaker at technology conferences where he has delivered presentations such as 3D printing with graphene and ceramics and the use of technology to enhance food security. Michael is most interested in the science behind emerging technology and the accompanying economic and social implications.

Manzar: Art and Architecture from Pakistan, 1940s to TodayThe National Museum of QatarThrough January 31, 2025The promise of formally daring buildings extends to their contents. What happens inside must be bold and unusual too, right? The National Museum of Qatar opened in 2019, designed by Jean Nouvel after the form of a mineral crystal that blooms in intersecting clusters of flattened disks. It is an extraordinary object: its matte, sand-colored concrete surface absorbs daytime shadows and reddens beautifully in the dusk. Of course, the closer you get, the more the illusion of an impossibly big mineral resolves into a building, and once you go inside, the wild promise of the exterior normalizes into gently angular spaces, which are less of a headache to fill with people and art. Today these interiors host Manzar: Art and Architecture from Pakistan, 1940s to Today, the first survey of its kind. The ambitious project covers 80 years of Pakistani history, from before partition to today, and it is a kind of manifesto by the Art Mill Museum, a Qatari institution that plans to open in 2032, and its intent to be international and multidisciplinary. Manzar was curated by Caroline Hancock and Zarmeene Shah for art, and Aurlien Lemonier for architecture, as a linear chronology that is about two-thirds art, one-third architecture, in distinctly separate segments embedded with vitrines of historical materials like newspapers.Community Centre (2024), by Yasmeen Lari (Kuzey Kaya Buzlu/ Qatar Museums)It is packed with discoveries, from the easily-appreciated zip of Bani Abidis video works to the multidisciplinary and multimedia range of Imran Mir and Shahzia Sikander, and subtler choices about how to tell the story, like acknowledging the long partition and including material on the Bangladesh independence strugglethough a Western visitor might miss the bravery since the display is tucked into a corner. It took a Pakistani acquaintance to point out that we still arent taught about it in school. Im astonished that they included it.It must have been a challenge to imagine what kind of visitor the exhibition would be talking to in an exhibition where most of the artworks, names, and stories will be unfamiliar to most. That could be why this exhibition feels scholarly; and it is a scholarly achievement to put so many names in broader international circulationtimely too, when many of the protagonists are in their 80s and 90s, and their archives in need of long-term homes. The video interviews and the accompanying publication (especially its bibliography) are intended as material for future work, and sustain the curators claim that this is only a first step. The modesty is encoded in the title: Manzar can mean a scene, a view, a landscape, or a perspective in Urdu. But exhibitions are not tentative in their nature; cram all that effort and expertise and history in a series of rooms and it cant help but be convincing, which is a problem for a project that wants to be foundational and propositional all at once. The space, the vitrines, the materials, the labelsmuseums speak with weight and authority that contradicts an open project. This intent is correct and it is very contemporary. But its implementation still uses old-fashioned tools and conventions, and Manzar stumbles over this gap, which is most noticeable in the architectural parts of the exhibition.The first building we see is the Tarbela Dam, which is presented as a historical note instead of as the kind of project thats typically excluded from architecture. Its a detail, but for a new institution with the ambition to claim its place and the freedom to define itself and its methodswhy not cross the line? And once you notice one conventional choice, you see them everywhere.Behrupiya (2024) by Mariah Lookman (Kuzey Kaya Buzlu/ Qatar Museums)Weaving art and architecture into one exhibition is difficult, and Manzar illustrates how much architecture suffers when architectural objects are treated like artworks, conventionally. Its as if the exhibition wasnt made by a new institution at all, but had come direct from MoMA or Pompidou.Plastic art hides less from visitors than do architectural drawings, photographs, and publications that can only represent processes, so architectural objects sit alongside artworks like shy cousins at the partypresent, but a lot of effort to talk to. So half the exhibition speaks, the other half is silent, and the multidisciplinary promise of the title, the and between Art and Architecture, remains a tempting idea. Weaving together two disciplines and narrating the complexity of architectural stories for a contemporary audience requires more than wee labels and a wall text far away. Thankfully there are the videos: groups of interviews are presented separately from the objects they reference. But as fascinating and charming as it is to hear artists and architects speak, these interviews can only do so much because they, like everyone else, tell the stories they want people to know. Should curators challenge self-narratives? Convention says, no.After a few rooms of art and historical introduction, the first section dedicated to architecture occurs about midway through the exhibition, with midcentury projects by some of the expected namesEdward Durell Stone, Neutra, Doxiadis, cochardas well as by new ones like Muzharul Islam, Medhi Ali Mirza, and Mohammad Abdul Ahed. Yasmeen Lari appears too, as the only woman in a group photo from 1956. This is the first architectural island, titled Nation Building and two stories in this section could have had obvious contemporary relevance: mass migration and new cities.Hasan Homes (1972) by Arif Hasan (Courtesy Arif Hasan)Migration could have been discussed through the spatial stories of post-partition refugees who arrived in incredible numbers to cities like Karachi. Their adaptation and accommodation produced teachable mistakes like Doxiadiss masterplan and Korangi development. And new cities could have been approached through a case study of Islamabad, which seems like it should have resonated with local Qatari visitors as well as viewers from other Gulf states. But the visitor is left to make the connections for themself. The second room dedicated to architecture is based on 70s regionalism, around the time of the Zia coup, and it introduces more names like Habib Fida Ali, Kamil Khan Mumtaz, and Nayyar Ali Dada. The latters Alhamra Arts Council gets a handsome new model for the show, surrounded by abundant original material it is the most detailed project in the exhibition, but we arent told why its important. Laris handsome drawings for the Angoori Bagh People Housing Programme 1975 and Experimental Building from 1981 are also treated like puzzle boxes, intriguing and silent.Only the videos tell stories. In one of them, Arif Hasan said: Doxiadis did not understand sociology, and goes onto explain continuing effects of the optimistic Greeks early planning mistakes. Hasan also talks about racists and refugees, and of stepping in to stop displacements that would have been catastrophic. Since the video is around the corner from the relevant display, you have to make the link yourself, if you know the projects well enough to remember which is which. All the contemporary reading that a critical and informed visitor expects is in these videos. The architects talk about context and process, their personal experiences of turning away from personal ego and from powerful people, or crossing class boundaries. Lari recalls being asked: Show us where the chickens will go?Fathers House 18981994 (1994) by Zarnia, courtesy Taimur Hassan Collection. (Kuzey Kaya Buzlu/ Qatar Museums)Memory of a Pink (2012) by Huma Mulji, courtesy Taimur Hassan Collection. (Kuzey Kaya Buzlu/ Qatar Museums)When artarchitectural contact does happen it is through artworks like Zarinas somber floor plans from memory and Huma Muljis pink painting of a wall fragment, both of which summon lost places. The more recent works at the end of the exhibition most naturally blend art and architecture through urban Karachi pop, cinema ads, bazaars, and stickers. So do artworks on the politics of land and human and nonhuman bodies: Seema Nusrats collages of blast sandbags and Naiza Khans long presence on Manora Island both pull on threads that lead from the colonial era through globalization to American drone strikes.The exhibitions final act is a courtyard where the stars are a group of charming and hopeful pavilions designed by Lari and made of natural materials by Pakistani craftswomen brought to Qatar. Here, at last, are architectural objects that can stand on their own.Lev Bratishenko is writer and recovering curator.

A new international architecture competition that asks designers to ideate housing atop Tempelhofer Feld has sparked outrage in Berlin. The 940-acre green space about the size of Central Park is frequented by 200,000 people every week. A referendum was passed in 2014 that was supposed to stymie new buildings on the former airfield, but Germanys ruling coalition made up of center-right (CDU) and center-left (SPD) parties is intent on developing the park to allegedly help quench the capitals housing crisis. Tempelhofer Feld sits beneath the defunct Berlin Tempelhof Airport, a gargantuan complex planned in the 1930s by Ernst Sagebiel, one of Albert Speers stooges. The airport was shuttered in 2008its runways werent big enough for todays jumbo jets and it was too close to the city center. Its replacement, Berlin Brandenburg Airport, opened in 2020. Still, Berlin Tempelhof Airport is among the 20 largest buildings on earth, a place that Norman Foster called the mother of all airports. Tempelhofs dubious history aside, the adjacent park is cherished; on any given day its regular to see visitors fly kites, have picnics, go on dates, read books, and find respite there.A kiting skateboarder at Tempelhofer Feld circa 2021 (Mitch Altman/Wikimedia Commons/CC BY-SA 2.0)Now, developers and government leaders want to change all that. Last week, the Senate Department for Urban Development, Building, and Housing announced its Tempelhofer Feld Ideas Competition which asked designers to consider how the park may be opened up to thoughtful peripheral development. This is happening despite the Tempelhofer Feld Law that was passed in 2014 thanks to a group called 100% Tempelhofer Feld Initiative, who fought for the referendum. A Vital Ecological HabitatToday, opposition groups like Architects4THF have teamed up with 100% Tempelhofer Feld Initiative to stop development from happening. The need for more housing in Berlin is real, opposition leaders say, but commodifying a beloved public utility isnt the right way to go about it. This echoes a similar story unfolding in New York where activists are fighting to stop development from coming to Elizabeth Street Garden in Manhattan, albeit whats unfolding in Berlin is on a much larger scale.Tempelhofer Feld is one of Berlins most significant green spaces and a vital ecological habitat, said Bika Rebek, a Berlin-based architect and educator, , and organizer for Architects4THF. Rebek said that the ideas competition which entails permanent construction at Tempelhofer Feld undermines the democratic mandate instilled in the 2014 law and opens the park to real estate speculation.Cyclists at dusk on Tempelhofer Felds runway (Lukas Beck/Wikimedia Commons/CC BY-SA 4.0)Tempelhofer Feld first opened up for public use in 2010, two years after Berlin Tempelhof Airport closed, thanks to a master plan by McGregor Coxall, a landscape architecture firm with offices in the U.K. and Australia. After the ribbon cutting, the park quickly took on a new life as the largest public space in Berlin. But loopholes still allowed for buildings to be built on the parks fringes, a gray area that was plugged in 2014 when the Tempelhofer Feld Law was passed. Still, it wouldnt be difficult for the Berlin House of Representatives to overturn the referendum, protesters note. They would just need a simple majority vote, like any other law.CDU officials say they want to build housing for working families, but many arent so sure about the ruling coalitions motivations.Emptiness has a space and silence has a voiceBerlin needs another 194,000 additional apartments by 2030, according to its 2019 urban development plan, in order to meet current demand; but how exactly to fix that problem has created the usual striations (and Twitter/X fights) between YIMBYs and NIMBYs. For years after World War II, there were bombed out land parcels all over Berlin where new buildings could go up, but now it seems those are depleted. What is to be done?Community garden at Tempelhofer Feld (Joe Mabel/Wikimedia Commons/CC BY-SA 4.0)The pro-development bund says the answer is seemingly obvious: Build up areas where there arent any buildings, like public parks. Those on the left however have taken a more anti-capitalist approach by vying for things like rent control: In 2020, the city government passed a rent control law, but that ruling was declared unconstitutional in 2021 after stiff pushback from the real estate lobby. Thousands of Berliners took to the streets to protest the ruling.Today, Berliners like Rebek are working to keep Tempelhofer Feld public, permanently. Rebek said that Architects 4THF and 100% Tempelhofer Feld Initiative teamed up to call attention to this critical issue and advocate for the continued protection of Tempelhofer Feld as an irreplaceable public and ecological asset for the city, she noted. The decision not to build can also be an architectural statement: Emptiness has a space and silence has a voice.