InterviewsBlitz: Andrew Whitehurst Production VFX SupervisorBy Vincent Frei - 02/12/2024 Earlier this year, Andrew Whitehurst took us behind the scenes of the visual effects for Indiana Jones and the Dial of Destiny. Now, hes back to share insights into his latest project, Blitz, and the challenges of crafting invisible visual effects.How was the collaboration with Director Steve McQueen?It was a very close and collaborative working relationship. Steve likes people to be coming up with ideas and creative solutions to inform his process. Its part of my job to try and get into the head of the director so I can, hopefully, second guess what he would want ahead of showing him. Once Id had the chance to talk with Steve about his vision for the film we were able to work together closely and to help guide the VFX houses in their work. Sometimes there were happy accidents. For example, Steve briefed me on one of the fully digital establishing shots and I produced some detailed previs. I thought I had fully understood and executed the brief, but when I showed it to Steve and asked if it was what hed imagined, he said, Its not what I imagined at all, but I love it!. So sometimes the unexpected is whats wanted.How did you organize the work with your VFX Producer?It was a pretty clear delineation of work really. There was a lot of creative decision making to be done in post, which fell to me to work with the VFX houses and get the shots looking as Steve wanted, and that required a lot of production smarts and diligence to make sure we were sensible in the use of resources and that we would be able to deliver that work on time. We couldnt have managed that without Sona.What is the your role on set and how do you work with other departments?On set I will liaise with all the other departments to make sure that what we shoot will be usable in post. That means figuring our green screen placement with the grips, how the cameras and lenses are used and shooting plates and reference where needed, and how the lighting is going to complement the finished shot. Its a lot of dialogue, and then also being able to quickly react when creative decisions change on the day.How did you approach the challenge of recreating 1940s London with invisible visual effects?Casting visual effects houses whose strengths are in creating richly detailed environments is essential as they have the workflow and aesthetic knowledge to make that kind of work sing. Cinesite, ILM and Raynault VFX did beautiful work. We began with a lot of historical research so we could establish what the city looked like in 1940, how the buildings were constructed (so we could do realistic damage to them) and what the levels of smoke and atmosphere were like: London was a much smokier and dirtier city than today, even before there was bomb damage to add.How do you balance historical accuracy with creative liberty in recreating London during WWII?This is a really interesting part of the process. We would always start with historical reality as that establishes a ground truth that keeps us honest. Then we would look at what the emotional feeling of the moment was; reflective, angry, frightened etc. and look to see how we could adjust the lighting of the city, the amount of smoke and fire etc. to push the shot in the aesthetic and emotive direction we wanted without compromising the historical authenticity. For example the long aerial shot of the desolated city midway through the film was lit as if the sun was low so the buildings were mostly in shadow. This added a melancholic quality to the shot which would have been lost if we had used brighter and more direct sunlight. Doing a wedge test of different lighting directions can really help figure these things out.What were the main techniques used to depict the destruction caused by bombings in a realistic way?We used the full range of digital VFX techniques to achieve the wider city. We were very fortunate that the production built large exterior set pieces of bombed out streets that we could scan and use as a basis to work from. Then, after looking at archival material, we were able to extrapolate what the additional buildings should look like and model them in CG, and dress in digital debris which provided enough fidelity to run the fluid simulations for the fire and smoke. Small details could be added with a paint pass to add extra texture and detail a the end.How does creating invisible effects differ from more overt VFX work, such as creatures or explosions?The tools and techniques are the same but the aesthetics are a little different. We are always looking for ways we can help make a shot more beautiful, or more impactful, but we are always asking Does this tread on the drama? as the performance is the most important thing in the frame. When creating the full CG shots, we are looking at the photography of the surrounding shots to match the camera movement style, lens choices and lighting decisions so our shot, hopefully, just feel like part of the fabric of the film.How did you simulate the dust, smoke, and debris of bombed-out buildings without overwhelming the viewer?This is less of a question of technology and more of the aesthetic and creative sensibilities of the artists. They were brilliant at judging when dramatic was verging on too much, and backing off appropriately. Its a delicate balance to achieve but the VFX crews managed it beautifully.What challenges did you face when recreating the effects of bombings on peoples homes and historic landmarks?The main challenge was to be respectful of the lived experience of the place and those who dwelt there. For example, there is a shot towards the end of the film where the camera cranes up and in the foreground is a recently bombed out house. The house on that site had really been bombed out in the Blitz and the area was subsequently cleaned up and the tattered end wall of the surviving house patched up. So we were essentially charged with recreating the darkest moment in that streets history which felt like quite a responsibility, and we took that seriously.What details were essential in recreating a war-torn London that might go unnoticed but add authenticity?As well as adding period correct details such as adding tape across windows in homes and businesses where needed, it was often what we removed that was key. For example internet junction boxes, skylights in roofs, and modern doorbells all had to go, and that made a massive difference. They are things that in our day to day life are so ubiquitous that we just filter them out, but once theyre gone, the sparser look of the buildings becomes very noticeable.Can you describe how lighting and shadow were used to enhance the realism of the war scenes?Our approach to lighting wasnt really driven by chasing realism; the look of the film was not stylised so our lighting had to be naturalistic anyway. We did use light and shade to enhance the emotion of a shot, whether by keeping buildings under cloud cover shadow to make the mood bleaker or by adding little patches of sun to contrast with that shade. It was judged on a sequence by sequence basis to maximise the dramatic impact of each shot.What were the key emotional tones you wanted to achieve with these visual effects, and how did they influence your creative process?The film has many phases, from the chaos and violence of the opening scene with the firefighters struggling to contain the burning buildings, to long haunting aerial shots of the aftermath of the bombing. We also had occasional moments of joy, such as the children riding on the train roof. Each of these moments required the visual effects to enhance the emotion established by the lighting and production design. It was certainly a case when reviewing shots to look at the frame and ask what the desired emotion was and whether there was anything more we could do to enhance that. Would adding a bit more smoke in the background help to suggest the loss a character feels at the destruction surrounding them? Questions like that were always being asked.Looking back on the project, what aspects of the visual effects are you most proud of?I am so proud of the recreation of London. It became a character in its own right with moods and emotions of its own. I think the way visual effects combined with special effects and production design to achieve that was really effective and it created a credible and visually engaging world for the characters to inhabit. It really was a case of all the departments pulling together to realise a cohesive vision. Steves unerring eye was key to all of this.A big thanks for your time.WANT TO KNOW MORE?Cinesite: Dedicated page about Blitz on Cinesite website.WATCH IT ON Vincent Frei The Art of VFX 2024

Eric Bennett, CEO of Frontier Bio, told us more about 3D printing in regenerative medicine and the development of lab-grown human tissues, aiming to ultimately eliminate the organ transplant waitlist. Frontier Bios groundbreaking applications, such as their brain on a chip technology, provide humane and highly relevant alternatives to animal studies in traumatic brain injury (TBI) research, with future potential for drug discovery in conditions like Alzheimers and Dementia.Their advances in vascular tissue engineering promise biologically derived grafts that outperform synthetic alternatives, improving outcomes in cardiac and peripheral artery procedures. By integrating 3D bioprinting and cellular self-assembly, Frontier Bio has overcome significant challenges in replicating complex structures like alveoli. Frontier Bios Lab Grown Lung Tissue is nominated for the 2024 3D Printing Industry Awards, Medical, Dental, or Healthcare Application of the year.3D printed bioreactor containing a cell-seeded scaffold that evolves into a blood vessel, used as a model to evaluate the effects of medical devices on human vessels. Photo by Frontier Bio.3DPI: Can you describe your application?Eric Bennett: Frontier Bio develops lab-grown human tissues aiming to ultimately replace damaged organs and eliminate the organ transplant waitlist. In the near term, we offer our tissues and engineering services to research entities seeking alternatives to animal studies. Our brain on a chip technology, for instance, replaces animal models in traumatic brain injury (TBI) research, providing more relevant human data and offering significant ethical advantages. This technology has potential future applications in disease modeling and drug discovery for conditions like Alzheimers and Dementia.Frontier Bios brain-on-a-chip replicates the blood-brain barrier (BBB), crucial in studying neurological disease and conditions. Photo by Frontier Bio.3DPI: How does your application address a specific unmet need in the medical, dental, or healthcare field, and what impact do you see it having on patient care or treatment outcomes?Eric Bennett: Our innovations address critical gaps in medical research and treatment, particularly through our developments in vascular applications. We envision our living grafts to be used for cardiac bypass, peripheral artery disease, and other application areas. Our engineered blood vessels aim to reduce the reliance on less durable synthetic grafts, potentially improving patient outcomes with more natural, functional alternatives. Similarly, our lung and brain models provide platforms for more effective drug testing and disease study, accelerating the development of treatments with direct relevance to human health. In the longer term, we envision creating full-size lungs for patients that need a lung transplant.3DPI: Can you describe the most significant technical or engineering challenge you faced while developing your application and how you overcame it?Eric Bennett: One of the most significant challenges was the creation of alveoli structures, which are intricate and difficult to replicate with conventional techniques. We tackled this by integrating 3D bioprinting with cellular self-assembly, guiding stem cells to form complex structures naturally. This approach, which some would refer to as a form of 4D printing, has allowed us to overcome limitations in current printing technologies and achieve breakthroughs in tissue engineering. But its not just about creating the shape and positioning cells. Weve successfully engineered our human lung models to produce natural substances, such as surfactant and mucus.Progression from 3D bioprinted stem cells (left image) to autonomously maturing and branching into alveolar air sacs (middle and right images), showcasing the capabilities of 4D bioprinting. Photo by Frontier Bio.3DPI: In what ways has your innovation streamlined or improved the efficiency of medical procedures, manufacturing, or patient recovery times?Eric Bennett: We have developed a new manufacturing technique for blood vessels that could significantly enhance patient recovery times and long-term treatment outcomes. Traditional synthetic grafts often have high failure rates; our biologically derived vessels promise better integration and functionality, potentially transforming the prognosis for patients requiring vascular interventions.3DPI: What role does collaboration with healthcare professionals or research institutions play in your development process, and how have these partnerships influenced your innovation?Eric Bennett: Collaboration is crucial for our growth and innovation. From the outset, Frontier Bio has engaged with leading institutions like Mayo Clinic, who have been both a customer and a collaborator, supported by the National Science Foundations SBIR program. These collaborations enrich our development, ensuring our solutions are attuned to real-world medical needs and can swiftly transition from concept to clinical application.3DPI: Can you discuss any case studies or patient outcomes that highlight the real-world benefits of your technology?Eric Bennett: While our technologies have yet to be used in human patients, one case study in neural tissue modeling for TBI research underscores the potential near-term applications. Traditional TBI studies often rely on animal models, raising ethical concerns and questions about applicability to human biology. Our human cell-based models provide a more relevant and humane alternative, paving the way for more effective treatments and therapies.3DPI: Is there anything else you would like to add?Eric Bennett: We are immensely grateful for the support from our investors, collaborators, and community, who help propel our mission forward. We look forward to a future where our technologies minimize the need for animal studies and make the organ transplant waitlist obsolete, enhancing patient care and medical research globally.The Flux-1 by Frontier Bio is a custom-designed precision 3D bioprinter, pushing the boundaries of regenerative medicine. Photo by Frontier Bio.Vote now in the 2024 3D Printing Industry Awards.All the news from Formnext 2024.Who are the leaders in additive manufacturing? Vote now in the 2024 3D Printing Industry Awards!What does the future of 3D printing hold?What near-term 3D printing trends have been highlighted by industry experts?Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news.Featured image shows 3D printed bioreactor containing a cell-seeded scaffold that evolves into a blood vessel, used as a model to evaluate the effects of medical devices on human vessels. Photo by Frontier Bio.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.

Ahead of this years 3DPI Awards, Stijn Hanssen Director of Application Development for Dental at 3D Systems, told us more about developing the industrys first monolithic jetted denture solution, transforming how dentures are fabricated and delivered. This innovation combines multiple materials in a single print, mimicking the properties of natural teeth and gums to create durable, aesthetically superior, and comfortable prosthetics. Leveraging 3D Systems MultiJet printing technology, comprehensive workflow solutions, and decades of expertise in dental materials, this solution streamlines production for high-volume dental labs, reducing complexity, cost, and patient wait times. Collaborations with dental professionals have been integral to refining this technology, resulting in a product that enhances patient outcomes with precise fits, shorter workflows, and exceptional long-term comfort.3D Systems Dental Director of Application Development, Stijn Hanssen, at LMT Lab Day 2024. Photo via 3D Systems.Vote now in the 2024 3D Printing Industry Awards.3DPI: Can you describe your application?Stijn Hanssen: 3D Systems jetted denture solution is a first-to-market solution for monolithic dentures that utilizes multiple materials to deliver a durable, long-wear, aesthetically beautiful prosthetic to the patient.3DPI: How does your application address a specific unmet need in the medical, dental, or healthcare field, and what impact do you see it having on patient care or treatment outcomes?Stijn Hanssen: When these materials are used as part of 3D Systems complete workflow solution comprising materials, MultiJet printing technology, software, and services, high-volume dental laboratories can efficiently deliver a multi-material one-piece denture with properties that mimic teeth and gums in a single print.3D Systems showcased its new monolithic denture product line LMT Lab Day 2024. Photo via 3D Systems.3DPI: Can you describe the most significant technical or engineering challenge you faced while developing your application and how you overcame it?Stijn Hanssen: This product required the development of a full solution comprising materials, hardware and software. Additionally, it required enabling multiple materials with different properties to be 3D-printed simultaneously. To develop such a solution to produce a medical device for long-term use by a patient is a huge challenge. Throughout the entire process, it was important for our team to remain focused on the final application and outcome. As a result, making design and research decisions with the application in mind was of paramount importance to reach our final goal.3DPI: In what ways has your innovation streamlined or improved the efficiency of medical procedures, manufacturing, or patient recovery times?Stijn Hanssen: Our multi-material, monolithic jetted denture solution reduces complexity and cost for single-print denture fabrication, providing fast delivery times and shorter workflows. This allows users to create more precise designs, leading to better fit and function for their patients, as well as enabling fast and easy replacement prints if the patient loses or damages their dentures.3DPI: What role does collaboration with healthcare professionals or research institutions play in your development process, and how have these partnerships influenced your innovation?Stijn Hanssen: After producing our first proof-of-concept, it was most critical to discuss this with dental professionals to get their feedback and input on the requirement. As a company, we have many decades of experience in making dental materials and almost 10 years in 3D printing of these materials. We learned that developing good user requirements is key to developing a successful product. Therefore, its imperative that we consult many dental professionals throughout the process and consolidate their feedback on different iterations to develop a comprehensive set of requirements.3DPI: Can you discuss any case studies or patient outcomes that highlight the real-world benefits of your technology?Stijn Hanssen: We have multiple patients using the jetted dentures for more than six months and the feedback has been overwhelmingly positive. What we hear most from patients is the comfort and fit of these dentures is an improvement over their previous dentures. The digital workflow can have many advantages and using this highly accurate and reliable production process provides this best-in-class quality denture.Vote now in the 2024 3D Printing Industry Awards.All the news from Formnext 2024.Who are the leaders in additive manufacturing? Vote now in the 2024 3D Printing Industry Awards!What does the future of 3D printing hold?What near-term 3D printing trends have been highlighted by industry experts?Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news.Featured image shows 3D Systems jetted, monolithic dentures utilizes multiple materials to deliver a durable, long-wear, aesthetically beautiful prosthetic to the patient. Photo via 3D Systems.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.

Hey there! So Im a bit stumped on how to get ribbons/beams to angle/bend like this for a continuous (always on) effect, almost like a tesla coil. I dont need it to branch, just looking for those nice angular bendy shapes.Please do assist if you have any ideas, thank you! 2 posts - 2 participants Read full topic

Hello, while watching tuataras youtube video I noticed the interesting and seemingly simple technique you see above (Its not simple). I want to understand the technical working principle, please help with this by answering the questions I ask.(Writing about the screenshot above) The material looks simple. We subtract the Particle position from the XYZ position (XYZ = 0 in Dynamic Parameter), add a mask so that the bottom part is pulled by UV at the beginning, followed by the top part.This material does not work without the following specific Niagara system settings.Interpolate Over Time module with the Input Position: (Particles: Position)As I understand it, the Interpolate Over Time module makes a smooth transition between digital values. (Not 0 1, but 0 0.1 0.2 0.3 etc), where smoothness of transition depends on Rate Of hange item.Target Vector Value - This is the target we want to move towards (In our case dynamically updated Niagara position on the scene)Conversion Operation: Passthrough as a Non-Large World Vector - Treats values as vectors (directions), not positions. It doesnt tell where to come (position), it just shows which direction to go and how fast.View of effect when Rate of change = 0.5A new Vector 4 parameter is created. For Vector RGB, the following is selected:(Particles, Interpolate Over Time, Interpolate Over Time V3: Moving Average).For the Float (Alpha), nothing is added.The Dynamic Material Binding is changed to our new Vector 4.At the same time, the value of Float (Alpha) works as the alpha of our material (responsible for the masks intensity). If Dynamic Param Alpha in the material is disabled, then Float Alpha will not affect the emitter either.Inherit Source Movement is a module in Niagara that allows particles to inherit Niagara System Actor object on the scene. Does the same thing as Local Space (If Local Space is switched off)The Dynamic Parameter module is not essential (without it, everything works), but in practice, changing its parameters has no visual effect. Specifically, WPOIntensity (Dynamic Param Alpha) doesnt work in the Dynamic Material Parameters module. Instead of that the Float in the new Vector 4 module does what Dynamic Material Parameters WPO Intensity should do.Heres how it works. Please answer the questions:Why do we set the start position in the material as a Dynamic Parameter (split via Make Float to XYZ)? Can we use something else? For example Object Position, etc. What exactly happens when we subtract Particle Position from Dynamic Parameter (split via Make Float to XYZ)? Why does everything work with it?Why is it that if you turn off the Dynamic Material Parameters module, nothing changes, but if you turn it off in Material (as coordinates), the effect is broken? Why does Float in the new Vector 4 module does what Dynamic Material Parameters WPO Intensity should do? Why doesnt WPO Intensity itself work? Why if I change XYZ no matter where: in the Niagara module in Dynamic Param, or inside the Dynamic Param in material = nothing changes on the stage? (It changes only visually in the Niagara viewport)Why is a new vector 4 module created? Why is Moving Average inserted into it in Vector RGB? Why is a new parameter inserted in Dynamic Material Binding?Below is the result when I reverted the Vector RGB to the default values of 1 1 1, or just turned off the new V4 parameterWhy does the stretching effect not work when the Inherit Source Movement module is not active?Below is an example of what the system looks like with Lifetime/LoopDuration = 0.2I.e. in general why are these three modules used for correct operation? (Interpolate Over Time, New V4 Param, Inherit Source Movement)I deeply appreciate your time in responding and thank you in advance to anyone who deigns to help. While I was writing this, I was thinking how hard it was to do VFX 10-15 years ago, when artists had to find the answers to these questions themselves and its not clear where, because the information was probably not even in the documentation.The clear answers that ChatGPT has given (your help is still needed):Why use Dynamic Parameter?Dynamic Parameter allows the material to receive real-time data from Niagara. Here, its used to set a reference position (XYZ = 0 in Dynamic Parameter) to control how particles behave relative to it.Why subtract Particle Position from Dynamic Parameter?By subtracting the Particle Position from this reference position, youre calculating the distance between the particle and that reference.Why if I disable Dyn Par in Emitter nothing changes?Dynamic Material Parameters in Niagara:This module acts as a bridge, sending data to the material. If you disable it in Niagara, the material still remembers the last received values, so it doesnt break immediately. However, if you disable it in the Material, the material no longer knows where to get the data.

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Livng Room | Laura Lauch via UnsplashRemodeling a home can be both exciting and daunting. With each room holding unique possibilities, its easy to get swept up in ideas and overspend before you know it. But with a thoughtful approach, you can achieve beautiful results without stretching your budget too thin. Taking on a home remodel requires careful financial planning and intelligent decision-making every step of the way. By balancing your priorities with whats realistic, you can transform your space while keeping costs in check. Heres a room-by-room guide to help you make the most of every dollar in your remodeling budget.Kitchen: Focus on Cost-Effective UpdatesThe kitchen is often the heart of the home and one of the most popular areas for remodeling. However, its also one of the priciest rooms to upgrade. To save money here, focus on a few impactful changes rather than a complete overhaul.Cabinets and Fixtures: Start with cabinetsif theyre structurally sound but outdated, consider repainting or replacing only the doors instead of installing brand-new cabinetry. Updating fixtures, like faucets, handles, and lighting, can also refresh the space without a hefty price tag.Flooring Options: For flooring, choose durable but budget-friendly options like vinyl or laminate, which offer a stylish look without the premium cost of hardwood.Smart Appliance Deals: Timing appliance purchases during sales can save hundreds on essentials like stoves and refrigerators. By prioritizing cost-effective updates, your kitchen can feel new without demanding a significant budget.Kitchen | Peter Thomas via UnsplashBathroom: Make Strategic Choices for a High-End LookThe goal in the bathroom should be to create a comfortable, modern space without splurging on high-end materials. Here are some strategies for keeping costs low while achieving a stylish bathroom.Refinishing Over Replacement: Refinishing existing items, such as bathtubs, can look as good as new for a fraction of the cost of buying new. Regrouting tiles instead of replacing them can refresh the bathroom without the expense of an entire tile job.Affordable Countertops: Consider alternative materials like quartz composite, which provides the look and durability of stone without the high price tag.Small Details, Big Impact: Upgrading lighting fixtures and mirrors is an affordable way to enhance the bathrooms look and functionality. With strategic choices, you can achieve a high-end look without the high price.Managing Remodeling Finances: Using a Savings AccountEffective budget management for remodeling projects is easier with the right financial tools. A High-Yield Savings Account can help you set aside funds for your project.Build Your Remodeling Fund: Unlike a regular savings account, an HYSA typically offers higher interest, allowing your money to grow while you plan.Stay on Track Financially: Setting up a separate account for remodeling expenses helps you see exactly how much is available, preventing accidental overspending from other savings. Each time you reach a milestone, you gain clarity on whats feasible for the next project phase, reducing the temptation to dip into other funds.By setting aside remodeling funds in an HYSA, you gain peace of mind and a steady way to build up savings, making it easier to accomplish your home goals without financial stress.Living Room: Update Details for Maximum EffectFocusing on details rather than big structural changes in living rooms can save money and make a substantial impact.Paint and Wall Treatments: Walls have a major effect on a rooms atmosphere. A new paint color can transform a space, so try experimenting with shades that add warmth or depth.Multifunctional Furniture: Adding storage options through multifunctional furniture, like coffee tables with built-in storage or shelves, reduces the need for expensive built-ins.Cost-Effective Flooring: Area rugs or vinyl planks that resemble hardwood are excellent budget-friendly flooring solutions. Focusing on these details can refresh your living room while controlling expenses.Living Room | Peter Thomas via UnsplashBedroom: Create a Relaxing Retreat on a BudgetBedrooms are all about creating a relaxing retreat, and they dont have to be costly to feel luxurious.Upgrade Lighting: Swapping outdated lighting for modern fixtures can elevate the rooms ambiance without significant expense.Textiles for Comfort: Simple touches like new curtains, area rugs, and bedding add layers of comfort and style without a big investment.Closet Organization: Affordable shelving systems can transform your closet, making it more functional and organized without a full remodel. Keeping the bedroom simple with personal touches allows you to create a cozy retreat without costly upgrades.Basement: Transform Storage into Usable SpaceBasements often serve as storage spaces, but they can become valuable living areas with a budget-conscious remodel.Address Basics First: Address any moisture or insulation needs to make the space comfortable and prevent future repair costs.Budget-Friendly Flooring: Choose materials like carpet tiles or vinyl planks that withstand basement conditions without the high costs.Flexible Furniture and Decor: Furnish and decorate gradually to suit the rooms purpose, whether a media room or guest suite. A simple, functional design can turn the basement into a versatile space without overspending.Outdoor Spaces: Boost Curb Appeal on a BudgetOutdoor spaces add significant value to your property; you dont need a lavish setup to make them enjoyable and functional.Landscaping: Simple updates like planting native shrubs and adding ground cover can boost curb appeal without the high cost of a full garden overhaul.DIY Patios and Fire Pits: Create a social centerpiece with affordable pavers or a DIY fire pit to make the outdoor space inviting.Budget-Friendly Decking: Pressure-treated wood is an affordable option for building decks, allowing you to enjoy an extended living space without high costs. By focusing on versatile, low-cost improvements, you can make your outdoor space feel like an extension of your home.Making the Most of Your Remodeling BudgetRemodeling your home doesnt mean you need to splurge on the latest trends or high-end finishes. Its about making practical decisions that maximize your budget and add lasting value. Focusing on small but impactful upgrades in each room allows you to create a beautiful, functional home without overspending. Whether upgrading a kitchen or transforming a basement, your remodel can be affordable and stylish with careful planning, smart financial choices, and a focus on cost-effective improvements. With these strategies, youll be on your way to achieving the home of your dreams while staying within budget.Interior DesignTips Leave a comment

Canopy House Aerial View | Fernando GuerraLocated in the lush tropical forest of Guaruj, Brazil, the Canopy House by Studio MK27 exemplifies a balance between modern architecture and the natural environment. Designed meticulously to minimize disturbance to its surroundings, the house reflects a profound respect for the land. The sites steep slopes posed unique challenges, demanding a design that harmonizes with the dense Atlantic Forest. Studio MK27s ethosrooted in Brazilian modernismshines through in this project, offering a poetic reinterpretation of architecture that embraces cultural identity and environmental sensitivity.Canopy House Technical InformationArchitects1-8: Studio MK27Location: Guaruj, So Paulo, BrazilSite Area: 1,932 mBuilt Area: 785 mCompletion Year: 2023Photographs: Fernando GuerraThe white prism is suspended by a sequence of stilts, so the house barely touches the ground. Studio MK27 ArchitectsCanopy House PhotographsAerial View | Fernando GuerraTop View | Fernando GuerraCanopy House | Fernando GuerraFacade | Fernando GuerraLandscape | Fernando GuerraLiving Room | Fernando GuerraInterior Space | Fernando GuerraFurniture | Fernando GuerraOutdoor Patio | Fernando GuerraArchitectural Strategy: Balancing the Built and Natural EnvironmentThe Canopy House is a structural and conceptual masterpiece. The design centers on a white prism delicately suspended on a sequence of stilts. This ingenious solution ensures the house barely touches the ground, preserving the integrity of the forest floor. Access to the residence is equally experiential: a spiral staircase connects the open terrace to the private quarters, creating an intentional dialogue between occupants and their surroundings.Above the prism lies an elevated platform that blurs the line between interior and exterior spaces. Enclosed by sliding glass panels, this living area fosters a sense of immersion in the vibrant canopy of the Atlantic Forest. The subtle transitions between the houses spaces emphasize the fluid interplay between architecture and nature, inviting occupants to experience the jungles sights, sounds, and smells firsthand. The structure is a testament to Studio MK27s philosophy of formal simplicity and meticulous attention to detail.Interior Design: A Tribute to Brazilian CultureInside Canopy House, Studio MK27 celebrates Brazilian cultural heritage through a rich tapestry of materials, textures, and craftsmanship. The interiors showcase national contemporary design, traditional craftsmanship, and curated artwork, reflecting the countrys cultural diversity.Central to the design is the cobog, a traditional Brazilian lattice element custom-designed for this project. The intricate patterns it casts onto the walls and floors evolve throughout the day, creating a dynamic interplay of light and shadow. Straw pendants by Israel Piaava and sliding mashrabiya panels enrich the tactile experience, while the Vivi armchair by Sergio Rodrigues and coffee tables by Pedro Petry embody the sophistication of Brazilian modernist furniture.Every material and object is a narrative thread in the story of Brazilwood, straw, and concrete converge to form a harmonious composition that pays homage to the regions cultural and natural wealth. The interiors seamless connection with the surrounding forest amplifies the sensory experience, making the house a celebration of both design and environment.Studio MK27s Architectural LanguageCanopy House epitomizes Studio MK27s architectural language: a blend of modernist ideals with contemporary innovation. The suspended prism and elevated platform demonstrate a refined understanding of spatial relationships, creating a structure that feels both monumental and respectful of its natural context.The houses commitment to environmental harmony is commendable, with its light footprint and open design fostering an immersive connection to the forest. As a cultural artifact, Canopy House is a triumph. It showcases the beauty of Brazilian design through its thoughtful selection of materials and objects while also reinforcing the importance of cultural identity in contemporary architecture. This project is not merely a home but an experience, a dialogue between nature and human creation.Canopy House Image GalleryAbout Studio MK27Marcio Kogan is a renowned Brazilian architect and founder of Studio MK27, based in So Paulo. Born in 1952, Kogan graduated from the Mackenzie Presbyterian University School of Architecture and began his career in both architecture and filmmaking. Deeply influenced by Brazilian modernism, his work embodies a seamless blend of formal simplicity, cultural expression, and meticulous craftsmanship. Under his leadership, Studio MK27 has become an internationally celebrated firm known for its innovative yet contextually sensitive designs. Notes & Additional CreditsArchitecture: Studio MK27Lead Architect: Marcio KoganCo-Architects: Regiane Leo and Marcio TanakaInterior Design: Diana RadomyslerInteriors Co-Author: Gustavo RamosProject Team: Julia Jobim, Oswaldo PessanoCommunications Team: Carlos Costa, Nathalia Lima, Tamara LichtensteinSource: V2com

Is it a Brncui? A towering folly by Hans No? No, it is the four new vertical installations inside Louis Vuittons 57th Street flagship by OMA principal Shohei Shigematsu and project leader Jesse Catalano. From afar, the new sculptures by OMA recall Endless Column, a 98-foot-tall artwork by Constantin Brncui in Trgu Jiu, Romania, completed in 1938. But upon closer inspection, visitors will realize that OMAs design in New York is made up of (structurally reinforced) luggage trunks, not cast-iron modules.Each of the four towers are 52-feet-tall. (Courtesy Louis Vuitton)These arent just any old luggage trunks, however: These are Louis Vuitton Courrier Lozine trunks, fashion accessories that sell for more than $40,000. Not only that, but there are 90 of them in total stacked atop one another, a dizzying artwork made out of luxury consumer items. Each of the towers are about 52-feet-tall. Our installation uses iconic Louis Vuitton trunks in a playful display that intuitively and instantly communicates the Maisons heritage and spirit of innovation, Shigematsu said in a statement.Conceived to fit the central atrium of the temporary store, Shigematsu continued, the four trunk towers are part structural and part sculptural, familiar in materiality yet foreign in shape, height, and slenderness created by their distinctly stacked forms. Together, they become a spatial amplifier that feels surreal yet rooted to Louis Vuittons origins.Each of the towers use different Louis Vuitton canvases: historic Raye stripes, classic Monogram canvas, white Damier Azur, and metallic Monogram. (Jeremy Liebman)The trunks are stacked in different configurations, OMA said. This elicits the shifting, counterbalancing, twisting, and zigzagging forms effect one may notice in the photos. Each of the towers use different Louis Vuitton canvases: historic Raye stripes, classic Monogram canvas, white Damier Azur, and metallic Monogram. Mirrored bags in the rear atrium form a 69-foot wall. There, rows of other signature Louis Vuitton itemsKeepall and Speedyfurther create a rhythmic effect. This coalesces near oversized photomurals that frame the intervention.The installations touch down on the ground floor of the flagships 5-story atrium. (Nicholas Calcott)The new provocations by OMA come not long after another stunt by Louis Vuitton in New York that had the internet talking.In late October, just before Halloween, Louis Vuitton masked its 57th Street flagship, which is under construction, with a faux facade made of oversized luxury luggage trunks. This was similar to another project by Louis Vuitton on Pariss Champs-lyses.Now, the four new towering installations inside the New York flagship echo the faux facade on the exterior, one that will stay in place until construction on the building is complete.