While I have fond memories of past efforts to combine VR content with real-world locations, Id assumed the pandemic had put those ambitions to an end. If I wanted VR in 2024, I thought Id have to buy a headset, and it would be a largely solitary experience at home or in the office not something I shared with a crowd in a converted retail space.But a new immersive experience proved me wrong.Created by French startup Excurio in collaboration with the Muse dOrsay and another startup, Eclipso, Tonight With The Impressionists, Paris 1874 commemorates the 150th anniversary of the first Impressionist art exhibition by taking visitors back to 19th century Paris first onto the citys streets, then into the exhibition itself, then to other key locations from Impressionist history.After launching in France and Atlanta, Tonight With The Impressionists opened Friday at the Eclipso Center in New York. (As I understand it, Eclipso provides the space for virtual reality experiences, while Excurio created the VR content.) Like other Excurio experiences, this one uses VR to make history and culture more accessible, while also providing a showcase for the companys tech.Image: ExcurioAt a press event earlier in the week, my partner and I joined a long line of people donning VR headsets before stepping into a large white room 11,000 featureless square feet that would be transformed into apartments, galleries, lakeside retreats, and more.Unlike The Void (my main reference point for this type of experience), Excurio and Eclipso dont attempt to build a physical space or provide props that correspond to the virtual experience. That means the Eclipso Center can host multiple experiences at the same time, but it can also lead to some awkward moments like when the virtual environment sloped upward while the actual floor stayed flat, or when a Parisian sofa was blocked by a floating red X, reminding us that wed end up on the floor if we tried to sit down.Despite the awkwardness, it really felt like we were in Paris, gazing at classic paintings and speaking to their creators. In perhaps the most breathtaking moment, we shared a balcony with Claude Monet as he painted Impression, Sunrise, with his work expanding beyond the canvas to fill the horizon.Excurio highlights the fact that its experiences dont require you to wear bulky VR backpacks, just the headsets, and that it allows for many participants at once in fact, the company says it recently broke the record of more supporting than 100 simultaneous, free-roaming participants in the same space. It manages those crowds by offering a specific narrative that leads you through the space; with staggered start times, there shouldnt be much risk of bumping into someone else.Image: ExcurioIn practice, our crowd was dense enough that we frequently saw the white silhouettes indicating the proximity of a real person. We never bumped into them, but it added a bit of traffic-dodging stress to the experience. And in the end, the 45 minutes of Tonight With The Impressionists felt a bit long for relative VR newbies like us enough time to feel some eye strain and discomfort from the equipment.Still, I havent really experienced anything like it. Its worth checking out for anyone interested in Impressionist art, and even more in the creative and educational possibilities of VR.

A speaker at the annual NeurIPS AI conference has drawn criticism not for her opinions about AI, but the way she referred to a Chinese student.During her keynote presentation on How to optimize what matters most, MIT Media Lab Professor Rosalind Picard (pictured above) included a slide quoting an excuse given by a Chinese student who is now expelled from top university for using AI, with the student supposedly saying, Nobody at my school taught us morals or values.The slide also includes a note from Picard saying, Most Chinese who I know are honest and morally upright.Google DeepMind scientist Jiao Sun shared a photo of the slide on X, writing, Mitigating racial bias from LLMs is a lot easier than removing it from humans! Yuandong Tian, a research scientist at Meta, reposted Suns comment and added, This is explicit racial bias. How could this happen in NeurIPS?In Q&A footage that was also shared on X, an attendee noted that this was the only time anyones nationality was referenced in Picards presentation, suggested that it was a bit offensive, and urged her to remove the reference if she gave the presentation again a suggestion that Picard seeming to agree with.Following the talk, NeurIPS organizers posted an apology, writing, We want to address the comment made during the invited talk this afternoon, as it is something that NeurIPS does not condone and it doesnt align with our code of conduct. We are addressing this issue with the speaker directly. NeurIPS is dedicated to being a diverse and inclusive place where everyone is treated equally.Picard also apologized in a statement in which she expressed regret for mentioning the students nationality.I see that this was unnecessary, irrelevant to the point I was making, and caused unintended negative associations, Picard wrote. I apologize for doing this and feel very badly about the distress that this incident has caused. I am learning from this experience, and I welcome ideas for how to try to make amends to the community.

Hey everyone we just announced our 3rd course and the last one for this year.Intro to Substance DesignerIn this course, youll learn how to create VFX textures using Substance Designer! Well go through everything you need to know to build a wide range of textures, whether theyre realistic or stylized. Youll also get a solid understanding of the core principles and techniques along the wayBy the end of this course, youll have the skills to design high-quality textures and bring your creative ideas to life.Our instructors for this course will beMicha Potakowski @Manus and Bjrn Riemann @Atiwe have a pre-sale going right now get 25% off using the code madvfx25mad-vfx.comVFX in Games: Intro to Substance DesignerLearn how to create stunning VFX textures in Substance Designer! This course will teach you everything you need to know to build a variety of textures, whether realistic or stylized. Well show you how to approach texture creation step by step,

zpmn182 December 15, 2024, 2:30am #1I am 32, scared, confused and desperate, and trying to pivot into a new career, wanted to work in games/animations (vfx) since I was a kid, but I am at a point where i need to just focus and try to get a job as soon as possible(6 months), need some advice, is the real time vfx industry kind to beginners?, should i try to get a software development job?, I apologize for the questions, i am just a bit confused and need some help.Manus December 15, 2024, 7:25pm #2So its a broad question.First of all, doing anything in pressure of getting a job in a limited time is a bit of a gamble. Prob better finding any job that can secure you and working on your VFX portfolio in a free time. I know a lot of people that succeed quite well with that approach.6 months can be a tough time if you also need to learn and create a portfolio. Time always depends on personal adjustments and how much work you will put in, but I would say that with a year you have quite big chances to prepare portfolio and find a job, with 6 months it might be pretty tough.Its quite simple to secure a job when you are a mid or senior, but for juniors there are no positions as not many studios can actually mentor you, so lots of people start with mid positions and for that you usually need to also show with your portfolio that you could handle effects decently. Its not too hard (I did that for instance), but well, it takes some time.Also if you worry about your age, dont. I know a VFX Artist that transitioned and got a job being 45. I also know many people that did after 30 and its never too late definitely worth giving it a try if it was a dream of yours. Impostor syndrome will be eating you up, but never believe it! Just keep on improving and asking other vfx artists for feedback. With time you will manage Hopefully those answers help. They might not be fully optimistic, especially about time scope, but prob in this situation being realistic is more important.2 Likes

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Centre for Development Studies | Iam Hamdan via InstagramThe Centre for Development Studies (CDS) in Thiruvananthapuram, Kerala, was designed by Laurie Baker in the early 1970s. It is an academic institution focused on socio-economic research and sustainable architecture. The building exemplifies Bakers architectural philosophy, emphasizing sustainability, affordability, and vernacular sensibilities. Commissioned to house a research institute dedicated to development studies, the project aligns with Bakers vision of creating functional and environmentally conscious spaces. The CDS integrates cultural identity, climate responsiveness, and modern functionality into its design.Centre for Development Studies Technical InformationArchitects1-4: Laurie BakerLocation: Thiruvananthapuram, Kerala, IndiaTopics:Brick in ArchitectureArea: 11,000 m2 | 118,400 Sq. Ft.Project Years: 1970sPhotographs: Flickr Users, See Caption DetailsBricks to me are like faces. All of them are made of burnt mud, but they vary slightly in shape and colour. I think these small variations give tremendous character to a wall made of thousands of bricks, so I never dream of covering such a unique and characterful creation with plaster, which is mainly dull and characterless. I like the contrast of textures of brick, of stone, of concrete, of wood. Laurie BakerCentre for Development Studies PhotographsComputer Centre | Randhir Singh Doctor Casino, Flickr UserBrick DetailMain Block VolumeMain Block | Randhir SinghComputer Centre Double Facade | Doctor Casino, Flickr User Doctor Casino, Flickr User Doctor Casino, Flickr UserBaker Auditorium | Doctor Casino, Flickr UserBaker Auditorium | Doctor Casino, Flickr UserKaldor | Open Air TheatreKaldor | Open Air TheatreDesign Philosophy and Spatial PlanningLaurie Bakers design philosophy is centered on a commitment to sustainability. For the CDS, this ethos translated into using low-cost, locally available materials and techniques that minimized environmental impact. Bakers deep understanding of Keralas tropical climate is evident in the buildings passive cooling strategies, which include natural ventilation, shading, and courtyards that facilitate airflow and reduce heat gain.The CDSs spatial layout exemplifies Bakers attention to human-centric design. The buildings zoning reflects its users needs, with academic and administrative spaces interconnected through courtyards and corridors. These open spaces enhance functionality and create opportunities for interaction and collaboration. Bakers deliberate blending of indoor and outdoor spaces further anchors the building in its natural surroundings, fostering a sense of harmony with the environment.Materiality plays a pivotal role in the Centres design. Locally sourced laterite and bricks were used extensively, not only for their cost-effectiveness but also for their thermal properties and aesthetic appeal. These materials lend the building a warm, earthy character while ensuring durability and sustainability.Architectural Features and Aesthetic ImpactThe CDS showcases Bakers signature design elements, notably his intricate brickwork. The exposed brick faade, punctuated by arches and perforations, is visually striking and functionally efficient. The arches, a hallmark of Bakers designs, add structural stability while creating a rhythmic pattern that delights the eye.Human-centricity is at the core of the CDSs design. The spaces are crafted to promote comfort and interaction, whether in the courtyards that encourage informal gatherings or the well-lit interiors that provide serene working environments. Bakers design considers the needs of researchers and administrators alike, ensuring the building is as functional as beautiful.Another defining feature of the CDS is its integration of nature. Vegetation is seamlessly woven into the architectural fabric, with courtyards, shaded walkways, and garden spaces blurring the boundaries between the built and natural environments. This symbiosis enhances the buildings aesthetic appeal and contributes to its environmental performance.The CDS exemplifies vernacular modernism, combining traditional architectural practices with modernist principles. Bakers design respects Keralas rich architectural heritage while adapting it to contemporary needs, making the building a timeless masterpiece.Centre for Development Studies Legacy and InfluenceThe Centre for Development Studies is significant in Indias cultural and architectural landscape. As a context-sensitive and sustainable architecture model, it inspires architects and planners to prioritize environmental stewardship and cultural relevance in their designs.For Laurie Baker, the CDS represents the culmination of his lifelong dedication to creating accessible, sustainable, and humane architecture. The project encapsulates his belief in the power of architecture to serve communities and address pressing societal challenges.Architects today can draw several lessons from the CDS. Its emphasis on sustainability underscores the importance of resource-efficient practices, while its integration of vernacular techniques highlights the value of respecting local contexts. Bakers work challenges architects to think beyond aesthetic considerations and prioritize the needs of people and the planet.The enduring relevance of the CDS is a testament to Bakers genius. As the world grapples with climate change and resource scarcity, his approach to architecturegrounded in simplicity, functionality, and sustainabilityoffers a roadmap for creating resilient and meaningful spaces.Centre for Development Studies PlansSite Plan | Laurie BakerMain Block First Floor | Laurie BakerAuditorium Floor Plan | Laurie BakerAdministration Building Floor Plan | Laurie BakerMens Hostel Annexe | Laurie BakerComputer Centre Floor Plan | Laurie BakerCentre for Development Studies Image GalleryAbout Laurie BakerLaurie Baker (19172007) was a British-born Indian architect renowned for his commitment to sustainable and cost-effective architecture. A Birmingham School of Architecture graduate, Baker moved to India in the mid-1940s, where he dedicated his life to creating humane and environmentally conscious designs. Known as the Brick Master of Kerala, Bakers work is characterized by its use of local materials, passive cooling techniques, and an aesthetic that harmonizes with the natural and cultural context. His philosophy of architecture for the people earned him widespread acclaim, and his legacy inspires architects globally.Notes & Additional CreditsClient: Centre for Development StudiesDesign Team: Laurie Baker and associatesStructural Engineers: In-house team coordinated by Laurie BakerMaterials Used: Locally sourced laterite, bricks, and other cost-effective materials

Estdio Mdulo has won a competition for the new Rio-Africa Cultural Centre in Rio de Janeiro, BrazilThe So Paulo-based practice led by architects Marcus Damon, Guilherme Bravin and rica Tomasoni has been named overall winner of an international contest organized by the Institute of Architects of Brazil for the new complex in the historic Little Africaarea of the city.Providing a space for cultural reflection and expression the winning design blends African ancestral elements with modern Brazilian architecture and will be constructed on Avenida Venezuela in the waterfront Sade neighborhood of Rio de Janeiro.The new complex sets out to celebrate Afro-Brazilian heritage and culture while also providing an emotional and historical connection point with the African continent.Damon said: Participating in this project is extremely meaningful for us. The Rio-Africa Cultural Centre holds immense symbolism and cultural importance, not only for Rio de Janeiro but also for Brazil and the African countries that share a history of challenges and triumphs.Our proposal goes beyond fostering debate and reflection; we want the space to offer a place for contemplation and breath.Estdio Mdulos winning concept features an innovative construction system using wooden columns reminiscent of trees to support the roof and to reference the vitality and reverence that trees hold in African culture.The structure features wood on the upper floors and concrete on the lower levels while the faade is made of clay bricks inspired by weaving and muxarabi lattices.A new open square facing Avenida Baro de Tef will also be created for events and open air exhibitions while exhibition spaces inside the building will be surrounded by a skin that shades and filters the light.

This handsome Tudor residence was built around 1905 forWilliam Oliver Fuller (1856-1941)and his wife,Kathleen Stephens Fuller (1869-1948), and can be found at thecorner of Beech and Lincoln streetsin the finest neighborhood in Rockland, Maine. Although an architect could not be established at this time, the high-style residence features half-timbered gables, an inset front porch framed by stone pillars, and an absolutely perfect color palette. William Fuller was a newspaper publisher, who created his first newspaper, the Rockland Enterprise when he was 18 years old and in high school. He would go on to becomethe editor and publisher of the Courier-Gazette, the regions main newspaper. Kathleen Fuller frequented the newspaper herself through her published poetry and columns and would later become an associate editor and co-owner of the paper.

The General Davis Tillson House was built in 1853 and is one of the best examples of a high-style Gothic Revival residence in the Mid-Coast region of Maine. Located on Talbot Avenue in Rockland, Maine, the house was first owned by General Davis Tillson (1830-1895), a prominent local businessman who owned lime manufacturing facilities and the towns main wharf before enlisting for service in the American Civil War. Tillson had attended the United States Military Academy at West Point (1845-1851) but did not graduate due to an injury which forced the amputation of one of his legs. During the Civil War, Davis Tillson fought with distinction at the Battles of Cedar Mountain and Second Bull Run. Promoted up to Lieutenant Colonel, then Brigadier General, US Volunteers on March 21, 1863, he later served as Chief of Artillery, and commanded defensive fortifications in the siege of Knoxville before the conclusion of the war. Afterwhich, General Tillson was selected to serve as Director of Freedmens Bureau in Georgia and Tennessee. The Bureau was established in 1865 by Congress to help millions of former Black slaves and poor whites in the South in the aftermath of the Civil War. The Freedmens Bureau provided food, housing and medical aid, established schools and offered legal assistance. It also attempted to settle former slaves on land confiscated or abandoned during the war. After two years in Tennessee, Tillson would return to Rockland to his home and spend the rest of his life in Maine from this home. The General Tillson House is notable for the use of brick and the steeply pitched gable roof with jigsawn bargeboards.