Exploring Fluid Forms in Indian Architecture: A Cultural PerspectiveSave this picture!Vaazh House / Vy architecture studio. Image Syam SreesylamThis year marked another milestone for Indian architects in pushing the boundaries of contemporary practice nationwide. A noticeable trend among the projects featured on ArchDaily has been the embrace of fluid forms, a subtle homage to vernacular practices that parallels a gradual departure from India's legacy of modernist design rhetoric. Indian architecture praxis has evolved to reflect a deeper engagement with local contexts alongside a willingness to experiment with global influences. This approach is likely to subsist in the coming years, opening the door for new architectural expressions in the country.Where design moves beyond rigid geometries to celebrate fluidity, architects across the subcontinent reimagine spatial experiences with forms that flow, merge, and breathe. Challenging conventional architectural paradigms, these projects continue to draw inspiration and proliferate deeply rooted cultural narratives. In India's case, the embrace of fluidity in architecture reflects an interplay of themes: materiality, memory, craftsmanship, and the living context of space.Save this picture!Craftsmanship and Materiality Related Article The Merits of Greenwashing: Social Stigma around Natural Construction in India Craftsmanship and materiality have long been central to Indian architecture. The intricate detailing and skilled artistry of traditional structures reflect a deep understanding of materials - their properties and possibilities. In contemporary practice, this legacy continues to inspire creativity, evident in contemporary explorations of fluid forms. These designs celebrate craftsmanship by reinterpreting age-old techniques with modern sensibilities, pushing the boundaries of what is imaginable with local materials and construction methods.Into The Wild House / Earthscape StudioSave this picture!Save this picture!Into The Wild House is an exploration of material and craft through what the architects call "fold architecture". The self-sustaining 4 inch shell demonstrates incredible craftsmanship, using layers of "thappi" and mud plaster to create a structure without traditional beams or columns. The attention to material detail is exceptional - from customized built-in furniture to stone door handles carved on-site, to the use of scrap wood, every element speaks to a deep understanding of local materials and artisanal skill. The traditional lime plasters that flow across surfaces create not just a building, but a crafted landscape that responds dynamically to its environment.Center for Inclusive Growth & Competitiveness for Tapmi / The Purple Ink StudioSave this picture!Save this picture!Craftsmanship takes center stage through the project's inspiration from traditional "chhatris" - bamboo sunshades typical of Varanasi. The Purple Ink Studio collaborated directly with skilled craftsmen, creating a network of parasols that not only provide functional shelter but also preserve and celebrate local artisanal techniques. The interiors emphasize raw materiality and tactility, intentionally connecting past craft traditions with contemporary design. The project becomes a strong example of how traditional craftsmanship can be reimagined in modern academic spaces.Toy Storey Residence / WallmakersSave this picture!Save this picture!Wallmaker's project demonstrates craftsmanship through its creative use of discarded toys as structural elements. The team has transformed a potential waste material into a critical design feature, creating a cantilevered verandah supported by corbelled toys. The use of Compressed Stabilized Earth Blocks (CSEB) made from site soil showcases a deep commitment to local materials and low-embodied energy construction. The traditional oxide flooring and the ferrocement shell roof further highlight a sophisticated approach to materiality, reducing reinforcement and embracing sustainable building techniques.Culture and ContextAnother theme emerges from architecture's deep conversation with culture and context. Fluidic forms are not merely abstract artistic statements. They are spatial journeys that support the layered and nuanced experiences of Indian life. Architectural spaces are conceived as vehicles that respond to environmental, social, and cultural rhythms. Designs flow like wateradapting, changing, creating seamless transitions between interior and exterior, between public and private, between historical memory and contemporary aspiration.Amoeba Office / Hiren Patel ArchitectsSave this picture!Save this picture!The Amoeba Office embodies cultural context through its fluid design that draws inspiration from traditional Indian architectural principles. The central veranda, reminiscent of typical Indian home layouts, creates a communal space that encourages informal interactions - a core aspect of Indian social culture. The design breaks down rigid corporate architectural boundaries, instead creating a fluid, adaptive space that reflects the nature of Surat's active commercial spirit.Vaazh House / Vy architecture studioSave this picture!Save this picture!Vaazh House beautifully recreates Tamil spatial traditions through fluid form. The curved wall that moves through the courtyard is more than an architectural element - it's a form that embodies the culture of belonging, connecting ground to roof in a three-dimensional experience that invites multiple interactions. The thinnai (traditional raised veranda) becomes a central element, negotiating boundaries between private and public spaces. The courtyard, with its invitation to birds, insects, and community, reflects a deeply rooted cultural understanding of home as a breathing entity that extends beyond human habitation. The fluid curve becomes a storytelling device, creating spaces for cloud-watching, rain-catching, and community gathering.Cocoon Pre-primary Extension at Bloomingdale International School / andblack design studioSave this picture!Save this picture!The school's design is a reinterpretation of educational spaces through fluid form. The undulating roof and blurred boundaries between indoor and outdoor spaces create a learning environment that reflects a progressive cultural approach to education. By eliminating traditional classroom walls and creating interconnected, fluid spaces, the design speaks to a contemporary understanding of learning as an organic, dynamic process. The building itself becomes a landscape, with its curved form mimicking natural contours, symbolizing an educational philosophy that sees learning as a flowing experience rather than a rigid and compartmentalized process.Save this picture!By embracing fluidity, Indian architects in 2024 are choreographing new experiences. They are creating architectural languages that speak to India's complex contemporary identityat once ancient and hyper-modern, local and global. These fluidic forms become powerful visual reminders of transformation, inviting India to reimagine how spaces can tell stories that extend far beyond their physical boundaries.This article is part of an ArchDaily series titled India: Building for Billions, where wediscuss the effects of population rise, urbanization, and economic growth on India's built environment. Through the series, we explore local and international innovations responding to India's urban growth. We also talk to the architects, builders, and community, seeking to underline their personal experiences. As always, at ArchDaily, we highly appreciate the input of our readers. If you think we should feature a certain project, please submit your suggestions.Image gallerySee allShow lessAbout this authorAnkitha GattupalliAuthorCite: Ankitha Gattupalli. "Exploring Fluid Forms in Indian Architecture: A Cultural Perspective" 23 Dec 2024. ArchDaily. Accessed . <https://www.archdaily.com/1024861/exploring-fluid-forms-in-indian-architecture-a-cultural-perspective&gt ISSN 0719-8884Save!ArchDaily?You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Astir Marina / Neiheiser ArgyrosSave this picture! Giorgos SfakianakisAthina, GreeceArchitects: Neiheiser ArgyrosAreaArea of this architecture projectArea:60000 mYearCompletion year of this architecture project Year: 2024 PhotographsPhotographs:Giorgos Sfakianakis, Lorenzo Zandri More SpecsLess SpecsSave this picture!Text description provided by the architects. The site for the Astir Marina is the Vouliagmeni Peninsula, a lush pine forest along the south coast of Athens, Greece. However, since it's a marina, the actual site is also the new engineered ground that is being constructed in the sea. The concept for the project emerges out of the unique challenge of designing a landscape where there is currently no land.Save this picture!One way of thinking about this lack of land is that it's a blank site a void a tabula rasa. But of course this isn't the case. The sea makes invisible the complex and dynamic ecosystems of the sea bed which is continuous with the visible ground. We started by looking at ways of representing this sea landscape; the nautical charts and maps that use elevation marks, contours, wind vectors, gradients of color, and hatches to represent the territory that is both above and below the water line. We were particularly inspired by the aesthetic of topographic contours, traces of the ground projected onto a flat 2d surface.Save this picture!We looked back at the geographic history of the site, using old military aerial scans from World War II, in order to discover the original or "natural" shape of the ground, with its beaches, and coves, and islands. We found this prehistory really exciting and wanted to try and tell the geologic story of this site in our design. We therefore overlayed the historic contours with the marina outline generated by the marine engineers for the project. This marina outline shape is obviously a response to different forces the logistics of yacht movement, and the economies of mooring spaces, along with the need to resist the winds and waves. We were interested in the overlap of the history of the site with the new logics, so found the literal projection of the historic contours onto the new flat infill a compelling new image for the project.Save this picture!In addition to these contours, we overlayed a new 2m local grid (oriented to the central marina basin) with the global grid. And next we created our own green islands on the site, landscaping barriers between the water's edge and the cars on the site; but shaped like tiny new artificial islands.Save this picture!In this way the landscape design is a giant map of the history and current pressure on the site, literally drawn into the hardscape of the new marina. Like the map in Borges' short story, On the Exactitude of Science, the project is a map that is as accurate as the reality it represents. The map is the territory.Save this picture!Of course there are many other motivations for the project; the history of the midcentury modern resorts adjacent to the site, along with the ancient history, the material logics, the local flora and fauna. But the project is also inherently global in its ambitions to be a worldclass marina, and a shopping destination with global brands, etc.Save this picture!The Astir Marina project is conceived as an overlay of different systems the graphic inspiration of nautical maps, the materiality of the site, the local and the global creating a productive friction.Save this picture!The Orienting GridRotated 23 degrees off of global north, but oriented to the central basin, the orienting grid spreads equally across the entire site, aligning with the heart of the project, but clashing with the geometry of the pier further out. In this way the grid helps remind visitors of their location relative to that local grid of the central basin, no matter where they are on the site.Save this picture!Although the grid spreads across the entire site, we created a hierarchy of materials to realize the grid. A mix of honed, flamed, bush hammered and sand blasted basalt stone around the primary retail and restaurant buildings, rough-cut Portuguese pavers at the pedestrian promenade along the waterfront, and two-colored asphalt at all the roads and back-of-house areas. As much as possible we created shared surfaces for cars and pedestrians, minimizing the use of kerbs, instead creating pedestrian oriented spaces where cars feel compelled to slow down.Save this picture!The Historic Topographic ContoursThe topographic contours represent the historic seabed that existed before the marina was built. Each line corresponds to a different elevation of the historic ground, like a 1:1 map of the territory that used to exist on the site. Inspired by Pikionis, we used marble offcuts from nearby quarries to make the contours. We inlayed the various shapes of marble in a playful arrangement within the 300mm wide contours. We really liked the graphic relationship between the organic contours and the ordered grid that they pass through. On the main plaza the contours are polished smooth, like a terrazzo. In the rest of the landscape they are left more rough, with the marble offcuts casting small shadows to accentuate their form.Save this picture!The Green IslandsWhen we started the project, we collected references of the state of marina design. And we were struck by how harsh of an environment they typically are, especially in the space directly behind the boats more infrastructural than public realm. A mostly concrete space for cars and power connections. Instead of this, for the new Astir Marina, we proposed moving the primary car locations to the back of the site, behind a green buffer, in the form of a slightly surreal planted mound, or island. And tried to create a more pleasant public realm at the water's edge a shared space for limited car drop-off, but primarily for pedestrian walking. With benches, shade, and acoustic and visual separation from the parking areas.Save this picture!Each island has a slightly different geometry, a unique identity and the space between these islands become passages to slip between the water's edge promenade and the back of house area at the rear of the site. The islands were detailed in a way so that they seem to be emerging from below the ground, not sitting on top of it bubbling up from below. It was important to us that these islands, unlike the graphic surfaces of the grid and contorus, be three-dimensional. They are exaggerated mounds that create a new landscape a new topography. This isn't just the neutral, flat land of a new marina pontoon There is life here, there is nature, however artificial.Save this picture!The Retaining Wall + Archaeology PathAt the back of the site, closer to the existing hotel, the natural ground slopes from the road above down to the water's edge, with a 4-6m elevational change. The new buildings and parking garage are partially cutting into this slope, requiring a new system for shaping, and restraining this natural ground.Save this picture!Part of the brief was also to design a path that would link the existing Four Seasons hotels through the forest and down the slope to the marina. Instead of a flat retaining wall, we wanted to created terraces, inhabitable spaces for new and existing plants to flourish. We looked at the historic agricultural stone walls on the Greek islands as inspiration. We liked the idea of using gabion walls, in order to avoid the need for concrete or mortar, and to further echo the aesthetic language of grid and contour, now with the grid of the gabion mesh contrasted with the roughness of the natural local stone. We proposed four different size rocks in the gabions, stratified counterintuitively from smallest at the bottom to largest at the top, which create different sized microenvironments to support different sized local bug and animal life on the slope.Save this picture!Project gallerySee allShow lessProject locationAddress:Vouliagmeni, Athens, GreeceLocation to be used only as a reference. It could indicate city/country but not exact address.About this officeNeiheiser ArgyrosOfficeMaterialsStoneConcreteMaterials and TagsPublished on December 23, 2024Cite: "Astir Marina / Neiheiser Argyros" 23 Dec 2024. ArchDaily. Accessed . <https://www.archdaily.com/1024961/astir-marina-neiheiser-argyros&gt ISSN 0719-8884Save!ArchDaily?You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Jump Festa 2025 took place on December 21-22, 2024, bringing news from lots of different Shonen Jump titles. This is the biggest event for the magazine, and Shueishe has held it every year since 1999.

Fugue may seem like a weird name for the 5-star Tingyun in Honkai: Star Rail, given no one ever calls her that, not even herself in the Trailblaze Mission. However, a quick search will reveal that the word "fugue" actually means something like losing one's identity, which fits perfectly, given that the Foxian lady had her identity as Tingyun stolen by Phantylia in Honkai: Star Rail.

Another Emblem Event is live in Pokemon TCG Pocket, and you have until January 10, 2025, to earn one of the four medals. These medals, or Emblems, can be displayed on your profile to showcase your skill level in the game. If you're curious about the details, missions, and rewards of this PvP event, weve got you covered! Heres a guide to everything you need to know about Pokemon Pockets Mythical Island Event.

Hello everyone! 2024 was another incredible year for indie games, and today, Im very excited to share 11 of my favorite titles that were released on PlayStation this year.Pacific DrivePacific Drive is a road-lite survival game, where you navigate a stormy, mysterious forest with your car as your only companion. Each time you set off on an excursion, your car will slowly breakdown due to strange anomalies, and you must return safely back to your garage. Otherwise, youre required to start over. You can restore and upgrade your car with resources gathered during your runs. Each trip into the wilderness is unique and randomized, which makes the gameplay all the more engrossing and addicting.Animal WellThe pixel-art world of this beautiful game feels nostalgic yet somehow completely novel, with its surreal lighting that illuminates the map. Animal Well is a Metroidvania with a world filled with endless surprises. The sense of accomplishment youll feel after conquering its challenging platform sections and cryptic puzzles is truly unique and exhilarating.V RisingThe massively popular vampire survival PC game is now available on PlayStation. Players awaken as weakened vampires and hunt for the blood of enemies and animals to regain strength and acquire their powers to conquer the map. As vampires, players are vulnerable to sunlight. You must hide in the shadows and avoid sun exposure in order to survive during the daytime.SCHiMWhen you were a child, did you ever pretend that you could only move around by jumping from shadow to shadow? SCHiM allows you to relive those nostalgic moments by playing as a frog-like creature who can only navigate the map by hopping between shadows. Its also a visually stunning game with its unique color pallet and art style.The Plucky SquirePlucky Squire is a charming action adventure where you jump between 2D and 3D worlds.One moment, youre enjoying a 2D action game inside the pages of a storybook, but the next second, youre embarking on an adventure in the outside 3D realm, and before you know it, youre back inside the book, solving puzzles. Full of delightful gimmicks, the game delivers an experience that players of all ages can enjoy.PalworldAn indie game coming from Japan, Palworld is an open world, crafting and survival game full of adorable creatures (Pals), that took the gaming world by storm. The gameplay loop of collecting Pals, expanding your base, and venturing out further out into the world is very addicting and hard to put down.NevaThe latest title from the visionary team behind GRIS, a beautiful yet heartbreaking adventure game released back in 2018. Neva chronicles the story of the player and a wolf cub, Neva, who together embark on a journey through a vibrant world that progresses from season to season. The story is told without dialogue, and the ending will move you to tears.Fear the SpotlightFear the Spotlight is an atmospheric horror adventure featuring a retro low-polygon art style reminiscent of the original PlayStation era. Two teenage girls sneak into school after hours, only to be separated by disturbing paranormal activities. They must solve puzzles and stay out of sight of the monster who wanders the hall to be safely reunited.SlitterheadFrom the mind of Keiichiro Toyama, the legendary creator behind Siren and Gravity Rush. During the 90s, Kowlong, Hong Kong, is faced with a series of gruesome murders. The player is a body-less entity that possess NPCs roaming the streets in order to battle Slitterheads, a monster that feasts on human brains. Finishing off the monsters as ordinary middle-aged men and women is an absolute blast.Nine SolsA new game brought to life by Red Candle Games, the studio behind Detention and Devotion. Taking inspiration from Sekiro: Shadows Die Twice, Nine Sols is a hardcore action game centered on deflection-based combat. Pulling off a perfect parry and counterattack is tremendously rewarding and invigorating. The atmosphere blends cyberpunk with ancient Chinese mythology and Taoism, is also unique and fascinating.BalatroA fusion of poker and roguelike? You might think, Whats that? But once you start, you wont be able to stop. This worldwide hit game is the creation of a single developer. Incredible!

Every day, Disney strays further from the wishing stars light. And theres one big reason for that: a staggering lack of animated villains. The studio has only produced a handful of movies with actual villains over the last 15 years, and as Disney fans frequently note, that means weve lost a glorious entertainment staple in the Disney villain song. The big musical number is a vital part of most great villains identities it often lets the audience see all their glorious viciousness in action. Between 2000 and 2023, Disney only gave us five villain songs, and just three of them since 2010 Mother Knows Best in Tangled, The Backson Song in Winnie the Pooh, and Shiny in Moana. (Love Is an Open Door in Frozen is technically a duet with a villain, but it isnt a villain song by any definition.)But hope is not lost: The villain song is on the rise again. Disneys Wish gave us our first true villain song in 13 years with This Is the Thanks I Get?! Moana 2s fiery Get Lost doesnt quite count, since Matangi reveals herself as Moanas ally, but its styled and presented as a villain song. Mufasa: The Lion King also features a full villain song: Bye Bye, sung by Mads Mikkelsen as white lion antagonist Kiros.Unfortunately, though, Bye Bye (much like This Is the Thanks I Get?!) is a pitiful machination of a villain number that manages to make the villain less threatening. Bye Bye is a solid candidate for the worst-ever villain song a remarkable feat when the yodeling song from Home on the Range exists. Its also a valuable reminder of how great Disney villain songs used to be.Since the companys first feature-film villain song, Pinocchios Hi-Diddle-Dee-Dee, providing a musical showcase for a films big bad has been one of the best expressions of Disneys musical heritage. Before the Disney Renaissance (1989-1999), they were typically shorter and smaller-scale. The villains themselves didnt even have to sing them see the jazzy classic Cruella De Vil, The Phony King of England in Robin Hood, or The Adventures of Ichabod and Mr. Toads The Headless Horseman. They often felt like more of an afterthought than a centerpiece, though they still established all sorts of delicious villainy, like Captain Hooks penchant for killing in Peter Pans The Elegant Captain Hook or the Queen of Hearts unlimited fury in Whos Been Painting My Roses Red?During the Renaissance, though, they became big, dynamically choreographed Broadway-style numbers, and a vital aspect of Disneys animated features: Memorable examples crop up in The Little Mermaid, Beauty and the Beast, Aladdin (as a reprise), The Lion King, Pocahontas, and The Hunchback of Notre Dame.Theres no one way to have a successful villain song, but all the great ones firmly establish antagonists characters and display what makes them truly diabolical. Poor Unfortunate Souls and Friends on the Other Side show how masterful Ursula and Dr. Facilier are at manipulating their prey. Cruella De Vil establishes how detestable Cruella is before we have the pleasure of even seeing her. Hellfire, perhaps the single greatest Disney villain song, is the darkest of them all, as Judge Frollo reveals the unquenchable lust for Esmeralda thats driven him to unimaginable evil, and contrasts it with his strict, austere religious beliefs.These songs dont need to be dark or downtempo: Upbeat numbers like The Headless Horseman, Beauty and the Beasts Gaston, The Sword in the Stones Mad Madam Mim, and The Great Mouse Detectives The Worlds Greatest Criminal Mind (which features a chorus of flunkies joyfully celebrating the idea of Ratigan drowning widows and orphans) all deliver smug portraits of cruelty.While great villain songs help us understand what makes a villain tick, we learn virtually nothing about Kiros through Bye Bye. We get only the vaguest sense of his personality in the lyrics about how the moon doesnt obey / and neither do I. Kiros wants vengeance against Mufasa, who killed his son. But the most menacing thing he can offer is a childish taunt: Im gonna be the last thing you see / before I make you go bye-bye.The Lion King is famously anchored by Mufasas tragic death, so its not like the audience needs to be treated with such a gentle touch. The delivery of bye-bye is painfully indifferent, as if even Kiros doesnt believe in what hes saying. And if Kiros cant offer up his half-baked threats with any conviction, why should we believe he has any chance of killing Mufasa?Songwriter Lin-Manuel Miranda makes the mistake of centering Bye Bye not on the villain, but instead on Mufasa. Nothing in the song suggests what makes Kiros himself villainous, dangerous, or unique and compelling as a character. In Bye Bye, it feels more like Kiros is wrapped up in an emotional moment that pushes him toward murder, rather than a character whos proud of his schemes or his villainous roots.The lyrics make no mention of any of Kiros talents: Theres no mention of his ferocious claws, musculature, or sharp, piercing teeth. The obnoxious, childish threat of making Mufasa go bye-bye feels more like a petulant aside than a genuine intention. Since Bye Bye tells us nothing about Kiros or what hes capable of, theres no reason to root against him, or even care about him.Villain songs have been a vital opportunity for Disney storytellers to push the limits and breach taboo subjects: Where else could a Disney character bemoan the fact that his own sexual desires repulse him? Theyve helped Disney grow creatively, while letting audiences revel in some of the darker emotions that Disney movies usually avoid. Bye Bye feels especially disappointing when compared to the classic Lion King song Be Prepared, in which Scar reveals his plans to take down Mufasa and Simba (explicitly saying hell kill them) and how hell take control of Pride Rock, bringing his rapacious hyena followers to the promised land.Mirandas song feels like a spiritual successor to Be Prepared, yet its woefully lacking in spirit. The snarly bye-byes seem as if theyre meant to echo Scars snark, but his 1994 number is full of genuine malice, as well as haunting imagery deliberately recalling Germanys Third Reich. Theres no matching visual creativity or daring in the screen staging of Bye Bye, which reduces the number to a group of lions circling and jumping around.In Be Prepared, we come to understand Scars cunning, seething hatred and manipulative charisma in equal measure. In Bye Bye, we get a lion shouting bye-bye a bunch of times. Thats all the more surprising considering that Miranda wrote a solid villain song in Shiny, which successfully establishes the giant crab Tamatoas obsessions and his menacing qualities. Communicating all that through song is particularly important, given that the number is this minor villains only opportunity to er, shine. But Bye Bye is a pale imitation of what came before it.It feels like Disney villain songs have become a box-ticking exercise, added more out of a sense of obligation than out of inspiration. But these numbers deserve more. Theyre a huge reason why classic Disney villains are so popular and memorable. They break up the parade of protagonist I-want songs and comic relief songs, and serve as playful excursions into kid-safe nastiness in creative ways. If Disneys songwriters arent interested in what makes villain songs such a wonderful part of the studios canon, perhaps were better off without them after all.

While Dune: Prophecy is a (very loose) literary adaptation, the HBO series ultimately defines itself by its ties to Denis Villeneuves Dune movies. In and of itself, thats no big deal. 2024 has seen a now-standard flurry of shows released under the Star Wars, DC, and Marvel labels (to name just a few) all of them spinoffs, prequels, sequels, or reboots of franchises that originated on film. Hell, DC Studios relaunched its cinematic universe with a streaming joint!Yet Dune: Prophecy is innately different to these other small-screen offshoots of big-screen blockbusters, because, unlike them, its cinema roots are baked into its very DNA. And now that the dust (or should that be spice?) has settled on Dune: Prophecy season 1, its painfully clear that trying to shrink Dunes inherently filmic nature its sheer bigness is a task not even the Lisan al Gaib himself could accomplish.[Ed. note: This post contains spoilers for Dune: Prophecy season 1.]At this point, longtime Dune devotees are probably crying foul. What about the two miniseries, Frank Herberts Dune and Frank Herberts Children of Dune, that aired on Syfy in the 2000s? these fans ask. Werent those successful? And indeed they were, both critically and commercially; these Dune adaptations rank among Syfys most-watched original productions to this day. But heres the thing: Those productions were built from the ground up for the small screen. Sure, they aspired to cinematic sensibilities, but theres no mistaking their made-for-TV origins. The acting is uneven, the scripts are deliberately paced and exposition-heavy, and most of all, the spectacle is hemmed in by a basic cable budget.In that sense, Dune: Prophecy is arguably much closer to cinema than these earlier efforts. Certainly, the HBO series visual effects, costumes, and sets are light-years ahead of anything Syfy mustered. The performances are more consistent, too; the divide between Hollywood veterans and TV regulars is less pronounced. And showrunner Alison Schapker and her team follow the Great Schools of Dune trilogys storyline far less slavishly than the Syfy adaptations blow-by-blow approach to their source text, Frank Herberts first three novels. Even so, Dune: Prophecy season 1 is a claustrophobic, small-scale affair. Valya Harkonnen and her allies and enemies wheel and deal primarily in the backrooms and corridors of the universe. The only major action set-piece we get, a flashback to the Butlerian Jihad, is a handful of shots during the prologue. Even the thematic meat of the piece supposedly a deep dive into power, truth, and systems of control is handled perfunctorily, as if only there to jazz up a relatively inconsequential narrative. It all feels so contained; it feels like TV.Contrast this with Villeneuves Dune: Part One and Part Two. Here we have two of the biggest movies to ever movie. The cast is uniformly excellent. The storytelling (particularly in Part Two) moves at a brisk clip and keeps the expository dialogue to a minimum. The production values are exactly what youd expect from a combined price tag north of $350 million. The scope is mythic. The themes, covering everything from the perils of superhero-type leaders to free will versus determinism, are painted in vivid, operatic strokes. Watching these films especially in oversized IMAX format goes beyond mere immersion and verges on a religious experience. Its a vision of Frank Herberts sci-fi universe thats defiantly geared toward the theatrical experience in an age of smartphones and streaming platforms. Frankly, to watch Dune on a television, the best way I can compare it is to drive a speedboat in your bathtub, Villeneuve told Total Film in 2021. For me, its ridiculous. Its a movie thats made as a tribute for the big screen experience.In short? The Dune franchise under Villeneuve is incompatible with TV which might explain why the Canadian filmmaker bailed on Dune: Prophecy before cameras rolled. (For what its worth, the official reason is that Villeneuve bowed out to focus on Dune: Part Twos sequel, Dune Messiah). The gulf between film and television even prestige television is simply too great. Not that Dune: Prophecy season 1 does itself many favors. To Schapkers credit, Prophecy leans into the strengths of TV as a medium, rightly recognizing that directly mapping a cinematic blueprint onto six hour-long installments is impossible. But the way this is rolled out is so low-stakes (and at times, cheap-feeling) that it diminishes Dunes world, rather than expanding it.Take the Desmond Hart plot thread. This mystery box finally gets (partly) opened in episode 6, but whats inside ocular nerve implants and shadowy Bene Gesserit haters is oddly pedestrian. Theres none of the intellectual and emotional oomph of Dune: Part One and Part Two protagonist Paul Atreides giving the green light to galactic genocide for the greater good. Its more akin to a plot-centric season finale reveal youd expect from, say, Agents of SHIELD or Fringe. No shade on either show; its just that no one would mistake either for a cinema-grade epic. Similarly, episode 5s procedural elements involving Tula Harkonnen, Raquella/Lila, and a generic science lab set are the kinds of scenes that would happen off screen in Villeneuves films, and with good reason; CSI: Wallach IX is decidedly less compelling than the soaring grandeur of Pauls subversive heros journey. And lets not forget season 1s wider, dual-timeline narrative, which makes an already busy story even busier (and slower) all while filling in gaps in the Dune mythos that arguably functioned better left unexplained.These shortcomings would be enough to curdle most shows. But foist them onto the Dune universe and they become twice as glaring. Because they dont merely tarnish the franchises brand they reduce its outsized ambitions. Where Dune: Part One and Part Two paid off a cosmos-wide, multi-millennia master plan, Prophecys first season gave us sub-Game of Thrones intrigue and a vaguely defined threat to the Sisterhoods future (effectively a moot point, thanks to the movies), most of it playing out in the same confined locales. Schapker and co. fuss over the how and the why of it all, failing to grasp that the more granular Dune: Prophecy becomes, the further away from Villeneuves (and Herberts) big ideas so fundamental to this brainy sci-fi saga it gets. For all its spaceships, Shai-Hulud cameos, and funky footwear, Dune: Prophecy just doesnt feel like Dune.Again, the odds of that happening of any TV show sitting comfortably alongside Dune: Part One and Part Two were always stacked against HBO. Even if Dune: Prophecy season 1 had nailed every aspect of its execution, even if it had been one of the best shows of the year, it still wouldnt have been a movie. As a result, the folks behind Prophecy were always going to have to scale back its big-screen counterparts cinematic essence to produce something more TV-friendly. But thats the problem: Shrinking Denis Villeneuves Dune is like trying to preserve a snowflake on the desert world that lends the franchise its name doomed from the start.

Jaguar is undergoing a major transformation. Alongside unveiling its new logo which has faced its share of criticism the iconic brand has introduced a concept car that marks the beginning of a new era. Named the Type 00, this design is a radical departure from anything weve seen from Jaguar before for better or worse.Accompanying the new logo is Jaguars fresh motto: Copy Nothing. True to this ethos, the Type 00 is a unique creation. The vehicle boasts a long, low stance with a distinct brutalist aesthetic. Its proportions are particularly noteworthy, featuring massive 23-inch wheels, a two-tier build, and sleek, narrow windows. The concept has been shown in two bold colors: a dark rose hue named Miami Pink and a metallic shade called London Blue.The rear of the Type 00 is defined by two parallel light bars that frame the back, giving it a modern and futuristic touch. At the front, slim headlights wrap elegantly around the curved corners of the car, adding to its distinctive look.The interior of the Type 00 is just as interesting as its exterior. The design incorporates multiple screens, including a slim display that spans the base of the windshield reminiscent of the Lincoln Nautilus and two primary screens for the driver and passenger. A long brass rail runs through the center of the cabin, creating a visual and functional separation between the driver and passenger. The interiors tan-and-brass color palette is complemented by materials like Brass, Travertine, and Alabaster, which Jaguar has identified as the cabins core elements.Jaguar has infused the Type 00 name with thoughtful symbolism. The Type prefix pays homage to classics like the Jaguar E-type, while the first zero represents zero emissions, and the second zero signifies that this is car zero in Jaguars new lineage.The Type 00 serves as a design preview for Jaguars upcoming electric vehicle (EV), a four-door model set to debut in late 2025. This EV promises a range of up to 430 miles, aligning with Jaguars commitment to an electric future. While the Type 00 itself is not intended for production, it will be fascinating to see which design elements transition to the final product. Likely, certain exterior features will make the cut, but the interiors more experimental elements may be toned down due to practicality and regulatory requirements. Expect side mirrors to return on the production model.For more information on the Jaguar Type 00, visit jaguar.com.

Picture your favorite mug, the one you reach for first thing in the morning. Is it handmade? Is it heavy? Is it, despite its flaws or possible chips, beautiful just as is? Pottery is as ancient as we are, the true mark of civilization. The first synthetic material ever made, pottery is inextricable from the human experience, guiding the ways we eat and socialize for millennia. Following these ancestral lines, the No. 16 Collection by Norm Architects with Ancher Studio fuses antiquity with modernity.The No. 16 Collection elegantly encapsulates forms we know and love, yet brings an understated modernism that is at once familiar and elevated. With strong, sturdy shapes, and a beautiful glaze, a light taupe with charcoal speckles, this collection, inspired by Japanese design, makes ordinary food service extraordinary. The time and attention that is taken with the production of these vessels lets us know how carefully each one is crafted. These pieces are tried and true, ergonomically considered for the hand, mouth, and eye. This is a testament to the knowledge that the touch of the human hand elevates a design to an actual relationship between maker and user.The collection is designed as part of a larger restoration and interior design project, reviving an old neoclassical guesthouse on the north coast of Denmark. The ceramic collection plays a part in a holistic design process, where everything from architecture to interior, furniture, dinnerware and even scent was designed bespoke for the project, says Jonas Bjerre-Poulsen, architect and partner at Norm Architects.These wheel-thrown vessels offer an escape into nature that one can display inside. The speckled clay celebrates the natural variances of stone, in a light glaze with a warm depth of color. The uses for the No.16 Collection are endless. As tea culture is revered in many parts of the world, this set enchants and enhances every part of a tea ceremony or drinking ritual. Present fruit, flowers, or minerals in these vessels, adding a lovely neutral tone to an otherwise modern palette. The speckled depth of the glaze almost reminds one of an egg, no two exactly similar, speaking to the handmade nature of the collection.Ancher Design was established in 2023, a collaboration between Elisabeth Snejbjerg of Copenhagen-based Studio Grey, Rainmaking Innovation, and the owner of their ceramic workshop in Poland. Snejberg has been designing products for over 20 years, particularly ceramics. Her pieces are highly sought after by designers and professionals, because of their functionality, timeless design, and exquisite quality. This means, even in a high pressure environment such as a restaurant, these pieces will last for years.Norm Architects is a multidisciplinary studio based in Copenhagen, working with skilled designers to create lasting, modern designs. All their work is infused with a sense of quiet minimalism, creating a new way to engage with our senses. Distilling the design down to its essence, the consideration of mind, body, and nature is clear. The collection was originally designed specifically for a guesthouse in Denmark to work with a carefree summer style, close to great forests and bodies of water. These sturdy, rustic shapes of the No. 16 Collection extend into the ethos of Norm Architects, engaging all five of the senses to ground and center us.For more on the No. 16 Collection, visit normcph.com.Photography by Jonas Bjerre-Poulsen & Sandie Lykke Nolse.