Radisson BLU Hotel Ka / znur aglayan Architectural Design StudioSave this picture! brahim zbunarHotelsAntalya, TurkeyArchitects: znur aglayan Architectural Design StudioAreaArea of this architecture projectArea:2241 mYearCompletion year of this architecture project Year: 2023 PhotographsPhotographs:brahim zbunarManufacturersBrands with products used in this architecture project Manufacturers: Baumit, REHAU Lead Architects: znur alayan, Ece Uurlu More SpecsLess SpecsSave this picture!"It is to plunge into the archaism of insular societies, and at the same time to wonder at the extreme youthfulness of very old cities which are exposed to all the winds of culture and profit and which for centuries have kept watch over the sea and lived on its resources." - BraudelSave this picture!Save this picture!Save this picture!Ka is a mysterious pearl of the Mediterranean; a paradise where time seems to stand still with its quiet streets, ancient ruins, and deep blue sea. It's a captivating town that combines the echoes of the past with the rhythm of modern life, blending historical fabric with natural beauty. The city, with its touristic peninsula, offers a delightful escape into new-age popular culture and seeks innovative designs to meet the growing accommodation needs without compromising the city's silhouette. Radisson Hotel Ka was designed to capture and reflect the essence of this unique destination. The design journey began with a deep understanding of the region's topography and flora, culminating in a composition of materials that harmonize with the natural environment. Spaces dominated by earth tones and nature-inspired details were crafted to enhance guests' sense of comfort and safety. The project is divided into two distinct zones, each offering a unique experience. In the first zone, dedicated to villas, each villa features its own private pool and terrace, creating a secluded oasis that emphasizes privacy and relaxation. The architecture of the villas adopts the distinctive design language of the Mediterranean, seamlessly integrating indoor and outdoor spaces. The structures blur the boundary between interior and exterior with continuous, permeable faades that highlight openness, order, and fluidity.Save this picture!The second zone is more dynamic, featuring the hotel block focused on social interaction and entertainment, with spacious pool and poolside areas. Positioned on the hillside, the hotel block opens up to breathtaking panoramic views. The walls, rising as a continuation of the impressive natural stone base, create a harmonious effect in the city's silhouette and reflect a warm, intimate atmosphere. In the hotel's communal areas, a modern and elegant design approach was adopted. The reception, lobby, and lounge areas were designed as spacious and comfortable spaces where visitors can socialize and relax. The hotel's restaurant exhibits Ka's gastronomic riches with modern presentations of local flavors. The pool area, designed as a form of elevated garden, serves as both a focal point and a transitional space. Rather than a traditional courtyard, this garden-like area capitalizes on the natural slope, offering a tiered arrangement that accentuates the expansive Mediterranean views. The hotel's outdoor spaces are filled with indigenous trees and plants reflecting Ka's vegetation. Separators effectively distinguishing sunny and shaded areas allow for a seamless indoor-outdoor experience. It adopts waste management, energy conservation, and water preservation practices to protect Ka's natural beauty and minimize environmental impact.Save this picture!Save this picture!Save this picture!The material palette and architectural style draw from traditional Mediterranean design, enriched with a modern touch. The earth tone color palette and texture choices, stone facades and wooden details as a reflection of the craftsmanship frequently encountered in Ka's historical houses, traditional "village plaster" brought to life with knowledge passed down through generations. The combination of locally sourced materials with minimalist, contemporary details creates an aesthetic that is both timeless and innovative.Radisson Hotel Ka is not just a hotel; it is an experiential realm where guests can feel, live, and breathe the spirit, history, and nature of Ka. It conveys the sense of "I am new, yet I belong here" in every detail, creating a harmonious blend of past and present.Save this picture!Project gallerySee allShow lessProject locationAddress:Antalya, TurkeyLocation to be used only as a reference. It could indicate city/country but not exact address.About this officePublished on December 25, 2024Cite: "Radisson BLU Hotel Ka / znur aglayan Architectural Design Studio" 25 Dec 2024. ArchDaily. Accessed . <https://www.archdaily.com/1023964/radisson-blu-hotel-kas-oznur-caglayan-architectural-design-studio&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

When it comes to organizing a Dungeons & Dragonsadventuring party, the Cleric is often placed in the role of a healer. However, modern incarnations of what is usually a support class have changed dramatically. These days, Clerics have evolved into a combination class that can fill any role and works well as a multiclass.

Open-world? Check. Third-person view? Check. Shooter? Also check. Many games have combined all these aspects, but only a few of them can really stake their claim as the best of the best. Here's our list of the best open-world third-person shooter games.

The final season of Arcane has finished airing, and the climactic finale has left fans in shambles after the seven-year journey has reshaped the animation world forever. Receiving worldwide praise for its exquisite narrative focus and stunning visuals, the first step into a League of Legends universe has made a tremendous splash that has left a memorable experience for all watchers. Seasons one and two of Arcane have raised the bar for other animated shows that may not be reached for quite some time.

Good news! Its dead! The myth that audiences wont stand for a true-blue big-screen musical is dead!The movie version of the Broadway hit Wicked is busting box-office records left and right, recently dethroning Grease as the highest-grossing film adaptation of a Broadway show in history. Add in strongly positive reviews, rapidly escalating Oscar buzz, and a Part Two due in 2025, and youve got a blockbuster success story thats also a ready-made franchise starter. After decades of stage-to-screen musicals of varying levels of success, Wicked is bringing Broadway into the IP-driven era of cinema, signaling the dawn of the MTU: The Musical Theater Universe.Thats right; just like Kevin Feige shifted an industry by heeding the requests of superhero aficionados clamoring for comic-reverent screen versions of their childhood faves, producers Marc Platt and David Stone have transformed their Broadway blockbuster into a big-screen juggernaut by remaining, above all else, faithful to the show as it exists onstage. Musical theater superfans can now join the Marvel crowd in their transformation from nerdy cultural subset to cool kids at the center of the zeitgeist. Comic book movie-centric sites that usually focus on news about the latest Spider-Man or Avengers flick are now flooded with Wicked explainers. And seemingly niche knowledge about the plot details of Wickeds second act are now as mainstream a talking point as What happens after the Snap in Avengers: Infinity War?We may be a long way out from the kind of shared cinematic universe where Elphaba and Glinda team up with Alexander Hamilton or Evan Hansen. But the bones of what made the MCU initially flourish are undoubtedly at play here: a weaponizing of nerd cultures desire to see nostalgic texts of their childhood visualized faithfully but realistically on the big screen, and the franchising of those texts to the point where the wait time between installments, where theories can percolate and anticipations build, becomes as integral as the content of the films themselves.This gambit has paid off in wildly successful dividends, and thats an undeniable victory for the Broadway crowd, the ones who tirelessly rail against the casting of non-singers in movie musicals and protest every movie musical trailer that seems hell-bent on obscuring any whiff of the characters bursting into song, from Sweeney Todd to Into the Woods to Mean Girls. The casting of whisper-singing Angourie Rice in that latter film seems particularly laughable when Wicked has Cynthia Erivo, surely one of our most gifted vocalists: Her effortless transition from onstage powerhouse to natural screen presence makes her a no-brainer for Elphaba on film.The same goes for Ariana Grande, whose Glinda launches into Popular with the vim and verve of someone clearly born for this sort of thing. Likewise, in director Jon M. Chu, Wicked has found a stage-to-screen translator who is a fan first and foremost. All together, they are brazenly unafraid to let their movie musical be an all-singing, all-dancing spectacle. And the box-office returns feel like vindication both for them and for the people who held out belief that Broadway movies could indeed achieve mainstream success.And yet, as Glinda sings at the top of Wickeds second act, theres a kind of a sort of cost, theres a couple of things get lostMuch like with MCU series entries, Wicked the movie has a sugar-rush sensibility. It scratches an itch for a big holiday tentpole piece of family entertainment, but doesnt reverberate much beyond the walls of the cineplex. For better or worse, what Chu has delivered is essentially a cinematic souvenir program of the musical as it exists onstage: Its high on fan service, low on imaginative adaptation, almost damagingly obsessed with not shaking things up, not doing anything to incur ire from the shows fans.Though the movie runs almost as long as the stage show and still only gets us to the intermission, theres bafflingly little new material on the screen: This is the first act of Wicked, padded to the gills. No songs have been cut, no scenes rearranged. Everything from Broadway has been preserved and expanded, with little hunger for creating anything fresh, and a focus on blowing out fan-favorite moments to the nth degree until every possible tear is wrung from Glindas and Elphabas first dance together and the appearance of a certain broomstick has the same crowd-pleasing potential as, say, Captain America grabbing Thors hammer in Avengers: Endgame.That approach leaves little for the superfans to grouse at. That said, anyone looking for a true cinematic adaptation of the musical may walk away befuddled.Its important to note that this kind of easy reliance on nostalgia has always been integral to Wicked. Though it debuted on Broadway five years before Robert Downey Jr. first suited up as Iron Man, the musicals staging of Elphaba donning her black cape and pointed hat, or clutching her broomstick for the first time, is exactly the kind of So thats how it happened origin-story moment were used to seeing in everything from Captain America: The First Avenger to Cruella these days. The shows second act is a minefield of prequel table-setting for The Wizard of Oz, from how the Scarecrow got stuffed to why the Lion is so cowardly. (Future Wicked: For Good explainer headline incoming: Who Glinda Meant When She Said Her Little Dog Dodo: 5 Fun Facts About Dorothys Pet.)But theres a somewhat depressing nature to the degenerative mimeographing of this kind of fan service, particularly for an avid fan of both cinema and Broadway musicals. I suppose a Wicked movie is uniquely suited for this present moment, where a movies connection to other movies (or TV shows, or comics, or whatever else) is valued more than the movie at hand. But Chus Wicked: Part I still feels like a weird sort of copy of a copy, the basic but essential conversation with The Wizard of Oz all but forgotten in favor of a lamer one with a big stage success. On screen, when Elphaba grabs her broom, its less about The Birth of the Wicked Witch of the West, and more about The Birth of a Famous Character from Musical Theater. Its as though Hello, Dolly!s Dolly Levi or Gypsys Mama Rose were having their own Avengers moments.This treating of the stage show as sacred has been a badge of honor for the creative team, with Chu proudly stating how Ariana Grande would often balk at changes to the source material, saying Thats bible, you cant remove that line. But while that trust in the original show is admirable, theres a rigidity to this kind of thinking that isnt so far from toxic fandoms imposing absurd limitations on comic book movies or Star Wars entries (say, Luke Skywalker wouldnt toss his lightsaber over a cliff or Batman doesnt eat pussy).Its not that Wicked stans have revealed themselves as possessing anything near the vitriol of some Last Jedi naysayers. But the desire to be so precious and sacrosanct about every single line of a musical about how the Wicked Witch of the West got her broom so much so that it needs to become two 160-minute films isnt so different from the impulse that motivated the Release the Snyder Cut bros.Theres a way to remain faithful in spirit to a stage show, and still create something fresh and new for the screen that can exist on its own terms. Thats what Rob Marshall did with Chicago more than 20 years ago, jettisoning six of the shows songs and introducing a cinematic conceit that foregrounded Roxie Harts desire to be a star, transforming the remaining numbers into hallucinatory episodes in her minds eye. Since then, some filmmakers have shown similar daring in adapting Broadway: Hairspray, Tick, Tick Boom!, and Steven Spielbergs West Side Story are genuine screen adaptations, playing fast and loose with the source material without sacrificing any of the musical energy or dynamism that made these shows so successful onstage.By comparison, Wicked feels as cold and clinical as brand management not just in stage-to-screen translation, but visually as well. The films washed-out, homogenous cinematography has been criticized already. Its true the film biffs an opportunity to place Elphaba and Glinda back in the iconography of the 1939 classic The Wizard of Oz, or at least to crib from that films iconic mastery of color and design. And its true we could imagine a livelier, more vibrant setting, with more tangible, tactile creatures animatronic or puppeteered flying monkeys that unsettle and disturb, production design thats more The Dark Crystal or Labyrinth and less Ant-Man and the Wasp: Quantumania or Thor: Ragnarok.But perhaps the films most dispiriting visual flourish is its staging of Defying Gravity.Onstage, its a magic trick: A cherry-picker, concealed by fog and a mountain of black fabric, hoists an actress into the air as she holds her broom aloft. But what we see is flight, not to mention one of the most exhilarating and iconic coups de thtre of the century. On screen, its thuddingly literal, the magic evaporated. In the same way that the splash-page maximalism of a Jack Kirby or a John Byrne comic becomes smaller and less magnificent when translated to reality, an expressionistically theatrical image full of wonder and power becomes transformed into the same-old-same-old CGI sludge weve seen a million times.In this case, safety means success. And success is good for Wicked the movie, for Chu and Erivo and Grande, as well as for the fans to whom it matters so much. The box-office success of such a balls-to-the-wall musical as Wicked is a net positive for the genre.But if the MTU is anything like the MCU, safety can also mean impermanence. Making a movie for the fans has become a surefire way to ensure a project wont ultimately stand the test of time. Thats a big part of why Alfonso Cuarns Harry Potter and the Prisoner of Azkaban movie feels more warmly regarded these days than, say, Chris Columbus slavishly literal adaptation Harry Potter and the Chamber of Secrets. Or why Marc Webbs arguably more faithful Spider-Man flicks still hold less cultural sway than Sam Raimis voicier interpretations. Future MTU filmmakers, take note: Love your source material, and hire actors who can sing. But make a movie, not a paint-by-numbers facsimile of the show as it exists onstage.Imagine a Hamilton movie that looks like Barry Lyndon but feels like Childish Gambinos This Is America music video. Or a Rankin/Bass-style claymation Urinetown, or a Spring Awakening in the style of 24 Hour Party People. Should we not attempt to dream of more ambitious adaptations of Broadway material, ones where genuine cinematic vision, theatrical reverence, and strong vocal chops arent mutually exclusive?For now, Wicked is doing just fine. Its spreading the gospel of the Broadway show to people who never would have had a chance to see it onstage, and reminding the die-hard fans just why they fell in love with it so many years ago. But is it creating its own unique fandom with its own unique take on the material? I suspect after the hoopla of the initial release, when the dust settles and we can really take a look at the man behind the curtain, well see a film that is more like what Elphaba finally admits herself to be at the end of the second act: limited.

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President-elect Donald J. Trump is expected to roll back many of the rules and subsidies that have attracted billions of dollars from the private sector to renewable energy and electric vehicles.

Oliver Wainwright's picks are in for The Guardians year-end critics list. His trips abroad to visitthe Paris Olympics and Columbus, Indiana left an impression, as did the Met's first-ever major retrospective look at the mercurial influence of Paul Rudulph, the new children's hospital in Zurich from Herzog & de Meuron, the Norwegian Kunstsilo, and, of course, the MAK Museum of Applied Arts in Vienna's closely timed look into the "protest architecture" of barricades, encampments, and activists' inventive "spatial tactics." University Children's Hospital in Zurich. Image: Herzog & de Meuron, Foto Michael SchmidtKunstilo Museum in Kristiansand, Norway. Photo: Alan Williams Photography, image courtesy Kunstsilo.Paul Rudolph (American, 1918-1997) Architectural model for the proposed Sino Tower (unbuilt), Hong Kong (1989). Balsa wood and plastic 48 x 34 1/4 x 25 in. (131.7 x 63.2 cm) Prints and Photographs Division, Library of Congress. Photograph by Eileen TravellFirst Christian Chu...

In 2024, podcasts have gotten closer to becoming a video-first medium. Though video podcasts have been around a relatively long time, shows from The New York Times, NPR, and many other podcast networks that have been audio-only for years have recently started adding a video component in order to gain new listenership. In fact, Spotify, a major player in podcasts, is about to begin paying podcasters to bring videos to the platform.And after years of producers trying to get audio shows to go viral on social media, podcasts are now dominating TikTok, Instagram Reels, and YouTube Shorts after video producers realized they can just film the talent talking. Meanwhile, weekly podcasts are looking to attract younger audiences who grew up on YouTube.As a result, video producers are figuring out how to make podcasts, and audio producers are figuring out how to make videos. Ive noticed a few developing trends in this video-first podcasting format. This isnt surprising; when one producer discovers a formula that works, others are going to try it. Lets take a look at current design and tech trends and then Ill talk about what I think may develop over the next year or so.Home designMany of todays podcast studios look like living rooms and basements. This isnt a new phenomenon with talk shows, but a lot of podcasts started out in a living space, and larger media companies have adopted that aesthetic. Lamps. Fireplaces. Fake plants. Bookshelves. This environment gives a more laid back style of long-form interviewing, which is typically the vibe of most chat-style podcasts.1/5Bill Mahers basement vibe. Screenshot: YouTube / Club Random1/5Bill Mahers basement vibe. Screenshot: YouTube / Club RandomCouches and comfy chairs show up a lot on these video shows. The round table has been ditched, and leisure is key its a lot more comfortable of an environment for talking hours at a time. Both hosts and guests are often on a couch together or sitting in comfy chairs separately.1/5Just chillin on the couch. Screenshot: YouTube / Lesser Known Characters1/5Just chillin on the couch. Screenshot: YouTube / Lesser Known CharactersAnother trend Ive noticed are these wooden slats on the wall in podcast studios our own Vox Media space has gone with this design as well. These work better for sound absorption while still looking like a living space. This is already looking to be a signifier of mid-2020 video podcasts.1/7This setup covers a lot of podcast tropes but looks so comfy. Screenshot: YouTube / Two Hot Takes1/7This setup covers a lot of podcast tropes but looks so comfy. Screenshot: YouTube / Two Hot TakesWith wide-shot camera angles showcasing the entire room, there is usually something in the middle of the screen, like a TV or a giant logo of the show, to create a symmetrical studio look.Neon signs and colored lights are very trendy right now because they add a colorful glow to a more muted studio space. Lots of cursive lettering. Branding is often prioritized in video, and most producers think that means literally looking at the logo for two hours. This is also an easy way to let a TikTok scroller know what show they are watching (though this typically doesnt crop well for vertical video). 1/8The TV looks a bit crooked. Screenshot: YouTube / The Daily Beast1/8The TV looks a bit crooked. Screenshot: YouTube / The Daily BeastMore attention to techMicrophones are often placed on floor stands that extend over the couches (these articulating boom stands have been staples in recording studios for decades). As a result, the stands often appear from out of the camera frame and stick up broadly in front of guests faces awkwardly. Poles sticking out at various incongruent angles look even messier when you have multiple guests on separate chairs.1/6Lots of guests, each with their own puffy chair and mic stand. Screenshot: YouTube / Joe Budden Network1/6Lots of guests, each with their own puffy chair and mic stand. Screenshot: YouTube / Joe Budden NetworkThough new kinds of mic stands for podcasts have been introduced to the market, many shows are ditching the long, awkward boom poles in favor of havinghosts and guests hold their microphones instead. This feels a bit more authentic and intimate onscreen, and many stand-up comedians prefer this method. However, it can get a bit awkward with inexperienced guests who talk with their hands or who dont know how to hold a microphone with a narrow polar pattern.1/6You must hold this microphone for the entire show. Screenshot: YouTube / The Bald and the Beautiful1/6You must hold this microphone for the entire show. Screenshot: YouTube / The Bald and the BeautifulIt can get even worse. When podcasts are audio first but with a video component, you often see awkward practices caught on camera, like this instance where each guest is holding their phone up to their face to record their audio while looking directly at the viewer.This is a common practice for radio interviews but isnt great when video is involved.You never see people use their phones like this on a video call in real life. Screenshot: YouTube / The DailyThe Shure SM7B microphones are still really popular in this medium as well as the budget MV7 model. For the purposes of branding, cubes with the name of the show are often stuck awkwardly on the bottom of the microphone. This is reminiscent of microphone flags on newscaster stick mics, and they are now being retrofitted for these classic radio studio microphones.This is likely because its more effective branding on vertically cropped videos than a big logo on the wall in a studio. 1/6Get that logo in there! Screenshot: YouTube / Pod Save America1/6Get that logo in there! Screenshot: YouTube / Pod Save AmericaBig isolating headphones are common in radio and podcasts and are still used in a lot of video versions. But when guests are remote and are looking directly at their webcam, those large ear cups stick out very awkwardly more so than if youre looking at someones profile view.