Yibing Jiang shared this lovely short concept video with a neat manga-like shader. Hey friends, I’d love to share my new project with you! In my earlier posts, the characters were usually static, but this time—with the help of Blender, iClone, and Ca

Check out the new features in the AI-assisted animation software, including better AI inbetweening and 3Dconnexion support.

This is a highly detailed beginner-friendly step-by-step tutorial on how to make animation from scratch in Cascadeur. It covers a complete process, starting with blocking all the way up to applying physics, including a thorough explanation of all the AutoPhysics filters and sliders 00:00 About this tutorial 01:06 Blocking 01:14 Import reference video 01:32 Creating first pose 01:47 AutoPosing issue 04:14 Creating second pose 05:31 About Invert Frame Indicator Hotkey Button 05:46 Creating the third pose 06:34 Creating the fourth pose 07:15 Creating the rest of the poses 08:49 Interpolation 08:54 Auto Interpolation 09:35 Setting Interpolation manually 10:20 IK and FK 12:00 Adding additional keys 14:44 Physics 15:55 Main Physics corrector 18:03 Rotation 19:44 Smooth trajectory 20:20 Smooth rotation 21:15 Compensation motion 22:09 Separation motion 23:13 Secondary motion 23:49 Snap the animation Learn more about Cascadeur license plans: https://cascadeur.com/plans Learn how to start using Cascadeur: https://cascadeur.com/learn Join our English-speaking community on Discord: https://discordapp.com/invite/Ymwjhpn Follow us on: Facebook https://www.facebook.com/CascadeurEN/ Twitter https://twitter.com/Cascadeur_soft #Animation #Tutorial #gamedev

During most of the introduction to the Wake Up Dead Man portion of Saturday night’s Netflix Tudum event, writer-director Rian Johnson and his starry cast, led by a folksy Daniel Craig, had fun hiding what the third Knives Out mystery is about. In fact we really don’t know. But as judged by the first teaser trailer for the movie, it is going for a darker and more oblique tone than the general playfulness viewers remember from Knives Out and Glass Onion, marketing included. In the teaser, a church bell ominously sounds in the distance as images suffused in shadow and nocturnal rains cascade down around Craig’s unexpectedly stoic Benoit Blanc. Without a charming witticism or visual gag in sight, Blanc tersely intones during the trailer, “The impossible crime. For a man of reason this is the Holy Grail.” Through it all, a haunting hymn plays as an elegiac and Southern voice cries, “O Death, O Death, Won’t you spare me over til another year.” While we still know relatively little about the plot of Wake Up Dead Man beyond its terrific ensemble—which includes Glenn Close, Kerry Washington, Jeremy Renner, Josh Brolin, Andrew Scott, and Cailee Spaeny—the song choice might tell us a lot about the film’s setting, and possibly the dark places it intends to go. Initially speculation regarding the third Knives Out picture assumed that it would be set in England where most of the film’s production occurred. And while that might still be the case, we suspect the English countryside might be used to substitute for something a little closer to home for American viewers—and distinctly Southern. Indeed, many fans of the Coen Brothers likely recognize the song “O, Death” used in the trailer, for it is the exact version sung by the late bluegrass artist Ralph Stanley in Joel and Ethan Coen’s O Brother, Where Art Thou? (2000). Stanley, it should be stressed, is a legend in the bluegrass and folk sound of music who won a Grammy for this version of “O Death.” However, his vocals were used in O Brother (and now Wake Up Dead Man) to send a chill up the spine when sung a cappella style in the third act of the Coens’ Mississippi-set Depression fable. After all, on screen the song is being sung not by a simple musician, but by the grand wizard of a Ku Klux Klan chapter which has gathered to lynch and murder a young Black man on a trumped up accusation based in superstition. The Coens’ choice of this song to be sung by the KKK in the 1930s is probably not accidental either. The standard version of the song’s origin is that it’s a traditional Appalachian folk song written by Baptist preacher Lloyd Chandler. Chandler certainly performed the song in the 1920s in North Carolina, allegedly after receiving a vision from God of the song in 1916. However, further research has proven that Chandler’s composition bears an uncanny similarity to a 1913 printed version of a folk song (that is therefore likely much older) in Journal of American Folklore. The journal asserted the song was sung by “Eastern North Carolina Negroes.” Which is all to say, the song’s ambiguous origin is rooted in the cultural milieu and tensions of the American South during the days and decades of Jim Crow and after the Civil War. It was used by the Coens as a disturbingly beautiful song of annihilation put in the mouths of mass murdering racists, and it is now used to signal what appears to be the first Benoit Blanc mystery to return to the region of Benoit’s home: the American South. (This setting is seemingly further verified by the fact that one of the film’s law enforcement figures is dressed like someone from an American sheriff’s office as opposed to an English village.) This is all of course speculation, but to use this song and Stanley’s Grammy-winning version of it specifically is likely a deliberate choice on Johnson’s part. And given how Johnson is unafraid to use what on the surface appear to be cozy murder mysteries to interrogate larger issues of social rot and inequality in the modern world via both Knives Out and Glass Onion, we are left to wonder just how deeply Southern the roots of his third murder mystery will run. Wake Up Dead Man premieres on Dec. 12 on Netflix.

Outlets 8, Conghua | © Wu Siming In the landscape of contemporary Chinese urbanism, few typologies encapsulate the contradictions of late-capitalist development more vividly than the pseudo-European commercial complex. These replicated enclaves, constructed en masse in the early 2000s, were once marketed as symbols of international sophistication. Over time, however, many were abandoned, becoming architectural vestiges of speculative urbanism. Outlets 8 in Conghua, Guangzhou, is one such project that has undergone a radical architectural reinterpretation. Originally completed in 2018 but long dormant, it has been reimagined by E Plus Design in collaboration with URBANUS/LXD Studio. Through a precise, light-touch intervention, the project avoids wholesale demolition and reprograms space through color, rhythm, and landscape strategy. Outlets 8, Conghua Technical Information Architects1-14: E Plus Design Central Plaza Design: URBANUS / LXD Studio Location: Conghua District, Guangzhou, China Gross Area: 80,882 m2 | 870,000 Sq. Ft. Project Years: 2022 – 2023 Photographs: © Wu Siming This approach is like a contemporary remix of classical music. The four blocks correspond to four movements. Without extensive demolition or altering the European-style architectural rhythm, we reinterpreted the emotional tones, chords, and cadenzas. Through a blend of color and modern gestures, the outdated and disproportionate ‘faux-antique’ complex has been reorchestrated into a contemporary architectural symphony. – Li Fu, Chief Architect at E Plus Design Outlets 8, Conghua Photographs Aerial View | © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Wu Siming © Chen Liang Liu Shan © Chen Liang Liu Shan © Chen Liang Liu Shan Outlets 8 Context and Typological Challenge Outlets 8 was initially conceived as a 110,000-square-meter faux-European outlet village. Despite its scale and investment, it struggled to resonate with local cultural dynamics and remained idle. The typology itself, rooted in nostalgic mimicry, was already facing obsolescence. The challenge, then, was not only architectural but also conceptual: how to resuscitate a typology that had become both spatially and culturally inert. The design team chose a strategy of minimal physical intervention coupled with maximal perceptual impact. Rather than demolish or drastically reconstruct, they aimed to re-signify the existing structures. This approach reflects a growing trend in urban renewal across China, where sustainability, cost-efficiency, and cultural specificity take precedence over spectacle. Spatial Transformation Through Chromatic Reprogramming After | © Wu Siming Before | Original Facade, © E+ At the intervention’s core is using color as a spatial and psychological agent. The ornament-heavy facades were stripped of their polychromatic excess and repainted in low-saturation hues. This chromatic cleansing revealed the formal rhythms of the architecture beneath. By doing so, the design avoids mimicry and opts for abstraction, reintroducing clarity to the site’s visual language. The design framework is structured as a musical metaphor, with each of the four blocks conceived as a separate movement in a visual symphony. The street-facing facades, now unified through a golden “variation,” establish a new urban frontage that is both legible and symbolically rich. A ribbon-like golden band traces across the main elevations, creating continuity and contrast between old and new volumes. In contrast, the sports block adopts a cooler, blue-toned palette, offering a different spatial and functional rhythm. New architectural insertions are rendered in transparent materials, signaling temporal and programmatic distinctions. At the center, the elliptical plaza becomes a spatial crescendo, defined by a sculptural intervention inspired by Roman aqueducts. This feature functions as a landmark and a temporal break, juxtaposing historical references with performative landscape elements. Rewriting Landscape as Urban Ecology After | © Wu Siming Before | Original Facade, © E+ Water, derived from the nearby Liuxi River, serves as the thematic and material backbone of the landscape design. Its integration is not symbolic but functional. Water flows through constructed channels, interactive fountains, and sculptural cascades that encourage observation and participation. These elements create a multisensory environment that enhances the spatial experience while reinforcing ecological awareness. The planting strategy emphasizes native species capable of withstanding Guangzhou’s subtropical climate. The design maximizes greenery wherever regulatory conditions allow, particularly along the main entrance, central corridors, and arcaded walkways. The result is a layered landscape that balances visual density with ecological resilience. Integrating landscape and architecture as a singular design operation, the project shifts away from ornamental greening toward environmental synthesis. This approach foregrounds interaction and immersion, aligning with broader shifts in landscape architecture toward performative and participatory ecologies. Programmatic Rebirth and Urban Implications After | © Wu Siming Before | Original Facade, © E+ Beyond formal and material considerations, the project redefines the programmatic potential of large-scale retail environments. Positioned as a “micro-vacation” destination, Outlets 8 is a hybrid typology. It combines retail, leisure, and outdoor experience within a cohesive spatial narrative. This reprogramming responds to changing patterns of consumption and leisure in Chinese cities, particularly among younger demographics seeking experiential value over transactional efficiency. Statistical metrics underscore the project’s social impact. In its first nine days, the outlet attracted over half a million visitors and became a trending location across multiple digital platforms. While not the focus of architectural critique, these figures reflect a successful alignment between spatial renewal and public resonance. More importantly, the project offers a replicable model for dealing with the vast inventory of misaligned commercial developments across China. The intervention avoids nostalgia and cynicism by foregrounding perceptual clarity, ecological integration, and cultural recontextualization. Instead, it offers a clear path forward for reimagining the built remnants of a prior urban paradigm. Outlets 8, Conghua Plans Elevations | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Floor Plan | © E Plus Design Sections | © E Plus Design Outlets 8, Conghua Image Gallery About E Plus Design E Plus Design is a multidisciplinary architecture studio based in Shenzhen, China, known for its innovative approaches to urban renewal, adaptive reuse, and large-scale public space transformations. The firm emphasizes minimal intervention strategies, spatial clarity, and contextual sensitivity, often working at the intersection of architecture, landscape, and urban design to create integrated environments that are both socially responsive and experientially rich. Credits and Additional Notes Chief Design Consultant: Liu Xiaodu Master Plan, Architecture, and Landscape Schemes: E Plus Design Lead Architects: Li Fu, Coco Zhou Project Managers (Architecture): Guo Sibo, Huang Haifeng Architectural Design Team: Wang Junli, Zhang Yan, Cai Yidie, Zhu Meng, Lin Zhaomei, Li Geng, Stephane Anil Mamode, Liu Shan, Zhou Yubo Central Plaza Design: URBANUS / LXD Studio Architect of Central Plaza: Liu Xiaodu Project Manager: Li An’hong Facade Design: Song Baolin, Li Minggang Lighting Design (Concept): Fang Yuhui Lighting Consultant: Han Du Associates Client: Guangzhou Outlets 8 Commercial Management Co., Ltd. Client Design Management Team: Yin Mingyue, Zhao Xiong Landscape Area: 29,100 m² Chief Landscape Architect: Gao Yan Project Manager (Landscape): Zhang Yufeng Landscape Design Team: Yu Xiaolei, Li Zhaozhan, Liu Chenghua Landscape Construction Drawings: E Plus Design Project Manager: Wang Bin Design Team: Wang Bin (Landscape Architecture). Huang Jinxiong (Greening Design). Li Gen (Water & Electricity Design) Structural Design Team: Wang Kaiming, Yang Helin, Wu Xingwei, Zhuang Dengfa Electrical Design Team: Sun Wei, Yang Ying Interior Design Concept Design: Shenzhen Juanshi Design Co., Ltd. Chief Interior Designer: Feng Feifan Project Manager: Liu Hongwei Design Team: Niu Jingxian, Shi Meitao Construction Drawings: Shenzhen Shiye Design Co., Ltd. Project Manager: Shen Kaizhen Design Team: Yao Yijian, Yang Hao, Liu Chen Wayfinding Design Studio: Hexi Brand Design Co., Ltd. Curtain Wall Design Firm: Positive Attitude Group (PAG)

Villa Air / ARK-architectureSave this picture!© Bilel KhemakhemHouses•Tunis, Tunisia Architects: ARK-architecture Area Area of this architecture project Area:  1500 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Bilel Khemakhem Manufacturers Brands with products used in this architecture project Manufacturers:  Trespa, Elements, QUICK-STEP, REVIGLASS, Saint Gobain Glass, Schüco, TOSHIBAMore SpecsLess Specs Save this picture! Text description provided by the architects. Villa Air is a distilled expression of contemporary architecture rooted in the Tunisian landscape. Set within a two-hectare plot in Morneg, this 1,500 m² residence unfolds as a meditative dialogue between built form and topography. The site, defined by its gentle slope and sweeping views, culminates in the striking silhouette of the Jbal Errsas mountain range—a natural horizon that anchors the architectural narrative. From the outset, the project embraces a central duality: the tension between gravitas and lightness, between groundedness and suspension. This dialectic, subtly embedded in the villa's name, structures the entire composition. Distributed across three levels, the house is articulated as a series of horizontal strata punctuated by bold cantilevers. These projections—remarkably slender at just 45 cm thick—embody both structural daring and environmental responsiveness, casting precise shadow lines that temper the Mediterranean sun.Save this picture!Save this picture!Save this picture!Rather than asserting dominance over the terrain, the architecture yields to it. The villa engages the land with measured restraint, allowing the natural contours to guide its form. A textured finish in earthy tones fosters chromatic continuity with the ground, while the massing cascades along the slope, suggesting a geological emergence rather than an architectural imposition. The principal façade distills the project's ethos: a calibrated composition of apertures that frames the landscape as a sequence of living tableaux. Each elevation is attuned to its orientation, choreographing a spatial experience that is both immersive and contemplative. Here, architecture acts not as a boundary, but as a lens.Save this picture!Materiality is approached with deliberate restraint. Pristine white volumes capture the shifting Mediterranean light, animating surfaces in a daily choreography of shadows. Travertine and timber introduce tactile warmth, while concrete elements — subtly tinted with sand pigments — ground the building in its context and enhance its material belonging. Internally, the spatial organization privileges continuity and flow. Circulations are not mere connectors, but choreographed transitions. Double-height volumes channel daylight deep into the core, while vertical pathways become elevated promenades offering ever-evolving perspectives of the surrounding landscape.Save this picture!Save this picture!Save this picture!The architecture explores a central paradox: the reconciliation of intimacy with openness, of enclosure with exposure. This tension is resolved through a refined gradation of thresholds, where interiors dissolve into terraces and open platforms, softening the boundaries between inside and out. Twin infinity pools extend the architectural geometry toward the horizon, amplifying the sensation of lightness and spatial suspension. Water and sky converge in a silent dialogue, completing the project's aspiration to exist not merely in the landscape but in symbiosis with it. Villa Air stands as a testament to a site-specific Mediterranean modernism — one that privileges clarity, precision, and sensory depth. More than a functional residence, it evokes a poetic condition of dwelling: a place where form, matter, and perception converge in quiet resonance.Save this picture! Project gallerySee allShow less About this officeARK-architectureOffice••• MaterialConcreteMaterials and TagsPublished on May 30, 2025Cite: "Villa Air / ARK-architecture" 30 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030593/villa-air-ark-architecture&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 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

In today’s homes, the boundaries between indoors and outdoors are becoming beautifully blurred, and courtyard design plays a key role in that transformation. No longer just decorative pockets of greenery, modern courtyards are fully integrated living spaces that bring natural light, fresh air, and a sense of calm right into the heart of the home. Whether you live in a city apartment or a suburban retreat, a well-designed courtyard can create flow, function, and serenity. It becomes more than an outdoor space, it becomes a natural extension of your daily life. In this guide, we’ll explore practical, creative courtyard design ideas that help you connect your interior with the outdoors. From lush garden rooms to cozy side patios, each idea is crafted to inspire a home that feels open, grounded, and alive. 1. Open-Plan Layouts That Frame the Courtyard Image Source: The Architect Diary An open-plan layout that wraps around a courtyard transforms the entire home experience. By strategically positioning living areas,like the kitchen, living room, or dining space,around an open-air courtyard, the outdoors becomes an organic extension of your indoor life. Floor-to-ceiling windows or sliding doors allow natural light and garden views to flow freely. This setup not only maximizes the courtyard’s visibility but also encourages daily use, blurring the lines between inside and outside. It’s especially effective in warmer climates, where fresh air and sunlight can be enjoyed year-round. This courtyard design creates a social hub and a serene retreat in one integrated space. 2. Use Vertical Space for Planting Image Source: HomesandGardens When square footage is limited, think upward. Using vertical space in your courtyard lets you enjoy lush greenery without compromising walkability or functionality. Wall-mounted planters, trellises, living green walls, and tiered shelves can host herbs, flowers, or trailing vines. This strategy not only maximizes planting room but also adds visual depth and texture. It’s ideal for urban courtyards or narrow side patios, where ground planting space is scarce. Vertical gardening also draws the eye upward, creating a sense of openness and scale. With thoughtful positioning, these green walls can mirror or complement interior design features, further connecting your indoor and outdoor worlds.  3. Water Features to Add Tranquility Image Source: Houzz A water feature, whether a bubbling fountain, koi pond, or minimalist wall cascade,adds peace and movement to your courtyard design. The gentle sound of flowing water soothes the mind and masks urban noise, turning the space into a true sanctuary. Water also reflects light and greenery, adding a dynamic visual layer. Compact courtyards benefit especially from wall-mounted or vertical designs, which save floor space while enhancing ambiance. Water features pair well with lush plants and stone elements for a naturalistic setting. Plus, they bring an added cooling effect in warmer climates. It’s a small feature with big sensory benefits. 4. French-Style Courtyard Image Source: The Spruce A French-style courtyard adds classic romance and timeless charm to your home. These courtyards often feature symmetrical layouts, gravel pathways, wrought iron furniture, climbing vines, and a central focal point like a fountain or statue. Boxwood hedges and potted lavender or citrus trees evoke the ambiance of a Parisian garden café. Ideal for homes with European-inspired architecture, this courtyard design feels elegant yet grounded. French-style courtyards blend effortlessly with interiors that favor neutral palettes, antiques, and organic materials. Even in modern homes, this style offers a sophisticated counterpoint to sleek lines. It’s a refined yet welcoming space that makes every day feel like a getaway. 5. Don’t Overcomplicate Your Space Image Source: HomesandGardens When it comes to courtyard design, simplicity often wins. Trying to incorporate too many features, like oversized furniture, mixed themes, or excessive décor,can make even a spacious courtyard feel cramped or chaotic. Instead, focus on clear, functional zones: a place to sit, a patch of green, perhaps one focal point like a water feature or tree. Neutral tones and natural textures help create a calm, cohesive atmosphere. Minimalism doesn’t mean boring, it means intentional. By keeping the design clean and uncluttered, your courtyard becomes a restful extension of your home, not an overstimulating departure from it. Simplicity creates harmony and usability. 6. Introduce Outdoor Lighting Image Source: HomesandGardens Outdoor lighting is essential for enjoying your courtyard after dark and for enhancing safety, mood, and aesthetics. Use layered lighting: overhead string lights or sconces for ambient glow, path lights for navigation, and accent lights to highlight plants or architectural details. Solar-powered options make installation easy and eco-friendly. Smart lighting systems let you control brightness or color temperature from your phone. Choose fixtures that echo your home’s interior style,modern, rustic, or industrial,for cohesion. Well-designed lighting doesn’t just extend courtyard use into the night,it also turns the space into a visual feature from inside, contributing to a seamless indoor-outdoor design. 7. Use Exaggerated Verticals to Maximize Space Image Source: Living get In courtyards with limited square footage, exaggerating vertical elements can dramatically expand the visual experience. Tall hedges, statement sculptures, narrow water walls, or climbing plants draw the eye upward, giving a sense of height and airiness. This is particularly useful in enclosed or urban settings where lateral space is tight. Pair vertical lines with mirrored surfaces or slim lighting fixtures for added effect. Inside, echo this verticality with tall windows or vertically stacked shelves that overlook the courtyard. These upward design cues establish continuity and give the entire area a modern, architectural flair while making it feel larger and more open. 8. Side Patio Courtyard Image Source: The Spruce A side patio courtyard is a smart solution for homes with narrow or awkwardly shaped outdoor areas. Tucked alongside the house, this type of courtyard can become a cozy, private retreat or a secondary dining and lounge zone. Maximize the space with slim furniture, vertical planting, and clean lines. Use glass doors or large windows to open interior rooms,like a kitchen or hallway,directly onto the courtyard, improving light flow and visibility. Even modest side courtyards can feel spacious when thoughtfully designed. With the right layout and materials, they become stylish outdoor rooms that serve as peaceful escapes or vibrant entertaining spots. 9. Built-In Benches or Daybeds Image Source: BetterHomes&gGardens Built-in benches or daybeds are functional and beautiful additions to any courtyard. These features maximize space and invite relaxation without cluttering the area with bulky furniture. Often integrated into low walls or along garden beds, they offer a clean, minimalist look while providing ample seating. Top them with weather-resistant cushions and fabrics in colors that echo your interior for design harmony. A daybed turns your courtyard into a sunlit lounge, ideal for reading or napping. Built-ins also make cleaning and maintenance easier and can be customized to fit awkward corners. Their permanence gives your courtyard design a polished, intentional finish. 10. Backyard Turned Courtyard Image Source: Living get If your backyard feels underused or too open, consider transforming a portion of it into a courtyard. You can define the space by adding partial walls, fencing, or tall plantings like bamboo or hedges to create a sense of enclosure. Incorporate a central feature such as a tree, water fountain, or fire pit to anchor the space. Add comfortable seating, outdoor rugs, and potted plants to bring warmth and purpose. This approach turns a generic backyard into a functional, intimate zone,perfect for reading, relaxing, or hosting. A backyard courtyard offers structure while preserving openness, giving your outdoor area new life. 11. Bring the Inside Out Image Source: HomesandGardens To achieve true indoor-outdoor harmony, replicate the feel of your interior design in the courtyard. Choose outdoor furnishings that mirror your indoor color palette, materials, and style. For example, use similar wood tones, textiles, and decorative elements like lanterns or throw pillows. Outdoor rugs, weatherproof sofas, and even coffee tables can make your courtyard feel like a living room under the sky. Add art, mirrors, or bookshelves with planters to soften the transition. This strategy helps the courtyard feel like a true continuation of your home rather than a separate zone. It enhances comfort, flow, and everyday livability. 12. Indoor Courtyard Turned Private Garden Image Source: Architectural design An indoor courtyard can become a hidden garden sanctuary with the right design approach. Enclosed or semi-enclosed by glass or open ceilings, these courtyards are perfect for curated greenery, from ferns and moss to small trees or flowering vines. Add gravel paths, benches, or a water feature to create a peaceful retreat visible from multiple rooms. This setup is especially useful in dense urban homes, where privacy is valued. The garden becomes a quiet core for reflection and relaxation, away from the outside world. It not only improves aesthetics but also enhances indoor air quality and emotional wellness. 16. Multipurpose Courtyard Space Image Source: Architectural design Why settle for just one use? Design your courtyard to serve multiple functions,such as a morning coffee nook, a kids’ play zone, or an evening yoga space. Use movable furniture, foldable tables, or modular seating that can be reconfigured as needed. Zone the area with rugs or planters to subtly divide uses without crowding the space. This flexible approach makes the courtyard dynamic and relevant to all members of the household. It’s especially useful in smaller homes where every square meter matters. A multipurpose courtyard adapts with your day, making it not just beautiful, but deeply practical. 17. Courtyard with Kitchen Access Image Source: Decorpad One of the most functional courtyard design ideas is positioning it directly off the kitchen. This setup makes alfresco dining a breeze and encourages more frequent use of the outdoor space. Add a BBQ grill, outdoor sink, or even a full mini kitchen with countertop space. For seamless service, consider installing a pass-through window or fold-up bar. It’s perfect for entertaining or simply enjoying a quiet breakfast outside. This courtyard becomes a social hub and culinary extension, combining practicality with pleasure. With the right setup, your kitchen and courtyard will work in tandem to elevate daily life. 18. Rustic Mediterranean Courtyard Image Source: Houzz Create the warm, welcoming feel of a Mediterranean escape by combining textured walls, clay pots, terracotta tiles, and flowering plants like bougainvillea or rosemary. Wrought-iron furniture, mosaic tables, and rustic wooden beams bring that sun-soaked, timeless atmosphere to life. Use soft, earthy tones, like sand, stone, and rust, to match your interior and make the courtyard feel grounded. This style blends perfectly with both traditional and bohemian interiors. With some soft lighting and olive trees, your courtyard becomes a rustic retreat that feels far away, even when it’s just a step from your living room. 19. Create a Spa-Like Feel With a Bathroom Courtyard Image Source: Living get Transform your daily routine into a wellness ritual by connecting your bathroom to a serene courtyard. A small, private outdoor space just off the bath or shower instantly adds a spa-like vibe. Think smooth stone pathways, tropical plants, soft lighting, and perhaps a water feature to enhance tranquility. Frosted glass doors or large windows maintain privacy while allowing natural light to pour in. Even a compact courtyard can elevate a bathroom into a peaceful retreat that feels worlds away from daily stress. This seamless connection between your indoor sanctuary and outdoor calm fosters relaxation, mindfulness, and luxurious everyday living Wrap Up  Great home design isn’t just about what happens inside four walls, it’s about how your living spaces connect, flow, and breathe together. Whether it’s a peaceful garden retreat, an alfresco dining space, or a flexible zone for work and play, the right courtyard design creates harmony between indoors and out. At Home Designing , we believe the best homes are the ones that reflect how you live, and how you want to feel. These courtyard ideas are just one way to craft spaces that are not only functional, but deeply personal and inspiring.

On this day in 1975, Industrial Light & Magic was officially signed into existence by George Lucas. By Lucas O. Seastrom ILM’s original crew for Star Wars: A New Hope (1977) poses in the front lot of their original studio (Credit: ILM & Lucasfilm). 50 years ago today on May 28, 1975, George Lucas signed a legal certificate issuing his formal shares of stock ownership in a new company: Industrial Light & Magic. It’s likely the founder affixed his signature without pomp or ceremony. There was too much to do. ILM, as it would come to be known for short, had less than two years to build a visual effects studio from scratch and create nearly 400 shots in a new space fantasy film called Star Wars. By that time in late May, Lucas had hired John Dykstra to supervise the film’s visual effects. The director had an audacious vision for creating dynamic images of spaceships dogfighting with each other. Lucas wanted the camera to move with the ships, as if the camera operators were up there to capture the action by hand. The idea broke many of the traditional rules in visual effects that typically required locked off cameras to allow for separate elements to be carefully blended together. Visual effects supervisor John Dykstra poses on the stage next to a TIE fighter miniature (Credit: ILM & Lucasfilm). John Dykstra was practically the only effects artist in Hollywood willing to buy into Lucas’s plans on the existing terms. He’d gained experience with the type of equipment that would be needed to realize the elaborate shots of custom-built miniatures. Dykstra was also a free thinker with a sense of adventure. There were only a handful of effects companies still operating, and none at a major studio. Most balked at the proposal, decrying its limited budget, tight schedule, and seemingly unattainable goals. So Dykstra was tasked with establishing a new operation. Lucas was a Northern Californian and planned to base the editorial side of post-production near his San Francisco Bay Area home. He wanted to do the same for visual effects. Dykstra argued otherwise, deciding to keep the new facility in Southern California where he had access to a network of talent and close proximity to third party film processing labs. So it was at some point in late May that Dykstra located and then leased a warehouse in Van Nuys, one of a number of towns that sprawled across the San Fernando Valley, a ways north of Hollywood proper, and conveniently removed from the overbearing presence of the established studios.  Located in an industrial park on Valjean Avenue, just a block from the south end of the Van Nuys Airport, ILM rented a building for $2,300 a month from owner Bill Hanna. It was two stories, made largely of stacked cinder blocks, with a large asphalt lot in front. Inside were a handful of unfurnished offices and open warehouse space with high ceilings ideal for hanging lights. Early on, Dykstra would drive his motorcycle through the building, leaving skid marks on the floor. It was often oppressively hot, even more so once the tungsten film lights were switched on, and Dykstra initially planned to construct a pool onsite, but later compromised with a cold tub that could hold multiple people. The exterior of ILM’s original studio in Van Nuys, CA. An explosion on the surface of the Death Star is photograped in the foreground (Credit: ILM & Lucasfilm). “It just popped into my head,” Lucas would recall about the name “Industrial Light & Magic.” “We were sitting in an industrial park and using light to create magic. That’s what they were going to do.” Initially, Dykstra worked out of Lucasfilm’s offices in a bungalow on the Universal Studios lot, a few minutes drive from Van Nuys. Soon he’d moved to Valjean, working off the floor before furniture was acquired. He was busy recruiting. By early June, modelmakers Grant McCune and Bill and Jamie Shourt were hired, as were production manager Bob Shepherd, technician Jerry Greenwood, first cameraman Richard Edlund, electronics designer Al Miller, and machinists Richard Alexander and Don Trumbull.  As former Lucasfilm executive editor J.W. Rinzler would note in The Making of Star Wars, “They all knew one another and had worked together before.” They’d worked on feature films with Douglas Trumbull (son of Don), or on commercials and other projects with Robert Abel and Associates. A later group would come from another commercial house, Cascade Pictures. Others came straight from universities where they’d studied everything from animation to industrial design. They brought with them aspects of the culture and methodology from these other places, together making something new and unique. Optical composite photography supervisor Robert Blalack’s Praxis Printer is loaded into the new ILM space (Credit: ILM & Lucasfilm). A view of one of ILM’s shooting stages in the rear of the original Van Nuys studio (Credit: ILM & Lucasfilm). Before anything else could happen, the Valjean warehouse needed to be converted into production space and workshops. Over six weeks into the summer, they first taped out sections and then constructed the designated areas themselves. On the first floor would be the optical and rotoscope departments, a model shop, machine shop, wood shop, two shooting stages in the rear, and production offices in the front. Upstairs would be home to the animation department, editorial, a screening room, and the art department.By July, optical composite photography supervisor Robert Blalack and animation and rotoscope supervisor Adam Beckett had been hired, as had a sound recordist and designer who would use ILM’s space as a sometime home base, Ben Burtt. By early August, artist Joe Johnston was setting up the art department (concept artists Colin Cantwell and Ralph McQuarrie had started much earlier, but each worked from home). Within a few months, a dozen people were on board, many of them attracted to join the project out of admiration for George Lucas, whose American Graffiti (1973) had made waves upon its release two years before. The second floor art department, with storyboard and concept artist Joe Johnston working at a desk in the background as modelmaker Paul Huston looks on (Credit: ILM & Lucasfilm). Film control coordinator Mary Lind in the upstairs editorial department (Credit: ILM & Lucasfilm). The spaces were ready by mid-summer, but ILM’s work had only just begun. It would take them nearly a year to successfully design and construct an entire visual effects facility and workflow, including miniatures, motion-control camera systems, optical printers, animation cameras, and blue screens. “There’s a significant difference between coming up with a good idea and executing it,” Dykstra would say. ILM’s initial budget was roughly $1.2 million. Although time was of the essence to build the various equipment, distributor 20th Century Fox was slow to provide any initial funds ahead of the main shoot, which would commence in the spring of 1976. So for much of its first year, ILM operated with George Lucas’s personal finances, thanks to the momentous commercial success of American Graffiti. Former ILM general manager Thomas G. Smith would explain in his 1986 book, The Art of Special Effects, how “Outside, it looked like all the other industrial-style buildings in the valley. Inside, it was staffed with very young technicians, some barely out of college, few over 30, some even under 20 years old…. The doors at ILM were open 24 hours a day; technicians and artists worked without regard to time clocks or job classifications. They were children of the ’60s, and many rebelled against authority figures and traditional work rules. There were no dress codes and no specified work hours; designers built models, and modelmakers ran cameras. But there was a strong esprit de corps and feeling of purpose in the building…. The involvement was with the cause rather than with the money; somehow the group felt they were a part of something really important.” John Dykstra inspects miniatures of X-wings, TIE fighters, and Y-wings (Credit: ILM & Lucasfilm). The first floor model shop in ILM’s original Van Nuys, CA studio (Credit: ILM & Lucasfilm). What this group was about to accomplish in less than two years was anything but certain that late spring of 1975. If anything, it was “a long shot,” as Dykstra himself would admit. “It was very, very hard to say specifically what was and what wasn’t going to work before we built it,” he told Cinefantastique in 1977. “So we just had to take a shot at it and all I could do was bluff it and say, ‘Oh yeah, everything’s gonna be fine!’”As would become the defining element of ILM’s success and endurance, it was the people who made all the difference. “It would be very hard to do Star Wars just by setting up an independent facility unless you had the personnel to do it,” Dykstra said. “The people who designed the equipment and constructed it made it all happen. Not only was it independent of studios but the people who were doing it are the best people in the industry right now.” What began quietly with a handful of people in a hot, mostly empty warehouse would ultimately do the impossible, not just in the sense of its accomplishments on screen or the resulting accolades, but in its ability to grow, adapt, and continue innovating time and again. That story continues today at the company’s studios around the world. Though ILM has long since outgrown its original warehouse, it still attracts the same intrepid, curious people who bring their passion for image-making and problem-solving to multiple art forms. Watch ILM’s new celebratory reel in honor of the company’s 50th anniversary: — Lucas O. Seastrom is the editor of ILM.com and a contributing writer and historian for Lucasfilm. Read more on the ILM.com Newsroom. Watch Light & Magic on Disney+.

Artificial intelligence has sent demand for electricity skyrocketing in the U.S. after years of virtually zero growth. That has sent Big Tech companies scrambling to secure generating capacity for their data centers. For many, that has meant turning to nuclear fission. The power source has been experiencing a resurgence in the last few years following decades of plant closures. (Fission, used in all current nuclear plants, is distinct from fusion, the still-experimental approach to getting power from atoms that, while attracting investors, has yet to produce more electricity than it consumes.) For tech companies, part of the appeal of fission is a stable, predictable source of power that flows 24/7, giving their data centers the potential to run computing loads whenever they require it.  But another part of the appeal lies in new reactor designs that promise to overcome the shortcomings of existing nuclear power plants. Where old power plants were built around massive reactors that could generate over 1 gigawatt of electricity, new small modular reactor (SMR) designs see multiple modules deployed alongside each other to meet a range of needs.  SMRs rely on mass manufacturing to bring costs down, but to date, no one has built one in the U.S. Still, that hasn’t kept Amazon, Google, Meta, and Microsoft away from the table. They’ve either signed agreements to buy power from nuclear startups or invested in them directly — or both. Here are the nuclear fission startups backed by Big Tech. Kairos Power Kairos Power received a vote of confidence from Google when the search giant promised to buy around 500 megawatts of electricity by 2035, with the first reactor targeted to come online by 2030. Techcrunch event Join us at TechCrunch Sessions: AI Secure your spot for our leading AI industry event with speakers from OpenAI, Anthropic, and Cohere. For a limited time, tickets are just $292 for an entire day of expert talks, workshops, and potent networking. Exhibit at TechCrunch Sessions: AI Secure your spot at TC Sessions: AI and show 1,200+ decision-makers what you’ve built — without the big spend. Available through May 9 or while tables last. Berkeley, CA | June 5 REGISTER NOW The company’s small modular reactors rely on molten fluoride salt for cooling and to transport heat to a steam turbine. The salt’s high boiling point means that the coolant doesn’t need to be kept at high pressure, which should improve operating safety. The reactors contain fuel pebbles coated in carbon and ceramic shells, which should be strong enough to withstand a meltdown. The Alameda-based startup has received a $629 million award from the U.S. government, including $303 million from the Department of Energy. In November 2024, Kairos received approval from the U.S. Nuclear Regulatory Commission to commence construction on two reactors in Tennessee. At 35 megawatts, the test units will be smaller than Kairos’ eventual commercial reactors, which are expected to generate 75 megawatts each. Oklo Oklo is another SMR company targeting the data center world — no surprise given that it was backed by OpenAI CEO Sam Altman, who also took the nuclear startup public via a reverse merger with his special purpose acquisition vehicle, AltC, in July 2023. Altman served as chairman of Oklo until April, when he stepped down as OpenAI began negotiating with Oklo for an energy supply agreement. DCVC, Draper Associates, and Peter Thiel’s Mithril Capital Management are among the startup’s previous investors. Cooled by liquid metal, Oklo’s reactor is based on an existing U.S. Department of Energy design that’s intended to reduce the amount of nuclear waste that results from regular operations. Still, Oklo’s path hasn’t been a smooth one. The company’s first license application was denied in January 2022. Oklo has said it will resubmit the application sometime in 2025. But that hasn’t stopped the company from landing a deal to supply data center operator Switch with 12 gigawatts by 2044. Saltfoss Like Kairos, Saltfoss, formerly known as Seaborg, also wants to build SMRs cooled by molten salt. But unlike Kairos and others, it envisions placing two to eight of them on a ship to create what it calls a Power Barge. The startup has raised nearly $60 million, including a $6 million seed round that included investments from Bill Gates, Peter Thiel, and Unity co-founder David Helgason, according to PitchBook. Satlfoss has an agreement with Samsung Heavy Industries to build the ships and the Satlfoss-designed reactors. TerraPower Founded by Bill Gates, TerraPower is building a larger reactor, called Natrium, which is cooled by liquid sodium and features molten salt energy storage. The company broke ground on the first power plant in June 2024 in Wyoming. The Natrium design calls for the reactor to generate 345 megawatts of electricity. That’s smaller than other new nuclear plants today but larger than most SMR designs.  But Natrium has a trick up its sleeve with its molten salt heat storage system. Since nuclear reactors operate best at a steady state, the Natrium reactor can continue breaking atoms when demand is low, and the extra energy is stored as heat in a vat of molten salt, which can be drawn upon later to generate electricity. Investors include Gates’ Cascade Investment fund, Khosla Ventures, CRV, and ArcelorMittal. X-Energy X-Energy landed a hefty $700 million Series C-1 last year led by Amazon’s Climate Pledge Fund. At the same time, the SMR startup announced two development agreements that would see the deployment of 300 megawatts of new nuclear generating capacity in the Pacific Northwest and Virginia. The company’s high-temperature, gas-cooled reactors buck recent trends in the U.S. and Europe, where the design has been shunned in favor of other approaches. The company’s Xe-100 reactor is expected to generate 80 megawatts of electricity. Helium gas flows through the reactor’s 200,000 billiard ball-sized fuel “pebbles,” absorbing heat to spin a steam turbine. 

Imagine traveling internationally without middle seats, popping ears, or TSA checkpoints. Imagine bringing four suitcases for free, and picture ever-changing views out the window throughout the journey.That's the reality on the Amtrak Cascades train, which runs through the Pacific Northwest and has coach and business-class seating.I recently rode it from Vancouver, British Columbia, to Seattle. My $50 train coach experience was far more enjoyable than any basic economy flight I've booked — and it turned out to be cheaper than airfare. My ticket to ride the Amtrak train from Vancouver to Seattle was less than half the price of flying. The reporter booked a coach-class ticket. Joey Hadden/Business Insider When I planned my trip from Vancouver to Seattle, I looked at train and flight prices. About a month before my trip, basic economy airfare was about $150 on airlines like Delta and United, among others. So I was shocked when I saw that an Amtrak train cost only $50 in coach.Sure, it was four hours long, compared to the roughly one-hour flight time, but I love trains. And since sustainability experts say traveling by train is more sustainable than flying, especially for short distances, I was certain of my decision to go with Amtrak. I arrived at Pacific Central Station at 5:45 a.m. for my 7 a.m. train to Seattle. Pacific Central Station is seen on a spring morning. Joey Hadden/Business Insider An email from Amtrak suggested arriving at least one hour before departure since we were crossing the US-Canada border during the trip.I filled out a customs declaration form inside the station and stood in the coach line to board after business-class passengers. Before getting to the platform, there was a brief customs stop, but no security checkpoints like you'd find in an airport. Before boarding, I dropped off my free checked bag at the back of the train. Passengers bring checked bags to the back of the train. Joey Hadden/Business Insider Coach cars were toward the front of the train, but a crew member directed me to the back first to drop off my checked bag.According to Amtrak Cascades, each passenger can check up to two bags at no charge and two more for $20 each.Passengers can also bring one personal item and two carry-on bags in the train car, as overhead bin space and a luggage rack are inside each.To recap, that's up to four suitcases for free — more than I've ever experienced on a flight.I had just one suitcase and a backpack, but this could save a lot for a traveling family or a heavy packer. Seating in the coach cars was first-come, first-served, and there were no middle seats. Inside a coach car on an Amtrak train. Joey Hadden/Business Insider Two sets of two seats were on either side of the train, so no one would get stuck in the middle.I grabbed a seat in an empty row and had the entire ride to myself. The seats felt larger and more comfortable than economy flight seats. The reporter's backpack in an empty row of seats. Joey Hadden/Business Insider I settled into my seat at 6:35 a.m., and the train departed right on time. I immediately noticed the seats were bigger and cushier than any basic economy flight seats I've experienced. I also had more legroom than I've had on most flights.The seats reclined and had power outlets, overhead reading lights, and tray tables. The bathrooms were more than twice the size of any I've seen on a plane. Inside the train bathroom. Joey Hadden/Business Insider Each car had two restrooms. Unlike on a plane, where there is only enough floor space for my two feet, these bathrooms were large enough for me to move around in.There were also two power outlets. I imagined travelers could comfortably conduct their morning routines in there, from brushing their teeth to doing their hair. After departure, I headed to the café car. Snacks were behind the counter in the café car. Joey Hadden/Business Insider By the time we departed, I'd already been awake for over two hours. So I was more than ready for breakfast.Unlike on a flight, no attendants passed by offering free snacks and beverages. Instead, Amtrak trains have a café car selling various snacks, from chips and candy to muffins and cookies. They also had salads and microwaved meals like breakfast sandwiches and Cup Noodles. For $8, I got a breakfast sandwich and a bottle of water. The reporter ate breakfast at her seat. Joey Hadden/Business Insider I brought my meal back to my seat and used the tray table in front of me.I wasn't expecting my microwaved sausage, egg, and cheese sandwich to be very tasty, but it wasn't too bad for a meal heated up in a sealed plastic bag. It didn't taste as good as the breakfast sandwiches I've had in Amtrak's dining cars on overnight trains, but it filled me up and was more satisfying than any meal I've had in the air. Once I fueled up, I stared out the window at the passing views through British Columbia. Views of British Columbia from the rails. Joey Hadden/Business Insider Even as a frequent flyer, I still find the views from an airplane when ascending and descending pretty surreal. But the view doesn't change once in the air, save for sunsets, sunrises, and passing clouds.That's not the case on a train. Instead, passengers see change through rural towns, cities, and natural environments throughout their journey.I love getting a glimpse of these in-between places. Seeing farms, shorelines, and clusters of houses in British Columbia made me ponder what it would be like to live in the Canadian province. Once we hit the border, the train stopped for about 30 minutes. The train stops at the US border. Joey Hadden/Business Insider During the half-hour the train was stopped at the US border, passengers weren't allowed to use the café car or bathrooms, and patrol agents boarded to check passports and take a declaration form filled out at Pacific Central Station in Vancouver. They also asked international passengers about where they were going, why they were going there, and how long they planned to stay. I spent the rest of the journey working on my laptop, thanks to free WiFi. The reporter used WiFI on the Amtrak train. Joey Hadden/Business Insider I had access to complimentary WiFi throughout the journey. And since my trip was three hours longer than a flight would have been, I appreciated being able to use the time productively. The train arrived on time at 11:40 a.m. Inside King Street Station in Seattle. Joey Hadden/Business Insider I headed into Seattle's King Street Station to the baggage claim belt and waited about 10 minutes for my suitcase to arrive.Even though the train trip was longer than a flight, it was much less stressful than air travel. The ease of navigating a train station compared to an airport, a more comfortable seat, and a lower price point made it worth the long-haul ride.