May 20, 20254 min readContributors to Scientific American’s June 2025 IssueWriters, artists, photographers and researchers share the stories behind the storiesBy Allison Parshall edited by Jen SchwartzJennifer N. R. Smith. Charles SmithJennifer N. R. SmithThe Social Lives of MitochondriaIn 2020, on a trip to Devon, England, Jennifer N. R. Smith (above) went swimming in the sea. Just as night fell, the water began to glow with light from bioluminescent algae. “It’s electric blue,” she recalls. “If you lift your arm up out of the water, it kind of sparkles all over your skin. It was the most magical experience I’ve ever had.” Smith, who had just finished a program in medical illustration, felt she had to draw this phenomenon immediately.Smith took inspiration from that experience to create her own style of illustration, which combines the traditional textures of collage and paper marbling with a technique called reverse stippling—pinpricks of light over a dark background. The technique evokes wonder in her for the natural world, with the dots representing more than just flecks of algae on her skin. “They could be the night sky or atoms, either the macro or the micro.”On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.For this issue’s feature story on the mysteries of mitochondria, by behavioral neuroscientist Martin Picard, Smith visualized the organelles’ zigzagging inner walls by using this illustration method to “turn the mitochondrion into a labyrinth.” Rather than explaining concepts to readers with her drawings, she tries to invite them in by inspiring a sense of awe. “If you can spark wonder within someone about a certain topic,” she says, “they will interact with it in a way that’s much more deep and authentic.”Alec LuhnRefreezing the ArcticIn February climate journalist Alec Luhn took four days and four planes to travel to Cambridge Bay in Canada’s Nunavut territory. It was his second trip to the Arctic Circle for Scientific American—in 2023 he went to Alaska to investigate why rivers in Kobuk Valley National Park were turning orange. This time, while reporting on efforts to refreeze parts of the melting Arctic to stall the worst effects of climate change, he was struck by just how fast the environment was changing.“This is the Northwest Passage—the holy grail of ocean exploration for 400 years,” Luhn says, referring to the famed sea route connecting the Atlantic and Pacific Oceans. Many colonial explorers died trying to navigate the ice-clogged sea lane, “but now that ice is melting to the degree that cruise ships go through the Northwest Passage every single summer,” and local Indigenous communities, he says, are struggling to maintain a way of life that depends heavily on sea ice for hunting, transportation, and more.As Luhn observed the efforts to refreeze the melting cap, he often thought about how this harsh environment has made a mockery of colonial expeditions’ efforts to bend it to their will. “And here we are now again, trying to bring our technology to bear on the forces of nature” to counteract the melting we continue to cause, he says. “Will we succeed this time?”Rowan JacobsenCan Sunlight Cure Disease?For the past few years science journalist Rowan Jacobsen has been fascinated by the effect of light on our bodies. “We tend to think of light as ephemeral,” he says, yet it is physical—we’re constantly bombarded by photons, little packets of energy. “There’s no way it couldn’t have a health impact, in a way,” he says. Indeed, research across fields of medicine has shown that people exposed to more light tend to have better health outcomes. In our cover story for this issue, Jacobsen explores new phototherapies for autoimmune conditions such as multiple sclerosis.Jacobsen has written several books, on topics including oysters, truffles and chocolate. Food, he says, is a “clandestine” way to get people interested in the natural world. For his next book, about how light affects health, he recently embarked on a “self-experiment.” Jacobsen rented a 1962 Airstream in southwestern Arizona and spent a month without artificial light at night. After sunset “there’s nothing to do [except] lie out and look at the stars,” he says.Jacobsen had returned to his home in Vermont just before we spoke for this interview, and he reported feeling refreshed. “My energy and my focus were awesome,” he says, attributing the improvement mainly to the early mornings. “Less [artificial] light at night was good, but I think the bright sunlight in the morning was equally important.”Jay BendtScience of HealthJay Bendt fell into her illustration career “sort of backward,” she says. She had planned to take the path of many members of her family and become a doctor. But during her first year of college, she expressed interest in drawing on an administrative form and was unwittingly sorted into an art-focused track. “Being very young, I was like, ‘You know what, that actually doesn’t sound like a bad idea,’ ” she recalls. Bendt had grown up drawing in the age of DeviantArt, an online art platform popular in the 2000s, and had been inspired by the “magical girl” aesthetic of Sailor Moon and other anime. After graduating with a painting degree, she learned to integrate these interests with formal, conceptual skills to become a freelance illustrator.Bendt illustrates Scientific American’s Science of Health column, written by Lydia Denworth. This issue’s column about the impact of exercise on gut bacteria was a particular challenge. “Anything that has bacteria in it is one I need to think on more” to make it original, she says; it’s too easy to fall back on drawing little anthropomorphic cells. For editorial illustrations, Bendt picks a style that matches the story, but her personal work is unfailingly whimsical. “I try to make work that, once you’ve caught a glimpse, you have to look at it.”

Sharks don’t have bones. Instead, their skeletons are made from mineralized cartilage that helps them constantly move through water. To understand the internal “sharkitecture” that helps keep these animals strong and graceful, researchers are putting sharks under the microscope. A new study, published in ACS Nano, found some surprising results. After analyzing shark cartilage, there appear to be two different regions within it. And each appears to have vastly different structures. These structures have shown a resistance to destruction and could inspire strong, flexible materials for the future. Analyzing a Shark Skeleton An X-ray nanotomography reconstruction of the intermedial cartilage of a blacktip shark. The colors indicate the thickness of the struts, with red representing thicker areas and blue indicating thinner ones. (Image Credit: Florida Atlantic University)Sharks are powerful and efficient creatures. Thanks to their skeletal frame, made of mineralized cartilage, their spines can act like a spring, which stores and releases energy as they move their tails, according to a press release. Wanting to better understand how this cartilage helps keep sharks atop the ocean’s food chain, researchers from the Charles E. Schmidt College of Science and the College of Engineering and Computer Science at Florida Atlantic University (FAU), in collaboration with the German Electron Synchrotron (DESY) in Germany, and NOAA Fisheries, have analyzed blacktip sharks (Carcharhinus limbatus) and mapped out their internal structure. The team used synchrotron X-ray nanotomography with detailed 3D imaging and in-situ mechanical testing to create the map. The results showed that on a nano level, the blacktip shark’s cartilage had two distinct regions, the corpus calcareum and the intermediale. Though both of these regions are made up of densely packed collagen and bioapatite, they have vastly different internal structures. Strong Microscopic Structures According to the study, in each region, the cartilage is porous and also has thick struts that help the skeleton with strain from multiple directions. This is a key adaptation as sharks are continuously moving and putting pressure on their spines.  Researchers also found microscopic needle-like bioapatite crystals, similar to those in human bones, that were lined up with strands of collagen. This is another factor that gives shark cartilage extra strength and flexibility. Along with that, the research team also noted helical fiber structures, also with collagen, which suggests the cartilage is designed to prevent any cracks from spreading, and help to distribute staring and force. “Nature builds remarkably strong materials by combining minerals with biological polymers, such as collagen – a process known as biomineralization. This strategy allows creatures like shrimp, crustaceans, and even humans to develop tough, resilient skeletons,” said Vivian Merk, senior study author and an assistant professor in the FAU Department of Chemistry and Biochemistry, in a press release.“Sharks are a striking example. Their mineral-reinforced spines work like springs, flexing and storing energy as they swim. By learning how they build such tough yet adaptable skeletons, we hope to inspire the design of next-generation materials,” Merk added in the release. Shark Inspiration for MaterialsThe research team applied pressure to microscopic pieces of the shark’s vertebrae and found deformations, smaller than one micrometer. The team only noticed fractures in the vertebrae after a second round of pressure was applied. But even then, the fractures were only found within one mineralized plane, proving how strong the material was. “After hundreds of millions of years of evolution, we can now finally see how shark cartilage works at the nanoscale – and learn from them,” said Marianne Porter, study co-author and an associate professor in the FAU Department of Biological Sciences, in a press release. “We’re discovering how tiny mineral structures and collagen fibers come together to create a material that’s both strong and flexible, perfectly adapted for a shark’s powerful swimming. These insights could help us design better materials by following nature’s blueprint,” Porter added in the release.Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:A graduate of UW-Whitewater, Monica Cull wrote for several organizations, including one that focused on bees and the natural world, before coming to Discover Magazine. Her current work also appears on her travel blog and Common State Magazine. Her love of science came from watching PBS shows as a kid with her mom and spending too much time binging Doctor Who.

For one week in May, New York City is a scheduling race for contemporary art lovers, with multimillion dollar auction previews at both Christie’s & Sotheby’s, over eight major art fairs, and over a 100 peak gallery openings. In the scheduling competition to see it all, it’s no small feat for an artwork to pull you back for a second view or a longer pause. Below are the two most “paused” artworks from my visits to the four biggest fairs in New York this spring. FRIEZE NEW YORK Frieze New York, the fair at the center of it all, was again located at The Shed in Hudson Yards, bringing more than 65 leading galleries from over 25 countries across three floors. Frieze New York has a wonderful crowd energy and this year was a great reminder that the most famous contemporary artists working today continue to dream and produce the unbelievable. Jeff Koons at Gagosian Gallery Jeff Koons. Frieze New York, 2025, installation view. Artwork © Jeff Koons, Incredible Hulk , and © Marvel. All rights reserved. Photo: Maris Hutchinson. Courtesy Gagosian Jeff Koons. Hulk (Tubas), 2004-2018. © Jeff Koons, Incredible Hulk , and © Marvel. All rights reserved. Photo: Ela Bialkowska, OKNOstudio. Courtesy Palazzo Strozzi and Gagosian This year, Gagosian Gallery presented a crowd-gathering trio of Jeff Koons’ “Hulk” sculptures in a booth fully designed and conceived by the artist. Though each appears to be store-bought vinyl inflatables, all are made from heavy polychromed bronze. “Hulk (Tubas), 2004-2018” (above) includes a functional brass multi-belled tuba, while another was imbedded with real organ parts. Read more about the works and the history of the Hulk Elvis series on the gallery’s page or watch a performance on the functional instruments on Jeff Koons’ Instagram. Jeff Koons. Hulk (Tubas), 2004-2018. Photo: David Behringer   Lorna Simpson at Hauser & Wirth Gallery Hauser & Wirth Gallery presented an incredible selection of gallery artists, including these brand new works on paper by Lorna Simpson. Continuing her series of small collages that combine images cut from advertisements in vintage Ebony and Jet magazines with surreal expressive ink washes – each is a celebration and questioning of representation, history, and culture. Lorna Simpson. Walking Glare, 2025. © Lorna Simpson, Courtesy the artist & Hauser & Wirth. Photo: James Wang Lorna Simpson. Amplified. 2025. © Lorna Simpson, Courtesy the artist & Hauser & Wirth. Photo: James Wang   TEFAF Art Fair TEFAF (The European Fine Art Foundation) occupied the entirety of the historic Park Avenue Armory. The fair is known for its museum-quality presentation with works that span from ancient Rome, Contemporary Art and world-class design – a unique and must-visit experience all its own. View of art fair from above with visitors and booths.   George Condo at Gladstone Gallery The mixing of historical weight and contemporary art at TEFAF is the perfect setting for an amazing collection of George Condo drawings. Presented by Gladstone Gallery in a deep red “salon-style” hanging, the early works all range from 1984-1986, a critical moment of Condo’s artistic development. Each gives the sense that we’re watching an idea being born – images and individuals being pulled between representation and abstraction. Installation view, TEFAF New York 2025, New York, May 9 – 13, 2025. Courtesy of Gladstone. Photo: David Regen George Condo. Untitled (NYC 38th St.), 1986. © George Condo / Artists Rights Society (ARS), NY. Courtesy of the artist and Gladstone. Photo: David Regen George Condo. Untitled, 1985. © George Condo / Artists Rights Society (ARS), NY. Courtesy of the artist and Gladstone. Photo: David Regen   Yeesookyung at Massimo De Carlo Gallery One of the best exhibitions at The Metropolitan Museum of Art this summer is Monstrous Beauty – a must-see show that features these massive sculptures in a sunlit atrium by South Korean artist Yeesookyung. So it was such a gift at TEFAF to see several smaller works by the artist at two different gallery booths. Works were spotted at The Page Gallery from South Korea and at Massimo De Carlo Gallery (below). Continuing her use of broken pottery shards to build organic forms using the Japanese technique of kintsugi, the new forms and combinations are most surprising as you circle them – always beautiful but never predictable. Yeesookyung, Translated Vase 2020 TVG 13, 2020. Presented by Massimo De Carlo Yeesookyung, Translated Vase 2020 TVG 13, 2020. Presented by Massimo De Carlo   INDEPENDENT Art Fair INDEPENDENT was hosted again this year at the super modern and sunlight-filled “Spring Studios” in Tribeca where over 118 artists were presented by 82 international galleries and nonprofit organizations. My personal favorites this year celebrated process and material with a joyful wonder and high level of craft. Maximilian Schubert at Off Paradise Off Paradise installation at INDEPENDENT art fair. Photo: Marc Tatti Presented by Off Paradise, Maximilian Schubert’s ethereal “paintings” are not what they appear to be – created from solid pigmented urethane resin that has been cast from a mold of a real painting (also created by the artist) and painted only on the sides to mimic canvas and tacks/staples. The object is heavy and solid, allowing Schubert to create ethereal color transitions with multiple layers of resin pours. Even from close examination, everything about them looks like paint on canvas and yet they emit something psychically different – a sustained aura of intrigue that never expires. Maximilian Schubert, Untitled (Over New York), 2024. Photo: Marc Tatti Maximilian Schubert, Untitled 2025, Photo:  Marc Tatti Maximilian Schubert, Untitled 2025 (detail)   Terran Last Gun at Diane Rosenstein Gallery This was my first time seeing Terran Last Gun’s incredible work that uses antique ledger paper (most over 100 years old) with the addition of colorful geometric forms in ink and colored pencil. Presented by Diane Rosenstein Gallery, the artist is based in Santa Fe, and an enrolled citizen of the Piikani Nation (Blackfeet) of Montana. The work feels like a dance across time – a complex conversation with material and traditions, past and present. Learn more about his work and its history on the gallery webpage. Terran Last Gun, Stop For A Moment And Appreciate, 2025. Courtesy the artist and Diane Rosenstein Gallery, Los Angeles. Photo: Robert Wedemeyer Terran Last Gun, Gathering Of Distinguished Knowledge Holders, 2025. Courtesy the artist and Diane Rosenstein Gallery, Los Angeles. Photo: Robert Wedemeyer   NADA ART FAIR The NADA Art Fair (New Art Dealers Alliance) was hosted for the first time at The Starrett-Lehigh Building in the very heart of the Chelsea gallery district. My favorite works were an intelligent mix of whimsy and grit that resulted in many great conversations and new revelations on how to see the world. Jaime Pitarch at Spencer Brownstone Gallery Jaime Pitarch. Calderilla, 2025. Courtesy of the artist & Spencer Brownstone Gallery After seeing an number of great Calder works up for auction this season, Jaime Pitarch’s whimsical reference to Calder was both joyous and profound. Presented by Spencer Brownstone Gallery, this 7-foot hanging work is titled “Calderilla” – a reference to both the Spanish word for “pocket change” AND the name Alexander Calder. Made from the real coins found in the artist’s pocket, it continues the artist’s long practice of re-presenting everyday objects to create sustained curiosities and beautiful artworks. Here metal currency is literally elevated – both in gravity and function, questioning ideas of value, craft, art, and perhaps the future of physical money itself. Jaime Pitarch. Calderilla, 2025. Courtesy of the artist & Spencer Brownstone Gallery   Alexandria Tarver at Et al. Gallery The most time was spent with these quietly mysterious pairings by Alexandria Tarver, presented by San Francisco-based gallery Et al. Each frame holds two works on paper: a larger colorful painting and a small sketch on a ripped out page of note paper. The pencil sketches were produced on a visit to Baja California where the artist used the only “drawing materials” available to capture seascapes and landscapes. They each feel as if they are recording enough information for the artist to remember a precise moment – a necessary speed of transcription that perhaps captures a particular ocean wave or an ephemeral breeze. That tiny notepad was then used as a reference to create the larger colorful paintings – a second translation into something different but still emotionally connected. Here too we play witness to the evolution of a memory and idea, sharing a feeling of a place and time. Alexandria Tarver. questions, TS 2, 2025. Courtesy the artist & Ed al. Gallery Alexandria Tarver. questions, TS 5, 2025. Courtesy the artist & Ed al. Gallery I highly recommend signing up on any/all art fair newsletters or creating a login for any of the below. The emails they send out are not too much, and are perfect reminders when the next fair/events will take place. See you there! FRIEZE NEW YORK TEFAF NEW YORK INDEPENDENT NADA 

What does it mean to design from the inside out? For Ionut Radulescu, the answer lies in work that's unapologetically personal, often intimate, sometimes raw, and always resonant. Whether crafting bold editorial collages, expressive lettering or hand-drawn brand campaigns, the Romanian-born, Brooklyn-based designer and illustrator builds visual worlds with heart. "I think there's a certain power in being vulnerable, raw, authentic," he says. "And people can feel that – they can resonate and react to these visual messages." Ionut's creative language spans illustration, type, print and digital, often sitting at the intersection of identity and motivation. His clients include The New York Times, Peloton, Converse, Teen Vogue, Pepsi, and Dipsea, but his visual voice first gained traction through personal projects. Posted to Instagram like visual diary entries, these self-initiated pieces soon caught the attention of like-minded brands seeking a similar honesty and intensity. "The series Shapes and Flesh, these collages, shapes, sometimes mixed with type, were inspired by my queer life. I wanted to translate those experiences into abstract visuals," he explains. "The same goes for my Words Are Images typographical quotes. Words have a strong visual impact, and I wanted to explore that." Ionut's is an instinctive, emotion-led approach shaped by more than a decade of exploration. Originally trained in industrial design at the Marin Sorescu Art High School in Craiova, Ionut later studied graphic arts at the National Art and Design University in Bucharest, where he would go on to co-teach illustration and lettering classes alongside professor Stela Lie. The two remain close collaborators through Romania's Illustrator's Club, which is a creative community from which Ionut still draws inspiration. "Europe and Romania have a more experimental approach to visual culture in general. There are a lot of indie artistic festivals and platforms that play more and explore interesting ways of storytelling," he says. "I'm part of the Illustrator's Club Romania, and we have members in there with very unique, experimental voices." While his early influences included British illustrators Marion Deuchars and Sara Fanelli, a move to New York helped sharpen Ionut's visual style, stripping it back and simplifying the language but dialling up the emotional directness. Bold colour, graphic forms, and a preference for hand-crafted imperfection became key to his work, whether for print, editorial, or branding. "It's important to me that you can feel the human touch. Even if it's a final digital piece, I want it to have that emotion," he says. For a Dipsea cover, for instance, the ink-drawn type was sketched on large sheets of paper before being digitised. "The computer can't always capture the spontaneity, the energy, the roughness. I like seeing that imperfection." It's a philosophy that shaped his recent award-winning work, too. His recent American Illustration win celebrated a collage and type piece that plays with balance, boldness and visual rhythm – a kind of structured chaos that invites interpretation. This blend of freedom and form is what makes Ionut's output feel both striking and sincere. Beyond the craft, it's the message that always matters most for Ionut. From collages on queer identity to affirming typographic statements on confidence and self-worth, his illustrations often speak directly to viewers' emotional states. That connection is part of the goal. "I want to inspire and motivate people," he says. "I want them to feel, react, reflect and stay with the artwork for a bit, even if it's just a short moment. That makes me happy. That means the message came across." He recalls messages from strangers who've seen his work and felt lifted or comforted by the sentiment. "It goes beyond aesthetics and creative craft," he adds. "Sometimes we just need to hear something or see it in order to feel better." That personal resonance translates into his commercial work, too. Ionut's ability to channel emotional and cultural themes has led to collaborations with brands that value not just good design but meaningful storytelling. From feminist and sex-positive narratives at Thinx and Dipsea to identity-affirming work for Hello Mr. magazine, the thread between personal and professional remains strong. "Queer themes, identity, sexuality, feminism, motivation — these are important to the clients I've worked with, and I was fortunate to be able to come in and express those things to a wider audience," he says. Of course, Ionut's process can differ with each project. Editorial and personal projects might be led by instinct and reflection, but campaigns and branding briefs often require strategic alignment, mood boards, deck presentations, and collaborative iteration. Still, Ionut welcomes the structure, especially when it allows space for meaning. "I've learned to enjoy the creative journey," he says. "The most important thing is working with a good team toward a common goal: to make something great and meaningful that makes you feel, that makes you react." Outside of client work, Ionut has also been active as a mentor, educator, and awards judge, most recently for global platforms like The One Club. Teaching, he says, is a way to give back and keep learning. "I think we live in exciting but challenging times. Technology is moving fast, so I try to ground students to ask the right questions and think beyond trends," he says. "It made me really happy to see some using analogue mediums in really experimental ways. There's still so much potential in that." For someone who began his creative life before touching a computer, print remains a powerful medium. His limited-edition screen prints for Print Club London speak to that love: tactile, imperfect, handmade. "Print has tactility," he says. "You can touch it, hold it, experience it in a way digital can't replicate." Yet he isn't precious about tools. While Ionut still favours hand-drawn elements and lo-fi media, he's curious about technology's role, including animation and, tentatively, AI. "I want to animate my lettering, type and illustration pieces more and maybe explore sound," he says. "I've experimented a bit with Blender while keeping that handmade feeling. And I've used AI in subtle ways to enhance images or speed up production." But for Ionut, the tools are secondary. "Ultimately, it's just that – tools. What matters is the craft and the voice. That took me years to build, and I'm still evolving." As for what's next, Ionut is pretty open. "I want to let myself be surprised," he says. "I want to work with great people, be excited about the process, and be part of a community. Keep learning, keep exploring." That sense of curiosity and openness runs through all of Ionut's work. Whether working with global brands or drawing for himself, he returns to a simple, striking idea: creativity as self-expression, crafted with care and shared without shame.

Submitted by WA Contents MVRDV, Heatherwick and Mecanoo among finalists to design a new world wonder for climate action Netherlands Architecture News - May 19, 2025 - 04:22   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The five finalist teams moving on to Stage Two of Shift's international architecture competition were revealed today by the steward-owned social company, which is committed to sparking huge climate action. Global architecture firms MVRDV, Heatherwick Studio and Mecanoo, Office for Political Innovation, and Ecosistema Urbano are among the finalists in Shift's international architecture competition. The Shift International Architecture Competition, which was introduced in January with a €250,000 prize pool, aims to create a landmark that will become a "new world wonder"—one whose architecture and visitor experience encourage strong emotional bonds and motivate significant behavioral change in response to the climate crisis.Image © Mecanoo, collage, courtesy of Shift CompetitionAccording to Shift, the landmark should aim to create the next wave of environmentally friendly architecture. Shift has created a permanent program that will promote and foster sustainable practices in this new area. Through immersive experiences, it will showcase the real-life tales of advocates for sustainability and climate change.DVDL, an agency based in New York, is in charge of the competition. Eighty teams submitted proposals after teams from 50 countries downloaded the brief. A varied panel of eleven experts in the fields of architecture, sustainability, biodiversity, culture, and impact investment chose three of the five finalists. After considering a variety of viewpoints, the jury decided to advance the following three teams to the competition's second round: MVRDV, Heatherwick and Mecanoo, Office for Political Innovation, and Ecosistema Urbano. Image © Heatherwick Studio, collage, courtesy of Shift CompetitionBefore the final jury presentation, each team—including the two pre-selected ones—will get €40,000 to broaden their idea. The winning idea will receive an extra €50,000 and serve as the basis for the first Shift Landmark, which will be constructed in the Netherlands."Architecture today must do more than solve problems—it must spark imagination, shift behavior, and foster new forms of community. The five selected proposals each do this in their own way. They challenge conventions, embrace complexity, and show how design can become a catalyst for systemic change. This is the kind of thinking our future demands," said Ben van Berkel, architect and a jury member. Carice van Houten, actor, and environmental advocate and a jury member, added: "Real change doesn’t happen in isolation—it happens in community. What excites me about these finalist designs is that they go beyond sustainability checklists. They invite people in and create space for connection, reflection, and shared responsibility. We need places like that—places that bring people together and remind us what we’re fighting for."Image © Office for Political Innovation, collage, courtesy of Shift CompetitionShift founder Don Ritzen remarked: "The finalist teams show what’s possible when design meets purpose. Each concept has the potential to spark millions of 'satori moments'—personal awakenings that fuel real-world change."In the competition's second phase, the teams will proceed and begin honing their designs. Moving people from passive awareness to active participation in addressing the climate issue is the goal of Shift's historic effort. With emotional storytelling, immersive experiences, and community involvement, Shift hopes to set off a social tipping point when sustainable living becomes the new standard.Image © Ecosistema Urbano, collage, courtesy of Shift CompetitionShift Competition Jury Members included Aric Chen, Director, Nieuwe Instituut, Astrid Leyssens, Founder, We Are Impact Collective, Ben van Berkel, Founder, UNS, Carice van Houten, Activist, Actress, Clemens Brenninkmeijer, Head of Sustainability, Redevco, Dr. Lewis Akenji, Executive Director, Hot or Cool Institute, Géke Roelink, Director, NEMO Science Museum, Lodewijk Hoekstra, Ambassador and Presenter, Matthias Schuler, Founder, TRANSSOLAR, Mireia Luzárraga, Co-Founder, TAKK and Nicole Maarsen, Real Estate Investor and Trusted Advisor.The top image in the article: MVRDV, collage, courtesy of Shift Competition. > via Shift Competition 

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" A unique insight into the reality of NATO's eastern boundary is provided by the Latvian Pavilion at the 2025 Venice Architecture Biennale. The exhibition, titled Landscape Of Defence, examines how defense infrastructure affects daily living, the land, and public perception. Located in the center of the Biennale's main display path, Campo della Tana provides entrance to the Artiglierie of the Arsenale, where the Pavilion is housed.The Pavilion, which was designed by Latvian architecture studios Sampling and Nomad and curated by Liene Jākobsone and Ilka Ruby, explores the junction of the military and civilian environments along Latvia's borders with Belarus and Russia, posing significant questions.What does it mean to be on the periphery of NATO during a geopolitical conflict? How are lives and landscapes shaped by defensive measures?, asked the curators. National and NATO-wide defense are now a part of everyday life in Latvia and are not merely a government mandate.Visitors are urged to reevaluate the concept of "border" in a time of global unrest by use of an impactful and provocative exhibition design. The curators present opposing viewpoints: Architect and designer Liene Jākobsone, who holds a PhD in product design, is the director of the Art Academy of Latvia's Institute of Contemporary Art, Design, and Architecture and co-founder of the firm Sampling.Her research focuses on the relationship between cultural creation and geographical activity. The independent publishing company Ruby Press, which focuses on architecture and spatial activities, was co-founded by author and curator Ilka Ruby. She offers a more comprehensive analysis of the political and social function of architecture through a critical and transdisciplinary perspective.Road signs, watchtowers, fences, barbed wire, and other man-made structures found in the Latvian borders are among the natural elements, vernacular architecture, and remnants of everyday life that are documented in a photographic collage that is shown behind a wide circular curtain that defines the exhibition area. Anti-tank hedgehogs, dragon's teeth, a surveillance pole, and rustic wooden benches are among the items from the military and civil worlds that are replicated in the center using luminous, abstract material that changes their look and encourages critical thought.Six television screens provide the illusion of a control room: footage, shown in Latvian with English subtitles, switches between shots of the surrounding terrain and testimony from border residents. A second, 4.5-meter-tall curtain on one wall displays a sizable, historically-inspired map of the 30-kilometer border zone. From the standpoint of military defense, informative writings and firsthand accounts provide a human and spatial context. The pavilion's technical details and curatorial text are also displayed on the same curtain.The Latvian Pavilion highlights the complexity involved in developing defense infrastructure rather than offering answers. In the face of actual threats, walls and barriers might be required, but they also present moral, environmental, and aesthetic issues. The goal is to encourage discussion among visitors as well as with military and political stakeholders on the interrelationships between security, space, and society.A folded-out catalogue in postcard size, published by Ruby Press, is included with the exhibition. It features original pictures by Latvian photographer Reinis Hofmanis, who received the Fuji Global Grant for his borderlands investigation, as well as an essay by Liene Jākobsone. The publication, which resembles a passport, emphasizes the relationship between territory and identity, the experience of crossing, and the importance of the border."The eastern border of Latvia has been fortified in such a way over the past few years. Work is still underway, but the territory has changed significantly. The border is not just a line, but an area. A whole landscape of defence has been created along with imposing fortifications," as Jākobsone writes in the postcard leporello. "The border itself (...) marks the end of the country and, in this case, of a much wider region — that of Europe. (...) These postcards from the very edge of Europe are not only a testimony to its diversity and its values, but also offer an opportunity for this landscape of defence to be represented to those it is intended to defend.""In Berlin, where I live, you still feel every day how the fall of a physical and systemic border can transform a city’s urban fabric. That frontier has now shifted to the border between Latvia — and Europe — and Russia. Our goal is to understand the effects that such fortifications can have on landscapes and lives," added Ruby.Uncertain characters, halfway between tour guides and sentinels, greet guests at the Pavilion while wearing outfits created by Latvian fashion designer Laima Jurča.The Pavilion's suspended atmosphere, which reflects the entrance of a militarized zone where the public is faced with the tension between security and threat, welcome and surveillance, freedom and control, is heightened by their subdued yet noticeable presence, which evokes gestures and postures of control."What does it mean to live on NATO’s external border in times of geopolitical conflict?," wrote the curators Liene Jākobsone and Ilka Ruby. "The exhibition focuses on the military defence of the Latvian state from the perspective of the inhabitants of the border area. We want to highlight the specific conditions of Latvia’s geographical situation – the reason why its population lives under a constant threat of attack," the curators explained."The exhibition aims to offer the international architectural discourse a study of the relationship between military defence and spatial condition in the Latvian context. We want to draw attention to the impact of defence measures on people and the landscape.""It is an invitation not only to architects, but also policy makers and military defence specialists to take part in the conversation on spatial qualities, encouraging them to consider the physical footprint of defence strategies on a territory and the emotional impact on its population," the curators added.The Latvian Pavilion is commissioned by Jānis Dripe, Ministry of Culture of the Republic of Latvia. The exhibitors are Sampling (Manten Devriendt, Liene Jākobsone) and Nomad architects (Marija Katrīna Dambe, Florian Betat). The 19th International Architecture Exhibition will take place from 10 May to 23 November 2025 at the Giardini, the Arsenale and various venues in Venice, Italy. Find out all exhibition news on WAC's Venice Architecture Biennale page. All images © Michiel De Cleene.> via Latvian Pavilion

Following the cancellation of Kingdom Hearts Missing Link, the team behind the critically acclaimed series has taken to X (formerly Twitter) to share new images of the next mainline entry in the franchise: Kingdom Hearts IV. Presented as a collage and without any context, it's hard to interpret too much from the images. However, the forth image in the set seems to indicate that none other than King Mickey himself will be a playable character in the game's next chapter.To our Kingdom Hearts community,We’re currently working hard on Kingdom Hearts IV and will continue pouring ourselves into the game’s development. We’re dedicated to making this an experience that lives up to your expectations! [1/2] pic.twitter.com/4lbg6l2ErZ — KINGDOM HEARTS (@KINGDOMHEARTS) May 15, 2025 Aside from the picture our chandelier-swinging monarch, the folks at Square Enix didn't give us much to mull over with these images. That said, the sheer look of the game--particularly in images four, six, and seven--has left us even more eager to get our hands on it.Kingdom Hearts IV does not currently have a release window, though Square Enix has assured fans that it is "currently working hard" on the title. Following Missing Link's cancellation, it is now the next Kingdom Hearts title scheduled to release.Continue Reading at GameSpot

What happens when globally renowned artists trade studios for the clatter of machines, industrial dyes, and production lines? At the National Festival of Making in Blackburn, the result is a bold, joyful, and often surprising collision of creativity and craft. Now entering its ninth year, the festival's flagship commissioning programme, Art in Manufacturing, has announced three major new residencies for 2025. This year's headline artists are Matter at Hand, the new studio of Lewis Jones (co-founder of Turner Prize-winning Assemble), graphic artist and community powerhouse Morag Myerscough, and collage and sculpture specialist Liaqat Rasul. Each will embed themselves inside a leading UK manufacturer in Lancashire, creating ambitious site-specific works that celebrate the region's legacy of making while pushing the boundaries of material and form. Held annually in Blackburn town centre, the National Festival of Making draws tens of thousands each July for a free weekend of performances, exhibitions, talks, and installations. Its Art in Manufacturing strand has become a vital national model for artist-industry collaboration, pairing artists with factories to produce original work from heritage processes, specialist tools, and skilled workforces. Since its launch in 2016, over 30 artists have taken part across 20 manufacturers. Lewis Jones. Credit: Niamh Riordan "These commissions have always been about shining a light on the extraordinary creativity behind closed doors," says Elena Jackson, Co-Director and Curator of Art in Manufacturing. "It's an invitation for artists to experiment with materials and scale." This year, she adds, is no exception: "The artists are exploring clay, colour and collage - making new permanent work for Blackburn, turning industrial waste into finely crafted collage, and through an expanded two-year placement, developing in-depth research into sustainable making practices through new architectural and sculptural outcomes." Jones's project, through his new practice Matter at Hand, marks the start of an extended two-year residency inside Darwen Terracotta, one of the UK's leading manufacturers of architectural ceramics. Stationed on the factory floor, Jones is working on an interactive installation inside Blackburn Cathedral that reimagines clay as a sustainable material for the built environment. His installation will showcase new prototypes and sculptural experiments drawn from Darwen's heritage techniques, blending material innovation with architectural storytelling. Morag Myerscough. Credit: Marc Sethi For Morag Myerscough, the festival is a chance to inject her signature burst of positivity into Blackburn's urban fabric. Working with Crown Paints, she will create three new public-facing works, including a permanent mural, participatory workshops, and a garden-inspired installation that speaks to greening the high street. Her 'Colour Factory' takeover of Prism Contemporary promises to be one of the festival's most immersive and energetic moments. Meanwhile, Liaqat Rasul will bring his deeply personal, collage-based practice to Herbert Parkinson, part of the John Lewis Partnership. Through intimate workshops with John Lewis Partners, Rasul will explore themes of memory, identity and community. His final installation of sculptural mobiles will invite audiences to slow down and reflect, celebrating the human stories behind everyday manufacturing. Liaqat Arnold. Credit: Daniel Farmer Photography These three projects exemplify the festival's ethos: that art and making are not separate spheres but overlapping, collaborative forces. By embedding artists within factories, Art in Manufacturing collapses the distance between creative experimentation and real-world production and, in doing so, gives both artists and manufacturers a platform to innovate. A new publication, Radical Pairings, will launch at this year's festival. It documents the programme's history and legacy and features an essay by art critic Elizabeth Fullerton. The essay explores the unusual and inspiring nature of these residencies and the potential of creative partnerships to reframe both industry and art. Art in Manufacturing 2025 will debut at the National Festival of Making on 5–6 July, with installations continuing in venues across Blackburn thereafter. For those curious about what happens when artists roll up their sleeves and step into the engine rooms of British industry, it's not one to miss.