Laundry rooms are workhorse spaces, but that doesn’t mean they can’t be beautiful. With a little paint and this designer secret weapon, you can transform it into a space you actually look forward to spending time in. Skirted sinks and cabinetry have long been designers’ favorite ways to hide mess, cover up unseemly appliances, or refresh existing cabinets on a budget. The good news is that it is a relatively inexpensive upgrade that you can easily DIY yourself—either with premade curtains or custom sewn panels. Below, I break down exactly what these skirts are, where you can purchase them, and how to use them to transform your laundry room in just one afternoon. Related StoriesWhat Is a Fabric Skirt? Sarah GriggsFabric skirts instead of cabinet fronts keep this space feeling fresh-yet-timeless. Skirts are simple decorative swaths of fabric that are hung or mounted above an opening or above an empty space. They can be hung beneath sinks, strung across cabinetry instead of doors, or in front of anything you might want to hide in your home as long as there is a way to mount a rod. For More On Sink Skirts:What Kind of Fabric Should Be Used? Where Can I Purchase It?Stacy Zarin GoldbergIn designer Molly Singer’s laundry room, a skirt was used to cleverly cover up an extra dishwasher she installed in the space. While any fabric can work for skirting a laundry room sink or cabinetry, if budget is less of a concern, pick a performance fabric. Performance fabrics (sometimes referred to as indoor/outdoor fabrics) are specially treated to withstand staining and are easy to clean, which is especially helpful if you have young kids or dogs running around the house. Spoonflower, a popular direct-to-consumer textile house, offers all of its fabrics in either a performance linen or velvet, and prices start at around $49 per yard for performance-grade fabrics. If you want something a little more luxe, try designer-grade fabrics from sites like The Expert or Decorator’s Best. Do I Need to Be Able to Sew to Make a Sink Skirt?No! DIYing a simple skirt from fabric is relatively easy. You don’t even need a sewing machine! Just grab some heat-activated hemming tape, your iron, and get to crafting. You can also purchase pre-fabricated skirts (café curtains also work great!) at retailers like Amazon and Walmart, but buyer beware: they are fairly basic and many are only designed for pedestal sinks, not cabinetry. If you’re looking for something a little unique and full of farmhouse style, try a repurposed or upcycled material. Vintage sprons, feed and grain sacks, old tablecloths, quilts, and even pillowcases can be crafted into a skirt using the same DIY method mentioned above. Related Story How Can I Use a Fabric Skirt in a Laundry Room? In a laundry room, skirts can be used a plethora of ways. Have a mismatched set of washer and dryer? Use a skirt to cover them and create a seamless look. Don’t want to spend tons replacing damaged cabinet doors when you already shelled out for a new appliances? Go for a skirt instead! It will create a crisp, clean space with more personality than standard cabinetry ever could. Below, I’ve gathered up some of my favorite examples. Cover Your Appliances Rikki SnyderIn her New York home, designer Christina Salway chose a red floral fabric to conceal her washer and dryer in this pass-through laundry room. Skirt Your Wall-Mounted SinkMichael HunterA green botanical print adds another layer of pattern in this cheery laundry room. Mount Under Your Apron-Front SinkDavid TsaySkirt the open space under your apron-front sink open for additional storage while maintaining a pulled-together look. FOR MORE LAUNDRY ROOM IDEAS:Anna LoganSenior Homes & Style EditorAnna Logan is the Senior Homes & Style Editor at Country Living, where she has been covering all things home design, including sharing exclusive looks at beautifully designed country kitchens, producing home features, writing everything from timely trend reports on the latest viral aesthetic to expert-driven explainers on must-read topics, and rounding up pretty much everything you’ve ever wanted to know about paint, since 2021. Anna has spent the last seven years covering every aspect of the design industry, previously having written for Traditional Home, One Kings Lane, House Beautiful, and Frederic. She holds a degree in journalism from the University of Georgia. When she’s not working, Anna can either be found digging around her flower garden or through the dusty shelves of an antique shop. Follow her adventures, or, more importantly, those of her three-year-old Maltese and official Country Living Pet Lab tester, Teddy, on Instagram.  

Since founding Kadre Architects in 2022, Nerin Kadribegovic’s firm has garnered a reputation for doing a lot with a little. Case in point: standardized drawing sets for ADUs and an interim housing development wedged between highways. More recently, the Los Angeles practice transformed defunct storefront space in Compton into a social services hub. The Compton Community Center opened early this year. It offers case management services to individuals experiencing homelessness. Residents can go to the center for document procurement, connections to medical and behavioral health services, applications for vouchers, support for acclimating back to the job market, and other critical social services. A double-height vaulted space greets visitors upon entry. (Paul Vu) HOPICS is the service provider Kadre Architects worked with that now operates the 1,000-square-foot space. The space boasts vaulted ceilings, and bespoke wood creations that climb up the front facade, and hover above the backyard. The interiors are washed in natural light. The neo-postmodern architecture pulls from its context. To the community center’s left is a yellow apartment block and, to its right, a church with a pitched roof. The Compton Community Center was painted white and yellow, and the wooden lattice that’s attached to the front facade mimics the church’s slanted profile. The center is located between an apartment block and a church. (Paul Vu) The original storefront space had a modest 10-foot floor-to-ceiling height. After taking the commission, Kadre Architects uncovered concealed attics. The designers opened up the ceiling to create a double-height vaulted space with skylights. Asymmetric wooden desks staffed by HOPICS employees greet visitors upon entry. These bits were constructed out of laminated plywood, and mirror the geometric floor patterns. Custom shelving was also made of plywood. The interior palette makes generous use of bright white and yellow, a nod to the service provider’s brand colors, the adjoining buildings, and Kadre’s signature color-drenched spaces more broadly. The rear parking lot was converted into a courtyard garden and playground for visiting families. (Paul Vu) Aerial view of the rear courtyard, showing the heavy use of color. (Paul Vu) The lot Kadre Architects negotiated is long and narrow. The back was transformed into a vibrant, polychromatic courtyard employees and visitors can enjoy. Informal, outdoor meetings with case managers happen there. Playground equipment from a nearby housing project was installed in the courtyard garden for visiting families. Trees were planted, and slivers of existing asphalt were cut out and replaced with artificial turf, creating moments of green respite, the designers shared. This softens what was once a parking lot.

Woodbury House / Of ArchitectureSave this picture!© Lorenzo ZandriHouses, Refurbishment•Barnet, United Kingdom Architects: Of Architecture Area Area of this architecture project Area:  130 m² Year Completion year of this architecture project Year:  2025 Photographs Photographs:Lorenzo Zandri Manufacturers Brands with products used in this architecture project Manufacturers:  Accoya, Furness Bricks, Particular Kitchens, VMZINC, VelfacMore SpecsLess Specs Save this picture! Text description provided by the architects. 1. What were the inspirations and key concepts for the development of the project? Woodbury Residence drew inspiration from decalcomania—the art technique of creating mirrored patterns through folded paint. We applied this concept architecturally, not as literal replication but as thoughtful dialogue between old and new. The project's core concept emerged from our octogenarian client Kathryn's pioneering spirit. Rather than aging amongst accumulated memories, she embraced change through architectural transformation. Her approach echoed modernist architects' philosophy: curating select meaningful elements from the past—handwoven shawls, Edwardian furniture, her late husband's handcrafted rosewood table—while creating a contemporary living environment suited to her evolving needs.Save this picture!Save this picture!Save this picture!2. What were the difficulties or first setbacks encountered? The primary challenge was balancing preservation with transformation. Creating a continuous thermal envelope while maintaining the character of the Edwardian property required meticulous planning. Designing for an elderly client presented another challenge—ensuring accessibility without institutional aesthetics. The natural site levels in Barnet demanded creative solutions to maintain flow between spaces. Additionally, preserving meaningful elements from the original structure while meeting modern energy efficiency standards required innovative approaches to material reuse and thermal performance.Save this picture!Save this picture!3. What were the construction techniques and the principal materials used in the project? The project employed Passivhaus construction principles to achieve exceptional environmental performance. Key techniques included: *Creating a continuous thermal envelope with mineral wool insulation, *Installing mechanical ventilation heat recovery systems, *Incorporating an air source heat pump and photovoltaic panels, *Strategic cross-ventilation for natural temperature regulation. Principal materials were selected for both continuity and sustainability: *Handmade burgundy bricks from Cumbria that visually connect with the existing house, *Rosemary terracotta tiles salvaged from the demolished music room, *Elm floorboards from the original structure, repurposed as kitchen cabinetry, *A bespoke ecclesiastical oak screen in the stairwell, paying homage to Kathryn's husband, who designed the local church, *Utilitarian stainless steel brackets for the stair handrail, referencing Aalto's designs.Save this picture!Save this picture!Save this picture!4. Explain briefly: spatial configuration and main reasons. How was it accomplished? The spatial configuration prioritizes accessibility, light, and flow. The ground floor follows the natural site levels, housing an accessible bedroom and bathroom for Kathryn, essential for aging in place. Living spaces flow naturally between cooking and dining areas, creating rooms with light from multiple aspects. At the entrance foyer, a slender oak screen creates visual interest while concealing a study alcove beneath the stairs—a private retreat for Kathryn. This screen simultaneously divides and connects spaces, allowing filtered views between areas—a physical manifestation of the project's conceptual approach. We accomplished this configuration through careful spatial planning that honored the existing structure while introducing new elements. The ground floor layout responds to accessibility needs, while the upper levels maintain connection through thoughtful sightlines and material continuity. This approach creates a home that supports Kathryn's next chapter while honoring her past, proving that architecture can facilitate embracing change at any age.Save this picture! Project gallerySee allShow less About this office MaterialBrickMaterials and TagsPublished on May 14, 2025Cite: "Woodbury House / Of Architecture" 14 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1029949/woodbury-house-experimental-branch-of-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

Imagine Montessori School | © Mariela Apollonio Located along the edge of the En Dolça ravine in Paterna, Valencia, the Imagine Montessori School by Gradolí & Sanz Arquitectes reimagines the relationship between educational space and nature. More than an academic facility, the project is a mediating layer between the urban grid and a Mediterranean pine forest. With an architectural strategy that prioritizes child-centered learning, spatial legibility, and material authenticity, the school articulates a pedagogical framework through its built form. Imagine Montessori School Technical Information Architects1-23: Gradolí & Sanz Arquitectes Location: Paterna, Valencia, Spain Area: 2,922 m2 | 31,449 Sq. Ft. Project Year: 2017 – 2024 Photographs: © Mariela Apollonio The building is not intended to be an object in the landscape, but a part of it, an extension of the terrain that disappears so that nature becomes the true façade. – Gradolí & Sanz Arquitectes Imagine Montessori School Photographs Street View | © Mariela Apollonio Entrance | © Mariela Apollonio Facade | © Mariela Apollonio Facade | © Mariela Apollonio Courtyard | © Mariela Apollonio Opening | © Mariela Apollonio Facade | © Mariela Apollonio Terrace | © Mariela Apollonio Balcony | © Mariela Apollonio Stairs | © Mariela Apollonio Interior | © Mariela Apollonio Classroom | © Mariela Apollonio Classroom | © Mariela Apollonio Classroom | © Mariela Apollonio Classroom | © Mariela Apollonio Classroom | © Mariela Apollonio Contextual Foundations: A Site-Driven Pedagogy The school’s defining gesture is its orientation, not toward the street but toward the landscape. In rejecting the street-facing urban façade, the building signals a reversal in conventional institutional typologies. The access route begins within a pine grove, where children traverse elevated wooden walkways between trees. This procession is not simply aesthetic but symbolic: a transition from the ordered rhythms of the city into the fluid, unpredictable logic of nature. Here, the site is not an inert backdrop but an active participant in shaping architectural decisions. The building emerges as an extension of the ravine itself, folding, settling, and disappearing beneath a green roof that mimics the topography. The landscape is not curated; it is left raw and wild, with pinecones, roots, and mushrooms serving as didactic tools. The design resists the sanitization often found in contemporary schoolyards and instead engages directly with the ecological conditions of the terrain. Spatial Strategy and Pedagogical Integration Formally, the building adopts an elongated S-shaped footprint, generating two distinct outdoor voids: a western entry plaza and an eastern natural playground. This configuration does more than optimize views; it choreographs an internal spatial rhythm aligned with Montessori principles. Each classroom opens onto the ravine, allowing daylight, ventilation, and natural stimuli to become integral components of the educational environment. Interior planning is liberated from hierarchical spatial orders. There is no teacher’s desk nor any central focal point. Classrooms are divided into five zones: sensory, practical life, language, mathematics, and cultural studies, enabling fluid movement and diverse learning modes. Circulation is not relegated to corridors but expanded into informal gathering spaces: widened paths, seating niches, double-height voids, and interior balconies foster spatial democracy and autonomy. Crucially, the architecture speaks to children through scale. Arched thresholds, lofted alcoves, and floor-level seating areas are intentionally designed to accommodate bodies in formative stages. These gestures create an environment where children encounter the building not as a fixed container but as a responsive medium. Imagine Montessori School Material Honesty The building’s construction is didactic. Clay and timber, the two principal materials, are left exposed, allowing the tectonic logic of the building to remain legible. The 60 cm-thick brick walls serve as a load-bearing structure, thermal mass, and finish. There is no applied cladding; instead, the imperfections of material tool marks, tonal variation, and subtle cracks are embraced as part of the building’s expression. Wood complements clay in both structural and experiential ways. Timber roof panels, partitions, and joinery elements soften the masonry mass, introducing warmth and tactile variation. Concrete use is minimized, restricted primarily to foundations, while steel appears only in strategic elements such as railings and slender columns. Mechanical and electrical systems are not concealed behind ceilings or walls. Their visibility transforms the building into a diagram of its operation, offering students insight into energy, water, and ventilation flows. This transparency reinforces the project’s pedagogical ethos: education begins not only in the classroom but also in the fabric of the building itself. Landscape as Curriculum Rather than isolating the building from its context, the project incorporates the landscape into every facet of the educational experience. Each classroom opens directly to a semi-covered terrace with a water fountain, a deciduous tree, and tiered seating. These thresholds become spatial hybrids, neither entirely interior nor exterior, blurring the division between architecture and ecology. The ravine functions as a temporal and sensory field. Its shifting hydrology during rains, the seasonal shedding of trees, and the growth of wild asparagus are not distractions but phenomena to be observed and interpreted. There is a deliberate absence of traditional sports infrastructure; the sloped terrain is manipulated into ramps, climbing walls, and caves, inviting exploration and risk within a safe environment. This approach aligns with contemporary ecological pedagogy but avoids its typical tropes. There is no simulation of “naturalness” through curated green spaces or artificial turf. Instead, the landscape is allowed to be what it is: dynamic, coarse, unpredictable, and children are entrusted to navigate it. Imagine Montessori School Plans Ground Level | © Gradolí & Sanz Arquitectes Level 2 | © Gradolí & Sanz Arquitectes Roof Plan | © Gradolí & Sanz Arquitectes Sections | © Gradolí & Sanz Arquitectes Elevations | © Gradolí & Sanz Arquitectes Imagine Montessori School Image Gallery About Gradolí & Sanz Arquitectes Gradolí & Sanz Arquitectes is a Valencia-based architecture studio founded by Carmel Gradolí and Arturo Sanz, known for their context-driven, materially honest, and environmentally conscious designs. Since 1993, the practice has developed a diverse portfolio of public and private projects that respond sensitively to their cultural and physical surroundings. Their work often engages with heritage, pedagogy, and sustainability themes, characterized by restrained formal language and thoughtful use of local materials. Guided by a commitment to civic responsibility and architectural clarity, the studio seeks to create functional and emotionally resonant spaces. Credits and Additional Notes Lead Architects: Arturo Sanz, Carmel Gradolí, Fran López Collaborating Architects: J. Luis Vilar, María Navarro, Daniel López Quantity Surveyor: Francisco Vallet Traditional Structure Engineering: Adolfo Alonso Timber Structure Engineering: Albura Wood & Concept Acoustic Consultant: Silens Acústica  Green Certification Consultant: GBCE  Phase 1 Installations & BREEAM Consultant: Zero Consulting  Phase 2 Installations: GME  Lighting Design: Cosmo Stil General Constructor: Grupo Valseco Brick Vaults: Cercaa Exterior Wood Carpentry: Morata Interior Carpentry: DISBEA Showlutions  Metalwork: Martí Cots  Glasswork: Cristalería Crevillente  Landscape Design (Phase 1): GM Paisajistas  3D Visualizations: Drawfield Client: Zubi Educational Real Estate Built-up Area: 2,922 m² Usable Floor Area: 2,298 m² Plot Size: 4,556 m² Construction Cost: €4.6 million

I recently took up travel journaling as an honest alternative to performative social media. My kit cobbles together the best pen, paper, and photo printer I could find to document vanlife adventures for my spawn and some version of my future self that I’ve yet to meet.My father left behind a typewritten memoir that I’ve returned to again and again since his passing so many years ago. Oh, how I wish there was a hand-written version instead of an impersonal Microsoft Word file — his all-capped lettering forged by a career as an engineer, replete with scribbles and smears made by his ever-callused right hand. Even better if those pages had been adorned with photos of the people, places, and things he wanted me to see.My journaling kit consists of three main parts: a Pilot V7 pen, a notebook from the Traveler’s Company, and a Fujifilm Instax Mini Link 3 photo printer. The journal can be modified to your whims. Photo by Thomas Ricker / The VergeI opted for this transparent pocket to carry tape and other journaling accessories. Photo by Thomas Ricker / The VergeRubber bands allow you to add additional inserts. I carry two notebooks in mine. Photo by Thomas Ricker / The VergeI also opted for this pen holder to keep everything together. Photo by Thomas Ricker / The VergeThe pen choice was easy — I just listened to Liz. I value her opinion over Sam Altman’s, so the first thing I did was buy a pack of four Pilot V7 pens for less than $10.The paper journal was a bit tougher decision and resulted in a few false starts. I should have known better than to cheap out on something purchased from Amazon. After being disappointed by a few different “leather” covers and mismatched paper inserts, I decided to visit a physical office-supply store to press flesh to actual product. It was there that I reveled in the discovery of journals from Japan’s Traveller’s Company.Traveller’s Company makes the leather-bound travel journals your mind likely conjures when considering the topic. The rough-cut leather cover is made by hand in Thailand, while the paper notebook inserts are made in Japan. The sound, feel, and smell that comes with scratching ink into this journal can bring on a meditative bliss.Small, but not too small.I purchased the regular-sized Traveler’s notebook for $55, which includes the leather cover, blank no-line notebook, cotton bag, and spare rubber band. I don’t use the bag because I want the cover to be as patinated as my worn face when time runs out. I also added a $16 pen clip, a second $5.50 blank notebook, a pack of $6.40 connecting bands, and a $9.20 transparent zipper case where I carry a roll of tape, extra retention bands, and miscellaneous mementos like receipts and ticket stubs. The notebook measures 4.8(H) x 3.5(W) x 0.15(D) inches and is entirely concealed by the 5.2 x 3.8-inch cover. It’s small, but not so small that it can be easily lost inside a cluttered van. And it’s large enough that the two open pages can easily hold a single day’s written entry, including a miniature photograph or two.Fujifilm’s $99 Instax mini link 3 is perhaps my favorite journaling accessory. I got the idea to print out photos alongside my journal entries from Charles Liu’s YouTube channel. It takes about two minutes to power on the rechargeable device, find a picture that best represents my day in my iPhone’s photo library, and print it out wirelessly. A twin pack of replacement film that’s good for 20 pics costs $15. Each 62 × 46mm photo saves me a thousand words of written text, they say, reducing each night’s journaling session to about 5 to 10 minutes. A holy union of analog and digital.All in, this kit cost me $216 and change, and it’s worth every penny. It makes journaling so easy and rewarding that it’s something I look forward to — not dread — at the end of almost every travel day. I even miss the ritual after returning home. Solid indicators that I’ve created a journaling solution I’ll stick with, hopefully resulting in an intimate library of notebooks that chronicles my earthly journey.Photos by Thomas Ricker / The VergeSee More:

Underneath miles-deep ice sheets covering Antarctica lies the largest mountain range no one on Earth has ever seen. Even though a few of its tallest points peek through in some places, relatively few people know of the entire range’s existence.However, geologists studying it have long argued about how and when these buried peaks were formed. A team of geologists propose a new explanation in an article in the journal Earth and Planetary Science Letters.“The ice conceals some of Earth’s most enigmatic features,” according to the paper. One such feature is the Gamburtsev Subglacial Mountains, which rises over 9,000 feet above sea level and is covered by about 10,000 feet of ice. Its highest point is considered the coldest place on Earth. The range is equivalent in size and shape to the Swiss alps.Creation of the Antarctica MountainsMany geologists think these features were created when multiple tectonic plates that include what is now known as Africa, South America, Australia, India, and Antarctica collided to create a supercontinent called Gondwana. However, beyond that event, there is less agreement.“...the timing and three-dimensional structure of the collisional zone, known as the Kuunga Orogen, remain highly controversial,” according to the paper.The new study provides a bit more detail. The authors propose that the tectonic plates collision first uplifted the Gamburtsev Mountains when they had ground together. The tectonic collision then unleashed a flow of molten rock beneath the mountains. As that molten layer became hotter and thicker, the mountains above it collapsed under their own weight. The base of the mountains now rest upon the Earth’s mantle, the layer beneath the planet’s crust.Rock Beneath the Ice SheetThe geologists tracked this massive activity by looking at tiny objects — zircon grains deposited by rivers flowing from the mountains more than 250 million years ago. These grains act as geologic timers, because they contain uranium, which decays at a rate scientists can use to measure their age.According to the grains found at various points of the range, the mountains begin their rise about 650 million years ago, reached Himalayan heights by 580 million years ago, then completed their sinking by about 500 million years ago. A massive layer of ice has covered them since, making them one of the best preserved mountain ranges on the planet, because the ice shields them from the erosion that wears down more exposed mountains.The scientists could learn more about the range’s composition by drilling through the ice to extract rock samples. However, that is a long and expensive process. They are now looking at exposed rocks from Antarctica’s east coast to get a hint of what kinds of rock might lie beneath the massive ice sheet.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:Earth and Planetary Science Letters. Gondwanan continental collision drives gravitational spreading and collapse of the ancestral East Antarctic mountainsBefore joining Discover Magazine, Paul Smaglik spent over 20 years as a science journalist, specializing in U.S. life science policy and global scientific career issues. He began his career in newspapers, but switched to scientific magazines. His work has appeared in publications including Science News, Science, Nature, and Scientific American.

Wizards of the Coast has been gradually rolling out what it's got in store for Magic: The Gathering and its big Final Fantasy crossover this summer. Over the weekend, the team debuted a significant chunk of cards, from both the main set and the Commander decks, and fans are enjoying some of the fun and even surprising cuts from their favorite Final Fantasy games.The Universes Beyond collaboration with Final Fantasy is getting both the usual Commander treatment and a booster-driven series, so there are a lot of cards to go over. The main set tinkers with the entirety of Final Fantasy's mainline, numbered games, running from Final Fantasy 1 to Final Fantasy 16. The Commander Decks, meanwhile, focus on four specific games: Final Fantasy 6, 7, 10, and 14, with their respective Commanders of Terra, Cloud, Tidus, and Y'shtola.Out June 13Starter KitOut June 13Play Booster Box (30 Packs)Out June 13BundleOut June 13Collector’s Edition Commander Deck Bundle$599.96 at AmazonOut June 13Commander Deck Bundle$279.96 at AmazonOut June 13Commander Deck 1 - Revival TranceOut June 13Commander Deck 2 - Limit BreakOut June 13Commander Deck 3 - Counter BlitzOut June 13Commander Deck 4 - Scions & SpellcraftOut June 13Gift BundleOut June 13Collector Booster BoxSome of the cards shown at last Saturday's Magic: The Gathering panel at PAX East captured the journey of individual characters throughout their games. Final Fantasy IV's Cecil, for example, has an entire mechanic around transforming from a Dark Knight into a Paladin. The summons of Final Fantasy utilize a "Saga Creature" set-up, to act as powerful but temporary forces on the field, melding Magic and Final Fantasy concepts in the process.Then you have cards like Sephiroth, Fabled SOLDIER, with artwork from Square's Tetsuya Nomura. The transformation along the card illustrates Sephiroth's various forms throughout the FF7 universe, from a young fighter into, eventually, Safer Sephiroth on the card Sephiroth, One-Winged Angel.And what would a Final Fantasy be without some Cids? The Final Fantasy set will include a Cid from each of the numbered Final Fantasy games, though Wizards is opting for the older Cid from Final Fantasy XV over his daughter, Cindy.After Saturday's panel, though, Wizards of the Coast released the decklist for the four aforementioned Commander decks, and fans started poring over the art and additions to see how the team adapted those four Final Fantasy games into Magic. Pretty well, it turns out.Reprints, or new versions of existing Magic cards, get some clever crossovers with Final Fantasy lore. Skullclamp, for instance, draws on the Jenova project in Final Fantasy 7 for its art.Together, Forever also takes an emotional stab at the Final Fantasy 10 fans out there. It shouldn't be surprising that Final Fantasy 10 has some emotional wellsprings to draw from, with its central protagonists' journey through a ruined land, on a somber pilgrimage. Several decks' cards reference some notable character moments, by the way, so you might want to go into these decklists aware that there will be some story spoilers for each respective game.But to lighten things up, one of Final Fantasy 10's more iconic, and frequently memed, moments also made the cut with Inspiring Call.In fact, Wizards found more than a few ways to incorporate Final Fantasy's less-serious moments into cards. Clever Concealment puts a spin on the Wall Market scene with Cloud, Aerith, and Tifa in dresses, heading to Don Corneo's, and even has a mechanic that seems fitting for the occassion. I'm a big fan of the Secret Rendezvous card, which has four different versions of the Golden Saucer date scene from Final Fantasy 7 with each potential date: Aerith, Tifa, Yuffie, and Barret.Even still, fans have been discovering the tiny details that show how much homage is being paid to the source material. The Final Fantasy 14 set, in particular, has quite a few references to the critically acclaimed MMORPG. The Hildibrand Manderville card mimics the infamous gentleman's habit of disappearing and returning, making for quite an interesting White/Black card in the process.One user on the FFXIV subreddit noted that the Archaeomancer's Map card uses a real possible location found in a Gaganaskin Treasure Map, for instance.In turn, Final Fantasy 14 players have been having fun with the cards. There are some jokes about wondering who the Thancred card represents, referencing the "This is Thancred" meme. And there's the alternative flavor text a user added to the Rite of Replication card, commemorating everyone's favorite speech from A Realm Reborn:Even the Tome of Legends card depicts a Wondrous Tails book, with all the little details you see in-game when a player picks up their Tails and, of course, several missed four-in-a-row connections.There's some clear attention to detail put into these cards, and it's certainly got me intrigued to see the full set. While the Commander games got a lot of love in these cards, a few reveals from Saturday's panel like Commune With Beavers have me eager to see how some of the other Final Fantasy games got adapated into the full Magic set.Magic: The Gathering's Final Fantasy set is out on June 13, 2025, with pre-release weekend one week prior.Eric is a freelance writer for IGN.

During an excavation, amidst the Patagonian winds and hard rock, a fossil began to turn green. It was an unexpected reaction: the adhesive applied to protect the bones, fragile after millions of years beneath the ice, had interacted with plant matter trapped in the rock’s cracks. This greenish hue earned the fossil the nickname Fiona, like the ogre from Shrek.But Fionais much more than a ogre-themed name. It is the first complete ichthyosaur ever excavated in Chile and, even more remarkably, the only known pregnant female from the Hauterivian — a stage of the Early Cretaceous dating back 131 million years. Her skeleton, discovered at the edge of the Tyndall Glacier in Torres del Paine National Park — an area increasingly exposed by glacial retreat — belongs to the species Myobradypterygius hauthali, originally described in Argentina from fragmentary remains.The discovery, led by Judith Pardo-Pérez, a researcher at the University of Magallanes and the Cabo de Hornos International Center (CHIC), and published in the Journal of Vertebrate Paleontology, offers an unprecedented glimpse into ancient marine life — from how these majestic reptiles reproduced to how they adapted to oceans vastly different from those of today.An Ichthyosaur Maternity Ward in Patagonia(Image Courtesy of Irene Viscor)So far, 88 ichthyosaurs have been found on the Tyndall Glacier. Most of them are adults and newborns. Two key facts stand out: food was abundant, and no other predators were competing with them.Fiona, who measures nearly 13 feet long, is still encased in five blocks of rock. Despite the challenge, she was transported to a local clinic, where CT scans allowed researchers to study her skull and body. Her species was identified thanks to one of her fins. “There’s no other like it in the world,” says Pardo-Pérez. The limbs were remarkably elongated, suggesting this animal was built for long-distance swimming.Inside her, there were more surprises. One of them was her stomach contents, which revealed what may have been her last meal: tiny fish vertebrae. But the most striking find was a fetus, about 20 inches long, already in a position to be born.“We believe these animals came to Magallanes — the southern tip of Chilean Patagonia — from time to time to give birth, because it was a safe refuge,” Pardo-Pérez says. “We don't know how long they stayed, but we do know that mortality was high during the first few days of life.”One of the big unanswered questions is where they went next, as there are no records of Myobradypterygius hauthali, apart from a piece of fin found in Argentina. The most abundant remains come from southern Germany, but those date back to the Jurassic period, meaning they’re older.Palaeontologist Erin Maxwell suggests, “In many modern ecosystems, species migrate to higher latitudes during the summer to take advantage of seasonally abundant resources and then move to lower latitudes in winter to avoid harsh conditions,” she explains. “We believe Mesozoic marine reptiles may have followed similar seasonal patterns.”Sea Dragon GraveyardThe environment where Fiona was discovered — dubbed the "sea dragon graveyard" — also has much to reveal.According to geologist Matthew Malkowski of the University of Texas at Austin, the Hauterivian age is particularly intriguing because it coincided with major planetary changes: the breakup of continents, intense volcanic episodes, and phenomena known as "oceanic anoxic events," during which vast areas of the ocean were depleted of dissolved oxygen for hundreds of thousands of years.One such poorly understood event, the Pharaonic Anoxic Event, occurred around 131 million years ago, near the end of the Hauterivian, and still raises questions about its true impact on marine life. “We don't have a firm grasp of how significant these events were for marine vertebrates, and geological records like that of the Tyndall Glacier allow us to explore the relationship between life, the environment, and Earth’s past conditions,” Malkowski notes.Evolution of IchthyosaursReconstruction of Fiona. (Image Courtesy of Mauricio Álvarez)Don't be misled by their body shape. “Ichthyosaurs are not related to dolphins,” clarifies Pardo-Pérez. Although their hydrodynamic silhouettes may look nearly identical, the former were marine reptiles, while the latter are mammals. This resemblance results from a phenomenon known as convergent evolution: when species from different lineages develop similar anatomical features to adapt to the same environment.Ichthyosaurs evolved from terrestrial reptiles that, in response to ecological and climatic changes, began spending more time in the water until they fully adapted to a marine lifestyle. However, they retained traces of their land-dwelling ancestry, such as a pair of hind flippers — absent in dolphins — passed down from their walking forebears. They lived and thrived in prehistoric oceans for about 180 million years, giving them ample time to refine a highly specialized body: their forelimbs and hindlimbs transformed into flippers; they developed a crescent-shaped tail for propulsion, a dorsal fin for stability, and a streamlined body to reduce drag in the water. Remarkably, like whales and dolphins, “ichthyosaurs had a thick layer of blubber as insulation to maintain a higher body temperature than the surrounding seawater and gave birth to live young, which meant they didn’t need to leave the water to reproduce,” explains Maxwell.Whales and dolphins also descend from land-dwelling ancestors, but their transition happened over a comparatively short evolutionary timespan, especially when measured against the long reign of the ichthyosaurs. “Their evolution hasn't had as much time as that of ichthyosaurs,” notes Pardo-Pérez. “And yet, they look so similar. That’s the wonderful thing about evolution.”Read More: Did a Swimming Reptile Predate the Dinosaurs?Fossils on the Verge of DisappearanceOne of the key factors behind the remarkable preservation of the fossils found in the Tyndall Glacier is the way they were buried. According to Malkowski, Fiona and her contemporaries were either trapped or swiftly covered by underwater landslides and turbidity currents — geological processes that led to their sudden entombment.But the good fortune that protected them for millions of years may now be running out. As the glacier retreats, exposing fossils that were once unreachable, those same remains are now vulnerable to wind, rain, and freeze-thaw cycles, which crack the surrounding rock. As vegetation takes hold, roots accelerate erosion and eventually conceal the fossils once again.“While climate change has allowed these fossils to be studied, continued warming will also eventually lead to their loss,” Maxwell warns. In Fiona’s story, scientists find not only a record of ancient life, but also a warning etched in stone and bone: what time reveals, climate can reclaim.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:María de los Ángeles Orfila is a science journalist based in Montevideo, Uruguay, focusing on long-form storytelling. Her work has appeared in Discover Magazine, Science, National Geographic, among other outlets, and in leading Uruguayan publications such as El País and El Observador. She was a fellow in the 2023 Sharon Dunwoody Mentoring Program by The Open Notebook and often explores the intersections of science, culture, and Latin American identity.

Billy Evans, the partner of Theranos founder Elizabeth Holmes, is currently in the process of raising money for his own startup. It’s a blood-testing company.  According to reports from NPR and The New York Times, both of which spoke with anonymous sources close to the venture, 33-year-old Evans has already raised several million dollars for a new “stealth” startup focusing on diagnostics and health testing. Prior to this news, Evans first came into the public eye back in 2018 when he began dating Holmes, who is currently serving out an 11-year federal prison sentence for committing fraud through her infamous blood-testing company Theranos.  Over the weekend, Evans’s startup Haemanthus spoke out on X to reassure investors and potential future customers that it’s not “Theranos 2.0.” The company has no apparent contact information, and the direct messages on its X account are closed. Fast Company was unable to reach the company for further comment. Here’s everything we know about the company so far. What is Haemanthus? Based on information provided to NPR, Haemanthus is a diagnostics company that’s planning to build a tool that can scan biological material like blood, sweat, and urine to identify potential diseases. The name “Haemanthus” itself appears to be an allusion to a flower of the same name, colloquially termed the “blood lily.”  To many readers, that whole premise might sound strikingly similar to the story behind Theranos, which promised to dole out accurate diagnoses using a single drop of blood, before it ultimately started falling apart. However, Haemanthus took to X this Sunday to clarify that its tech is not an extension of Theranos. The post starts by acknowledging Evans’s relationship with Holmes and adding that “Skepticism is rational,” before categorically denying any connection to Holmes’s failed blood-testing company. “This is not Theranos 2.0,” the post reads. “Theranos attempted to miniaturize existing tests. Our approach is fundamentally different. We use light to read the complete molecular story in biological fluids, seeing patterns current tests can’t detect. Not an improvement. A different paradigm.” What kind of tech is the company developing? Sources told NPR that Haemanthus is currently in the early stages of “using light detection technology that can essentially guide AI sensors to conduct medical tests.” The company is specifically focusing on Raman spectroscopy, a form of chemical analysis that’s been used to diagnose amyotrophic lateral sclerosis (ALS) and some forms of cancer. Based on a notice published in late January, the company has already received a patent for its Raman spectroscopy system. A photo provided to potential investors and obtained by The New York Times reportedly indicates that Haemanthus plans to build a small rectangular device to contain the tech, which will include a door and a digital display screen. Sources told the publication that Haemanthus plans to roll out its tech for veterinary purposes first, before ultimately developing a stamp-size, wearable device for humans. This trajectory was confirmed in part in Haemanthus’s X thread. “We’re starting with veterinary medicine. Not because it’s easier, but because it’s practical and meaningful. It validates our technology, helps animals who can’t describe symptoms, and builds the foundation for human applications,” the post reads. Who is working for the company? Sources told both NPR and The New York Times that the startup currently has between 10 and 12 employees, most of whom worked with Evans previously at the lidar tech company Luminar Technologies. Haemanthus reportedly told investors that it had around two dozen advisers, including veterinarians and diagnosticians, though specific names were not provided. How much money has been raised? So far, The New York Times reported, the company has raised $3.5 million through family and friends and is currently seeking another $15 million from investors in the Austin and Say Francisco Bay areas. Materials reviewed by the publication reportedly suggest that the company has an ultimate goal of raising more than $50 million.  Is Elizabeth Holmes involved? In February, Holmes told People magazine that she plans to return to her career in healthcare technology after her release, and that she’s continuing to write patents for new inventions while serving her sentence. And in its exclusive initial coverage of Haemanthus, NPR cited sources who claimed that Holmes has been providing advice to Evans on his new venture from behind bars. On X, however, Haemanthus strongly refuted that claim.  “Setting the record straight,” the company wrote. “Elizabeth Holmes has zero involvement in Haemanthus. We’ve learned from her company’s mistakes, but she has no role, now or future. NYT and NPR implied otherwise. We’ve stayed quiet to build real tech, not conceal. Demonstrating, not promising.”