Eliza Ivanova explains her process for colouring artwork in Prcreate without losing that personal sketchbook feel.

Last year, MACK Books published Architecture from Below, which anthologized writings by the French Brazilian architect, theorist, and painter Sérgio Ferro. (Douglas Spencer reviewed it for AN.) Now, MACK follows with Design and the Building Site and Complementary Essays, the second in the trilogy of books dedicated to Ferro’s scholarship. The following excerpt of the author’s 2023 preface to the English edition, which preserves its British phrasing, captures Ferro’s realization about the working conditions of construction sites in Brasília. The sentiment is likely relatable even today for young architects as they discover how drawings become buildings. Design and the Building Site and Complementary Essays will be released on May 22. If I remember correctly, it was in 1958 or 1959, when Rodrigo and I were second- or third year architecture students at FAUUSP, that my father, the real estate developer Armando Simone Pereira, commissioned us to design two large office buildings and eleven shops in Brasilia, which was then under construction. Of course, we were not adequately prepared for such an undertaking. Fortunately, Oscar Niemeyer and his team, who were responsible for overseeing the construction of the capital, had drawn up a detailed document determining the essential characteristics of all the private sector buildings. We followed these prescriptions to the letter, which saved us from disaster. Nowadays, it is hard to imagine the degree to which the construction of Brasilia inspired enthusiasm and professional pride in the country’s architects. And in the national imagination, the city’s establishment in the supposedly unpopulated hinterland evoked a re-founding of Brazil. Up until that point, the occupation of our immense territory had been reduced to a collection of arborescent communication routes, generally converging upon some river, following it up to the Atlantic Ocean. Through its ports, agricultural or extractive commodities produced by enslaved peoples or their substitutes passed towards the metropolises; goods were exchanged in the metropolises for more elaborate products, which took the opposite route. Our national identity was summed up in a few symbols, such as the anthem or the flag, and this scattering of paths pointing overseas. Brasilia would radically change this situation, or so we believed. It would create a central hub where the internal communication routes could converge, linking together hithertoseparate junctions, stimulating trade and economic progress in the country’s interior. It was as if, for the first time, we were taking care of ourselves. At the nucleus of this centripetal movement, architecture would embody the renaissance. And at the naval of the nucleus, the symbolic mandala of this utopia: the cathedral. Rodrigo and I got caught up in the euphoria. And perhaps more so than our colleagues, because we were taking part in the adventure with ‘our’ designs. The reality was very different — but we did not know that yet. At that time, architects in Brazil were responsible for verifying that the construction was in line with the design. We had already monitored some of our first building sites. But the construction company in charge of them, Osmar Souza e Silva’s CENPLA, specialized in the building sites of modernist architects from the so-called Escola Paulista led by Vilanova Artigas (which we aspired to be a part of, like the pretentious students we were). Osmar was very attentive to his clients and his workers, who formed a supportive and helpful team. He was even more careful with us, because he knew how inexperienced we were. I believe that the CENPLA was particularly important in São Paulo modernism: with its congeniality, it facilitated experimentation, but for the same reason, it deceived novices like us about the reality of other building sites. Consequently, Rodrigo and I travelled to Brasilia several times to check that the constructions followed ‘our’ designs and to resolve any issues. From the very first trip, our little bubble burst. Our building sites, like all the others in the future capital, bore no relation to Osmar’s. They were more like a branch of hell. A huge, muddy wasteland, in which a few cranes, pile drivers, tractors, and excavators dotted the mound of scaffolding occupied by thousands of skinny, seemingly exhausted wretches, who were nevertheless driven on by the shouts of master builders and foremen, in turn pressured by the imminence of the fateful inauguration date. Surrounding or huddled underneath the marquees of buildings under construction, entire families, equally skeletal and ragged, were waiting for some accident or death to open up a vacancy. In contact only with the master builders, and under close surveillance so we would not speak to the workers, we were not allowed to see what comrades who had worked on these sites later told us in prison: suicide abounded; escape was known to be futile in the unpopulated surroundings with no viable roads; fatal accidents were often caused by weakness due to chronic diarrhoea, brought on by rotten food that came from far away; outright theft took place in the calculation of wages and expenses in the contractor’s grocery store; camps were surrounded by law enforcement. I repeat this anecdote yet again not to invoke the benevolence of potential readers, but rather to point out the conditions that, in my opinion, allowed two students (Flávio Império joined us a little later) still in their professional infancy to quickly adopt positions that were contrary to the usual stance of architects. As the project was more Oscar Niemeyer’s than it was our own, we did not have the same emotional attachment that is understandably engendered between real authors and their designs. We had not yet been imbued with the charm and aura of the métier. And the only building sites we had visited thus far, Osmar’s, were incomparable to those we discovered in Brasilia. In short, our youthfulness and unpreparedness up against an unbearable situation made us react almost immediately to the profession’s satisfied doxa. Unprepared and young perhaps, but already with Marx by our side. Rodrigo and I joined the student cell of the Brazilian Communist Party during our first year at university. In itself, this did not help us much: the Party’s Marxism, revised in the interests of the USSR, was pitiful. Even high-level leaders rarely went beyond the first chapter of Capital. But at the end of the 1950s, the effervescence of the years to come was already nascent:  […] this extraordinary revival […] the rediscovery of Marxism and the great dialectical texts and traditions in the 1960s: an excitement that identifies a forgotten or repressed moment of the past as the new and subversive, and learns the dialectical grammar of a Hegel or an Adorno, a Marx or a Lukács, like a foreign language that has resources unavailable in our own. And what is more: the Chinese and Cuban revolutions, the war in Vietnam, guerrilla warfare of all kinds, national liberation movements, and a rare libertarian disposition in contemporary history, totally averse to fanaticism and respect for ideological apparatuses of (any) state or institution. Going against the grain was almost the norm. We were of course no more than contemporaries of our time. We were soon able to position ourselves from chapters 13, 14, and 15 of Capital, but only because we could constantly cross-reference Marx with our observations from well-contrasted building sites and do our own experimenting. As soon as we identified construction as manufacture, for example, thanks to the willingness and even encouragement of two friends and clients, Boris Fausto and Bernardo Issler, I was able to test both types of manufacture — organic and heterogeneous — on similar-sized projects taking place simultaneously, in order to find out which would be most convenient for the situation in Brazil, particularly in São Paulo. Despite the scientific shortcomings of these tests, they sufficed for us to select organic manufacture. Arquitetura Nova had defined its line of practice, studies, and research. There were other sources that were central to our theory and practice. Flávio Império was one of the founders of the Teatro de Arena, undoubtedly the vanguard of popular, militant theatre in Brazil. He won practically every set design award. He brought us his marvelous findings in spatial condensation and malleability, and in the creative diversion of techniques and material—appropriate devices for an underdeveloped country. This is what helped us pave the way to reformulating the reigning design paradigms.  We had to do what Flávio had done in the theatre: thoroughly rethink how to be an architect. Upend the perspective. The way we were taught was to start from a desired result; then others would take care of getting there, no matter how. We, on the other hand, set out to go down to the building site and accompany those carrying out the labor itself, those who actually build, the formally subsumed workers in manufacture who are increasingly deprived of the knowledge and know-how presupposed by this kind of subsumption. We should have been fostering the reconstitution of this knowledge and know-how—not so as to fulfil this assumption, but in order to reinvigorate the other side of this assumption according to Marx: the historical rebellion of the manufacture worker, especially the construction worker. We had to rekindle the demand that fueled this rebellion: total self-determination, and not just that of the manual operation as such. Our aim was above all political and ethical. Aesthetics only mattered by way of what it included—ethics. Instead of estética, we wrote est ética [this is ethics]. We wanted to make building sites into nests for the return of revolutionary syndicalism, which we ourselves had yet to discover. Sérgio Ferro, born in Brazil in 1938, studied architecture at FAUUSP, São Paulo. In the 1960s, he joined the Brazilian communist party and started, along with Rodrigo Lefevre and Flávio Império, the collective known as Arquitetura Nova. After being arrested by the military dictatorship that took power in Brazil in 1964, he moved to France as an exile. As a painter and a professor at the École Nationale Supérieure d’Architecture de Grenoble, where he founded the Dessin/Chantier laboratory, he engaged in extensive research which resulted in several publications, exhibitions, and awards in Brazil and in France, including the title of Chevalier des Arts et des Lettres in 1992. Following his retirement from teaching, Ferro continues to research, write, and paint.

Molecular Rebar Design, a nanomaterials company based in Austin, Texas, has patented a new additive manufacturing (AM) composition that utilizes oxidized discrete carbon nanotubes (CNTs) with bonded dispersing agents to enhance 3D printing resins. The patent, published under US20210237509A1, outlines methods to improve resin properties for applications such as vat photopolymerization, sintering, and thermoplastic fusion. The inventors, Clive P. Bosnyak, Kurt W. Swogger, Steven Lowder, and Olga Ivanova, propose formulations that improve electrical conductivity, thermal stability, and mechanical strength, while overcoming dispersion challenges common with CNTs in composite materials. Image shows a schematic diagram of functionalized carbon nanotubes. Image via Molecular Rebar Design. Functionalized CNTs for additive manufacturing At the core of the invention is the chemical functionalization of CNTs with dispersing agents bonded to their sidewalls, enabling higher aspect ratios and more homogeneous dispersions. These dispersions integrate into UV-curable acrylates, thermoplastics, and elastomers, yielding improved green strength, sinterability, and faster cure rates. The patent emphasizes the benefit of using bimodal or trimodal distributions of CNT diameters (single-, double-, or multi-wall) to tune material performance. Additional fillers such as carbon black, silica, and metallic powders can also be incorporated for applications ranging from electronic encapsulation to impact-resistant parts. Experimental validation To validate the invention, the applicants oxidized carbon nanotubes using nitric acid and covalently bonded them with polyether dispersing agents such as Jeffamine M2005. These modified CNTs were incorporated into photopolymer resin formulations. In tensile testing, specimens produced with the dispersions demonstrated enhanced mechanical performance, with yield strengths exceeding 50 MPa and Young’s modulus values above 2.8 GPa. Impact strength improved by up to 90% in certain formulations compared to control samples without CNTs. These performance gains suggest suitability for applications demanding high strength-to-weight ratios, such as aerospace, electronics, and structural components. Nanotube innovations in AM Carbon nanotubes (CNTs) have long been explored for additive manufacturing (AM) due to their exceptional mechanical and electrical properties. However, challenges such as poor dispersion and inconsistent aspect ratios have hindered their widespread adoption in AM processes. Recent advancements aim to overcome these barriers by integrating oxidation and dispersion techniques into scalable production methods. For instance, researchers at Rice University have developed a novel acid-based solvent that prevents the common “spaghetti effect” of CNTs tangling together. This innovation simplifies the processing of CNTs, potentially enabling their scale-up for industrial 3D printing applications. Similarly, a research team led by the University of Glasgow has created a 3D printable CNT-based plastic material capable of sensing its own structural health. This material, inspired by natural porous structures, offers enhanced toughness and strength, with potential applications in medicine, prosthetics, automotive, and aerospace design. Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news. You can also follow us onLinkedIn and subscribe to the 3D Printing Industry YouTube channel to access more exclusive content. At 3DPI, our mission is to deliver high-quality journalism, technical insight, and industry intelligence to professionals across the AM ecosystem.Help us shape the future of 3D printing industry news with our2025 reader survey. Feature image shows schematic diagram of functionalized carbon nanotubes. Image via Molecular Rebar Design.

A lot of product designers who are more environmentally conscious now are looking at sourcing recycled materials when conceptualizing new products. Consumers are also more curious about the ingredients and materials used to create products they are considering and for some, it plays a major factor in that decision. There is also a growing trend towards incorporating a minimalist kind of aesthetic in these sustainable designs since of course we want to use few resources when producing things. The LANOVA TERRA Biowaste Table Lamp exemplifies the fusion of sustainability and minimalist design.Developed by NOI Creative for Lanova, this lighting solution utilizes agricultural byproducts—such as coffee grounds, rice husks, and wheat bran—to craft a lamp that is both environmentally conscious and aesthetically aligned with Nordic design principles. The Terra lamp stands out by transforming organic waste into a functional and elegant home accessory. By repurposing materials that would otherwise contribute to landfill waste, the lamp not only reduces environmental impact but also brings natural textures and tones into interior spaces. Designer: NOI Creative The Terra lamp’s design goes beyond mere aesthetics, deeply embedding principles of sustainability into its very structure. Its compact, modular form is a deliberate choice aimed at minimizing environmental impact from the outset. By allowing the lampshade to nest snugly within the lamp’s body, the overall volume of the packaging is significantly reduced. This not only translates to less material used for packaging itself but also optimizes space during shipping, leading to lower transportation emissions, a crucial factor in reducing a product’s carbon footprint. Furthermore, the lamp’s aesthetic is carefully considered, with soft curves and a simple two-part construction that embodies the essence of Nordic design. This style, often characterized by its clean lines, functionality, and warm, inviting feel, aligns perfectly with the principles of minimalism, ensuring the lamp remains timeless and avoids unnecessary embellishments that would require more resources. This thoughtful design extends to the user experience, prioritizing ease of assembly and practical storage. These features contribute to Lanova’s overarching commitment to sustainable living by creating a product that is not only eco-friendly but also seamlessly integrates into a conscious lifestyle. However, the vision behind the Terra lamp stretches far beyond its tangible form. It symbolizes a fundamental shift in thinking, championing the adoption of renewable materials and the implementation of responsible design practices throughout the industry. By boldly showcasing the untapped potential of biowaste in product design, the Terra lamp transcends its function as a mere light source, becoming an inspiring symbol of innovation and a powerful advocate for environmental stewardship within the home decor landscape. The LANOVA TERRA Biowaste Table Lamp stands as a testament to the powerful synergy between environmental consciousness and minimalist design. By ingeniously repurposing agricultural byproducts, NOI Creative and Lanova have not only crafted an elegant lighting solution but have also illuminated a path towards a more sustainable future for the home decor industry, proving that innovation and responsibility can beautifully coexist. The post Lanova Terra Lamp turns biowaste materials into light source first appeared on Yanko Design.

Whether you’re heading to this year’s Biennale, planning a future visit, or simply daydreaming about Venice, this guide—contributed by Hamilton-based architect Bill Curran—offers insights and ideas for exploring the canal-crossed city. Venice is like eating an entire box of chocolate liqueurs in one go. – Truman Capote Venice is my mystical addiction and I soon will make my 26th trip there, always for about 10 days or more. I keep getting asked why, and asked by other architects to share what to do and what to see. Only Italo Calvino could have reimagined (in ‘Invisible Cities’) such a magical, unique place, a water-born gem forged from 120 islands linked by 400 bridges and beset by a crazy-quilt medieval street and canal pattern. Abstract, dancing light forms dappling off water, the distinct automobile-less quiet. La Serenissima, The Most Serene One. Most buildings along the Grand Canal were warehouses with the family home above on the piano nobile floor above, and servant apartments above that in the attics, in a sea-faring nation state of global traders and merchants like Marco Polo. Uniquely built on a foundation of 1,000-year-old wood pilings, its uneven, wonky buildings have forged a rich place in history, literature and movies: Joseph Brodsky’s Watermark, Hemingway’s Across the River and into the Trees, Don’t Look Now starring Donald Sutherland, Mann’s Death in Venice, The Comfort of Strangers with Christopher Walken, Henry James’ The Wings of the Dove and The Aspern Papers, Kate Hepburn’s ‘Summertime. Yes, yes, Ruskin’s Stones of Venice is an option, as are Merchant of Venice and Casanova. Palazzo Querini Stampalia (Venice): Photo via Wikipedia THE MODERN ARCHITECTURE OF VENICE Much of Venetian life is lived in centuries-old buildings, with a crushing post-war recession leaving it preserved in amber for decades until the mass tourists found it. Now somewhat relieved of at least the cruise ship daytrippers, it is a reasonable place again, except maybe in peak summer. The weight of history, a conservatism for preservation and post-war anti-Americanism led to architectural stagnation. So there are few new, modern buildings, mostly on the edges, and some fine interior interventions, mostly invisible. For modern architecture enthusiasts Venice is a challenge. Carlo Scarpa (Giardini, Venise) – Photo via Wikipedia, licensed under the Creative Commons Attribution 2.0 Generic license Here is what modern architects should see: Carlo Scarpa‘s Must-See Works: Go see any of Scarpa’s interventions, demonstrating his mastery of detailing, materials, joinery and his approach to blending with existing fabric. He is Italy’s organicist, their Frank Lloyd Wright, and they even worked together (on the Masieri Foundation). Negozio Olivetti: The tiny former Olivetti typewriter showroom enfronting Piazza San Marco is perhaps the most wonderful of his works. It is open now to visit as a heritage museum. ”God is in the details”; Scarpa carefully considered every detail, material and connection. Le magasin Olivetti de Carlo Scarpa (Venise). Photo via Wikipedia. This file is licensed under the Creative Commons Attribution 2.0 Generic license The Fondazione Querini Stampalia is a must see, a renovated palazzo with ground floor exhibit spaces with tidewater allowed to rise up inside in one area you bridge across. The former entrance bridge is a lovely gem of exquisite detailing, rendered obsolete by a meh renovation by Mario Botta. A MUST is to have a coffee or prosecco in Scarpa’s garden and see the craft and detail of its amazing water feature. The original palazzo rooms are a lovely semi-public library inhabited by uni students; sign up as a member on-line for free. Walk up the spiral stair. The entry gate to the UIAV Architecture School in Campo Tolentini  is an unexpected wonder. A brutalist yet crisply detailed sliding concrete and steel gate, a sculpted concrete lychgate, then an ancient doorway placed on the lawn as a basin. Main Gate of the Tolentini building headquarters of Iuav university of Venice designed by Carlo Scarpa. Photo via Wikipedia, licensed under the Creative Commons Attribution 2.0 Generic license OTHER MODERN ARCHITECTURE TO SEE: Minimalist Dave Chipperfield expanded an area of suede-like concrete columbariums on the St. Michele cemetery island. Sublime. Extra points if you can find the tomb Scarpa designed nearby. The Ponte della Costituzione (English: Constitution Bridge) is the fourth bridge over the Grand Canal in Venice, Italy. It was designed by Santiago Calatrava. (Image via: Wikipedia) Calatrava’s Ponte della Constituzione bridge is an elegant, springing gazelle over the entrance to the Grand Central. But the glass steps are slippery and are being replaced soon, and the City is suing Calatrava, oops. The barrier-free lift pod died soon after opening. It is lovely though.   Le Canal della Giudecca, la Punta della Dogana, la basilique Santa Maria della Salute de Venise et le Canal Grande à Venise (Italie). Photo via Wikipedia Tadao Ando’s Punte Della Dognana museum is large, with sublime, super-minimalist, steel and glass and velvety exposed concrete interventions, while his Palazzo Grassi Museum was more restoration. A little known fact is that Ando used Scarpa’s lovely woven basketweave metal gate design in homage. An important hidden gem is the Teatrino Grassi behind the Museum, a small but fabulous, spatially dramatic theatre that often has events, a must-see! Fondaco dei Tedeschi: At the foot of Rialto Bridge and renovated by Rem Koolhaas, this former German trading post had been transformed into a luxury shopping mall but closed last month, a financial failure. Graced with a stunning atrium and a not well know fabulous rooftop viewing terrace, its future is now uncertain. The atrium bar is by Phillipe Starck and is cool. Try it just in case. Fondaco dei Tedeschi. Photo via Wikipedia Procuratie Vecchie: This iconic 16th storey building is one of Piazza San Marco’s defining buildings, and David Chipperfield’s restoration and renovation of this building, which defines Piazza San Marco, is all about preservation with a few modern, minimalist interventions. It operates as a Biennale exhibit space. Infill housing on former industrial sites on Guidecca Island includes several interesting new developments called the Fregnans, IACP and Junghans sites (look for fine small apartments such as by Cino Zucchi that reinterpret traditional Venetian apartment language). A small site called Campo di Marte includes side-by-sides by Alvaro Siza (disappointing), Aldo Rossi and Carlo Aymonino (ho hum); some day there will be a Rafael Moneo on the empty lot.     View this post on Instagram   A post shared by Denton Corker Marshall (@dentoncorkermarshall) AT THE BIENNALE: At the Biennale grounds there is much to see, with the only recent project the Australia Pavilion by Denton Corker, a black granite box hovering along a canal. Famous buildings include the Nordic Pavilion (Sven Ferre), Venezuela Pavilion (Carlo Scarpa), Finland Pavilion (Alvar Aalto), former Ticket Booth (Carlo Scarpa), Giardino dell Sculture (Carlo Scarpa), Bookstore (James Stirling) and there are some fab modern interiors inside the old boat factory buildings. Canada’s Pavilion by the Milan firm BBPR (don’t ask why) from 1956 is awkward, weird and much loathed by artists and curators. Le pavillon des pays nordiques (Giardini, Venise). Photo via Wikipedia, licensed under the Creative Commons Attribution 2.0 Generic license. Just outside the Biennale on the Zattere waterfront is a stirring Monument to the Women Partisans of WWII, laid in the water by Augusto Maurer over a simple stepped-base designed by Scarpa. Venezia – Complesso monastico di San Giorgio Maggiore. Photo via Wikipedia,  licensed under the Creative Commons Attribution-Share Alike 4.0 International license. BEYOND THE BIENNALE The Vatican Chapels: In 2018 the Vatican decided to participate in the Biennale for the first time for some reason and commissioned ten architects to design chapels that are located in a wooded area on the Venetian island of San Giorgio Maggiore, behind Palladio’s church. The architects include Norman Foster, Eduardo Souto de Moura, and Smiljan Radic, and includes The Asplund Pavilion, like the Woodland Chapel  that inspired it. It is intended as a “place of orientation, encounter, meditation, and salutation.” The 10 chapels each symbolize one of the Ten Commandments, and offer 10 unique interpretations of the original Woodland Chapel; many are open air. These are fab and make you think! Chiese San Giorgio Maggiore was designed by Palladio and is fine. But its bell tower offers magnificent city views and avoids the long lines, crowds and costs of Piazza San Marco’s Campanile. Next to San Giorgio you should tour the Cini Foundation, with an amazing stair by Longhera, the modern Monica Lunga Library (Michele De Lucchi) and a lovely Borges-inspired labyrinth garden. Behind San Giorgio en route to the Chapels is the Museo del Vetro (Glass Museum) and the fabulous Le Stanze della Fotografia (contemporary photography gallery) featuring a Mapplethorpe retrospective this year. (If you’re visiting this year, join me in Piazza San Marco on July 7, 2025, for his ex Patti Smith’s concert.) An unknown MUST DO is a concert in the stunning Auditorium Lo Squero (Cattaruzza Millosevich), with but 200 comfy seats in an adapted boat workshop with a stage wall of glass onto the lagoon and the Venitian cityscape. La Fenice Opera House in Venice, Italy. Image via: Wikipedia La Fenice Opera House: after burning down in 1996, Aldo Rossi supervised the rebuilding, more or less ‘as it was, as it is’, the Italian heritage cop-out. There is no Rossi to see here, but it is a lovely grand hall. Book a concert with private box seats. Venice Marco Polo Airport is definitely Aldo Rossi-inspired in its language, materials and colours. The ‘Gateway Terminal’ boat bus and taxi dock is a true grand gateway (see note about Gehry having designed an unbuilt option below). Venice Marco Polo airport. Photo via Wikipedia HIDDEN GEMS Fondazione Vendova by Renzo Piano features automated displays of huge paintings by a local abstract modernist moving about a wonderful huge open warehouse and around viewers. Bizarre and fascinating. Massimo Scolari was a colleague or Rossi’s and is a brilliant, Rationalist visionary and painter, renown to those of us devotees of the Scarpa/Rossi/Scolari cult in the 1980’s. His ‘Wings’ sculpture is a large scale artwork motif from his drawings now perched on the roof of the UIAV School of Architecture, and from the 1991 Biennale. Do yourself a favour, dear reader, look up his work. Krier, Duany and the New Urbanists took note. He reminds me of the 1920s Italian Futurists. You can tour all the fine old churches you want, but only one matters to me: Santa Maria dei Miracoli, a barrel-vaulted, marble and wood-roofed confection. San Nicolo dei Mendicoli is admittedly pretty fab, and featured in ‘Don’t Look Now’.  And the Basilica of Santa Maria Assunta on Torcello has an amazing mosaic floor, very unusual stone slab window shutters (and is near Locanda Cipriani for a wonderful garden lunch, where Hemingway sat and wrote). For the Scarpiani: There is a courtroom, the Manilo Capitolo, inside the Venice Civic Tribunale building in the Rialto Market that was renovated by Scarpa, and is amazing in its detail, including furniture and furnishings. You have to pass security to get in, and wait until court ends if on. It is worth it! The Aula Mario Baratto is a large classroom in a Palazzo overlooking the Grand Canal designed by Carlo Scarpa with amazing wood details and furniture. The room has stunning frescoes also. You can book a tour through Universite Ca’ Foscari. The view at a bend in the Grand Canal is stunning, and you can see the Fondazione Masieri (Scarpa renovation) building off to the left across the side canal (see Missed Opportunities). Within the Accademia Galleries and Correr Museum are a number of small renovations, stairs and art stands designed by Scarpa. Next to the Chiesa di San Sebastino decorated by Veronese is the Scarpa entrance to a linguistics library for the Universita Ca’ Foscari. Fondation W – Wilmotte & Associés: A French architect who is not shy and presumably rather wealthy runs his own exhibition space focused on architecture; ‘…it is both a laboratory and shop window…’,  so one of those. Worth a look. There is a recent Courthouse that is sleek, long, narrow, black and compelling on the north side of Piazzalle Roma, but I have not yet wandered in.   FOOD AND DRINKS FOR ARCHITECTS Philippe Starck’s lobby bar at the Palazzina Grassi hotel is the only cool, mod bar in town. Wow! Ask the barman to see the secret Krug Room and use the PG bar’s unique selfie washroom. I love this bar: old, new, electic. Also, Starck has a house on Burano, next to the pescheria (sorry, useless ephemera). He wants you to drop by. Restaurant Algiubagiò is the only cool, modern restaurant and it has fab food. It also has a great terrace over the water. Go! Zanze XVI is a nice clean mod interior and Michelin food. Worth it. Ristorante Lineadombra: A lovely, crisp modern interior and crisp modern Venetian food. A great terrace on the water also. Local Venice is a newer, clean, crisp resto with ‘interesting’ prices. Your call. Osteria Alla Bifora, while in a traditional workshop space, is a clean open loft, adorned modernly with a lovely array of industrial and historic relics. It is a lovely bar with charcuterie and a patio on the buzzy campo for students. Great for late night. Cicchetti are Venetian tapas, a standard lunch you must try. All’ Arco near Rialto has excellent nouveau food and 50m away is the lovely old school Do Mori. Osteria Al Squero in Dorsoduro overlooks one of the last working gondola workshops, and 100m away is the great Cantino del Vino già Schiavi. Basegò has creative, nouveau cichetti. Drinks on a patio along the Grand Canal can only be had economically at Taverna al Remer, or in Campo Erberia at Nanzaria, Bancogira, Al Pesador or Osteria Al Cichetteria. Avoid any place around Rialto Bridge except these. El Sbarlefo San Pantalon has a Scarpa vibe and a hip, young crowd. There is a Banksy 50’ away. Ristorante Venissa is a short bridge from Burano to Mazzorbo island, a Michelin-starred delight set in its own vineyard.   Since restaurant design cannot tie you up here, try some fab local joints: Trattoria Anzolo Raffaele : The owner’s wife is from Montreal, which is something. A favorite! Pietra Rossa: A fab, smart place with a hidden garden run by a hip, fun young restauranteur, Andrea. Ask for the Canadian architect discount. Oste Mauro Lorenzon : An entertaining wine and charcuterie bar run by the hip young restauranteur’s larger than life father, and nearby. Mauro is a true iconoclast. Only open evenings and I dare you to hang there late. Anice Stellato: A great family run spot, especially for fish. Excellent food always. La Colonna Ristorante: A nice, neighbourhood joint hidden in a small campo. Il Paradiso Perduto: A very lively joint with good food and, rarely in Venice, music. Buzzy and fun. Busa da Lele: Great neighbourhood joint on Murano in a lovely Campo. Trattoria Da Romano: Best local joint on Burano. Starck hangs here, as did Bourdain.   Cafes: Bacaro aea Pescaria is at the corner by Campo de la Becarie. Tiny, but run by lovely guys who cater to pescaria staff. Stand outside with a prosecco and watch the market street theatre. Extra points if you come by for a late night drink. Bar ai Artisti is my second fav café, in Campo S. Barnaba facing where Kate Hepburn splashed into the canal. Real, fab pastries, great terrace in Campo too. Café at Querini Stampalia: get a free visit to Scarpa’s garden and wander it with a coffee or prosecco. Make sure to see the bookstore also (and the Scarpa exhibition hall adjacent). Carlo Scarpa à la Fondation Querini Stampalia (Venise). Photo via Wikipedia, A lesser known place is the nice café in the Biennale Office next to Hotel Monaco, called Ombra del Leone. The café in the Galleria Internationale d’Arte Moderna Ca’ Pesaro is great with a terrace on the Grand Canal.   Cocktail bars: Retro Venezia: Cool, retro vibe. The owner’s wife dated a Canadian hockey player. You must know him. Il Mercante: A fabulous cocktail bar. Go. Time Social Bar:  Another cool cocktail bar. Vero Vino: A fab wine bar where you can sit along a canal. Many good restaurants nearby! Arts Bar Venice: If you must have a cocktail with a compelling story, and are ok with a $45 pricetag. Claims Scarpa design influence, I say no. But read the cocktail stories, they are smart and are named for artists including Scarpa. Bar Longhi in in the Gritti Hotel is a classic, although cheesey to me. Hemingway liked it. It has a Grand Canal terrace. The Hilton Stucky Hotel is a fabulous former flour factory from when they built plants to look like castles, but now has a bland, soulless Hilton interior like you are in Dayton. But it has a rooftop bar and terrace with amazing sunset views! While traditional, the stunning, ornate lobby, atrium and main stair of the Hotel Danieli are a must-see. Have a drink in the lobby bar by the piano player some evening.   STAYING MODERN Palazzina Grassi is the only modern hotel in Venice, with a really lovely, unique lobby/bar/restaurant all done by Philippe Starck. At least see the fab bar! Johnny Depp’s favourite. Generator Hostel: A hip new-age ‘design-focused’ hostel well worth a look. Not like any hostel I ever patronized, no kegs on the porch. Go visit the lobby for the design. A Euro chain. DD724 is a small boutique hotel by an Italian architect with thoughtful detailing and colours, near the Peggy Guggenheim Museum (the infamous Unfinished Palazzo), and they have a small remote outpost with fabulous apartment called iQS that is lovely. The owner’s brother is the architect. My fave! Avogaria: Not just a 5 room hotel, it is ‘a concept’, which is great, right?  But very cool. An architect is one of the owners. German minimalist architect Matteo Thun’s JW Mariott Venice Resort Hotel and Spa is an expensive convent renovation on its own lagoon island that shows how blandness is yawningly close to minimalism. The Hotel Bauer Palazzo has a really lovely mid-century modern section facing Campo San Moise, but it is shrouded in construction scaffolding for now.   SHOPPING MODERN FOR ARCHITECTS It is hard to find cool modern shopping options, but here is where you can: Libreria Acqua Alta: Used books and a lovely, unexpected, fab, alt experience. You must see and wander this experience! It has cats too. Giovanna Zanella: Shoes that are absolute works of art! At least look in her window. Bancolotto N10: Stunning women’s clothing made in the women’ prison as a job skill training program. Impeccable clothes; save a moll from a life of crime. Designs188: Giorgio Nason makes fabulous glass jewellery around the corner from the Peggy Guggenheim Museum. Davide Penso: Artisan made glass jewellery on Murano. Ferrovetro Murano: Artisan made jewellery, bags, scarfs. (on Murano). Madera: All the cool designer housewares and jewellery. DECLARE: Cool, modern leathergoods in a very sweet modern shop with exquisite metal detailing. A must see! Ottica Urbani: Cool Italian eyewear and sunglasses. Paperowl: Handmade paper, products, classes. Feeling Venice: Cool design and tourist bling can be found only here. No shot glasses.   MISSED OPPORTUNITIES, MEMORIES AND B-SIDES The Masieri Foundation: Look up the tragic story of this project, a lovely, small memorial to a young architect who died in a car accident on his honeymoon en route to visit Fallingwater in 1952. Yep. His widow commissioned Frank Lloyd Wright to design a small student residence and study centre, but it was stopped by anti-American and anti-Modernism sentiments. (Models and renderings are on-line). This may be Venice’s saddest architectural loss ever. The consolation prize is a very, very lovely Scarpa interior reno. Try to get in, ring the bell (it is used as offices by the university)! (Read Troy M. Ainsworth’s thesis on the Masieri project history). Also cancelled: Lou Kahn’s Palace of Congress set for the Arsenale, Corbusier’s New Venice Hospital which would have been sitting over the Lagoon in Cannaregio near the rail viaduct, Gehry’s Venice Gateway (the airport’s ferry/water taxi dock area). Also lost was Rossi’s temporary Teatro del Mondo, a barged small theatre that tooted around Venice and was featured in a similar installation in 1988 at the R.C. Harris Water Treatment Plant. All available on-line. Teatro del Mondo di Aldo Rossi, Venezia 1980. Photo via Wikipedia, CC BY-SA 4.0 Itches to scratch: Exercise your design skills to finish the perennial favorite ‘Unfinished Palazzo’ of the Peggy Guggenheim Museum, design a new Masieri Foundation, design the 11th Vatican Chapel or infill the derelict gasometer site next to Palladio’s Chiese San Francisco della Vigna.   FURTHER AFIELD Within an hour’s drive, you can see the simply amazing Tombe Brion in San Vito Altivole and the tiny, stunning Giptotecha Canova in Possagna (both by Scarpa), the Nardini Grappa Distillery in Bassano del Grappa by Maximillio Fuksas, and a ferry and taxi will get you to Richard Meier’s Jesolo Lido Condos on the beach. A longer drive of two hours into the mountains near Cortina will bring you to Scarpa’s lovely and little known Nostra Signore di Cadora Church. It is sublime! Check out the floor! Zaha Hadid’s stunning Messner Mountain Museum floats above Cortina, accessible by cable car. The recent M-09 Museum on mainland Mestre, a quick 10 minute train ride from Venice, by Sauerbruch + Hutton is a lovely urban museum with dynamic cladding. Castelvecchio Museum. Photo via Wikipedia The Veneto region is home to many cool things, and fab train service gets you quickly to Verona (Scarpa’s Castelvecchio Museum and Banco Populare), Vicenza (Palladio’s Villa Rotonda and Basillicata). There are Palladio villas scattered about the Veneto, and you can daytrip by canal boat from Venice to them. Go stand where Hemingway was wounded in WWI near Fossalta Di Piave (there is a plaque), which led to his famous novel, ‘A Farewell to Arms’. He never got to visit Venice until 1948, then fell in love with the city, leading to ‘Across the River and into the Trees’. He also threatened to burn down FLW’s Masieri Foundation if built (and they both came from Oak Park, Illinois. So not very neighborly).   OTHER GOOD ARCHITECTURAL REFERENCES Venice Modern Architecture Map The only guidebook to Modern Architecture in Venice   These architectural guide folks do tours geared to architects: Architecture Tour Venice – Guiding Architects Venice Architecture City Guide: 15 Historical and Contemporary Attractions to Discover in Italy’s City of Canals | ArchDaily Venice architecture, what to see: buildings by Scarpa, Chipperfield and other great architects The post An Architect’s Guide to Venice and its Modern Architecture    appeared first on Canadian Architect.

Who gets hired as an NBA coach? How long does a typical coach last? And does their coaching background play any part in predicting success? This analysis was inspired by several key theories. First, there has been a common criticism among casual NBA fans that teams overly prefer hiring candidates with previous NBA head coaches experience. Consequently, this analysis aims to answer two related questions. First, is it true that NBA teams frequently re-hire candidates with previous head coaching experience? And second, is there any evidence that these candidates under-perform relative to other candidates? The second theory is that internal candidates (though infrequently hired) are often more successful than external candidates. This theory was derived from a pair of anecdotes. Two of the most successful coaches in NBA history, Gregg Popovich of San Antonio and Erik Spoelstra of Miami, were both internal hires. However, rigorous quantitative evidence is needed to test if this relationship holds over a larger sample. This analysis aims to explore these questions, and provide the code to reproduce the analysis in Python. The Data The code (contained in a Jupyter notebook) and dataset for this project are available on Github here. The analysis was performed using Python in Google Colaboratory.  A prerequisite to this analysis was determining a way to measure coaching success quantitatively. I decided on a simple idea: the success of a coach would be best measured by the length of their tenure in that job. Tenure best represents the differing expectations that might be placed on a coach. A coach hired to a contending team would be expected to win games and generate deep playoff runs. A coach hired to a rebuilding team might be judged on the development of younger players and their ability to build a strong culture. If a coach meets expectations (whatever those may be), the team will keep them around. Since there was no existing dataset with all of the required data, I collected the data myself from Wikipedia. I recorded every off-season coaching change from 1990 through 2021. Since the primary outcome variable is tenure, in-season coaching changes were excluded since these coaches often carried an “interim” tag—meaning they were intended to be temporary until a permanent replacement could be found. In addition, the following variables were collected: VariableDefinitionTeamThe NBA team the coach was hired forYearThe year the coach was hiredCoachThe name of the coachInternal?An indicator if the coach was internal or not—meaning they worked for the organization in some capacity immediately prior to being hired as head coachTypeThe background of the coach. Categories are Previous HC (prior NBA head coaching experience), Previous AC (prior NBA assistant coaching experience, but no head coaching experience), College (head coach of a college team), Player (a former NBA player with no coaching experience), Management (someone with front office experience but no coaching experience), and Foreign (someone coaching outside of North America with no NBA coaching experience).YearsThe number of years a coach was employed in the role. For coaches fired mid-season, the value was counted as 0.5. First, the dataset is imported from its location in Google Drive. I also convert ‘Internal?’ into a dummy variable, replacing “Yes” with 1 and “No” with 0. from google.colab import drive drive.mount('/content/drive') import pandas as pd pd.set_option('display.max_columns', None) #Bring in the dataset coach = pd.read_csv('/content/drive/MyDrive/Python_Files/Coaches.csv', on_bad_lines = 'skip').iloc[:,0:6] coach['Internal'] = coach['Internal?'].map(dict(Yes=1, No=0)) coach This prints a preview of what the dataset looks like: In total, the dataset contains 221 coaching hires over this time.  Descriptive Statistics First, basic summary Statistics are calculated and visualized to determine the backgrounds of NBA head coaches. #Create chart of coaching background import matplotlib.pyplot as plt #Count number of coaches per category counts = coach['Type'].value_counts() #Create chart plt.bar(counts.index, counts.values, color = 'blue', edgecolor = 'black') plt.title('Where Do NBA Coaches Come From?') plt.figtext(0.76, -0.1, "Made by Brayden Gerrard", ha="center") plt.xticks(rotation = 45) plt.ylabel('Number of Coaches') plt.gca().spines['top'].set_visible(False) plt.gca().spines['right'].set_visible(False) for i, value in enumerate(counts.values): plt.text(i, value + 1, str(round((value/sum(counts.values))*100,1)) + '%' + ' (' + str(value) + ')', ha='center', fontsize=9) plt.savefig('coachtype.png', bbox_inches = 'tight') print(str(round(((coach['Internal'] == 1).sum()/len(coach))*100,1)) + " percent of coaches are internal.") Over half of coaching hires previously served as an NBA head coach, and nearly 90% had NBA coaching experience of some kind. This answers the first question posed—NBA teams show a strong preference for experienced head coaches. If you get hired once as an NBA coach, your odds of being hired again are much higher. Additionally, 13.6% of hires are internal, confirming that teams do not frequently hire from their own ranks. Second, I will explore the typical tenure of an NBA head coach. This can be visualized using a histogram. #Create histogram plt.hist(coach['Years'], bins =12, edgecolor = 'black', color = 'blue') plt.title('Distribution of Coaching Tenure') plt.figtext(0.76, 0, "Made by Brayden Gerrard", ha="center") plt.annotate('Erik Spoelstra (MIA)', xy=(16.4, 2), xytext=(14 + 1, 15), arrowprops=dict(facecolor='black', shrink=0.1), fontsize=9, color='black') plt.gca().spines['top'].set_visible(False) plt.gca().spines['right'].set_visible(False) plt.savefig('tenurehist.png', bbox_inches = 'tight') plt.show() coach.sort_values('Years', ascending = False) #Calculate some stats with the data import numpy as np print(str(np.median(coach['Years'])) + " years is the median coaching tenure length.") print(str(round(((coach['Years'] <= 5).sum()/len(coach))*100,1)) + " percent of coaches last five years or less.") print(str(round((coach['Years'] <= 1).sum()/len(coach)*100,1)) + " percent of coaches last a year or less.") Using tenure as an indicator of success, the the data clearly shows that the large majority of coaches are unsuccessful. The median tenure is just 2.5 seasons. 18.1% of coaches last a single season or less, and barely 10% of coaches last more than 5 seasons. This can also be viewed as a survival analysis plot to see the drop-off at various points in time: #Survival analysis import matplotlib.ticker as mtick lst = np.arange(0,18,0.5) surv = pd.DataFrame(lst, columns = ['Period']) surv['Number'] = np.nan for i in range(0,len(surv)): surv.iloc[i,1] = (coach['Years'] >= surv.iloc[i,0]).sum()/len(coach) plt.step(surv['Period'],surv['Number']) plt.title('NBA Coach Survival Rate') plt.xlabel('Coaching Tenure (Years)') plt.figtext(0.76, -0.05, "Made by Brayden Gerrard", ha="center") plt.gca().yaxis.set_major_formatter(mtick.PercentFormatter(1)) plt.gca().spines['top'].set_visible(False) plt.gca().spines['right'].set_visible(False) plt.savefig('coachsurvival.png', bbox_inches = 'tight') plt.show Lastly, a box plot can be generated to see if there are any obvious differences in tenure based on coaching type. Boxplots also display outliers for each group. #Create a boxplot import seaborn as sns sns.boxplot(data=coach, x='Type', y='Years') plt.title('Coaching Tenure by Coach Type') plt.gca().spines['top'].set_visible(False) plt.gca().spines['right'].set_visible(False) plt.xlabel('') plt.xticks(rotation = 30, ha = 'right') plt.figtext(0.76, -0.1, "Made by Brayden Gerrard", ha="center") plt.savefig('coachtypeboxplot.png', bbox_inches = 'tight') plt.show There are some differences between the groups. Aside from management hires (which have a sample of just six), previous head coaches have the longest average tenure at 3.3 years. However, since many of the groups have small sample sizes, we need to use more advanced techniques to test if the differences are statistically significant. Statistical Analysis First, to test if either Type or Internal has a statistically significant difference among the group means, we can use ANOVA: #ANOVA import statsmodels.api as sm from statsmodels.formula.api import ols am = ols('Years ~ C(Type) + C(Internal)', data=coach).fit() anova_table = sm.stats.anova_lm(am, typ=2) print(anova_table) The results show high p-values and low F-stats—indicating no evidence of statistically significant difference in means. Thus, the initial conclusion is that there is no evidence NBA teams are under-valuing internal candidates or over-valuing previous head coaching experience as initially hypothesized.  However, there is a possible distortion when comparing group averages. NBA coaches are signed to contracts that typically run between three and five years. Teams typically have to pay out the remainder of the contract even if coaches are dismissed early for poor performance. A coach that lasts two years may be no worse than one that lasts three or four years—the difference could simply be attributable to the length and terms of the initial contract, which is in turn impacted by the desirability of the coach in the job market. Since coaches with prior experience are highly coveted, they may use that leverage to negotiate longer contracts and/or higher salaries, both of which could deter teams from terminating their employment too early. To account for this possibility, the outcome can be treated as binary rather than continuous. If a coach lasted more than 5 seasons, it is highly likely they completed at least their initial contract term and the team chose to extend or re-sign them. These coaches will be treated as successes, with those having a tenure of five years or less categorized as unsuccessful. To run this analysis, all coaching hires from 2020 and 2021 must be excluded, since they have not yet been able to eclipse 5 seasons. With a binary dependent variable, a logistic regression can be used to test if any of the variables predict coaching success. Internal and Type are both converted to dummy variables. Since previous head coaches represent the most common coaching hires, I set this as the “reference” category against which the others will be measured against. Additionally, the dataset contains just one foreign-hired coach (David Blatt) so this observation is dropped from the analysis. #Logistic regression coach3 = coach[coach['Year']<2020] coach3.loc[:, 'Success'] = np.where(coach3['Years'] > 5, 1, 0) coach_type_dummies = pd.get_dummies(coach3['Type'], prefix = 'Type').astype(int) coach_type_dummies.drop(columns=['Type_Previous HC'], inplace=True) coach3 = pd.concat([coach3, coach_type_dummies], axis = 1) #Drop foreign category / David Blatt since n = 1 coach3 = coach3.drop(columns=['Type_Foreign']) coach3 = coach3.loc[coach3['Coach'] != "David Blatt"] print(coach3['Success'].value_counts()) x = coach3[['Internal','Type_Management','Type_Player','Type_Previous AC', 'Type_College']] x = sm.add_constant(x) y = coach3['Success'] logm = sm.Logit(y,x) logm.r = logm.fit(maxiter=1000) print(logm.r.summary()) #Convert coefficients to odds ratio print(str(np.exp(-1.4715)) + "is the odds ratio for internal.") #Internal coefficient print(np.exp(1.0025)) #Management print(np.exp(-39.6956)) #Player print(np.exp(-0.3626)) #Previous AC print(np.exp(-0.6901)) #College Consistent with ANOVA results, none of the variables are statistically significant under any conventional threshold. However, closer examination of the coefficients tells an interesting story. The beta coefficients represent the change in the log-odds of the outcome. Since this is unintuitive to interpret, the coefficients can be converted to an Odds Ratio as follows: Internal has an odds ratio of 0.23—indicating that internal candidates are 77% less likely to be successful compared to external candidates. Management has an odds ratio of 2.725, indicating these candidates are 172.5% more likely to be successful. The odds ratios for players is effectively zero, 0.696 for previous assistant coaches, and 0.5 for college coaches. Since three out of four coaching type dummy variables have an odds ratio under one, this indicates that only management hires were more likely to be successful than previous head coaches. From a practical standpoint, these are large effect sizes. So why are the variables statistically insignificant? The cause is a limited sample size of successful coaches. Out of 202 coaches remaining in the sample, just 23 (11.4%) were successful. Regardless of the coach’s background, odds are low they last more than a few seasons. If we look at the one category able to outperform previous head coaches (management hires) specifically: # Filter to management manage = coach3[coach3['Type_Management'] == 1] print(manage['Success'].value_counts()) print(manage) The filtered dataset contains just 6 hires—of which just one (Steve Kerr with Golden State) is classified as a success. In other words, the entire effect was driven by a single successful observation. Thus, it would take a considerably larger sample size to be confident if differences exist. With a p-value of 0.202, the Internal variable comes the closest to statistical significance (though it still falls well short of a typical alpha of 0.05). Notably, however, the direction of the effect is actually the opposite of what was hypothesized—internal hires are less likely to be successful than external hires. Out of 26 internal hires, just one (Erik Spoelstra of Miami) met the criteria for success. Conclusion In conclusion, this analysis was able to draw several key conclusions: Regardless of background, being an NBA coach is typically a short-lived job. It’s rare for a coach to last more than a few seasons. The common wisdom that NBA teams strongly prefer to hire previous head coaches holds true. More than half of hires already had NBA head coaching experience. If teams don’t hire an experienced head coach, they’re likely to hire an NBA assistant coach. Hires outside of these two categories are especially uncommon. Though they are frequently hired, there is no evidence to suggest NBA teams overly prioritize previous head coaches. To the contrary, previous head coaches stay in the job longer on average and are more likely to outlast their initial contract term—though neither of these differences are statistically significant. Despite high-profile anecdotes, there is no evidence to suggest that internal hires are more successful than external hires either. Note: All images were created by the author unless otherwise credited. The post What Statistics Can Tell Us About NBA Coaches appeared first on Towards Data Science.

Because technology changes so quickly, IT teams must constantly learn new things, from cloud platforms and coding languages to AI tools, data science methods, and security measures. But relying on technical skills alone isn’t enough to guarantee success. Many organizations now see that balancing strong technical abilities, a.k.a. hard skills, with soft skills such as communication, problem-solving, and teamwork is necessary for IT teams to be effective in business. Balancing hard and soft skills isn’t optional; it’s essential for building high-performing IT teams, said Ximena Gates, CEO and co-founder of BuildWithin, a company that provides software to help employers create and manage apprenticeships and workplace training programs. “High performance is like a relay race: every team member must be a well-rounded athlete, excelling individually while ensuring smooth collaboration,” she said. “With AI automating more aspects of coding, quality assurance, and design, engineers must continuously learn, experiment boldly, and communicate effectively with their teams.” In the past, having strong technical skills was often enough to land an IT role, Gates said. “We hired engineers based almost purely on their coding ability and even overlooked poor communication, assuming they didn’t need to be public-facing,” she said. “Not today.” Now, Gates said she assesses soft skills as well as hard skills from the very first interaction. “When I interview, I evaluate active listening, curiosity, and the candidate’s response to demands and challenges to gauge resilience and persistence.” In today’s AI-driven world, success comes from combining technical skills with good communication, initiative, flexibility, teamwork, and clear documentation to keep teams organized and productive, Gates added. “Today, everyone — from employees to senior leaders — needs ongoing training in both technical and soft skills,” she said. Speaking the language of business Ramesh Kollepara, global CTO at Kellanova, formerly Kellogg Co., said his leadership philosophy focuses on building a culture of learning. And to make that learning culture effective, it’s essential to balance both soft and hard skills. Kollepara said hard skills are like the car’s engine and brakes — the technical capabilities that allow the car to function. Soft skills are like the GPS and steering wheel — the tools that guide the car to its destination. Kollepara’s analogy implies that just having strong technical skills isn’t enough. IT professionals also need the soft skills to effectively apply those technical capabilities and steer their teams in the right direction. “Durable” skills such as curiosity, adaptability, and agile learning enable IT pros to apply technology in a way that supports and aligns with business outcomes, said Chris Campbell, chief information officer at DeVry University. “For us, it’s super important that technologists speak the language of the business and communicate in terms that nontechnical stakeholders can understand,” he explained. “This bridges the gap in understanding between the technical and business sides.” Balancing hard and soft skills helps IT teams not only handle the technical work but also communicate well, adapt to changes, and align with business goals to ensure successful technology projects, he added. This balance is crucial for IT teams to be effective, he said. Strategies for hiring tech pros with balanced hard and soft skills Building well-rounded IT teams starts well before candidates receive job offers. During the hiring process, many companies now assess both hard and soft skills through several interviews with different departments. “It may seem old school, but we’ve found that going through multiple interviews with members of our team asking technical questions and seeing how the candidate explains the responses really helps us understand their proficiency technically and their ability to communicate,” said Louis Ormond, vice president and general manager at Toshiba America Business Solutions. Erin DeCesare, CTO at workplace catering platform ezCater, outlined a similar approach. During the hiring process, cross-functional partners format the interview around use cases that mimic real-life examples, she said. “So we’re asking a technologist to either design a system or code through a requirement,” she said. “They must demonstrate how they’d solicit requirements from nontechnical stakeholders and then detail how they’d technically solve the issue. In that same hour, we’re evaluating both their hard skills and the way they collaborate and communicate.” John Samuel, COO at CGS (Computer Generated Solutions), said that his interviewing style is to alternate between questions that test a candidate’s technical knowledge and those that reveal interpersonal strengths. “I might start with questions that look at their hard skills — for example, asking them to talk about their technical proficiency in the specific area that we’re hiring for, like cloud, security, or coding,” he said. “Things that you can measure. I’ll ask what projects they’ve led. What projects were successful and what they failed in.” Samuel said he then switches his questions to focus on soft skills, such as teamwork and conflict resolution. By moving back and forth, Samuel can see how solid a candidate’s technical background is and how effectively they leverage soft skills to handle real challenges. “This helps me understand the candidate’s overall balance of hard and soft skills,” he said. At DeVry, Campbell’s approach is to use behavioral-based interview questions to understand how candidates have handled situations that require both hard and soft skills. “We look for ‘red flags’ and ‘green flags’ in how the candidate responds, such as whether they can break down technical concepts in business terms,” he said. For example, if the candidate just doubles down on technical jargon and details when asked about communicating with nontechnical stakeholders, that would be a red flag because it shows that they’ll likely struggle to translate technical concepts into business language. But if the candidate demonstrates an ability to explain technical concepts in terms of the stakeholder’s business processes and outcomes, that would be a positive green flag, he said. Strategies for balancing hard and soft skills in existing IT teams Balancing hard and soft skills doesn’t stop after the interview process. Ensuring that existing employees have a balance of hard and soft skills requires ongoing training. For example, Kellanova offers training to help employees improve both their technical and soft skills through YODA, its Year of Development Always education program, Kollepara said. On the hard skills side, this training keeps Kellanova’s IT teams updated on programming languages, data science, and machine learning. And in terms of soft skills, the training helps IT team members think more creatively and better understand the needs of their colleagues in other departments. Dennis Di Lorenzo, director of skilling strategy at Micron Technology, encouraged IT managers to match their teams’ training plans with the company’s goals. “For example, cloud computing and cybersecurity skills must be complemented by problem-solving and collaboration for digital transformation success,” he said. “[IT managers] should also embed skills into workforce planning and leverage data for personalized learning. Using AI-driven analytics can help assess skill gaps and provide customized learning paths for employees, ensuring they acquire both hard and soft skills relevant to their roles.” Samuel at CGS recommended implementing quarterly performance reviews to track employees’ progress in developing their hard and soft skills over time. A regular, thoughtful review process is one of the most effective ways to help existing IT employees develop both technical and people skills, he said. Too often, IT managers view performance reviews as a formality — they simply go through the motions once a year, Samuel said. But when used properly, reviews can highlight each person’s strengths and pinpoint specific areas for growth, whether that’s learning a new coding language or improving communication and teamwork. Instead of filing these reviews away, Samuel said it’s best to revisit them regularly, ideally every quarter, to track employees’ progress. Along the way, managers or mentors can offer coaching, arrange classroom-style training, or provide hands-on support to ensure employees are continuously advancing their hard and soft skills. “I think it’s also important to create a culture that fosters healthy dialogue, both in hard and soft skills,” Samuel said. “People should feel like they can come and say, ‘Hey, I want help here. I’m struggling here in my soft skills,’ or ‘Hey, there are some new projects [I need help with]’ — and that might be more hard skills.” Further reading: How to keep tech workers engaged in the age of AI Just what is an ‘IT worker’ now? The definition is changing 15 mistakes that make hiring IT talent harder

Plenty of people take the advice "respect your elders" seriously, but Colordrunk Designs founder Jenna Gross lives by it. When she rebuilt, renovated, and designed her family's five-bedroom Atlanta home, her late grandparents' colorful residence was the driving force that inspired her. "I even had our pink front door custom-made to look just like my grandparents'," she admits. The rest of the foyer follows suit, with a boldly patterned area rug, colorful wallpaper, and cheerful paint. Color is the through line of the house's aesthetic, though using so many hues was not without its difficulties. "With so many spaces open to each other, it can be tough to make all the rooms flow—especially when you love as much color as I do," Gross says. "I spent a lot of time with the whole scheme laid out on the floor, making sure each room featured a color that flowed to the next."The foyer opens into the dining room, another space where pink is king and the family's forebears influenced the design. Here, a rather large oil portrait of her husband Caleb's great-aunt Vinny hangs on the back wall, giving the room an air of regality—and informing its color scheme. "I pulled the pink out of her dress and blasted it onto the ceiling and walls," Gross says. While the portrait is formal, the fuchsia is anything but. "With this fun and playful color, " she explains, "I wanted people to know that we do not take ourselves too seriously."The family room is painted a softer rose shade, but this home is not just a rhapsody in pink; other bold tints, like a canary yellow living break up the signature shade while keeping the energy high. "I have never been a 'yellow' person, but I was craving some exciting energy for that room," Gross explains. "The color draws you into a space that might not otherwise be used as much." There's no artistic ancestor involved here; Gross pulled "the brightest yellow" from a Manuel Canovas pattern on a banquette she already had and carried it over to the walls and ceiling to create what she calls "a fun, lively room that people gravitate toward."I wanted people to know that we do not take ourselves too seriously.The only room in the 4,000-square-foot home that isn't drenched in a bright color is the white kitchen, a spot that Gross kept serene and functional by design. "As much as I love color, I also love a white kitchen," Gross says. "It's where we cook, work, and play, and the white is such a good canvas for that." The exception is the custom tile backsplash in two shades of ocean blue, which Gross worked into every room of the house. "I picked those colors and used them in little doses to make the rooms flow easily," she explains.While a vibrant use of color obviously runs in the family, Gross is happy to report that she's seeing bold hues growing in popularity with her clients, too. "People are realizing that color makes you feel good! Even minimalists are embracing color, and all of my clients are asking for it," she says. "I am so happy to say that color is back—but did it ever really go away?"FAST FACTSJenna Gross, of Designer: Colordrunk DesignsLocation: Atlanta, GAThe Space:FAMILY ROOMGrasscloth textures hold their own against a riot of color.Emily FollowilWallcovering: Thibaut. Sofa: Jonathan Adler. Drapery: custom, in Schumacher fabric. Coffee table: Ballard Designs.Gross designed the wooden valance, a “nod to Hollywood Regency,” to soften the impact of 14-foot ceilings. LIVING ROOMA high-shine finish adds formality to bold color.Emily FollowilPaint: RAL 1018, Fine Paints of Europe. Chairs: vintage, in Kravet fabric. Art (above mantel): Evan Mooney expand=Gross used the same Manuel Canovas pattern she had upholstered on her banquette as insets for the walls, artfully connecting the room. BREAKFAST NOOKA caffeine-free spot to kickstart the day.Emily FollowilChandelier: Currey & Company. Chairs: Coley Home, in Schumacher fabric. Wallpaper: Brunschwig & Fils. Table: Jonathan Adler. Paint: Arsenic, Farrow & Ball.High-end artwork mixes with children’s creations on this eclectic gallery wall. DINING ROOMPink is the name of the game in this regal space.Emily FollowilPaint: RAL 4010, Fine Paints of Europe. Chandelier: Visual Comfort & Co. Table: Oly“Display the things you love, and let your home tell your family’s story,” says Gross, who showcases the heirloom china she and her husband inherited on custom shelves.KITCHENAnchored in white—but just as bold. Emily FollowilStools: Lee Industries, in Schumacher fabric. Pendants: The Urban Electric Co. Backsplash: custom, Renaissance Tile & Bath. Paint: Decorator’s White, Benjamin Moore.The everyday china is displayed on shelves. “Why hide it if you love it?” Gross asks. PRIMARY BEDROOMA masterclass in serene blues and purples.Emily FollowilWallcovering: Phillip Jeffries. Bed: Oly, in Schu­macher fabric. Nightstand and lamp: Worlds Away. Window treatments: Quadrille.Monogrammed bedding by JJA Custom Linens is “a nod to my traditional upbringing—but in a fun font with a lilac edge,” Gross says. KIDS' ROOMS Where animals roam free. Emily FollowilEmily Followil“The room has evolved since my now 14-year-old was a baby, but the personality and colors are the same,” Gross says. Wallpaper: Katie Kime. Drapery fabric: Schumacher. Desk and bed: Jonathan Adler. Headboard fabric: Thibaut.GUEST ROOMA custom-designed headboard stretches to the tall ceiling. Emily FollowilPaint: Pink Starburst, Benjamin Moore. Bed: custom, in Kravet fabric. Lamps: Jonathan Adler. Dresser: Oomph.“I designed the headboard to catch your eye and fill the space between the drapes,” says Gross, who drew a “whimsical shape inspired by a pagoda.”FOYERGross designed the front door to look exactly like that of her late grandparents'.Emily FollowilWallcovering: Carleton V Ltd. Console: Villa & House. Table lamp: Aerin. Rug: English Village Lane.In an homage to her grandparents’ home, Gross painted her front door a vibrant custom pink. MUDROOM"The stools are covered in one of my favorite patterns from my fabric line, Tipsi," says Gross.Emily FollowilPaint: St Giles Blue, Farrow & Ball. Pendant: Visual Comfort & Co. Ottomans: Society Social, in Tipsi fabric. Valance: Peter Fasano fabric, with Samuel & Sons trim.After school, Gross’s three kids stash backpacks and shoes within the custom cabinetry. Starbust cut-outs in the cabinetry provide ventilation and an extra dose of charm.About the DesignerJenna Gross founded her cleverly named full-service design firm back in 2013. Since then, Colordrunk Designs has been outfitting some of the country's most colorful and charming commercial and residential spaces, including her own home in Atlanta, Georgia, just a few short hours from where the designer grew up. She also founded a fabric line, dubbed Tipsi Home, inspired by her interiors' colorful nature.SHOP THE SPACEColey Home The Upholstered Teeny Dining Swivel$1,125 at coleyhome.comVisual Comfort & Co. Talia Large Chandelier$2,999 at visualcomfort.comCredit: Visual ComfortJonathan Adler Claridge 73" Apartment Sofa$3,900 at Jonathan AdlerCitrus Garden PillowNow 100% Off$17,576,006 $22 at schumacher.comCredit: Schumacher

Chaserjoey Keeper of the White Materia Member Oct 27, 2017 9,857 We have made the decision to cancel the development of KINGDOM HEARTS Missing-Link. We wish to convey our heartfelt apologies to everyone who has been looking forward to the start of service. Although we worked hard on development and adjusting the game in the hope that it would be enjoyed by lots of players, we determined that it would be difficult for us to offer a service that players would find satisfactory over a long period of time, leading us to the decision to cancel development, We would like to take this opportunity to express our thanks to everyone who gave us their support and assistance with the multiple closed beta tests. We are truly sorry to have to make this announcement. The KINGDOM HEARTS series will continue. We are hard at work on KINGDOM HEARTS IV, and hope you'll continue to support the series as you keep an eye out for further updates. Click to expand... Click to shrink...   Fat4all Woke up, got a money tag, swears a lot Member Oct 25, 2017 107,495 here true to its name   LostSkullKid Member Nov 27, 2017 5,142 Holy shit. So is whatever they were gonna do with the story there just completely scrapped?   Euler Member Oct 27, 2017 5,797 Watch the story of this game still be necessary to understand KH5   MrTharne Member May 26, 2023 675 How will I be able to understand the story now ? Hope we can see some of KH4 at SGF.  Izanagi89 "This guy are sick" and Corrupted by Vengeance Member Oct 27, 2017 18,762 At least we got a KH4 mention 🤷‍♂️   Geode Keeper of the White Materia Member Oct 27, 2017 5,469 It's for the best. Hopefully they utilize the story in 4 or make a Switch 2 side game with whatever they developed so far.   OP OP Chaserjoey Keeper of the White Materia Member Oct 27, 2017 9,857 Euler said: Watch the story of this game still be necessary to understand KH5 Click to expand... Click to shrink... It was literally meant to set up characters and lore for Kingdom Hearts 4 💀😭   TheMerv Member Jan 1, 2022 2,097 It's a shame it didn't get retooled to something resembling the ds/psp/3ds era side games. The weird victorian England-ish setting had potential.  AlexFlame116 Prophet of Truth - One Winged Slayer Member Nov 17, 2017 24,163 Utah At the end it really did become Missing. Watch as the cutscenes become available as part of a super mega one disc collection of Kingdom Hearts 1-3 and all spin offs.  GooZ One Winged Slayer Member Oct 25, 2017 2,186 I'm glad they're pulling the closure already because lets be honest the fate of server closure would've happened within 3 years tops. Tis the fate of Square Enix mobile games..  HolyJonte AVALANCHE Member Aug 31, 2023 1,279 From Stockholm but now living in Padova, Italy I have only played KH1 and 2. Is the mobile and side games normally important for the story, overall. Or are they just adding some small things here and there?   Dal Uncle Works at Nintendo Member Aug 18, 2024 2,159 Square Enix's mobile ventures always felt wasteful to me, there is no world in which big directors like Nomura and Yoko Taro should have been wasting YEARS on these games rather than developing actual, mainline console games (in the case of Nomura, he actually did, so.....)   SmokedSalmon Member Apr 1, 2019 2,723 Sad to see. I played one of the betas and did not care for it, but I was interested in the story. I hope they can use that story for another project.   Linus815 Member Oct 29, 2017 23,952 this is for the best in my opinion   frankabus One Winged Slayer Member Oct 27, 2017 311 Unfortunate as I'm sure a lot of resources have been utilized that will no longer go to fruition, but as someone whose weak point is Kingdom Hearts, part of me is glad I don't have to add another mobile gacha to my plate. I wish SE would go back to releasing full-fledged side games.   texhnolyze Shinra Employee Member Oct 25, 2017 26,289 Indonesia Square Enix and mobile flop, name a more iconic duo.   LAA One Winged Slayer Member Oct 28, 2017 3,202 Oh wow. Pretty crazy as the beta seemed pretty solid, I found the grind concerning though and whether they'd "solve" it with MTs, to cancel altogether seems a big move though, my Conspiracy theory was another Disney Pokemon Go-ish like game released last year around the time ML was supposed to and wonder if Disney wanted ML pushed back because of that, but reasoning here seems to be concerns around making long term content. I don't really follow what Pokemon Go does, but I thought that was still one of the most successful games? Wonder if they'll move what was developed from ML into KH4 or another side game instead. May be for the best if its a complete game instead. I'm just sad with the KH silence in general lately ha. Need MoM on steam as something ha. Nice KH4 has at least been acknowledged, been a while for that too.  Mattmo831 Featuring Mattmo831 from the Apple v Epic case Member Oct 26, 2020 6,518 LostSkullKid said: Holy shit. So is whatever they were gonna do with the story there just completely scrapped? Click to expand... Click to shrink... They will pretend it exists in kingdom hearts 4 and just not explain any of it   Atom Member Jul 25, 2021 15,248 HolyJonte said: I have only played KH1 and 2. Is the mobile and side games normally important for the story, overall. Or are they just adding some small things here and there? Click to expand... Click to shrink... Side games yes. Tons of important events related to the main characters in 2 and 3 are covered in Chain, Days, Birth, Dream. Coded is probs the only one that comes close to skippable. Mobile games not that much so far, and the story they are important for is probably story you won't care about, but potentially a much bigger deal for 4.  OP OP Chaserjoey Keeper of the White Materia Member Oct 27, 2017 9,857 HolyJonte said: I have only played KH1 and 2. Is the mobile and side games normally important for the story, overall. Or are they just adding some small things here and there? Click to expand... Click to shrink... The "side games" (Chain of Memories, 358/2 Days, Birth by Sleep, coded, Dream Drop Distance, 0.2) are all important. Think of it like the individual films inbetween Avengers films. The mobile game Union X is heavily important since characters from that are now the villains in Kingdom Hearts 4, and Missing-Link was introducing a whole lot for the new saga to work off of.  hydrophilic attack went to hypogean jail Member Oct 25, 2017 23,540 Sweden HolyJonte said: I have only played KH1 and 2. Is the mobile and side games normally important for the story, overall. Or are they just adding some small things here and there? Click to expand... Click to shrink... chain of memories, 358/2 memories, birth by sleep and dream drop distance are essential. the rest, not really   ala1995ginobiko Member Oct 25, 2017 1,564 Izanagi89 said: At least we got a KH4 mention 🤷‍♂️ Click to expand... Click to shrink... Not even a "look forward for updates soon!", just a basic PR message to let us know it's still alive lol   LostSkullKid Member Nov 27, 2017 5,142 HolyJonte said: I have only played KH1 and 2. Is the mobile and side games normally important for the story, overall. Or are they just adding some small things here and there? Click to expand... Click to shrink... The "side games" honestly have about 100 times more relevancy than KH1. Half of KH1 has been retconned at this point.   u_neek Member Oct 28, 2017 1,734 Euler said: Watch the story of this game still be necessary to understand KH5 Click to expand... Click to shrink... It'll be released as a paid pdf. In latin. In several parts.   Foffy Member Oct 25, 2017 17,581 These mobile games from Square-Enix launch and end at much faster rates! HolyJonte said: I have only played KH1 and 2. Is the mobile and side games normally important for the story, overall. Or are they just adding some small things here and there? Click to expand... Click to shrink... Kingdom Hearts is a series where even the "spin off" games are significant to the story and lore. Nomura's always planted seeds in one game that get answered in another, and he's allowed mobile games to have the same treatment so nothing is really skippable if you wanted the whole lore. Maybe Coded is the only skippable entry?  LimeTime Member Jul 17, 2023 1,080 What's funny about this whole situation is that if they just developed a PS3-fidelity, single player Kingdom Hearts side game for the Switch akin to what they used to do back in the day with things like Chain of Memories, Birth by Sleep, or Dream Drop Distance that shit would've probably been out already and they could've made some money. Could've maybe even been a Switch 2 launch game. Oh well!   Izanagi89 "This guy are sick" and Corrupted by Vengeance Member Oct 27, 2017 18,762 ala1995ginobiko said: Not even a "look forward for updates soon!", just a basic PR message to let us know it's still alive lol Click to expand... Click to shrink... Yo at this point I take what I can get 😂  Kalentan Member Oct 25, 2017 50,564 My friend who loves KH, is very happy about this lol   OP OP Chaserjoey Keeper of the White Materia Member Oct 27, 2017 9,857 Apparently this started development in January 2019 with one person doing concepts and it spun off from there. 6 years spent on a mobile game that they canned.   DatManOvaDer Member Oct 25, 2017 3,473 LimeTime said: What's funny about this whole situation is that if they just developed a PS3-fidelity, single player Kingdom Hearts side game for the Switch akin to what they used to do back in the day with things like Chain of Memories or Birth by Sleep that shit would've probably been out already and they could've made some money. Could've maybe even been a Switch 2 launch game. Oh well! Click to expand... Click to shrink... Heard this was the pivot (not switch specifically) but dev still wasn't going well   Kuro Member Oct 25, 2017 24,374 They have been canceling Mobile games left and right and now this one before it even comes out. Damn. Hopefully this doesn't affect KH4 but I'm also not surprised to hear they wanted it to tie into it. Square really gotta stop doing that.   Nateo Member Oct 27, 2017 8,970 Wow. Honestly GPS stuff was the weak link. But that was probably the only think making them the money in reality. DatManOvaDer said: Heard this was the pivot (not switch specifically) but dev still wasn't going well Click to expand... Click to shrink... It could have worked it was basically KH in mobile form except for the GPS stuff. They would have had to flesh out all the levels though. Raiding with a bunch of people was cool as shit tho.   Liam Allen-Miller Member Nov 2, 2017 7,963 Shibuya I have a piece of physical merchandise for this game. Glad I won't waste my time on more gacha bullshit.  Necromanti Member Oct 25, 2017 12,790 I feel like I'm as adept at keeping up with the KH lore/side projects as I am with the MCU, i.e. not at all.   LimeTime Member Jul 17, 2023 1,080 DatManOvaDer said: Heard this was the pivot (not switch specifically) but dev still wasn't going well Click to expand... Click to shrink... Damn, really? Why can't they make Kingdom Hearts games at the Kingdom Hearts factory anymore? The FF7 Remake team is probably going to have made an entire trilogy of games in the time it takes the Kingdom Hearts team to make one!  Delaney Member Oct 25, 2017 3,851 This was indeed for the best.  Atom Member Jul 25, 2021 15,248 u_neek said: It'll be released as a paid pdf. In latin. In several parts. Click to expand... Click to shrink... It won't be a pdf lol, that's too reasonable. It will be an always-online DRMed login portal, akin to the bizarre shit Square did for the FFVII Rebirth artbook on Steam Steam :: FINAL FANTASY VII REBIRTH :: How to access the Square Enix Digital Content Viewer The digital art book and digital mini-soundtrack (henceforth referred to as “this content”) included in the FINAL FANTASY VII REBIRTH Digital Deluxe Edition, the FINAL FANTASY VII REMAKE & REBIRTH Digital Deluxe Twin Pack and the FINAL FANTASY VII REBIRTH Digital Deluxe Edition Upgrade can be... steamcommunity.com Or a Japan only stageplay. LimeTime said: Damn, really? Why can't they make Kingdom Hearts games at the Kingdom Hearts factory anymore? Click to expand... Click to shrink... Nomura not sure if it should be a musical or not. RIP spinoffs. Didn't know how good we had it waiting for KH3. Never getting a Kairi/Aqua fuck shit up game. Liam Allen-Miller said: I have a piece of physical merchandise for this game. Click to expand... Click to shrink... Double check that it's not evaporating as you speak.  reksveks Member May 17, 2022 7,373 Dal said: Square Enix's mobile ventures always felt wasteful to me, there is no world in which big directors like Nomura and Yoko Taro should have been wasting YEARS on these games rather than developing actual, mainline console games (in the case of Nomura, he actually did, so.....) Click to expand... Click to shrink... Their mobile venture was more profitable then the HD games though. I would argue that alot of their macro current issues is actually cause their mobile games have kinda shat the bed recently.   ZeoVGM Member Oct 25, 2017 84,581 Providence, RI LimeTime said: Damn, really? Why can't they make Kingdom Hearts games at the Kingdom Hearts factory anymore? The FF7 Remake team is probably going to have made an entire trilogy of games in the time it takes the Kingdom Hearts team to make one! Click to expand... Click to shrink... They are literally making KH4 though?  Kalor Resettlement Advisor Member Oct 25, 2017 20,873 The setting looked cool, but not surprised considering the radio silence recently. At least its version of Dearly Beloved got out there.   LimeTime Member Jul 17, 2023 1,080 ZeoVGM said: They are literally making KH4 though? Click to expand... Click to shrink... I mean, I guess so. I'll have to take their word for it until I see that shit again.  OP OP Chaserjoey Keeper of the White Materia Member Oct 27, 2017 9,857 I wish they could have shown off some of what they had been working on. I've been so curious to see how they were going to tackle Disney worlds (with Pinocchio being the first one we were meant to visit) And rumour from a gathering they held was they had worlds based on more recent films like Luca.  Japanmanx3 One Winged Slayer Avenger Oct 25, 2017 6,592 Atlanta, GA I really hope at least the story is preserved. KHuX and Dark Road deserve the lore preservation as well. Not mad about missing a gacha though.  ZeoVGM Member Oct 25, 2017 84,581 Providence, RI LimeTime said: I mean, I guess so. I'll have to take their word for it until I see that shit again. Click to expand... Click to shrink... You'll see it at SGF and it'll release next spring.  NekoNeko Coward Oct 26, 2017 20,214 Euler said: Watch the story of this game still be necessary to understand KH5 Click to expand... Click to shrink... nothing will help with that.   LimeTime Member Jul 17, 2023 1,080 ZeoVGM said: You'll see it at SGF and it'll release next spring. Click to expand... Click to shrink... You have no idea how happy this would make me. I'll go crazy if this is true.  OrigamiPirate One Winged Slayer Member Oct 31, 2017 695 San Francisco Hm…. Despite burning out on KHUX and DR each, I find I'm actually pretty bummed about this?   hydrophilic attack went to hypogean jail Member Oct 25, 2017 23,540 Sweden Atom said: RIP spinoffs. Didn't know how good we had it waiting for KH3 Click to expand... Click to shrink... that wasn't good tbh. my sister enjoyed the first two mainline games but i can't in good conscience recommend the third to her, with all the spinoff games she'd have to play or watch just to understand what's going on in the story. if this means the end of spin-off games on half a dozen different platforms in between mainline entries, honestly good riddance   rottenpie One Winged Slayer Member Oct 28, 2017 2,728 Idgaf about mobile games so I'm totally okay with this