Gironda Residence | © Simone Bossi Located just steps from Piazza del Popolo in Ravenna, the Renaissance-era Casa Guaccimanni holds centuries of architectural and historical weight. Constructed in the fifteenth century for the Venetian podestà Nicolò Giustinian, the building evolved through noble ownership and later became home to Vittorio and Alessandro Guaccimanni, sons of Risorgimento figure Luigi Guaccimanni. Architecturally, the structure is characterized by a tripartite plan with a central corridor flanked by large rooms, an interior courtyard with a double loggia, and decorative elements spanning Renaissance to Neoclassical periods. Once concealed beneath plaster, its frescoed veranda and exposed wooden ceilings speak to a layered history of intervention, concealment, and rediscovery. Gironda Residence in Casa Guaccimanni Technical Information Architects1-13: Giovanni Mecozzi Architetti Location: Casa Guaccimanni, Via Armando Diaz, Ravenna, Italy Client: Emanuela Docimo Project Years: 2022 – 2024 Original Structure: 15th Century Photographs: © Andrea Sestito, © Simone Bossi, © Omar Sartor The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension. – Giovanni Mecozzi Gironda Residence in Casa Guaccimanni Photographs © Omar Sartor © Andrea Sestito © Andrea Sestito © Andrea Sestito © Omar Sartor © Simone Bossi © Simone Bossi © Simone Bossi © Omar Sartor © Omar Sartor © Omar Sartor © Andrea Sestito © Omar Sartor Design Intent: Reversibility and Temporal Tension The recent architectural project by Giovanni Mecozzi Architetti centers on the noble floor of the palazzo, reinterpreted as a contemporary residence named Gironda. Rather than imposing a new visual regime onto the historic shell, the intervention operates with restraint, foregrounding the building’s original character while establishing new spatial and material conditions. At the core of the project lies a design philosophy rooted in reversibility. Mecozzi’s intervention resists permanence. The furnishings and spatial devices introduced into the historic rooms are self-supporting and detached from the structure. No new element makes physical contact with the floors, ceilings, or walls, preserving the integrity of the original surfaces. This strategy avoids irreversible alterations and allows the architecture to remain temporally flexible. Architect Giovanni Mecozzi articulates this approach succinctly: “The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension.” This spatial tension is not decorative but conceptual, prompting occupants to consider the relationship between historical continuity and contemporary transformation. The design does not attempt to erase time but rather exposes its layers through careful juxtaposition. The project draws conceptual and chromatic inspiration from Ravenna’s early Christian and Byzantine mosaics. Rather than replicate ornamental motifs, Mecozzi extracts abstract qualities such as color, luminosity, and surface texture, integrating them as subtle spatial references throughout the residence. Gironda Residence Material Strategy Access to the residence is organized through a longitudinal hallway that bisects the plan, connecting a balcony on the north façade with a loggia overlooking the garden to the south. This corridor becomes a spine for circulation and orientation, punctuated by entries into five main rooms: the kitchen, veranda, and three independent suites. Each suite functions as a self-contained spatial environment. The original large rooms have been reimagined with integrated volumes housing diverse domestic functions: bathrooms, saunas, walk-in closets, reading nooks, and home cinemas. These new programmatic layers are embedded within freestanding furniture structures, which operate more as inhabitable objects than architectural partitions. Color becomes an operative tool for spatial differentiation. The three principal suites, the Gold Room, the Blue Room, and the Green Room, are introduced chromatically through thresholds that face the main corridor. This prelude of color sets the tone for each room’s unique interior experience. Within, glossy glass tiles, gilded surfaces, and a reduced palette of materials establish a scenographic yet restrained environment. The flooring, a Venetian terrazzo installed during earlier restoration work in the 2000s, has been retained. Its beveled borders and rounded corners respond to the proportions of each room, reinforcing a visual continuity that binds the new interventions with the inherited context. In contrast to the historical envelope, the furniture and spatial devices employ a language of monochromatic forms and minimal detailing, occasionally verging on neoplastic abstraction. This tension between old ornament and new abstraction is one of the project’s defining features. Furnishings curated by Atelier Biagetti, known for their theatrical and ironic sensibility, further enrich the atmosphere. These pieces do not mimic the historical setting but create moments of visual friction and playful ambiguity, enhancing the multi-temporal character of the interiors. Architectural Significance and Cultural Dialogue The Gironda residence exemplifies a growing discourse in contemporary architecture around adaptive reuse that neither mimics nor erases the past. Rather than treating heritage as a constraint or an aesthetic to be curated, Mecozzi engages it as an active agent in spatial transformation. The project is a case study in reversible architecture, where temporality is embedded in the design, not just its historical references. This intervention prompts broader questions about the role of preservation in contemporary practice. Can architectural interventions occupy historic contexts without becoming parasitic or nostalgic? Mecozzi’s project suggests that they can adopt a posture of critical distance and conceptual clarity. Gironda does not attempt to restore Casa Guaccimanni to a previous state or impose a singular vision of modernity. Instead, it crafts a dialogue between past and present, structured through spatial strategies, material choices, and chromatic cues. In doing so, it opens a new chapter in the building’s ongoing life, one that is fully contemporary yet deeply rooted in architectural memory. Gironda Residence in Casa Guaccimanni Plans Floor Plan | © Giovanni Mecozzi Architetti Golden Room Layout | © Giovanni Mecozzi Architetti Door Detail | © Giovanni Mecozzi Architetti Gironda Residence in Casa Guaccimanni Image Gallery About Giovanni Mecozzi Giovanni Mecozzi is an Italian architect based in Ravenna, Italy, and the founder of Giovanni Mecozzi Architetti (GMA), a multidisciplinary studio specializing in architecture, interior design, and landscape projects. After graduating from the University of Ferrara with an architecture degree, Mecozzi gained international experience working in Spain, including collaborating with Mendaro Arquitectos in Madrid. Upon returning to Italy, he co-founded GMA, focusing on projects emphasizing the relationship between architecture, the client, and the context, with a particular interest in renovating and transforming historical buildings.  Credits and Additional Notes Design Team: Giovanni Mecozzi, Cecilia Verdini, Filippo Minghetti Construction: Edilcostruzioni (Leoni Andrea) Electrical Systems: Elektra Service (Andrea Baiardi) Mechanical and Hydraulic Systems: Nuova OLP Structural Alterations: Not applicable (intervention is fully reversible) Custom Furniture: Idea Legno (Paolo Berdondini) Curtains and Fabrics: Selezione Arredamenti, Ravenna Lighting: Viabizzuno (via Tutto Luce, Cesena) Resin Coatings and Flooring: Kerakoll Rugs and Carpeting: Centro Moquette, Rimini Bathroom Furnishings: Salaroli, Ravenna Furniture, Artwork, and Design Objects Selected by: Atelier Biagetti (Milan) Furniture Designers: Alberto Biagetti and Laura Baldassarri

The Fearsome Megalodon Ate Basically Whatever It Wanted to Reach Its Daily 100,000-Calorie Need, Study Suggests Scientists previously assumed the giant, prehistoric sharks mostly feasted on whales, but it turns out they probably weren’t so picky An artistic reconstruction of the extinct megalodon. Scientists' ideas about how the megalodon looked are based on its fossilized teeth. Hugo Saláis via Wikimedia Commons under CC BY 4.0 Between 3 million and 20 million years ago, the largest predatory fish ever known hunted in Earth’s oceans. Called theOtodus megalodon), this giant shark grew up to 79 feet long, had teeth the size of human hands and could bite with the strength of an industrial hydraulic press. But what scientists know about the extinct creature has been almost entirely determined from fossil teeth—since paleontologists have yet to discover a complete megalodon, and the animals’ cartilaginous skeletons don’t preserve well. Now, new research on the mineral content of their teeth suggests megalodons ate pretty much whatever they wanted. Until recently, scientists assumed that megalodons satisfied their estimated 100,000-calorie daily needs by mostly eating whales. A study published Monday in the journal Earth and Planetary Science Letters, however, suggests the prehistoric shark had a much more diverse diet than previously thought—akin to the great white shark’s “if it moves, it’s food” hunting strategy of today, writes Vice’s Ashley Fike. Jeremy McCormack with a fossilized megalodon tooth. Uwe Dettmar for Goethe University An international team of researchers reached this conclusion after analyzing the ratio of different variants, called isotopes, of the mineral zinc in 18-million-year-old megalodon teeth. Animals absorb zinc only through food, so this could offer a hint to their diets. Muscles and organs absorb more of the isotope zinc-64 than zinc-66, meaning that the higher up the food chain an animal is—or the more meat and fish it eats—the less zinc-66 it absorbs, and its ratio of zinc-66 to zinc-64 is lower, in turn. “Since we don’t know how the ratio of the two zinc isotopes at the bottom of the food pyramid was at that time, we compared the teeth of various prehistoric and extant shark species with each other and with other animal species. This enabled us to gain an impression of predator-prey relationships 18 million years ago,” Jeremy McCormack, a scientist from Goethe University Frankfurt and lead author of the study, says in a statement. Unsurprisingly, the isotope ratios in the teeth put the megalodon at the top of the food chain, alongside close shark relatives such as Otodus chubutensis. At the same time, however, the scientists noticed there wasn’t a huge difference between the megalodon and the lower-tiered animals, suggesting the sharks feasted on creatures from all rungs of the ladder. “They were not concentrating on certain prey types, but they must have fed throughout the food web, on many different species,” McCormack tells CNN’s Jacopo Prisco. “While certainly this was a fierce apex predator, and no one else would probably prey on an adult megalodon, it’s clear that they themselves could potentially feed on almost everything else that swam around.” The results also indicate that megalodon populations living in different habitats had slightly contrasting diets, potentially because of differing prey availability. More broadly, the study invites comparisons between the megalodon and its iconic extant relative, the great white shark. These comparisons, however, may have previously led to some overreaching assumptions. “Previous studies simply assumed that megalodon must have looked like a gigantic version of the modern great white shark without any evidence,” Kenshu Shimada, a vertebrate paleontologist at DePaul University and co-author of the new study, told National Geographic’s Jason Bittel back in March. He and colleagues had just published a different paper that reassessed the prehistoric shark’s size, suggesting that it had a more slender body than its smaller, modern cousin. The new study thus joins a host of research challenging widely held ideas about megalodons and their relatives, says Alberto Collareta, a paleontologist at the University of Pisa in Italy who was not involved in the research, to CNN. “These have led us to abandon traditional reconstruction of the megatooth sharks as ‘inflated’ versions of the modern white shark. We now know that the megalodon was something else—in terms of size, shape and ancestry, and of biology, too,” he adds. In fact, with both species eating generalist diets, great white sharks might have outcompeted megalodons for food and ultimately played a role in their demise. “Even ‘supercarnivores’ are not immune to extinction,” Shimada says in the statement. Get the latest stories in your inbox every weekday.

Giant Sloths the Size of Elephants Once Walked Along the Ground. Here’s How the Massive Animals Evolved and Declined Researchers analyzed fossils and DNA to get a big-picture view of sloth evolution and determine what drove their immense size variation Researchers revealed that differences in sloth habitats drove the wide variation in size seen in extinct species. Diego Barletta Today, sloths are slow-moving, tree-dwelling creatures that live in Central and South America and can grow up to 2.5 feet long. Thousands of years ago, however, some sloths walked along the ground, weighed around 8,000 pounds and were as big as Asian elephants. Some of these now-extinct species were “like grizzly bears, but five times larger,” as Rachel Narducci, collection manager of vertebrate paleontology at the Florida Museum of Natural History, says in a statement. In a study published last week in the journal Science, Narducci and her colleagues studied ancient and modern sloth DNA along with more than 400 sloth fossils to shed light on the shocking differences in their ancient sizes—from the elephant-sized Megatherium ground sloth to its 14-pound relatives living in trees. While it’s clear that tree-dwelling lifestyles necessitate small bodies, scientists weren’t sure why ground sloths specifically demonstrated such vast size diversity. To investigate this, the team used their genetic and fossil analyses to reconstruct a sloth tree of life that reaches back to the animals’ emergence more than 35 million years ago. They integrated data on sloths’ habitats, diets and mobility that had been gathered in previous research. With a computer model, they processed this information, which ultimately indicated that sloths’ size diversity was mostly driven by their habitats and climates. “When we look at what comes out in the literature, a lot of it is description of individual finds, or new taxa,” Greg McDonald, a retired regional paleontologist with the U.S. Bureau of Land Management who was not involved with the study, tells Science News’ Carolyn Gramling. The new work is “more holistic in terms of looking at a long-term pattern. Often, we don’t get a chance to step back and get the big picture of what’s going on.” The big picture suggests that since the emergence of the oldest known sloths—ground animals around the size of a Great Dane—the creatures evolved into and out of tree living a number of times. Around 14 million to 16 million years ago, however, a time of global warming called the Mid-Miocene Climatic Optimum pushed sloths to become smaller, which is a known way for animals to respond to heat stress. Warmer temperatures might have also seen more rain, which would have created more forest habitats ideal for tree-dwelling sloths. Around a million years later, however, ground sloths grew bigger as the planet’s temperature cooled. “Gigantism is more closely associated with cold and dry climates,” Daniel Casali, a co-author of the paper and a researcher of mammalian evolution at the University of São Paulo, tells New Scientist’s Jake Buehler. A larger body mass would have helped the animals traverse environments with few resources more efficiently, Narducci says in the statement. In fact, these large ground sloths spread out across diverse habitats and thrived in different regions. The aquatic sloth Thalassocnus even evolved marine adaptations similar to manatees. Ground sloths achieved their greatest size during the last ice age—right before starting to disappear around 15,000 years ago. Given that humans arrived in North America around the same time (though recent research indicates they may have arrived as far back as 20,000 years ago), some scientists say humans are the obvious cause of the sloths’ demise. While tree-dwelling sloths were out of reach to our ancestors, the large and slow ground animals would have made easy targets. Even still, two species of tree sloths in the Caribbean disappeared around 4,500 years ago—also shortly after humans first arrived in the region, according to the statement. While the study joins a host of research indicating that humans drove various large Ice Age animals to extinction, “in science, we need several lines of evidence to reinforce our hypotheses, especially in unresolved and highly debated issues such as the extinction of megafauna,” says Thaís Rabito Pansani, a paleontologist from the University of New Mexico who did not participate in the study, to New Scientist. The International Union for Conservation of Nature currently recognizes seven—following a recent species discovery—and three are endangered. As such, “one take-home message is that we need to act now to avoid a total extinction of the group,” says lead author Alberto Boscaini, a vertebrate paleontologist from the University of Buenos Aires, to the BBC’s Helen Briggs. Get the latest stories in your inbox every weekday.

Ancient sloths came in a variety of sizesDiego Barletta A cooling, drying climate turned sloths into giants – before humans potentially drove the huge animals to extinction. Today’s sloths are small, famously sluggish herbivores that move through the tropical canopies of rainforests. But for tens of millions of years, South America was home to a dizzying diversity of sloths. Many were ground-dwelling giants, with some behemoths approaching 5 tonnes in weight. Advertisement That staggering size range is of particular interest to Alberto Boscaini at the University of Buenos Aires in Argentina and his colleagues. “Body size correlates with everything in the biological traits of an animal,” says Boscaini. “This was a promising way of studying [sloth] evolution.” Boscaini and his colleagues compiled data on the physical features, DNA and proteins of 67 extinct and living sloth genera – groups of closely related species – to develop a family tree showing their evolutionary relationships. Unmissable news about our planet delivered straight to your inbox every month. Sign up to newsletter The researchers then took this evolutionary history, which covered a span of 35 million years, and added information about each sloth’s habitat, diet and lifestyle. They also studied trends in body-size evolution, making body mass estimates of 49 of the ancient and modern sloth groups. The results suggest sloth body-size evolution was heavily influenced by climatic and habitat changes. For instance, some sloth genera began living in trees – similar to today’s sloths – and shrank in body size as they did so. Meanwhile, three different lineages of sloths independently evolved elephantine proportions – and it seems they did this within the last several million years, as the planet cooled and the growth of the Andes mountains made South America more arid. “Gigantism is more closely associated with cold and dry climates,” says team member Daniel Casali at the University of São Paulo, Brazil. Many of these diverse sloths disappeared during two stages: one around 12,000 years ago and the other around 6000 years ago, says Boscaini. “This matches with the expansion of Homo sapiens, first over the entire American supercontinent, and later in the Caribbean,” he says — which is where some giant sloths lived. Notably, the only surviving sloth species live in trees so are much harder for humans to hunt than massive ground sloths. The idea that humans were the death blow for ancient megafauna is well-supported, says Thaís Rabito Pansani at the University of New Mexico, who wasn’t involved in the study. “However, in science, we need several lines of evidence to reinforce our hypotheses, especially in unresolved and highly debated issues such as the extinction of megafauna,” she says. The new evidence shores up this story. “Sloths were thriving for most of their history,” says Casali. “[The findings] teach us how a very successful [group] can become so vulnerable very quickly.” Journal reference:Science DOI: 10.1126/science.adu0704 Topics:evolution

The Tamboré Club / DMDV arquitetosSave this picture!© Nelson Kon e Alberto RicciWellbeing•Jundiaí, Brazil Architects: DMDV arquitetos Area Area of this architecture project Area:  988 m² Year Completion year of this architecture project Year:  2024 Lead Architect: Thiffani Siani More SpecsLess Specs Save this picture! Text description provided by the architects. The Tamboré Club project presents an architecture defined by the contrast between solid stone-clad volumes, which house the club’s main programs, and transparent areas that foster visual and physical integration with the surrounding natural landscape. Organized into four distinct blocks, the complex is accessed via a metal pergola that extends over a reflecting pool, surrounded by carefully curated landscaping that creates a welcoming and symbolic entrance.Save this picture!The building opens inward toward the lot, facing a permanent preservation area—an architectural gesture that strengthens its connection to the natural environment and offers a sense of discovery as one enters the site. A central volume, distinguished by its elevated metal roof, houses the main event hall, oriented toward the outdoor pool. The gym faces the same direction, while the heated indoor pool stretches along the lateral edge of the site, forming a kind of internal plaza enveloped by native vegetation.Save this picture!The architectural language strikes a balance between geometries: the organic design of the outdoor pool contrasts with the rectilinear volumes of the building, while maintaining a dialogue with the natural surroundings. An outdoor patio between the event hall and the gym serves as an open-air cinema, where the building's end wall functions as the projection screen.Save this picture!The interior design emphasizes a refined rusticity, featuring natural materials such as stone, exposed concrete, and wood to create spaces that evoke comfort, warmth, and a strong connection to nature.Save this picture!Save this picture!Save this picture!In the highest part of the terrain, two barbecue areas have been positioned to take full advantage of the complex’s elevated views. Complementing the sports facilities are a playground, tennis courts, a multi-sports court, and beach tennis courts, all integrated into a multifunctional landscape.Save this picture! Project gallerySee allShow less Project locationAddress:Jundiaí, BrazilLocation to be used only as a reference. It could indicate city/country but not exact address.About this office MaterialsSteelStoneMaterials and TagsPublished on May 22, 2025Cite: "The Tamboré Club / DMDV arquitetos" [Clube Tamboré Jundiaí / DMDV arquitetos] 22 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1029930/the-tambore-club-dmdv-arquitetos&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

At the Ricardo residence in the ’50s sitcom I Love Lucy, over-the-top housewife Lucy and Ricky, her excitable husband, were always getting into some sort of entertaining hijinks. But life at home for the married actors who portrayed them, Lucille Ball and Desi Arnaz, was much different. “They were very busy,” the late stars’s daughter, Lucie Arnaz, explained in a 2011 interview. “From probably the age of birth up through seven, they weren’t home a lot [aside from] very late at night and weekends.”When Ball wasn’t at work alongside her husband on the hit television comedy, “she was very businesslike about running her house,” their daughter said. The couple, who eloped in November 1940 after a whirlwind romance, bought an abode about 10 miles north of Hollywood in the San Fernando Valley, where they stayed for 15 years. Their domestic lives as Lucy and Ricky—broadcast into dwellings nationwide for six seasons—made them stars, but their actual home lives were still captured by the occasional photoshoot. Read on for a roundup of images of the TV-famous duo in their element as they raised a family in the 1950s.Photo: Bettmann/Getty Images1/21Desilu ranchShortly after Ball and Arnaz eloped, they purchased their beloved five-acre ranch in Chatsworth, California, a suburban neighborhood in the San Fernando Valley area. The couple paid around $16,000 in 1941 for the home, designed by architect Paul R. Williams, and named it Desilu, a portmanteau of their names and later the title of their production company. Ball and Arnaz made the property their own by adding a slew of amenities, including a swimming pool, which Arnaz filled with floating gardenias for a surprise party for Ball’s 30th birthday in 1941.Photo: George Rinhart/Corbis via Getty Images2/21Animal companionsBall and Arnaz weren’t the only two who lived at Desilu ranch. The Devonshire Street abode also hosted a bunch of the couple’s animal friends. The two adopted a handful of dogs, cats, chickens, and a cow known as the Duchess of Devonshire. According to Madelyn Pugh Davis, I Love Lucy writer and Ball’s personal friend, “[Ball would] fall in love with the chickens and wouldn’t kill them. She had the oldest chickens in the Valley.”Photo: FPG/Getty Image3/21Lucy’s design styleBall decorated Desilu in a style she once described as “early Victorian” meets “bastard American.” The single-story home featured whitewood siding and a long driveway that led to the main house, which was surrounded by eucalyptus and peppertrees. This 1945 photograph showcases Ball’s affinity for floral prints, which cover the walls.Photo: Archive Photos/Getty Images4/21Lucy and Desi’s growing familyBall and Arnaz’s two children grew up at the San Fernando Valley area property. Here, Ball and Arnaz celebrate the first birthday of their daughter, Lucie Arnaz, whom they welcomed on July 17, 1951. Ball was expecting—and showing—when she and Arnaz shot the pilot episode of I Love Lucy, but the show made no mention of the pregnancy.Photo: Archive Photos/Getty Images5/21Arts and craftsWhile Ball was known for putting in endless hours at work, she embraced the opportunity to savor her time off. A woman of many hobbies, the comedian loved painting in her spare time. She was no stranger to setting up an easel and canvas by the pool at home, where she could draw inspiration from the natural beauty of picturesque Southern California.Photo: Graphic House/Archive Photos/Getty Images6/21America’s sweetheartsAfter I Love Lucy premiered in October 1951, Ball and Arnaz soon became America’s favorite couple, both onscreen and off—and, according to Arnaz, it was all thanks to his wife. “There’s nobody else that can do what Lucy does with her face, with her walk,” he said, according to Warren G. Harris, author of the biography Lucy & Desi: The Legendary Love Story of Television’s Most Famous Couple. However, the two had their disagreements: Their estate had a small guesthouse that was said to have been used by Arnaz whenever they argued. In 1944, Ball filed for divorce. After it was granted, the two quickly reconciled, making the divorce null and void by California law.Photo: CBS via Getty Images7/21Working from homeGiven the San Fernando Valley ranch was not too far from Hollywood, it offered a prime location for I Love Lucy’s promotional photo needs, like this November 1951 shoot in the couple’s living room. Their mantel, beneath a collection of plates hanging on the wall, made a warm backdrop for a series of images ahead of the holidays; it was sparsely adorned for one shot, then set for a New Year’s–themed photo, and reset for some yuletide-themed press, festooned with various ornaments and matching stockings for Christmas.Photo: Bettmann/Contributor/Getty Images8/21The heart of the homeBall loved to be in the kitchen, as seen in this 1952 photograph. “She fashioned herself as a homemaker of sorts [and] really enjoyed when she could get in the kitchen and make chicken and dumplings,” daughter Lucie said in 2011. “She worried a lot about her household and how the kids were being taken care of and whether the garage was being cleaned out and the homework was being done.”Photo: Archive Photos/Getty Images9/21Hollywood famous hostessEntertaining celebrity friends at dinner parties was one of Ball’s favorite activities, according to Sarah Royal, author of A.K.A. Lucy: The Dynamic and Determined Life of Lucille Ball. Arnaz would cook for their guests, and after meals, friends would gather for coffee that was passed over through a serving hatch, a common midcentury feature between a kitchen and a dining room, through which dishes could seamlessly go in and out of the kitchen.Photo: Bettmann/Contributor/Getty Images10/21Kicking backThe couple sure made working from home look fun as they kicked back in their living room while checking scripts for a forthcoming TV shoot in this 1952 snapshot. From a set of rattan chairs clad in a floral print to the Asian-inspired silk seat in which Arnaz reclines here, the couple found a way to infuse their home with furniture that functioned for both work and play.Photo: CBS Photo Archive/Getty Images11/21Desi’s Cuban design influencesIn this 1953 photograph, Ball was expecting the couple’s second child. Arnaz, meanwhile, was always striving to make their family’s house feel like home. Inspired by his Cuban roots, he had a few small buildings erected on the property—including a game room, a poolhouse, and a barbecue pit—to mirror the sprawling ranch-style aesthetic he was familiar with growing up in Santiago de Cuba. Lemon and orange trees, which Arnaz planted, surrounded the home’s exterior.Photo: KM Archive/Getty Images12/21A new additionLucie’s younger brother, Desiderio Alberto “Desi Jr.” Arnaz IV, was born in 1953. The little one was ready for prime time before he could even walk. In fact, Desi Jr. appeared with his famous mother on the first national issue of TV Guide on April 3, 1953, under the headline “Lucy’s $50,000,000 baby.” In 2019, Lucie told Good Morning America that she and her younger brother savor the sweet memories of time at home with their mom. “Home and being together is a fond and favorite memory—if she made me a grilled cheese sandwich and we sat in the living room and we talked, that is a great moment in my memory,” Lucie said.Photo: Archive Photos/Getty Images13/21Star-studded pool partiesBall and Arnaz enjoyed hosting and were known for having their Hollywood pals over. The Los Angeles Times reports that they’d throw parties for famous friends such as Clark Gable and William Holden, and Arnaz would serve his signature spaghetti sauce.Photo: Archive Photos/Getty Images14/21Fun and gamesArnaz’s idea to have a game room constructed on their property meant nights often involved lively games of cards for the couple. The duo could frequently be found cutting a deck at home, whether in their game room or at their kitchen table. Here, the couple plays cards while seated on their rattan furniture. Art imitates life, or vice versa: One episode of I Love Lucy famously showed Lucy playing poker with Arnaz’s friends.Photo: Archive Photos/Getty Images15/21The Roxbury Drive home’s I Love Lucy cameoBall and Arnaz purchased a Beverly Hills home in 1955 for $85,000. The couple reportedly spent six months renovating the dwelling, located at 1000 North Roxbury Drive. The exterior was used in an episode of I Love Lucy when Lucy and Ethel get off a bus to see actor Richard Widmark’s house.Photo: Archive Photos/Getty Images16/21Leaving the Desilu ranchOne year after purchasing their Beverly Hills home (which offered the couple privacy, as its backyard was walled in), they sold the Desilu ranch to onetime child actress Jane Withers. Ball remained very fond of the ranch; according to the late actor’s publicist, the pair would sometimes drive by the property for a passing glimpse.Photo: Archive Photos/Getty Images17/21Dropping inIn fact, at least on one reported occasion after Withers purchased the property, Ball allegedly waltzed right in. One day, the sitcom actress happened to be in the area and decided to pop by for a visit—though it turned out Withers wasn’t home to host her. Realizing she still had the keys to her former abode, Ball unlocked the door, entered, and was eventually caught in the living room when Withers returned. It’s been said that Ball wasn’t a fan of the redecorating.Photo: Archive Photos/Getty Images18/21A musical homeMusic and dancing were a big part of Arnaz and Ball’s lives, both in their onscreen roles as entertainers as well as in their time relaxing at home, as seen in this 1955 photo. When they first met, Arnaz asked Ball if she knew how to rumba and, according to Harris’s Lucy & Desi biography, added: “I can teach you quickly, but only on condition that you go out with me tonight.”Photo: Gene Lester/Getty Images19/21Family timeIn this 1957 shot, Ball plays with her son in the backyard of their home. “Because she was a working mom in the ’50s, there probably was a lot of guilt involved in not being home with the kids because you’re supposed to be,” said daughter Lucie. “She played a very funny person in her show—very crazy, outrageous person—and all my friends used to think that my mother was really like that. But at home, of course, she wasn’t like that at all. She was very responsible.”Photo: Gene Lester/Getty Images20/21Lucy in the gardenIn her time at home in California, Ball fostered a lifelong love of gardening. Her Beverly Hills home, with its walled-in backyard, added an extra layer of privacy for her to dig into her hobby. The plot was lined with lush landscaping, potted plants, and mature trees. The pastime carried over to the small screen in one episode of I Love Lucy, which showed the sitcom star facing off against the other members of the local club to take home the honor of best garden. Ball later made an onscreen appearance in one of the country’s most famous gardens in the 1974 musical Mame, where she danced by the fountain at the botanical gardens at The Huntington in San Marino, California.Photo: Archive Photos/Getty Images21/21Lucy after DesiBall, pictured here in 1960—the same year she and Arnaz divorced—would have the Beverly Hills estate for the rest of her life. A year after the split, Ball married comedian Gary Morton. The two purchased a New York City apartment in the fall of 1983. It was the first place the two furnished together, Ball told AD in May 1984, adding she’s been so “comfortable” in her properties on the West Coast and wouldn’t allow Morton to “change anything about them.”

Anita Hofschneider & Ayurella Horn-Muller, Grist Published May 18, 2025 | Comments (0) | Newly elected Pope Leo XIV, Robert Prevost arrives on the main central loggia balcony of the St Peter's Basilica for the first time. © ALBERTO PIZZOLI/AFP via Getty Images On a sweltering January day in 2018, Pope Francis addressed 100,000 of the faithful in Puerto Maldonado, Peru, not far from where gold mining had ravaged an expanse of Amazon rainforest about the size of Colorado. “The native Amazonian peoples have probably never been so threatened on their own lands as they are at present,” he told the crowd. He simultaneously condemned extractive industries and conservation efforts that “under the guise of preserving the forest, hoard great expanses of woodland and negotiate with them, leading to situations of oppression for the native peoples.” Francis denounced the insatiable consumerism that drives the destruction of the Amazon, supported those who say Indigenous peoples’ guardianship of their own territories should be respected, and urged everyone to defend isolated tribes. “Their cosmic vision and their wisdom have much to teach those of us who are not part of their culture,” he said. To Julio Cusurichi Palacios, an Indigenous leader who was in the stadium that day, the words from the head of the Catholic Church — which claims 1.4 billion members and has a long, sordid history of violence against Indigenous peoples worldwide — were welcome and momentous. “Few world leaders have spoken about our issues, and the pope said publicly the rights of Indigenous peoples were historically violated,” he said after Pope Francis died last month. “Let us hope that the new pope is a person who can continue implementing the position the pope who passed away has been talking about.” During his 12 years as pontiff, Francis radically reshaped how the world’s most powerful religious institution approached the moral and ethical call to protect the planet. Beyond his invocations for Indigenous rights, Francis acknowledged the Church’s role in colonization, and considered climate change a moral issue born of rampant consumption and materialism. As the Trump administration dismantles climate action and cuts funding to Indigenous peoples around the world — and far-right politics continues to rise globally — experts see the conclave’s selection of Robert Francis Prevost, or Pope Leo XIV as he is now known, as a clear beacon that the faith-based climate justice movement his predecessor led isn’t going anywhere. In 2015, Pope Francis released his historic papal letter, or encyclical, titled Laudato si’. In the roughly 180-page document, he unequivocally identified planet-heating pollution as a pressing global issue disproportionately impacting the world’s poor, and condemned the outsize role wealthy countries like the U.S. have in contributing to the climate crisis. With it, Francis did what no pope had done before: He spoke with great clarity and urgency about human degradation of the environment being not just an environmental issue, but a social and moral one. Laudato si’ established the definitive connection between faith, climate change, and social justice, and made it a tenet of Catholic doctrine. The lasting influence of Francis’ encyclical would be buoyed by his other writings, homilies, and his direct appeals to world leaders. He was, for example, credited with helping rally nearly 200 countries to sign the 2015 Paris Agreement, regularly urged cooperation at international climate summits, and released a follow-up to his pioneering encyclical in 2023 that sounded the alarm in the face of the climate crisis. “Pope Francis routinely said that we have a throwaway society. We throw away people, we throw away nature … and that we really need a culture that’s much more based in care,” said Christopher Cox, executive director of the Seventh Generation Interfaith Coalition for Responsible Investment and a former priest. “That means care for people, especially the most poor, the most vulnerable, the most marginalized. And we also need much greater care for creation. We’ve been given a beautiful earth and we’re consuming it at a rate that goes far beyond what will be able to sustain life for the long term.” The first Latin American pope, Francis was unique in implicitly embracing some elements of liberation theology, a Catholic social justice movement that calls for the liberation of marginalized peoples from oppression. Although Francis was occasionally critical of the doctrine’s Marxist elements and never fully supportive of it, many observers see his statements regarding poor and Indigenous peoples as reflective of the doctrine’s central values. “Right from the beginning of his papacy, that outreach, that recognition of Indigenous ways of being Catholic and Indigenous language in Catholicism, heralded — up to that point — the most expansive official recognition of Indigenous contributions to Catholicism thus far,” said Eben Levey, an assistant professor of history at Alfred University who has studied the relationship between Catholic Church and Indigenous peoples in Latin America. In the centuries since conquistadores arrived in the Americas and forced Indigenous peoples to accept their religion, many Indigenous communities have made Catholicism their own, and a growing number of church leaders have embraced the idea that there are multiple ways of being Catholic and that Catholicism and Indigenous cultures can coexist. A year after becoming pope, Francis approved the use of two Mayan languages, Tzotzil and Tzeltal, in mass and sacraments like baptism and confession. In 2015 he expanded that list to include the Aztec language Nahuatl, and in 2016, during a visit to Mexico, he celebrated mass in Tzeltal, Tzotzil and Chol. In 2022, Francis officially apologized to Canada for the residential schools that ripped Indigenous children from their families, leading to the deaths of many who were later buried in unmarked graves. The following year, he rejected the Doctrine of Discovery, a religious concept that colonizers used to justify the illegal seizure of land from Indigenous peoples and became part of an 1823 U.S. Supreme Court ruling that described Native Americans as “savages.” “The Doctrine of Discovery is not part of the teaching of the Catholic Church,” Pope Francis said, adding that he strongly supports the global implementation of the United Nations Declaration on the Rights of Indigenous Peoples. He also drew a clear connection between those rights and climate action: In 2023, he made clear that Indigenous peoples are critical to fighting climate change when he said, “Ignoring the original communities in the safeguarding of the Earth is a serious mistake, not to say a great injustice.” But Pope Francis’ progressivism had its limits. In 2019, he called for a meeting of church leaders, known as the Synod of Bishops, for the Pan-Amazon region to address issues affecting the Amazon Basin. Indigenous Catholics who attended brought up illegal logging and violence against land defenders and proposed reforms. “The ancestral wisdom of the aboriginal peoples affirms that mother earth has a feminine face,” reads the document that emerged from the gathering and urged the church to give women more leadership roles and allow married deacons to be ordained as priests. In his response, Francis condemned corporations that destroy the Amazon as committing “injustice and crime,” yet refused to embrace the proposals to make church leadership more inclusive of women and married men. Francis’ climate activism was also riddled in constraint. He transformed how religious institutions viewed the climate crisis, framing a failure to act on it as a brutal injustice toward the most vulnerable, but could have implemented “more direct institutional action,” said Nadia Ahmad, a Barry University School of Law associate professor who has studied faith-based environmental action. Though the former pontiff publicly supported renewable energy adoption, called for fossil fuel disinvestment, and prompted churches across the world to go solar, he did not mandate what he deemed a “radical energy transition” across dioceses, schools, and hospitals. The work he accomplished “could have been amplified a bit more and had more accountability,” said Ahmad. But that limitation, she noted, likely stemmed from contradictory politics playing out within the church — many traditional, conservative Catholics, particularly in the United States, resisted Francis’ progressive teachings. A 2021 study found that over a period of five years, most U.S. bishops were “nearly silent and sometimes even misleading,” in their official messaging to parishioners about climate change and the pope’s famed encyclical. Though Pope Leo XIV has been lauded for his advocacy in defense of immigrants and worker rights — his namesake, Leo XIII, who reigned from 1878 until 1903 is known as a historical Catholic champion of social justice and equality — the new pope’s track record on engaging directly with climate change is sparse. Still, Mary Evelyn Tucker, co-director of the Yale Forum on Religion and Ecology, sees comments the new pope made last year on the need to move “from words to action” as a promising sign that he will continue Francis’ commitment to communicating the urgency of a warming world. The timing of the conclave’s unprecedented decision to select the first pontiff from the United States, coming amid the Trump administration’s sweeping dismissal of climate action, elimination of environmental protections, and attacks on Indigenous rights, isn’t lost on her. “It may be a signal to say ‘America, come back into the world community, come back into a planetary future where we collectively have been working to create a future worthy of our children and our children’s children,’” she said. Leo grew up in Chicago and is a citizen of both the U.S. and Peru, where he spent decades serving as a missionary and bishop before Francis made him a cardinal in 2023. He speaks five languages fluently and some Quechua, an Indigenous Incan language. While he was working in Peru in the 1990s, Leo was critical of the government’s human rights abuses — though he refrained from explicitly taking sides in the political fight between Maoist rebels and the government of then-dictator Alberto Fujimori, according to Matthew Casey, a historian and clinical associate professor at Arizona State University based in Lima. Still, his reaction to the country’s authoritarianism could provide a glimpse of what stances he might take as pope, Casey said. “It doesn’t matter who was abusing human rights, he was on the side of the people,” he said. In 2016, the would-be pontiff spoke at a conference in Brazil where attendees talked about threats to the Amazon rainforest and Indigenous peoples who lived there. He praised Francis’ encyclical, describing the document as “very important,” and representing “something new in terms of this explicit expression of the church’s concern for all of creation.” To Casey, that suggests Pope Leo XIV, like his predecessor, has an awareness of the issues affecting Indigenous peoples, such as the rampant degradation of the environment. “Both Francis and Prevost are attuned to Indigeneity in ways that they couldn’t have been if they worked in Europe or the United States, because the politics of Indigeneity in Latin America are just so different,” Casey said. More than a week after the conclave that named him pope, communities across Peru are still celebrating the selection of Pope Leo XIV. Francis and Leo’s shared experiences working with marginalized communities harmed by colonialism and climate change, and their commitment to the social justice aspects of the church’s mission, are particularly meaningful in this political moment, said Levey, the Alfred University historian. “We are seeing a resurgence of ultra right wing politics globally, and the Catholic Church next to the United Nations is one of the few multilateral organizations perhaps capable of responding in some form or fashion to the questions of our modern age or contemporary moment,” he said. This article originally appeared in Grist at https://grist.org/international/pope-leo-climate-catholic-indigenous-francis/. Grist is a nonprofit, independent media organization dedicated to telling stories of climate solutions and a just future. Learn more at Grist.org. Daily Newsletter You May Also Like By Matt Novak Published February 18, 2025

The cobbled streets and centuries-old university halls of Leuven recently served as a picturesque backdrop for the Materialise 3D Printing in Hospitals Forum 2025. Belgium’s Flemish Brabant capital hosted the annual meeting, which has become a key gathering for the medical 3D printing community since its launch in 2017. This year, 140 international healthcare professionals convened for two days of talks, workshops, and lively discussion on how Materialise’s software enhances patient care. The Forum’s opening day, hosted at Leuven’s historic Irish College, featured 16 presentations by 18 healthcare clinicians and medical 3D printing experts.  While often described as the future of medicine, personalized healthcare has already become routine in many clinical settings. Speakers emphasized that 3D printing is no longer merely a “cool” innovation, but an essential tool that improves patient outcomes. “Personalized treatment is not just a vision for the future,” said Koen Peters, Executive Vice President Medical at Materialise. “It’s a reality we’re building together every day.” During the forum, practitioners and clinical engineers demonstrated the critical role of Materialise’s software in medical workflows. Presentations highlighted value across a wide range of procedures, from brain tumour removal and organ transplantation to the separation of conjoined twins and maxillofacial implant surgeries. Several use cases demonstrated how 3D technology can reduce surgery times by up to four times, enhance patient recovery, and cut hospital costs by almost £6,000 per case.      140 visitors attended the Materialise 3D Printing in Hospitals Forum 2025. Photo via Materialise. Digital simulation and 3D printing slash operating times  Headquartered a few miles outside Leuven’s medieval center, Materialise is a global leader in medical 3D printing and digital planning. Its Mimics software suite automatically converts CT and MRI scans into detailed 3D models. Clinicians use these tools to prepare for procedures, analyse anatomy, and create patient-specific models that enhance surgical planning. So far, Materialise software has supported more than 500,000 patients and analysed over 6 million medical scans. One case that generated notable interest among the Forum’s attendees was that of Lisa Ferrie and Jiten Parmar from Leeds General Infirmary. The pair worked alongside Asim Sheikh, a Consultant Skullbase and Neurovascular Neurosurgeon, to conduct the UK’s first “coach door osteotomy” on Ruvimbo Kaviya, a 40-year-old nurse from Leeds.  This novel keyhole surgery successfully removed a brain tumor from Kaviya’s cavernous sinus, a hard-to-reach area behind the eyes. Most surgeries of this kind require large incisions and the removal of substantial skull sections, resulting in extended recovery time and the risk of postoperative complications. Such an approach would have presented serious risks for removing Kaviya’s tumor, which “was in a complex area surrounded by a lot of nerves,” explained Parmar, a Consultant in Maxillofacial Surgery.    Instead, the Leeds-based team uses a minimally invasive technique that requires only a 1.5 cm incision near the side of Ravimbo’s eyelid. A small section of skull bone was then shifted sideways and backward, much like a coach door sliding open, to create an access point for tumor removal. Following the procedure, Ravimbo recovered in a matter of days and was left with only a 6 mm scar at the incision point.  Materialise software played a vital role in facilitating this novel procedure. Ferrie is a Biomedical Engineer and 3D Planning Service Lead at Leeds Teaching Hospitals NHS Trust. She used mimics to convert medical scans into digital 3D models of Ravimbo’s skull. This allowed her team to conduct “virtual surgical planning” and practice the procedure in three dimensions, “to see if it’s going to work as we expect.”  Ferrie also fabricated life-sized, polyjet 3D printed anatomical models of Ravimbo’s skull for more hands-on surgical preparation. Sheikh and Parmar used these models in the hospital’s cadaver lab to rehearse the procedure until they were confident of a successful outcome. This 3D printing-enabled approach has since been repeated for additional cases, unlocking a new standard of care for patients with previously inoperable brain tumors.  The impact of 3D planning is striking. Average operating times fell from 8-12 hours to just 2-3 hours, and average patient discharge times dropped from 7-10 days to 2-3 days. These efficiencies translated into cost savings of £1,780 to £5,758 per case, while additional surgical capacity generated an average of £11,226 in income per operating list. Jiten Parmar (right) and Lisa Ferrie (left) presenting at the Materialise 3D Printing in Hospitals Forum 2025. Photo via Materialise. Dr. Davide Curione also discussed the value of virtual planning and 3D printing for surgical procedures. Based at Bambino Gesù Pediatric Hospital in Rome, the radiologist’s team conducts 3D modeling, visualization, simulation, and 3D printing.  One case involved thoraco-omphalopagus twins joined at the chest and abdomen. Curione’s team 3D printed a multi-color anatomical model of the twins’ anatomy, which he called “the first of its kind for complexity in Italy.” Fabricated in transparent resin, the model offered a detailed view of the twins’ internal anatomy, including the rib cage, lungs, and cardiovascular system. Attention then turned to the liver. The team built a digital reconstruction to simulate the optimal resection planes for the general separation and the hepatic splitting procedure. This was followed by a second multi-colour 3D printed model highlighting the organ’s vascularisation. These resources improved surgical planning, cutting operating time by 30%, and enabled a successful separation, with no major complications reported two years post-operation. Dr. Davide Curione’s workflow for creating a 3D printed model of thoraco-omphalopagus twins using Mimics. Image via Frontiers in Physiology. VR-enabled surgery enhances organ transplants   Materialise’s Mimics software can also be used in extended reality (XR), allowing clinicians to interact more intuitively with 3D anatomical models and medical images. By using off-the-shelf virtual reality (VR) and augmented reality (AR) headsets, healthcare professionals can more closely examine complex structures in an immersive environment. Dr. David Sibřina is a Principal Researcher and Developer for the VRLab team at Prague’s Institute for Clinical and Experimental Medicine (IKEM). He leads efforts to accelerate the clinical adoption of VR and AR in organ transplantation, surgical planning, and surgical guidance.  The former Forbes 30 Under 30 honouree explained that since 2016, IKEM’s 3D printing lab has focused on producing anatomical models to support liver and kidney donor programmes. His lab also fabricates 3D printed anatomical models of ventricles and aneurysms for clinical use.  However, Sibřina’s team recently became overwhelmed by high demand for physical models, with surgeons requesting additional 3D model processing options. This led Sibřina to create the IKEM VRLab, offering XR capabilities to help surgeons plan and conduct complex transplantation surgeries and resection procedures.      When turning to XR, Sibřina’s lab opted against adopting a ready-made software solution, instead developing its own from scratch. “The problem with some of the commercial solutions is capability and integration,” he explained. “The devices are incredibly difficult and expensive to integrate within medical systems, particularly in public hospitals.” He also pointed to user interface shortcomings and the lack of alignment with established medical protocols.  According to Sibřina, IKEM VRLab’s offering is a versatile and scalable VR system that is simple to use and customizable to different surgical disciplines. He described it as “Zoom for 3D planning,” enabling live virtual collaboration between medical professionals. It leverages joint CT and MRI acquisition models, developed with IKEM’s medical physicists and radiologists. Data from patient scans is converted into interactive digital reconstructions that can be leveraged for analysis and surgical planning.  IKEM VRLab also offers a virtual “Fitting Room,” which allows surgeons to assess whether a donor’s organ size matches the recipient’s body. A digital model is created for every deceased donor and live recipient’s body, enabling surgeons to perform the size allocation assessments.  Sibřina explained that this capability significantly reduces the number of recipients who would otherwise fail to be matched with a suitable donor. For example, 262 deceased liver donors have been processed for Fitting Room size allocations by IKEM VRLab. In 27 instances, the VR Fitting Room prevented potential recipients from being skipped in the waiting list based on standard biometrics, CT axis measurements, and BMI ratios.                          Overall, 941 patient-specific visualizations have been performed using Sibřina’s technology. 285 (28%) were for liver recipients, 311 (31%) for liver donors, and 299 (23%) for liver resection. Living liver donors account for 59 (6%) cases, and split/reduced donors for 21 (2%).           A forum attendee using Materialise’s Mimics software in augmented reality (AR). Photo via Materialise. Personalized healthcare: 3D printing implants and surgical guides  Beyond surgical planning and 3D visualisation, Materialise Mimics software supports the design and production of patient-specific implants and surgical guides. The company conducts healthcare contract manufacturing at its Leuven HQ and medical 3D printing facility in Plymouth, Michigan.  Hospitals can design patient-specific medical devices in-house or collaborate with Materialise’s clinical engineers to develop custom components. Materialise then 3D prints these devices and ships them for clinical use. The Belgian company, headed by CEO Brigitte de Vet-Veithen, produces around 280,000 custom medical instruments each year, with 160,000 destined for the US market. These include personalised titanium cranio-maxillofacial (CMF) implants for facial reconstruction and colour-coded surgical guides. Poole Hospital’s 3D specialists, Sian Campbell and Poppy Taylor-Crawford, shared how their team has adopted Materialise software to support complex CMF surgeries. Since acquiring the platform in 2022, they have developed digital workflows for planning and 3D printing patient-specific implants and surgical guides in 14 cases, particularly for facial reconstruction.  Campbell and Taylor-Crawford begin their workflow by importing patient CT and MRI data into Materialise’s Mimics Enlight CMF software. Automated tools handle initial segmentation, tumour resection planning, and the creation of cutting planes. For more complex cases involving fibula or scapula grafts, the team adapts these workflows to ensure precise alignment and fit of the bone graft within the defect. Next, the surgical plan and anatomical data are transferred to Materialise 3-matic, where the team designs patient-specific resection guides, reconstruction plates, and implants. These designs are refined through close collaboration with surgeons, incorporating feedback to optimise geometry and fit. Virtual fit checks verify guide accuracy, while further analysis ensures compatibility with surgical instruments and operating constraints. Once validated, the guides and implants are 3D printed for surgery. According to Campbell and Taylor-Crawford, these custom devices enable more accurate resections and implant placements. This improves surgical alignment and reduces theatre time by minimising intraoperative adjustments. An example of the cranio-maxillofacial implants and surgical guides 3D printed by Materialise. Photo by 3D Printing Industry Custom 3D printed implants are also fabricated at the Rizzoli Orthopaedic Institute in Bologna, Italy. Originally established as a motion analysis lab, the institute has expanded its expertise into surgical planning, biomechanical analysis, and now, personalized 3D printed implant design. Dr. Alberto Leardini, Director of the Movement Analysis Laboratory, described his team’s patient-specific implant workflow. They combine CT and MRI scans to identify bone defects and tumour locations. Clinical engineers then use this data to build digital models and plan resections. They also design cutting guides and custom implants tailored to each patient’s anatomy. These designs are refined in collaboration with surgeons before being outsourced to manufacturing partners for production. Importantly, this workflow internalizes design and planning phases. By hosting engineering and clinical teams together on-site, they aim to streamline decision-making and reduce lead times. Once the digital design is finalised, only the additive manufacturing step is outsourced, ensuring “zero distance” collaboration between teams.  Dr. Leardini emphasised that this approach improves clinical outcomes and promises economic benefits. While custom implants require more imaging and upfront planning, they reduce time in the operating theatre, shorten hospital stays, and minimise patient transfers.  After a full day of presentations inside the Irish College’s eighteenth-century chapel, the consensus was clear. 3D technology is not a niche capability reserved for high-end procedures, but a valuable tool enhancing everyday care for thousands of patients globally. From faster surgeries to cost savings and personalized treatments, hospitals are increasingly embedding 3D technology into routine care. Materialise’s software sits at the heart of this shift, enabling clinicians to deliver safer, smarter, and more efficient healthcare.  Take the 3DPI Reader Survey – shape the future of AM reporting in under 5 minutes. Read all the 3D printing news from RAPID + TCT 2025 Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news.You can also follow us on LinkedIn, and subscribe to the 3D Printing Industry Youtube channel to access more exclusive content.Featured image shows 3D printed anatomical models at Materialise HQ in Leuven. Photo by 3D Printing Industry.

Casa Kani Ini / TAC Taller Alberto CallejaSave this picture!© Cesar BelioHouses•Villa de Tututepec, Mexico Architects: TAC Taller Alberto Calleja Area Area of this architecture project Area:  1340 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Cesar Belio Lead Architects: Alberto Calleja More SpecsLess Specs Save this picture! Text description provided by the architects. Casa Kani-Ini is located on a 4,500 m² plot facing the sea, in the El Vigía sector of Puerto Escondido, on the coast of Oaxaca, Mexico. The project had to accommodate a comprehensive program of spaces while also meeting the family's needs for use and permanence. Given this complexity, the main challenge was to design the house with the least possible impact on its immediate surroundings.Save this picture!Save this picture!Save this picture!Save this picture!Based on this premise, the approach was to break down the total built area into several strategically distributed structures. The social and recreational area was resolved through a continuous nave, supported by a mixed structure of wood and concrete, oriented towards the beach and the Pacific Ocean. This nave features a single-sloped roof and a flat slab section, on which a rooftop was designed. This elevated space offers new contemplative perspectives, inviting permanence and enhancing the visual and sensory experience from a higher level.Save this picture!Save this picture!At the heart of the house, a central green water courtyard serves as a transition point between spaces. This element not only connects the different areas but also provides privacy and acts as the natural distributor, defining the organic core of the house.Save this picture!The bedrooms and service areas are distributed across six independent modules, positioned at the rear of the property in a staggered arrangement. This layout constructively isolates the spaces, creating solid volumes that are connected only through circulation bridges. In this way, the built mass is fragmented throughout the site, achieving a more harmonious integration with the surrounding environment.Save this picture! Project gallerySee allShow less About this office MaterialWoodMaterials and TagsPublished on May 13, 2025Cite: "Casa Kani Ini / TAC Taller Alberto Calleja" 13 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030009/casa-kani-ini-tac-taller-alberto-calleja&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