Security News This Week: The Trump Administration Is Deprioritizing Russia as a Cyber Threat  WIRED

For most of us, music is a background hum that we tap into for motivation, relaxation, or simply to fill the silence. But what if it could be something more? Something like a portal into our most creative, focused selves? Yes, this is as cool as it sounds. And that's the premise behind Flow State, a new content series from AlphaTheta – the brand more commonly known for its Pioneer DJ products – created in collaboration with countercultural media platform HUCK and agency OCD Studio. Rooted in AlphaTheta's brand values of innovation, mindfulness and personal growth, Flow State signals a deliberate move beyond the decks and into a broader creative conversation. Through a series of stylised vignettes and intimate interviews, the series challenges audiences to think differently about music, not just as entertainment but as a tool for unlocking peak mental and creative performance. "We saw an opportunity to shift the perception of AlphaTheta beyond just DJ gear and toward a broader idea that music is a tool for peak performance," explains Tom Young, creative director at OCD Studio. "With more creatives talking about flow and mindfulness, now felt like the right time to connect the science of sound with the experience of creating." The framing is no accident, as AlphaTheta's very name alludes to alpha and theta brainwaves, which are both linked to heightened creativity, focus and flow states. By positioning music as a direct trigger for these mental modes, the series opens up a more expansive, holistic narrative around the brand. It's a strategy that builds on earlier efforts, such as AlphaTheta's documentary 'We Become One', which explored the psychological effects of dance music and collective experiences. With Flow State, the ambition goes deeper: to position AlphaTheta as a catalyst for creativity across disciplines, not just DJ booths. Visually, Flow State is stripped-back and cinematic. Each film captures a different creative immersed in their craft, whether that's music production, DJing or movement. Featuring names like Object Blue, Anu and Joel Mignott, the series offers a window into moments where chaos falls away and instinct takes over. "Your flow and how you get into it is quite personal," says Tom. "So we stripped back the aesthetic to reflect that. Clean frames, close textures, emotional clarity. The style mirrors the stillness creatives feel when they're in the zone." That quiet intensity runs throughout the series, mirroring the mental landscapes it seeks to explore. In an age where distraction is constant and attention spans are short, the ability to tune out noise and find focus has become its own kind of cultural currency. As Tom puts it: "In a world of AI-generated everything, your ability to lock in amongst a world of clutter and distraction communicates that you are a person of purpose and clarity." HUCK's editorial team played a central role in shaping the stories, drawing on their reputation for spotlighting subcultures and emerging creative voices. Known for championing artists like Mac Demarco, Flying Lotus and Ghetts before they hit the mainstream, HUCK's involvement ensures the series feels rooted in authenticity rather than product placement. "HUCK understood that this was about how people create," says Tom. "Their deep-rooted culture journalism helped us tell richer, more honest stories and made sure each film felt like a genuine reflection of the artist, not a product demo." While Object Blue, Anu and Joel Mignott each bring distinct disciplines and backgrounds to the table, what connects them is their emotional approach to creativity. Whether it's finding comfort in sound, using movement as a form of self-expression, or chasing a sense of presence, each story reveals that true flow isn't forced. "Interviewing them really showed that flow state only really comes when they're feeling open," says Tom. "It's not something that comes with extreme discipline." Beyond celebrating individual journeys, Flow State also taps into wider conversations about mental health, mindfulness and creative wellbeing. It reflects a growing shift in how brands engage with creative communities, moving away from surface-level aesthetics toward more nuanced, human-centred narratives. "Deep knowledge and understanding are status symbols," says Tom. "People want these deeper stories. Brands who understand that and help people tap into their full creative potential are the ones who will stay relevant." At a time when AI-generated content threatens to homogenise the creative industries, Flow State offers a timely reminder: creativity isn't just about output; it's a state of being. Sometimes, all it takes to access it is the right soundtrack.

6 June, 2025 In our weekly interview series, design leaders answer five questions about design, and five questions about leadership. Michelle Noel is the founder and strategy director at London branding and design agency Studio Noel, whose clients include Centrepoint, the Natural History Museum, and Imperial College London. Design What would your monograph be called? I actually asked my team about this one, and this is what they came up with – That Pencil Better Be Sharp. This may be down to me only ever writing in pencil and them taking the piss! What recent design work made you a bit jealous? It’s not recent, but I still love Pentagram’s Battersea Cats and Dogs home rebrand. I love the energy in the identity and the illustrative approach which feels really expressive and representative of all the different breeds. What’s an unusual place you get inspiration from? It’s always been about going outside and getting away from the screen. Walking helps me get inspired as it gives my mind the ability to be still, and I find then that ideas naturally come. Name something that is brilliantly designed, but overlooked. The pencil sharpener. There are some beautifully designed old ones that are really interesting in how they work. What object in your studio best sums up your taste? We commissioned Rachel Joy to create a piece of art for our studio. I love the bold typography and colour palettes that she uses in all of her signwriting artwork. Studio Noel’s Rachel Joy artwork Leadership What feedback felt brutal at the time but turned out to be useful? When we first started out as an agency, our website and logo were intentionally minimal. But during a pitch, a client casually remarked, “We didn’t really have a brand identity.” It was a passing comment, but it stuck with me. I realised that while we were focused on our clients, our own identity wasn’t shining through, especially in our proposals. That moment prompted a shift. We went back to refine and strengthen how we presented ourselves, making sure our brand was clear, consistent and confidently expressed in everything we created from that point on. What’s an underappreciated skill that design leaders need? Leadership is about stepping back and giving others the space to grow. Creating room for more junior team members to try and even fail. This accelerates their development and builds confidence. We’ve also learned that great ideas can come from anyone in the business, regardless of their role or level. Embracing that mindset has been key to our agency’s growth. What keeps you up at night? Often it’s an idea or opportunity sparked by something I’ve read. It could be a new way to approach a strategy, a shift in how we work, or even a big-picture concept that could shape our growth. What trait is non-negotiable in new hires? We’re looking for curious, collaborative individuals eager to learn and grow with us. There’s no room for big egos. As we grow the business, we want people who are just as invested in shaping its future. Complete this sentence, “I wish more clients…” ….prioritised accessibility in their branding. We do a lot of work in this area, including training teams on both the client and agency side, and we’ve seen first-hand how powerful it can be. Often, the barrier is simply a lack of knowledge, both in what makes a brand accessible and in the broader benefits, like significantly increasing audience reach. With nearly one in five people in the UK living with a disability, that’s a huge portion of their audience that could be unintentionally excluded. Brands in this article What to read next design/leader: OCCA founder Kate Mooney Interior Design 8 May, 2025

Anthropic on Thursday announced Claude Gov, its product designed specifically for U.S. defense and intelligence agencies. The AI models have looser guardrails for government use and are trained to better analyze classified information.The company said the models it’s announcing “are already deployed by agencies at the highest level of U.S. national security,” and that access to those models will be limited to government agencies handling classified information. The company did not confirm how long they had been in use.Claude Gov models are specifically designed to uniquely handle government needs, like threat assessment and intelligence analysis, per Anthropic’s blog post. And although the company said they “underwent the same rigorous safety testing as all of our Claude models,” the models have certain specifications for national security work. For example, they “refuse less when engaging with classified information” that’s fed into them, something consumer-facing Claude is trained to flag and avoid. Claude Gov’s models also have greater understanding of documents and context within defense and intelligence, according to Anthropic, and better proficiency in languages and dialects relevant to national security. Use of AI by government agencies has long been scrutinized because of its potential harms and ripple effects for minorities and vulnerable communities. There’s been a long list of wrongful arrests across multiple U.S. states due to police use of facial recognition, documented evidence of bias in predictive policing, and discrimination in government algorithms that assess welfare aid. For years, there’s also been an industry-wide controversy over large tech companies like Microsoft, Google and Amazon allowing the military — particularly in Israel — to use their AI products, with campaigns and public protests under the No Tech for Apartheid movement.Anthropic’s usage policy specifically dictates that any user must “Not Create or Facilitate the Exchange of Illegal or Highly Regulated Weapons or Goods,” including using Anthropic’s products or services to “produce, modify, design, market, or distribute weapons, explosives, dangerous materials or other systems designed to cause harm to or loss of human life.” At least eleven months ago, the company said it created a set of contractual exceptions to its usage policy that are “carefully calibrated to enable beneficial uses by carefully selected government agencies.” Certain restrictions — such as disinformation campaigns, the design or use of weapons, the construction of censorship systems, and malicious cyber operations — would remain prohibited. But Anthropic can decide to “tailor use restrictions to the mission and legal authorities of a government entity,” although it will aim to “balance enabling beneficial uses of our products and services with mitigating potential harms.” Claude Gov is Anthropic’s answer to ChatGPT Gov, OpenAI’s product for U.S. government agencies, which it launched in January. It’s also part of a broader trend of AI giants and startups alike looking to bolster their businesses with government agencies, especially in an uncertain regulatory landscape.When OpenAI announced ChatGPT Gov, the company said that within the past year, more than 90,000 employees of federal, state, and local governments had used its technology to translate documents, generate summaries, draft policy memos, write code, build applications, and more. Anthropic declined to share numbers or use cases of the same sort, but the company is part of Palantir’s FedStart program, a SaaS offering for companies who want to deploy federal government-facing software. Scale AI, the AI giant that provides training data to industry leaders like OpenAI, Google, Microsoft, and Meta, signed a deal with the Department of Defense in March for a first-of-its-kind AI agent program for U.S. military planning. And since then, it’s expanded its business to world governments, recently inking a five-year deal with Qatar to provide automation tools for civil service, healthcare, transportation, and more.See More:

Anthropic has unveiled a custom collection of Claude AI models designed for US national security customers. The announcement represents a potential milestone in the application of AI within classified government environments. The ‘Claude Gov’ models have already been deployed by agencies operating at the highest levels of US national security, with access strictly limited to those working within such classified environments. Anthropic says these Claude Gov models emerged from extensive collaboration with government customers to address real-world operational requirements. Despite being tailored for national security applications, Anthropic maintains that these models underwent the same rigorous safety testing as other Claude models in their portfolio. Specialised AI capabilities for national security The specialised models deliver improved performance across several critical areas for government operations. They feature enhanced handling of classified materials, with fewer instances where the AI refuses to engage with sensitive information—a common frustration in secure environments. Additional improvements include better comprehension of documents within intelligence and defence contexts, enhanced proficiency in languages crucial to national security operations, and superior interpretation of complex cybersecurity data for intelligence analysis. However, this announcement arrives amid ongoing debates about AI regulation in the US. Anthropic CEO Dario Amodei recently expressed concerns about proposed legislation that would grant a decade-long freeze on state regulation of AI. Balancing innovation with regulation In a guest essay published in The New York Times this week, Amodei advocated for transparency rules rather than regulatory moratoriums. He detailed internal evaluations revealing concerning behaviours in advanced AI models, including an instance where Anthropic’s newest model threatened to expose a user’s private emails unless a shutdown plan was cancelled. Amodei compared AI safety testing to wind tunnel trials for aircraft designed to expose defects before public release, emphasising that safety teams must detect and block risks proactively. Anthropic has positioned itself as an advocate for responsible AI development. Under its Responsible Scaling Policy, the company already shares details about testing methods, risk-mitigation steps, and release criteria—practices Amodei believes should become standard across the industry. He suggests that formalising similar practices industry-wide would enable both the public and legislators to monitor capability improvements and determine whether additional regulatory action becomes necessary. Implications of AI in national security The deployment of advanced models within national security contexts raises important questions about the role of AI in intelligence gathering, strategic planning, and defence operations. Amodei has expressed support for export controls on advanced chips and the military adoption of trusted systems to counter rivals like China, indicating Anthropic’s awareness of the geopolitical implications of AI technology. The Claude Gov models could potentially serve numerous applications for national security, from strategic planning and operational support to intelligence analysis and threat assessment—all within the framework of Anthropic’s stated commitment to responsible AI development. Regulatory landscape As Anthropic rolls out these specialised models for government use, the broader regulatory environment for AI remains in flux. The Senate is currently considering language that would institute a moratorium on state-level AI regulation, with hearings planned before voting on the broader technology measure. Amodei has suggested that states could adopt narrow disclosure rules that defer to a future federal framework, with a supremacy clause eventually preempting state measures to preserve uniformity without halting near-term local action. This approach would allow for some immediate regulatory protection while working toward a comprehensive national standard. As these technologies become more deeply integrated into national security operations, questions of safety, oversight, and appropriate use will remain at the forefront of both policy discussions and public debate. For Anthropic, the challenge will be maintaining its commitment to responsible AI development while meeting the specialised needs of government customers for crtitical applications such as national security. (Image credit: Anthropic) See also: Reddit sues Anthropic over AI data scraping Want to learn more about AI and big data from industry leaders? Check out AI & Big Data Expo taking place in Amsterdam, California, and London. The comprehensive event is co-located with other leading events including Intelligent Automation Conference, BlockX, Digital Transformation Week, and Cyber Security & Cloud Expo. Explore other upcoming enterprise technology events and webinars powered by TechForge here. The post Anthropic launches Claude AI models for US national security appeared first on AI News.

Drinking Fountain of La Arboleda (Bebedero) | 1970s Photograph Luis Barragan’s work is often celebrated for its profound dialogue between form, memory, and landscape. In the Drinking Fountain of La Arboleda, Barragán channels these core principles into a singular architectural gesture. Situated at the culmination of the Paseo de los Gigantes, this fountain transcends utilitarian function to become a space of contemplation and poetic reflection. Drinking Fountain of La Arboleda Technical Information Architects1-2: Luis Barragán Location: Avenida Paseo de los Gigantes, Las Arboledas, Mexico Height: 14.6 meters Width: 10.4 meters Project Years: 1960s Plans by: Enrique Delgado Camara In Las Arboledas I had the pleasure of building a large rectangular pond among eucalyptus trees; however, while doing so, I thought of Persian gardens, I also thought of De Chirico, I also thought that water is a mirror, and I liked that it reflected the branches of the trees. You know, popular architecture has always impressed me because it is pure truth and because the spaces that occur in plazas, in porticos, in courtyards, are always given with generosity. – Luis Barragán Drinking Fountain of La Arboleda Photographs Drinking Fountain of La Arboleda (Bebedero) | 1970s Photograph 1970s Photograph 1970s Photograph 1970s Photograph 1970s Photograph Spatial Composition and Geometric Manipulation The project extends Barragán’s broader explorations in Las Arboledas and Los Clubes, developments marked by an intimate relationship with nature and a restrained formal language. Here, water becomes material and metaphor, shaping a spatial experience that is as much about the mind as the body. The Drinking Fountain of La Arboleda is defined by the dynamic interplay of two elements: a towering white wall and a long, linear water trough. The wall, rising to a height of 14.6 meters, asserts its presence in the landscape as a vertical marker. It competes with, yet does not overshadow, the surrounding eucalyptus trees. The water trough, measuring 44 meters in length, 2.55 meters in width, and 0.67 meters in height, extends along the path in a measured horizontal counterpoint. This juxtaposition of vertical and horizontal geometries establishes a composition of duality. The white wall commands attention from afar, while the dark basin of water, offset to the side, quietly draws in the viewer’s gaze. The deliberate misalignment of these two forms prevents a static symmetry, generating a subtle sense of movement and tension within the space. Barragán’s manipulation of circulation further reinforces this dynamic quality. Rather than a direct approach, entry to the plaza is orchestrated through a series of turns. These indirect paths obscure the view and gradually reveal the fountain, heightening the sense of arrival and emphasizing the experiential choreography of the approach. Materiality and Sensory Qualities Material choices are critical in the fountain’s ability to evoke stillness and dynamism. The white stucco of the wall acts as a canvas for the interplay of light and shadow, particularly as the sun filters through the towering eucalyptus canopy. This shifting luminosity imbues the space with a living quality, constantly animated by the rhythms of the day. The basin of the fountain is constructed from dark anthracite, lending the water a reflective depth that absorbs and mirrors the surrounding environment. The edge of the water, defined by precisely cut, sharp-edged walls, creates an illusion of the water as a freestanding volume. This interplay of light, shadow, and reflection intensifies the perception of depth, dissolving the boundary between container and contained. The gentle sound of water flowing over the basin’s edge adds a sonic dimension to the experience. It serves as a subtle counterpoint to the plaza’s otherwise hushed atmosphere, enhancing the sensory richness without disrupting the meditative calm. Drinking Fountain of La Arboleda Cultural Resonance In this project, Barragán evokes a memory of rural Mexico that resonates with personal nostalgia and collective cultural imagery. The trough recalls the water basins of his childhood, echoing the hacienda landscapes and the enduring significance of water in Mexican life. Yet, by abstracting these elements into minimalist forms, he situates them within a modern architectural discourse that transcends mere historicism. Barragán’s insistence on the evocative power of space is evident in every aspect of the Drinking Fountain. It is a site of transition, marking the end of the linear paseo while simultaneously inviting introspection and pause. The project’s restrained materiality and precise spatial articulation distill Barragán’s belief in architecture as a vehicle for personal reflection and cultural continuity. His 1980 Pritzker Prize acceptance speech, in which he described his enduring fascination with water and the memories of fountains and acequias, underscores this deep personal connection. The Drinking Fountain of La Arboleda can be read as an architectural meditation on that theme. This work bridges the abstraction of modernism with the rich, elemental forces of the Mexican landscape. Drinking Fountain of La Arboleda Plans Floor Plan | © Enrique Delgado Camara Axonometric View | © Enrique Delgado Camara Drinking Fountain of La Arboleda Image Gallery About Luis Barragán Luis Barragán (1902–1988) was a Mexican architect renowned for his masterful integration of light, color, and landscape into architecture. His work blends modernist abstraction with deeply rooted Mexican traditions, crafting spaces that evoke memory, contemplation, and poetic resonance. Credits and Additional Notes Water Trough (Bebedero) Length: 44 meters Water Trough (Bebedero) Width: 2.55 meters Water Trough (Bebedero) Height: 0.67 meters Material: Anthracite-colored stone (dark tone to enhance reflections) Delgado Cámara, Enrique. La Geometría del Agua: Mecanismos Arquitectónicos de Manipulación Espacial. Enrique Delgado Cámara, 2024.  Ambasz, Emilio. The Architecture of Luis Barragán. Museum of Modern Art, New York, 1976.

Additive Manufacturing UK (AMUK)’s first Members Forum of 2025 was held at Siemens’ UK headquarters in South Manchester earlier this year. The event featured presentations from AMUK members and offered attendees a chance to network and share insights.  Ahead of the day-long meetup, 3D Printing Industry caught up with Joshua Dugdale, Head of AMUK, to learn more about the current state of additive manufacturing and the future of 3D printing in Britain.  AMUK is the United Kingdom’s primary 3D printing trade organization. Established in 2014, it operates within the Manufacturing Technologies Association (MTA) cluster. Attendees at this year’s first meetup spanned the UK’s entire 3D printing ecosystem. Highlights included discussion on precious materials from Cookson Industrial, simulation software from Siemens, digital thread solutions from Kaizen PLM, and 3D printing services provided by ARRK.  With a background in mechanical engineering, Dugdale is “responsible for everything and anything AMUK does as an organization.” According to the Loughborough University alumnus, who is also Head of Technology and Skills at the MTA, AMUK’s core mission is to “create an environment in the UK where additive manufacturing can thrive.” He elaborated on how his organization is working to increase the commercial success of its members within the “struggling” global manufacturing environment. Dugdale shared his perspective on the key challenges facing 3D printing in the UK. He pointed to a “tough” operating environment hampered by global financial challenges, which is delaying investments.  Despite this, AMUK’s leader remains optimistic about the sector’s long-term potential, highlighting the UK’s success in R&D and annual 3D printing intellectual property (IP) output. Dugdale emphasized the value of 3D printing for UK defense and supply chain resilience, arguing that “defense will lead the way” in 3D printing innovation.  Looking ahead, Dugdale called on the UK Government to create a unified 3D printing roadmap to replace its “disjointed” approach to policy and funding. He also shared AMUK’s strategy for 2025 and beyond, emphasizing a focus on eductaion, supply chain visibility, and standards. Ultimately, the AMUK figurehead shared a positive outlook on the future of 3D printing in the UK. He envisions a new wave of innovation that will see more British startups and university spinouts emerging over the next five years.          Siemens’ Manchester HQ hosted the first AMUK Members Forum of 2025. Photo by 3D Printing Industry. What is the current state of additive manufacturing in the UK? According to Dugdale, the 3D printing industry is experiencing a challenging period, driven largely by global economic pressures. “I wouldn’t describe it as underperforming, I’d describe it as flat,” Dugdale said. “The manufacturing sector as a whole is facing significant challenges, and additive manufacturing is no exception.” He pointed to increased competition, a cautious investment climate, and the reluctance of businesses to adopt new technologies due to the economic uncertainty.  Dugdale specifically highlighted the increase in the UK’s National Insurance contribution (NIC) rate for employers, which rose from 13.8% to 15% on April 6, 2025. He noted that many British companies postponed investment decisions ahead of the announcement, reflecting growing caution within the UK manufacturing sector. “With additive manufacturing, people need to be willing to take risks,” added Dugdale. “People are holding off at the moment because the current climate doesn’t favor risk.”  Dugdale remains optimistic about the sector’s long-term potential, arguing that the UK continues to excel in academia and R&D. However, for Dugdale, commercializing that research is where the country must improve before it can stand out on the world stage. This becomes especially clear when compared to countries in North America and Asia, which receive significantly greater financial support. “We’re never going to compete with the US and China, because they have so much more money behind them,” he explained. In a European context, Dugdale believes the UK “is doing quite well.” However, Britain remains below Spain in terms of financial backing and technology adoption. “Spain has a much more mature industry,” Dugdale explained. “Their AM association has been going for 10 years, and it’s clear that their industry is more cohesive and further along. It’s a level of professionalism we can learn from.” While the Iberian country faces similar challenges in standards, supply chain, and visibility, it benefits from a level of cohesion that sets it apart from many other European countries. Dugdale pointed to the Formnext trade show as a clear example of this disparity. He expects the Spanish pavilion to span around 200 square meters and feature ten companies at this year’s event, a “massive” difference compared to the UK’s 36 square meters last year. AMUK’s presence could grow to around 70 square meters at Formnext 2025, but this still lags far behind. Dugdale attributes this gap to government support. “They get more funding. This makes it a lot more attractive for companies to come because there’s less risk for them,” he explained.   Josh Dugdale speaking at the AMUK Members Forum in Manchester. Photo by 3D Printing Industry. 3D printing for UK Defense  As global security concerns grow, the UK government has intensified efforts to bolster its defense capabilities. In this context, 3D printing is emerging as a key enabler. Earlier this year, the Ministry of Defence (MoD) released its first Defence Advanced Manufacturing Strategy, outlining a plan to “embrace 3D printing,” with additive manufacturing expected to play a pivotal role in the UK’s future military operations.  Dugdale identified two key advantages of additive manufacturing for defense: supply chain resilience and frontline production. For the former, he stressed the importance of building localized supply chains to reduce lead times and eliminate dependence on overseas shipments. This capability is crucial for ensuring that military platforms, whether on land, at sea, or in the air, remain operational.  3D printing near the front lines offers advantages for conducting quick repairs and maintaining warfighting capabilities in the field. “If a tank needs to get back off the battlefield, you can print a widget or bracket that’ll hold for just five miles,” Dugdale explained. “It’s not about perfect engineering; it’s about getting the vehicle home.”  The British Army has already adopted containerized 3D printers to test additive manufacturing near the front lines. Last year, British troops deployed metal and polymer 3D printers during Exercise Steadfast Defender, NATO’s largest military exercise since the Cold War. Dubbed Project Bokkr, the additive manufacturing capabilities included XSPEE3D cold spray 3D printer from Australian firm SPEE3D.     Elsewhere in 2024, the British Army participated in Additive Manufacturing Village 2024, a military showcase organized by the European Defence Agency. During the event, UK personnel 3D printed 133 functional parts, including 20 made from metal. They also developed technical data packs (TDPs) for 70 different 3D printable spare parts. The aim was to equip Ukrainian troops with the capability to 3D print military equipment directly at the point of need. Dugdale believes success in the UK defense sector will help drive wider adoption of 3D printing. “Defense will lead the way,” he said, suggesting that military users will build the knowledge base necessary for broader civilian adoption. This could also spur innovation in materials science, an area Dugdale expects to see significant advancements in the coming years.     A British Army operator checks a part 3D printed on SPEE3D’s XSPEE3D Cold Spray 3D printer. Photo via the British Army. Advocating for a “unified industrial strategy” Despite promising growth in defence, Dugdale identified major hurdles that still hinder the widespread adoption of additive manufacturing (AM) in the UK.  A key challenge lies in the significant knowledge gap surrounding the various types of AM and their unique advantages. This gap, he noted, discourages professionals familiar with traditional manufacturing methods like milling and turning from embracing 3D printing. “FDM is not the same as WAAM,” added Dugdale. “Trying to explain that in a very nice, coherent story is not always easy.” Dugdale also raised concerns about the industry’s fragmented nature, especially when it comes to software compatibility and the lack of interoperability between 3D printing systems. “The software is often closed, and different machines don’t always communicate well with each other. That can create fear about locking into the wrong ecosystem too early,” he explained.  For Dugdale, these barriers can only be overcome with a clear industrial strategy for additive manufacturing. He believes the UK Government should develop a unified strategy that defines a clear roadmap for development. This, Dugdale argued, would enable industry players to align their efforts and investments.  The UK has invested over £500 million in AM-related projects over the past decade. However, Dugdale explained that fragmented funding has limited its impact. Instead, the AMUK Chief argues that the UK Government’s strategy should recognize AM as one of “several key enabling technologies,” alongside machine tooling, metrology, and other critical manufacturing tools.  He believes this unified approach could significantly boost the UK’s productivity and fully integrate 3D printing into the wider industrial landscape. “Companies will align themselves with the roadmap, allowing them to grow and mature at the same rate,” Dugdale added. “This will help us to make smarter decisions about how we fund and where we fund.”    AMUK’s roadmap and the future of 3D printing in the UK    When forecasting 3D printing market performance, Dugdale and his team track five key industries: automotive, aerospace, medical, metal goods, and chemical processes. According to Dugdale, these industries are the primary users of machine tools, which makes them crucial indicators of market health. AMUK also relies on 3D printing industry surveys to gauge confidence, helping them to spot trends even when granular data is scarce. By comparing sector performance with survey-based confidence indicators, AMUK builds insights into the future market trajectory. The strong performance of sectors like aerospace and healthcare, which depend heavily on 3D printing, reinforces Dugdale’s confidence in the long-term potential of additive manufacturing. Looking ahead to the second half of 2025, AMUK plans to focus on three primary challenges: supply chain visibility, skills development, and standards. Dugdale explains that these issues remain central to the maturation of the UK’s AM ecosystem. Education will play a key role in these efforts.  AMUK is already running several additive manufacturing upskilling initiatives in schools and universities to build the next generation of 3D printing pioneers. These include pilot projects that introduce 3D printing to Key Stage 3 students (aged 11) and AM university courses that are tailored to industry needs.  In the longer term, Dugdale suggests AMUK could evolve to focus more on addressing specific industry challenges, such as net-zero emissions or automotive light-weighting. This would involve creating specialized working groups that focus on how 3D printing can address specific pressing issues.  Interestingly, Dugdale revealed that AMUK’s success in advancing the UK’s 3D printing industry could eventually lead to the organization being dissolved and reabsorbed into the MTA. This outcome, he explained, would signal that “additive manufacturing has really matured” and is now seen as an integral part of the broader manufacturing ecosystem, rather than a niche technology. Ultimately, Dugdale is optimistic for the future of 3D printing in the UK. He acknowledged that AMUK is still “trying to play catch-up for the last 100 years of machine tool technology.” However, additive manufacturing innovations are set to accelerate. “There’s a lot of exciting research happening in universities, and we need to find ways to help these initiatives gain the funding and visibility they need,” Dugdale urged. As the technology continues to grow, Dugdale believes additive manufacturing will gradually lose its niche status and become a standard tool for manufacturers. “In ten years, we could see a generation of workers who grew up with 3D printers at home,” he told me. “For them, it will just be another technology to use in the workplace, not something to be amazed by.”  With this future in mind, Dugdale’s vision for 3D printing is one of broad adoption, supported by clear strategy and policy, as the technology continues to evolve and integrate into UK industry.  Take the 3DPI Reader Survey — shape the future of AM reporting in under 5 minutes. 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Jordan Rice and Stephanie Hosein. Photo credit: Omar Gandhi Architects Omar Gandhi Architects has announced the appointment of Stephanie Hosein and Jordan Rice as partners, marking a new chapter in the studio’s evolution. With studios in Halifax, Toronto, and now Berlin, OG continues to grow while staying rooted in a design ethos that is intimate, collaborative, and grounded in place. “This isn’t just a title change—it’s a signal to our team and to the industry about where we’re going,” said Omar Gandhi, founding partner of the studio. “Stephanie and Jordan represent the best of what this practice stands for: empathy, rigour, curiosity, and a deeply collaborative approach to leadership and design.” Founded 15 years ago in Halifax, OG has grown steadily, from the small but ambitious roots of the East Coast to Toronto, and now to Europe with a newly launched Berlin studio and active projects in Paris, Hamburg, and the UK. That momentum has prompted a shift in structure to support continued excellence and long-term impact. “Stephanie and Jordan have been instrumental in shaping our studio’s values and design culture,” Gandhi adds. “Their partnership formalizes what’s already been true for some time—they’re leading this next phase with purpose and clarity.” Born and raised in Halifax, Hosein brings a blend of clarity, persistence, and empathy to the studio’s leadership. A graduate of Dalhousie University and a founding member of BEAT (Building Equality in Architecture Toronto), she has been a central figure in shaping both the Toronto studio and the firm’s broader culture of advocacy. Her leadership spans projects like Prime Seafood Palace, Lady Marmalade, Brar Residence, and the upcoming Pier 8 development, while also championing initiatives such as parental leave equity and mentorship for emerging designers. “Stephanie leads with care and conviction. She’s reshaped how we support one another in the profession—especially women and parents—and she’s done it while delivering some of our most beloved and complex designs,” says Gandhi. Originally from Moncton, New Brunswick, Rice’s path to architecture began with hands-on construction and evolved into a design practice. Since joining OG in 2018, he has led many of the studio’s most impactful public projects, bringing experience and humility to engagements with municipalities, Indigenous communities, and accessibility advocates. His work includes the award-winning Peggy’s Cove Infrastructure Project, the Art Gallery of Nova Scotia competition-winning scheme, the Edmonton Riverbend Public Library, and the new headquarters for the Municipality of the District of Lunenburg. “Jordan’s contribution to our civic portfolio has been transformative. He brings a builder’s sensibility, a designer’s curiosity, and a deep respect for community voices,” says Gandhi. “He doesn’t just design for place—he listens to it.” Hosein and Rice’s appointment aims to reflect a studio built on shared authorship. “Our ambition has always been about impact, not size,” Gandhi explains. “By expanding our leadership, we’re better able to reach more communities, respond to more contexts, and continue building the kind of practice we believe in—one rooted in generosity, collaboration, and care.” As Gandhi puts it, “We don’t take on projects that we’re not deeply passionate about—and these appointments ensure we stay true to that. With Stephanie and Jordan, we’re in the best possible hands to push forward—while staying grounded in who we are.” The studio is entering a new phase of possibility with projects underway across Canada and Europe, and a team committed to making meaningful, enduring architecture. The post Omar Gandhi Architects Names New Partners appeared first on Canadian Architect.

Although the US unemployment rate held steady at 4.2% in May with 139,000 jobs added to the US workforce, nearly 100,000 layoffs were also announced — up 47% from last year, according to new data from the US Bureau of Labor Statistics and others. Tech and federal cuts led the way in layoffs, driven by economic pressure, programmatic firings and AI-driven shifts in workforce needs, according to outplacement firm Challenger, Gray & Christmas. Technology remains a top sector for cuts amid ongoing disruptions, according to the firm’s data. In May, tech companies announced 10,598 layoffs, bringing the 2025 total to 74,716; that’s up 35% from 55,207 at the same time last year. “Tariffs, funding cuts, consumer spending, and overall economic pessimism are putting intense pressure on companies’ workforces. Companies are spending less, slowing hiring, and sending layoff notices,” Andrew Challenger, senior vice president of Challenger, Gray & Christmas, said in a statement. Uneasiness continues to weigh on tech hiring, according to CompTIA, a provider of IT training and certification products. The unemployment rate for tech jobs in May was 3.4%, roughly in line with April’s 3.5%, CompTIA data showed. The tech unemployment rate continues to sit below the national rate. CompTIA Tech sector companies added a modest 1,571 net new employees in May, analysis of the BLS jobs report by CompTIA showed. Job growth in cloud infrastructure and tech services was offset by reductions in the telecommunications sector. Tech employment across the broader economy declined by an estimated 131,000 positions. “With prior month employment gains, tech occupation employment remains in the positive for the year,” CompTIA said. “It is undoubtedly a challenging time for employers and job seekers facing uncertainty on multiple fronts,” said Tim Herbert, CompTIA’s chief research officer. “At the same time, it requires taking a measured approach given the data continues to hold up reasonably well.” One bright spot for tech hires in May was the finance and insurance industry, which collectively saw a 21% increase in new tech job postings; new tech job openings also rose by 16% in the retail sector, according to CompTIA. Even so, tech layoffs have continued as AI adoption soars and economic pressures drive a major shift toward new roles and skills in the workforce. “AI isn’t replacing jobs,” said Kye Mitchell, president of tech workforce staffing firm Experis US. “It’s fundamentally redefining how work gets done. We’re seeing AI augment skillsets and make professionals more capable, faster, and able to focus on higher-value work.” Technology only displaces jobs when about 80% of tasks can be automated — and AI isn’t close to doing that, said Mitchell. Right now, AI is enhancing skills, boosting productivity, and freeing up time for higher-value work. Hiring for AI positions and those requiring AI skills continues to grow rapidly, according to a CompTIA analysis of data from Lightcast and Stanford University study. CompTIA found that employer job postings related to AI are up 117% year-to-date year-over-year. Challenger, Gray & Christmas Skills-based hiring remains core to many employers’ recruiting strategies. About half of all tech job postings did not specify a need for a four-year academic degree, seeking instead a combination of work experience, training and industry-recognized certification, according to CompTIA’s and other data. Even so, employers are hesitant to hire. “Economic uncertainty is absolutely creating a cautious hiring environment, but it’s more complex than tariffs alone,” Mitchell said. “Our data shows employers adopting a ‘wait and watch’ stance as they monitor economic signals, with job openings down 11% year-over-year.” Still, the tech job market is adjusting as AI adoption grows. AI skill mentions in job postings fell 10% in May but are still up 10% for the year, showing steady demand, Mitchell said. The tech industry had been nearly bullet-proof from mass layoffs prior to 2022. After a hiring surge between 2020 and 2022 to meet digitization efforts as more people worked from home, the market shifted and began slashing jobs to readjust to the new reality. Tech companies such Google, Amazon, Meta (Facebook) and others laid off tens of thousands of workers  as an adjustment to over-hiring during the COVID-19 pandemic. In 2023 alone, 1,186 tech companies laid off about 262,682 staff, compared to 164,969 layoffs in 2022. In January 2024, job cuts leaped 136% over December and hit a 10-month high, according to Challenger, Gray & Christmas. While the labor market remained steady, there are signs that hiring across the board is softening. Open job postings fell 7% this year and new postings dropped 16% in the past month — the first full contraction of 2025. Year-to-date, new postings are flat compared to last year, according to Ger Doyle, ManpowerGroup’s regional president for North America. Doyle, however, was optimistic. “This is a chill, not a freeze,” he said. “Workers and employers are holding steady, awaiting clarity.” For example, he said, project management roles are up 483% year-over-year, and as the broader outlook improves, a rebound could follow, he added.  Demand for data roles is surging as companies shift from AI experiments to execution. Database architect postings are up 2,140% year-over-year, with data scientist postings up 280% — clear signs of companies building the backbone for an AI-driven future, Experis’s data showed. “This shift is also reshaping how talent enters the industry. Entry-level opportunities are becoming more limited, making it harder for recent graduates to gain a foothold,” Mitchell said. “For those looking to break in, deep analytical and technical skills are no longer optional.”