Figma announced 'Sites' at Config 2025, which lets users create simple static websites from designs. Imagine a website generator like Framer or Webflow, but embedded inside Figma.The buzz is serious. Sites could become the de facto tool for quick marketing campaigns or small personal websites. But what if you need Sites to integrate with your existing design systems, custom components, and production code?Figma SitesFigma Sites is a visual developer tool similar to Webflow or Framer. It's focused on letting designers build websites without coding or leaving Figma.Its greatest strength is its integration with the Figma ecosystem. For designers already comfortable with the platform, Sites offers a path to deploy a design as a live website quickly.Easy interactivity and AI-enhanced codeFigma Sites includes numerous presets for everyday website interactions and effects. For instance, you can add a hover effect to a button or a typewriter effect to a text block.A future version of Sites will also include an AI tool for generating code.Responsive design and hands-off infrastructureFigma Sites can also display your design in desktop, tablet, and mobile layouts side by side. The preview version (press shift + space) and the published version are both fully responsive websites.Press the Publish button in the top-left corner once you’re ready to deploy the design into a working website. After some quick validations (it can even help with auto layout), Figma Sites will deploy your project to a generated URL. For a fee, you can wire up a custom domain.Coming soon: CMS and Code LayersRight now, Figma Sites translates your design into HTML and CSS. The team's future improvement, "Code Layers,” will take a user prompt and transform it into React and Tailwind CSS.Another future improvement is a CMS feature inside Figma Sites. This would allow users to manage their website content more efficiently. The idea of a fully integrated design-to-publish tool with an internal CMS is very appealing.Going from Figma to website to complete applicationSimple site builders are great for getting something online, but aren’t great at creating fully integrated applications that mesh with an existing codebase. This is a familiar problem.The challenge lies in moving beyond a static page built with HTML and CSS. What happens if you need this new site to use the Next.js framework and the App Router patterns that your team has adopted? Can you leverage your company's custom components? Is there a way to add complex user interactions? These limitations become significant hurdles for any product beyond a basic landing page or marketing campaign.Visual Editor: stepping beyond simple sitesBuilder.io's Visual Editor satisfies this larger need. Figma Sites gets you something fast without ever leaving the Figma ecosystem. Visual Editor gets you something nearly as fast, but it connects designs directly to your production codebase on one canvas.The core idea is different. Visual Editor is for feature-rich applications where your existing production codebase and design systems are first-class citizens.Figma Sites was engineered to transform a Figma design into a static site using no third-party tools and the most minimal toolchain possible. Visual Editor was engineered to transform designs into production applications at the enterprise scale:Figma-like precisionVisual Editor gives you a familiar, precise visual editing experience, but you're building interactive applications, not just static mockups. Use prompts to generate UI, then fine-tune it visually. The output isn't just a picture; it's code that works.Solving handoffsImport Figma designs with a click, and Builder translates them into interactive code using your component library. The CLI deeply integrates with your specific framework and codebase patterns, generating clean, maintainable code that developers want to work with. It respects your tech stack.On-brand generation, every timeStop worrying about brand drift. Because Builder understands your codebase, it uses your actual design system context—your colors, typography, spacing, and components—automatically ensuring everything generated is consistent and on-brand. No more manual checking.Dual workflows (develop & publish)Builder offers flexibility. Developers can use it to build new UIs that integrate directly with application code. Marketers or designers can use the 'Publish' workflow to create and update content visually using pre-built components, without needing a developer or a new deployment. This addresses the content bottleneck, too.Smashing workflow silosVisual Editor provides a unified canvas for design, development, and content updates. It fits into existing developer workflows (like Git) rather than trying to replace them, enabling better collaboration across the entire digital team.Getting started with Visual EditorReady to see the difference? You can try Visual Editor and experience how it connects to a real codebase.Open the Visual Copilot Figma plugin. Install it from the Figma Community if you haven't already.Select a layer or design in your Figma file that you want to bring into Builder.io.Click the "Export Design" button within the plugin.Click the "View Code in Builder" button. This will open your design directly in the Builder.io Visual Editor.(Optional) Enhance in the Visual Editor: Use AI prompts or manual controls to add interactivity, connect data, or refine the design within Builder.Generate code with the CLI: Copy the provided CLI command from Builder.io and run it in your local project's terminal. The CLI will analyze your codebase and generate the integrated, production-ready code components.The best way to understand the power of Visual Editor is to experience how it generates code that uses your components and fits your workflow.ConclusionFigma Sites is a big step forward for Figma. If you already work with the platform, you get all your favorite Figma features and a near-frictionless path to simple, real websites.Sites fills an essential market need. But you might find the tool underpowered if your team faces the challenges of integrating designs with a complex codebase, maintaining brand consistency across an extensive application, or enabling collaboration between large, diverse teams. In those cases, Builder's Visual Editor is the enterprise-grade solution. It provides a robust, integrated visual development environment that respects your code and scales with your product.Further reading Introducing Visual Copilot: convert Figma designs to high quality code in a single click.Try Visual CopilotGet a demo

Credit: Hisense Deal pricing and availability subject to change after time of publication. Learn more about how we select deals. SAVE $300: The Hisense C2 TriChroma Laser portable projector is on sale for $1,699.99 at Amazon as of May 14, which is a 15% discount and drops it down to its best price ever. Opens in a new window Credit: Hisense Hisense C2 TriChroma Laser portable projector $1,699.99 at Amazon $1,999.99 Save $300 Projectors have come a long way in recent years — to the point where some rival big screen 4K TVs. The Hisense C2 TriChroma Laser series, released last fall, is one of those rivals. Of course, that groundbreaking cinematic experience doesn't come cheap. The C2 TriChroma Laser series includes three models, with the most affordable of the trio costing $1,999.99. As of May 14, however, the standard Hisense C2 portable projector is on sale for $1,699.99. That's 15% off and its lowest price on record. Sure, that's still pretty steep, but it's $300 less than you'd spend at full retail price.All three models — including the standard C2 projector — are equipped with Hisense's Tri-Chroma triple color laser, which ensures color accuracy with a massive color spectrum. They also support 3D viewing, adding another dimension to your viewing experience. Projection size ranges from 65 to 300 inches and thanks to 360-degree horizontal rotation and 135-degree vertical adjustment, you'll have unparalleled viewing flexibility. You can watch movies on the ceiling, set up a massive outdoor screen, or stream workout videos on the wall of your home gym. Each model also offers auto keystone correction and auto focus, smart wall color adaptation, and obstacle avoidance, ensuring a top-notch viewing experience instantly.The standard C2 model, as a relatively budget-friendly option, only boasts 2,000 lumens of brightness (versus the 3,000 lumens of the C2 Ultra). That's still plenty bright, though, unless you're in an extremely sunny atmosphere. Just dim the lights and close the curtains and you should be fine. It also lacks some of the higher-end features, like a built-in subwoofer and IMAX Enhanced certification. However, it still offers key technologies like Dolby Vision and HDR10+, as well as JBL 2.0 channel audio. Related Stories Mashable Deals Want more hand-picked deals from our shopping experts? Sign up for the Mashable Deals newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! If you prefer a portable and flexible TV experience, it's hard to beat the cinematic capabilities of the Hisense C2 TriChroma Laser projector — particularly when it's on sale. Topics Amazon Gadgets Christina Buff Christina Buff is a Nashville-based freelance writer for who covers shopping with a splash of entertainment. If you’re ever wondering what streaming service you need to watch something (and the cheapest way to sign up for it), she’s your girl.Christina received a B.S. in Business Communication (concentration in writing) from Stevenson University and began her professional journey writing and editing press releases. Since then, she’s written content for a marketing agency, blogged for celebrities, and covered local news, politics, women’s lifestyle, fashion, beauty, and just about everything in between for various publications.When she’s not writing, she’s probably enjoying live music, studying human design, or embroidering and upcycling clothes. You can follow her on Instagram at @touchinfinity.

We’re happy to announce that we’ve launched a new technical e-book, Create modular game architecture in Unity with ScriptableObjects, which provides best practices from professional developers for deploying ScriptableObjects in production.Along with the e-book, you can download a demo project from GitHub inspired by classic ball and paddle arcade game mechanics. The demo shows how ScriptableObjects can help you create components that are testable and scalable, while also being designer-friendly. Although a game like this could be built with far fewer lines of code, this demo shows ScriptableObjects in action.This post explains the benefits of ScriptableObjects, but doesn’t cover the basics or general coding in Unity. If you’re new to programming in Unity, head over to Unity Learn, which offers helpful introductory tutorials. The first chapter in the e-book also offers a solid primer.Let’s look at six ways you can benefit from using ScriptableObjects in your projects. Want to know more? All of these examples are explored further in the e-book and demo project.Although many of the techniques shared here can also be achieved using C# classes, one of the main benefits of ScriptableObjects is the accessibility to artists and designers. They can use ScriptableObjects to configure and apply game logic in a project without having to edit the code.The Editor makes it convenient to view and edit ScriptableObjects, enabling designers to set up gameplay data without heavy support from the developer team. This also applies to game logic, such as applying behavior to an NPC by adding a ScriptableObject (explained in the patterns below).Storing data and logic on a single MonoBehaviour can result in time-consuming merge conflicts if two people change different parts of the same Prefab or scene. By breaking up shared data into smaller files and assets with ScriptableObjects, designers can build gameplay in parallel with developers, instead of having to wait for the latter to finish setting up the gameplay in code before testing it.Issues can arise when colleagues with different roles access the game code and assets at the same time. With ScriptableObjects, the programmer can control what part of the project is editable in the Editor. Additionally, using ScriptableObjects to organize your code leads naturally to a codebase that’s more modular and efficient to test.Christo Nobbs, a senior technical game designer who specializes in systems game design and Unity (C#), contributed to The Unity game designer playbook, and is the main author of a blog post series on designing game systems in Unity. His posts, “Systems that create ecosystems: Emergent game design” and “Unpredictably fun: The value of randomization in game design” provide interesting examples of how designers can use ScriptableObjects.Modularity is a general software principle which can be implemented in C# without using ScriptableObjects. But, as mentioned above, ScriptableObjects help promote clean coding practices by separating data from logic, which is a first step toward modular game code. This separation means it’s easier to make changes without causing unintended side effects, and improves testability.ScriptableObjects excel at storing static data, making them handy for configuring static gameplay values like items or NPC stats, character dialogue, and much more. Because ScriptableObjects are saved as an asset, they persist outside of game mode, making it possible to use them for loading in a static configuration that dynamically changes at runtime.While changes to ScriptableObject data do persist in the Editor, it’s important to note that they are not designed for saving game data. In that case, it’s better to use a serialization system, such as JSON, XML, or a binary solution if performance is critical.MonoBehaviours carry extra overhead since they require a GameObject – and by default a Transform – to act as a host. This means you need to create a lot of unused data before storing a single value. A ScriptableObject slims down this memory footprint and drops the GameObject and Transform. It also stores data at the project level, which is helpful if you need to access the same data from multiple scenes.It’s common to have many GameObjects which rely on duplicate data that does not need to change at runtime. Rather than having this duplicate local data on each GameObject, you can funnel it into a ScriptableObject. Each of the objects stores a reference to the shared data asset, rather than copying the data itself. This can provide significant performance improvements in projects with thousands of objects.In software design, this is an optimization known as the flyweight pattern. Restructuring your code in this way using ScriptableObjects avoids copying values and reduces your memory footprint. Check out our e-book, Level up your code with game programming patterns to learn more about using design patterns in Unity.A good example of how ScriptableObjects can simplify your code is to use them as enums for comparison operations. The ScriptableObject can represent a category or item type, such as a special damage effect – cold, heat, electrical, magic, etc.If your application requires an inventory system to equip gameplay items, ScriptableObjects can represent item types or weapon slots. The fields in the Inspector then function as a drag-and-drop interface for setting them up.Using ScriptableObjects as enums becomes more interesting when you want to extend them and add more data. Unlike normal enums, ScriptableObjects can have extra fields and methods. There’s no need to have a separate lookup table or correlate with a new array of data.While traditional enums have a fixed set of values, ScriptableObject enums can be created and modified at runtime, allowing you to add or remove values as needed.If you have a long list of enum values without explicit numbering, inserting or removing an enum can change their order. This reordering can introduce subtle bugs or unintended behavior. ScriptableObject-based enums don’t have these issues. You can delete or add to your project without having to change the code every time.Suppose you want to make an item equippable in an RPG. You could append an extra boolean field to the ScriptableObject to do that. Are certain characters not allowed to hold certain items? Are some items magical or do they have special abilities? ScriptableObject-based enums can do that.Because you can create methods on a ScriptableObject, they are as useful for containing logic or actions as they are for holding data. Moving logic from your MonoBehaviour into a ScriptableObject enables you to use the latter as a delegate object, making the behavior more modular.If you need to perform specific tasks, you can encapsulate their algorithms into their own objects. The original Gang of Four refers to this general design as the strategy pattern. The example below shows how to make the strategy pattern more useful by using an abstract class to implement EnemyAI. The result is several derived ScriptableObjects with different behavior, which then becomes a pluggable behavior since each asset is interchangeable. You just drag and drop the ScriptableObject of choice into the MonoBehaviour.For a detailed example showing how to use ScriptableObjects to drive behavior, watch the video series Pluggable AI with ScriptableObjects. These sessions demonstrate a finite state machine-based AI system that can be configured using ScriptableObjects for states, actions, and transitions between those states.A common challenge in larger projects is when multiple GameObjects need to share data or states by avoiding direct references between these objects. Managing these dependencies at scale can require significant effort and is often a source of bugs. Many developers use singletons – one global instance of a class that survives scene loading. However, singletons introduce global states and make unit testing difficult. If you’re working with a Prefab that references a singleton, you’ll end up importing all of its dependencies just to test an isolated function. This makes your code less modular and efficient to debug.One solution is to use ScriptableObject-based events to help your GameObjects communicate. In this case, you are using ScriptableObjects to implement a form of the observer design pattern, where a subject broadcasts a message to one or more loosely decoupled observers. Each observing object can react independently from the subject but is unaware of the other observers. The subject can also be referred to as the “publisher” or “broadcaster” and the observers as “subscribers” or “listeners.”You can implement the observer pattern with MonoBehaviours or C# objects. While this is already common practice in Unity development, a script-only approach means your designers will rely on the programming team for every event needed during gameplay.At first glance, it appears that you’ve added a layer of overhead to the observer pattern, but this structure offers some advantages. Since ScriptableObjects are assets, they are accessible to all objects in your hierarchy and don’t disappear on scene loading.Easy, persistent access to certain resources is why many developers use singletons. ScriptableObjects can often provide the same benefits without introducing as many unnecessary dependencies.In ScriptableObject-based events, any object can serve as publisher (which broadcasts the event), and any object can serve as a subscriber (which listens for the event). The ScriptableObject sits in the middle and helps relay the signal, acting like a centralized intermediary between the two.One way to think about this is as an “event channel.” Imagine the ScriptableObject as a radio tower that has any number of objects listening for its signals. An interested MonoBehaviour can subscribe to the event channel and respond when something happens.The demo shows how the observer pattern helps you set up game events for UI, sounds, and scoring.At runtime, you’ll often need to track a list of GameObjects or components in your scene. For example, a list of enemies is something you’d need to frequently access, but it’s also a dynamic list that changes as more enemies are spawned or defeated. The singleton offers easy global access, but it has several drawbacks. Instead of using a singleton, consider storing data on a ScriptableObject as a “Runtime Set.” The ScriptableObject instance appears at the project level, which means it can store data that’s available to any object from any scene, offering similar global access. Since the data is located on an asset, its public list of items is accessible at any time.In this use case, you get a specialized data container that maintains a public collection of elements but also provides basic methods to add to and remove from the collection. This can reduce the need for singletons and improve testability and modularity.Reading data directly from a ScriptableObject is also more optimal than searching the Scene Hierarchy with a find operation like Object.FindObjectOfType or GameObject.FindWithTag. Depending on your use case and the size of your hierarchy, these are relatively expensive methods that can be inefficient for per-frame updates.There are several ScriptableObjects frameworks which offer more use cases than these six scenarios. Some teams decide to use ScriptableObjects extensively, while others limit their use to loading in static data and separating logic from data. Ultimately, the needs of your project will determine how you use them.Create modular game architecture in Unity with ScriptableObjects is the third guide in our series for intermediate to advanced Unity programmers. Each guide, authored by experienced programmers, provides best practices for topics that are important to development teams.Create a C# style guide: Write cleaner code that scales assists you with developing a style guide to help unify your approach to creating a more cohesive codebase.Level up your code with game programming patternshighlights best practices for using the SOLID principles and common programming patterns to create scalable game code architecture in your Unity project.We created this series to provide actionable tips and inspiration to our experienced creators, but they aren’t rule books. There are many ways to structure your Unity project and what might seem like a natural fit for one application may not be for another. Evaluate the advantages and disadvantages of each recommendation, tip, and pattern with your colleagues before deploying it.Find more advanced guides and articles on the Unity best practices hub.

Hearing aids, like canes or orthopedic shoes, are something you don’t think about a lot when you’re young. But maybe you should.You probably either know someone who needs hearing aids, or you’ll need them some day yourself. About 30 million people in the United States, aged 12 and older, have hearing loss in both ears, and about two-thirds of people end up with hearing loss, which can range from mild to severe, by their 70s. But talking to your parents or grandparents about getting hearing aids can be tough — I’ve done it. They might not like the idea of sticking things in their ear canals or confronting the difficult realities of aging and health. They surely shy away from the price tag of hearing aids, which can cost thousands of dollars and are not covered by insurance or Medicare. But plugging tiny and exorbitantly expensive speakers into your ears isn’t the only way. Your mom might already own hearing aids without even knowing it.Hearing aids have never been more accessible — or futuristic. In April, a company called Nuance started selling glasses that double as hearing aids thanks to microphones and beam-forming speakers built into the frame. Although at $1,200, they’re not cheap, they cost far less than a pair of prescription hearing aids, which tend to range from $2,000 to $7,000.The Nuance glasses joined an increasingly crowded market of FDA-regulated over-the-counter hearing aids that includes everything from the latest Apple AirPods Pro, which gained the capability through a software update, to bean-sized buds from Sony. Prices for these devices start as low as $100, and you don’t need an audiologist to help set them up. Hearing aids have never been more accessible — or futuristic.You can also buy something that’s legally considered a personal sound amplification product (PSAP), which is not designed to treat hearing loss but does make things louder. Some of them can play music and handle phone calls too. In the age when earbuds are ubiquitous, these devices appeal to all ages.“It’s good that we’re seeing people in their 30s, 40s, and 50s, talking about it, because it’s totally changing the paradigm for them of engaging in hearing care earlier,” Nicholas Reed, a faculty member at the NYU Grossman School of Medicine, told me.I’m a millennial, but I’ve also dealt with hearing loss my entire life. A bad stretch of childhood ear infections left me mostly deaf in one ear and pretty spotty in the other. I learned to read lips as a teenager and avoid conversations at loud parties in college. Some surgery in my 20s brought me closer to normal, but I could still use a little help. I’ve spent the past few weeks trying out the Nuance glasses in various settings. They’re remarkable, not only because they feel almost indistinguishable from my regular glasses but also because I forget they’re hearing aids. Made by EssilorLuxottica, the company behind Ray-Ban and dozens of other glasses brands, the Nuance glasses employ some of the same technology that the Ray-Ban Meta glasses use to play music and help you talk to AI. And while the Nuance glasses don’t currently offer the option to stream audio, they do help you hear what your friend is saying in a loud bar.The AirPods Pro 2, which retail for $250, work equally as well. After Apple announced last fall that a software update would unlock an accessibility setting — it’s appropriately called Hearing Aid — I started using it all the time, toggling between listening to podcasts to ordering cold brew in a crowded coffee shop. In instances where I may have needed to ask people to repeat themselves in the past, I hear them fine the first time. I just have to wear AirPods all the time, which makes the glasses solution even more appealing. For most people, hearing loss typically starts in your 50s and gains momentum in your early retirement years. If you’ve ever been to a busy restaurant with your parents or grandparents, you know this can be alienating for the person left out and frustrating for the hearing person, too. The social isolation can lead to loneliness and anxiety, which can hasten cognitive decline and lower life expectancy.Nevertheless, neither traditional clinical hearing aids or the newer category of devices are easy fixes. Once you start wearing any sort of hearing aid, it takes time to adjust, and you might need help tweaking the sound as you get used to it. That’s one reason why so many people avoid it — only one in five who need hearing aids actually have them. You can’t put them in your ears and immediately have perfect hearing. Your brain adjusts over time, and so it may take weeks or months to adapt to the new frequencies hearing aids help you hear.Still, it’s a worthwhile project.“Sensory input is so key to our existence, but we just sort of overlooked it for so long,” Reed said. “It’s something that’s vital to your existence and how you connect with other people.”It’s not clear how the latest hearing aid innovation will move the needle on adoption. Even though over-the-counter hearing aids have been available since 2022, when the FDA implemented new regulations for the devices, it’s still an uphill battle to get people to wear them. “Sensory input is so key to our existence, but we just sort of overlooked it for so long.”— Nicholas Reed, faculty member at the NYU Grossman School of Medicine“We are not seeing large increases in hearing aid uptake since over-the-counter hearing aids have become available,” said Tricia Ashby, senior director of audiology practices at the American Speech-Language-Hearing Association (ASHA). “And I have to say that mimics other countries who had over-the-counter hearing aids before the US did.”Given the fact that the older people who need them most are potentially less likely to try the latest technology, it might still take a few years for over-the-counter hearing aids to go mainstream. Given the precedent set by companies like Apple and Nuance, though, it’s possible that more devices will add hearing assistive features to existing products. You can imagine a future where you wear earbuds that are the interface for your voice assistant as well as your lifeline on a loud plane. You might have glasses that project walking directions onto your field of view and help you hear which direction traffic’s coming from when you have to cross the street. These kinds of features together only get more important as you get older and need a little more help.“We are in an age now where you’re thinking about optimizing aging, and how do you do it?” Reed said. “And it’s things like this.”A version of this story was also published in the User Friendly newsletter. Sign up here so you don’t miss the next one!See More:

This week, President Trump traveled to the Middle East on a business and diplomacy mission, during which he greenlit the sale of hundreds of thousands of American-made AI chips to firms in the UAE and Saudi Arabia. These deals signal a major shift in the U.S.’s approach to cutting-edge AI technology. Previously, U.S. leaders had focused on limiting access to ultra-powerful chips, especially to countries that might pose national security threats. Now, Trump is using them as leverage for his larger trade ambitions. While Trump was at the Saudi-U.S. Investment Forum in Riyadh—held in parallel with his visit—the White House announced that Saudi Arabia was committing $600 billion in investments in the United States, “building economic ties that will endure for generations to come,” Onstage at the conference, Nvidia CEO Jensen Huang announced his company was entering a massive partnership with Humain, a new company owned by the Saudi kingdom’s Public Investment Fund, and sending them hundreds of thousands of chips. Rival chipmaker AMD announced its own $10 billion Saudi Arabian project. Another deal in the works could send hundreds of thousands of chips to the Emirati firm G42. While Trump allies heralded the deal as mutually beneficial to all parties, some national security experts have concerns about the longterm impacts of spreading these chips around the world. “AI chips should not be bargaining chips for broader trade deals,” says Janet Egan, a senior fellow at the Center for a New American Security (CNAS). “They underpin US AI dominance, and we have to be really careful to not make short term decisions that might be beneficial for trade in the near term, but cede AI leadership in the longer term.”Early this year the Chinese company Deepseek revealed that it had developed a very powerful model mostly using Nvidia chips obtained before the Biden administration closed an export loophole in 2023, heightening the intensity of the race. President Biden, in his final weeks, ratcheted up export controls, including limits on countries in the Gulf. Last week, the Trump administration ripped up those rules, with a spokesperson calling them “overly complex, bureaucratic” and saying they “would stymie American innovation.” They then switched to a new tack: linking countries’ access to AI chips with larger trade negotiations. Transitioning to a negotiation-based approach, the administration argued, could allow for more flexibility from country-to-country and allow Trump to secure key business concessions from Middle Eastern partners. Business and governments in the Middle East have massive ambitions for AI, aiming to position themselves at the forefront of this emerging technology. They benefit from several strategic advantages to do so, including access to boundless energy, free-flowing capital thanks to oil and sovereign wealth funds, and a lack of government restrictions—allowing them to rapidly push through massive infrastructure projects. But until now, the Middle East had lacked one crucial puzzle piece: Access to cutting-edge American chips from companies like Nvidia.Now, the amount of chips that U.S. companies will reportedly send to the UAE and Saudi Arabia is massive: “We're talking about something larger than any AI training system that exists in the world today," says Alasdair Phillips-Robins, a fellow at the Carnegie Endowment for International Peace. Conceivably, the ultra-powerful models built with this training system could synthesize automated cyber-attacks, intelligence collection, and weapons development. This is potentially problematic to some U.S. analysts, given Saudi Arabia and the UAE’s close ties with China. In previous years, American spy agencies issued warnings that G42 could be a conduit for siphoning advanced American technology to China. G42 denied any connections to the Chinese government or military.“If you think about which country should be leading the future of potentially the most critical and transformative technology we've ever had, I would not want that to be a non-democratic authoritarian regime,” Egan says. On Tuesday, the House Select Committee on the Chinese Communist Party, led by Michigan Republican John Moolenaar, wrote on Twitter that the new chip deals “present a vulnerability for the CCP to exploit.” Sam Winter-Levy, another Carnegie Endowment fellow, worries that the deal will encourage U.S. AI companies to move to the Gulf, where they might get better deals on energy and avoid U.S. regulations and community pushback. Prominent U.S. companies have wasted no time in seizing the new opportunity presented by the Trump administration. OpenAI’s Sam Altman, Nvidia’s Jensen Huang, and AMD’s Lisa Su all attended the Saudi-U.S.Investment Forum. The AI startup Scale AI—which has a partnership with the U.S. government to develop AI safety standards—announced its intentions to open an office in Saudi Arabia. Google, too, advanced an AI hub in the country. "You could end up in a position where some large proportion of U.S. computing power has been offshored to a bunch of states that can wield leverage over U.S. foreign policy to shape it in ways that may not align with US national interests,” says Winter-Levy,. Winter-Levy also contends that these AI chip deals go against Trump’s past emphasis on an “America first” foreign policy approach. "This is offshoring data centers that could be built in the United States. This is offshoring chips that could be going to US tech companies,” he says. “It's hard to reconcile this with an America First approach to industrial policy or economic policy in general.”

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

AI startup Stability AI has released Stable Audio Open Small, a “stereo” audio-generating AI model that the company claims is the fastest on the market — and efficient enough to run on smartphones. Stable Audio Open Small is the fruit of a collaboration between Stability AI and Arm, the chipmaker that produces many of the processors inside tablets, phones, and other mobile devices. While a number of AI-powered apps can generate audio, like Suno and Udio, most rely on cloud processing, meaning that they can’t be used offline. Stability also claims that Stable Audio Open Small’s training set is made up entirely of songs from the royalty-free audio libraries Free Music Archive and Freesound. That’s as opposed to the training sets of the aforementioned Suno and Udio, which reportedly contain copyrighted content, posing an IP risk. Stable Audio Open Small is 341 million parameters in size and optimized to run on Arm CPUs. (Parameters, sometimes referred to as weights, are the internal components of a model that guide its behavior.) Designed for quickly generating short audio samples and sound effects (e.g., drum and instrument riffs), Stable Audio Open Small can produce up to 11 seconds of audio on a smartphone in less than 8 seconds, claims Stability AI. Here’s a sample generated by Stable Audio Open Small: And here’s another one: The model isn’t without its limitations. Stable Audio Open Small only supports prompts written in English, and Stability notes in its documentation that the model can’t generate realistic vocals or high-quality songs. The model also doesn’t perform equally well across musical styles, Stability warns — a consequence of its Western-biased training data. Techcrunch event Join us at TechCrunch Sessions: AI Secure your spot for our leading AI industry event with speakers from OpenAI, Anthropic, and Cohere. For a limited time, tickets are just $292 for an entire day of expert talks, workshops, and potent networking. Exhibit at TechCrunch Sessions: AI Secure your spot at TC Sessions: AI and show 1,200+ decision-makers what you’ve built — without the big spend. Available through May 9 or while tables last. Berkeley, CA | June 5 REGISTER NOW In another potential wrinkle for devs, Stable Audio Open Small has somewhat restrictive usage terms. It’s free to use for researchers, hobbyists, and businesses with less than $1 million in annual revenue, but developers and organizations making over $1 million in revenue have to pay for Stability’s enterprise license. Stability, the beleaguered firm behind the popular image generation model Stable Diffusion, raised new cash last year as investors, including Eric Schmidt and Napster founder Sean Parker, sought to turn the business around. Emad Mostaque, Stability’s co-founder and ex-CEO, reportedly mismanaged Stability into financial ruin, leading staff to resign, a partnership with Canva to fall through, and investors to grow concerned about the company’s prospects. In the last few months, Stability has hired a new CEO, appointed Titanic director James Cameron to its board of directors, and released several new image generation models.

As Brian Chesky tells it, the reinvention of Airbnb started with the coup at OpenAI. On November 17, 2023, the board of OpenAI fired company CEO Sam Altman. His friend Chesky leapt into action—publicly defending his pal on X, getting on the phone with Microsoft’s CEO, and throwing himself into the thick of Altman’s battle to retake OpenAI. Five days later Altman prevailed, and Chesky—“I was so jacked up,” he says—turned his buzzing mind to his own company, Airbnb.Thanksgiving weekend was beginning. The Chesky extended family had already held their turkey get-together a week earlier, and the Airbnb CEO had no holiday plan. He was completely alone in his sprawling San Francisco apartment except for Sophie, his golden retriever.Still wired out of his mind from the cathartic corporate rescue, Chesky began to write. He wanted to bust the company he’d cofounded out of its pigeonhole of short-term home rentals. Amazon, he was fond of pointing out, was first an online bookstore before it became the everything store. Chesky had long believed that Airbnb should expand in a similar way. But things kept getting in the way—dealing with safety issues, fighting regulation, coping with the existential crisis of a global pandemic. The company was in danger of being tagged with the word that ambitious entrepreneurs dread like the plague: mature.Now Chesky was emboldened to lay out his vision. Home rentals are simply a service, so why stop there? Airbnb could be the platform for booking all sorts of services. While other apps cover specific sectors—food delivery, home maintenance, car rides—Chesky figured that Airbnb’s experience in attractively displaying homes, vetting hosts, and responding to crises could make it more trustworthy than competitors and therefore the go-to option for virtually anything.In a frantic typing spree at the dining room table, on the couch, the bed, and at times in his office, Chesky specced out how he would redesign the Airbnb app. Its users—now at 2 billion—would open up the app not only at vacation time but whenever they needed to find a portrait photographer, a personal trainer, or someone to cook their meals. Chesky reasoned that Airbnb would need to significantly strengthen its identity verification. He even thought he could get people to use the app as a credential, something as respected as a government-issued ID. If he could transform Airbnb into a storefront for real-world services, Chesky thought, he’d catapult his company from a nearly $10-billion-a-year business into one that boasted membership in tech’s pantheon.Over the next few days, Chesky spilled these thoughts into an Evernote document. “I was basically going from room to room just pouring out this stream-of-consciousness manifesto, like Jack Kerouac writing On the Road,” he says, referring to the frenetically produced single roll of teletype paper that catalyzed the beat movement. “I dusted off all my ideas from 2012 to 2016,” Chesky tells me. “I basically said, ‘We’re not just a vacation app—we’re going to be a platform, a community.’” By Friday he had around 10,000 words, “incomprehensible to anyone but me.” He began to refine it, and by the time the weekend was over, Chesky had distilled his document down to 1,500 words.PHOTOGRAPH: GABRIELA HASBUNAfter the holiday, Chesky gathered his leadership team into a conference room. He handed the team copies of his memo à la Jeff Bezos and waited as his direct reports took it in. “Usually when I share ideas, people aren’t bought in,” he says. “But this time, there wasn’t a lot of feedback. People were really excited. And two years later, that document will now be executed with an exacting detail to what I wrote.”This month, Airbnb will launch the first stage of its more than $200 million reinvention: a panoply of more than 10,000 vendors peddling a swath of services in 260 cities in 30 countries. It is also revitalizing an unsuccessful experiment the company began in 2016: offering bespoke local activities, or what it calls “experiences.” The next stage, launch date unspecified, involves making your profile on Airbnb so robust that it’s “almost like a passport,” as Chesky puts it. After that comes a deep immersion into AI: Inspired by his relationship with Altman, Chesky hopes to build the ultimate agent, a super-concierge who starts off handling customer service and eventually knows you well enough to plan your travel and maybe the rest of your life.“Brian’s been badly underrated as a tech CEO,” Altman says of his friend. “He's not usually mentioned in the same breath as Larry Page or Bill Gates, but I think he is on a path to build as big of a company.”That’s a stretch—Airbnb is nowhere near the size of those oligarchic powers. But Chesky was feeling the need for big changes; While impressive, Airbnb’s growth rate doesn’t suggest that the company will soon reach the trillion-dollar heights of Google and Microsoft. “I’m 43 and at a crossroads, where I can either be almost done or just getting started,” he tells me. “There's a scenario where I'm basically done. Airbnb is very profitable. We've kind of, mostly, nailed vacation rentals. But we can do more.”In early April, I visited Chesky at the company’s lavish San Francisco headquarters. The relaunch was five weeks away. The second floor—where signs warn employees not to bring visitors—had become a sprawling eyes-only command center. The walls were covered with dozens of large poster boards, each one featuring a city, that read as if a group of McKinsey consultants had tackled a fourth-grade geography assignment. Austin, Texas, was written up as “a funky come-as-you-are kind of place” with a handful of “first principles,” one of which was “Outlaw of Texas,” with pointers to food trucks and vintage markets. Another so-called principle was “Live and Alive,” referring to music venues and bat watching; a third was “Dam Lakes,” referring to various water sports. Other blindingly obvious notations included barbeque, tacos, and the two-step. The Paris poster painted a “revolutionary” city marked by slow living and enduring culture.Chesky strode up and greeted me enthusiastically. Dressed in a slim T-shirt that exposed his swole physique, he bounced on his heels with a jittery energy that reminded me of the first time I met him, in January 2009. He had just joined Y Combinator’s famous program for startups, and he and his classmates were at a party at the home of YC cofounder Paul Graham. (Graham told me then that he thought Airbnb’s business plan was crazy but was impressed by their determination.) I mentioned to Chesky that I was headed to Washington, DC, for Barack Obama’s inauguration, and he and his cofounders immediately tried to convince me to use their service to sleep on someone’s couch. I declined, but somehow over the next 15 years they managed to sell the idea to 2 billion people, including me, and now the company has a market cap worth more than Marriott.Chesky ushers me into a conference room to get a preview of the new Airbnb app. His engineers and designers have rebuilt the app from scratch, and he waves around a stick of lip balm as a talisman as he talks me through the redesign. Also in the room is his product marketing head, Jud Coplan, while his vice president of design, Teo Connor, Zooms in from London. While customers likely think of Airbnb as a travel company, its leaders view the operation as an achievement in design. Which makes sense; both Chesky and his cofounder Joe Gebbia were students at the Rhode Island School of Design.Airbnb's new user interface featuring experiences and services.COURTESY OF AIRBNBChesky explains that historically, people used Airbnb only once or twice a year, so its design had to be exceptionally simple. Now the company is retooling for more frequent access. Open the app, and you see a trio of icons that act as gateways to the expanded functions. Within minutes Chesky and his lieutenants are applauding the cheery, retro style of the icons—a house for traditional rentals, a hotel bell for services, and a Jules Verne-ish hot-air balloon representing activities. “We really thought deeply about the metaphor—what was the right visual to express an experience?” says Connor. Once they decided on the balloon, they drilled into how much fire should belch from the basket. The icons were drawn by a former Apple designer whose name Chesky would not divulge. “He’s a bit of a secret weapon,” he says.A less-secret weapon is Chesky’s collaboration with the iconic, also ex-Apple, industrial designer Jony Ive. Chesky’s north star, it should be said, is Apple. “Steve Jobs, to me, is like Michelangelo or da Vinci,” he says. Despite never meeting Jobs, “I feel like I know him deeply, professionally, in a way that few people ever did, in a way that you only possibly could by starting a tech company as a creative person and going on a rocket ship,” Chesky says. By hiring Ive’s LoveFrom company and working with Jobs’ key collaborator, Chesky gets a taste of the famous Jobs/Ive dynamic. Ive himself doesn’t make that comparison, but he does praise Chesky’s design chops. “There are certain tactical things where I hope that sometimes I'm of use to Brian, just as as a fellow designer,” Ive says. “But the majority of our work has been around ideas and the way we frame problems and understand opportunities.”Another key part of the app is the profile page. “You need trust,” Chesky says—meaning a verifiable identity. Airbnb has been vetting the new vendors, which it calls “service hosts.” For months, Chesky says, an army of background researchers has been scrutinizing the résumés, licenses, and recommendations of chefs, photographers, manicurists, masseuses, hair stylists, makeup artists, personal trainers, and aestheticians who provide spa treatments such as facials and microdermabrasions. They’re all being professionally photographed.Airbnb's new guest profile interface.COURTESY OF AIRBNBFor the next phase—turning Airbnb’s user profiles into a primary internet ID—Connor and her team have engaged in some far-out experimentation. She rattles off a list of technologies they’ve been exploring, including biometrics, holograms, and the reactive inks used to deter counterfeiting on official ID cards. But it’s far from easy to become a private identity utility (hello, Facebook), and even Chesky notes that getting governments to accept an Airbnb credential to verify identity is “a stretch goal.”Now that a whole slew of people will have new reasons to chat with each other and coordinate plans, Airbnb has also enhanced its messaging functions. Fellow travelers who share experiences can form communities, stay in touch, even share videos and photos. “I don’t know if I want to call it a social network, because of the stigma associated with it,” says Ari Balogh, Airbnb’s CTO. So they employ a fuzzier term. “We think of it as a connection platform,” he says. “You’re going to see us build a lot more stuff on top of it, although we’re not an advertising system, thank goodness.” (My own observation is that any for-profit company that can host advertising will, but whatever.)This brings us to the services—the heart and soul of this reinvention. Those now on offer seem designed to augment an Airbnb stay with all the stuff that drives up your bill at a luxury resort, like a DIY White Lotus. It will be interesting to see how the company handles the inevitable cases of food poisoning or bad haircuts (and skeezy customers), but Airbnb can draw on its 17 years of experience with dirty sheets, all-night discos on the ground floor, or a host who is literally terrorizing you. Eventually, Chesky says, Airbnb will offer “hundreds” of services, perhaps as far-ranging as plumbing, cleaning, car repair, guitar lessons, and tutoring, and then take its 15 percent fee.Crafted cuts by Bryan, Chicago, IllinoisCOURTESY OF AIRBNB; LYNDON FRENCHTrain with Steve Jordan, Trainer to the Stars, Los Angeles, CaliforniaCOURTESY OF AIRBNB; JACKIE BEALEThe other key feature of the company’s reinvention, of course, is Experiences. If the idea sounds familiar, that’s because Airbnb launched a service by that name almost a decade ago, with pretty much the same pitch: special activities for travelers, like architects leading tours of buildings or chefs showing people how to fold dumplings.It flopped, although Airbnb never formally pulled the plug. Chesky’s excuses include tactical errors: After a big initial splash, the company didn’t follow up with more marketing, and it didn’t establish a strong flow of new experiences. But the big reason, he says, was that it was too early. Now the company has five times as many customers and an ecosystem to support the effort. “It was like our Newton,” says Chesky, referring to Apple’s handheld device that predated the iPhone. (Another Apple reference, for those keeping score.)Chesky’s crew has arranged for more than 22,000 experiences in 650 cities, including a smattering of so-called “originals,” with people at the top of their field—star athletes, Michelin chefs, famous celebrities. In the pipeline is Conan O’Brien selling a perch behind a mic in his podcast studio. (Don’t expect it to air.) Taking a lesson from his earlier flop, Chesky has planned a steady cadence of these short-term promotional stunts, which, of course, is what the Conan experience ultimately is. “We’re going to have thousands of originals and maybe one day hundreds of thousands—a regular drumbeat of some of the biggest iconic celebrities,” Chesky says.He shows me how someone could take a trip to, say, Mexico City and book experiences instantly. “Fun fact—I’ve always dreamed of being a professional wrestler in Mexico. I want to be a luchador!” he tells me, then immediately regrets it. Regardless: In an Airbnb experience, he says, you can meet a real luchador, get in the ring with him, and learn some moves. Can you keep the mask?“Probably,” says Chesky. In any case, you’d share the photos with others in your group. (But don’t call it a social network.)Megan Thee Stallion in Los Angeles, CaliforniaCOURTESY OF AIRBNB; ADRIENNE RAQUELHorseback riding through four hidden temples of the Inkas, Cusco, PeruCOURTESY OF AIRBNB; PAZ OLIVARES-DROGUETTAirbnb’s planned transformation tracks with another reinvention: that of its leader.Chesky had originally taken the title of CEO over his two pretty-much equal cofounders because his personality was more forward facing—it wasn’t even formalized until 2010. But then, in 2011, the company had its first real crisis when a host publicly shared a horror story about how an Airbnb guest from deep, deep hell pillaged and trashed her home. What wasn’t stolen—the customer broke into a locked closet to grab a passport, cash, and heirloom jewelry—was ravaged and burned in the fireplace. “The death-like smell from the bathroom was frightening,” wrote the host. The story threatened to destroy the cheerful person-to-person vibe the company had cultivated. It didn’t help that Airbnb’s initial response was clueless and weak.Chesky stepped up to become the face of the company and instituted overdue safety protocols. Over the next few years, Chesky cemented his alpha status. In 2018 his cofounder Joe Gebbia stepped down from daily duties, though he still sits on the board. (Recently Gebbia has been in the news for his very public participation in DOGE’s remaking of the US government. When asked about it at a Q and A session with employees, Chesky said that Gebbia was free to have his own opinions, but they are not the company’s. Chesky did not attend Trump’s inauguration.) The third cofounder, Nathan Blecharczyk, is still with the company, though it’s notable that as I sat in meetings with over a dozen executives, the only time his name came up was when I mentioned it.Chesky was totally in charge during the pandemic, when Airbnb lost 80 percent of its business in eight weeks. He laid off a quarter of the staff. Now that bookings surpass pre-2020 levels, he thinks the company is stronger. And he learned a big lesson: “The pandemic was the turning point of the company,” he says. “My first principle became ‘Don’t apologize for how you want to run your company.’ Most of all you should not apologize for being in the details. The number one thing people want to do is keep you out of the details.”When Chesky shared some of these views at a Y Combinator event in 2024, Paul Graham was inspired to write an essay called “Founder Mode.” Graham used Chesky’s story to argue that only the person who created a company knows what is best, and the worst mistake is to listen to management types who haven’t built their own. The essay struck a nerve; people were stopping Chesky on the street and yelling “Founder mode!” Someone dropped off a baseball hat for him with those words; it now sits on a shelf in his conference room.Chesky, meanwhile, has been deep in the details, especially on this reinvention, itself kind of a classic founder move. “I did review work before the pandemic, but people kind of hated it. There were negative associations to a CEO reviewing everything; it’s considered micromanaging.” Also, his idol Steve Jobs was famous—infamous?—for his unsparing criticism. Chesky contends that once he went all-in on dishing out criticism, with no sheepishness, people seemed happier. But even if they weren’t, he’d do it anyway. Curious to see how this worked, I arranged to attend a Chesky review.Gathered in a conference room, the design and engineering teams presented near-final app tweaks affecting how hosts set up their services. Chesky seemed fairly pleased with what he was seeing—so much so that he apologized to me afterward that I didn’t get to see him go animal with his underlings. Nonetheless, even during this lovefest of a product review, Chesky babbled a constant stream of minor corrections. The cursor is oddly centered … Those visual cues are a little confusing … We need a subtle drop shadow here … The next line doesn’t seem centered vertically … That address input is pretty awkward … That button looks oddly short, is it supposed to be that short? … That shimmer, do we think we need it? Get rid of it … That top module doesn’t make sense … We need to rewrite all the copy on this page … I think we need a better empty state … That title’s not clear …The group shuffles out satisfied and a bit stunned that they got away so easy. But when I meet Chesky a day later to sum things up, he tells me that I’d just missed a spicier product review. Then he gets serious, explaining what the reinvention means to him. “I felt a little bit like the vacation rental guy,” he says. “Like we as a company are a little underestimated.” He brings up Apple again, saying that both companies embody the idea that a business relationship can generate emotion. “My ambition is kind of like the ambition of an artist and designer,” he says.At that point Chesky gets a little woo. “Magic, in hindsight, is not technology,” he says as he reflects on Apple’s wizardry. What he’s realized is that magic lies in forging connections with those who offer you a bed, a microdermabrasion, a sparring match in a lucha libre ring. “The magic that is timeless is, like, the stuff you remember at the end of your life.”He lets that sit for a minute. Then he puts a cap on that insight, sounding less like a CEO than a life coach. “I’ve never had a dream with a device in it,” he says. Leave it to the subconscious to highlight what matters. That said, his day dreams certainly involve a new kind of device. In his off hours he’s helping with a secret project headed by his friends Altman and Ive to create a device that Altman says is the next step beyond computers. (“This is not theoretical memo-swapping,” Altman tells me. “We’re hard at work on it, prototyping.”)But that’s somewhere off in the future. In the realm of products that actually exist in the world, Chesky will have to face competition from dozens of domain leaders including Yelp, Instacart, DoorDash, Ticketmaster, Hotels.com, Tinder, OpenTable, and Craigslist, to name but a few. You can probably add Apple, Meta, and Microsoft, since Chesky wants Airbnb to be a universal credential and what certainly looks like a social network. Even Steve Jobs might have blinked at taking on that crowd all at once.Images styled by Jillian Knox.Featuring: Liv Skinner, Liv Well and Francesca Lopez, Zinnia Wildflower BakehouseLet us know what you think about this article. Submit a letter to the editor at mail@wired.com or comment below.

Remedy Entertainment has a history of being experimental with genre favorites like Alan Wake 2 and Control, but largely sticking to the (comparatively) safe waters of premium single-player games. Now Remedy is using the setting of Control as a launching pad for a live service co-op shooter called FBC Firebreak, their first crack at an online co-op game about contending with The Oldest House following a new lockdown.Producing an online live service game these days is an increasingly risky business that many developers have struggled with. A key factor is that playing a live service game and keeping up with the content and other players is time-consuming—and only so many games can operate within that space at a given time. With that, the developers at Remedy Entertainment have built their take on an online live service game that not only allows players to tune the activities to match their pace, but also offer a way for players to take in as much as they want when they want.In a chat with Game Developer, game director Mike Kayatta explained that Remedy is expanding the 'Remedy Connected Universe' further, while also building an online co-op game that's all about getting players right into the action and progressing at their own pace—all to build a sustainable live service that can attract players without plenty of time on their hands, and how they're ensuring players who don't have a lot of free time won't feel left behind.Related:An online game built around the player's scheduleIn FBC Firebreak, squads of 3 players are tasked with completing various missions within The Oldest House—the extradimensional office building from the original Control—using jerry-rigged equipment and weapons to contain rogue Objects of Power or halt the invasion of the otherworldly monsters known as the Hiss. FBC Firebreak stands out in the live service space by providing more surreal objectives, like a mission called "Paper Chase," where players hunt supernatural sticky notes.According to Kayatta, FBC Firebreak and its first-person, co-op-driven gameplay have been long brewing at Remedy. The concept itself stretches back to the original's conceit of contending with a setting that's actively working against players."One of my favorite pieces of Control concept art is of an FBC employee trying to play a game of pool, but the floor has shifted one end of the table just enough to ruin his game. This is pretty much how we think about the Oldest House in FBC: Firebreak," said the game director. "It's a powerful and mysterious building, yes, but there's also a certain level of canonical 'grounded absurdity,' it produces that's perfect for our type of experience."Related:Image via Remedy Entertainment."But even aside from those tonal opportunities, the House's shifting and unknowable nature, and the fact that it can connect to other dimensions, gives us all the room we'll ever need to do what's best for Firebreak without violating what makes Control, Control."On the surface, the concept of FBC Firebreak recalls similar efforts from other developers attempting a stand-alone multiplayer game based on a single-player experience, another example being the upcoming Elden Ring: Nightreign. What makes FBC Firebreak particularly interesting is that it's not only leveraging the weirdness of the Control setting, but it's also an online game that seeks to remedy (pun intended) a growing problem with live-service games. Simply put, there's never enough time to play all the games out there while meeting the investments they expect from players.Kayatta stated that FBC Firebreak was all about removing the familiar pain points and sense of FOMO found in online games. To them, the Control spin-off aimed to be a game that players could play "on their terms, and not on the games."Related:Amusingly, Kayatta said the team at Remedy took inspiration from their own busy schedules as game developers, studying the pace of how they kept up with modern online games.FBC Firebreak lets players set their own progression paceThe developers of FBC Firebreak seek to solve the live-service dilemma with two solutions. First, all players can unlock key weapons and upgrades for their Crisis Kits (the game's take on class types), all from playing the game's set of missions and collecting resources. As players rank up their Requisitions—the game's take on the unlock system—they can spend points to unlock whatever they like, which includes new weapons, kit upgrades, and other add-ons to modify their loadouts.The second solution, and most interesting to FBC Firebreak's structure, is the customizable objectives and encounter difficulties. Before each job, the team leader can tune the enemy variety and spawn rate to different intensity levels while also setting the number of objectives needed to clear the mission.This means players can can have a mission with limited objectives but high enemy frequency, presenting a one-stage encounter with an onslaught of enemies. Conversely, they can customize the same mission to have a larger set of objectives, but with a lower frequency of enemies, making it more of an atmospheric, task-focused mission that culminates in a boss encounter.Image via Remedy Entertainment."With a multiplayer game, it's important to consider how your game slots into people's lives," he said. "In co-op, especially, friend groups are stepping in with an unpredictable set of needs: How experienced is each group member? How much time do they have? Are they treating the game session like a phone call, where they just want something to do in the background while talking about something personal?""And you can't solve this for a player forever because the same person who wants to zone out one night for thirty minutes sometimes turns around and wants to hyper-coordinate for two hours the next night. This goes back to putting the game on the players' terms instead of ours; we wanted to give you those controls so that Firebreak can meet you where you are on any given day."FBC Firebreak's approach to challenge and tuning of the experience is flexible by design, which feels like an oddity among other games that push players towards timed battle passes or monthly events.According to Kayatta, building the game's structure and more flexible approach to progression was all about removing potential barriers that so many other live service games have, to provide an online game that players of whatever time investment can get something out of. Remedy axed other popular live service features like dense statistics (think damage, buff, and debuff percentages) because it made players care about "min-maxing and tracking metas.""That in turn, can create barriers to people who don't want to be pressured into thinking about anything that's not directly in front of them," he said.It's an unconventional strategy to drive retention by asking players for less engagement, but Kayatta said targeting those busy everyday players will be key to FBC Firebreak's success."We just wanted to make a game that players without a lot of time could enjoy, which feels like it describes a lot of gamers these days," he concluded. "Some people lose their time to work or to their kids. Others are among the hundreds of incredible games destroying their backlogs. Some poor suckers, like me, lose time to both.""Too many games ask too much of their players, especially in the multiplayer space."

Now open for entries, the Architizer Vision Awards is expanding its mission with the launch of the Visionary 100, a new global spotlight on architecture’s best concept designers, storytellers and visual thinkers. Set for publication later in 2025 and validated by Architizer’s international jury, including renowned architects such as Steven Holl, Winka Dubbeldam and Daniel Libeskind, this vital new platform will shine a light on those defining the visual culture of architecture — today and tomorrow. To apply, simply enter the 2025 Vision Awards in one or more of the 50+ available categories. Every Winner in this year’s program is guaranteed a place in the Visionary 100, an exclusive editorial directory that will be updated each season and republished annually. Firms, individual professionals and students are eligible for inclusion. The Vision Awards Main Entry Period is open for just 4 weeks, so don’t miss out: Start your Vision Awards submission to secure a place in the running for the Visionary 100 and a host of other prizes for your work! Apply for the Visionary 100 Photograph by Kevin Scott, 2023 Vision Awards Special Mention, Architectural Photographer of the Year. Why the Visionary 100 Matters Featured on Architizer.com and shared with our audience of 4.75 million+ architects, clients and collaborators, this is your chance to be recognized for how you think and communicate about design, from the smallest details to the most ambitious concepts for buildings, cities and beyond. Architecture is evolving at breakneck speed, and so too is the way it’s communicated. The Visionary 100 will serve as a critical reference point for editors, curators, clients, and design leaders seeking to understand and celebrate who is shaping the visual culture of architecture today—and who will shape it tomorrow. This widely published feature will be more than a list: It will form a launchpad for architectural discourse and a benchmark for the next generation of creative leaders. Whether you’re an independent visualizer or part of an international design firm, inclusion in the Visionary 100 signals that your work is setting the pace for the profession. Start My Entry Select Winners and Finalists from Architizer One X Challenges and the inaugural Vision Awards. See the complete 2023 Vision Awards Winners’ Gallery here. A Program Built for Creative Thinkers Each winner of the 2025 Vision Awards, across every category, will automatically earn a place in the Visionary 100. The Vision Awards span three key category groups: Architectural Concept – Honoring bold, unbuilt proposals that reimagine the future of housing, cities, sustainability, and more, using up to six visuals to communicate each project. Architectural Vision – Celebrating single images and videos that capture the essence of architecture through renderings, photography, film, drawing, and physical models. Architectural Visionary – Recognizing firms and creators for outstanding portfolios of work across their chosen medium. Explore the categories in full here. Each submission will be judged by a world-class jury of architects, designers, and visual communication experts, with a strong focus on concept, clarity, innovation, and visual impact. See the judging criteria here. Share My Vision Select Winners and Finalists from Architizer One X Challenges and the inaugural Vision Awards. See the complete 2023 Vision Awards Winners’ Gallery here. Join a Global Festival of Ideas Architecture’s future is being written not only in buildings, but in the bold images, ideas, and narratives that shape how we understand our environment. Architizer created the Vision Awards to celebrate this vital part of design culture — the powerful act of envisioning what architecture can be. In addition to their inclusion in this key publication, select visionaries will be invited for exclusive editorial interviews, offering deeper insight into their creative process and the ideas driving their practice. Sound good? We thought so! Submit your work to the 2025 Vision Awards today and earn your place in the Visionary 100 — an essential index of design excellence for the years to come. Start My Entry The post The Visionary 100: Take Your Place Among Architecture’s Top 100 Creative Leaders appeared first on Journal.