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If you’ve ever flown through outer space, at least while watching a documentary or a science fiction film, you’ve seen how artists turn astronomical findings into stunning visuals. But in the process of visualizing data for their latest planetarium show, a production team at New York’s American Museum of Natural History made a surprising discovery of their own: a trillion-and-a-half mile long spiral of material drifting along the edge of our solar system. “So this is a really fun thing that happened,” says Jackie Faherty, the museum’s senior scientist. Last winter, Faherty and her colleagues were beneath the dome of the museum’s Hayden Planetarium, fine-tuning a scene that featured the Oort cloud, the big, thick bubble surrounding our Sun and planets that’s filled with ice and rock and other remnants from the solar system’s infancy. The Oort cloud begins far beyond Neptune, around one and a half light years from the Sun. It has never been directly observed; its existence is inferred from the behavior of long-period comets entering the inner solar system. The cloud is so expansive that the Voyager spacecraft, our most distant probes, would need another 250 years just to reach its inner boundary; to reach the other side, they would need about 30,000 years.  The 30-minute show, Encounters in the Milky Way, narrated by Pedro Pascal, guides audiences on a trip through the galaxy across billions of years. For a section about our nascent solar system, the writing team decided “there’s going to be a fly-by” of the Oort cloud, Faherty says. “But what does our Oort cloud look like?”  To find out, the museum consulted astronomers and turned to David Nesvorný, a scientist at the Southwest Research Institute in San Antonio. He provided his model of the millions of particles believed to make up the Oort cloud, based on extensive observational data. “Everybody said, go talk to Nesvorný. He’s got the best model,” says Faherty. And “everybody told us, ‘There’s structure in the model,’ so we were kind of set up to look for stuff,” she says.  The museum’s technical team began using Nesvorný’s model to simulate how the cloud evolved over time. Later, as the team projected versions of the fly-by scene into the dome, with the camera looking back at the Oort cloud, they saw a familiar shape, one that appears in galaxies, Saturn’s rings, and disks around young stars. “We’re flying away from the Oort cloud and out pops this spiral, a spiral shape to the outside of our solar system,” Faherty marveled. “A huge structure, millions and millions of particles.” She emailed Nesvorný to ask for “more particles,” with a render of the scene attached. “We noticed the spiral of course,” she wrote. “And then he writes me back: ‘what are you talking about, a spiral?’”  While fine-tuning a simulation of the Oort cloud, a vast expanse of ice material leftover from the birth of our Sun, the ‘Encounters in the Milky Way’ production team noticed a very clear shape: a structure made of billions of comets and shaped like a spiral-armed galaxy, seen here in a scene from the final Space Show (curving, dusty S-shape behind the Sun) [Image: © AMNH] More simulations ensued, this time on Pleiades, a powerful NASA supercomputer. In high-performance computer simulations spanning 4.6 billion years, starting from the Solar System’s earliest days, the researchers visualized how the initial icy and rocky ingredients of the Oort cloud began circling the Sun, in the elliptical orbits that are thought to give the cloud its rough disc shape. The simulations also incorporated the physics of the Sun’s gravitational pull, the influences from our Milky Way galaxy, and the movements of the comets themselves.  In each simulation, the spiral persisted. “No one has ever seen the Oort structure like that before,” says Faherty. Nesvorný “has a great quote about this: ‘The math was all there. We just needed the visuals.’”  An illustration of the Kuiper Belt and Oort Cloud in relation to our solar system. [Image: NASA] As the Oort cloud grew with the early solar system, Nesvorný and his colleagues hypothesize that the galactic tide, or the gravitational force from the Milky Way, disrupted the orbits of some comets. Although the Sun pulls these objects inward, the galaxy’s gravity appears to have twisted part of the Oort cloud outward, forming a spiral tilted roughly 30 degrees from the plane of the solar system. “As the galactic tide acts to decouple bodies from the scattered disk it creates a spiral structure in physical space that is roughly 15,000 astronomical units in length,” or around 1.4 trillion miles from one end to the other, the researchers write in a paper that was published in March in the Astrophysical Journal. “The spiral is long-lived and persists in the inner Oort Cloud to the present time.” “The physics makes sense,” says Faherty. “Scientists, we’re amazing at what we do, but it doesn’t mean we can see everything right away.” It helped that the team behind the space show was primed to look for something, says Carter Emmart, the museum’s director of astrovisualization and director of Encounters. Astronomers had described Nesvorný’s model as having “a structure,” which intrigued the team’s artists. “We were also looking for structure so that it wouldn’t just be sort of like a big blob,” he says. “Other models were also revealing this—but they just hadn’t been visualized.” The museum’s attempts to simulate nature date back to its first habitat dioramas in the early 1900s, which brought visitors to places that hadn’t yet been captured by color photos, TV, or the web. The planetarium, a night sky simulator for generations of would-be scientists and astronauts, got its start after financier Charles Hayden bought the museum its first Zeiss projector. The planetarium now boasts one of the world’s few Zeiss Mark IX systems. Still, these days the star projector is rarely used, Emmart says, now that fulldome laser projectors can turn the old static starfield into 3D video running at 60 frames per second. The Hayden boasts six custom-built Christie projectors, part of what the museum’s former president called “the most advanced planetarium ever attempted.”  In about 1.3 million years, the star system Gliese 710 is set to pass directly through our Oort Cloud, an event visualized in a dramatic scene in ‘Encounters in the Milky Way.’ During its flyby, our systems will swap icy comets, flinging some out on new paths. [Image: © AMNH] Emmart recalls how in 1998, when he and other museum leaders were imagining the future of space shows at the Hayden—now with the help of digital projectors and computer graphics—there were questions over how much space they could try to show. “We’re talking about these astronomical data sets we could plot to make the galaxy and the stars,” he says. “Of course, we knew that we would have this star projector, but we really wanted to emphasize astrophysics with this dome video system. I was drawing pictures of this just to get our heads around it and noting the tip of the solar system to the Milky Way is about 60 degrees. And I said, what are we gonna do when we get outside the Milky Way?’ “Then [planetarium’s director] Neil Degrasse Tyson “goes, ‘whoa, whoa, whoa, Carter, we have enough to do. And just plotting the Milky Way, that’s hard enough.’ And I said, ‘well, when we exit the Milky Way and we don’t see any other galaxies, that’s sort of like astronomy in 1920—we thought maybe the entire universe is just a Milky Way.'” “And that kind of led to a chaotic discussion about, well, what other data sets are there for this?” Emmart adds. The museum worked with astronomer Brent Tully, who had mapped 3500 galaxies beyond the Milky Way, in collaboration with the National Center for Super Computing Applications. “That was it,” he says, “and that seemed fantastical.” By the time the first planetarium show opened at the museum’s new Rose Center for Earth and Space in 2000, Tully had broadened his survey “to an amazing” 30,000 galaxies. The Sloan Digital Sky Survey followed—it’s now at data release 18—with six million galaxies. To build the map of the universe that underlies Encounters, the team also relied on data from the European Space Agency’s space observatory, Gaia. Launched in 2013 and powered down in March of this year, Gaia brought an unprecedented precision to our astronomical map, plotting the distance between 1.7 billion stars. To visualize and render the simulated data, Jon Parker, the museum’s lead technical director, relied on Houdini, a 3D animation tool by Toronto-based SideFX. The goal is immersion, “whether it’s in front of the buffalo downstairs, and seeing what those herds were like before we decimated them, to coming in this room and being teleported to space, with an accurate foundation in the science,” Emmart says. “But the art is important, because the art is the way to the soul.”  The museum, he adds, is “a testament to wonder. And I think wonder is a gateway to inspiration, and inspiration is a gateway to motivation.” Three-D visuals aren’t just powerful tools for communicating science, but increasingly crucial for science itself. Software like OpenSpace, an open source simulation tool developed by the museum, along with the growing availability of high-performance computing, are making it easier to build highly detailed visuals of ever larger and more complex collections of data. “Anytime we look, literally, from a different angle at catalogs of astronomical positions, simulations, or exploring the phase space of a complex data set, there is great potential to discover something new,” says Brian R. Kent, an astronomer and director of science communications at National Radio Astronomy Observatory. “There is also a wealth of astronomics tatical data in archives that can be reanalyzed in new ways, leading to new discoveries.” As the instruments grow in size and sophistication, so does the data, and the challenge of understanding it. Like all scientists, astronomers are facing a deluge of data, ranging from gamma rays and X-rays to ultraviolet, optical, infrared, and radio bands. Our Oort cloud (center), a shell of icy bodies that surrounds the solar system and extends one-and-a-half light years in every direction, is shown in this scene from ‘Encounters in the Milky Way’ along with the Oort clouds of neighboring stars. The more massive the star, the larger its Oort cloud [Image: © AMNH ] “New facilities like the Next Generation Very Large Array here at NRAO or the Vera Rubin Observatory and LSST survey project will generate large volumes of data, so astronomers have to get creative with how to analyze it,” says Kent.  More data—and new instruments—will also be needed to prove the spiral itself is actually there: there’s still no known way to even observe the Oort cloud.  Instead, the paper notes, the structure will have to be measured from “detection of a large number of objects” in the radius of the inner Oort cloud or from “thermal emission from small particles in the Oort spiral.”  The Vera C. Rubin Observatory, a powerful, U.S.-funded telescope that recently began operation in Chile, could possibly observe individual icy bodies within the cloud. But researchers expect the telescope will likely discover only dozens of these objects, maybe hundreds, not enough to meaningfully visualize any shapes in the Oort cloud.  For us, here and now, the 1.4 trillion mile-long spiral will remain confined to the inside of a dark dome across the street from Central Park.

This edition of the Venice Biennale includes 65 national pavilions, 11 collateral events, and over 750 participants in the international exhibition curated by Italian architect and engineer Carlo Ratti. Entitled Intelligens: Natural Artificial Collective, its stated aim is to make Venice a ‘living laboratory’. But Ratti’s exhibition in the Arsenale has been hit by mixed reviews. The AJ’s Rob Wilson described it as ‘a bit of a confusing mess’, while other media outlets have called the robot-heavy exhibit of future-facing building-focused solutions to the climate crisis a ‘tech-bro fever dream’ and a ‘mind-boggling rollercoaster’ to mention a few. It is a distinct shift away from the biennale of two years ago twhen Ghanaian-Scottish architect Lesley Lokko curated the main exhibitions, including 89 participants – of which more than half were from Africa or the African diaspora – in a convincing reset of the architectural conversation.Advertisement This year’s National Pavilions and collateral exhibits, by contrast, have tackled the largest themes in architecture and the world right now in a less constrained way than the main exhibitions. The exhibits are radical and work as a useful gauge for understanding what’s important in each country: decarbonisation, climate resilience, the reconstruction of Gaza, and an issue more prevalent in politics closer to home: gender wars. What's not to miss in the Giardini? British Pavilion (photography: Chris Lane) UK Pavilion The British Pavilion this year, which won a special mention from the Venetian jury, is housing a show by a British-Kenyan collab titled GBR – Geology of Britannic Repair. In it, the curators explore the links between colonialism, the built environment and geological extraction. Focusing on the Rift Valley, which runs from east Africa to the Middle East, including Palestine, the exhibition was curated by the Nairobi-based studio cave_bureau, UK-based curator, writer and Farrell Centre director Owen Hopkins and Queen Mary University professor Kathryn Yusoff. The pavilion’s façade is cloaked by a beaded veil of agricultural waste briquettes and clay and glass beads, produced in Kenya and India, echoing both Maasai practices and beads once made on Venice’s Murano, as currency for the exchange of metals, minerals and slaves. The pavilion’s six gallery spaces include multisensory installations such as the Earth Compass, a series of celestial maps connecting London and Nairobi; the Rift Room, tracing one of humans’ earliest migration routes; and the Shimoni Slave Cave, featuring a large-scale bronze cast of a valley cave historically used as a holding pen for enslaved people.Advertisement The show also includes Objects of Repair, a project by design-led research group Palestine Regeneration Team (PART), looking at how salvaged materials could help rebuild war-torn Gaza, the only exhibit anywhere in the Biennale that tackled the reconstruction of Gaza face-on – doing so impressively, both politically and sensitively. Read more here. Danish Pavilion (photography: Hampus Berndtson) Demark Pavilion A firm favourite by most this year, the Danish exhibition Build of Site, curated by Søren Pihlmann of Pihlmann Architects, transforms the pavilion, which requires renovation anyway, into both a renovation site and archive of materials. Clever, simple and very methodical, the building is being both renewed while at the same time showcasing innovative methods to reuse surplus materials uncovered during the construction process – as an alternative to using new resources to build a temporary exhibition. The renovation of the 1950s Peter Koch-designed section of the pavilion began in December 2024 and will be completed following the biennale, having been suspended for its duration. On display are archetypal elements including podiums, ramps, benches and tables – all constructed from the surplus materials unearthed during the renovation, such as wood, limestone, concrete, stone, sand, silt and clay. Belgian Pavilion (photography: Michiel De Cleene) Belgium Pavilion If you need a relaxing break from the intensity of the biennale, then the oldest national pavilion in the Giardini is the one for you. Belgium’s Building Biospheres: A New Alliance between Nature and Architecture brings ‘plant intelligence’ to the fore. Commissioned by the Flanders Architecture Institute and curated by landscape architect Bas Smets and neurobiologist Stefano Mancuso, the exhibit investigates how the natural ‘intelligence’ of plants can be used to produce an indoor climate – elevating the role of landscape design and calling for it to no longer serve as a backdrop for architecture. Inside, more than 200 plants occupy the central area beneath the skylight, becoming the pavilion’s centrepiece, with the rear space visualising ‘real-time’ data on the prototype’s climate control performance. Spanish Pavilion (photography: Luca Capuano) Spain Pavilion One for the pure architecture lovers out there, models (32!), installations, photographs and timber structures fill the Spanish Pavilion in abundance. Neatly curated by architects Roi Salgueiro Barrio and Manuel Bouzas Barcala, Internalities shows a series of existing and research projects that have contributed to decarbonising construction in Spain. The outcome? An extensive collection of work exploring the use of very local and very specific regenerative and low-carbon construction and materials – including stone, wood and soil. The joy of this pavilion comes from the 16 beautiful timber frames constructed from wood from communal forests in Galicia. Polish Pavilion (photography: Luca Capuano) Poland Pavilion Poland’s pavilion was like Marmite this year. Some loved its playful approach while others found it silly. Lares and Penates, taking its name from ancient Roman deities of protection, has been curated by Aleksandra Kędziorek and looks at what it means and takes to have a sense of security in architecture. Speaking to many different anxieties, it refers to the unspoken assumption of treating architecture as a safe haven against the elements, catastrophes and wars – showcasing and elevating the mundane solutions and signage derived from building, fire and health regulations. The highlight? An ornate niche decorated with tiles and stones just for … a fire extinguisher. Dutch Pavilion (photography: Cristiano Corte) Netherlands Pavilion Punchy and straight to the point, SIDELINED: A Space to Rethink Togetherness takes sports as a lens for looking at how spatial design can both reveal and disrupt the often-exclusionary dynamics of everyday environments. Within the pavilion, the exhibit looks beyond the large-scale arena of the stadium and gymnasium to investigate the more localised and intimate context of the sports bar, as well as three alternative sports – a site of both social production and identity formation – as a metaphor for uniting diverse communities. The pavilion-turned-sports bar, designed by Koos Breen and Jeannette Slütter and inspired by Asger Jorn’s three-sided sports field, is a space for fluidity and experimentation where binary oppositions, social hierarchies and cultural values are contested and reshaped – complete with jerseys and football scarfs (currently a must-have fashion item) worn by players in the alternative Anonymous Allyship aligning the walls. Read Derin Fadina’s review for the AJ here. Performance inside the Nordic Countries Pavilion (photography: Venla Helenius) Nordic Countries Pavilion Probably the most impactful national pavilion this year (and with the best tote bag by far), the Nordic Countries have presented an installation with performance work. Curated by Kaisa Karvinen, Industry Muscle: Five Scores for Architecture continues Finnish artist Teo Ala-Ruona’s work on trans embodiment and ecology by considering the trans body as a lens through which to examine modern architecture and the built environment. The three-day exhibition opening featured a two-hour performance each day with Ala-Ruona and his troupe crawling, climbing and writhing around the space, creating a bodily dialogue with the installations and pavilion building itself, which was designed by celebrated Modernist architect Sverre Fehn. The American pavilion next door, loudly (country music!) turns its back on what’s going on in its own country by just celebrating the apathetical porch, making the Nordic Countries seem even more relevant in this crucial time. Read Derin Fadina’s review for the AJ here. German Pavilion (photography: Luca Capuano) Germany Pavilion An exhibit certainly grabbing the issue of climate change by its neck is the German contribution, Stresstest. Curated by Nicola Borgmann, Elisabeth Endres, Gabriele G Kiefer and Daniele Santucci, the pavilion has turned climate change into a literal physical and psychological experience for visitors by creating contrasting ‘stress’ and ‘de-stress’ rooms. In the dark stress room, a large metal sculpture creates a cramped and hot space using heating mats hung from the ceiling and powered by PVs. Opposite is a calmer space demonstrating strategies that could be used to reduce the heat of cities, and between the two spaces is a film focusing on the impacts of cities becoming hotter. If this doesn’t highlight the urgency of the situation, I’m not sure what will. Best bits of the Arsenale outside the main exhibitions Bahrain Pavilion (photography: Andrea Avezzù) Bahrain Pavilion Overall winner of this year’s Golden Lion for best national participation, Bahrain’s pavilion in the historic Artiglierie of the Arsenale is a proposal for living and working through heat conditions. Heatwave, curated by architect Andrea Faraguna, reimagines public space design by exploring passive cooling strategies rooted in the Arab country’s climate, as well as cultural context. A geothermal well and solar chimney are connected through a thermo-hygrometric axis that links underground conditions with the air outside. The inhabitable space that hosts visitors is thus compressed and defined by its earth-covered floor and suspended ceiling, and is surrounded by memorable sandbags, highlighting its scalability for particularly hot construction sites in the Gulf where a huge amount of construction is taking place. In the Arsenale’s exhibition space, where excavation wasn’t feasible, this system has been adapted into mechanical ventilation, bringing in air from the canal side and channelling it through ductwork to create a microclimate. Slovenian Pavilion (photography: Andrea Avezzù) Slovenia Pavilion The AJ’s Rob Wilson’s top pavilion tip this year provides an enjoyable take on the theme of the main exhibition, highlighting how the tacit knowledge and on-site techniques and skills of construction workers and craftspeople are still the key constituent in architectural production despite all the heat and light about robotics, prefabrication, artificial intelligence and 3D printing. Master Builders, curated by Ana Kosi and Ognen Arsov and organised by the Museum of Architecture and Design (MAO) in Ljubljana, presents a series of ‘totems’ –accumulative sculpture-like structures that are formed of conglomerations of differently worked materials, finishes and building elements. These are stacked up into crazy tower forms, which showcase various on-site construction skills and techniques, their construction documented in accompanying films. Uzbekistan Pavilion (photography: Luca Capuano) Uzbekistan Pavilion Uzbekistan’s contribution explores the Soviet era solar furnace and Modernist legacy. Architecture studio GRACE, led by curators Ekaterina Golovatyuk and Giacomo Cantoni have curated A Matter of Radiance. The focus is the Sun Institute of Material Science – originally known as the Sun Heliocomplex – an incredible large-scale scientific structure built in 1987 on a natural, seismic-free foundation near Tashkent and one of only two that study material behaviour under extreme temperatures. The exhibition examines the solar oven’s site’s historical and contemporary significance while reflecting on its scientific legacy and influence moving beyond just national borders. Applied Arts Pavilion (photography: Andrea Avezzù) V&A Applied Arts Pavilion Diller Scofidio + Renfro (DS+R) is having a moment. The US-based practice, in collaboration with V&A chief curator Brendan Cormier, has curated On Storage, which aptly explores global storage architectures in a pavilion that strongly links to the V&A’s recent opening of Storehouse, its new (and free) collections archive in east London. Featured is a six-channel (and screen) film entitled Boxed: The Mild Boredom of Order, directed by the practice itself and following a toothbrush, as a metaphor for an everyday consumer product, on its journey through different forms of storage across the globe – from warehouse to distribution centre to baggage handlers down to the compact space of a suitcase. Also on display are large-format photographs of V&A East Storehouse, DS+R’s original architectural model and sketchbook and behind-the-scenes photography of Storehouse at work, taken by emerging east London-based photographers. Canal Café (photography: Marco Zorzanello) Canal café Golden Lion for the best participation in the actual exhibition went to Canal Café, an intervention designed by V&A East Storehouse’s architect DS+R with Natural Systems Utilities, SODAI, Aaron Betsky and Davide Oldani. Serving up canal-water espresso, the installation is a demonstration of how Venice itself can be a laboratory to understand how to live on the water in a time of water scarcity. The structure, located on the edge of the Arsenale’s building complex, draws water from its lagoon before filtering it onsite via a hybrid of natural and artificial methods, including a mini wetland with grasses. The project was recognised for its persistence, having started almost 20 years ago, just showing how water scarcity, contamination and flooding are still major concerns both globally and, more locally, in the tourist-heavy city of Venice. And what else? Holy See Pavilion (photography: Andrea Avezzù) The Holy See Much like the Danish Pavilion, the Pavilion of the Holy See is also taking on an approach of renewal this year. Over the next six months, Opera Aperta will breathe new life into the Santa Maria Ausiliatrice Complex in the Castello district of Venice. Founded as a hospice for pilgrims in 1171, the building later became the oldest hospital and was converted into school in the 18th century. In 2001, the City of Venice allocated it for cultural use and for the next four years it will be managed by the Dicastery for Culture and Education of the Holy See to oversee its restoration. Curated by architect, curator and researcher Marina Otero Verzier and artistic director of Fondaco Italia, Giovanna Zabotti, the complex has been turned into a constant ‘living laboratory’ of collective repair – and received a special mention in the biennale awards. The restoration works, open from Tuesday to Friday, are being carried out by local artisans and specialised restorers with expertise in recovering stone, marble, terracotta, mural and canvas painting, stucco, wood and metal artworks. The beauty, however, lies in the photogenic fabrics, lit by a warm yellow glow, hanging from the walls within, gently wrapping the building’s surfaces, leaving openings that allow movement and offer glimpses of the ongoing restoration. Mobile scaffolding, used to support the works, also doubles up as furniture, providing space for equipment and subdividing the interior. Togo Pavilion (photography: Andrea Avezzù) Togo Pavilion The Republic of Togo has presented its first pavilion ever at the biennale this year with the project Considering Togo’s Architectural Heritage, which sits intriguingly at the back of a second-hand furniture shop. The inaugural pavilion is curated by Lomé and Berlin-based Studio NEiDA and is in Venice’s Squero Castello. Exploring Togo’s architectural narratives from the early 20th century, and key ongoing restoration efforts, it documents key examples of the west African country’s heritage, highlighting both traditional and more modern building techniques – from Nôk cave dwellings to Afro-Brazilian architecture developed by freed slaves to post-independence Modernist buildings. Some buildings showcased are in disrepair, despite most of the modern structures remaining in use today, including Hotel de la Paix and the Bourse du Travail, suggestive of a future of repair and celebration. Estonian Pavilion (photography: Joosep Kivimäe) Estonia Pavilion Another firm favourite this year is the Estonian exhibition on Riva dei Sette Martiri on the waterfront between Corso Garibaldi and the Giardini.  The Guardian’s Olly Wainwright said that outside the Giardini, it packed ‘the most powerful punch of all.’ Simple and effective, Let Me Warm You, curated by trio of architects Keiti Lige, Elina Liiva and Helena Männa, asks whether current insulation-driven renovations are merely a ‘checkbox’ to meet European energy targets or ‘a real chance’ to enhance the spatial and social quality of mass housing. The façade of the historic Venetian palazzetto in which it is housed is clad with fibre-cement insulation panels in the same process used in Estonia itself for its mass housing – a powerful visual statement showcasing a problematic disregard for the character and potential of typical habitable spaces. Inside, the ground floor is wrapped in plastic and exhibits how the dynamics between different stakeholders influence spatial solutions, including named stickers to encourage discussion among your peers. Venice Procuratie (photography: Mike Merkenschlager) SMAC (San Marco Art Centre) Timed to open to the public at the same time as the biennale, SMAC is a new permanent arts institution in Piazza San Marco, on the second floor of the Procuratie, which is owned by Generali. The exhibition space, open to the public for the first time in 500 years, comprises 16 galleries arranged along a continuous corridor stretching over 80m, recently restored by David Chipperfield Architects. Visitors can expect access through a private courtyard leading on to a monumental staircase and experience a typically sensitive Chipperfield restoration, which has revived the building’s original details: walls covered in a light grey Venetian marmorino made from crushed marble and floors of white terrazzo. During the summer, its inaugural programme features two solo exhibitions dedicated to Australian modern architect Harry Seidler and Korean landscape designer Jung Youngsun. Holcim's installation (photography: Celestia Studio) Holcim x Elemental Concrete manufacturer Holcim makes an appearance for a third time at Venice, this time partnering with Chilean Pritzker Prize-winning Alejandro Aravena’s practice Elemental – curator of the 2016 biennale – to launch a resilient housing prototype that follows on from the Norman Foster-designed Essential Homes Project. The ‘carbon-neutral’ structure incorporates Holcim’s range of low-carbon concrete ECOPact and is on display as part of the Time Space Existence exhibition organised by the European Cultural Centre in their gardens. It also applies Holcim’s ‘biochar’ technology for the first time, a concrete mix with 100 per cent recycled aggregates, in a full-scale Basic Services Unit. This follows an incremental design approach, which could entail fast and efficient construction via the provision of only essential housing components, and via self-build. The Next Earth at Palazzo Diedo (photography: Joan Porcel) The Next Earth At Palazzo Diedo’s incredible dedicated Berggruen Arts and Culture space, MIT’s department of architecture and think tank Antikythera (apparently taking its name from the first-known computer) have come together to create the exhibition The Next Earth: Computation, Crisis, Cosmology, which questions how philosophy and architecture must and can respond to various planet-wide crises. Antikythera’s The Noocene: Computation and Cosmology from Antikythera to AI looks at the evolution of ‘planetary computation’ as an ‘accidental’ megastructure through which systems, from the molecular to atmospheric scales, become both comprehensible and composable. What is actually on display is an architectural scale video monolith and short films on AI, astronomy and artificial life, as well as selected artefacts. MIT’s Climate Work: Un/Worlding the Planet features 37 works-in-progress, each looking at material supply chains, energy expenditure, modes of practice and deep-time perspectives. Take from it what you will. The 19th International Venice Architecture Biennale remains open until Sunday, 23 November 2025.

Insights Leadership Fitness Behavioral Assessment In our study, “Leadership Fitness: Developing the Capacity to See and Lead Differently Amid Complexity,” we identified four dimensions of leadership fitness that reframe how leaders see their environment as well as how they can lead differently through it. To help you evaluate your organization’s leadership maturity, we’ve created a tool to measure your leaders’ leadership fitness. Download the assessment today to uncover your score, and if desired, connect with one of our experts for personalized insights based on your results. To download the full report, tell us a bit about yourself. 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June 3, 20258 min readWhite House Budget Plan Would Devastate U.S. Space ScienceScientists are rallying to reverse ruinous proposed cuts to both NASA and the National Science FoundationBy Nadia Drake edited by Lee BillingsFog shrouds the iconic Vehicle Assembly Building at NASA’s Kennedy Space Center in Florida in this photograph from February 25, 2025. Gregg Newton/AFP via GettyLate last week the Trump Administration released its detailed budget request for fiscal year 2026 —a request that, if enacted, would be the equivalent of carpet-bombing the national scientific enterprise.“This is a profound, generational threat to scientific leadership in the United States,” says Casey Dreier, chief of space policy at the Planetary Society, a science advocacy group. “If implemented, it would fundamentally undermine and potentially devastate the most unique capabilities that the U.S. has built up over a half-century.”The Trump administration’s proposal, which still needs to be approved by Congress, is sure to ignite fierce resistance from scientists and senators alike. Among other agencies, the budget deals staggering blows to NASA and the National Science Foundation (NSF), which together fund the majority of U.S. research in astronomy, astrophysics, planetary science, heliophysics and Earth science —all space-related sciences that have typically mustered hearty bipartisan support.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.The NSF supports ground-based astronomy, including such facilities as the Nobel Prize–winning gravitational-wave detectors of the Laser Interferometer Gravitational-Wave Observatory (LIGO), globe-spanning arrays of radio telescopes, and cutting-edge observatories that stretch from Hawaii to the South Pole. The agency faces a lethal 57 percent reduction to its $9-billion budget, with deep cuts to every program except those in President Trump’s priority areas, which include artificial intelligence and quantum information science. NASA, which funds space-based observatories, faces a 25 percent reduction, dropping the agency’s $24.9-billion budget to $18.8 billion. The proposal beefs up efforts to send humans to the moon and to Mars, but the agency’s Science Mission Directorate —home to Mars rovers, the Voyager interstellar probes, the James Webb Space Telescope (JWST), the Hubble Space Telescope, and much more —is looking at a nearly 50 percent reduction, with dozens of missions canceled, turned off or operating on a starvation diet.“It’s an end-game scenario for science at NASA,” says Joel Parriott, director of external affairs and public policy at the American Astronomical Society. “It’s not just the facilities. You’re punching a generation-size hole, maybe a multigenerational hole, in the scientific and technical workforce. You don’t just Cryovac these people and pull them out when the money comes back. People are going to move on.”Adding to the chaos, on Saturday President Trump announced that billionaire entrepreneur and private astronaut Jared Isaacman was no longer his pick for NASA administrator—just days before the Senate was set to confirm Isaacman’s nomination. Initial reports—which have now been disputed—explained the president’s decision as stemming from his discovery that Isaacman recently donated money to Democratic candidates. Regardless of the true reason, the decision leaves both NASA and the NSF, whose director abruptly resigned in April, with respective placeholder “acting” leaders at the top. That leadership vacuum significantly weakens the agencies’ ability to fight the proposed budget cuts and advocate for themselves. “What’s more inefficient than a rudderless agency without an empowered leadership?” Dreier asks.Actions versus WordsDuring his second administration, President Trump has repeatedly celebrated U.S. leadership in space. When he nominated Isaacman last December, Trump noted “NASA’s mission of discovery and inspiration” and looked to a future of “groundbreaking achievements in space science, technology and exploration.” More recently, while celebrating Hubble’s 35th anniversary in April, Trump called the telescope “a symbol of America’s unmatched exploratory might” and declared that NASA would “continue to lead the way in fueling the pursuit of space discovery and exploration.” The administration’s budgetary actions speak louder than Trump’s words, however. Instead of ushering in a new golden age of space exploration—or even setting up the U.S. to stay atop the podium—the president’s budget “narrows down what the cosmos is to moon and Mars and pretty much nothing else,” Dreier says. “And the cosmos is a lot bigger, and there’s a lot more to learn out there.”Dreier notes that when corrected for inflation, the overall NASA budget would be the lowest it’s been since 1961. But in April of that year, the Soviet Union launched the first human into orbit, igniting a space race that swelled NASA’s budget and led to the Apollo program putting American astronauts on the moon. Today China’s rapidprogress and enormous ambitions in space would make the moment ripe for a 21st-century version of this competition, with the U.S. generously funding its own efforts to maintain pole position. Instead the White House’s budget would do the exact opposite.“The seesaw is sort of unbalanced,” says Tony Beasley, director of the NSF-funded National Radio Astronomy Observatory (NRAO). “On the one side, we’re saying, ‘Well, China’s kicking our ass, and we need to do something about that.’ But then we’re not going to give any money to anything that might actually do that.”How NASA will achieve a crewed return to the moon and send astronauts to Mars—goals that the agency now considers part of “winning the second space race”—while also maintaining its leadership in science is unclear.“This is Russ Vought’s budget,” Dreier says, referring to the director of the White House’s Office of Management and Budget (OMB), an unelected bureaucrat who has been notorious for his efforts to reshape the U.S. government by weaponizing federal funding. “This isn’t even Trump’s budget. Trump’s budget would be good for space. This one undermines the president’s own claims and ambitions when it comes to space.”“Low Expectations” at the High FrontierRumors began swirling about the demise of NASA science in April, when a leaked OMB document described some of the proposed cuts and cancellations. Those included both the beleaguered, bloated Mars Sample Return (MSR) program and the on-time, on-budget Nancy Grace Roman Space Telescope, the next astrophysics flagship mission.The top-line numbers in the more fleshed-out proposal are consistent with that document, and MSR would still be canceled. But Roman would be granted a stay of execution: rather than being zeroed out, it would be put on life support.“It’s a reprieve from outright termination, but it’s still a cut for functionally no reason,” Dreier says. “In some ways, [the budget] is slightly better than I was expecting. But I had very low expectations.”In the proposal, many of the deepest cuts would be made to NASA science, which would sink from $7.3 billion to $3.9 billion. Earth science missions focused on carbon monitoring and climate change, as well as programs aimed at education and workforce diversity, would be effectively erased by the cuts. But a slew of high-profile planetary science projects would suffer, too, with cancellations proposed for two future Venus missions, the Juno mission that is currently surveilling Jupiter, the New Horizons mission that flew by Pluto and two Mars orbiters. (The Dragonfly mission to Saturn’s moon Titan would survive, as would the flagship Europa Clipper spacecraft, which launched last October.) NASA’s international partnerships in planetary science fare poorly, too, as the budget rescinds the agency’s involvement with multiple European-led projects, including a Venus mission and Mars rover.The proposal is even worse for NASA astrophysics—the study of our cosmic home—which “really takes it to the chin,” Dreier says, with a roughly $1-billion drop to just $523 million. In the president’s proposal, only three big astrophysics missions would survive: the soon-to-launch Roman and the already-operational Hubble and JWST. The rest of NASA’s active astrophysics missions, which include the Chandra X-ray Observatory, the Fermi Gamma-Ray Space Telescope and the Transiting Exoplanet Survey Satellite (TESS), would be severely pared back or zeroed out. Additionally, the budget would nix NASA’s contributions to large European missions, such as a future space-based gravitational-wave observatory.“This is the most powerful fleet of missions in the history of the study of astrophysics from space,” says John O’Meara, chief scientist at the W. M. Keck Observatory in Hawaii and co-chair of a recent senior review panel that evaluated NASA’s astrophysics missions. The report found that each reviewed mission “continues to be capable of producing important, impactful science.” This fleet, O’Meara adds, is more than the sum of its parts, with much of its power emerging from synergies among multiple telescopes that study the cosmos in many different types, or wavelengths, of light.By hollowing out NASA’s science to ruthlessly focus on crewed missions, the White House budget might be charitably viewed as seeking to rekindle a heroic age of spaceflight—with China’s burgeoning space program as the new archrival. But even for these supposedly high-priority initiatives, the proposed funding levels appear too anemic and meager to give the U.S. any competitive edge. For example, the budget directs about $1 billion to new technology investments to support crewed Mars missions while conservative estimates have projected that such voyages would cost hundreds of billions of dollars more.“It cedes U.S. leadership in space science at a time when other nations, particularly China, are increasing their ambitions,” Dreier says. “It completely flies in the face of the president’s own stated goals for American leadership in space.”Undermining the FoundationThe NSF’s situation, which one senior space scientist predicted would be “diabolical” when the NASA numbers leaked back in April, is also unsurprisingly dire. Unlike NASA, which is focused on space science and exploration, the NSF’s programs span the sweep of scientific disciplines, meaning that even small, isolated cuts—let alone the enormous ones that the budget has proposed—can have shockingly large effects on certain research domains.“Across the different parts of the NSF, the programs that are upvoted are the president’s strategic initiatives, but then everything else gets hit,” Beasley says.Several large-scale NSF-funded projects would escape more or less intact. Among these are the panoramic Vera C. Rubin Observatory, scheduled to unveil its first science images later this month, and the Atacama Large Millimeter/submillimeter Array (ALMA) radio telescope. The budget also moves the Giant Magellan Telescope, which would boast starlight-gathering mirrors totaling more than 25 meters across, into a final design phase. All three of those facilities take advantage of Chile’s pristine dark skies. Other large NSF-funded projects that would survive include the proposed Next Generation Very Large Array of radio telescopes in New Mexico and several facilities at the South Pole, such as the IceCube Neutrino Observatory.If this budget is enacted, however, NSF officials anticipate only funding a measly 7 percent of research proposals overall rather than 25 percent; the number of graduate research fellowships awarded would be cleaved in half, and postdoctoral fellowships in the physical sciences would drop to zero. NRAO’s Green Bank Observatory — home to the largest steerable single-dish radio telescope on the planet — would likely shut down. So would other, smaller observatories in Arizona and Chile. The Thirty Meter Telescope, a humongous, perennially embattled project with no clear site selection, would be canceled. And the budget proposes closing one of the two gravitational-wave detectors used by the LIGO collaboration—whose observations of colliding black holes earned the 2017 Nobel Prize in Physics—even though both detectors need to be online for LIGO’s experiment to work. Even factoring in other operational detectors, such as Virgo in Europe and the Kamioka Gravitational Wave Detector (KAGRA) in Japan, shutting down half of LIGO would leave a gaping blind spot in humanity’s gravitational-wave view of the heavens.“The consequences of this budget are that key scientific priorities, on the ground and in space, will take at least a decade longer—or not be realized at all,” O’Meara says. “The universe is telling its story at all wavelengths. It doesn’t care what you build, but if you want to hear that story, you must build many things.”Dreier, Parriott and others are anticipating fierce battles on Capitol Hill. And already both Democratic and Republican legislators have issued statement signaling that they won’t support the budget request as is. “This sick joke of a budget is a nonstarter,” said Representative Zoe Lofgren of California, ranking member of the House Committee on Science, Space, and Technology, in a recent statement. And in an earlier statement, Senator Susan Collins of Maine, chair of the powerful Senate Committee on Appropriations, cautioned that “the President’s Budget Request is simply one step in the annual budget process.”The Trump administration has “thrown a huge punch here, and there will be a certain back-reaction, and we’ll end up in the middle somewhere,” Beasley says. “The mistake you can make right now is to assume that this represents finalized decisions and the future—because it doesn’t.”

Insights Succeeding in the Digital Age: Why AI-First Leadership Is Essential While AI makes powerful operational efficiencies possible, it cannot yet replace the creativity, adaptability, and contextual understanding that humans bring to strategic decision making. Effective AI integration requires leaders who can act as bridges between organizational goals and AI capabilities and then inspire their teams to trust and adopt AI tools to help achieve those goals. To download the full report, tell us a bit about yourself. 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To opt-out, please visit our Privacy Policy. Digital IntelligenceLeadership Development Share this resource Share on LinkedIn Share on Facebook Share on X Share on WhatsApp Email this Page Connect with us Change isn’t easy, but we can help. Together we’ll create informed and inspired leaders ready to shape the future of your business. Contact us Latest Insights Strategic Alignment Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units Harvard Business Publishing announced the launch of Harvard Business Impact, a new brand identity for… Read more: Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units News Digital Intelligence Succeeding in the Digital Age: Why AI-First Leadership Is Essential While AI makes powerful operational efficiencies possible, it cannot yet replace the creativity, adaptability, and… Read more: Succeeding in the Digital Age: Why AI-First Leadership Is Essential Perspectives Digital Intelligence 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation AI has become a defining force in reshaping industries and determining competitive advantage. 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