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 PavilionUK 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, 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. here. Danish PavilionDemark 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 PavilionBelgium 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 PavilionSpain Pavilion One for the pure architecture lovers out there, models, 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 PavilionPoland 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 PavilionNetherlands 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 scarfsworn by players in the alternative Anonymous Allyship aligning the walls. Read Derin Fadina’s review for the AJ here. Performance inside the Nordic Countries PavilionNordic Countries Pavilion Probably the most impactful national pavilion this year, 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, loudlyturns 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 PavilionGermany 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 PavilionBahrain 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 PavilionSlovenia 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 Designin 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 PavilionUzbekistan 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 PavilionV&A Applied Arts Pavilion Diller Scofidio + Renfrois 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 newcollections archive in east London. Featured is a six-channelfilm 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 CaféCanal 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 PavilionThe 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 PavilionTogo 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 PavilionEstonia 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 ProcuratieSMACTimed 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 installationHolcim 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 DiedoThe Next Earth At Palazzo Diedo’s incredible dedicated Berggruen Arts and Culture space, MIT’s department of architecture and think tank Antikytherahave 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. #venice #biennale #roundup #what #else

Latin America at the 2025 Venice Biennale: Exploring Territory, Memory, and Ancestral Knowledge to Build the PresentSave this picture!Andamio Vivo - Perú. Image © Gonzalo Vera Tudela De MontreuilThe 19th edition of the Venice Architecture Biennale officially opened to the public on May 10, becoming a significant international platform for exploring the current state of global architecture and sparking conversations about the challenges the discipline faces today—both shared and specific to each territory. This year’s theme, "Intelligens. Natural. Artificial. Collective," proposed by general curator and Italian architect Carlo Ratti, invites reflection on architecture’s interconnection with other fields—such as art, artificial intelligence, and technology—while also emphasizing the importance of territories, landscapes, and, above all, the people who collectively shape our built environment.In this context, the national participations of Latin American countries have enriched the international exhibition with contributions deeply rooted in their local cultures and identities. Argentina, Brazil, Chile, Mexico, Peru, and Uruguay represented Central and South America in Venice. Across their proposals, several shared themes emerged—most notably, the idea that contemporary architecture must consciously reconnect with its territory and draw from its history in order to build more thoughtfully today. Along these lines, the installations explored the re-signification of local elements and ancestral knowledge, adapting them to contemporary challenges and contexts.Brazil and Mexico centered their exhibitions on an in-depth investigation of land recording and mapping, addressing the use of ancestral construction technologies in relation to agriculture and the natural landscape. Both explored how these traditional techniques can be adapted to contemporary contexts. Uruguay, recognizing that over half of its territory is composed of water, emphasized the importance of considering this resource as an integral part of the country’s history, culture, and development. Peru and Argentina, meanwhile, focused on the re-signification of unique local elements—the silobag, emblematic of the Argentine countryside, and totora, a plant traditionally used in various forms of construction in Peru. In both pavilions, these materials were prominently featured, evoking the cultural and symbolic significance they carry. Finally, Chile’s participation presented a reflective and thought-provoking working table that examined recent debates around artificial intelligence policies established in the country. Related Article Between Algorithms and Ancestral Knowledge: Expanding the Concept of Architectural Intelligence Siestario - Argentina this picture!this picture!Upon entering Siestario, the Argentine Pavilion located in the Arsenale of Venice, visitors are immersed in a space of soft light and evocative soundscapes. At the center, serving as the undisputed focal point, is a large pink inflatable bag that instinctively invites repose. This is a silobag—a storage element commonly used in the Argentine countryside for preserving grain, especially soy, and emblematic of the country’s export-driven economy. In this context, the silobag functions not only as a spatial gesture but also as a temporal one: an invitation to pause and reflect amid the pace of the Biennale.In this way, architects Marco Zampieron and Juan Manuel Pachué succeed in decontextualizing this characteristic element—deeply rooted in national identity—by re-signifying its function and placing it within a space of critique and questioning. The result is effective: visitors are drawn to the installation, climb onto it, rest, and surrender to the experience, surrounded by images and sounds that induce a dreamlike drowsiness.invenção - BrazilSave this picture!this picture!Brazil’s exhibition, curated by Luciana Saboia, Eder Alencar, and Matheus Seco—members of Plano Coletivo—is divided into two rooms, presenting research on the knowledge drawn from the lands of the Amazon. The installation establishes a dialogue between ancestral wisdom and contemporary urban infrastructure through exhibition elements that also serve as the structural system of the display.In the first room, lined with biodegradable wooden panels, maps and documents are spread across the floor, evoking the direct relationship that Indigenous peoples of the Amazon have with their land. In the second, a curated selection of architectural and urban infrastructure projects illustrates how these traditional forms of knowledge—deeply connected to Brazilian territory—are transformed into collective knowledge, capable of adapting to contemporary projects while preserving this cultural heritage.This balance between local culture, territory, and contemporary challenges is expressed almost literally through a minimalist and precise installation, composed of vertical panels and a suspended table made of reforested wood, both connected by tensioned steel cables. The balance is achieved through stone counterweights and a central metal tube that distributes the forces, turning the table into a structural element that redefines the spatial experience of the room.Reflective Intelligences - ChileSave this picture!this picture!The Chilean Pavilion presents a powerful proposal: upon entering the room, a central table—the main exhibition element—reflects a series of videos, essays, and images on its water surface. These works focus on archival research exploring the country’s growing role in the development of artificial intelligence, data center buildings, and the impact this has on the territory and, above all, its inhabitants.Serena Dambrosio, Nicolás Díaz Bejarano, and Linda Schilling Cuellar, the architects behind the pavilion, conceive the table not only as a physical support but also as a reference to the political tool of the "roundtable" used by the Chilean government to introduce policies and regulations around AI. In this case, the use of the water’s reflection invites visitors to reflect on what this technological development truly entails, questioning the exclusion of communities and environmental factors in these decision-making spaces. In this way, the table within the pavilion becomes a fertile ground for fostering collective dialogue among all key stakeholders: architects, researchers, communities, and policymakers.Chinampa Veneta - MéxicoSave this picture!this picture!The experience of entering the Mexican Pavilion, located in the Arsenale at the Biennale, is completely immersive. Visitors are welcomed by a recreation of a chinampa—an ancient cultivation system that involves creating platforms of earth over water to form small agricultural islands—which immediately captures attention through its lush vegetation, the scent of damp soil, and the sounds of water. The rest of the room, where vegetables, flowers, and medicinal herbs planted in the central chinampa are also expected to grow, is arranged to mimic the canals of Xochimilco, drawing a parallel with Venice itself, famously built over water.With this installation, the curatorial team—comprising Estudio Ignacio Urquiza and Ana Paula de Alba, Estudio María Marín de Buen, ILWT, Locus, Lucio Usobiaga Hegewisch & Nathalia Muguet, and Pedro&Juana—proposes revisiting these traditional chinampa agricultural systems to reflect on their adaptation in the present as a sustainable response, thanks to their self-irrigation system, within the context of droughts and global climate crisis. It also stands as evidence of a collective system bridging the natural and the built environment, as well as sustained care over time.Living Scaffolding - Perúthis picture!this picture!The Peruvian Pavilion, with Alex Hudtwalcker as chief curator and Sebastián Cillóniz, José Ignacio Beteta, and Gianfranco Morales as associate curators, is presented at the Biennale’s Arsenale with Living Scaffolding, a proposal centered around a monumental structure built from totora reed wood. This installation brings to Venice the ancestral knowledge of the Uros and Aymara peoples of Lake Titicaca, who for centuries have used totora to construct floating habitable islands, homes, boats, and other essential elements for life on the lake.Over time, the refinement of this ancient technique incorporated other essential components—such as ropes and logs—that contribute to the stability and buoyancy of the structures. All this knowledge is materialized in an installation that can be fully experienced: visitors enter and walk through the scaffolding, exploring its construction system from within.Living Scaffolding highlights the technical precision and enduring relevance of this tradition, which in the contemporary context takes on a new meaning connected to collectivity, material memory, and the possibility of reactivating ancestral techniques as a response to today’s challenges. 53,86% Uruguay Land of Water - Uruguay this picture!this picture!Curated by architects Ken Sei Fong and Katia Sei Fong, alongside visual artist Luis Sei Fong, the Uruguayan Pavilion explores the country’s relationship with its maritime territory, which accounts for just over half of its total surface area. Located in its own building within the Biennale’s Giardini, the pavilion features a poetic and musical installation: a wavy ceiling from which amethyst stones hang, dripping water that strikes metal containers on the floor. This sensory and sonic experience invites visitors to contemplate water as a thread that weaves together the country’s memory, identity, and development.The installation presents a critique of the global water management model, emphasizing that, as a finite and increasingly scarce resource, it is essential to establish policies and regulations for its preservation. In this context, architecture plays a key role: it can not only offer innovative solutions but also promote conscious planning around water in cities and territories, acting as a bridge between the way we inhabit and the way we collectively manage this vital resource.this picture!Latin America’s participation in the 2025 Venice Biennale reveals that architecture is not only a design discipline but also a powerful critical and cultural tool. Each pavilion, rooted in its specific territorial context and local cultural identity, enacts a form of resistance by exploring ancestral knowledge, natural resources, and contemporary technologies as collective ways of knowing—learning from the past to build better today. In a global context marked by environmental crises, inequalities, and technological transformations, these architectural and deeply reflective endeavors construct new and reimagined narratives, where the local is no longer intrinsic to a fixed context but rather knowledge that expands, connects, and adapts to shared new realities.this picture! Image gallerySee allShow less About this authorPaula PintosAuthor••• Cite: Pintos, Paula. "Latin America at the 2025 Venice Biennale: Exploring Territory, Memory, and Ancestral Knowledge to Build the Present"23 May 2025. ArchDaily. Accessed . < ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream #latin #america #venice #biennale #exploring

io9 is proud to present fiction from Lightspeed Magazine. Once a month, we feature a story from Lightspeed’s current issue. This month’s selection is “Through the Machine” by P.A. Cornell. Enjoy! Through the Machine by P.A. Cornell “Steve, over here! Turn to your right. Can we get a smile?” He falls back on his training easily enough, turns to the cameras, gives them his famous crooked smile, tilts his head just so as the flashes go off so they can capture the smoulder that highlights his cheekbones. The one he’s practiced countless times with his manager, Ethel. The red carpet extends before him, and up ahead he sees the actress he’s been paired with in this film. His co-star and onscreen love interest but in reality, a total stranger. He only knows her name because the photographers keep shouting it, asking her to turn so they can capture her svelte profile. She tilts her head obligingly, long blonde hair falling seductively over one eye, teasing the lenses and through them the millions of fans who’ll one day see these images. She’s a pro, like him. She’s clearly had the same kind of training he’s had. She’s been through the machine. It’s a phrase he heard years ago from a late-night talk show host. It refers to the way Hollywood turns you into a product. You start out this average person, just trying to make it as an actor, then as your success grows, more and more people come into your life to turn you into something else. A movie star. A fairy tale ideal of celebrity perfection. He’d told himself that would never be him. He was in it for the art, not the fame and fortune. But here he is. “Steve! Daphne! Can we get some shots of the two of you together?” The blonde up ahead reaches a hand toward him as if beckoning a good friend, though this is the first time they’ve met. She smiles at him in a way that almost looks genuine. He returns his best leading man grin, flashing the expensive set of pearly white teeth his manager arranged for in the earliest days of their partnership. He puts an arm around Daphne. They both pose, turn, look at each other and smile, over and over. Then both look serious, then smile once more. Then she leans in for a peck on the cheek as instructed by the shouting crowd, just before they’re both ushered off to find their places inside, where the film will be screened. Once they’re away from the cameras, he extends his hand to Daphne. “Hi. Steve Randall.” “Nice to meet you,” she laughs. “Daphne Everheart.” “You seen any of it yet?” “Not even the trailer,” she admits. “Did they send you the screenplay?” He shakes his head. Someone in her entourage grabs her by the arm. She gives him a small wave as they lead her off. He wonders if he’ll even see her again after this premiere. Maybe. If the film does well opening weekend, there could be a sequel. They could find themselves at another premiere for a movie they appear in together, but that neither of them has acted in. Steve lets his own people show him past curtains and cocktails to a theater with plush red seating. He takes his place staring up at the screen, trying to conjure up some of the excitement he once felt as a kid about to watch his favorite actors. But the excitement feels more akin to anxiety as the opening credits appear. He sees his own name—or the one his manager gave him, anyway. That’s when he appears. Seeing himself like this is unsettling, to say the least. He turns to the people seated around him and they’re all looking up at this face that resembles him but isn’t him. Do they not see it? Do they not feel that uncanny valley sickness in the pit of their stomachs that weighs his down as the thing on screen billed as Steve Randall starts to speak? It’s his voice, but he’s never said these words. Never read the script they came from. Who wrote this, anyway? He wonders. Or rather, what wrote this? The film’s runtime is ninety-five minutes. It’s a romantic comedy, but the word “comedy” is generous. Steve doesn’t so much as crack a smile. He watches this AI-generated doppelganger and his equally digitized scene partner as they traverse the uneven landscape of the disjointed plot—flimsy even for this genre. They flash smile after smile, kiss with ever-deepening passion—if you can call it that—and ultimately, after a series of contrived misunderstandings, they get their Hollywood ending. All set to an AI-generated score bereft of any feeling that might conjure atmosphere or elicit an emotional response from the viewer. As the lights come up and people start to clap, Steve glances down the row of seats at his co-star. Daphne, seeming to sense his stare, glances back. She looks as though she’s about to be sick but gives him a brave smile—a trained smile—and starts to clap along with everyone else. He does the same. This is his job now, after all. The scan was taken a couple of years ago, during pre-production on a movie in which he played an astronaut. They had to scan him for proper fit of the spacesuit they were having made, as well as for some of the more intricate effects. The voice they came by even more easily. From all the ADR he’d done, voicework on some animated stuff, and of course countless interviews already accessible online. He hadn’t given the scan much thought, at the time. It had made sense for the work they were doing. He’d never imagined it would lead to this. There’s an afterparty and people keep coming up and congratulating him on the movie. He says what he’s been trained to say, graciously thanking them for their praise, taking pictures with people for magazines and entertainment shows. Evidence that he is in fact still a real person that exists in the world, even though it’s not him on screen. Not in this movie and not in a handful of others, several of which he hasn’t even seen. If Hollywood could turn you into a product before, this is on another level. His career has become, almost exclusively, one of public appearances. His L.A. agent has him booked for a store opening tomorrow, and a series of meet-and-greets at conventions sometime in the spring. The sorts of gigs that used to be thought of as “has-been” work, but Steve, by all accounts, is still a bona fide movie star. He was People magazine’s “Sexiest Man Alive” just last year. Fans still somehow manage to find out what hotel he’s staying at in any given city all over the world, just so they can catch a glimpse of him walking in and out. How has it come to this? At the end of the night someone pushes him into a shiny black town car and the spectacle of this farce fades away in the car’s rear lights. He exhales, trying to get the image of the thing on screen out of his head. It’s not so bad, he tells himself. SAG made sure he’d get paid for the use of his image. It’s not as much as he might’ve liked, maybe, but it’s decent, and they use it often enough that the cheques enable him to maintain his standard of living. The public appearances add to that. He can’t really complain. But the sick feeling in his stomach remains. • • • When he’s back in New York, he calls his manager. “It was fucking weird, Ethel.” He tells her. “Seeing myself in a film I wasn’t actually in. No chemistry between me and my co-star because, well . . . neither of us was actually there to do any acting. This isn’t what I signed up for.” “Sweet boy,” she says, using her years’ old term of endearment for him, though he hasn’t been a boy in quite some time. “I know. But this is how it works with the studio films these days. Be glad your image is still worth something.” Steve sighs deeply. “I know. It’s just . . . I worked so hard to get here. We both did. The work mattered to me. I miss challenging myself, figuring out who my character is and how to best convey that through my performance. I miss being able to disappear into all those people and live their lives for a time.” “Of course, of course,” says Ethel. “That’s one of the reasons I took you on as a client. Even at sixteen, you had such passion. You loved the art of it. But what’s the alternative, Stefan?” She only ever uses his original name when she’s serious. He knows her hands are as tied as his. It’s this or give up the business altogether. • • • Over drinks with a friend the next night, he airs his frustrations, his tongue loosened by more than a few shots with beer chasers. “I’m bored,” he tells Frank, who doubled for him in an action film franchise that now continues without need of either of them. “I miss acting. It’s like all they left me with are the worst parts of fame. The parts where I still can’t walk down the street in peace without some paparazzo shoving a lens in my face, and where I can still get cancelled online for any stupid shit I might say without thinking. But the good parts, they’ve all been taken over by some digital version of me that frankly gives me the creeps.” “I hear ya, Steve,” Frank says, raising his beer. “It’s not just you though, brother. At least you still have a marketable presence. Companies still send you free clothes and shit so you can be spotted using it.” “Sure,” he tells Frank. “But all that amounts to is that I’m now pretty much just this human billboard. I’m not even an actor anymore.” “You’re breaking my heart, man. But think about guys like me. We were getting your crumbs even in the good times. If you think things have gotten rough for you, imagine what’s left for us. I haven’t been called for a stunt gig in months. And that last one ended up cancelled last minute when they decided it was cheaper to use AI. I’ve got a family to support, and all three kids are gonna need braces. Not to mention the first wife who’s on my back if I’m even half a second late with her alimony. What I wouldn’t give for my ugly mug to be in demand.” Steve knows he’s right and feels bad for whining. Things could be so much worse. Whatever jobs he’s lost to AI, there are countless more jobs lost by less famous actors, crew, and other support personnel like PA’s and craft services. He can’t begin to imagine how they’re all making ends meet these days. Many of the ones he’s still close with, like Frank, work multiple jobs, even outside the industry, just to cover what their once stable careers did. “Drinks are on me tonight, by the way,” he tells Frank. “You’ll get no argument here, pal.” • • • Later, in the privacy of his loft, Steve allows himself the luxury of self-pity. He can’t help thinking of the kid he once was. The chubby little dork with the accent. Too shy to talk to girls. Pushed around by the guys he so wanted to be. Acting freed him from all that. It had allowed this kid who didn’t feel comfortable in his own skin to become someone else. In time, it had given him confidence, and as he continued to hone his craft, it had brought him the attention he’d craved and opportunities he’d never imagined. It hasn’t always been easy. There’d been plenty of lean years before his big breakout role turned him into a household name. Years during which covering rent had been a struggle, and meals had often consisted of half-eaten scraps left by patrons of the restaurants in which he’d waited tables. But he’d loved acting enough to stick with it, and he’d thought it worth all the sacrifices. He gave up his very name for this profession. He lost the accent and the baby fat. He’s spent a sizeable portion of his income on fixing his teeth, and on five-hundred-dollar haircuts sometimes paired with a treatment to achieve that perfect shade of chestnut brown or a shave that still left enough stubble to keep him looking “manly” in a marketable way. He’s gotten regular tans to conceal his naturally pale complexion—a condition the L.A. agent refers to as his “vampire” look. He’s hired a stylist, a personal trainer, and a dietitian to help him maintain what the grueling workouts have chiselled him into. He’s had more hours of media training than he’s had acting classes. Hell, at times he’s even dated women he’s been told to date. All of it to create this perfect image of Hollywood glamour intended to seduce audiences into filling theater seats. He’s been put through the machine—and willingly let it happen—just so he can go on doing what he loves. He hadn’t realized this image wasn’t him. It was just a product. Something that could be sold, and then re-sold again and again, with little if any say from him as to how it might be used. Feeling down about his situation, Steve turns to Instagram. He doesn’t follow any fan accounts but now and then, when he’s alone, he looks up the hashtag that bears his name. The fans have a way of making him feel better about himself. Their comments on his pictures—especially the shirtless ones—always make his day. Their support for the charities he’s championed over the years warms his heart. Sure, there are always trolls, but those are in the minority and easy enough to block. He scrolls through his feed and finds the People photo shoot. His feelings about the shoot are a mix of pride and embarrassment. Pride that the chubby kid with the Polish accent showed his high school bullies up, but a little shame at the fact that he still cares so much about what they might think. Still, a few of the pictures from the shoot are really good. He recalls how the photographer’s great sense of humor put him at ease, and how welcoming the magazine staff were. Continuing to scroll, he comes across a picture of himself he never took. This isn’t one of those amazing fan art images he’s seen over the years made by outstandingly talented artists that managed to capture not just his appearance, but his essence. This is some kind of Frankenimage, clearly AI-generated. His hair is a honey blonde he’s never sported, not even on screen. The cheekbones are oddly exaggerated and too narrow, giving him an almost gaunt appearance. In the picture he holds an infant, staring down at it like a proud father. It hurts him to see it. He’s always wanted a family, but this hasn’t happened for him in real life. Steve scrolls some more and comes across another AI image. In this one he’s dressed in a patent leather getup; cut to reveal tattoos he doesn’t have. A red blindfold covers his eyes. His arms are cuffed behind his back. His expression is one of ecstasy. Behind him stands another known actor who holds the handle of a whip against his chest as he leans in to lick the side of Steve’s face. The actor is a good friend. They’ve worked together a few times but never as onscreen lovers. Fans have imagined their characters as a couple for years, which seemed harmless enough, but seeing this is something else. Against his better judgment, he reads the comments. “I ship them.” “Gorgeous art. Love this.” “Yes, please.” And so on. “I wanna see them getting down in a movie together,” someone’s written. There’s a response to this last comment from someone who’s handle indicates they work for a major studio. “Don’t worry. You won’t have to wait much longer for that. And let’s just say this one’s not going to be the family-friendly fare you’re used to seeing these guys in.” Steve isn’t homophobic. He’s played gay characters more than once and has been fine with kissing or even simulating sex with other male actors. But there’s something about being paired with a close friend in this way without so much as a heads up, that seems like a violation. It’s one thing to work with another actor that you’ve built trust with and talk through a scene to make sure you’re both comfortable depicting something intimate that everyone can be proud of in the end. It’s quite another thing when your image is used to quell strangers’ salacious appetites, in a way you didn’t consent to. Steve feels sick. He takes screenshots of both the AI image and the comment about the movie and texts them to his friend. He follows that up with the message: Did you know about this? The reply comes almost immediately. Fuck. Are you kidding me? Wish I was. Damn man. I love you, but not like that. At least not without the kind of money we used to get for our movies. Steve smiles in spite of himself. At least his friends can still have a sense of humor about these things. I feel like we need to push back on this, he tells his friend. Yeah, I get it man, but we signed the contract. I know we didn’t have much choice, but the law doesn’t care. We agreed to this. Pretty sure it’s too late to stop them. The fans don’t even seem to care it’s not really us, Steve types. Why would they? His friend replies. They don’t even really need us anymore. We just get in the way of their fantasies. Steve doesn’t respond to that. He deletes his Instagram account. He shudders to think of what they’re doing with his image on TikTok. Or worse, on the dark web. • • • “This sucks, Ethel.” Steve puts the phone on speaker and sets it down on the kitchen counter to pour a bowl of cereal. “I’m going stir-crazy here. I need something to challenge my creativity again.” “Well, I heard about one thing, but I’m not sure it’s really for you, so I hadn’t mentioned it,” she says. “What? Tell me?” He opens the fridge and reaches for the almond milk then thinks, screw it, and grabs the whole milk he bought yesterday instead. “There’s this Broadway musical. I know one of the producers, but you’d have to audition.” “That’s exactly what I need right now,” he tells her, over mouthfuls of Frosted Flakes. “It’ll be good for me to go back to my theater roots. It’s been too long since I’ve performed in front of an audience.” He pushes the thought that it’s a musical to the back of his mind. He’s never been known for his singing, but he can work with a voice coach or something. At this point, he’ll do anything to perform again. “It’s been a long time since you’ve had to audition, let alone for live theater,” Ethel says. “Just tell me where and when. I’ve got this.” • • • When he gets the lead in the musical, Steve’s thrilled, but also mildly surprised. He’d felt good about the audition, but he’d heard some of the other actors sing and they were clearly better than he is. He figures they must’ve seen something in him—an intangible quality that suits the part. Why overthink it? His illusions come crashing down early on in rehearsals. During a break, he talks with one of the stagehands. An older guy named Bill. Steve vents a bit about how he can’t really act in the film industry anymore. “Thank god for Broadway. The last refuge for actors like me.” “Yeah. For actors like you,” Bill agrees. Steve isn’t sure what he means by that and says so. “Look, you seem like a decent enough guy,” Bill says, “so don’t take this the wrong way, but you’re here because you’re a name. They need something to put on the billboards that’ll draw a crowd, is all. It ain’t about talent no more.” Steve is taken aback, and his expression must show it. “Don’t get me wrong,” Bill continues. “You’re good. Up there on the big screen, you were a real standout. But this is a whole different animal. All I’m saying is there’s actors more cut out for the stage than you that can’t get hired anymore because the guys who used to work the screen are taking their roles.” Steve’s about to respond when Bill points to a group of actors sitting together talking. “See the guy in the collared shirt?” Bill says. “That’s Wayne Garnet.” Steve knows Wayne from rehearsals. Nice guy. He has a small part but gives it his all. “Wayne’s a Tony-winner. Used to be his name on the marquee. Now even he has to settle for bit parts since AI started taking chunks out of the film industry.” Later Steve Googles Wayne Garnet and finds he’s actually won two Tonys. He’s also known for his singing voice, which he loaned to several animated films before they started digitally recreating it. Steve feels sick. He approaches Wayne during the next rehearsal and offers to bow out to make room for him. Wayne is gracious and tells him not to. “There’s no point, Steve. They’d just get another big name movie star to replace you. My days as the lead are done. I’m just happy I still get to be on stage at all. At least for now.” “What do you mean?” Steve asks. “AI’s coming for all of us,” Wayne says. “It’s not just the film industry. This crap is spreading like a virus throughout the arts. There’s already talk of a new play, AI-written, of course, where instead of live actors they’re projecting digital performers onto the stage. It’s strictly off-Broadway for now, but give it time.” Steve is appalled. Doesn’t know what to say. Wayne continues. “I’ll take whatever I can get these days. You know what they say, ‘There are no small parts.’ I just hope that when the roles run out, someone will want to scan me to use in a projection so I can at least cash a cheque now and then.” • • • At home one night, after the play’s run has ended, Steve settles in to watch TV. He scans his options, stumbling upon one of his early roles. A serious drama in which he played a depressed teen, struggling with his parents’ divorce and his older brother’s untimely death. Even all these years later, the dialogue comes back as he watches one of the more emotional scenes. “It’s not like I don’t want to talk about Tommy,” he mouths along with his younger self. “I do. It’s just that . . .” Young Steve can’t finish because he’s started to cry. Present day Steve remembers shooting the scene—his first time crying on cue. He remembers harnessing all those emotions and tapping into all the pain he’d ever felt, and all of it somehow pouring out of him in that moment. He remembers the director taking him aside later and saying, “You nailed it, kid.” He smiles thinking of this now, but then he’s sad again, missing the sense of accomplishment of pulling off a scene like this. The exhilaration of seeing an audience respond to it later. He watches the remainder of the movie while eating peanut butter by the spoonful right out of the jar. Halfway through he crumbles in an entire Kit-kat bar like he used to do when he was a kid. By the time the credits roll, the jar is empty. • • • Steve’s personal trainer leaves frequent voicemail messages asking when he’s coming back to the gym. He knows he should, but it’s tough to get motivated for a workout when he feels like all anyone’s going to see is his AI clone. Still, it’s in his contract to try to resemble the digital version of himself as much as possible. He knows his skin could use a bit more color these days too, and his hair’s starting to show some gray he hadn’t even realized he had. He makes a mental note to focus more on his appearance. All that can wait until after he returns from the convention though. He’s surprised to find he’s actually looking forward to connecting with his fans again and maybe seeing some of the ones that have become familiar faces over time. The energy at the con is intense, and Steve feels electrified, like he did during his stint on Broadway. One by one he greets his fans as warmly as he possibly can. He makes time to speak with them in the few minutes he has while they take pictures with him. He gives them not his practiced smile, but his real one, and makes sure to thank each one for their continued support. Things get a little weird during the signing. Much of it is what he’s used to, with fans handing him old headshots or pictures from his older films to sign, and in some cases art they’ve made themselves. But he’s also handed quite a few more AI-generated images than he’s used to. He feels like a fraud signing them. Like he’s putting his autograph on someone else’s headshot. Still, he tries to be gracious and humble with the fans. They’ve been there for him through his rise to fame. It’s the least he can do. By the time it’s all over and he’s on his way back to the hotel, Steve’s feeling good about the event. So good, in fact, that he revives his Instagram account to see what fans have been posting. He smiles at the pictures they took with him earlier in the day. Many of the fans are dressed like his characters. Some of the props and signs they’ve brought are so creative, they bring a smile to his face. But soon he notices that not all the comments under the pictures are kind. “Is it just me or is Steve rockin’ the dad bod these days?” someone asks. “Yeah. I hate to say it, but I was a bit disappointed that he didn’t look as hot as he does in Burning Brand II,” replies the account holder. “He’s looking older too. I mean, don’t get me wrong, he was nice and all, I just wish the picture was better.” “Just fix it so he looks hot,” someone else suggests. “Yeah, I probably will.” Steve doesn’t even know what Burning Brand II is. Another of his films he hasn’t seen—or acted in—he assumes. He closes the app and wonders why he even bothers. If the fans don’t care what’s real and what isn’t, why is he even doing this? • • • He goes for a run the next morning. It’s been a while, but he soon finds his rhythm. It’s early in the day and the streets are quiet. He likes this time of day. It’s peaceful. Gives him a chance to clear his head. When he stops for a rest, he notices a small theater. A sign over the door proclaims that the theater shows only movies made by and starring living human beings. The acronym “AI” is painted on one of the windows with a red slash cut diagonally through it. But what really gets Steve’s attention is the man changing the posters. He replaces one with another that features a pensive-looking Daphne Everheart. His former co-star, if you can call her that, looks younger in this poster. He’s never seen her act before and he’s curious. He decides to return later in the day when the theater opens. • • • The film’s called Grace. In it, Daphne plays a young woman trying to convince her wealthy parents to take her seriously as an inventor. The story is moving, as Daphne’s character struggles against societal expectations to achieve her dreams. Steve likes the score too, and decides he’ll stay to read through the credits to see who composed it. He also enjoys the style the director has brought to the project. But what he likes most is Daphne’s performance. She’s good. It kills him to think that someone who was clearly a rising star is now relegated to appearing only as a digital ghost of herself in half-baked movies that would’ve been an embarrassment at another time. How many other talented actors have been forced out of the industry altogether? And what of everyone else whose jobs have been made irrelevant? Steve feels the tears well up, in part because of the movie, but also because of his thoughts. He blinks them away and looks around to see if other people are equally moved. That’s when he notices that nearly every seat in the theater has someone in it. He watches their expressions as they react to Daphne’s performance. He sees the story affect them, and by the end he understands that there are people for whom this art still has meaning. • • • After the movie lets out, he calls Ethel. “I’m thinking of doing something a bit different,” he tells her. “I want to start a production company. Make movies the old way. I have a whole list of people I can call who’d jump at the chance to collaborate on something real again.” “That sounds wonderful, sweet boy. It’s nice to hear some excitement in your voice again.” “I was calling to ask you something,” he tells her. “You wouldn’t happen to know how to get in touch with Daphne Everheart, would you? I don’t have a project yet, but I’d like to gauge her level of interest. I’m sure we’ll find something for her. The world deserves to see how good she actually is at this.” About the Author P.A. Cornell is a Chilean-Canadian speculative fiction writer. A graduate of the Odyssey workshop, her stories have been published or are forthcoming in over fifty magazines and anthologies, including Lightspeed, Apex, and three “Best of” anthologies. In addition to becoming the first Chilean Nebula finalist in 2024, Cornell has been a finalist for the Aurora and World Fantasy Awards, was longlisted for the BSFA Awards, and won Canada’s Short Works Prize. When not writing, she can be found assembling intricate Lego builds or drinking ridiculous quantities of tea. Sometimes both. For more on the author and her work, visit her website pacornell.com. © Adamant Press Please visit Lightspeed Magazine to read more great science fiction and fantasy. This story first appeared in the May 2025 issue, which also features short fiction by R. P. Sand, Gene Doucette, Martin Cahill, Russell Nichols, Meg Elison, Jonathan Olfert, Nancy Kress, and more. You can wait for this month’s contents to be serialized online, or you can buy the whole issue right now in convenient ebook format for just or subscribe to the ebook edition here. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #movie #star #endures #hollywoods #dystopian

An SNL Icon Retires Fans of Saturday Night Live have long wondered: What happens behind the scenes of the sketch-comedy show? In 2024, we got a glimpse with Jason Reitman’s Saturday Night, which showcased just how stressful producing weekly live sketch comedy can be.  After 50 years of constructing Saturday Night Live’s sets for their various sketches, Stephen “Demo” DeMaria is retiring at age 87. And while DeMaria likely felt stressed out at times leading a team of carpenters for such a large-scale production on a time crunch, he says, “I didn’t have a bored day in my life. Never.”  “According to the report, DeMaria’s schedule at the start of each new fall season included starting his Thursdays at 1 a.m., receiving the week’s set design sketches by 2 a.m., and then splitting the work among five teams of approximately 50 total carpenters.”  at Entertainment Weekly American Idol Crowns Its Latest Winner One of the most intriguing aspects of the early 2000s era of reality TV was fan voting. I remember crowding around the TV with my mom and sisters, watching The Voice, and pulling out our phones every chance we could vote for our favorite contestants.  American Idol has stood the test of time, as it has been producing stars since 2002. Season 23 of American Idol declared its new champion, 27-year-old Jamal Roberts, on May 18. The physical education teacher from Mississippi has shined all season, landing him in the final three, alongside John Foster and Breanna Nix.  “The crooner, who excelled across all the genres, is the second Black male artist to win the competition after Ruben Studdard took the title during the show’s second season in 2003.” at CNN Sesame Street Gets a New Home Join our mailing list Get the best of Den of Geek delivered right to your inbox! Elmo’s home is now on Netflix. Following Warner Bros. Discovery’s decision not to renew Sesame Street on HBO Max, Netflix secured a deal with Sesame Workshop to keep the educational children’s show alive.  Notably, when the show was premiering on HBO Max, the streaming service was the only way to watch new episodes. In the wake of budget cuts to public broadcast, which resulted in countless layoffs and furloughs, Netflix is partnering up with PBS to release episodes to public broadcast the same day that they premiere on Netflix.  PBS, where Sesame Street aired originally, has provided accessible educational programming for children in low-income households for over 55 years. Sesame Workshop CEO, Sherri Westin, said in a statement that Netflix will showcase Sesame Street to a global audience, and thanks to this unique public-private deal, new episodes will be accessible in the U.S. for free through public TV.  “The deal with Netflix and PBS not only provides much needed financial stability for the non-profit, but also provides expanded access to the program for free, an extremely unusual arrangement for Netflix.”  at The Hollywood Reporter Sebastián Lelio Makes Waves at the Cannes Film Festival Lelio spoke with Deadline at the festival following the premiere of his newest project, The Wave— a movie musical that surrounds the Chilean feminist wave in 2018. 2018 marked a year of mass protests, strikes and civil unrest in Chile, mostly carried out by university and high school students in response to sexism and violence against women in educational institutions. This movie comes at a culturally significant time, as there has been an increase in student-led protests.  You might be thinking: Why is this a musical? After the mixed-to-negative response to Emilia Pérez, a movie musical that is also in Spanish, viewers may be weary to give this new movie musical a chance.  In his interview with Deadline, Lelio makes it clear that the use of music and performance in this movie are intentional. He described the musical element of the movie as “more of depiction of political cacophony.”  “Daniela López stars in the film – which debuted in Cannes Premiere – as a music student who joins the cause, haunted by an incident with her voice teacher’s assistant. She is joined in the cast by a raft of young Chilean acting talents including Paulina Cortés, Lola Bravo and Avril Aurora.”  at Deadline  Latest Kristen Stewart Project Gets a Streaming Release Date Even if you love Kristen Stewart, you might not have appreciated her starring role as a weather buoy in the 2024 post-apocalyptic romance, Love Me. If you left the theater with mixed feelings in 2024, or just overall confusion, you’ll be happy to know that on June 16 the film will be available for streaming on Paramount+ with Showtime.  “The movie, which follows a buoy and a satellite who meet online long after human extinction, will be available on Paramount+ with Showtime via Bleecker Street’s continuous partnership with the service. During their journey together, Me/Dejaand Iam/Liamdiscover what life on earth was like for humans and in the process find out who they are, and what it means to love and live.”  at MovieWeb #link #tank #snl #set #builder

The Chicago Sun-Times, a daily non-profit newspaper owned by Chicago Public Media, published a "summer reading list" featuring wholly fabricated books — the result of broadcasting unverified AI slop in its pages.An image of a "Summer reading list for 2025" was first shared to Instagram by a book podcaster who goes by Tina Books and was circulated on Bluesky by the novelist Rachael King. The newspaper's title and the date of the page's publication are visible in the page's header.The page was included in a 64-page "Best of Summer" feature, and as the author, Marco Buscaglia, told 404 Media, it was generated using AI."I do use AI for background at times but always check out the material first," Buscaglia told 404 Media. "This time, I did not and I can't believe I missed it because it's so obvious. No excuses.""On me 100 percent and I'm completely embarrassed," he added.At first glance, the list is unassuming."Whether you're lounging by the pool, relaxing on sandy shores or enjoying the longer daylight hours in your favorite reading spot," reads the list's introduction, "these 15 titles — new and old — promise to deliver the perfect summer escape."The book titles themselves are unassuming, too. The newspaper recommends titles like the ethereal-sounding "Tidewater Dreams," which it says was written by the Chilean-American novelist Isabel Allende; "The Last Algorithm," purported to be a new sci-fi thriller by Andy Weir; and "The Collector's Piece," said to be written by the writer Taylor Jenkins Reid about a "reclusive art collector and the journalist determined to uncover the truth behind his most controversial acquisition."But as we independently confirmed, though these authors are real and well-known, these books are entirely fake — as are several others listed on the page. Indeed: the first ten out of all fifteen titles listed in the Sun-Times list either don't exist at all, or the titles are real, but weren't written by the author that the Sun-Times attributes them to.Fabrications like made-up citations are commonplace in AI-generated content, and a known risk of using generative AI tools like ChatGPT.We reached out to the Sun-Times and its owner, Chicago Public Media, which notably also owns the beloved National Public Radio station WBEZ Chicago. In an email, a spokesperson emphasized that the content wasn't created or approved by the Sun-Times newsroom and that the paper was actively investigating."We are looking into how this made it into print as we speak," read the email. "This is licensed content that was not created by, or approved by, the Sun-Times newsroom, but it is unacceptable for any content we provide to our readers to be inaccurate. We value our readers' trust in our reporting and take this very seriously. More info will be provided soon as we investigate."This was echoed by Buscaglia, who told 404 Media that the content was created to be part of a "promotional special section" not specifically targeted to Chicago."It's supposed to be generic and national," Buscaglia told 4o4 Media. "We never get a list of where things ran."This wouldn't be the first time AI has been used to create third-party content and published without AI disclosures by journalistic institutions, as Futurism's investigation last year into AdVon Commerce revealed.Readers are understandably upset and demanding answers."How did the editors at the Sun-Times not catch this? Do they use AI consistently in their work?" reads a Reddit post to r/Chicago about the scandal.  "As a subscriber, I am livid!""What is the point of subscribing to a hard copy paper," the poster continued, "if they are just going to include AI slop too!?""I just feel an overwhelming sense of sadness this morning over this?" University of Minnesota Press editorial director Jason Weidemann wrote in a Bluesky post. "There are thousands of struggling writers out there who could write a brilliant summer reads feature and should be paid to do so.""Pay humans to do things for fuck's sake," he added.Updated with a statement from Chicago Public Media.More on AI and journalism: Scammers Stole the Website for Emerson College's Student Radio Station and Started Running It as a Zombie AI FarmShare This Article #chicago #newspaper #caught #publishing #summer

Between Housing Demand and Environmental Goals: Alejandro Aravena on Incremental Solutions and Net-Zero ConcreteSave this picture!USB Basic Services Unit Prototype installed in Venice. Image © celestiastudioDuring the Time Space Existence exhibition, organized by the European Cultural Centre in Venice, Pritzker Prize-winning architect Alejandro Aravena and his firm ELEMENTAL unveiled a full-scale prototype for a new approach in incremental housing solutions. Titled the USB Core, standing for Basic Services Unit housing prototype, this proposal aims to demonstrate how efficient construction can provide all the essential housing components in a minimal space. The prototype is also the result of a collaboration between the architecture office and concrete manufacturer and researcher Holcim, and is built out of a newly developed type of net-zero concrete mix. It also incorporates fully recycled aggregates, in alignment with circular economy principles. The collaboration aims to demonstrate a more environmentally conscious yet cost-effective way of providing essential services to at-risk communities without harming the planet.While on site in Venice, ArchDaily's managing editor Maria-Cristina Florian had the chance to sit down with Alejandro Aravena and discuss the implications of this collaboration, the urgent need for housing, and the role of the architect as the coordinator of a process involving many actors. this picture!A key innovation of the project is the new formulation of concrete that significantly reduces carbon emissions by integrating in its composition "biochar," a charcoal-like material that permanently sequesters the CO2 that would otherwise be released at the end of the life of organic matter. One kilogram of biochar is calculated to prevent the release of 3 kilograms of CO2, making it a carbon sink, meaning it has a negative carbon footprint. Integrating it within a low-carbon formulation of concrete reduces the overall footprint without compromising performance. With an average transportation distance of 300 km for cement and 100 km for aggregates, the resulting biochar concrete mix has a net-zero carbon footprint, according to Holcim's Life Cycle Assessment. Additionally, this innovation complements other sustainable strategies like recycling of aggregates from demolition waste, a process that prevents the use of virgin natural resources and ensures a circular building process. The prototype in Venice used the Biochar mix in addition to 100% recycled aggregates. Related Article Alejandro Aravena’s Elemental and Holcim Collaborate on Carbon-Neutral Housing at the 2025 Venice Biennale this picture!ArchDaily: One of the main questions that drove this project is an almost Shakespearean one: "To build or not to build?" It represents two contradicting forces of the building industry: on the one hand, the need for housing, on the other, the need to protect the environment. How can those two forces be made to point in a similar direction?Alejandro Aravena: Now is a time when we are witnessing this Catch-22 situation: the pressure is to accommodate people in a decent living environment. In the conditions of the migration towards cities, migration between countries, if you don't offer a proper solution, then the living conditions worsen. It's not that people will stop coming; they're coming to cities and migrating anyhow, but they are living in awful conditions. This is not just a humanitarian disaster, it creates the perfect conditions for Narcos, organized crime criminality, and too many people who have nothing to lose. It leads to a social and political crisis. So, from a multidimensional point of view, there is a huge and urgent need to build a proper, decent living environment.this picture!The materials that we have available nowadays to produce this huge scale are limited, and when I'm saying huge scale, we're talking about a million people per week migrating into cities who, if not accommodated properly, will live in slums. On average, we have to provide solutions with just per family. We call it the 3-S menace: Scale, Speed, and Scarcity of means. If we don't build, people will come anyhow and create this social ticking time bomb. We don't know how to solve that, but imagine we create enough knowledge and that governments align to create policies so that we can build for that amount of people, with the current building materials, taking into consideration the consequences on the environment and the planet. If you don't do anything, you have a problem. And if you do something, you have a problem. Until now, it was one or the other, and one had to choose. When you live in a developing country, you choose people over the environment. If not, people who can build by themselves will build, using the same materials, so the carbon footprint is still there. - Alejandro Aravena Therefore, the moment we heard that there was some scientific research being done and knowledge was being developed in the concrete industry, one of the industries that has the largest presence in the built environment, there was excitement. People want to build resilient homes, so as soon as they can, they will go for something solid. Concrete is at the top of those expectations. With this innovation, there is a material that can potentially dissolve this Catch-22 situation, that can capture carbon and sink it into the material so that when you build, you're doing something good for the environment, not just reducing harm. We see this as a potential chance to finally be able to move ahead, not having to choose between one or the other. That's why we said, let's partner with somebody that has the research and development capacity to advance this.this picture!The only thing we did here was ask What is most needed? What is the kind of project that, if this works, may have an impact on the social dimension but also on the environmental dimension? That is why we went to this Core of Basic Services. In the end, this is where every settlement starts and it is what takes care of the basic needs of the population: health to start with, the fire resistance, seismic resistance, and then maybe we'll be able to channel the people's own capacity to be part of the solution, not of the problem of the built environment.this picture!AD: Could you elaborate on this idea that poor communities have this under-appreciated capacity to build, but often do so in a dysregulated manner, making them vulnerable? Additionally, how does your incremental process, which you have been promoting for years, address this issue?AA: Whatever you picture when you think of a slum, it's a very dense, overcrowded environment of a poor quality, unarticulated roofs and walls, and shacks. Of course, one could see that it is a problem; there are health issues, basic sanitation is not there, one could see this as an incapacity to create a decent built environment.this picture! From another point of view, it could be seen that, despite not having any type of aid, technical support, or scientific knowledge, people are intuitively able to put a roof on top of their heads. And this is a big force. - Alejandro Aravena In a country like Chile, the two rounds of class census showed that 2/3 of the square meters built in Chile do not have a building permit. The formal thing that we've studied in the universities, or the presumption that the government is part of the building program, that's an exception. The majority is in this other case. Therefore, unless we look at this situation as part of the solution, instead of part of the problem, we will never arrive at creating those conditions needed to address the need for a decent building environment.this picture!So, what is missing there? When you look at the slum picture, what is needed is not more construction, it is in what is not built. If you think of any city, like Copenhagen or even Manhattan, places we associate with a good quality of life, the ratio between public and private space is close to 1 to 1. When you go to a slum, that proportion drops to less than 1 to 10, so for every square meter of non-built land, there are 10 square meters of private space. What does it mean? An ambulance cannot enter, a fire truck cannot enter, people just circulate, but they have no place to gather. Where do children play in such an environment? In this context, what is extremely important, more than adding more square meters, is who coordinates what's not going to be built. Because that is a big force that you can channel. Instead of resisting or replacing, our job is first and foremost to create the conditions for the common ground, for the common space not to be occupied by individual actions. Individual actions, even if well-intentioned, cannot guarantee the common good. We have been systematically understanding that our role as a designer, is not being the provider, but the channel for a much bigger force that could be part of the solution or not part of the problem. this picture!AD: Continuing on this point, what is the role of the architect? Should they learn to let go of some of the control that they've been taught to hold? AA: The architect has to understand that, for the big challenges, what we have to deliver is a process and not a product. Control is guaranteeing quality in the end, so we have to be responsible from the beginning to the very end, but in most cases, your job stops when the building is finished. In housing or in disaster relief, because it is a much bigger challenge, the day you finish, it only starts, and then the big forces take over.this picture!You must understand the logic behind these big forces. You place your designs as frames that will make people's lives easier, not more complicated. Then, in this framework, the individual actions can guarantee the common good, so the role of the architect is to protect and enable this spontaneous care for the common good. You cannot just cross your fingers and hope that people will not invade the street.Geometry and clarity of shape have been studied from the 60s and the 70s. In Chile in the 70s, we had what was called "Operation Chalk", meaning that we used chalk to mark on the ground what was private land and what was a public space. This allowed for the rules of the game to be clear for the collective, so in the end, this apparently marginal operation made a big difference. The Law of Indies in the whole of Latin America was similar, setting a simple geometrical rule, yet the cities that had the capacity to develop came from these very basic shapes. In Spanish, they had what was called "alarife", somebody who traced on the ground, on the land, showing who's going to have what, what is going to be public, what we can't provide. This apparently offensive move is at the very core of a process that later allows for a loss of control.this picture!We want to just introduce a couple of things, like a structure that is solid, that is fire resistant, that provides basic sanitation, water, sewage, and electricity, cross ventilation for the worst case scenario. This way, when families arrive, they don't have to perform complicated and difficult structural operations.  Every dollar that they spend is just on things that are relatively easy for them to achieve, or that are closer to their personal identity or taste, like the color, finishes, or furniture, because all the complicated technical operations have been taken care of by the professionals involved.AD: Can you expand on what is the concept behind the USB Core, and how is this different from the other incremental housing strategies you have been developing? AA: Normally, by the Chilean housing policy, you have to deliver basic sanitation, a bathroom, a kitchen, and partition walls that are fire-resistant and seismic-resistant. For this proposal, we decided to do it in 2 floors because it achieves more density in the future.this picture! By being able to accommodate the square meters that the policy requires in two floors, we have more chances to have denser projects, therefore being able to spend more for expensive land, and because of that, have a better location in the city, which leads to a better integration into the network of opportunities and services that cities concentrate, instead of being expelled in a low density, far-away periphery, segregated from those opportunities. A certain density is needed in low-rise to be able to be well located in the city. Because of the policy, in addition to sanitation, we need to provide at least two rooms. That requires more resources and more time. When you're under pressure, let's say you're in a disaster situation, where you have to build as fast as possible, if you receive a shelter like a tent or other emergency intervention, that tends not to have this basic sanitation core. Rooms are relatively easy to add later on. To have a kitchen and a bathroom, and a partition wall it's rather difficult to build properly by a family. What we have been exploring is how, in case there is an emergency, we can compress and be more radical in what we are offering. The aim is to have more efficient resources, which are always scarce in the public sector, and to reach more families instead of providing more complete solutions, but only to a few. In this last case, in the meantime, the others cannot wait. They will produce their own built environment, but in very bad conditions.this picture!this picture!This is why we are compressing. Some of the housing we conceived at ELEMENTAL did start like that, but then the policy required us to add more rooms, so we did that. The USB core is just the more radical version because, in between the units, we would like not to have anything at the beginning, but become a big part of what the families, or other sources of financing, bring. This is the most radical version also because of the material that has a net-zero carbon footprint. This is something that was not available before.this picture!For the prototype here in Venice, when we started working with the site, we received this requirement of maximum weight per square meter. Previous solutions would have been too heavy for the place, so we were required to take out weight. The effort of taking out matter without losing resistance led us to think beyond the shape of a circular hole, to many other shapes. We took this as an opportunity to address one of the pending issues we had: how can we engage emotionally with the families, so that when they receive something, they feel there is a more careful treatment, the notion of beauty. Somehow, when you're dealing with the strict conditions, it tends to be that aesthetics are the first to be sacrificed. Given that we now have building systems that were not available 10 years ago, like robots doing the form work, the way to extract matters gives us a degree of freedom while maintaining the same resistance. What about the pattern? Can we make a workshop with the families? Maybe it could change from one to the next one.this picture! This process of customization introduces some level of detail, which is something that people prefer. Take a look at Venice: more lines somehow are more appealing. They're interpreted as more care, instead of a blank wall. I think that in this case, we are making a more radical solution in terms of public policy, but at the same time, a more careful solution in terms of the emotionally involved potential outcome of this equation that has many dimensions that have to be solved at the same time. this picture!AD: In this equation, the choice of material is also important, and concrete seems to be the preferred option, especially for these conditions. Why is that? Why is concrete specifically essential? AA: Before going into concrete, let's imagine the sum of attributes that you need to fulfill, and then, if there is more than one material, we would consider it. It has to be durable: if you're going to spend resources, make sure that the results will last. There's something that is atomic in human behavior that doesn't appreciate temporary solutions; something that holds and persists through the test of time is very important. If you are benefiting from a public policy, you are not getting funding for things that do not last. In a country that has to choose between education, hospitals, infrastructure, or housing, it wants to make sure that the result will have a quality that is certified and that it will be physically there in the next couple of decades.this picture! It has to be so resistant, it has to be durable, it has to be fireproof, it has to be seismic proof. Families have to feel that if they want to expand, they can touch the wall and understand that "Oh, I can't take it out because it's solid, I'd better not mess with the structure because my security and safety depend on that." Safety and security, and the feeling of safety, matter a lot. What other materials out there in the world would feel all that? There are not that many options. That is why, I think, concrete tends to end up being rather high in the list, not to mention costs, because the cost per performance is difficult to equal.this picture! The issue is how to improve the carbon footprint of this material that has so many other favorable attributes. The development of this new biochar concrete finally adds to this list. If you want to make it sustainable and good for the environment, you now have another option. But it's not these other attributes or the environment; it adds to the same list. This is something that we were interested in seeing how we can benefit from this, and at the same time, help to develop. AD: This opens up another topic, which is the wider collaborations across industries. How do you see these collaborations going forward? What is their role in the architectural profession? AA: By nature, architecture has to be collaborative. I mean, it's not just me as an architect waking up in the morning and having an incredible desire to build a building. If I were a sculptor, I could do that, but not as an architect. In the first place, somebody has to need the building, then funding will come from either the state or a private resource, and then, you don't build the things with your own hands. You have to understand that the building industry will provide workers with knowledge, with skills, and with procedures that have a sequence.this picture! You have to make sure that whatever you produce makes social sense and makes political sense. Therefore, by nature, architecture has historically been required to speak many languages, so that it can channel all that knowledge into what you are delivering as a solution. You are sitting around the table with many other professionals. Sometimes, the more complex the question, the greater the need for synthesis. If there's any power in design, that's the power of synthesis. You have to establish the priority, you have to establish a hierarchy. At the core of what we do as architects, we are trying to do projects, and a project is organized information in a proposal. It is not a diagnosis, it is not a report, it's always the negotiation having listened to all, the budget, the code, the need, the social pressure, it is the moment when somebody picks up the pen in the meeting and says, What if we do this?this picture!That jump into the void of making a proposal and taking the risk to do a proposal is the key. You may fail, somebody might find an issue, point out that this would fail here and there. You take this information and reiterate, but you have to take the risk of organizing the conversation around the proposal. If you have a conversation about the origin of the problem, the meeting never ends, and the energy is very negative. The moment you throw in a proposal, the energy in the room changes. By nature, this process has always been collaborative, but the specific role that we play as architects is to be able to organize all the information in a proposal. It is listening to many languages, but in the end, the language you speak is that of giving form to the places near where people live. That's what we do. It's not more complicated than that, but also not easier than that. Sometimes your role is to have control over the entire process, sometimes it is in recognizing that this is so much bigger than ourselves, so others take over: the social workers, the families themselves, the building industry. It changes from question to question, but in general, I would say that we understand we are required to speak different languages: that of economics, that of code, that of politics, and how to communicate with people. However, our ultimate way to engage in these non-architectural conversations is by doing what we know best, which is design. This is a non-architectural conversation we enter with specific knowledge of architecture. This is, I'd say, the dance between specific knowledge and non-specific questions. this picture!AD: Looking towards the future, what are the next steps for this concept? AA: An institution, in order to lend money to a country, may require that the country fulfill sustainability goals. We now have this new material that can respond if this becomes a condition. Normally, this would come from financing institutions that are interested in not just solving social problems but also environmental issues. If we can specify this new material as designers, it has a higher chance of checking more boxes at a political level. And if it checks more boxes, it is more likely to be replicated and repeated. It is about having one more tool in the toolbox that was not available before; it provides more goods and benefits at the same cost. The moment you can show a prototype or give an example, it demonstrates that it is possible. For us, it is desirable for this material and this solution to be multiplied as many times as possible.this picture!We invite you to check out ArchDaily's comprehensive coverage of the 2025 Venice Biennale. Image gallerySee allShow less About this author #between #housing #demand #environmental #goals

The Mies Crown Hall Americas Prizeawarded the Thaden School in its fifth iteration. The 30-acre middle and high school campus in Bentonville, Arkansas, was a collective design effort by Marlon Blackwell Architects, EskewDumezRipple, and Andropogon Associates. The project pulls directly from the rural vernacular of the Ozark region. Thaden School beat out steep competition for the prize, including an aquarium in Mexico by Tatiana Bilbao ESTUDIO, a veterinary office in Argentina, an expansive park in Mexico, and an old pumphouse that was turned into apartments in Canada. The biennial MCHAP prize “acknowledges the best built works of architecture in the Americas.” It is awarded by the Illinois Institute of TechnologyCollege of Architecture and announced at a benefit held in Crown Hall, the Ludwig Mies van der Rohe–designed building on the IIT campus. Over 250 submissions were received for nomination to the 2025 Americas Prize. These were whittled down to the five finalists. As in past years, the jury visited each of the finalist projects and met with the designers and clients before settling on the Thaden School as the winning project. All of the new campus buildings are connected with the landscape.The 2025 MCHAP Americas Prize jury was headed by industry professionals, hailing from across the Americas. It was chaired by Maurice Cox, former Commissioner of the City of Chicago Department of Planning and Development. Cox was joined by Giovanna Borasi, director, Canadian Centre for Architecture; Gregg Pasquarelli, founding principal, SHoP Architects; Mauricio Rocha, founder, Taller | Mauricio Rocha, and the 2023 Americas Prize recipient; and Sofia von Ellrichshausen, founding partner of Chilean firm Pezo von Ellrichshausen. MCHAP Director Dirk Denison remarked about visiting the projects and complimented each of the five finalists. “Traveling together, I witnessed firsthand the incredible insights each jury member brought to these five standard-setting works,” he said. “All the finalists emerged organically from needs and demands of their immediate contexts, with ingenuity and a synergy of creativity between the client and designer—a synergy that is the hallmark of so many MCHAP finalists.” The cafeteria at Thaden School is one of the many spaces faced with a large window overlooking the grassy campus.Porches and screened passageways are among many architectural features that recall local vernacular.The jury praised Thaden School for its rootedness to site and context. Connection with the outdoors is a core part of the school’s curriculum; the design team tapped into this with gabled structures that recall barn buildings, through screened porches, and attention to the landscape and grounds. “The building’s character shapes a campus steeped in the rural culture of its place—the barn, the porch, and the long and low farm buildings are artfully assembled into a new academical village that powerfully interprets the pedagogical mission of ‘youth learning by doing,’” the jury collectively shared in a statement. The campus comprises a number of buildings, each with a unique program, connected to one another via series of pathways. Among these is the Home Building, where communal spaces were located: the dining hall, library, bookstore, and lounges. The buildings have low-lying profiles reminiscent of agricultural buildings as well as distinct, angular roof shapes as seen on the Bike Barn, the Arts and Administration Building, Performance Building, and others. Open-air passageways, garage-style doors, and large spans of glazing cement the connection with the rural surroundings. The low-lying buildings with gabled rooflines recall traditional barn architecture.“The collaborative effort of the design teams read through this powerful composition,” the jury commented. “Space is both contained and open-ended, inviting the public to enter into the center of student life. The threshold between outdoor and indoor is made of outward-facing porches, covered passageways, and outdoor rooms. This flexible composition of the campus encourages learning, recreation, farming, and civic gathering.” Several of the Thaden School buildings have been recognized in AN’s Best of Design awards program in the education category. In 2021 EskewDumezRipple received recognition for its work on the Home Building. Marlon Blackwell was similarly applauded in 2020 for its design for Bike Barn, and then again in 2024 for the Performance Building. Last year, Taller | Mauricio Rocha won the MCHAP for Anahuacalli Museum. Other past recipients include, in 2014, Grace Farms by SANAA in New Canaan, Connecticut. #mies #crown #hall #americas #prize

Feeding Flamingos Create Underwater Tornado-Like Vortices to Capture Their Prey, Study Finds Rather than passively filter-feeding, the birds use their heads, beaks and feet to generate motion in the water that funnels invertebrates into their mouths A new study reveals how Chilean flamingos are so adept at finding food. Victor Ortega Jiménez / UC Berkeley Flamingos have a natural ability to filter out food, like shrimp and worms, from the surrounding water, even in the most food-poor environments. Now, a new study published Monday in Proceedings of the National Academy of Sciences reveals how the birds use the power of physics to nab their elusive prey. Victor Ortega Jiménez, an integrative biologist at the University of California, Berkeley, and lead author of the study, first became interested in flamingos’ eating behavior after a visit to Zoo Atlanta in 2019. The pink birds stomped their feet and submerged their beaks, but from the surface, he saw only ripples. The researcher wanted to know what was happening underwater. “We don’t know anything about what is happening inside,” he says in a statement. “That was my question.” Flamingo model tornado vortex Watch on So, Ortega Jiménez and his team took a closer look with the help of three Chilean flamingos at the Nashville Zoo. They trained the animals to feed from a water-filled tray over several weeks and used high-speed cameras and lasers to monitor the process. Then, the researchers created 3D printed models of the birds’ heads, feet and bills to more closely study how they make the water and particles move. The final step of the work involved attaching a real flamingo beak to a machine that snaps it open and shut, with a small pump to simulate the bird’s tongue. The researchers found that the flamingos use the motion of water to their advantage, combining techniques to funnel water—and the invertebrates within it—to their mouths. They’ll stomp their feet in dance-like motions to bring food up to the surface. Then, they’ll quickly bob their heads up and down to create tornado-like underwater vortices that help catch their prey more efficiently. The birds also snap or “chatter” their beaks and move their tongues in and out—and that chattering allows flamingos to capture seven times more brine shrimp. “We are challenging the idea that flamingos are just passive filter feeders,” says Ortega Jiménez to Rachel Nuwer at the New York Times. “Just as spiders produce webs, flamingos produce vortices.” Tornado flamingo chattering Watch on The team calculated just how quickly the flamingos chattered their beaks and bobbed their heads. To create a tornado-like vortex, a bird would retract its head in a short burst of speed at nearly 16 inches per second. The chattering motion involved the lower beak snapping about 12 times per second. The study is “an outstanding demonstration of how biological form and motion can control the surrounding fluid to serve a functional role,” adds Sunghwan Jung, a biophysicist at Cornell University who was not involved in the study, to the New York Times. Flamingo brine filtering foot Watch on Flamingos’ feeding prowess can even benefit other birds: A 2018 study found that Wilson’s phalaropes can double their food intake by following behind a stomping flamingo. Next, Ortega Jiménez wants to study what goes on inside flamingos’ beaks during feeding, in hopes that it can inspire new technologies that harness the strength of vortices to capture toxic algae or microplastics from water. “These behaviors that look kind of silly are generating these really useful water flows,” Elizabeth Brainerd, a functional morphologist at Brown University who was not involved with the study, told Elizabeth Pennisi at Science when the work was presented at a conference in 2023. “That’s unexpected … and quite elegant.” Get the latest stories in your inbox every weekday. Source: https://www.smithsonianmag.com/smart-news/feeding-flamingos-create-underwater-tornado-like-vortices-to-capture-their-prey-study-finds-180986614/ #feeding #flamingos #create #underwater #tornadolike #vortices #capture #their #prey #study #finds