We may earn a commission from links on this page. Deal pricing and availability subject to change after time of publication.At you probably don’t expect much from a laptop, but this refurbished Lenovo 100e Chromebookmight surprise you. It’s not fast, it’s not flashy, and it only has 16GB of eMMC storage, but it’s the kind of machine that can take a beating and still show up to work the next day. Built for classrooms and chaos, it has reinforced edges, spill-resistant keys, and rubber bumpers that make it more forgiving than most laptops you’ll find in this price range. It’s also listed in Grade “A” condition, so you’re getting a laptop that should look close to new.Performance-wise, it’s basic. There’s a MediaTek processor inside with 4GB of RAM—enough for browsing, Google Docs, streaming, or online classes, but not much more. Don’t expect to run 20 tabs or multitask like a maniac. What you do get is a surprisingly solid 11.6-inch display with anti-glare coating, a webcam that’s fine for video calls, and a battery that lasts around 10 hours. Chrome OS is light and easy to use, especially if you’re already living in the Google ecosystem. And the machine itself is lightweight and compact, making it a decent travel companion or a starter laptop for kids.Of course, there are trade-offs. Storage is tight—you’ll need to rely on Google Drive or plug in an SD card if you want to keep anything local. The charger uses USB-C, which is convenient, but there’s only one of those ports alongside a single USB-A and HDMI. No Ethernet, no touchscreen, no premium features. Still, for under with free shipping, it’s hard to argue. Whether you need a backup device, something to toss in a backpack without worry, or a no-frills option for schoolwork and emails, this budget Lenovo Chromebook keeps things simple. #you #can #get #this #budget

Masterplan & Sports Complex La Paz | © Jaime Navarro In La Paz, Baja California Sur, the transformation of El Cajoncito, a neglected dry riverbed central to the city’s stormwater system, marks a strategic urban intervention led by CCA | Bernardo Quinzaños. The Masterplan La Paz addresses the fragmented nature of the city’s spatial fabric by reconceiving this infrastructural void as a connective civic spine. The project is not merely about landscape or recreation; it functions as an integrated ecological, hydrological, and social framework. Masterplan & Sports Complex La Paz Technical Information Architects1-6: CCA | Bernardo Quinzaños Location: La Paz, Baja California Sur, México Gross Area: 22,727 m2 | 245,000 Sq. Ft. Completion Year: 2025 Photographs: © Jaime Navarro We envisioned the Masterplan La Paz not just as infrastructure, but as a catalyst for social integration, where public space becomes a bridge between ecological resilience and community well-being. – Bernardo Quinzaños Masterplan & Sports Complex La Paz Photographs © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro © Jaime Navarro Reframing the Urban Void: Context and Design Intent The master plan is rooted in a clear intention: to bridge socio-spatial divides and enhance resilience in a region highly susceptible to seasonal flooding. El Cajoncito, which becomes impassable during the rainy season, historically reinforced urban disconnection. Residents of adjacent neighborhoods were required to circumvent it by traveling between four and eight kilometers despite the separation being no more than 200 meters. The master plan reconceives this gap not as a barrier but as an opportunity to integrate infrastructure and urban life. Informed by a collaborative process involving technical consultants, municipal authorities, and the local community, the project articulates infrastructure as a tool for civic repair. Public space, mobility, and water management are synthesized into a singular spatial proposal, creating a precedent for interventions in Latin American secondary cities facing similar socio-environmental challenges. Masterplan & Sports Complex La Paz Spatial Strategy At the heart of the project is a linear spatial strategy that reorients movement and redefines thresholds within the city. The Paseo Lineal, a continuous pedestrian and cycling path, forms the connective tissue of the master plan. Stretching from the city’s marina to the new sports complex, this spine is both infrastructural and ecological. It incorporates rainwater mitigation systems, shaded rest areas, and integrated bus shelters, creating a multimodal corridor that prioritizes non-motorized transport and public transit. A critical architectural gesture within this system is the bridge that spans El Cajoncito. It addresses the acute lack of connectivity by enabling direct, safe passage between neighborhoods, fundamentally altering local movement patterns. Rather than serving as an isolated object, the bridge is embedded in a network of social and ecological flows. The project avoids monofunctional zoning and instead embraces layered programming that intersperses recreational, cultural, and environmental uses. This pluralism is essential to its success as a public space. The spatial organization acknowledges the diversity of its users, from athletes and children to commuters and spectators, ensuring the infrastructure supports everyday and exceptional activities. Architectural Language and Material Intelligence The Conjunto Deportivo La Paz forms a key anchor of the master plan. Its architecture is defined by modularity, climatic responsiveness, and material economy. The baseball pavilions, arranged as four repeated units, are designed with variations in field size and complexity to accommodate a wide range of users, from young children to professional-level athletes. The modular approach streamlines construction while allowing for phased expansion. Material decisions respond directly to the site’s climatic conditions. Steel frames provide structural clarity and durability, while open facades and ridge vents enable passive cross-ventilation. Shaded seating areas and integrated benches serve spectators and athletes, offering thermal comfort in the region’s high temperatures. These elements are not ornamental but spatial devices rooted in environmental performance and user comfort. The multipurpose building further expands the programmatic scope. Two offset gabled volumes house classrooms, offices, a library, and spaces for cultural activities such as dance and music. The flexible structure supports simultaneous functions without formal separation and encourages informal overlaps and civic interaction. Its open-air double-height space is a community forum that blurs the boundary between the building and the plaza. The architectural language is intentionally restrained. The use of organic forms in certain shaded structures softens the sports complex’s visual rigidity and fosters a more approachable atmosphere without compromising programmatic clarity. Infrastructure as a Social Catalyst The project’s impact extends beyond physical infrastructure. By decentralizing public amenities, the masterplan challenges the historic concentration of civic life along La Paz’s malecón. The project redistributes access to recreation, culture, and mobility by repositioning investment in underrepresented neighborhoods. Since its opening, the sports complex has functioned as a venue and a civic platform. It accommodates various events, including tournaments and cultural festivals, activating the site throughout the day and seasons. Providing official-quality baseball fields is particularly significant in a city with a strong sporting culture but limited infrastructure. The center fosters intergenerational engagement and strengthens communal ties. The Masterplan La Paz exemplifies how architecture, when embedded in broader territorial and social strategies, can exceed form-making limits. It demonstrates that infrastructural projects, often perceived as technical or neutral, can instead serve as active instruments for equity, resilience, and civic expression. The work of CCA | Bernardo Quinzaños offers a thoughtful model for integrating architecture and landscape into the city’s life, not through spectacle but through the careful choreography of space, structure, and use. Masterplan & Sports Complex La Paz Plans Master Plan | © CCA I Bernardo Quinzaños Master Plan | © CCA I Bernardo Quinzaños Bridge Floor Plan | © CCA I Bernardo Quinzaños Master Plan | © CCA I Bernardo Quinzaños Floor Plan | © CCA I Bernardo Quinzaños Section | © CCA I Bernardo Quinzaños Elevation | © CCA I Bernardo Quinzaños Section | © CCA I Bernardo Quinzaños Masterplan & Sports Complex La Paz Image Gallery About CCA | Bernardo Quinzaños CCA | Bernardo Quinzaños is a Mexico City-based architecture studio led by architect Bernardo Quinzaños. The firm focuses on socially driven and contextually responsive design, strongly emphasizing public infrastructure, urban regeneration, and environmental resilience. Through multidisciplinary collaborations and community engagement, CCA develops projects that integrate architecture with broader cultural and ecological systems. Credits and Additional Notes Lead Architect: Bernardo Quinzaños Design Team: Santiago Vélez, Begoña Manzano, Andrés Suárez, Carlos Molina, Cristian Nieves, Miguel Izaguirre, Sara de la Cabada, André Torres, Abigaíl Zavaleta, Víctor Zúñiga, Pablo Ruiz, Scarlett Díaz Client: SEDATU, Municipality of La Paz Builder: HABA, Alan Haro Photographer: Jaime Navarro Video Production: Jaime Navarro Estudio, Ricardo Esquivel, Fernanda Ventura #masterplan #ampamp #sports #complex #paz

Click to enlarge Housing build-ups in Dhaka. Image: Jeremy Smith 1 of 11 Marina Tabassum Architects’ Bait Ur Rouf Jame Mosque. Image: Jeremy Smith 2 of 11 Marina Tabassum Architects’ Bait Ur Rouf Jame Mosque. Image: Jeremy Smith 3 of 11 Marina Tabassum Architects’ Bait Ur Rouf Jame Mosque. Image: Jeremy Smith 4 of 11 Marina Tabassum Architects’ Bait Ur Rouf Jame Mosque. Image: Jeremy Smith 5 of 11 Old Dhaka and 45,000 people per square kilometre. Image: Jeremy Smith 6 of 11 Buses collage life on the roads. Image: Jeremy Smith 7 of 11 Lattice-work roofing of the informal settlements, viewed from Salauddin Ahmed’s Atelier Robin Architects studio. Image: Jeremy Smith 8 of 11 The colour and vibrancy of Dhaka life. Image: Jeremy Smith 9 of 11 The colour and vibrancy of Dhaka life. Image: Jeremy Smith 10 of 11 The colour and vibrancy of Dhaka life. Image: Jeremy Smith 11 of 11 Architects Jeremy Smith and Murali Bhaskar go looking for water and hard-to-find buildings in what is already one of the world’s most populous mega-cities, Dhaka. Architecture here is rarely properly lost. Even now, as we navigate a way to higher-density living, we tend not to misplace buildings. There’s still the space to eye-spy our most wayward elevations. At worst, we might GPS a tricky driveway or pull out an Andrew Barrie map to pinpoint some retiring architecture. But what happens if you really diamond-up the density. At our country-wide 19-people-per-square-kilometre or even downtown Auckland’s sky-high 2500, you can see what’s coming and cities mostly plan out as planned. Teleport forward though to 45,000-people-per-square-kilometre and cities accelerate lives of their own. Here, anything and everything can be lost in the crowd, even buildings. So, on a 2024 invitation from the Bengal Institute for Architecture, Landscape and Settlements to share some Unfinished & Far Far Away adventures in “the toughest city in the world”,1 I pack some extra compassing in architect buddy Murali Bhaskar and go architectural orienteering in Dhaka. It’s hot hot; architecture can wait. We start by looking for water. This, after all, is the land of rivers. Following on from Aotearoa in 2017 being the first to give a specific river, Te Awa Tupua, legal rights, Bangladesh in 2019 became the first country to grant all of its some 700 rivers the same legal status that humans have.2 But the count varies. Protections readily miss smaller tributaries and, with all that water pouring out of the Himalayas and delta-ing into the Bay of Bengal, the land is accretional. The colour and vibrancy of Dhaka life. Image:  Jeremy Smith From the million or so starters in a newly independent 1971 Dhaka, today, it is the fourth-most-populated city in the world with somewhere near 25 million people. Whether for disaster relief, economics or just the bright lights, urbanisation draws more than 400,000 new residents annually to the city. Throw in some family time and, with Tokyo and Shanghai shrinking, Dhaka’s population is predicted to be an eyewatering 35 million by 2050. When every possible place looks inhabited, it’s not just water that can quickly go to ground. Kazi Khaleed Ashraf, who heads the Bengal Institute, has some learned thinkers in tow in trying to keep pace architecturally. Throw in societal and climatic concerns, and questions about how contextualisation might operate at such speed and the inquiry takes global precedence. Kenneth Frampton, Rounaq Jahan, Suha Özkan, Shamsul Wares and, formerly, BV Doshi, sit on the advisory panel and have drawn other such worldly thinkers as Juhani Pallasmaa, David Leatherbarrow and, even, Peter Stutchbury from down our way to come experience an urban existence “symptomatic of the gravest environmental challenges”.3 It’s serious stuff. Ashraf researches “hydraulic flow in which horizontal and vertical movements of water may direct architectural and landscape formations”.4 This ‘form follows water’ mantra isn’t just free planning Le Corbusier’s ‘form follows function’ with some Charles Correa’s ‘form follows climate’ to connect to life outside, it’s a watery warning to the navigations quickly necessitating within our collective future. Ashraf’s timely prompt that “Embankment is a barrier. How can we deconstruct it”5 can be seen in the way we increasingly plan the separation of wet and dry in our cities. Main streets like Queen Street and Cambridge Terrace already run down streams and our remaining water edges risk becoming increasingly marginalised by infrastructure rising with the water. But the steering is different at density and Dhaka’s rapid growth has meant letting go of the controls with which we still understand cities to flow. As Ashraf puts it, “Dhaka builds furiously”. While we dutifully plan buildings as if crawling a length or two at the aquatic centre, architecture in Dhaka must high-dive into a torrent. Its buildings must learn to surface and really start kicking. Anything trying to hold ground risks being swept away. Dhaka has become a river. As if to university-entrance the swimming lesson to densification, we’ve arrived only a few months after an Indian helicopter plucked Bangladesh’s president from a student-led flood of unrest amongst civil rights and corruption demonstrations. We might think of universities as offering time for trying things on but, sink or swim, the students here now run the country. With the parliament dissolved, there’s no chance of us seeing inside Louis Kahn’s 1982 National Assembly Building, which, like many of Dhaka’s institutional buildings, took on something of a freshening in the coup. Remembering our government’s pre-departure, bold-italic travel advisory, we head out to practise avoiding street demonstrations and are rewarded with a fenced-off view of Kahn’s epic, which brought global architectural discourse to post-independent Bangladesh. No such authoritative access issues back at the university, where, amongst the student political murals, we visit Muzharul Islam’s 1953–1956 Fine Arts Institute. Islam introduced modernism to the then East Pakistan6 and, in testament, the school still functions as a school, with its external verandah circulation and louvred ventilating classrooms. The rallying extends to getting around with cars sporting dodgem bumpers. Travelling 10 kilometres takes an hour, a million beeps and some financial socialising out the windows. Public transport may be working hard to keep pace with the kinetic city but it starts at the back of the grid, as the panelwork to the buses visibly collage. Getting to where we want to go takes some effort. An above-ground subway system has been started but not finished and the folk enticingly riding on top of trains typically aren’t off looking for architecture. There’s the three-wheeled rickshaw option, of course: formerly pedalled but, in recent months, souped-up with the allowance of car batteries to the back axle. Even so, manoeuvring further than nearby takes more than any rider is up for. So, as we head out for lunch with architect Marina Tabassum and then beep beep beep out further to her extraordinary Bait Ur Rouf Jame Mosque in Dhaka’s northern expansion, we learn that having everything close helps. Neighbourhoods remain important in megacities. Marina Tabassum Architects’ Bait Ur Rouf Jame Mosque. Image:  Jeremy Smith The mosque deserves the full medley and gently uplifts as all great architecture does, be it for the community or off-the-street visitors like us. Marina Tabassum Architects is, of course, internationally renowned for its architectural stand against globalised buildings that are out of place and context, notably winning an Aga Khan Award for Architecture in 2016 and being selected to undertake the 2025 Serpentine Pavilion in London. With the site at 13 degrees to the axis of qibla in Mecca, Tabassum sits the mosque on a five-step plinth with a squared, ventilating brick jali and a circular ceilinged prayer space rotated off centre. In a lesson to building only what you need, the spaces between remain unroofed and the perimeter daylight illumination provides a diminished and equalling light to the prayer space. It needs no explanation: look up and there are constellations in the sky; look outwards and find community; look to the mihrab notching the outside wall and orientate to Mecca. Tabassum’s dive is splashless, for the mosque has self-navigated being enveloped by the city. The entry pond may have gone and the mihrab now reveals buildings rather than fields but the light still shines the way. Four hundred people take prayer several times a day within the inner circle, and the weekend Friday crowd spreads outwards to the borders and plinth. We are two days in at this point and our not-getting-lost-practice is going well. We meet architect Salauddin Ahmed whose Atelier Robin Architects studio and gallery in a former tannery building is so hidden away that it feels both lost and right at home. It’s surrounded by the latticing roofs of informal settlements and, remarkably, feels quiet and yet, genuinely, part of the city. No mean feat in a city, “living”, as Ahmed puts it, “as if this is the last day on earth”. Noise is life in Dhaka; Ahmed’s windows are open and the river is flowing. We talk the same language of architecture understanding existing context and needing to accommodate change in shorter and shorter time frames. Where I say “participate”, Ahmed terms “navigate” and without any sense of overseeing for there is just so much life in Dhaka. We mean the same thing and get there from very different landscapes. The next morning, we go where transport can’t. Old Dhaka’s alleyways require some extra eyes, so Ahmed calls in his friend, photographer Khademul Insan, who has lived this labyrinth. This is the densest part of Dhaka and there’s a lot in the air. “Wear this,” says Ahmed, passing a mask. “Otherwise, you’ll cough for four weeks.” It is deep. There’s so much WiFi that it strands like some kind of underworld sun-shading. Our service provider isn’t expecting this kind of roaming and we have no connection. If our collective Kiwi wayfinding skills might have fluked a way in, we certainly need leading out. As the lanes narrow, the industry broadens into some kind of Mad Max circular economy where everything of anything has value and the fires that keep these people afloat run continuously. Mercifully, it’s not raining or there’d be a different type of river afoot. Fifteen kilometres and all day later, we’ve walked to search for culturally significant mosques, houses, courtyards and schools. Some we locate; others, there’s just no finding. Maybe they are there, maybe they aren’t. Occasionally, there are scripts cautioning against graffiti or carving a name into the stonework at the risk of imprisonment, but there are few clues to any architectural history. In the pinch, buildings jostle to just about every possible place a building might go: on top, under, in front, behind. They infill courtyards, hang over laneways, squeeze into gaps, even penalising what’s left of a football field. Every seat is taken, literally. Whenever we find public space off the street, there are couples dating. There’s a lot of romance in 25 million. Eventually, we exit and finally see a river. I remember the swimming lessons are strictly metaphoric and look but don’t touch. You don’t need to get wet to learn how to swim. As Ahmed guides, and he speaks with Ashraf, Tabassum, Insan and experience to what we must remember in densifying our own cities. “I belong to one of the last generations that truly understand what it means to have neighbours.”7 Context counts no matter the size. Our rivers are not yet streams. REFERENCES 1 Kazi Khaleed Ashraf, ‘Note from the Director General: Land, Water and Settlements’. bengal.institute/about Accessed 29.12.2024. 2 Ashley Westerman, 2019, “Should rivers have same legal rights as humans? A growing number of voices say yes”, National Public Radio. npr.org/2019/08/03/740604142 3 August 2019. 3 Kazi Khaleed Ashraf, ‘Note from the Director General: Land, Water and Settlements’. bengal.institute/about Accessed 29.12.2024. 4 Kazi Khaleed Ashraf, ‘Wet Narratives: Architecture Must Recognise that the Future is Fluid’ in The Mother Tongue of Architecture: Selected writings of Kazi Khaleed Ashraf. ORO Editions and Bengal Institute for Architecture, Landscape and Settlements, China: p. 251. 5 Ibid. 6 Adnan Morshed, 2017, ‘Modernism as Postnationalist Politics: Muzharul Islam’s Faculty ofFine Arts’, Journal of the Society of Architectural Historians, 2017. 7 Salauddin Ahmed, 2024, “Design must not be a superimposed idea, but a logical one”, The Daily Star, Dhaka, 25 December 2024. #essay #bangladesh

Building with Communities: Rural Schools That Integrate Local Techniques and Materials in Latin AmericaSave this picture!Jerusalén de Miñaro Primary School / Semillas. Image © Eleazar CuadrosIn an effort to foster a sense of belonging among its inhabitants, to value ancestral cultures, and to preserve identity, the Latin American region embraces an architecture rich in nuances and regional characteristics. The use of local materials and construction techniques, or the dialogue between modular and vernacular approaches, among other aspects, reflect the intention to promote the involvement of native communities, students and their families, Iindigenous peoples, and local builders in the design and construction processes of a wide variety of rural schools throughout Latin America.According to the World Bank report, "Indigenous Latin America in the Twenty-First Century", it is estimated that around 42 million people belonging to indigenous communities live in Latin America. Mexico, Guatemala, Peru, and Bolivia are among the countries with the largest Indigenous populations, together accounting for over 80% of the regional total. From an architectural perspective, maintaining a dialogue that understands and respects the cultural and spiritual particularities of Indigenous peoples enables projects that preserve their identity and reflect their cultural heritage. La Piedra School by Correa 3 Arquitectos in Chile, for example, is designed for the Mapuche community of Galvarino, incorporating elements such as the circle, the cardinal points, and orthogonality, along with the integration of the sun, moon, and earth, and a space dedicated to ceremonies with the sacred Canelo tree. Beyond fulfilling educational needs, the aim is to promote equality and a connection with nature and spirituality, reflected in the circular arrangement of the classrooms and the admission of the first ray of sunlight. In this way, the fundamental elements of their worldview are embedded in the project's conception. this picture!Continuing within the educational context, practices such as the Semillas association in the Peruvian jungle combine community engagement and participation with the implementation of bioclimatic strategies and the use of local resources, aiming to create an architecture that is connected to its natural environment and cultural history. Understanding the role of educational infrastructure as more than just school buildings, but as versatile and multifunctional spaces with a meaningful impact on community learning and development, collective collaboration practices seek to transmit concepts and knowledge about vernacular architecture while also meeting essential needs. The use of earth, wood, bamboo, brick, caña brava, and other materials reflects the diversity of construction methods and local identities found throughout Latin America’s varied geographies. Related Article Inhabited Landscapes: 20 Cultural and Community Centers in Rural Areas this picture!Below, discover a selection of six rural schools located in Mexico, Peru, and Brazil that have developed initiatives to involve local communities, along with their students and families, at different stages of the design and construction process. Lightweight structures, sloped roofs, flexible enclosures, and open-plan layouts are common elements shared among these six case studies, which demonstrate a broad range of community-driven responses and interventions suited to different conditions and environments. In fact, the use of wood and bamboo stands out in both interior and exterior spaces for its application in structures, furnishings, and finishes.Rural School in Oaxaca / Territorio EstudioSan Andrés Huayapam, MexicoSave this picture!After reflecting on the nature of contemporary educational spaces, the Rural School in Oaxaca uses recycled construction materials or materials sourced from within the local community in an effort to strengthen the bond between students, their environment, and the surrounding landscape. Additionally, the program becomes entirely educational by involving students in the regenerative processes taking place in the school’s open areas, such as a wetland for water treatment, a community garden, composting, and enclosures for sheep and chickens, all of which are part of the educational approach. In this way, the mostly local teaching staff aims to promote a closer social relationship between the local population and the school space.this picture!El Huabo Primary and Secondary School / SemillasPeruSave this picture!In the jungle of northern Peru, the primary and secondary school for the village of El Huabo was developed through a participatory design and construction process involving the community and students. Through a carpentry workshop, students built school furniture during “Education for Work” classes, while landscaping workshops were held to improve the school gardens in cooperation with the La Agencia Agraria de San Ignacio. Moreover, an educational coffee farm was established thanks to collaboration with the company Volcafe. All these actions enabled multiple educational projects to run in parallel with the school’s construction, resulting in what the project team calls a “living school,” where the beneficiaries are also the creators.this picture!Ecoara Waldorf School / Shieh Arquitetos AssociadosValinhos, BrazilSave this picture!The Waldorf Ecoara School is an associative school where parents play an active role. As a result, a construction activity was created to foster a sense of belonging within the group. The walls were built using the traditional taipa de mão technique, which involves weaving vertical and horizontal wooden slats into the main structure to form large panels that are then filled with compacted clay. This activity, carried out by both parents and children, was both playful and symbolic. In addition, specialists in rammed earth provided hands-on training for the Ecoara community and construction workers. The idea was to promote the use of this technique, largely forgotten in its traditional form and still rarely used in its modern variant, while incorporating appropriate technological controls for the material mix.this picture!Jerusalén de Miñaro Primary School / SemillasSan Martín de Pangoa, PeruSave this picture!In the district of Pangoa, the project proposes an integrated work methodology involving cooperation among various national and international institutions and the community’s participation in every phase. During the diagnostic and design stages, workshops were held with students, parents, and teachers to identify the community’s needs, daily dynamics, and aspirations for the future school. Construction was guided by master builders and local workers, enabling the transfer of knowledge through on-site experience as well as training workshops throughout the process. In this way, the project initiates processes that foster knowledge exchange, revalue local material and human resources, and promote flexible spaces aligned with new educational approaches.this picture!Grow your School / Lucila Aguilar ArquitectosTuzantán, Chiapas, MexicoSave this picture!Aiming to improve the conditions of a school in the Unión Mexicana community in Tuzantán, Chiapas, the project combined pre-existing elements with new additions. Community volunteer participation was fundamental, as many of the construction tasks were carried out by locals. Children also took part in the rehabilitation activities by painting a mural on one of the facades. The goal was to nurture the children’s potential while fostering a sense of unity among community members, who were actively involved from the planning phase through to construction.this picture!Children Village / Rosenbaum + Aleph ZeroFormoso do Araguaia, BrazilSave this picture!The Children Village project advances efforts toward transformation, cultural preservation, the promotion of local building techniques, Indigenous beauty and knowledge, and the construction of a sense of belonging, vital for the development of the children at the Canuanã School. Interactive spaces such as a TV room, reading areas, balconies, patios, and hammocks make up the complementary facilities co-designed with the students to enhance quality of life and strengthen their connection to the school. In addition to housing more children, the new “villages” aim to boost the children’s self-esteem through the use of local techniques, building a bridge between vernacular methods and a new model of sustainable living.this picture! This article is part of an ArchDaily curated series that focuses on built projects from our database grouped under specific themes related to cities, typologies, materials, or programs. Every month, we will highlight a collection of structures that find a common thread between previously uncommon contexts, unpacking the depths of influence on our built environments. As always, at ArchDaily, we highly appreciate the input of our readers. If you think we should mention specific ideas, please submit your suggestions. Image gallerySee allShow less About this authorAgustina IñiguezAuthor••• Cite: Iñiguez, Agustina. "Building with Communities: Rural Schools That Integrate Local Techniques and Materials in Latin America"24 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 #building #with #communities #rural #schools

Remanso Cultural Institute / UltraSave this picture!© Cristiano BauceLearning, Adaptive Reuse•Porto Alegre, RS - Brazil, Brazil Architects: Ultra Area Area of this architecture project Area:  320 m² Year Completion year of this architecture project Year:  2024 Lead Architect: Arthur Lauxen More SpecsLess Specs this picture! Text description provided by the architects. Renovating buildings with historical value is always a challenge. Respecting the history while accommodating new uses of contemporary life both instigates and fascinates us. The renovation of this 1930s house, in addition to preserving and highlighting the most significant elements of its past, aimed to adapt the spaces to their new purpose.this picture!The project is located in the Independência neighborhood, in Porto Alegre, within an almost century-old house. The complete renovation of this historic home, which began in 2023 and was completed in 2024, was an ambitious but necessary project to bring to life the hidden potential within its walls.this picture!The intervention on the facade sought to highlight the contrast between the existing building, through the peeling back of the bricks on the second floor, and the introduction of new elements, such as the sinuous blue metalwork that marks the two main entrances and resolves technical issues of the building. The inspiration for this striking element came from the foundation's name, Remanso, which alludes to a curved section of the coastline or the bank of a river forming a kind of tranquil cove. The element divides the flows of access to the gallery, which is achieved through the staircase attached to the building and provides direct access to the courtyard and the store.this picture!this picture!The immersive experience in the artistic universe features multifunctional exhibition spaces equipped to host different types of artistic expressions. The Cultural Institute supports artists by providing studios, which have been designed as well-lit environments with balconies overlooking the courtyard. In addition to these spaces, the institution has classrooms for courses, a reading room, a store, administrative offices, and a large courtyard, which will soon merge with the courtyard of a café next door.The auditorium, with a capacity for 30 people, not only provides space for lectures, presentations, and cultural performances but also stands out for its opportunity for integration with the outdoor environment. Through the opening of the back of the stage, it connects to the bleachers located in the courtyard, providing a unique experience where indoor and outdoor events seamlessly blend.this picture!Designed to be an inviting space for contemplation, the house's courtyard guides the user through winding flowerbeds. The space is versatile and can host fairs, events, and various cultural manifestations, featuring bleachers that invite lingering, unfolding and integrating with the designed curves.this picture! Project gallerySee allShow less Project locationAddress:Porto Alegre, RS - BrazilLocation to be used only as a reference. It could indicate city/country but not exact address.About this officeUltraOffice••• Published on May 23, 2025Cite: "Remanso Cultural Institute / Ultra"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 #remanso #cultural #institute #ultra

From office politics to salary negotiations, treating work like a strategy game can give you a ... More real-world edge. But should you?getty I recently had a revealing conversation with a friend — a game developer — who admitted, almost sheepishly, that while he was fluent in the mechanics of game theory, he rarely applied it outside of code. That got me thinking. For most people, game theory lives in two corners of life: economics classrooms and video games. It’s a phrase that evokes images of Cold War negotiations or player-versus-player showdowns. And to their credit, that’s grounded. At its core, game theory studies how people make decisions when outcomes hinge not just on their choices, but on others’ choices too. Originally a mathematical model developed to analyze strategic interactions, it’s now applied to everything from dating apps to corporate strategy. But in real life, nobody is perfectly rational. We don’t just calculate; we feel, too. That’s where the brain kicks in. According to the “Expected Value of Control” framework from cognitive neuroscience, we calibrate our effort by asking two questions: How big is the reward? How much control do I have in getting it? When both answers are high, motivation spikes. When either drops, we disengage. Research shows this pattern in real time — the brain works harder when success feels attainable. Play Puzzles & Games on Forbes This mirrors game theory’s central question: not just what the outcomes are, but whether it’s worth trying at all. Using a game theory lens in a professional setting, then, can be messy and sometimes bring unwanted emotional repercussions. The saving grace, however, is that it’s somewhat intuitively patterned and, arguably, predictable. So should you actually apply game theory to your professional life? Yes, but not as gospel, and not all the time. Being too focused on identifying, labeling and trying to “win” every interaction can backfire. It can make you seem cold and calculating, even when you’re not, and it can open the door to misunderstandings or quiet resentment. Put simply, it’s important to be aware of how your choices affect others and how theirs affect yours, but it’s also dangerously easy for that awareness to tip over into an unproductive state of hyperawareness. Game theory is a legitimately powerful lens — but like any lens, it should be used sparingly and with the right intentions. Pick your battles, and if you’re curious how to apply it in your own career, start with clarity, empathy and a telescope and compass. Use these not to dominate the game, but to understand it and play it to the best of your abilities, so everyone wins. 1. Establish Competence For Yourself And Assume It From Others There’s a popular saying in hustle culture: work smarter, not harder. At first glance, it makes sense — but in elite professional environments, it’s a rather reductive and presumptuous approach. The phrase can carry the implication that others aren’t working smart or that they aren’t capable of working smart. But in high-performing teams, where stakes are real and decisions have impact, most people are smart. Most are optimizers. And that means “working smart” will only take you so far before everyone’s doing the same. After that, the only edge left is consistent, high-quality production — what we generalize as hard work. From a game theory lens, this type of hard work essentially increases your odds. Overdelivering, consistently and visibly, skews the probability curve in your favor. You either become impossible to ignore, or highly valuable. Ideally, aim for both. And here’s where the real move comes in: assume the same of others. In most multiplayer games, especially online ones, expecting competence from your opponents forces you to play better. It raises the floor of your expectations, improves collaboration and protects you from the trap of underestimating the consequences of your actions. Take chess, for example. In a large study of tournament players, researchers found that serious solo study was the strongest predictor of performance, even more than formal coaching or tournament experience. Grandmasters, on average, had put in nearly 5,000 hours of deliberate study in their first decade of serious play. This is about five times more than intermediate players. This is why in a game of chess between one grandmaster and another, neither player underestimates the other. 2. Exploit The Parts Of Work That Don’t Feel Like Work To You My friend told me he rarely applies game theory outside of code. But the more he talked about his work, the more obvious it became that the man lives it. He’s been into video games since he was a child, and now, as an adult, he gets paid to build what he used to dream about. Sure, he has deadlines, targets and a minimum number of hours to log every week — but to him, those are just constraints on paper. What actually drives him is the intuitive thrill of creation. Everything else is background noise that requires calibration, not deference. This is where game theory can intersect with psychology in an actionable way. If you can identify aspects of your work that you uniquely enjoy — and that others may see as tedious, difficult or draining — you may have found an edge. Because in competitive environments, advantage is often about doing the same amount with less psychological cost. In game theory terms, you’re exploiting an asymmetric payoff structure, where your internal reward is higher than that of your peers for the same action. When others see effort, you feel flow. That makes you highly resilient and harder to outlast. It’s also how you avoid falling into the trap of accepting a Nash equilibrium. This is a state where each person settles on a strategy that feels rational given everyone else’s, even if the group as a whole is stuck in mediocrity. No one deviates, because no one has an incentive to, unless someone changes the underlying payoff structure. For example, imagine a team project where everyone quietly agrees to put in just enough effort to get by, no more, no less. It feels fair, and no one wants to overextend. But if even one person realizes they could stand to gain by going above that baseline, they have an incentive to break the agreement. The moment they do, the equilibrium collapses, because now others are pressured to step up or risk falling behind. In a true equilibrium, each person’s strategy is the best possible response to what everyone else is doing. No one gains by changing course. However, when your internal motivation shifts the reward equation, you may begin to question the basis of the equilibrium itself. Be aware, in any case, that this is a tricky situation to navigate, especially if we contextualize this from the point of view of the stereotypical kid in class who reminds their teacher about homework. Even if the child acts in earnest, they may unintentionally invite isolation both from their peers and, sometimes, from the teachers themselves. This is why the advice to “follow your passion” often misfires. Unless there’s a clear definition of what constitutes passion, the advice lands as too vague. A more precise version is this: find and hone a valuable skill that energizes you, but might drain most others. 3. Follow The Money Only Far Enough To Find The Game There’s a certain kind of professional who doesn’t chase money for money’s sake. Maybe he writes code for a game studio as a day job, writes blogs on the side and even mentors high school kids on their computer science projects. But this isn’t so much about padding his lifestyle or building a mountain of cash. What he’s really doing is looking for games: intellectually engaging challenges, satisfying loops and rewarding feedback. In a sense, he’s always gaming, not because he’s avoiding work, but because he’s designed his life around what feels like play. This mindset flips the usual money narrative on its head. And ironically, that’s often what leads to sustainable financial success: finding personal fulfillment that makes consistent effort easier for you and everyone around you. In game theory, this is a self-reinforcing loop: the more the game rewards you internally, the less you need external motivation to keep showing up. So instead of asking, “What’s the highest-paying path?” — ask, “Which games would I play even if I didn’t have to?” Then, work backward to find ways to monetize them. This does two incredibly valuable things in tandem: It respects the system you’re in, and it respects the goals you personally hold dear. While game theory maps workplace social behavior reasonably well, constantly remaining in a heightened state of awareness can backfire. Take the Self-Awareness Outcomes Questionnaire to better understand if yours is a blessing or a curse. #ways #game #theory #could #benefit

When critiquing a movie – not a film, a movie – like Fear Street: Prom Queen, it helps to approach it with a generous spirit. Shallow characters, predictable storylines, wooden performances, “high schoolers” in their mid-30s: All of these can be forgivable, even charming, in the context of an ’80s-set teen slasher. But certain rules have to be followed in order to receive this grace, the most important of which is that the kill scenes have to deliver the brutal and bloody goods. Unfortunately, the latest entry in Netflix’s Fear Street series fails to satisfy even this requirement.Prom Queen comes laden with lore, both from R.L. Stine’s original Fear Street books and the 2021 movie trilogy inspired by them. Returning to the fictional location of the titular road – Shadyside, Ohio – director Matt Palmer winds the clock back to 1988, adding a new point on the timeline of a small town that’s cursed to recreate scenarios from popular horror films every 10 years or so. Stine's Prom Queen book then provides the structure, setting up five candidates for the top prize at Shadyside High’s spring formal and then knocking them off one by one because, ya know, curse. There are gestures towards a larger arc about the adults in the town, and how they perpetuate these periodic massacres; the movie is lazy about it, however, as it is about everything. This is all laid out in the mind-numbing script, in which characters repeat their full names and places in the Shadyside social hierarchy multiple times after they’ve already been laid out in a lengthy opening voiceover. That’s expected for Netflix, whose notes for screenwriters allegedly include a mandate that characters announce their actions and intentions so that viewers who are paying attention to something else – their phone, their laundry, a misbehaving pet – can follow along. With its long, airless stretches and sleepy performances, however, Prom Queen struggles to maintain even a halfhearted level of interest: Late in the story, one of the teenage leads reacts to the “shocking” reveal of the killer by pulling the same face one might make after biting into a lukewarm hamburger.To be fair to the young performers, the adult cast – including Katherine Waterston, who’s given lively performances elsewhere – is as awful as the teen one, wooden and sleepy and seemingly uninterested in what’s happening around them. There are two exceptions, both of them attributable to natural charisma: Lili Taylor exudes warmth as an ex-nun turned vice principal, while Red Rocket’s Suzanna Son actually brings personality to her role as the BFF of final girl Lori Granger.Fear Street: Prom Queen GalleryProm Queen plays to its audience by shifting Son’s Megan – a “stoner, horror nerd, and my best friend,” as Lori describes her – into a heroic role as the body count rises. Megan’s devotion to Lori is fierce and full of tension, and when she arrives at prom in a suit with slicked-back hair, for a moment it seems as if Prom Queen is about to get interesting. But, disappointingly, any suggestion that the girls are going to get together remains just that, and Lori is paired off with a generic jock who we know is a nice guy because he said “thank you” when she brought him a plate of fries in an earlier scene. One noticeable difference between actual ’80s teen slasher movies and the 21st-century pastiches they inspire is that the bullying is much less vicious in the modern films. That’s another negative here, as Prom Queen attempts a satirical take by making popular girl Tiffany Falconera miserable prisoner of her own perfectionism. But she’s just not mean enough – to Lori, to her friends, or to herself – for this angle to work. Playing against the similarly listless Lori, their prom-based rivalry culminates with a halfhearted dance-off that leaves nothing on the floor but the viewer's time. Again, if these mild sequences contrasted with effective – or even just disgusting – horror, they’d be forgivable. But Prom Queen doesn’t try that hard to scare its audience, either. There are some good ideas here: One kill involves the extremely dangerousguillotine paper cutters that once threatened fingertips in offices and classrooms around the world. But the tension in these scenes is practically nonexistent, a problem that’s made worse by anemic sound effects and Halloween-store quality gore.Even the kills in Prom Queen fail to satisfy.“One small, but telling sign of Prom Queen’s all-around indifference is the construction of the teens’ dance outfits, which lack the outrageous kitsch of actual ‘80s prom dresses. They’re just knee-length A-line skirts sewed to simple bodices with unfinished seams and maybe a ruffle on the shoulder, and they look like a costumer missed a deadline and knocked out a dozen of them on set that morning. That’s just speculation, of course; maybe the wardrobe department was prepared, and it's Palmer who didn’t care enough to pay attention to this particular detail. But if care wasn’t put into the costumes, or the performances, or the script, or the gore, then where did it go? And, more importantly, if the people making it didn’t try that hard, why should we bother to press play? Netflix has an answer to this, too: Prom Queen, like any movie produced by the streaming service, is just a ploy to keep us logged in, designed to autoplay when we stand up to use the bathroom or get a snack after finishing something more engaging. And it shows. #fear #street #prom #queen #review

The Multifunctional Art Center of Lhozhag County Middle School / Shenzhen Huahui DesignSave this picture!© Right Angle ImageVisual Arts Center•Shannan, China Architects: Shenzhen Huahui Design Area Area of this architecture project Area:  6009 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Right Angle Image Lead Architects: XIAO Cheng More SpecsLess Specs this picture! Text description provided by the architects. The site of our multifunctional art center project is located within Lhozhag Middle School, the county's junior high campus. Funded and built by COFCO Group, the project aims to create a composite art education space that serves as a cross-cultural exchange venue for school staff and students, local residents, international tourists, and artists visiting Tibet.this picture!this picture!The Weaving and Reconstruction of the Landscape. The site of Lhozhag County Middle School is situated with the mountains to the south and a road to the north. Beyond the road lies a martyrs' memorial square, and further north are National Highway 219 and the Lhozhag Gorge. The campus has undergone construction in different periods, resulting in a fragmented layout dominated by dispersed linear buildings. This has prevented the formation of a cohesive spatial order. Therefore, one of our key objectives is to take this opportunity to reorganize and construct a more organic relationship between the elements of the site. Additionally, the site has a noticeable elevation difference, which, if utilized properly, offers the potential to create more dynamic and engaging spaces.this picture!this picture!Given the limited area of the site, the design adopts an "embedded" strategy. The first step involves demolishing the existing staff activity room directly facing the school entrance and incorporating it into the new building volume. This move creates a continuous central axis through the campus. The new building is arranged in a compact L-shaped mass at the southern end of this axis, forming a spatial sequence that connects the main entrance of the campus, the front yard, and the small plaza at the entrance to the multifunctional art center. When viewed on a larger scale, the multifunctional center to the south, facing the mountains, and the memorial square to the north, facing the water, create an urban spatial axis within the limited depth of the southern part of Lhozhag County.this picture!this picture!Massing Configuration and Spatial Morphology. Situated at the northern foothills of a south-facing mountain slope, the project site is constrained by limited space towards the south, making optimal natural daylighting from this direction difficult to achieve. In response, the design incorporates various forms of skylights to maximize solar utilization. The main structure of the Multi-Functional Center is composed of two primary volumes—one linear and one cubic. The elongated volume is organized in a "sandwich-like" spatial configuration, consisting of two solid masses and a narrow central atrium. Flanking the double-height skylit atrium—serving as a hub for circulation, exhibitions, and gatherings—are small-scale spaces housing art classrooms and studios. The square volume contains a 700-seat auditorium, with a skylit side hall designed along its lateral facade.this picture!this picture!this picture!These two volumes are arranged in a near-perpendicular relationship, a deliberate response to both the site's spatial axis and the surrounding buildings. Considering the site's topography, a subtle elevation difference is established between the two forms. The roof of the auditorium becomes a highly accessible outdoor activity platform. On this rooftop, several small, south-facing structures with windows are designed to offer engaging and playful spaces for students' extracurricular activities. Between the main building's southern edge and the northward-sloping mountain base lies a narrow wedge-shaped courtyard, functioning as a "miniature gorge" between architecture and terrain—an extension of both outdoor exhibition areas and indoor activity spaces.this picture!this picture!this picture!Low-Tech Construction and Contextual Integration. Our intention was to express the project's sense of place through a distilled contemporary architectural language—one that remains restrained and respectful in its articulation. The surrounding context—both its unrefined natural landscape and the neighboring built forms—exudes a raw, elemental force that speaks to the site's primal character. Each day, the children's recitations echo through the arms of the mountains, mingling with the distant sound of the Lhozhag Valley stream. I envisioned the new building as a stone emerging from the mountain itself—something that sparks curiosity while also evoking a quiet familiarity. It is curious in the way it appears as a white "magic box" filled with intriguing spatial experiences; yet familiar in its subtle dialogue with the surrounding built environment, sharing a common architectural language. This "stone" is firmly grounded in the land—solid, steady, and reassuring.this picture!this picture!At the main entrance façade, we designed what could be described as a "Mondrian frame" for Lhozhag. Through a composition of solids and voids, light and reflection, the façade glass is broken down into mirrored panels of varying sizes and hues. These reflections—of the sky, the snow-capped peaks, the building, and the children themselves—create a sense of "familiar strangeness", subtly provoking curiosity and encouraging exploration in their daily routines.Construction methods employ conventional, locally executable techniques, prioritizing recyclable regional materials. Skylight configurations enhance natural daylighting and thermal mass performance, significantly reducing heating energy use in winter.this picture!this picture!The Canyon of Light. The "Light Canyon Atrium" serves as the spiritual and spatial core of the entire building. It is both an abstract interpretation of Lhozhag's dramatic natural terrain and a contemporary reimagining of the essential qualities of traditional Tibetan architecture.Inspired by the idea that "sunlight breathes life into the canyon, where daily routines unfold", the design celebrates this raw, vibrant energy through spatial scale, light quality, and chromatic composition.this picture!this picture!Upon entering from the foyer, one ascends a multipurpose stepped platform to the second floor and then turns—only to be met with a breathtaking atrium measuring 60 meters in length, 7 meters in width, and 14 meters in height. This vertical void captures abundant daylight from above, extending across the building to link diverse functional zones. It gathers the distant landscape into its frame, forging a dialogue between interior and exterior, architecture and nature. The experience is ever-changing—one may pass through, pause, encounter, gaze into or out of it—each movement revealing new spatial surprises. Witnessing children in colorful attire moving through the longitudinally unfolding space, where the indoor sky seamlessly merges with the real one beyond, and distant mountains appear to embrace the end of the axis, the envisioned scenarios have materialized as intended.this picture!this picture!Here, light is "combed" through a kaleidoscopic filter—a gesture that feels uniquely appropriate to Tibet's vivid natural palette. White walls act as canvases for sunlight's seasonal performances, while solid-colored interior corridors peek through varying-sized apertures, adding layers of visual liveliness. Ultimately, the "Canyon of Light" became the guiding concept of the entire project. Through a dialogue between architecture and environment, and a fusion of tradition and modernity, the project creates a space that is both functional and poetic—an iconic centerpiece for Lhozhag County Middle School and a cultural threshold for exchange between campus and community. Yet above all, we hope the true owners of the space are the students themselves. On holidays, when children in traditional Tibetan dress gather here to play and laugh, the scene feels so naturally harmonious that it evokes a beautiful illusion: as if this building has always been here， growing with the children, quietly witnessing the passage of time.this picture!The "Roots" and "Wings" of Culture. The 2017 Pritzker Prize-winning Spanish firm RCR Arquitectes articulated a profound view on locality: "We believe that harmony with nature means that architecture must deeply understand its surrounding environment. While we embrace globalization, we hope our architecture remains firmly rooted in its place. We often say that architecture needs both 'roots' and 'wings.' The three of us each have our own origin, something intrinsic that resides within us. Even as we move from one place to another, this origin remains unchanged—it is the product of a place, a climate, and a culture. The world is becoming increasingly interconnected, but we believe that understanding and respecting these origins is essential. They enrich the shared creative force that expresses who we are, and that is deeply important."this picture!In Lhozhag, the younger generation navigates a cultural tug-of-war: between their deep Tibetan heritage and the currents of modernity. Like the mirrored facades that reflect distant snow-capped mountains, village rooftops, ancient monasteries, and colorful prayer flags by day—with the children's own figures merging into these scenes—the architecture becomes a metaphor for cultural identity. "Who are you?" "Where do your roots lie?" When they see themselves in these reflections, they encounter both their homeland and the coexistence of their culture with the wider world. Through architectural language, the project aims to show that they need not choose between tradition and modernity but can balance both—rooted in their cultural soil while courageously reaching outward. May the light of the canyon forever illuminate the path in these children's hearts.this picture! Project gallerySee allShow less Project locationAddress:Shannan, ChinaLocation to be used only as a reference. It could indicate city/country but not exact address.About this office MaterialsGlassConcreteMaterials and TagsGlass #multifunctional #art #center #lhozhag #county

May 21, 202522 min readMildred Weeks Wells’s Work on Airborne Transmission Could Have Saved Many Lives—If the Scientific Establishment ListenedMildred Weeks Wells and her husband figured out that disease-causing pathogens can spread through the air like smoke Dutton; Lily WhearAir-Borne: The Hidden History of the Life We Breathe, by Carl Zimmer, charts the history of the field of aerobiology: the science of airborne microorganisms. In this episode, we discover the story of two lost pioneers of the 1930s: physician and self-taught epidemiologist Mildred Weeks Wells and her husband, sanitary engineer William Firth Wells. Together, they proved that infectious pathogens could spread through the air over long distances. But the two had a reputation as outsiders, and they failed to convince the scientific establishment, who ignored their findings for decades. What the pair figured out could have saved many lives from tuberculosis, SARS, COVID and other airborne diseases. The contributions of Mildred Weeks Wells and her husband were all but erased from history—until now.LISTEN TO THE PODCASTOn supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.TRANSCRIPTCarl Zimmer: Mildred is hired in the late 1920s to put together everything that was known about polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads.At the time, the idea that it could spread through the air was really looked at as being just an obsolete superstition. Public health experts would say, look, a patient's breath is basically harmless. But the epidemiology looks to her like these germs are airborne, and this goes totally against the consensus at the time.Carol Sutton Lewis: Hello, I'm Carol Sutton Lewis. Welcome to the latest episode of Lost Women of Science Conversations, where we talk with authors and artists who've discovered and celebrated female scientists in books, poetry, film, and the visual arts.Today I'm joined by Carl Zimmer, an award-winning New York Times columnist and the author of 15 books about science. His latest book, Airborne: The Hidden History of the Life We Breathe, focuses on the last great biological frontier: the air. It presents the history of aerobiology, which is the science dealing with the occurrence, transportation, and effects of airborne microorganisms.The book chronicles the exploits of committed aerobiologists from the early pioneers through to the present day. Among these pioneers were Mildred Weeks Wells and her husband, William Firth Wells.Airborne tells the story of how Mildred and William tried to sound the alarm about airborne infections, but for many reasons, their warnings went unheard.Welcome, Carl Zimmer. It's such a pleasure to have you with us to tell us all about this fascinating woman and her contributions to science.Can you please tell us about Mildred Weeks Wells—where and how she grew up and what led her to the field of aerobiology?Carl Zimmer: She was born in 1891, and she came from a very prominent Texas family—the Denton family. Her great-grandfather is actually whom the city of Denton, Texas is named after. Her grandfather was a surgeon for the Confederate Army in the Civil War, and he becomes the director of what was called then the State Lunatic Asylum.And he and the bookkeeper there, William Weeks, are both charged with embezzlement. It's a big scandal. The bookkeeper then marries Mildred's mother. Then, shortly after Mildred's born, her father disappears. Her mother basically abandons her with her grandmother. And she grows up with her sister and grandmother in Austin, Texas. A comfortable life, but obviously there's a lot of scandal hanging over them.She is clearly incredibly strong-willed. She goes to medical school at the University of Texas and graduates in 1915, one of three women in a class of 34. That is really something for a woman at that point—there were hardly any women with medical degrees in the United States, let alone someone in Texas.But she books out of there. She does not stick around. She heads in 1915 to Washington, D.C., and works at the Public Health Service in a lab called the Hygienic Laboratory. Basically, what they're doing is studying bacteria. You have to remember, this is the golden age of the germ theory of disease. People have been figuring out that particular bacteria or viruses cause particular diseases, and that knowledge is helping them fight those diseases.It's there in Washington at this time that she meets a man who will become her husband, William Firth Wells.Carol Sutton Lewis: Just a quick aside—because we at Lost Women of Science are always interested in how you discover the material in addition to what you've discovered. How were you able to piece together her story? What sources were you able to find? It seems like there wasn't a lot of information available.Carl Zimmer: Yeah, it was a tough process. There is little information that's really easy to get your hands on. I mean, there is no biography of Mildred Wells or her husband, William Firth Wells.At the Rockefeller archives, they had maybe 30 document boxes full of stuff that was just miraculously conserved there. There are also letters that she wrote to people that have been saved in various collections.But especially with her early years, it's really tough. You know, in all my work trying to dig down for every single scrap of information I could find of her, I have only found one photograph of her—and it's the photograph in her yearbook. That’s it.Carol Sutton Lewis: You talked about that photograph in the book, and I was struck by your description of it. You say that she's smiling, but the longer you look at her smile, the sadder it becomes. What do you think at that young age was the source of the sadness?Carl Zimmer: I think that Mildred grew up with a lot of trauma. She was not the sort of person to keep long journals or write long letters about these sorts of things. But when you've come across those clues in these brief little newspaper accounts, you can kind of read between the lines.There are reports in newspapers saying that Mildred's mother had come to Austin to pay a visit to Mildred because she had scarlet fever when she was 10, and then she goes away again. And when I look at her face in her yearbook, it doesn't surprise me that there is this cast of melancholy to it because you just think about what she had gone through just as a kid.Carol Sutton Lewis: Oh. Absolutely. And fast forward, she meets William and they marry. They have a son, and they start collaborating. How did that begin?Carl Zimmer: The collaboration takes a while. So William Wells is also working at the Public Health Service at the time. He is a few years older than Mildred and he has been trained at MIT as what was called then a sanitarian. In other words, he was going to take the germ theory of disease and was going to save people's lives.He was very clever. He could invent tests that a sanitarian could use, dip a little tube into a river and see whether the water was safe or not, things like that. He was particularly focused on keeping water clean of bacteria that could cause diseases like typhoid or cholera and he also, gets assigned by the government to study oysters because oysters, they sit in this water and they're filtering all day long. And you know, if there's bacteria in there, they're going to filter it and trap it in their tissues. And oysters are incredibly popular in the early nineteen hundreds and a shocking number of people are keeling over dying of typhoid because they're eating them raw. So William is very busy, figuring out ways to save the oyster industry. How do we purify oysters and things like that? They meet, they get married in 1917.In 1918 they have a child, William Jr. nicknamed Bud. But William is not around for the birth, because he is drafted into the army, and he goes off to serve. in World War I.Carol Sutton Lewis: So Mildred is at home with Bud and William's off at the war. But ultimately, Mildred returns to science. A few years later, where she is hired as a polio detective. Can you tell me a little bit about what the state of polio knowledge was at the time and what precisely a polio detective did?Carl Zimmer: It doesn't seem like polio really was a thing in the United States until the late 1800s. And then suddenly there's this mysterious disease that can strike children with no warning. These kids can't. walk, or suddenly these kids are dying. Not only are the symptoms completely terrifying to parents, but how it spreads is a complete mystery. And so Mildred, seems to have been hired at some point in the late 1920s To basically put together everything that was known about polio to help doctors to deal with their patients and to, you know, encourage future science to try to figure out what is this disease.You know, Mildred wasn't trained in epidemiology. So it's kind of remarkable that she taught herself. And she would turn out to be a really great epidemiologist. But, in any case, She gets hired by the International Committee for the Study of Infantile Paralysis, that was the name then for polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads. Case studies where, in a town, like this child got polio, then this child did, and did they have contact and what sort of contact, what season was it? What was the weather like? All these different factors.And one thing that's really important to bear in mind is that, at this time, the prevailing view was that diseases spread by water, by food, by sex, by close contact. Maybe like someone just coughs and sprays droplets on you, but otherwise it's these other routes.The idea that it could spread through the air was really looked at as being just obsolete superstition. for thousands of years, people talked about miasmas, somehow the air mysteriously became corrupted and that made people sick with different diseases. That was all thrown out in the late 1800s, early 1900s when germ theory really takes hold. And so public health experts would say, look, a patient's breath is basically harmless.Carol Sutton Lewis: But Mildred doesn't agree, does she?Carl Zimmer: Well, Mildred Wells is looking at all of this, data and she is starting to get an idea that maybe these public health experts have been too quick to dismiss the air. So when people are talking about droplet infections in the 1920s, they're basically just talking about, big droplets that someone might just sneeze in your face. But the epidemiology looks to her like these germs are airborne, are spreading long distances through the air.So Mildred is starting to make a distinction in her mind about what she calls airborne and droplet infections. So, and this is really the time that the Wellses collectively are thinking about airborne infection and it's Mildred is doing it. And William actually gives her credit for this later on.Carol Sutton Lewis: Right. and her results are published in a book about polio written entirely by female authors, which is quite unusual for the time.Carl Zimmer: Mm hmm. Right. The book is published in 1932, and the reception just tells you so much about what it was like to be a woman in science. The New England Journal of Medicine reviews the book, which is great. But, here's a line that they give, they say, it is interesting to note that this book is entirely the product of women in medicine and is the first book.So far as a reviewer knows. by a number of authors, all of whom are of the female sex. So it's this: Oh, look at this oddity. And basically, the virtue of that is that women are really thorough, I, guess. so it's a very detailed book. And the reviewer writes, no one is better fitted than a woman to collect data such as this book contains. So there's no okay, this is very useful.Carol Sutton Lewis: PatronizeCarl Zimmer: Yeah. Thank you very much. Reviewers were just skating over the conclusions that they were drawing, I guess because they were women. Yeah, pretty incredible.Carol Sutton Lewis: So she is the first to submit scientific proof about this potential for airborne transmission. And that was pretty much dismissed. It wasn't even actively dismissed.It was just, nah, these women, nothing's coming outta that, except William did pay attention. I believe he too had been thinking about airborne transmission for some time and then started seriously looking at Mildred's conclusion when he started teaching at Harvard.Carl Zimmer: Yeah. So, William gets a job as a low level instructor at Harvard. He's getting paid very little. Mildred has no income. He's teaching about hygiene and sanitation, but apparently he's a terrible teacher. But he is a clever, brilliant engineer and scientist; he very quickly develops an idea that probably originated in the work that Mildred had been doing on polio. that maybe diseases actually can spread long distances through the air. So there are large droplets that we might sneeze out and cough out and, and they go a short distance before gravity pulls them down. But physics dictates that below a certain size, droplets can resist gravity.This is something that's going totally against what all the, the really prominent public health figures are saying. William Wells doesn't care. He goes ahead and he starts to, invent a way to sample air for germs. Basically it's a centrifuge. You plug it in, the fan spins, it sucks in air, the air comes up inside a glass cylinder and then as it's spinning, if there are any droplets of particles or anything floating in the air, they get flung out to the sideS.And so afterwards you just pull out the glass which is coated with, food for microbes to grow on and you put it in a nice warm place. And If there's anything in the air, you'll be able to grow a colony and see it.Carol Sutton Lewis: Amazing.Carl Zimmer: It is amazing. This, this was a crucial inventionCarol Sutton Lewis: So we have William, who is with Mildred's help moving more towards the possibility of airborne infection, understanding that this is very much not where science is at the moment, and he conducts a really interesting experiment in one of his classrooms to try to move the theory forward. We'll talk more about that experiment when we come back after the break.MidrollCarol Sutton Lewis: Welcome back to Lost Women of Science Conversations. We left off as the Wellses were about to conduct an experiment to test their theories about airborne infections. Carl, can you tell us about that experiment?Carl Zimmer: Okay. it's 1934, It's a cold day. Students come in for a lecture from this terrible teacher, William Wells. The windows are closed. The doors are closed. It's a poorly ventilated room. About 20 minutes before the end of the class, he takes this weird device that's next to him, he plugs it into the wall, and then he just goes back and keeps lecturing.It's not clear whether he even told them what he was doing. But, he then takes this little pinch of sneezing powder. out of a jar and holds it in the sort of outflow from the fan inside the air centrifuge. So all of a sudden, poof, the sneezing powder just goes off into the air. You know, there are probably about a couple dozen students scattered around this lecture hall and after a while they start to sneeze. And in fact, people All the way in theback are sneezing too.So now Wells turns off his machine, puts in a new cylinder, turns it on, keeps talking. The thing is that they are actually sneezing out droplets into the air.And some of those droplets contain harmless bacteria from their mouths. And he harvests them from the air. He actually collects them in his centrifuge. And after a few days, he's got colonies of these bacteria, but only after he had released the sneezing powder, the one before that didn't have any.So, you have this demonstration that William Wells could catch germs in the air that had been released from his students at quite a distance away, And other people can inhale them, and not even realize what's happening. In other words, germs were spreading like smoke. And so this becomes an explanation for what Mildred had been seeing in her epidemiology..Carol Sutton Lewis: Wow. That was pretty revolutionary. But how was it received?Carl Zimmer: Well, you know, At first it was received, With great fanfare, and he starts publishing papers in nineteen thirty he and Mildred are coauthors on these. And, Mildred is actually appointed as a research associate at Harvard, in nineteen thirty it's a nice title, but she doesn't get paid anything. And then William makes another discovery, which is also very important.He's thinking okay, if these things are floating in the air, is there a way that I can disinfect the air? And he tries all sorts of things and he discovers ultraviolet light works really well. In fact, you can just put an ultraviolet light in a room and the droplets will circulate around and as they pass through the ultraviolet rays, it kills the bacteria or viruses inside of them. So in 1936, when he's publishing these results, there are so many headlines in newspapers and magazines and stuff about this discovery.There's one headline that says, scientists fight flu germs with violet ray. And, there are these predictions that, we are going to be safe from these terrible diseases. Like for example, influenza, which had just, devastated the world not long beforehand, because you're going to put ultraviolet lights in trains and schools and trolleys and movie theaters.Carol Sutton Lewis: Did Mildred get any public recognition for her contributions to all of this?Carl Zimmer: Well not surprisingly, William gets the lion's share of the attention. I mean, there's a passing reference to Mildred in one article. The Associated Press says chief among his aides, Wells said, was his wife, Dr. Mildred Wells. So, William was perfectly comfortable, acknowledging her, but the reporters. Didn't care,Carol Sutton Lewis: And there were no pictures of herCarl Zimmer: Right. Mildred wasn't the engineer in that couple, but she was doing all the research on epidemiology. And you can tell from comments that people made about, and Mildred Wells is that. William would be nowhere as a scientist without Mildred. She was the one who kept him from jumping ahead to wild conclusions from the data he had so far. So they were, they're very much a team. She was doing the writing and they were collaborating, they were arguing with each other all the time about it And she was a much better writer than he was., but that wasn't suitable for a picture, so she was invisible.Carol Sutton Lewis: In the book, you write a lot about their difficult personalities and how that impacted their reputations within the wider scientific community. Can you say more about that?Carl Zimmer: Right. They really had a reputation as being really hard to deal with. People would politely call them peculiar. And when they weren't being quite so polite, they would talk about all these arguments that they would get in, shouting matches and so on. They really felt that they had discovered something incredibly important, but they were outsiders, you know, they didn't have PhDs, they didn't have really much formal training. And here they were saying that, you know, the consensus about infectious disease is profoundly wrong.Now, ironically, what happened is that once William Wells showed that ultraviolet light could kill germs, his superior at Harvard abruptly took an intense interest in all of this and said, Okay, you're going to share a patent on this with me. My name's going to be on the patent and all the research from now on is going to happen in my lab. I'm going to have complete control over what happens next. And Mildred took the lead saying no way we want total autonomy, get out of our face. She was much more aggressive in university politics, and sort of protecting their turf. And unfortunately they didn't have many allies at Harvard and pretty soon they were out, they were fired. And William Wells and his boss, Gordon Fair, were both named on a patent that was filed for using ultraviolet lamps to disinfect the air.Carol Sutton Lewis: So what happened when they left Harvard?Carl Zimmer: Well, it's really interesting watching them scrambling to find work, because their reputation had preceded them. They were hoping they could go back to Washington DC to the public health service. But, the story about the Wells was that Mildred, was carrying out a lot of the research, and so they thought, we can't hire William if it's his wife, who's quietly doing a lot of the work, like they, for some reason they didn't think, oh, we could hire them both.Carol Sutton Lewis: Or just her.Carl Zimmer: None of that, they were like, do we hire William Wells? His wife apparently hauls a lot of the weight. So no, we won't hire them. It's literally like written down. It’s, I'm not making it up. And fortunately they had a few defenders, a few champions down in Philadelphia.There was a doctor in Philadelphia who was using ultraviolet light to protect children in hospitals. And he was, really, inspired by the Wellses and he knew they were trouble. He wrote yes, I get it. They're difficult, but let's try to get them here.And so they brought them down to Philadelphia and Mildred. And William, opened up the laboratories for airborne infection at the University of Pennsylvania. And now actually Mildred got paid, for the first time, for this work. So they're both getting paid, things are starting to look betterCarol Sutton Lewis: So they start to do amazing work at the University of Pennsylvania.Carl Zimmer: That's right. That's right. William, takes the next step in proving their theory. He figures out how to actually give animals diseases through the air. He builds a machine that gets to be known as the infection machine. a big bell jar, and you can put mice in there, or a rabbit in there, and there's a tube connected to it.And through that tube, William can create a very fine mist that might have influenza viruses in it, or the bacteria that cause tuberculosis. And the animals just sit there and breathe, and lo and behold, They get tuberculosis, they get influenza, they get all these diseases,Now, meanwhile, Mildred is actually spending a lot of her time at a school nearby the Germantown Friends School, where they have installed ultraviolet lamps in some of the classrooms. And they're convinced that they can protect kids from airborne diseases. The biggest demonstration of what these lamps can do comes in 1940, because there's a huge epidemic of measles. In 1940, there's, no vaccine for measles. Every kid basically gets it.And lo and behold, the kids in the classrooms with the ultraviolet lamps are 10 times less likely to get measles than the kids just down the hall in the regular classrooms. And so this is one of the best experiments ever done on the nature of airborne infection and how you can protect people by disinfecting the air.Carol Sutton Lewis: Were they then finally accepted into the scientific community?Carl Zimmer: I know you keep waiting for that, that victory lap, but no. It's just like time and again, that glory gets snatched away from them. Again, this was not anything that was done in secret. Newspapers around Philadelphia were. Celebrating this wow, look at this, look at how we can protect our children from disease. This is fantastic. But other experts, public health authorities just were not budging. they had all taken in this dogma that the air can't be dangerous.And so again and again, they were hitting a brick wall. This is right on the eve of World War II.And so all sorts of scientists in World War II are asking themselves, what can we do? Mildred and William put themselves forward and say we don't want soldiers to get sick with the flu the way they did in World War I. They're both haunted by this and they're thinking, so we could put our ultraviolet lamps in the barracks, we could protect them. Soldiers from the flu, if the flu is airborne, like we think, not only that, but this could help to really convince all those skepticsCarol Sutton Lewis: mm.Carl Zimmer: But they failed. The army put all their money into other experiments, they were blackballed, they were shut out, and again, I think it was just because they were continuing to be just incredibly difficult. Even patrons and their friends would just sigh to each other, like, Oh my God, I've just had to deal with these, with them arguing with us and yelling at us. And by the end of World War II, things are bad, they have some sort of split up, they never get divorced, but it's just too much. Mildred, like she is not only trying to do this pioneering work in these schools, trying to keep William's labs organized, there's the matter of their son. Now looking at some documents, I would hazard a guess that he had schizophrenia because he was examined by a doctor who came to that conclusion.And so, she's under incredible pressure and eventually she cracks and in 1944 she resigns from the lab. She stops working in the schools, she stops collaborating with her husband, but she keeps doing her own science. And that's really amazing to me. What kinds of things did she do after this breakup? What kind of work did she conduct? And how was that received?Mildred goes on on her own to carry out a gigantic experiment, in hindsight, a really visionary piece of work. It's based on her experience in Philadelphia. Because she could see that the ultraviolet lamps worked very well at protecting children during a really intense measles epidemic. And so she thought to herself, if you want to really make ultraviolet light, and the theory of airborne infection live up to its true potential to protect people. You need to protect the air in a lot more places.So she gets introduced to the health commissioner in Westchester County, this is a county just north of New York City. And she pitches him this idea. She says, I want to go into one of your towns and I want to put ultraviolet lights everywhere. And this guy, William Holla, he is a very bold, flamboyant guy. He's the right guy to ask. He's like, yeah, let's do this. And he leaves it up to her to design the experiment.And so this town Pleasantville in New York gets fitted out with ultraviolet lamps in the train station, in the fountain shops, in the movie theater, in churches, all over the place. And she publishes a paper with Holla in 1950 on the results.The results are mixed though. You look carefully at them, you can see that actually, yeah, the lamps worked in certain respects. So certain diseases, the rates were lower in certain places, but sadly, this incredibly ambitious study really didn't move the needle. And yeah, it was a big disappointment and that was the last science that Mildred did.Carol Sutton Lewis: Even when they were working together, Mildred and William never really succeeded in convincing the scientific community to take airborne infection seriously, although their work obviously did move the science forward. So what did sway scientific opinion and when?Carl Zimmer: Yeah, Mildred dies in 1957. William dies in 1963. After the Wellses are dead, their work is dismissed and they themselves are quite forgotten. It really isn't until the early 2000s that a few people rediscover them.The SARS epidemic kicks up in 2003, for example, and I talked to a scientist in Hong Kong named Yuguo Li, and he was trying to understand how was this new disease spreading around? He's looking around and he finds references to papers by William Wells and Mildred Wells. He has no idea who they are and he sees that William Wells had published a book in 1955 and he's like, well, okay, maybe I need to go read the book.Nobody has the book. And the only place that he could find it was in one university in the United States. They photocopied it and shipped it to him in Hong Kong and he finally starts reading it. And it's really hard to read because again William was a terrible writer, unlike Mildred. But after a while it clicks and he's like, oh. That's it. I got it. But again, all the guidelines for controlling pandemics and diseases do not really give much serious attention to airborne infection except for just a couple diseases. And it's not until the COVID pandemic that things finally change.Carol Sutton Lewis: Wow. If we had listened to Mildred and William earlier, what might have been different?Carl Zimmer: Yeah, I do try to imagine a world in which Mildred and William had been taken seriously by more people. If airborne infection was just a seriously recognized thing at the start of the COVID pandemic, we would have been controlling the disease differently from the start. We wouldn't have been wiping down our shopping bags obsessively. People would have been encouraged to open the windows, people would have been encouraged to get air purifiers, ultraviolet lamps might have been installed in places with poor ventilation, masks might not have been so controversial.And instead these intellectual grandchildren of William and Mildred Wells had to reinvent the wheel. They had to do new studies to persuade people finally that a disease could be airborne. And it took a long time. It took months to finally move the needle.Carol Sutton Lewis: Carl, what do you hope people will take away from Mildred's story, which you have so wonderfully detailed in your book, rendering her no longer a lost woman of science? And what do you hope people will take away from the book more broadly?Carl Zimmer: I think sometimes that we imagine that science just marches on smoothly and effortlessly. But science is a human endeavor in all the good ways and in all the not-so-good ways. Science does have a fair amount of tragedy throughout it, as any human endeavor does. I'm sad about what happened to the Wells by the end of their lives, both of them. But in some ways, things are better now.When I'm writing about aerobiology in the early, mid, even late—except for Mildred, it's pretty much all men. But who were the people during the COVID pandemic who led the fight to get recognized as airborne? People like Linsey Marr at Virginia Tech, Kim Prather at University of California, San Diego, Lidia Morawska, an Australian researcher. Now, all women in science still have to contend with all sorts of sexism and sort of baked-in inequalities. But it is striking to me that when you get to the end of the book, the women show up.Carol Sutton Lewis: Well,Carl Zimmer: And they show up in force.Carol Sutton Lewis: And on that very positive note to end on, Carl, thank you so much, first and foremost, for writing this really fascinating book and within it, highlighting a now no longer lost woman of science, Mildred Weeks Wells. Your book is Airborne: The Hidden History of the Life We Breathe, and it's been a pleasure to speak with—Carl Zimmer: Thanks a lot. I really enjoyed talking about Mildred.Carol Sutton Lewis: This has been Lost Women of Science Conversations. Carl Zimmer's book Airborne: The Hidden History of the Life We Breathe is out now. This episode was hosted by me, Carol Sutton Lewis. Our producer was Luca Evans, and Hansdale Hsu was our sound engineer. Special thanks to our senior managing producer, Deborah Unger, our program manager, Eowyn Burtner, and our co-executive producers, Katie Hafner and Amy Scharf.Thanks also to Jeff DelViscio and our publishing partner, Scientific American. The episode art was created by Lily Whear and Lizzie Younan composes our music. Lost Women of Science is funded in part by the Alfred P. Sloan Foundation and the Anne Wojcicki Foundation. We're distributed by PRX.If you've enjoyed this conversation, go to our website lostwomenofscience.org and subscribe so you'll never miss an episode—that's lostwomenofscience.org. And please share it and give us a rating wherever you listen to podcasts. Oh, and please don't forget to click on the donate button—that helps us bring you even more stories of important female scientists.I'm Carol Sutton Lewis. See you next time.HostCarol Sutton LewisProducerLuca EvansGuest Carl ZimmerCarl Zimmer writes the Origins column for the New York Times and has frequently contributed to The Atlantic, National Geographic, Time, and Scientific American. His journalism has earned numerous awards, including ones from the American Association for the Advancement of Science and the National Academies of Sciences, Medicine, and Engineering. He is the author of fourteen books about science, including Life's Edge.Further Reading:Air-Borne: The Hidden History of the Life We Breathe. Carl Zimmer. Dutton, 2025Poliomyelitis. International Committee for the Study of Infantile Paralysis. Williams & Wilkins Company, 1932 “Air-borne Infection,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 21; November 21, 1936“Air-borne Infection: Sanitary Control,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 22; November 28, 1936“Ventilation in the Spread of Chickenpox and Measles within School Rooms,” by Mildred Weeks Wells, in JAMA, Vol. 129, No. 3; September 15, 1945“The 60-Year-Old Scientific Screwup That Helped Covid Kill,” by Megan Molteni, in Wired. Published online May 13, 2021WATCH THIS NEXTScience journalist Carl Zimmer joins host Rachel Feltman to look back at the history of the field, from ancient Greek “miasmas” to Louis Pasteur’s unorthodox experiments to biological warfare. #public #health #researcher #her #engineer

This week, for the respective editions of their newsletters, Kids Today and User Friendly, senior correspondents Anna North and Adam Clark Estes have a chat about something that’s occupying both of them as journalists and as parents of young kids: How AI will shape the lives of the next generation?Anna North: Hi Adam! Excited to chat about AI and kids! In addition to reporting on kids for work, I also have a 7-year-old, and a 2-year-old.Adam Clark Estes: Hey Anna! My kid is not yet 2, but as they say, the days are long, but the years are short. I feel like I’ll be meeting her AI friends in no time. Anna: Ha! So speaking of which, should we kick this off by talking a little bit about our hopes and fears for our kids growing up in the age of AI? I do feel like there’s a lot to be hopeful about: I’m excited that my kids will grow up in a time when we can use AI to develop new drugs and decode elephant language. My biggest fear is that my kids won’t see the point of learning certain skills, like writing and math, because AI can do those tasks for them. I certainly worry about AI taking jobs, too, but that’s a ways away for my kids.RelatedShould schools lock up kids’ phones?Adam: I’m actually not that worried about my kid having AI friends. She probably will! I just hope that she doesn’t spend too much time with them or too much time with AI-powered technology in general. I hope we enter this new AI era together and learn how these tools can make our lives better, richer, and more interesting. It reminds me of how the internet came of age around the same time I did, but my parents seemed too afraid to figure it out at the time. I hope I can be brave. Anna: My dad was actually an internet early adopter, and so we did enter that era together, which was sweet. We used to go to Doctor Who chatrooms — I remember once listing “our” age as “43 and 12.” That was nice for me because 1) I learned to use a computer and 2) I learned to be curious and not fearful around new technologies. Except I am a little fearful around AI! Maybe I have to channel that spirit of curiosity a little more when I’m with my kids.A friend of mine was telling me her district is rolling out AI tools potentially in kindergarten, so it starts young.Adam: And I keep seeing ads for AI-equipped stuffed animals. AI is still such a buzzword, but I do think we’re starting to see how it really will take over technology as we know it. I always say that it’s just the next iteration of the software that’s already in everything. So, of course, it’s going to be in classrooms — not just for cheating purposes, either.Anna: Cheating using AI is less of an issue for little kids because they’re not doing much of their work on computers yet. The AI tools I’ve seen proposed for K-6 are like this AI-powered reading coach, which seems less vulnerable to cheating than, say, ChatGPT. I’ve definitely heard people say that AI could potentially offer more personalized tutoring one day, which could be positive since individual instruction is really beneficial, but public school classes are often too large to offer much of it. That idea doesn’t freak me out too much, although, of course, there are questions around how reliable and accurate AI tools are.My older kid is in first grade, and at his school, there’s a lot of talk about the role of AI in math. The argument I’ve heard is very similar to what we were taught about calculators, honestly: that these tools will be able to do a lot of simple operations for us, so kids should be able to think intuitively about numbers.I don’t really think we’ll return to oral exams, but we will have to reconsider what education looks like in a world that runs on AI.Adam: I’m also curious about how AI simply changes how schools work. Like, if AI makes it too easy to cheat when essay-writing, what will teachers assign instead? And what will they grade? I don’t really think we’ll return to oral exams, but we will have to reconsider what education looks like in a world that runs on AI.Anna: I do think there’s a shift to more in-class tests and assignments, which can cause its own stress. I also wonder if there’s just going to be a shift toward developing a different set of skills, if writing just becomes less important. We already see kids and young people consuming less text — I wouldn’t be shocked if there was more emphasis in the coming years on oral presentation or audio and visual production skills. That bums me out as a writer, but maybe it’s what Plato would’ve wanted? I do try to remember that people have always been skeptical of new technology, and some of the anxieties we’re experiencing now are thousands of years old.I wouldn’t be shocked if there was more emphasis in the coming years on oral presentation or audio and visual production skills.Adam: And some look like instant replays of anxieties from just a decade or two ago. Every time a new technology or medium comes along, there’s a collective freakout that it’s destroying the youth. This is just as true for social media as it was for TV, video games, comic books, and even radio. I think this will be true of AI in social settings, too. It’s already possible to have an AI friend through apps like Replika or Kindroid. I wasn’t kidding about the AI stuffed animals, either. There’s one called Grok that’s designed — by Grimes of all people — for ages 3 and up. Kids can ask it questions, and the AI will tell them things, like a futuristic Teddy Ruxpin, except Teddy Ruxpin had a cassette tape in his belly that parents could listen to and know what the stuffed bear would say. I have no idea what AI will be telling our kids!I’ve seen people call this the end of the imaginary friend. I actually think it’s just the beginning of something new. What that is, I can’t imagine. At least not yet. Anna: It’s funny to me because Teddy Ruxpin was famously creepy! The social/play aspect of AI is super-interesting. I’m not worried about AI killing imaginary friends — kids will make friends with a can of tomato paste, and I don’t think you can destroy their social creativity that easily.My biggest concern around AI friends right now is safety — there are already lawsuits alleging that chatbots nudged kids toward violence or self-harm. Do you know what guardrails there are in place? Adam: My general feeling about guardrails is that, no matter how many there are, technology finds a way to leap over them. YouTube, for instance, has long struggled with how to make sure parents can steer their children to safe, age-appropriate content, but kids inevitably find themselves sucked down a rabbit hole of uncanny algorithmically generated videos. Throwing an infinite supply of AI-generated content into the mix won’t help, so I think parents will have to be vigilant about triple-checking what their kids are watching or playing with.There was a Pew study earlier this year that said about a quarter of all teens had tried ChatGPT for schoolwork. That number had doubled in a year.So if you assume that guardrails aren’t there or won’t work and that kids are going to try some kind of AI tool eventually, where does that leave parents? To be honest, I think we should all do what your dad did with you: Hang out in the proverbial chatrooms together. Talk to the chatbots together. Play with the AI toys together. Learn about this new technology along with your kids and help them learn when to put them away.I think we should all do what your dad did with you: Hang out in the proverbial chatrooms together. Talk to the chatbots together. Play with the AI toys together.Anna: I’m sure my dad will appreciate this endorsement of his parenting! You’re not alone, though. Andrew Przybylski, an Oxford professor I think we’ve talked about who studies phones and kids, talks about introducing his children to smartphones the way you would teach a kid to ride a bike: It’s a tool. It has hazards but also uses. It can be fun, and it’s a basic part of life. Maybe the same is true of AI?This conversation is sort of making me think I need to use AI more with my kids, which is not where I expected to end up. Adam: It’s important to point out that we’re mostly talking about generative AI here, and chatbots. There are also image and video generators. These all have obvious applications for kids in schools, for cheating and learning. But we haven’t even gotten into what the next generation of AI will impact our kids’ lives — things like AI agents that can use computers themselves or the much feared artificial general intelligence that can theoretically do anything. That future is a lot harder for me to comprehend right now.Anna: Yeah, I think there’s a lot about the next 10 or 15 years, both in AI and just in our kids’ lives generally, that’s hard to wrap one’s head around. My husband and I always joke about our children going to college on the moon, but I think it’s just a way of expressing the uncertainty that’s always there when you try to project too far out.See More: #should #teach #kids #use