[Zac] of Zac Builds has a shameful secret: he, a fully grown man, plays video games. Shocking, we know, but such people do exist in our society. After being rightfully …read more

Jaguar insists its controversial rebrand was a success – but I'm not buying it

Jun 16, 2025Ravie LakshmananMalware / DevOps Cybersecurity researchers have discovered a malicious package on the Python Package Index (PyPI) repository that's capable of harvesting sensitive developer-related information, such as credentials, configuration data, and environment variables, among others. The package, named chimera-sandbox-extensions, attracted 143 downloads and likely targets users of a service called Chimera Sandbox, which was released by Singaporean tech company Grab last August to facilitate "experimentation and development of [machine learning] solutions." The package masquerades as a helper module for Chimera Sandbox, but "aims to steal credentials and other sensitive information such as Jamf configuration, CI/CD environment variables, AWS tokens, and more," JFrog security researcher Guy Korolevski said in a report published last week. Once installed, it attempts to connect to an external domain whose domain name is generated using a domain generation algorithm (DGA) in order to download and execute a next-stage payload. Specifically, the malware acquires from the domain an authentication token, which is then used to send a request to the same domain and retrieve the Python-based information stealer. The stealer malware is equipped to siphon a wide range of data from infected machines. This includes - JAMF receipts, which are records of software packages installed by Jamf Pro on managed computers Pod sandbox environment authentication tokens and git information CI/CD information from environment variables Zscaler host configuration Amazon Web Services account information and tokens Public IP address General platform, user, and host information The kind of data gathered by the malware shows that it's mainly geared towards corporate and cloud infrastructure. In addition, the extraction of JAMF receipts indicates that it's also capable of targeting Apple macOS systems. The collected information is sent via a POST request back to the same domain, after which the server assesses if the machine is a worthy target for further exploitation. However, JFrog said it was unable to obtain the payload at the time of analysis. "The targeted approach employed by this malware, along with the complexity of its multi-stage targeted payload, distinguishes it from the more generic open-source malware threats we have encountered thus far, highlighting the advancements that malicious packages have made recently," Jonathan Sar Shalom, director of threat research at JFrog Security Research team, said. "This new sophistication of malware underscores why development teams remain vigilant with updates—alongside proactive security research – to defend against emerging threats and maintain software integrity." The disclosure comes as SafeDep and Veracode detailed a number of malware-laced npm packages that are designed to execute remote code and download additional payloads. The packages in question are listed below - eslint-config-airbnb-compat (676 Downloads) ts-runtime-compat-check (1,588 Downloads) solders (983 Downloads) @mediawave/lib (386 Downloads) All the identified npm packages have since been taken down from npm, but not before they were downloaded hundreds of times from the package registry. SafeDep's analysis of eslint-config-airbnb-compat found that the JavaScript library has ts-runtime-compat-check listed as a dependency, which, in turn, contacts an external server defined in the former package ("proxy.eslint-proxy[.]site") to retrieve and execute a Base64-encoded string. The exact nature of the payload is unknown. "It implements a multi-stage remote code execution attack using a transitive dependency to hide the malicious code," SafeDep researcher Kunal Singh said. Solders, on the other hand, has been found to incorporate a post-install script in its package.json, causing the malicious code to be automatically executed as soon as the package is installed. "At first glance, it's hard to believe that this is actually valid JavaScript," the Veracode Threat Research team said. "It looks like a seemingly random collection of Japanese symbols. It turns out that this particular obfuscation scheme uses the Unicode characters as variable names and a sophisticated chain of dynamic code generation to work." Decoding the script reveals an extra layer of obfuscation, unpacking which reveals its main function: Check if the compromised machine is Windows, and if so, run a PowerShell command to retrieve a next-stage payload from a remote server ("firewall[.]tel"). This second-stage PowerShell script, also obscured, is designed to fetch a Windows batch script from another domain ("cdn.audiowave[.]org") and configures a Windows Defender Antivirus exclusion list to avoid detection. The batch script then paves the way for the execution of a .NET DLL that reaches out to a PNG image hosted on ImgBB ("i.ibb[.]co"). "[The DLL] is grabbing the last two pixels from this image and then looping through some data contained elsewhere in it," Veracode said. "It ultimately builds up in memory YET ANOTHER .NET DLL." Furthermore, the DLL is equipped to create task scheduler entries and features the ability to bypass user account control (UAC) using a combination of FodHelper.exe and programmatic identifiers (ProgIDs) to evade defenses and avoid triggering any security alerts to the user. The newly-downloaded DLL is Pulsar RAT, a "free, open-source Remote Administration Tool for Windows" and a variant of the Quasar RAT. "From a wall of Japanese characters to a RAT hidden within the pixels of a PNG file, the attacker went to extraordinary lengths to conceal their payload, nesting it a dozen layers deep to evade detection," Veracode said. "While the attacker's ultimate objective for deploying the Pulsar RAT remains unclear, the sheer complexity of this delivery mechanism is a powerful indicator of malicious intent." Crypto Malware in the Open-Source Supply Chain The findings also coincide with a report from Socket that identified credential stealers, cryptocurrency drainers, cryptojackers, and clippers as the main types of threats targeting the cryptocurrency and blockchain development ecosystem. Some of the examples of these packages include - express-dompurify and pumptoolforvolumeandcomment, which are capable of harvesting browser credentials and cryptocurrency wallet keys bs58js, which drains a victim's wallet and uses multi-hop transfers to obscure theft and frustrate forensic tracing. lsjglsjdv, asyncaiosignal, and raydium-sdk-liquidity-init, which functions as a clipper to monitor the system clipboard for cryptocurrency wallet strings and replace them with threat actor‑controlled addresses to reroute transactions to the attackers "As Web3 development converges with mainstream software engineering, the attack surface for blockchain-focused projects is expanding in both scale and complexity," Socket security researcher Kirill Boychenko said. "Financially motivated threat actors and state-sponsored groups are rapidly evolving their tactics to exploit systemic weaknesses in the software supply chain. These campaigns are iterative, persistent, and increasingly tailored to high-value targets." AI and Slopsquatting The rise of artificial intelligence (AI)-assisted coding, also called vibe coding, has unleashed another novel threat in the form of slopsquatting, where large language models (LLMs) can hallucinate non-existent but plausible package names that bad actors can weaponize to conduct supply chain attacks. Trend Micro, in a report last week, said it observed an unnamed advanced agent "confidently" cooking up a phantom Python package named starlette-reverse-proxy, only for the build process to crash with the error "module not found." However, should an adversary upload a package with the same name on the repository, it can have serious security consequences. Furthermore, the cybersecurity company noted that advanced coding agents and workflows such as Claude Code CLI, OpenAI Codex CLI, and Cursor AI with Model Context Protocol (MCP)-backed validation can help reduce, but not completely eliminate, the risk of slopsquatting. "When agents hallucinate dependencies or install unverified packages, they create an opportunity for slopsquatting attacks, in which malicious actors pre-register those same hallucinated names on public registries," security researcher Sean Park said. "While reasoning-enhanced agents can reduce the rate of phantom suggestions by approximately half, they do not eliminate them entirely. Even the vibe-coding workflow augmented with live MCP validations achieves the lowest rates of slip-through, but still misses edge cases." Found this article interesting? Follow us on Twitter  and LinkedIn to read more exclusive content we post. SHARE    

This is today’s edition of The Download, our weekday newsletter that provides a daily dose of what’s going on in the world of technology.Tech billionaires are making a risky bet with humanity’s future Sam Altman, Jeff Bezos, Elon Musk, and others may have slightly different goals, but their grand visions for the next decade and beyond are remarkably similar.They include aligning AI with the interests of humanity; creating an artificial superintelligence that will solve all the world’s most pressing problems; merging with that superintelligence to achieve immortality (or something close to it); establishing a permanent, self-­sustaining colony on Mars; and, ultimately, spreading out across the cosmos.Three features play a central role with powering these visions, says Adam Becker, a science writer and astrophysicist: an unshakable certainty that technology can solve any problem, a belief in the necessity of perpetual growth, and a quasi-religious obsession with transcending our physical and biological limits.In his timely new book, More Everything Forever: AI Overlords, Space Empires, and Silicon Valley’s Crusade to Control the Fate of Humanity, Becker reveals how these fantastical visions conceal a darker agenda. Read the full story. —Bryan Gardiner This story is from the next print edition of MIT Technology Review, which explores power—who has it, and who wants it. It’s set to go live on Wednesday June 25, so subscribe & save 25% to read it and get a copy of the issue when it lands! Here’s what food and drug regulation might look like under the Trump administration Earlier this week, two new leaders of the US Food and Drug Administration published a list of priorities for the agency. Both Marty Makary and Vinay Prasad are controversial figures in the science community. They were generally highly respected academics until the covid pandemic, when their contrarian opinions on masking, vaccines, and lockdowns turned many of their colleagues off them. Given all this, along with recent mass firings of FDA employees, lots of people were pretty anxious to see what this list might include—and what we might expect the future of food and drug regulation in the US to look like. So let’s dive into the pair’s plans for new investigations, speedy approvals, and the “unleashing” of AI. —Jessica Hamzelou This article first appeared in The Checkup, MIT Technology Review’s weekly biotech newsletter. To receive it in your inbox every Thursday, and read articles like this first, sign up here. The must-reads I’ve combed the internet to find you today’s most fun/important/scary/fascinating stories about technology. 1 NASA is investigating leaks on the ISSIt’s postponed launching private astronauts to the station while it evaluates. (WP $)+ Its core component has been springing small air leaks for months. (Reuters)+ Meanwhile, this Chinese probe is en route to a near-Earth asteroid. (Wired $) 2 Undocumented migrants are using social media to warn of ICE raidsThe DIY networks are anonymously reporting police presences across LA. (Wired $)+ Platforms’ relationships with protest activism has changed drastically. (NY Mag $)  3 Google’s AI Overviews is hallucinating about the fatal Air India crashIt incorrectly stated that it involved an Airbus plane, not a Boeing 787. (Ars Technica)+ Why Google’s AI Overviews gets things wrong. (MIT Technology Review) 4 Chinese engineers are sneaking suitcases of hard drives into the countryTo covertly train advanced AI models. (WSJ $)+ The US is cracking down on Huawei’s ability to produce chips. (Bloomberg $)+ What the US-China AI race overlooks. (Rest of World) 5 The National Hurricane Center is joining forces with DeepMindIt’s the first time the center has used AI to predict nature’s worst storms. (NYT $)+ Here’s what we know about hurricanes and climate change. (MIT Technology Review) 6 OpenAI is working on a product with toymaker MattelAI-powered Barbies?! (FT $)+ Nothing is safe from the creep of AI, not even playtime. (LA Times $)+ OpenAI has ambitions to reach billions of users. (Bloomberg $) 7 Chatbots posing as licensed therapists may be breaking the lawDigital rights organizations have filed a complaint to the FTC. (404 Media)+ How do you teach an AI model to give therapy? (MIT Technology Review) 8 Major companies are abandoning their climate commitmentsBut some experts argue this may not be entirely bad. (Bloomberg $)+ Google, Amazon and the problem with Big Tech’s climate claims. (MIT Technology Review) 9 Vibe coding is shaking up software engineeringEven though AI-generated code is inherently unreliable. (Wired $)+ What is vibe coding, exactly? (MIT Technology Review) 10 TikTok really loves hotdogs And who can blame it? (Insider $) Quote of the day “It kind of jams two years of work into two months.” —Andrew Butcher, president of the Maine Connectivity Authority, tells Ars Technica why it’s so difficult to meet the Trump administration’s new plans to increase broadband access in certain states. One more thing The surprising barrier that keeps us from building the housing we needIt’s a tough time to try and buy a home in America. From the beginning of the pandemic to early 2024, US home prices rose by 47%. In large swaths of the country, buying a home is no longer a possibility even for those with middle-class incomes. For many, that marks the end of an American dream built around owning a house. Over the same time, rents have gone up 26%.The reason for the current rise in the cost of housing is clear to most economists: a lack of supply. Simply put, we don’t build enough houses and apartments, and we haven’t for years. But the reality is that even if we ease the endless permitting delays and begin cutting red tape, we will still be faced with a distressing fact: The construction industry is not very efficient when it comes to building stuff. Read the full story. —David Rotman We can still have nice things A place for comfort, fun and distraction to brighten up your day. (Got any ideas? Drop me a line or skeet ’em at me.) + If you’re one of the unlucky people who has triskaidekaphobia, look away now.+ 15-year old Nicholas is preparing to head from his home in the UK to Japan to become a professional sumo wrestler.+ Earlier this week, London played host to 20,000 women in bald caps. But why? ($)+ Why do dads watch TV standing up? I need to know.

With reclaimed land previously allocated to cars, the Grijalva River boardwalk offers generous public spaces and reconnects the Mexican city of Villahermosa to its river In Villahermosa, nature reigns supreme. Surrounded by rivers, lagoons, wild vegetation and the scorching heat of a humid tropical climate, the city’s identity is shaped by intense and unpredictable natural forces. The capital of the Mexican state of Tabasco was founded in 1564 on the banks of the Grijalva River, a vital trade route that has significantly shaped the city’s development. For locals, the river has long been both blessing and threat; major floods have been recorded since the 17th century. A devastating flood in 2007 submerged what officials estimated to be 80 per cent of the city, damaging or destroying more than 120,000 homes. In the aftermath of the inundation, high concrete retaining walls were built along both banks of the Grijalva River to prevent further flooding. While this was an understandable measure at first glance, it consequently caused residents to lose both their visual and physical connection with the river. As a result, people moved, particularly from the western bank where the historical centre is located, to new areas further away from the Grijalva River. The riverfront was left to deteriorate into a troubled zone. On the eastern bank, the neighbourhood of Gaviotas was already considered unsafe before the flood, yet it maintained more of its residential character. In 2022, 15 years after the dramatic flood, then‑president Andrés Manuel López Obrador, more commonly known as AMLO, announced the construction of a new 6km‑long riverfront promenade in Villahermosa, the capital of his home state. The idea was to enable the population to once again take pride in and live with their river, looking to Paris and Rome as examples. The monumental task, with its large urban scale and the population’s psychological trauma, was entrusted to the Ministry of Agricultural, Territorial and Urban Development (SEDATU) as part of their Programa de Mejoramiento Urbano (Urban Improvement Programme, or PMU). This programme aimed to use architecture as an ‘instrument of social transformation’. High expectations were placed on these projects; architects were asked to create ‘places of national pride’ while improving everyday living conditions. The architectural trio of Alejandro Castro Jiménez Labora, Mauricio Rocha Iturbide, and Óscar Rodríguez Castañeda, along with their teams, were commissioned to design a linear park along both banks of the Grijalva. Each architect contributed their strength: Castro brought his expertise in poetic urban furniture; Rocha his sensitive and atmospheric architectural approach; and Rodríguez his thoughtful urban and traffic planning skills. The SEDATU team provided technical and participatory expertise, enabling contextual sensitivity by sharing essential information about the site’s topography, soil conditions and water flows. From the city’s existing observatory, the Torre del Caballero landmark, visitors enjoy an excellent view over the redesigned riverbanks. The historical centre and the Gaviotas neighbourhood now form a single ensemble, while the intervention carefully responds to the different conditions found along the length of the river. The project’s main objective is to reclaim some of the land previously allocated to cars and create a promenade for pedestrians and slower vehicles, punctuated with public spaces and facilities. On both sides of the river, cars are now limited to just one or two grey asphalt lanes. Running alongside are generous cycle paths and pedestrian walkways made of earth‑coloured concrete. Speed bumps in the same material and colour connect the pavements on either side of the road while helping to limit traffic speed to 30km/h, further enhancing pedestrian safety. Several design elements are found along almost the entire promenade. A ribbon of light‑grey benches delineates the edge of the elevated riverfront; stone walls, steps and ramps are used to negotiate the slight changes in level; planters and lush vegetation soften the transition to the walkways, creating a welcome buffer from street traffic. The most visually striking components are the tall, red‑pigmented concrete light poles on the elevated path, adorned with elegant L‑shaped steel light fixtures, which establish a strong and cohesive visual rhythm. Only upon closer inspection you notice the 2007 retaining walls peeking through the dense tropical vegetation. Removing these unattractive concrete barriers was never an option; they stand as a symbol of successful flood protection for the local population. The architectural team ingeniously built the elevated promenade atop the existing wall – an effective concealment from the street side while simultaneously inviting residents to reconnect with the Grijalva.  At the foot of the observatory, directly below the retaining wall, the earth‑toned concrete platforms of the Carlos A Madrazo Becerra Park stretch towards the river. Visitors can access the park via a ramp from the promenade on the western bank or by ferry from the opposite side. In the park, concrete furnishings invite visitors to linger among tropical vegetation set against tall natural stone walls. Importantly, it is a space that is durable and requires minimal maintenance – a survival formula for public parks in the Mexican context. Small traces on the concrete benches reveal that the park weathered its baptism of fire last year: the design accommodates the river’s natural dynamics, adapting to fluctuating water levels without compromising public safety. Beyond providing much‑needed shade, the extensive planting of native, low‑maintenance plants on both riverbanks has improved soil stability. Above the park, on a broad extension of the elevated pathway, stand three long, elegant buildings with large cantilevered roofs supported by hefty beams resting on distinctive double columns. The tall glass walls that enclose the interiors are set back, creating a visual flow between interior and exterior spaces. While the beams evoke timber construction, they – like the columns – are made of the same pigmented concrete used for the promenade paving. Despite their refined composition, these structures have remained largely unused since their completion over a year ago, neither serving their intended function as restaurants nor hosting alternative uses. Even the beautifully designed park sees only limited public engagement. The ambitious goal of SEDATU with the PMU projects to ‘counteract violence and strengthen the social fabric’ appears, for now, to have fallen short in this area. According to national statistics, Villahermosa ranks first in perceived insecurity among Mexican cities. This sense of insecurity is tangible on the promenade by the city centre, where buildings that look abandoned contribute to an atmosphere of neglect. The situation is markedly different on the opposite riverbank, in the Gaviotas neighbourhood. Construction of the 3.5km promenade on this side began in 2021 with three open pavilions housing several small kiosks, which quickly evolved into popular taco stands. The Plaza Solidaridad, revitalised by the architectural trio, draws people from the surrounding vibrant neighbourhood. Further south, the final section that was built is a large sports area and children’s playground, which were embraced by the local community even before their official inauguration in February 2024. Especially after sunset, when the air cools, the well‑lit Gaviotas riverfront comes to life. During daylight hours, however, air‑conditioned shopping centres remain the preferred gathering places for the residents of Villahermosa. Rocha describes the city’s new promenade as a ‘jazz composition’, a striking metaphor that speaks of rhythmic complexity and the freedom to improvise. With just a few designed elements and carefully selected colours, the architects have harmoniously layered the river’s urban spaces. The project is earning international recognition but, in Mexico, it faced sharp criticism and was overshadowed by accusations of nepotism. Castro is a friend of AMLO’s son, and the fact that the intervention took place in the home state of the then‑president, coupled with its substantial budget by local standards, drew considerable attention. According to residents, this undermined public acceptance. When asked about the negative press, Rocha speaks of the need to develop a ‘crisis muscle’; he says architects working on public projects in Mexico must ‘let go of perfectionism’ as much lies beyond their control.  During AMLO’s six‑year term, which ended in 2024, SEDATU implemented 1,300 PMU projects in 193 highly marginalised municipalities across the country. While many of these interventions undoubtedly improved people’s quality of life, the Villahermosa riverside project also reveals architecture’s limitations, exposing some of the programme’s weaknesses: architectural interventions often act as sticking plasters on an extensively damaged urban fabric. They are handed over from a national ministry with comprehensive expertise and funding to local governments lacking the means to sustain them. Although SEDATU conducted participatory consultations during the project’s implementation, this engagement was absent once the project was completed. Public acceptance and appropriation can take time; what this project does is send an invitation out. 2025-06-05 Reuben J Brown Share AR June 2025RoadsBuy Now

A Peloton perched in the living room. A set of weights on the bedroom floor. Some wellness products have a way of making their presence known. But even the smaller things—think daily supplements, mushroom tinctures, herbal teas—can slowly start to sprawl out everywhere. With the rise and awareness of holistic health habits, wellness routines that rival your skincare shelf, and obsessions like ProteinTok—a whole corner of the internet dedicated to everything protein—you might find that wellness has taken over your kitchen. Suddenly, your blender is battling for space with the hydration powders, collagen tubs, and stacks of snack bars. If you don’t have a place to properly store it all, your kitchen can start to be more overwhelming than calming. But with thoughtful design, proper planning, and smart storage solutions, you can integrate it all into your home in a way that feels serene and seamless. We asked designers and wellness experts how they manage their ever-expanding collection of products and design their kitchens with well-being in mind.Consider An Appliance GarageTessa NeustadtGreen cabinet doors conceal the appliances in this kitchen by Interior Archaeology.“For things that need to be in reach and on the counter, we put everything in an appliance garage,” shares Lynn Kloythanomsup of Landed Interiors and Homes. By that she means is a built-in cabinet or nook—typically integrated into the cabinetry—that features a door that lifts, rolls, or swings open and shut to conceal bulky appliances. Designer Hollie Velten of Spaces by Hollie Velten is also a fan of this feature and notices more clients requesting it. “A custom appliance garage allows things like tea supplies to be accessible for entertaining but hidden for everyday use.”It’s not just designers who advocate for this intentional placement—wellness experts themselves are just as mindful of it. “Our juicer must be on the countertop to make juicing as effortless as possible but other appliances are fine tucked away,” says health coach and nutritionist Daphne Javtich of Doing Well. Kerrilynn Pamer of Cap Beauty echoes this: “I keep my juicer on the counter, I have a Nama, and it’s pretty discreet even though it's large. Everything else, I keep behind doors.”Think Beyond The Main KitchenStacy Zarin GoldbergThis auxiliary kitchen by Kate Abt Design makes a perfect spot for wellness essentials.One luxury feature on the rise? Auxiliary kitchens, also known as dirty kitchens. “When designing for clients, we almost always have the ‘family’ or ‘show’ kitchen and then a second kitchen where the real cooking happens,” says Eric Egan of Eric Egan Interior Design. “This is much like in a restaurant show kitchen, where you see them finishing the meals, but you don't see the prep work or the clean up, all of which happens in the background.” Designer Sarah Barnard of Sarah Barnard Design has also seen an increase in the request of auxiliary kitchens and loves them because they “provide concealed storage for juicers, blenders, dehydrators, and food processors.” While two kitchens might not be realistic for everyone, if you have access to a nice-sized pantry or closet nearby, that’s an ideal spot to corral it all, as well. Rethink Unused SpacesKEVIN MIYAZAKIRemove the booze, bring in the blender, and this liquor cabinet, in a library designed by Kate Marker, could be a wellness station.Speaking of ideal spots for wellness, consider transforming underutilized spaces like liquor cabinets or part of a mudroom into a wellness hub. “We don't find that too many of our clients have a liquor cabinet or use a bar anymore,” shares Kloythanomsup. “So that area can be repurposed as a wellness area.” While you're repurposing it, consider where you can plug in all those wellness appliances. “Clients are also asking us to design technology-stations, so they have multiple areas to hide their technology and free their view of cords and distractions,” Velten says. Get In The ZoneEmma Farrer//Getty ImagesA dedicated tea zone.If you are going to dedicate counter space to your wellness routine, whether it’s a juicing zone, smoothie station, a hydration corner—keep things arranged in groups or zones. “I keep the bulk of my supplements and remedies in a large, shallow pullout drawer in the kitchen,” Javitch shares. “I find this is the easiest way to organize and find products quickly. And you don't have to remove some to get to others.”“I love setting up thoughtful, dedicated zones, like a wellness drawer with teas, vitamins, and tinctures all in one place, or a water station with a glass water pitcher, reusable bottles, and electrolytes,” shares Blakey. Keeping similar items together allows products to stay top of mind and prevents them from getting lost in the shuffle. Contain YourselfCourtesy Holly BlakeyA pantry organized by Holly Blakey of Breathing Room Home.While baskets are a no-brainer for kitchen organization, designers and experts say that’s for good reason, advising homeowners not to overlook them—and to keep the materials as natural as possible. “Wooden bins are another favorite way to add warmth and style while keeping items grouped,” Blakey says. Velten seconds the idea of rush baskets or wooden bins, “We try to push living finishes as much as we can because with proper care, material that came from the earth just vibrates differently.” No matter how many products you use or how dialed-in your routine may be, “wellness becomes part of the daily flow when your space helps you follow through on your intentions,” says Blakey. For that reason, says Javitch, “I always keep a few small baskets in our cabinets with products I often grab for like the kids' sunblock stick or their multivitamin gummies.”Show Off Your Stash Thomas LeonczikHollie Velten designed this kitchen to keep essentials on view. The alternative to hiding things away? Showing them off! “We worked with a client who described her kitchen goals as ‘California health kitchen,’” shares Velten. “We actually removed the upper cabinets to create an easy-to-access corner of shelving to hold glass jars and sustainable practices for her teas, herbs, spices, tinctures, and other food prep essentials.” After all, some items deserve to be seen—not only from an aesthetic perspective but also to prompt daily use and consistency. “I’ll usually keep my essential daily products on a pretty wood tray on the kitchen counter,” Javtich shares.If you are going to keep things out in the open, Bay Area-based organizer of Breathing Room Home Holly Blakey, says clarity is key. “I swear by glass containers for food storage, not just for sustainability, but because they help you know what you have and when you can clearly see your items, you’re more likely to use them before they expire.”Plus, this keep-it-all-out method a way to incorporate your personal preferences and add a little personality into your kitchen. “Sometimes well-kept essentials really only bring more joy and utility when out in the open,” Velten adds. 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Kenmore Pavilion / CARDSave this picture!© Andy MacphersonHouses, Sustainability•Brisbane City, Australia Architects: CARD Area Area of this architecture project Area:  90 m² Photographs Photographs:Andy MacphersonMore SpecsLess Specs Save this picture! Text description provided by the architects. The core philosophy of this project was to do more with less through revitalizing a 1960s workers' cottage through smart, cost-effective design. Rather than replacing, the approach focused on reuse, breathing new life into the existing structure.Save this picture!Save this picture!By embracing Brisbane's favourable climate, the design introduces a weather-protected outdoor space that seamlessly extends the home's footprint. This newly integrated pavilion creates a flexible living zone for cooking, socialising, and relaxing, while framing curated views of the surrounding landscape.Save this picture!Save this picture!Save this picture!The project is situated in the leafy suburb of Kenmore, Brisbane, renowned for its mid-century modernist architecture and lush natural surroundings. Drawing inspiration from Queensland's architectural heritage, the design of the pavilion references the quintessential deck through its overall proportions and timber detailing. The use of natural timber ensures the structure blends effortlessly with the surrounding landscape, reinforcing its identity as an extension of the garden and an inviting, functional outdoor space.Save this picture!The project was part of a bigger renovation which encouraged a direct connection to the garden, shifting the living areas to the north and the bedrooms to the south, clearly delineated by a continuous wall of joinery. This wall contains the kitchen, fireplace, bookshelves, entry nook, and services, with flush, hidden doors that conceal access to the bedrooms and hallway.Save this picture!With these renovations and the new outdoor pavilion, a dark and introverted house has been converted into a functional, light-filled, and social building. A flexible and adaptable space - the pavilion can be used for a range of activities, from outdoor dining, socializing, and cooking in the garden.Save this picture!Sustainability Initiatives Our vision centers around reducing environmental impact by retaining and working with the original post-war structure, which has solid bones. Existing materials were reused and retained where possible, such as the terracotta floor of the pavilion, which was retained from the original house. Other examples include parts of the tiling that were salvaged from leftover projects, and the western red cedar soffits were taken from leftover stock from a nearby development. The garden beds were made from salvaged beams from the original pergola The planter was made from salvaged brick from the paths around the original house The chicken coop was made from reclaimed cedar and old wall framing. The pergola was built from Kwila and Spotted Gum - purposefully chosen for their sustainability credentials. The project included the installation of a new 6.6 kW solar system (20 panels) installed on the roof. Save this picture! Project gallerySee allShow less About this officeCARDOffice••• Published on June 05, 2025Cite: "Kenmore Pavilion / CARD" 05 Jun 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030800/kenmore-pavilion-card&gt 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

House of the Future | 1956 Photograph Exhibited at the 1956 Ideal Home Exhibition in London, the House of the Future by Alison and Peter Smithson is a visionary prototype that challenges conventions of domesticity. Set within the context of post-war Britain, a period marked by austerity and emerging optimism, the project explored the intersection of technology, material innovation, and evolving social dynamics. The Smithsons, already recognized for their theoretical rigor and critical stance toward mainstream modernism, sought to push the boundaries of domestic architecture. In the House of the Future, they offered not merely a dwelling but a speculative environment that engaged with the promise and anxieties of the atomic age. House of the Future Technical Information Architects: Alison and Peter Smithson Location: Ideal Home Exhibition, London, United Kingdom Client: Daily Mail Ideal Home Exhibition  Gross Area: 90 m2 | 970 Sq. Ft. Construction Year: 1956 Photographs: Canadian Centre for Architecture and Unknown Photographer The House of the Future should be a serious attempt to visualize the future of our daily living in the light of modern knowledge and available materials. – Alison and Peter Smithson 1 House of the Future Photographs 1956 Photograph © Klaas Vermaas | 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph Design Intent and Spatial Organization At the heart of the House of the Future lies a radical rethinking of spatial organization. Departing from conventional room hierarchies, the design promotes an open, fluid environment. Walls dissolve into curved partitions and adjustable elements, allowing for flexible reinterpretation of domestic spaces. Sleeping, dining, and social areas are loosely demarcated, creating a dynamic continuity that anticipates the contemporary concept of adaptable, multi-functional living. Circulation is conceived as an experiential sequence rather than a rigid path. Visitors enter through an air-lock-like vestibule, an explicit nod to the futuristic theme, and are drawn into an environment that eschews right angles and conventional thresholds. The Smithsons’ emphasis on flexibility and continuous movement within the house reflects their belief that domestic architecture must accommodate the evolving rhythms of life. Materiality, Technology, and the Future Materiality in the House of the Future embodies the optimism of the era. Plastics and synthetic finishes dominate the interior, forming seamless surfaces that evoke a sense of sterility and futility. Often associated with industrial production, these materials signaled a departure from traditional domestic textures. The smooth, malleable surfaces of the house reinforce the Smithsons’ embrace of prefabrication and modularity. Technological integration is a key theme. The design includes built-in appliances and concealed mechanical systems, hinting at a utopian and disquieting automated lifestyle. Bathrooms, kitchens, and sleeping pods are incorporated as interchangeable modules, underscoring the house as a system rather than a static structure. In doing so, the Smithsons prefigured later discourses on the “smart home” and the seamless integration of technology into daily life. This material and technological strategy reflects a critical understanding of domestic labor and convenience. The house’s self-contained gadgets and synthetic surfaces suggest a future in which maintenance and domestic chores are minimized, freeing inhabitants to engage with broader cultural and social pursuits. Legacy and Influence The House of the Future’s influence resonates far beyond its exhibition. It prefigured the radical experimentation of groups like Archigram and the metabolist visions of the 1960s. Its modular approach and embrace of technology also foreshadowed the high-tech movement’s fascination with flexibility and systems thinking. While the project was ephemeral, a temporary installation at a trade fair, its theoretical provocations endure. It questioned how architecture could not only house but also anticipate and shape new living forms. Moreover, it crystallized the Smithsons’ ongoing interrogation of architecture’s social role, from their later brutalist housing schemes to urban design theories. In retrospect, the House of the Future is less of a resolved design proposal and more of an architectural manifesto. It embodies a critical tension: the optimism of technological progress and the need for architecture to respond to human adaptability and social evolution. As we confront contemporary challenges like climate crisis, digital living, and shifting social paradigms, the Smithsons’ speculative experiment remains an evocative reminder that the architecture of tomorrow must be as thoughtful and provocative as the House of the Future. House of the Future Plans Axonometric View | © Alison and Peter Smithson via CCA Floor Plan | © Alison and Peter Smithson, via CCA Floor Plan | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA House of the Future Image Gallery About Alison and Peter Smithson Alison and Peter Smithson were British architects and influential thinkers who emerged in the mid-20th century, celebrated for their critical reimagining of modern architecture. Their work, including projects like the House of the Future, the Robin Hood Gardens housing complex, and the Upper Lawn Solar Pavilion, consistently challenged conventional notions of domesticity, urbanism, and materiality. Central to their practice was a belief in architecture’s capacity to shape social life, emphasizing adaptability, flexibility, and the dynamic interactions between buildings and their users. They were pivotal in bridging the gap between post-war modernism and the experimental architectural movements of the 1960s and 1970s. Credits and Additional Notes Banham, Reyner. Theory and Design in the First Machine Age. MIT Press, 1960. Forty, Adrian. Words and Buildings: A Vocabulary of Modern Architecture. Thames & Hudson, 2000. Smithson, Alison, and Peter Smithson. The Charged Void: Architecture. Monacelli Press, 2001. OASE Journal. “Houses of the Future: 1956 and Beyond.” OASE 75, 2007. Vidler, Anthony. Histories of the Immediate Present: Inventing Architectural Modernism. MIT Press, 2008. Canadian Centre for Architecture (CCA). “House of the Future.”

Every item on this page was hand-picked by a House Beautiful editor. We may earn commission on some of the items you choose to buy.While some design-minded folks prefer the shiny, unmarked quality of newly made furniture and decor, others opt for the charm and history associated with vintage and antique treasures. Buying secondhand and locally is not only more sustainable, but it's a great way to avoid increased fees from recent tariff policies. There's never been a better time to invest in ready-made pieces that have seen decades (or even centuries) of history unfold. That said, discerning the true value of high-end antiques—whether it be a secretary desk whose top requires a bit of elbow grease to open or a Lalique bottle that bears a tiny chip in the base—is no easy feat. After all, if you don't know the ins and outs of this particular niche, you could very well get duped into overspending.To prepare you for your next outing to the antique shop, vintage store, or flea market, we asked experts in the field for their most helpful shopping tips. Here's what they had to say about sourcing decades-old treasures—without regretting your purchase later. Related Stories Buy From a Reputable Sourcetaikrixel//Getty Images"Fakes are really the rare outliers and not the norm in the world of antiques and vintage furniture," according to Anthony Barzilay Freund, editorial director and director of fine art at 1stDibs. He says that it's always best to investigate the reputation of individual dealers or browse a reputable online marketplace that sells only vetted and authenticated items. "When buying any piece of furniture that purports to be old, it's important that you are working with a reputable dealer who has a history of handling the type of material and a track record of participating in vetted fairs or selling on digital platforms such as 1stDibs that monitor inventory," Freund continues. That way, you can trust the info you're given. "You can perform your due diligence by asking the dealer to provide you with any information about the piece's provenance (who made it, where it was made, and who owned it over the years)."As for antique-hunting at thrift stores and flea markets, you may find a few quality pieces here and there. "And the more you look, the better able you'll be to discern quality," says Freund. So, browse often!Related StoryLook for a Maker’s MarkMany antiques from famed designers bear a stamp or signature indicating who made them—but many don't, and not all stamps can be trusted. "A piece that has a stamp may be an indication that it's by a specific designer, but there have been known cases in which some badly intentioned people use someone else's branding stamp to produce fakes," says Benoist F. Drut, owner of New York–based gallery Maison Gerard. The prolific 18th-century French designer George Jacobs, for instance, was famous for his iconic stamps, but even he didn't mark every piece he designed with a signature, so "you can't rely entirely on the stamp to prove authenticity," Drut says. That being said, he adds, "It's usually obvious if it's a real stamp and not a copy." Herman MillerIf there's an artist or design house you like, do some research first to uncover exactly what type of mark, if any, you should be seeking. For example, one of the most popular vintage pieces is the beloved Eames lounge chair. According to the brand, which still produces some of the designer's original designs, "Labels and stamps can be the best and the quickest method of authenticating your Eames design. It may also help you to date and value your piece." Every Eames piece, from the first designs from the early 1940s to the ones produced now, bears a label. The only exception is the fiberglass shell chair, each of which bears a stamp. Both the labels and stamps feature a series of letters and numbers that can help determine the exact age of the piece. Related StoryAsk for Provenance DocumentsThis may seem like the most straightforward step, but it's usually the least reliable for one key reason. "Pieces that are a few hundred years old move from place to place during their lifetime, and rarely do the papers follow them," Drut explains. In most cases, you simply have to decide whether or not you trust what the dealer is telling you to be true about a piece's provenance. Some items, however, do come with papers that can easily be authenticated. These pieces are typically ones that have been in the family's estate for generations. If such papers aren't available, he adds, a piece may also be listed in probate inventories or wills, so be sure to check everywhere.A piece with family provenance further helps validate its authenticity. In certain occasions, a piece may be seen in an early 20th-century black and white photograph or, in rare instances, in a daguerreotype.—Erik GronningRelated StoryDo Your Own ResearchBeeldbewerking//Getty ImagesIf you're considering an older piece, the dealer from whom you're buying it should have a general idea of the year or decade it was produced. With that information, do some digging about how similar pieces of furniture were made and with which types of materials. "Look at books about that time period and, if you can, visit museums," says Drut. "It doesn't take a professional to see all of the subtle details—such as the materials and techniques used—that indicate if it's authentic or not." Along the way, you might uncover some lesser-known designers whose pieces are still genuine works of art, but may be easier to find and more affordable to purchase. (If an Eames chair is out of your price range, for example, you might want to look into a Plycraft seat.)Related StoryPerform a “Run-Down”Before making a big-ticket purchase, ask the dealer what the piece is made of—the response will be another indicator of authenticity. Take chairs as an example."Plenty of chairs and sofas made today are filled with foam," says Drut. "An 18th-century chair, however, will be filled with horsehair, as foam was not invented until much later in the 20th century."You'll also want to observe where small marks or imperfections in the construction may bear the signature of a handcrafted (as opposed to mass-produced) item. "The process of making a piece of furniture using only hand tools leaves behind 'tool marks,'" says Erik Gronning, Sotheby's head of Americana. "Saws leave a mark called a saw kerf while planes leave plane marks, and modern electrical powered saws and planes also leave marks, but theirs are regular and not inconsistent as one sees with hand tools." Related Story Request Pre-Restoration PhotosGiorez//Getty Images"If the piece has been extensively cleaned and/or refinished," Freund advises, "ask to see pre-restoration photographs." Any reputable restorer regularly enlisted by antique dealers is likely to have a few on hand. Here's the thing about restorations: They're not a bad thing, and they're definitely not a reason to question a piece's authenticity or age. For instance, Drut says, if you're considering buying a 19th-century chair whose back leg is attached with glue, "that's because it's 200 years old and, without the glue, the chair may not be usable." Looking at an image of the chair before the glue was applied can reassure you that you're getting a strengthened original, not a fake. On the other hand, if you find a centuries-old piece that looks spotless, "How can you explain that? You can't," says Drut." An alleged antique that looks too good to be true probably is." Consider what an update may be concealing: "If something has been fully painted over, that often means that someone has something to hide. Stay away," says Drut. More specifically, Gronning adds that "18th- and early 19th-century pieces in their 'original' surface have a very dark or nearly black appearance that, to the untrained eye, could appear dirty or ratty, but it is this appearance that helps authenticate its age." If this is the case with an antique treasure you're considering, it's important to look at any perceived flaws as marks of character. "Antiques and vintage pieces have a patina and personality that one cannot find in a newly constructed object," Freund says. "Rather than viewing this as damage or wear and tear, antique lovers think signs of age give an object a visual interest, warmth, and uniqueness that really enhances the character of a room." Follow House Beautiful on Instagram and TikTok.

View of the south façade before construction of a new residential project that now conceals Le Christin from Boulevard René Lévesque. PROJECT Le Christin, Montreal, Quebec ARCHITECT Atelier Big City PHOTOS James Brittain   PROJECT Les Studios du PAS, Montreal, Quebec ARCHITECT L. McComber in collaboration with Inform  PHOTOS Ulysse Lemerise   Nighttime, April 15, 2025. A thousand volunteers are gathering in Montreal, part of a province-wide effort to try and put numbers on a growing phenomenon in cities like Vancouver, Calgary, Toronto, and many others. The volunteers are getting ready to walk around targeted areas in downtown Montreal and around certain subway stations. Temporary shelters are also visited. First conducted in the spring of 2018, this survey showed that 3,149 people were in a vulnerable situation at the time. Four years later, a similar effort revealed that Montreal’s homeless population had risen to 4,690 people—and that there were some 10,000 people experiencing homelessness in the whole of the province. The 2025 numbers are expected to be significantly higher. For the organizers, this one-night snapshot of the situation is “neither perfect nor complete.” However, for nonprofit organizations and governmental bodies eager to prevent a vulnerable population from ending up on the streets, the informal census does provide highly valuable information.  Two recent initiatives—very different from one another—offer inspiring answers. The most recent one, Le Christin, was designed by Atelier Big City (led by architects Anne Cormier, Randy Cohen, and Howard Davies) and inaugurated in 2024. Studios du PAS, on the other hand, was designed by Montreal firm L. McComber, and welcomed its first tenants in 2022. Both projects involved long-standing charities: the 148-year-old Accueil Bonneau, in the case of Le Christin, and the 136-year-old Mission Old Brewery for Studios du PAS. Le Christin was spearheaded, and mostly financed, by the Société d’habitation et de développement de Montréal (SHDM), a non-profit, para-municipal corporation created in 1988. Studios du PAS was first selected by the City of Montreal to be built thanks to the Rapid Housing Initiative (RHI) program run by the Canada Mortgage and Housing Corporation (CMHC). Le Christin also received a financial contribution from the CMHC towards the end of the process. Boldly coloured blind walls signal the presence of Le Christin in the center of a densely occupied city block, with entrance to the left along Sanguinet Stree. Le Christin Although sited in a very central location, near the buzzing St. Catherine and St. Denis streets, Le Christin is hard to find. And even when one suddenly spots two seven-storey-high walls, coloured lemon-zest yellow and mango orange, it’s difficult to figure out what they are about. A stroll along the tiny Christin Street finally reveals the front façade of this new facility, now home to some of Montreal’s most vulnerable citizens.  View of Le Christin’s modulated front façade. Galvanized steel panels at ground level add a soft touch while protecting the building from potential damage caused by snow plows. Le Christin is unique for a number of reasons. First among them is its highly unusual location—at the centre of a dense city block otherwise occupied by university buildings, office towers, and condo blocks. Until a few years ago, the site was home to the four-storey Appartements Le Riga. The Art Deco-style building had been built in 1914 by developer-architect Joseph-Arthur Godin, who was a pioneer in his own right: he was one of the first in Montreal to experiment with reinforced concrete structures, a novelty in the city at the time. A century later, Le Riga, by then the property of SHDM, was in serious need of repair. Plans had already been drafted for a complete renovation of the building when a thorough investigation revealed major structural problems. Tenants had to leave on short notice and were temporarily relocated; the building was eventually demolished in 2019. By that time, Atelier Big City had been mandated to design a contemporary building that would replace Le Riga and provide a “place of one’s own” to close to 150 tenants, formerly homeless or at risk of becoming so.    Le Christin – Site Plan and Ground Floor Plan The entire operation sparked controversy, particularly as Le Christin started to rise, showing no sign of nostalgia. The architects’ daring approach was difficult to fathom—particularly for those who believe social housing should keep a low profile.  The program, originally meant for a clientele of single men, gradually evolved to include women. In order to reflect societal trends, the architects were asked to design 24 slightly larger units located in the building’s east wing, separated from the rest of the units by secured doors. Thus, Le Christin is able to accommodate homeless couples or close friends, as well as students and immigrants in need. A tenants-only courtyard is inserted in the south façade. In order to provide the maximum number of units requested by SHDM, each of the 90 studios was reduced to 230 square feet—an adjustment from Atelier Big City’s initial, slightly more generous plans. In a clever move, an L-shaped kitchen hugs the corner of each unit, pushing out against the exterior wall. As a result, the window openings recede from the façade, creating a sense of intimacy for the tenants, who enjoy contact with the exterior through large windows protected by quiet Juliet balconies. Far from damaging the initial design, the added constraint of tightened units allowed the architects to modulate the building’s façades, creating an even stronger statement. On the unit levels, corridors include large openings along the south façade. Each floor is colour-coded to enliven the space; overhead, perforated metal plates conceal the mechanical systems. An extra floor was gained thanks to the decision to expose the various plumbing, electrical, and ventilation systems. Well-lit meeting rooms and common areas are found near Le Christin’s front entrance, along with offices for personnel, who are present on the premises 24 hours a day. Apart from a small terrace above the entrance, the main exterior space is a yard which literally cuts into the building’s back façade. This has a huge impact on the interiors at all levels: corridors are generously lit with sunlight, a concept market developers would be well advised to imitate. The adjacent exit stairs are also notable, with their careful detailing and the presence of glazed openings.  The fire stairs, which open onto the exterior yard at ground level, feature glazing that allows for ample natural light. Le Christin has achieved the lofty goal articulated by SHDM’s former director, architect Nancy Schoiry: “With this project, we wanted to innovate and demonstrate that it was possible to provide quality housing for those at risk of homelessness.” The low-slung Studios du PAS aligns with neighbourhood two-storey buildings. Studios du PAS In sharp contrast with Le Christin’s surroundings, the impression one gets approaching Studios du PAS, 14 kilometres east of downtown Montreal, is that of a small town. In this mostly low-scale neighbourhood, L. McComber architects adopted a respectful, subdued approach—blending in, rather than standing out.  The project uses a pared-down palette of terracotta tile, wood, and galvanized steel. The footbridge links the upper level to shared exterior spaces. The financing for this small building, planned for individuals aged 55 or older experiencing or at risk of homelessness, was tied to a highly demanding schedule. The project had to be designed, built, and occupied within 18 months: an “almost impossible” challenge, according to principal architect Laurent McComber. From the very start, prefabrication was favoured over more traditional construction methods. And even though substantial work had to be done on-site—including the installation of the roof, electrical and mechanical systems, as well as exterior and interior finishes—the partially prefabricated components did contribute to keeping costs under control and meeting the 18-month design-to-delivery deadline. Les Studios du PAS The building was divided into 20 identical modules, each fourteen feet wide—the maximum width allowable on the road. Half the modules were installed at ground level. One of these, positioned nearest the street entrance, serves as a community room directly connected to a small office for the use of a social worker, allowing staff to follow up regularly with tenants. Flooded with natural light, the double-height lobby provides a friendly and inclusive welcome. The ground level studios were designed so they could be adapted to accommodate accessibility needs. Some of the ground floor units were adapted to meet the needs of those with a physical disability; the other units were designed to be easily adaptable if needed. All studio apartments, slightly under 300 square feet, include a full bathroom, a minimal kitchen, and sizeable storage space hidden behind cabinet doors. Most of the apartments include a small exterior alcove, which provides an intimate outdoor space while creating a subtle rhythm along the front façade. Inside the studio units, storage cupboards for clothes and belongings were added as an extension of the kitchen wall. Conscious of the tradition of brick residential buildings in Montreal, yet wanting to explore alternate materials, the architects selected an earth-toned terracotta tile from Germany. The 299mm x 1500mm tiles are clipped to the façade, allowing for faster installation and easier maintenance. All units enjoy triple-glazed windows and particularly well insulated walls. A high-performance heat pump was installed to lower energy demand—and costs—for heating and cooling needs. Wood siding was used to soften the upper-level balconies, which provide protected outdoor spaces for residents.   Pride and Dignity Le Christin and Les Studios du PAS have little in common—except, of course, their program. Architecturally speaking, each represents an interesting solution to the problem at hand. While Le Christin is a high-spirited, flamboyant statement, Studios du PAS is to be praised for its respectful attitude, and for the architects’ relentless search for interesting alternatives to traditional construction norms. Atelier Big City is one of few firms in Canada that has the guts—and the talent—to play with bold colours. Decades of experimentation (not just with public buildings, but also within their own homes), led up to Le Christin, which is perhaps their strongest building to date. Their judicious choices of colour, brick type, and materials transmit a message of pride and dignity. Both projects demonstrate enormous respect and generosity to their residents: they provide architecture that treats them not as an underclass, but as regular people, who need the stability of dignified housing to start rebuilding their lives. Odile Hénault is a contributing editor to Canadian Architect.   Le Christin CLIENT Société d’habitation et de développement de Montréal (SHDM) | ARCHITECT TEAM Anne Cormier, Randy Cohen, Howard Davies, Fannie Yockell, Gabriel Tessier, Sébastien St-Laurent, Lisa Vo | STRUCTURAL DPHV | MECHANICAL/ELECTRICAL BPA | CIVIL Genexco | LIGHTING CS Design | AREA 4,115 m2 | Construction BUDGET $18.9 M | COMPLETION November 2023   Les Studios du PAS  CLIENT PAS de la rue | ARCHITECT TEAM L. McComber—Laurent McComber, Olivier Lord, Jérôme Lemieux, Josianne Ouellet-Daudelin, Laurent McComber. Inform—David Grenier, Élisabeth Provost, Amélie Tremblay, David Grenier | PROJECT MANAGEMENT Groupe CDH | STRUCTURAL Douglas Consultants | MECHANICAL/ELECTRICAL Martin Roy & associés | CIVIL Gravitaire | CONTRACTOR Gestion Étoc | AREA 1,035 m2 | BUDGET $3.4 M | COMPLETION September 2022 As appeared in the June 2025 issue of Canadian Architect magazine The post A Place to Call Home: Le Christin and Les Studios du PAS, Montreal, Quebec appeared first on Canadian Architect.