• Mario Moore’s Oil Paintings Bridge Past and Present to Spotlight Black Resilience and Style

    “Pillars”, oil on linen, 84 x 96 inches. All images courtesy of Mario Moore and Library Street Collective, shared with permission
    Mario Moore’s Oil Paintings Bridge Past and Present to Spotlight Black Resilience and Style
    June 4, 2025
    Kate Mothes

    In large-scale works in oil, Detroit-based artist Mario Moore taps into the legacy of European painting traditions to create bold portraits exploring the nature of veneration, self-determination, and the continuum of history.
    Moore’s work is currently on view in Beneath Our Feet at Library Street Collective alongside fellow Detroiter LaKela Brown. His new pieces nod to the Dutch and Flemish tradition of devotional painting, particularly religious garland paintings. Within elegant arrangements of flowers and foliage, he highlights Black figures relaxing or tending to gardens.
    “The Patron Saint of Urban Farming”, oil on linen, 72 x 48 inches
    In “Watermelon Man,” a stone altar is surrounded by hibiscus and watermelons, both symbols of resilience. Historically, the latter represented self-sufficiency and freedom for Southern African Americans following Emancipation, but whites flipped the narrative into a stereotypical exemplar of poverty. Moore reclaims the fruit in the spirit of refined 17th-century still-lifes.
    The artist has long drawn on the culture and legacies of both Detroit and the U.S. more broadly through the lens of the Black diaspora. Earlier works like “Pillars” position Black figures in elegant dress within the vast wildernesses of the American frontier, bridging the past to explore how racial divisions continue to shape the present.
    An exhibition last summer at Grand Rapids Art Museum titled Revolutionary Times took his series A New Republic as a starting point, revisiting the history of Black Union soldiers during the Civil War.
    Moore learned that one of his ancestors, who had been enslaved as a child, later enlisted in the Union Army, spurring the artist’s exploration of the seminal mid-19th-century period of conflict and Western colonization. He positions present-day figures in contemporary dress within historical contexts, interrogating political and racial segregations.
    “Watermelon Man”, oil on linen, 51 1/2 x 42 inches
    Through tropes of European painting like a self-portrait of the artist in mirrored reflections and poses in three-quarter profile, Moore renders individuals whose direct, confident gazes and elegant dress invoke Detroit style and pride.
    For Beneath Our Feet, Brown and Moore collaborated on a five-foot-wide bas-relief bronze coin. Each artist completed one side, with Mario’s contribution taking the form of a portrait of Brown. “Her profile echoes the conventional format of traditional American coinage, confronting the historic absence of Black women in national symbolism and positions of authority,” the gallery says. On the opposite side, Brown depicts a bouquet of collard greens symbolic of nourishment and community.
    For this exhibition, Brown and Moore “reflect on the wealth held in the earth beneath us—and the enduring question of who holds the rights to till, own, and shape that land,” says an exhibition statement. Detroit is home to ambitious urban gardening initiatives that aim for local food sovereignty, mirroring the resourcefulness of Black farmers throughout history. The artists “consider land not just as property but as history, inheritance, and possibility,” the gallery says.
    Beneath Our Feet continues through July 30 in Detroit. See more on Moore’s website and Instagram.
    “International Detroit Playa: Sheefy”, oil on linen, 108 x 96 inches
    “These Are Not Yams But They Are Damn Good”, oil on linen, 51 1/2 x 42 inches
    “Creation of a Revolutionary”, oil on linen, 76 x 52 inches
    “Black”, oil on linen, 48 x 48 inches
    “Garland of Resilience”, oil on linen, 51 1/2 x 42 inches
    “Birth of Cool”, oil on linen, 72 x 48 inches
    Installation view of ‘LaKela Brown and Mario Moore: Beneath Our Feet’ at Library Street Collective, Detroit
    Previous articleNext article
    #mario #moores #oil #paintings #bridge
    Mario Moore’s Oil Paintings Bridge Past and Present to Spotlight Black Resilience and Style
    “Pillars”, oil on linen, 84 x 96 inches. All images courtesy of Mario Moore and Library Street Collective, shared with permission Mario Moore’s Oil Paintings Bridge Past and Present to Spotlight Black Resilience and Style June 4, 2025 Kate Mothes In large-scale works in oil, Detroit-based artist Mario Moore taps into the legacy of European painting traditions to create bold portraits exploring the nature of veneration, self-determination, and the continuum of history. Moore’s work is currently on view in Beneath Our Feet at Library Street Collective alongside fellow Detroiter LaKela Brown. His new pieces nod to the Dutch and Flemish tradition of devotional painting, particularly religious garland paintings. Within elegant arrangements of flowers and foliage, he highlights Black figures relaxing or tending to gardens. “The Patron Saint of Urban Farming”, oil on linen, 72 x 48 inches In “Watermelon Man,” a stone altar is surrounded by hibiscus and watermelons, both symbols of resilience. Historically, the latter represented self-sufficiency and freedom for Southern African Americans following Emancipation, but whites flipped the narrative into a stereotypical exemplar of poverty. Moore reclaims the fruit in the spirit of refined 17th-century still-lifes. The artist has long drawn on the culture and legacies of both Detroit and the U.S. more broadly through the lens of the Black diaspora. Earlier works like “Pillars” position Black figures in elegant dress within the vast wildernesses of the American frontier, bridging the past to explore how racial divisions continue to shape the present. An exhibition last summer at Grand Rapids Art Museum titled Revolutionary Times took his series A New Republic as a starting point, revisiting the history of Black Union soldiers during the Civil War. Moore learned that one of his ancestors, who had been enslaved as a child, later enlisted in the Union Army, spurring the artist’s exploration of the seminal mid-19th-century period of conflict and Western colonization. He positions present-day figures in contemporary dress within historical contexts, interrogating political and racial segregations. “Watermelon Man”, oil on linen, 51 1/2 x 42 inches Through tropes of European painting like a self-portrait of the artist in mirrored reflections and poses in three-quarter profile, Moore renders individuals whose direct, confident gazes and elegant dress invoke Detroit style and pride. For Beneath Our Feet, Brown and Moore collaborated on a five-foot-wide bas-relief bronze coin. Each artist completed one side, with Mario’s contribution taking the form of a portrait of Brown. “Her profile echoes the conventional format of traditional American coinage, confronting the historic absence of Black women in national symbolism and positions of authority,” the gallery says. On the opposite side, Brown depicts a bouquet of collard greens symbolic of nourishment and community. For this exhibition, Brown and Moore “reflect on the wealth held in the earth beneath us—and the enduring question of who holds the rights to till, own, and shape that land,” says an exhibition statement. Detroit is home to ambitious urban gardening initiatives that aim for local food sovereignty, mirroring the resourcefulness of Black farmers throughout history. The artists “consider land not just as property but as history, inheritance, and possibility,” the gallery says. Beneath Our Feet continues through July 30 in Detroit. See more on Moore’s website and Instagram. “International Detroit Playa: Sheefy”, oil on linen, 108 x 96 inches “These Are Not Yams But They Are Damn Good”, oil on linen, 51 1/2 x 42 inches “Creation of a Revolutionary”, oil on linen, 76 x 52 inches “Black”, oil on linen, 48 x 48 inches “Garland of Resilience”, oil on linen, 51 1/2 x 42 inches “Birth of Cool”, oil on linen, 72 x 48 inches Installation view of ‘LaKela Brown and Mario Moore: Beneath Our Feet’ at Library Street Collective, Detroit Previous articleNext article #mario #moores #oil #paintings #bridge
    WWW.THISISCOLOSSAL.COM
    Mario Moore’s Oil Paintings Bridge Past and Present to Spotlight Black Resilience and Style
    “Pillars” (2024), oil on linen, 84 x 96 inches. All images courtesy of Mario Moore and Library Street Collective, shared with permission Mario Moore’s Oil Paintings Bridge Past and Present to Spotlight Black Resilience and Style June 4, 2025 Kate Mothes In large-scale works in oil, Detroit-based artist Mario Moore taps into the legacy of European painting traditions to create bold portraits exploring the nature of veneration, self-determination, and the continuum of history. Moore’s work is currently on view in Beneath Our Feet at Library Street Collective alongside fellow Detroiter LaKela Brown. His new pieces nod to the Dutch and Flemish tradition of devotional painting, particularly religious garland paintings. Within elegant arrangements of flowers and foliage, he highlights Black figures relaxing or tending to gardens. “The Patron Saint of Urban Farming” (2025), oil on linen, 72 x 48 inches In “Watermelon Man,” a stone altar is surrounded by hibiscus and watermelons, both symbols of resilience. Historically, the latter represented self-sufficiency and freedom for Southern African Americans following Emancipation, but whites flipped the narrative into a stereotypical exemplar of poverty. Moore reclaims the fruit in the spirit of refined 17th-century still-lifes. The artist has long drawn on the culture and legacies of both Detroit and the U.S. more broadly through the lens of the Black diaspora. Earlier works like “Pillars” position Black figures in elegant dress within the vast wildernesses of the American frontier, bridging the past to explore how racial divisions continue to shape the present. An exhibition last summer at Grand Rapids Art Museum titled Revolutionary Times took his series A New Republic as a starting point, revisiting the history of Black Union soldiers during the Civil War. Moore learned that one of his ancestors, who had been enslaved as a child, later enlisted in the Union Army, spurring the artist’s exploration of the seminal mid-19th-century period of conflict and Western colonization. He positions present-day figures in contemporary dress within historical contexts, interrogating political and racial segregations. “Watermelon Man” (2025), oil on linen, 51 1/2 x 42 inches Through tropes of European painting like a self-portrait of the artist in mirrored reflections and poses in three-quarter profile, Moore renders individuals whose direct, confident gazes and elegant dress invoke Detroit style and pride. For Beneath Our Feet, Brown and Moore collaborated on a five-foot-wide bas-relief bronze coin. Each artist completed one side, with Mario’s contribution taking the form of a portrait of Brown. “Her profile echoes the conventional format of traditional American coinage, confronting the historic absence of Black women in national symbolism and positions of authority,” the gallery says. On the opposite side, Brown depicts a bouquet of collard greens symbolic of nourishment and community. For this exhibition, Brown and Moore “reflect on the wealth held in the earth beneath us—and the enduring question of who holds the rights to till, own, and shape that land,” says an exhibition statement. Detroit is home to ambitious urban gardening initiatives that aim for local food sovereignty, mirroring the resourcefulness of Black farmers throughout history. The artists “consider land not just as property but as history, inheritance, and possibility,” the gallery says. Beneath Our Feet continues through July 30 in Detroit. See more on Moore’s website and Instagram. “International Detroit Playa: Sheefy” (2022), oil on linen, 108 x 96 inches “These Are Not Yams But They Are Damn Good” (2025), oil on linen, 51 1/2 x 42 inches “Creation of a Revolutionary (Helen Moore)” (2023), oil on linen, 76 x 52 inches “Black” (2023), oil on linen, 48 x 48 inches “Garland of Resilience” (2025), oil on linen, 51 1/2 x 42 inches “Birth of Cool” (2023), oil on linen, 72 x 48 inches Installation view of ‘LaKela Brown and Mario Moore: Beneath Our Feet’ at Library Street Collective, Detroit Previous articleNext article
    Like
    Love
    Wow
    Sad
    Angry
    418
    0 Comentários 0 Compartilhamentos 0 Anterior
  • State of Play June 2025: all announcements, trailers 

    Game reveals, release date confirmations, and new looks at titles coming to PlayStation in the near future: today’s State of Play packed a lot into its runtime. Whether you missed the show, want to rewatch it, or dig down into the individual announcements, this article has you covered. 

    Firstly, you can rewatch the full show below. Underneath that we highlight each of the games featured in the show with recaps of their announcement as well as their full trailers. We also have further details and insight by the game creators in a selection of dedicated PS Blog articles. 

    Play Video

    View and download image

    Download the image

    close
    Close

    Download this image

    Astro Bot 

    New levels are coming to Astro Bot this summer! Get ready for the challenge of five new Vicious Void Galaxy levels. They’ll require every bit of skill together to complete! And of course, these new levels will introduce their own Special Bots! And that’s not all: an updated smiley version of the Astro Bot Limited Edition DualSense wireless controller is set to launch later this year.

    Preview both the upcoming DualSense controller and the new PS5 levels in a PS Blog post from Team Asobi Studio Head Nicolas Doucet.

    Play Video

    Baby Steps

    The wonderfully weird walking sim has a release date as Baby Steps toddles onto PS5 September 8. Today’s new gameplay trailer further highlights the game’s unique traversal mechanics, as well as challenges its onesie-wearing protagonist Nate faces as he attempts to answer the call of nature. 

    Play Video

    Bloodstained: The Scarlet Engagement 

    The 2.5D side-scrolling action RPG returns with a new dark chapter. Explore the massive Ethereal Castle as two new heroes – Leo and Alex – join forces to tackle its fearsome inhabitants. You’ll be able to switch between the duo at the press of a button, leveraging each adventurer’s distinct abilities in order to survive. 

    505 Games dives further into the sequel’s gameplay mechanics and details what you can expect when you enter the castle’s halls when it launches on PS5 next year in a PS Blog post. 

    Play Video

    Cairn

    Climb like never before in survival-climber Cairn, which ascends onto PS5 November 5. Consider your path and climb anywhere on the mountain, managing your endurance and resources to survive. You’ll be able to hone your skills and test palm strength early, as a demo launches onto PlayStation Store today. 

    Cairn creator The Game Bakers breaks down its interactive take on alpinism in a tie-in PS Blog post. 

    Play Video

    Digimon Story: Time Stranger

    After being announced in the last State of Play this past February, Digimon Story: Time Stranger returns with a new trailer that digs into its story, reveals more of its vibrant characters and highlights the variety of Digimon growth and customization you can expect when the game launches October 3. 

    View and download image

    Download the image

    close
    Close

    Download this image

    Everybody’s Golf Hot Shots 

    Teeing off on PS5 this September 5 is the return of the classic golfing series. Everybody’s Golf Hot Shots debuted a new gameplay trailer that revealed a surprise guest star: Pac-Man! The gaming icon will be available as an early unlockable character when you pre-order the game. 

    Play Video

    Final Fantasy Tactics – The Ivalice Chronicles

    Originally released in 1997 for PlayStation, Final Fantasy Tactics is known for its rich story and deep, strategic gameplay. This September 30 you can enjoy both when the strategy RPG returns on PS5 and PS4 in the form of Final Fantasy Tactics – The Ivalice Chronicles. This enhanced version adds fully voiced dialogue, optimized and updated UI, graphical improvements, and a number of other quality of life features

    Square Enix details what to expect, including the more accessible “Squire” difficulty setting, in a PS Blog post. 

    Play Video

    Ghost of Yōtei

    Today’s show announced a special State of Play episode dedicated to Ghost of Yōtei, coming your way soon. 

    Sucker Punch will guide you through an extended look at new and evolved gameplay mechanics, including exploration, combat, and much more. Mark your calendar: the episode airs this July. 

    Play Video

    Hirogami

    Hirogami is an origami-inspired 3D action platformer coming to PS5 on September 3. Explore a beautiful but fragile origami world as Hiro, a master of the art of ‘folding’, and take on animal forms to traverse the landscape, solve puzzles, overcome enemies, and save the realm from a deadly digital threat.

    Play Video

    007 First Light

    IO Interactive’s third-person action-adventure game 007 First Light third-person action-adventure game unveils a new James Bond origin story. Discover the events that lead a young maverick to become the best MI6 agent and the world’s most iconic spy when the game launches on PS5 next year.

    IO Interactive shares first details on the game, including its story and Bond’s background in a new PS Blog post. 

    Play Video

    Lumines Arise

    A brand-new, built from the ground up entry into the iconic puzzle series launches later this year on PS5 and features optional PS VR2 compatibility. Lumines Arise includes 30 flow state-inducing stages, including lush jungles, oceans, to more electronic frontiers like the bustling streets of Tokyo and the endless expanse of outer space. A new Burst mechanic amps up the timeless gameplay. 

    Enhance discusses the debut of its new title, talks Avatars and teases an upcoming demo in a new PS Blog post. 

    Play Video

    MARVEL Tōkon: Fighting Souls 

    PlayStation Studios, Arc System Works, and Marvel Games have joined forces to realize the latest in tag team fighters, MARVEL Tōkon: Fighting Souls! Experience the Marvel Universe like never before with reimagined characters and stages, a heart-pounding soundtrack, intuitive gameplay mechanics, and jaw-dropping visuals that will keep you on the edge of your seat. Whether this is your first fighting game or you are a veteran of the genre, Arc has incorporated gameplay controls and mechanics that are easy to pick up and play, and yet still offer the depth and versatility for high level competition. 

    Find out more in this PS Blog post. 

    Play Video

    Metal Gear Solid Delta: Snake Eater 

    Today’s trailer offered a closer look at how this remake has approached the fearsome adversaries that Naked Snake will face on his mission: The Cobra Unit. The new footage doesn’t just linger on the high stakes action you’ll face during the story campaign though. Konami also shares gameplay of Snake vs Monkey, which is also making its return when the game launches on PS5 this August 28. 

    Play Video

    Mortal Kombat Kollection

    Digital Eclipse partners with Warner Bros. Interactive Entertainment to bring Mortal Kombat: Legacy Kollection to PlayStation 4 and PlayStation 5 later this year. With multiple playable games from the early days of this groundbreaking fighting game series as well as interactive documentaries, Mortal Kombat: Legacy Kollection promises to be the most comprehensive, detailed look at the franchise’s history ever assembled.

    In a supporting PS Blog post, Digital Eclipse outlines the games included in the collection, and shares more information on the documentaries that’ll include Mortal Kombat co-creators Ed Boon and John Tobia, developers, actors and more. 

    Play Video

    Ninja Gaiden: Ragebound

    Ninja Gaiden: Ragebound, the new spectacular side-scrolling entry to the acclaimed series, releases on July 31 on PS5 and PS4. Honoring the franchise’s legacy, Ragebound modernises the unforgiving action-platforming formula with the fast-paced and exhilarating action The Game Kitchenis known for.

    Play Video

    Nioh 3 

    Koei Tecmo and developer Team Ninja announced Nioh 3 for PS5. In this dark fantasy action RPG, players can fight using two distinct combat styles: Samurai and Ninja. The Samurai style provides a gameplay experience similar to previous Nioh titles, while Ninja style excels in quick movements like dodging and aerial actions. Players will be able to switch between battle styles instantly at any time. Intrigued to know how they’ll work? You can find out today with a limited time demo that’ll be launching on PlayStation Store. 

    Keoi Tecmo shares more story and gameplay details about the game in an accompanying PS Blog post. 

    View and download image

    Download the image

    close
    Close

    Download this image

    PlayStation Plus 

    Along with Sword of the Sea coming August 19 as part of the Game Catalog lineup, there were new titles announced coming to PlayStation Plus. The PS2 version of immersive sci-fi sim Deus Ex joins Game Catalog June 17, Twisted Metal 3 and Twisted Metal 4 come to the PlayStation Plus Premium’s Classics range July 15. Later this summer, the original PlayStation versions of Resident Evil 2 and Resident Evil 3: Nemesis also come to  PlayStation Plus Premium’s Classics range.

    Play Video

    Pragmata

    Pragmata, Capcom’s new science fiction adventure, received a new gameplay trailer during today’s State of Play. This early peak of the game’s gameplay shows its unique twist of action and strategy, as in Pragmata, players must control its two protagonists, Hugh and Diana, at the same time to overcome the many obstacles you’ll face.

    Capcom shares more details of its latest IP, out 2026 on PS5, in an accompanying PS Blog post. 

    Play Video

    Project Defiant 

    Today State of Play saw the reveal of the first wireless fight stick custom designed by PlayStation. Codenamed Project Defiant, this new controller allows wireless play through PlayStation Link, or wired connection on PS5 or PC, and is set to launch next year. 

    Get your first full details on the fight stick in this PS Blog post. 

    Play Video

    Romeo is a Dead Man

    Romeo Stargazer is a man stuck between life and death who chases space-time’s most wanted fugitives as FBI special agent Dead Man. This newly revealed action title, created by Grasshopper Manufacture, launches on PS5 next year, and sees you use guns, swords and even enemies’ own powers against them to battle evil hordes. 

    How does a time paradox shattering the space-time continuum turn someone into an FBI special agent? Grasshopper Manufacture explainsin a new PS Blog post.  

    Play Video

    Sea of Remnants

    Meet a world of puppetfolk exploring the open sea and its secrets in oceanic action RPG Sea of Remnants, which sets sail for PS5. Form a specialised crew to answer any challenge that lies beyond the horizon, upgrade your ship to ride out any storm and return home with your spoils to Orbtopia, a pirate city that’ll evolve based on your swashbuckling decisions.  

    Joker Studio expands on the game’s punk aesthetic art style and delves deeper into its gameplay in an accompanying PS Blog post. 

    Play Video

    Silent Hill f

    Silent Hill f launches September 25 on PS5, and today’s State of Play trailer shows Shimizu Hinako’s perilous journey as the high schooler’s hometown is engulfed in fog, and the dangers within will have her fighting for her life. As a standalone spinoff, the game serves as an excellent introduction to the series. 

    “Find beauty in terror” – Konami explains the mission statement that shaped the game’s development in this PS Blog post. 

    Play Video

    Sword of the Sea

    Giant Squid is bringing its exhilarating, mythic surfing adventure Sword of the Sea to PS5 on August 19, with the game releasing as part of that month’s PlayStation Plus Game Catalog lineup. 

    In an accompanying PS Blog post, the studio outlines the game’s inspirations and merging those with its signature environmental design and atmospheric narrative style has resulted in a mythic surfing adventure unlike anything else.

    Play Video

    Thief VR: Legacy of Shadow 

    The legendary Thief franchise is reimagined for PlayStation VR2 in Thief VR: Legacy of Shadow, launching later this year. Play as Magpie, a cunning thief orphaned by Northcrest’s brutality and shaped by the streets and use PS VR2 mechanics to steal, evade, and outsmart the forces controlling The City. Move between shadows, and extinguish light sources with water arrows, hands or even a well-aimed breath to remain undetected.  

    Vertigo Games details how the franchise’s mechanics have been adapted to PS VR2 in this PS Blog post. 

    Play Video

    Tides of Tomorrow

    Road 96 creator DigixArt returns with an intriguing asynchronous multiplayer, oceanic adventure, coming to PS5 February 24, 2026. Tides of Tomorrow’s vibrant post-apocalyptic world interweaves your choices and a previous player’s decisions for a truly unique experience. You’ll see echoes of that player’s choices and actions, that will help you avoid traps, solve puzzles, investigate what happened before, or simply adapt based on the other player’s actions.

    Road 96 creator DigixArt introduces the oceanic nomads the Tidewalkers and breaks down the game’s unique mechanic in a new PS Blog post written by the studio. 
    #state #play #june #all #announcements
    State of Play June 2025: all announcements, trailers 
    Game reveals, release date confirmations, and new looks at titles coming to PlayStation in the near future: today’s State of Play packed a lot into its runtime. Whether you missed the show, want to rewatch it, or dig down into the individual announcements, this article has you covered.  Firstly, you can rewatch the full show below. Underneath that we highlight each of the games featured in the show with recaps of their announcement as well as their full trailers. We also have further details and insight by the game creators in a selection of dedicated PS Blog articles.  Play Video View and download image Download the image close Close Download this image Astro Bot  New levels are coming to Astro Bot this summer! Get ready for the challenge of five new Vicious Void Galaxy levels. They’ll require every bit of skill together to complete! And of course, these new levels will introduce their own Special Bots! And that’s not all: an updated smiley version of the Astro Bot Limited Edition DualSense wireless controller is set to launch later this year. Preview both the upcoming DualSense controller and the new PS5 levels in a PS Blog post from Team Asobi Studio Head Nicolas Doucet. Play Video Baby Steps The wonderfully weird walking sim has a release date as Baby Steps toddles onto PS5 September 8. Today’s new gameplay trailer further highlights the game’s unique traversal mechanics, as well as challenges its onesie-wearing protagonist Nate faces as he attempts to answer the call of nature.  Play Video Bloodstained: The Scarlet Engagement  The 2.5D side-scrolling action RPG returns with a new dark chapter. Explore the massive Ethereal Castle as two new heroes – Leo and Alex – join forces to tackle its fearsome inhabitants. You’ll be able to switch between the duo at the press of a button, leveraging each adventurer’s distinct abilities in order to survive.  505 Games dives further into the sequel’s gameplay mechanics and details what you can expect when you enter the castle’s halls when it launches on PS5 next year in a PS Blog post.  Play Video Cairn Climb like never before in survival-climber Cairn, which ascends onto PS5 November 5. Consider your path and climb anywhere on the mountain, managing your endurance and resources to survive. You’ll be able to hone your skills and test palm strength early, as a demo launches onto PlayStation Store today.  Cairn creator The Game Bakers breaks down its interactive take on alpinism in a tie-in PS Blog post.  Play Video Digimon Story: Time Stranger After being announced in the last State of Play this past February, Digimon Story: Time Stranger returns with a new trailer that digs into its story, reveals more of its vibrant characters and highlights the variety of Digimon growth and customization you can expect when the game launches October 3.  View and download image Download the image close Close Download this image Everybody’s Golf Hot Shots  Teeing off on PS5 this September 5 is the return of the classic golfing series. Everybody’s Golf Hot Shots debuted a new gameplay trailer that revealed a surprise guest star: Pac-Man! The gaming icon will be available as an early unlockable character when you pre-order the game.  Play Video Final Fantasy Tactics – The Ivalice Chronicles Originally released in 1997 for PlayStation, Final Fantasy Tactics is known for its rich story and deep, strategic gameplay. This September 30 you can enjoy both when the strategy RPG returns on PS5 and PS4 in the form of Final Fantasy Tactics – The Ivalice Chronicles. This enhanced version adds fully voiced dialogue, optimized and updated UI, graphical improvements, and a number of other quality of life features Square Enix details what to expect, including the more accessible “Squire” difficulty setting, in a PS Blog post.  Play Video Ghost of Yōtei Today’s show announced a special State of Play episode dedicated to Ghost of Yōtei, coming your way soon.  Sucker Punch will guide you through an extended look at new and evolved gameplay mechanics, including exploration, combat, and much more. Mark your calendar: the episode airs this July.  Play Video Hirogami Hirogami is an origami-inspired 3D action platformer coming to PS5 on September 3. Explore a beautiful but fragile origami world as Hiro, a master of the art of ‘folding’, and take on animal forms to traverse the landscape, solve puzzles, overcome enemies, and save the realm from a deadly digital threat. Play Video 007 First Light IO Interactive’s third-person action-adventure game 007 First Light third-person action-adventure game unveils a new James Bond origin story. Discover the events that lead a young maverick to become the best MI6 agent and the world’s most iconic spy when the game launches on PS5 next year. IO Interactive shares first details on the game, including its story and Bond’s background in a new PS Blog post.  Play Video Lumines Arise A brand-new, built from the ground up entry into the iconic puzzle series launches later this year on PS5 and features optional PS VR2 compatibility. Lumines Arise includes 30 flow state-inducing stages, including lush jungles, oceans, to more electronic frontiers like the bustling streets of Tokyo and the endless expanse of outer space. A new Burst mechanic amps up the timeless gameplay.  Enhance discusses the debut of its new title, talks Avatars and teases an upcoming demo in a new PS Blog post.  Play Video MARVEL Tōkon: Fighting Souls  PlayStation Studios, Arc System Works, and Marvel Games have joined forces to realize the latest in tag team fighters, MARVEL Tōkon: Fighting Souls! Experience the Marvel Universe like never before with reimagined characters and stages, a heart-pounding soundtrack, intuitive gameplay mechanics, and jaw-dropping visuals that will keep you on the edge of your seat. Whether this is your first fighting game or you are a veteran of the genre, Arc has incorporated gameplay controls and mechanics that are easy to pick up and play, and yet still offer the depth and versatility for high level competition.  Find out more in this PS Blog post.  Play Video Metal Gear Solid Delta: Snake Eater  Today’s trailer offered a closer look at how this remake has approached the fearsome adversaries that Naked Snake will face on his mission: The Cobra Unit. The new footage doesn’t just linger on the high stakes action you’ll face during the story campaign though. Konami also shares gameplay of Snake vs Monkey, which is also making its return when the game launches on PS5 this August 28.  Play Video Mortal Kombat Kollection Digital Eclipse partners with Warner Bros. Interactive Entertainment to bring Mortal Kombat: Legacy Kollection to PlayStation 4 and PlayStation 5 later this year. With multiple playable games from the early days of this groundbreaking fighting game series as well as interactive documentaries, Mortal Kombat: Legacy Kollection promises to be the most comprehensive, detailed look at the franchise’s history ever assembled. In a supporting PS Blog post, Digital Eclipse outlines the games included in the collection, and shares more information on the documentaries that’ll include Mortal Kombat co-creators Ed Boon and John Tobia, developers, actors and more.  Play Video Ninja Gaiden: Ragebound Ninja Gaiden: Ragebound, the new spectacular side-scrolling entry to the acclaimed series, releases on July 31 on PS5 and PS4. Honoring the franchise’s legacy, Ragebound modernises the unforgiving action-platforming formula with the fast-paced and exhilarating action The Game Kitchenis known for. Play Video Nioh 3  Koei Tecmo and developer Team Ninja announced Nioh 3 for PS5. In this dark fantasy action RPG, players can fight using two distinct combat styles: Samurai and Ninja. The Samurai style provides a gameplay experience similar to previous Nioh titles, while Ninja style excels in quick movements like dodging and aerial actions. Players will be able to switch between battle styles instantly at any time. Intrigued to know how they’ll work? You can find out today with a limited time demo that’ll be launching on PlayStation Store.  Keoi Tecmo shares more story and gameplay details about the game in an accompanying PS Blog post.  View and download image Download the image close Close Download this image PlayStation Plus  Along with Sword of the Sea coming August 19 as part of the Game Catalog lineup, there were new titles announced coming to PlayStation Plus. The PS2 version of immersive sci-fi sim Deus Ex joins Game Catalog June 17, Twisted Metal 3 and Twisted Metal 4 come to the PlayStation Plus Premium’s Classics range July 15. Later this summer, the original PlayStation versions of Resident Evil 2 and Resident Evil 3: Nemesis also come to  PlayStation Plus Premium’s Classics range. Play Video Pragmata Pragmata, Capcom’s new science fiction adventure, received a new gameplay trailer during today’s State of Play. This early peak of the game’s gameplay shows its unique twist of action and strategy, as in Pragmata, players must control its two protagonists, Hugh and Diana, at the same time to overcome the many obstacles you’ll face. Capcom shares more details of its latest IP, out 2026 on PS5, in an accompanying PS Blog post.  Play Video Project Defiant  Today State of Play saw the reveal of the first wireless fight stick custom designed by PlayStation. Codenamed Project Defiant, this new controller allows wireless play through PlayStation Link, or wired connection on PS5 or PC, and is set to launch next year.  Get your first full details on the fight stick in this PS Blog post.  Play Video Romeo is a Dead Man Romeo Stargazer is a man stuck between life and death who chases space-time’s most wanted fugitives as FBI special agent Dead Man. This newly revealed action title, created by Grasshopper Manufacture, launches on PS5 next year, and sees you use guns, swords and even enemies’ own powers against them to battle evil hordes.  How does a time paradox shattering the space-time continuum turn someone into an FBI special agent? Grasshopper Manufacture explainsin a new PS Blog post.   Play Video Sea of Remnants Meet a world of puppetfolk exploring the open sea and its secrets in oceanic action RPG Sea of Remnants, which sets sail for PS5. Form a specialised crew to answer any challenge that lies beyond the horizon, upgrade your ship to ride out any storm and return home with your spoils to Orbtopia, a pirate city that’ll evolve based on your swashbuckling decisions.   Joker Studio expands on the game’s punk aesthetic art style and delves deeper into its gameplay in an accompanying PS Blog post.  Play Video Silent Hill f Silent Hill f launches September 25 on PS5, and today’s State of Play trailer shows Shimizu Hinako’s perilous journey as the high schooler’s hometown is engulfed in fog, and the dangers within will have her fighting for her life. As a standalone spinoff, the game serves as an excellent introduction to the series.  “Find beauty in terror” – Konami explains the mission statement that shaped the game’s development in this PS Blog post.  Play Video Sword of the Sea Giant Squid is bringing its exhilarating, mythic surfing adventure Sword of the Sea to PS5 on August 19, with the game releasing as part of that month’s PlayStation Plus Game Catalog lineup.  In an accompanying PS Blog post, the studio outlines the game’s inspirations and merging those with its signature environmental design and atmospheric narrative style has resulted in a mythic surfing adventure unlike anything else. Play Video Thief VR: Legacy of Shadow  The legendary Thief franchise is reimagined for PlayStation VR2 in Thief VR: Legacy of Shadow, launching later this year. Play as Magpie, a cunning thief orphaned by Northcrest’s brutality and shaped by the streets and use PS VR2 mechanics to steal, evade, and outsmart the forces controlling The City. Move between shadows, and extinguish light sources with water arrows, hands or even a well-aimed breath to remain undetected.   Vertigo Games details how the franchise’s mechanics have been adapted to PS VR2 in this PS Blog post.  Play Video Tides of Tomorrow Road 96 creator DigixArt returns with an intriguing asynchronous multiplayer, oceanic adventure, coming to PS5 February 24, 2026. Tides of Tomorrow’s vibrant post-apocalyptic world interweaves your choices and a previous player’s decisions for a truly unique experience. You’ll see echoes of that player’s choices and actions, that will help you avoid traps, solve puzzles, investigate what happened before, or simply adapt based on the other player’s actions. Road 96 creator DigixArt introduces the oceanic nomads the Tidewalkers and breaks down the game’s unique mechanic in a new PS Blog post written by the studio.  #state #play #june #all #announcements
    BLOG.PLAYSTATION.COM
    State of Play June 2025: all announcements, trailers 
    Game reveals, release date confirmations, and new looks at titles coming to PlayStation in the near future: today’s State of Play packed a lot into its runtime. Whether you missed the show, want to rewatch it, or dig down into the individual announcements, this article has you covered.  Firstly, you can rewatch the full show below. Underneath that we highlight each of the games featured in the show with recaps of their announcement as well as their full trailers. We also have further details and insight by the game creators in a selection of dedicated PS Blog articles.  Play Video View and download image Download the image close Close Download this image Astro Bot  New levels are coming to Astro Bot this summer! Get ready for the challenge of five new Vicious Void Galaxy levels. They’ll require every bit of skill together to complete! And of course, these new levels will introduce their own Special Bots! And that’s not all: an updated smiley version of the Astro Bot Limited Edition DualSense wireless controller is set to launch later this year. Preview both the upcoming DualSense controller and the new PS5 levels in a PS Blog post from Team Asobi Studio Head Nicolas Doucet. Play Video Baby Steps The wonderfully weird walking sim has a release date as Baby Steps toddles onto PS5 September 8. Today’s new gameplay trailer further highlights the game’s unique traversal mechanics, as well as challenges its onesie-wearing protagonist Nate faces as he attempts to answer the call of nature.  Play Video Bloodstained: The Scarlet Engagement  The 2.5D side-scrolling action RPG returns with a new dark chapter. Explore the massive Ethereal Castle as two new heroes – Leo and Alex – join forces to tackle its fearsome inhabitants. You’ll be able to switch between the duo at the press of a button, leveraging each adventurer’s distinct abilities in order to survive.  505 Games dives further into the sequel’s gameplay mechanics and details what you can expect when you enter the castle’s halls when it launches on PS5 next year in a PS Blog post.  Play Video Cairn Climb like never before in survival-climber Cairn, which ascends onto PS5 November 5. Consider your path and climb anywhere on the mountain, managing your endurance and resources to survive. You’ll be able to hone your skills and test palm strength early, as a demo launches onto PlayStation Store today.  Cairn creator The Game Bakers breaks down its interactive take on alpinism in a tie-in PS Blog post.  Play Video Digimon Story: Time Stranger After being announced in the last State of Play this past February, Digimon Story: Time Stranger returns with a new trailer that digs into its story, reveals more of its vibrant characters and highlights the variety of Digimon growth and customization you can expect when the game launches October 3.  View and download image Download the image close Close Download this image Everybody’s Golf Hot Shots  Teeing off on PS5 this September 5 is the return of the classic golfing series. Everybody’s Golf Hot Shots debuted a new gameplay trailer that revealed a surprise guest star: Pac-Man! The gaming icon will be available as an early unlockable character when you pre-order the game.  Play Video Final Fantasy Tactics – The Ivalice Chronicles Originally released in 1997 for PlayStation, Final Fantasy Tactics is known for its rich story and deep, strategic gameplay. This September 30 you can enjoy both when the strategy RPG returns on PS5 and PS4 in the form of Final Fantasy Tactics – The Ivalice Chronicles. This enhanced version adds fully voiced dialogue, optimized and updated UI, graphical improvements, and a number of other quality of life features Square Enix details what to expect, including the more accessible “Squire” difficulty setting, in a PS Blog post.  Play Video Ghost of Yōtei Today’s show announced a special State of Play episode dedicated to Ghost of Yōtei, coming your way soon.  Sucker Punch will guide you through an extended look at new and evolved gameplay mechanics, including exploration, combat, and much more. Mark your calendar: the episode airs this July.  Play Video Hirogami Hirogami is an origami-inspired 3D action platformer coming to PS5 on September 3. Explore a beautiful but fragile origami world as Hiro, a master of the art of ‘folding’, and take on animal forms to traverse the landscape, solve puzzles, overcome enemies, and save the realm from a deadly digital threat. Play Video 007 First Light IO Interactive’s third-person action-adventure game 007 First Light third-person action-adventure game unveils a new James Bond origin story. Discover the events that lead a young maverick to become the best MI6 agent and the world’s most iconic spy when the game launches on PS5 next year. IO Interactive shares first details on the game, including its story and Bond’s background in a new PS Blog post.  Play Video Lumines Arise A brand-new, built from the ground up entry into the iconic puzzle series launches later this year on PS5 and features optional PS VR2 compatibility. Lumines Arise includes 30 flow state-inducing stages, including lush jungles, oceans, to more electronic frontiers like the bustling streets of Tokyo and the endless expanse of outer space. A new Burst mechanic amps up the timeless gameplay.  Enhance discusses the debut of its new title, talks Avatars and teases an upcoming demo in a new PS Blog post.  Play Video MARVEL Tōkon: Fighting Souls  PlayStation Studios, Arc System Works (Arc), and Marvel Games have joined forces to realize the latest in tag team fighters, MARVEL Tōkon: Fighting Souls! Experience the Marvel Universe like never before with reimagined characters and stages, a heart-pounding soundtrack, intuitive gameplay mechanics, and jaw-dropping visuals that will keep you on the edge of your seat. Whether this is your first fighting game or you are a veteran of the genre, Arc has incorporated gameplay controls and mechanics that are easy to pick up and play, and yet still offer the depth and versatility for high level competition.  Find out more in this PS Blog post.  Play Video Metal Gear Solid Delta: Snake Eater  Today’s trailer offered a closer look at how this remake has approached the fearsome adversaries that Naked Snake will face on his mission: The Cobra Unit. The new footage doesn’t just linger on the high stakes action you’ll face during the story campaign though. Konami also shares gameplay of Snake vs Monkey, which is also making its return when the game launches on PS5 this August 28.  Play Video Mortal Kombat Kollection Digital Eclipse partners with Warner Bros. Interactive Entertainment to bring Mortal Kombat: Legacy Kollection to PlayStation 4 and PlayStation 5 later this year. With multiple playable games from the early days of this groundbreaking fighting game series as well as interactive documentaries, Mortal Kombat: Legacy Kollection promises to be the most comprehensive, detailed look at the franchise’s history ever assembled. In a supporting PS Blog post, Digital Eclipse outlines the games included in the collection, and shares more information on the documentaries that’ll include Mortal Kombat co-creators Ed Boon and John Tobia, developers, actors and more.  Play Video Ninja Gaiden: Ragebound Ninja Gaiden: Ragebound, the new spectacular side-scrolling entry to the acclaimed series, releases on July 31 on PS5 and PS4. Honoring the franchise’s legacy, Ragebound modernises the unforgiving action-platforming formula with the fast-paced and exhilarating action The Game Kitchen (Blasphemous I & II) is known for. Play Video Nioh 3  Koei Tecmo and developer Team Ninja announced Nioh 3 for PS5. In this dark fantasy action RPG, players can fight using two distinct combat styles: Samurai and Ninja. The Samurai style provides a gameplay experience similar to previous Nioh titles, while Ninja style excels in quick movements like dodging and aerial actions. Players will be able to switch between battle styles instantly at any time. Intrigued to know how they’ll work? You can find out today with a limited time demo that’ll be launching on PlayStation Store.  Keoi Tecmo shares more story and gameplay details about the game in an accompanying PS Blog post.  View and download image Download the image close Close Download this image PlayStation Plus  Along with Sword of the Sea coming August 19 as part of the Game Catalog lineup (more on that further down), there were new titles announced coming to PlayStation Plus. The PS2 version of immersive sci-fi sim Deus Ex joins Game Catalog June 17, Twisted Metal 3 and Twisted Metal 4 come to the PlayStation Plus Premium’s Classics range July 15. Later this summer, the original PlayStation versions of Resident Evil 2 and Resident Evil 3: Nemesis also come to  PlayStation Plus Premium’s Classics range. Play Video Pragmata Pragmata, Capcom’s new science fiction adventure, received a new gameplay trailer during today’s State of Play. This early peak of the game’s gameplay shows its unique twist of action and strategy, as in Pragmata, players must control its two protagonists, Hugh and Diana, at the same time to overcome the many obstacles you’ll face. Capcom shares more details of its latest IP, out 2026 on PS5, in an accompanying PS Blog post.  Play Video Project Defiant  Today State of Play saw the reveal of the first wireless fight stick custom designed by PlayStation. Codenamed Project Defiant, this new controller allows wireless play through PlayStation Link, or wired connection on PS5 or PC, and is set to launch next year.  Get your first full details on the fight stick in this PS Blog post.  Play Video Romeo is a Dead Man Romeo Stargazer is a man stuck between life and death who chases space-time’s most wanted fugitives as FBI special agent Dead Man. This newly revealed action title, created by Grasshopper Manufacture, launches on PS5 next year, and sees you use guns, swords and even enemies’ own powers against them to battle evil hordes.  How does a time paradox shattering the space-time continuum turn someone into an FBI special agent? Grasshopper Manufacture explains (kinda) in a new PS Blog post.   Play Video Sea of Remnants Meet a world of puppetfolk exploring the open sea and its secrets in oceanic action RPG Sea of Remnants, which sets sail for PS5. Form a specialised crew to answer any challenge that lies beyond the horizon, upgrade your ship to ride out any storm and return home with your spoils to Orbtopia, a pirate city that’ll evolve based on your swashbuckling decisions.   Joker Studio expands on the game’s punk aesthetic art style and delves deeper into its gameplay in an accompanying PS Blog post.  Play Video Silent Hill f Silent Hill f launches September 25 on PS5, and today’s State of Play trailer shows Shimizu Hinako’s perilous journey as the high schooler’s hometown is engulfed in fog, and the dangers within will have her fighting for her life. As a standalone spinoff, the game serves as an excellent introduction to the series.  “Find beauty in terror” – Konami explains the mission statement that shaped the game’s development in this PS Blog post.  Play Video Sword of the Sea Giant Squid is bringing its exhilarating, mythic surfing adventure Sword of the Sea to PS5 on August 19, with the game releasing as part of that month’s PlayStation Plus Game Catalog lineup.  In an accompanying PS Blog post, the studio outlines the game’s inspirations and merging those with its signature environmental design and atmospheric narrative style has resulted in a mythic surfing adventure unlike anything else. Play Video Thief VR: Legacy of Shadow  The legendary Thief franchise is reimagined for PlayStation VR2 in Thief VR: Legacy of Shadow, launching later this year. Play as Magpie, a cunning thief orphaned by Northcrest’s brutality and shaped by the streets and use PS VR2 mechanics to steal, evade, and outsmart the forces controlling The City. Move between shadows, and extinguish light sources with water arrows, hands or even a well-aimed breath to remain undetected.   Vertigo Games details how the franchise’s mechanics have been adapted to PS VR2 in this PS Blog post.  Play Video Tides of Tomorrow Road 96 creator DigixArt returns with an intriguing asynchronous multiplayer, oceanic adventure, coming to PS5 February 24, 2026. Tides of Tomorrow’s vibrant post-apocalyptic world interweaves your choices and a previous player’s decisions for a truly unique experience. You’ll see echoes of that player’s choices and actions, that will help you avoid traps, solve puzzles, investigate what happened before, or simply adapt based on the other player’s actions. Road 96 creator DigixArt introduces the oceanic nomads the Tidewalkers and breaks down the game’s unique mechanic in a new PS Blog post written by the studio. 
    Like
    Wow
    Love
    Angry
    Sad
    161
    13 Comentários 0 Compartilhamentos 0 Anterior
  • Insites: Addressing the Northern housing crisis

    The housing crisis in Canada’s North, which has particularly affected the majority Indigenous population in northern communities, has been of ongoing concern to firms such as Taylor Architecture Group. Formerly known as Pin/Taylor, the firm was established in Yellowknife in 1983. TAG’s Principal, Simon Taylor, says that despite recent political gains for First Nations, “by and large, life is not improving up here.”
    Taylor and his colleagues have designed many different types of housing across the North. But the problems exceed the normal scope of architectural practice. TAG’s Manager of Research and Development, Kristel Derkowski, says, “We can design the units well, but it doesn’t solve many of the underlying problems.” To respond, she says, “we’ve backed up the process to look at the root causes more.” As a result, “the design challenges are informed by much broader systemic research.” 
    We spoke to Derkowski about her research, and the work that Taylor Architecture Group is doing to act on it. Here’s what she has to say.
    Inadequate housing from the start
    The Northwest Territories is about 51% Indigenous. Most non-Indigenous people are concentrated in the capital city of Yellowknife. Outside of Yellowknife, the territory is very much majority Indigenous. 
    The federal government got involved in delivering housing to the far North in 1959. There were problems with this program right from the beginning. One issue was that when the houses were first delivered, they were designed and fabricated down south, and they were completely inadequate for the climate. The houses from that initial program were called “Matchbox houses” because they were so small. These early stages of housing delivery helped establish the precedent that a lower standard of housing was acceptable for northern Indigenous residents compared to Euro-Canadian residents elsewhere. In many cases, that double-standard persists to this day.
    The houses were also inappropriately designed for northern cultures. It’s been said in the research that the way that these houses were delivered to northern settlements was a significant factor in people being divorced from their traditional lifestyles, their traditional hierarchies, the way that they understood home. It was imposing a Euro-Canadian model on Indigenous communities and their ways of life. 
    Part of what the federal government was trying to do was to impose a cash economy and stimulate a market. They were delivering houses and asking for rent. But there weren’t a lot of opportunities to earn cash. This housing was delivered around the sites of former fur trading posts—but the fur trade had collapsed by 1930. There weren’t a lot of jobs. There wasn’t a lot of wage-based employment. And yet, rental payments were being collected in cash, and the rental payments increased significantly over the span of a couple decades. 
    The imposition of a cash economy created problems culturally. It’s been said that public housing delivery, in combination with other social policies, served to introduce the concept of poverty in the far North, where it hadn’t existed before. These policies created a situation where Indigenous northerners couldn’t afford to be adequately housed, because housing demanded cash, and cash wasn’t always available. That’s a big theme that continues to persist today. Most of the territory’s communities remain “non-market”: there is no housing market. There are different kinds of economies in the North—and not all of them revolve wholly around cash. And yet government policies do. The governments’ ideas about housing do, too. So there’s a conflict there. 
    The federal exit from social housing
    After 1969, the federal government devolved housing to the territorial government. The Government of Northwest Territories created the Northwest Territories Housing Corporation. By 1974, the housing corporation took over all the stock of federal housing and started to administer it, in addition to building their own. The housing corporation was rapidly building new housing stock from 1975 up until the mid-1990s. But beginning in the early 1990s, the federal government terminated federal spending on new social housing across the whole country. A couple of years after that, they also decided to allow operational agreements with social housing providers to expire. It didn’t happen that quickly—and maybe not everybody noticed, because it wasn’t a drastic change where all operational funding disappeared immediately. But at that time, the federal government was in 25- to 50-year operational agreements with various housing providers across the country. After 1995, these long-term operating agreements were no longer being renewed—not just in the North, but everywhere in Canada. 
    With the housing corporation up here, that change started in 1996, and we have until 2038 before the federal contribution of operational funding reaches zero. As a result, beginning in 1996, the number of units owned by the NWT Housing Corporation plateaued. There was a little bump in housing stock after that—another 200 units or so in the early 2000s. But basically, the Northwest Territories was stuck for 25 years, from 1996 to 2021, with the same number of public housing units.
    In 1990, there was a report on housing in the NWT that was funded by the Canada Mortgage and Housing Corporation. That report noted that housing was already in a crisis state. At that time, in 1990, researchers said it would take 30 more years to meet existing housing need, if housing production continued at the current rate. The other problem is that houses were so inadequately constructed to begin with, that they generally needed replacement after 15 years. So housing in the Northwest Territories already had serious problems in 1990. Then in 1996, the housing corporation stopped building more. So if you compare the total number of social housing units with the total need for subsidized housing in the territory, you can see a severely widening gap in recent decades. We’ve seen a serious escalation in housing need.
    The Northwest Territories has a very, very small tax base, and it’s extremely expensive to provide services here. Most of our funding for public services comes from the federal government. The NWT on its own does not have a lot of buying power. So ever since the federal government stopped providing operational funding for housing, the territorial government has been hard-pressed to replace that funding with its own internal resources.
    I should probably note that this wasn’t only a problem for the Northwest Territories. Across Canada, we have seen mass homelessness visibly emerge since the ’90s. This is related, at least in part, to the federal government’s decisions to terminate funding for social housing at that time.

    Today’s housing crisis
    Getting to present-day conditions in the NWT, we now have some “market” communities and some “non-market” communities. There are 33 communities total in the NWT, and at least 27 of these don’t have a housing market: there’s no private rental market and there’s no resale market. This relates back to the conflict I mentioned before: the cash economy did not entirely take root. In simple terms, there isn’t enough local employment or income opportunity for a housing market—in conventional terms—to work. 
    Yellowknife is an outlier in the territory. Economic opportunity is concentrated in the capital city. We also have five other “market” communities that are regional centres for the territorial government, where more employment and economic activity take place. Across the non-market communities, on average, the rate of unsuitable or inadequate housing is about five times what it is elsewhere in Canada. Rates of unemployment are about five times what they are in Yellowknife. On top of this, the communities with the highest concentration of Indigenous residents also have the highest rates of unsuitable or inadequate housing, and also have the lowest income opportunity. These statistics clearly show that the inequalities in the territory are highly racialized. 
    Given the situation in non-market communities, there is a severe affordability crisis in terms of the cost to deliver housing. It’s very, very expensive to build housing here. A single detached home costs over a million dollars to build in a place like Fort Good Hope. We’re talking about a very modest three-bedroom house, smaller than what you’d typically build in the South. The million-dollar price tag on each house is a serious issue. Meanwhile, in a non-market community, the potential resale value is extremely low. So there’s a massive gap between the cost of construction and the value of the home once built—and that’s why you have no housing market. It means that private development is impossible. That’s why, until recently, only the federal and territorial governments have been building new homes in non-market communities. It’s so expensive to do, and as soon as the house is built, its value plummets. 

    The costs of living are also very high. According to the NWT Bureau of Statistics, the estimated living costs for an individual in Fort Good Hope are about 1.8 times what it costs to live in Edmonton. Then when it comes to housing specifically, there are further issues with operations and maintenance. The NWT is not tied into the North American hydro grid, and in most communities, electricity is produced by a diesel generator. This is extremely expensive. Everything needs to be shipped in, including fuel. So costs for heating fuel are high as well, as are the heating loads. Then, maintenance and repairs can be very difficult, and of course, very costly. If you need any specialized parts or specialized labour, you are flying those parts and those people in from down South. So to take on the costs of homeownership, on top of the costs of living—in a place where income opportunity is limited to begin with—this is extremely challenging. And from a statistical or systemic perspective, this is simply not in reach for most community members.
    In 2021, the NWT Housing Corporation underwent a strategic renewal and became Housing Northwest Territories. Their mandate went into a kind of flux. They started to pivot from being the primary landlord in the territory towards being a partner to other third-party housing providers, which might be Indigenous governments, community housing providers, nonprofits, municipalities. But those other organisations, in most cases, aren’t equipped or haven’t stepped forward to take on social housing.
    Even though the federal government is releasing capital funding for affordable housing again, northern communities can’t always capitalize on that, because the source of funding for operations remains in question. Housing in non-market communities essentially needs to be subsidized—not just in terms of construction, but also in terms of operations. But that operational funding is no longer available. I can’t stress enough how critical this issue is for the North.
    Fort Good Hope and “one thing thatworked”
    I’ll talk a bit about Fort Good Hope. I don’t want to be speaking on behalf of the community here, but I will share a bit about the realities on the ground, as a way of putting things into context. 
    Fort Good Hope, or Rádeyı̨lı̨kóé, is on the Mackenzie River, close to the Arctic Circle. There’s a winter road that’s open at best from January until March—the window is getting narrower because of climate change. There were also barges running each summer for material transportation, but those have been cancelled for the past two years because of droughts linked to climate change. Aside from that, it’s a fly-in community. It’s very remote. It has about 500-600 people. According to census data, less than half of those people live in what’s considered acceptable housing. 
    The biggest problem is housing adequacy. That’s CMHC’s term for housing in need of major repairs. This applies to about 36% of households in Fort Good Hope. In terms of ownership, almost 40% of the community’s housing stock is managed by Housing NWT. That’s a combination of public housing units and market housing units—which are for professionals like teachers and nurses. There’s also a pretty high percentage of owner-occupied units—about 46%. 
    The story told by the community is that when public housing arrived in the 1960s, the people were living in owner-built log homes. Federal agents arrived and they considered some of those homes to be inadequate or unacceptable, and they bulldozed those homes, then replaced some of them—but maybe not all—with public housing units. Then residents had no choice but to rent from the people who took their homes away. This was not a good way to start up a public housing system.
    The state of housing in Fort Good Hope
    Then there was an issue with the rental rates, which drastically increased over time. During a presentation to a government committee in the ’80s, a community member explained that they had initially accepted a place in public housing for a rental fee of a month in 1971. By 1984, the same community member was expected to pay a month. That might not sound like much in today’s terms, but it was roughly a 13,000% increase for that same tenant—and it’s not like they had any other housing options to choose from. So by that point, they’re stuck with paying whatever is asked. 
    On top of that, the housing units were poorly built and rapidly deteriorated. One description from that era said the walls were four inches thick, with windows oriented north, and water tanks that froze in the winter and fell through the floor. The single heating source was right next to the only door—residents were concerned about the fire hazard that obviously created. Ultimately the community said: “We don’t actually want any more public housing units. We want to go back to homeownership, which was what we had before.” 
    So Fort Good Hope was a leader in housing at that time and continues to be to this day. The community approached the territorial government and made a proposal: “Give us the block funding for home construction, we’ll administer it ourselves, we’ll help people build houses, and they can keep them.” That actually worked really well. That was the start of the Homeownership Assistance Programthat ran for about ten years, beginning in 1982. The program expanded across the whole territory after it was piloted in Fort Good Hope. The HAP is still spoken about and written about as the one thing that kind of worked. 
    Self-built log cabins remain from Fort Good Hope’s 1980s Homeownership Program.
    Funding was cost-shared between the federal and territorial governments. Through the program, material packages were purchased for clients who were deemed eligible. The client would then contribute their own sweat equity in the form of hauling logs and putting in time on site. They had two years to finish building the house. Then, as long as they lived in that home for five more years, the loan would be forgiven, and they would continue owning the house with no ongoing loan payments. In some cases, there were no mechanical systems provided as part of this package, but the residents would add to the house over the years. A lot of these units are still standing and still lived in today. Many of them are comparatively well-maintained in contrast with other types of housing—for example, public housing units. It’s also worth noting that the one-time cost of the materials package was—from the government’s perspective—only a fraction of the cost to build and maintain a public housing unit over its lifespan. At the time, it cost about to to build a HAP home, whereas the lifetime cost of a public housing unit is in the order of This program was considered very successful in many places, especially in Fort Good Hope. It created about 40% of their local housing stock at that time, which went from about 100 units to about 140. It’s a small community, so that’s quite significant. 
    What were the successful principles?

    The community-based decision-making power to allocate the funding.
    The sweat equity component, which brought homeownership within the range of being attainable for people—because there wasn’t cash needing to be transferred, when the cash wasn’t available.
    Local materials—they harvested the logs from the land, and the fact that residents could maintain the homes themselves.

    The Fort Good Hope Construction Centre. Rendering by Taylor Architecture Group
    The Fort Good Hope Construction Centre
    The HAP ended the same year that the federal government terminated new spending on social housing. By the late 1990s, the creation of new public housing stock or new homeownership units had gone down to negligible levels. But more recently, things started to change. The federal government started to release money to build affordable housing. Simultaneously, Indigenous governments are working towards Self-Government and settling their Land Claims. Federal funds have started to flow directly to Indigenous groups. Given these changes, the landscape of Northern housing has started to evolve.
    In 2016, Fort Good Hope created the K’asho Got’ine Housing Society, based on the precedent of the 1980s Fort Good Hope Housing Society. They said: “We did this before, maybe we can do it again.” The community incorporated a non-profit and came up with a five-year plan to meet housing need in their community.
    One thing the community did right away was start up a crew to deliver housing maintenance and repairs. This is being run by Ne’Rahten Developments Ltd., which is the business arm of Yamoga Land Corporation. Over the span of a few years, they built up a crew of skilled workers. Then Ne’Rahten started thinking, “Why can’t we do more? Why can’t we build our own housing?” They identified a need for a space where people could work year-round, and first get training, then employment, in a stable all-season environment.
    This was the initial vision for the Fort Good Hope Construction Centre, and this is where TAG got involved. We had some seed funding through the CMHC Housing Supply Challenge when we partnered with Fort Good Hope.
    We worked with the community for over a year to get the capital funding lined up for the project. This process required us to take on a different role than the one you typically would as an architect. It wasn’t just schematic-design-to-construction-administration. One thing we did pretty early on was a housing design workshop that was open to the whole community, to start understanding what type of housing people would really want to see. Another piece was a lot of outreach and advocacy to build up support for the project and partnerships—for example, with Housing Northwest Territories and Aurora College. We also reached out to our federal MP, the NWT Legislative Assembly and different MLAs, and we talked to a lot of different people about the link between employment and housing. The idea was that the Fort Good Hope Construction Centre would be a demonstration project. Ultimately, funding did come through for the project—from both CMHC and National Indigenous Housing Collaborative Inc.
    The facility itself will not be architecturally spectacular. It’s basically a big shed where you could build a modular house. But the idea is that the construction of those houses is combined with training, and it creates year-round indoor jobs. It intends to combat the short construction seasons, and the fact that people would otherwise be laid off between projects—which makes it very hard to progress with your training or your career. At the same time, the Construction Centre will build up a skilled labour force that otherwise wouldn’t exist—because when there’s no work, skilled people tend to leave the community. And, importantly, the idea is to keep capital funding in the community. So when there’s a new arena that needs to get built, when there’s a new school that needs to get built, you have a crew of people who are ready to take that on. Rather than flying in skilled labourers, you actually have the community doing it themselves. It’s working towards self-determination in housing too, because if those modular housing units are being built in the community, by community members, then eventually they’re taking over design decisions and decisions about maintenance—in a way that hasn’t really happened for decades.
    Transitional homeownership
    My research also looked at a transitional homeownership model that adapts some of the successful principles of the 1980s HAP. Right now, in non-market communities, there are serious gaps in the housing continuum—that is, the different types of housing options available to people. For the most part, you have public housing, and you have homelessness—mostly in the form of hidden homelessness, where people are sleeping on the couches of relatives. Then, in some cases, you have inherited homeownership—where people got homes through the HAP or some other government program.
    But for the most part, not a lot of people in non-market communities are actually moving into homeownership anymore. I asked the local housing manager in Fort Good Hope: “When’s the last time someone built a house in the community?” She said, “I can only think of one person. It was probably about 20 years ago, and that person actually went to the bank and got a mortgage. If people have a home, it’s usually inherited from their parents or from relatives.” And that situation is a bit of a problem in itself, because it means that people can’t move out of public housing. Public housing traps you in a lot of ways. For example, it punishes employment, because rent is geared to income. It’s been said many times that this model disincentivizes employment. I was in a workshop last year where an Indigenous person spoke up and said, “Actually, it’s not disincentivizing, it punishes employment. It takes things away from you.”
    Somebody at the territorial housing corporation in Yellowknife told me, “We have clients who are over the income threshold for public housing, but there’s nowhere else they can go.” Theoretically, they would go to the private housing market, they would go to market housing, or they would go to homeownership, but those options don’t exist or they aren’t within reach. 
    So the idea with the transitional homeownership model is to create an option that could allow the highest income earners in a non-market community to move towards homeownership. This could take some pressure off the public housing system. And it would almost be like a wealth distribution measure: people who are able to afford the cost of operating and maintaining a home then have that option, instead of remaining in government-subsidized housing. For those who cannot, the public housing system is still an option—and maybe a few more public housing units are freed up. 
    I’ve developed about 36 recommendations for a transitional homeownership model in northern non-market communities. The recommendations are meant to be actioned at various scales: at the scale of the individual household, the scale of the housing provider, and the scale of the whole community. The idea is that if you look at housing as part of a whole system, then there are certain moves that might make sense here—in a non-market context especially—that wouldn’t make sense elsewhere. So for example, we’re in a situation where a house doesn’t appreciate in value. It’s not a financial asset, it’s actually a financial liability, and it’s something that costs a lot to maintain over the years. Giving someone a house in a non-market community is actually giving them a burden, but some residents would be quite willing to take this on, just to have an option of getting out of public housing. It just takes a shift in mindset to start considering solutions for that kind of context.
    One particularly interesting feature of non-market communities is that they’re still functioning with a mixed economy: partially a subsistence-based or traditional economy, and partially a cash economy. I think that’s actually a strength that hasn’t been tapped into by territorial and federal policies. In the far North, in-kind and traditional economies are still very much a way of life. People subsidize their groceries with “country food,” which means food that was harvested from the land. And instead of paying for fuel tank refills in cash, many households in non-market communities are burning wood as their primary heat source. In communities south of the treeline, like Fort Good Hope, that wood is also harvested from the land. Despite there being no exchange of cash involved, these are critical economic activities—and they are also part of a sustainable, resilient economy grounded in local resources and traditional skills.
    This concept of the mixed economy could be tapped into as part of a housing model, by bringing back the idea of a ‘sweat equity’ contribution instead of a down payment—just like in the HAP. Contributing time and labour is still an economic exchange, but it bypasses the ‘cash’ part—the part that’s still hard to come by in a non-market community. Labour doesn’t have to be manual labour, either. There are all kinds of work that need to take place in a community: maybe taking training courses and working on projects at the Construction Centre, maybe helping out at the Band Office, or providing childcare services for other working parents—and so on. So it could be more inclusive than a model that focuses on manual labour.
    Another thing to highlight is a rent-to-own trial period. Not every client will be equipped to take on the burdens of homeownership. So you can give people a trial period. If it doesn’t work out and they can’t pay for operations and maintenance, they could continue renting without losing their home.
    Then it’s worth touching on some basic design principles for the homeownership units. In the North, the solutions that work are often the simplest—not the most technologically innovative. When you’re in a remote location, specialized replacement parts and specialized labour are both difficult to come by. And new technologies aren’t always designed for extreme climates—especially as we trend towards the digital. So rather than installing technologically complex, high-efficiency systems, it actually makes more sense to build something that people are comfortable with, familiar with, and willing to maintain. In a southern context, people suggest solutions like solar panels to manage energy loads. But in the North, the best thing you can do for energy is put a woodstove in the house. That’s something we’ve heard loud and clear in many communities. Even if people can’t afford to fill their fuel tank, they’re still able to keep chopping wood—or their neighbour is, or their brother, or their kid, and so on. It’s just a different way of looking at things and a way of bringing things back down to earth, back within reach of community members. 
    Regulatory barriers to housing access: Revisiting the National Building Code
    On that note, there’s one more project I’ll touch on briefly. TAG is working on a research study, funded by Housing, Infrastructure and Communities Canada, which looks at regulatory barriers to housing access in the North. The National Building Codehas evolved largely to serve the southern market context, where constraints and resources are both very different than they are up here. Technical solutions in the NBC are based on assumptions that, in some cases, simply don’t apply in northern communities.
    Here’s a very simple example: minimum distance to a fire hydrant. Most of our communities don’t have fire hydrants at all. We don’t have municipal services. The closest hydrant might be thousands of kilometres away. So what do we do instead? We just have different constraints to consider.
    That’s just one example but there are many more. We are looking closely at the NBC, and we are also working with a couple of different communities in different situations. The idea is to identify where there are conflicts between what’s regulated and what’s actually feasible, viable, and practical when it comes to on-the-ground realities. Then we’ll look at some alternative solutions for housing. The idea is to meet the intent of the NBC, but arrive at some technical solutions that are more practical to build, easier to maintain, and more appropriate for northern communities. 
    All of the projects I’ve just described are fairly recent, and very much still ongoing. We’ll see how it all plays out. I’m sure we’re going to run into a lot of new barriers and learn a lot more on the way, but it’s an incremental trial-and-error process. Even with the Construction Centre, we’re saying that this is a demonstration project, but how—or if—it rolls out in other communities would be totally community-dependent, and it could look very, very different from place to place. 
    In doing any research on Northern housing, one of the consistent findings is that there is no one-size-fits-all solution. Northern communities are not all the same. There are all kinds of different governance structures, different climates, ground conditions, transportation routes, different population sizes, different people, different cultures. Communities are Dene, Métis, Inuvialuit, as well as non-Indigenous, all with different ways of being. One-size-fits-all solutions don’t work—they never have. And the housing crisis is complex, and it’s difficult to unravel. So we’re trying to move forward with a few different approaches, maybe in a few different places, and we’re hoping that some communities, some organizations, or even some individual people, will see some positive impacts.

     As appeared in the June 2025 issue of Canadian Architect magazine 

    The post Insites: Addressing the Northern housing crisis appeared first on Canadian Architect.
    #insites #addressing #northern #housing #crisis
    Insites: Addressing the Northern housing crisis
    The housing crisis in Canada’s North, which has particularly affected the majority Indigenous population in northern communities, has been of ongoing concern to firms such as Taylor Architecture Group. Formerly known as Pin/Taylor, the firm was established in Yellowknife in 1983. TAG’s Principal, Simon Taylor, says that despite recent political gains for First Nations, “by and large, life is not improving up here.” Taylor and his colleagues have designed many different types of housing across the North. But the problems exceed the normal scope of architectural practice. TAG’s Manager of Research and Development, Kristel Derkowski, says, “We can design the units well, but it doesn’t solve many of the underlying problems.” To respond, she says, “we’ve backed up the process to look at the root causes more.” As a result, “the design challenges are informed by much broader systemic research.”  We spoke to Derkowski about her research, and the work that Taylor Architecture Group is doing to act on it. Here’s what she has to say. Inadequate housing from the start The Northwest Territories is about 51% Indigenous. Most non-Indigenous people are concentrated in the capital city of Yellowknife. Outside of Yellowknife, the territory is very much majority Indigenous.  The federal government got involved in delivering housing to the far North in 1959. There were problems with this program right from the beginning. One issue was that when the houses were first delivered, they were designed and fabricated down south, and they were completely inadequate for the climate. The houses from that initial program were called “Matchbox houses” because they were so small. These early stages of housing delivery helped establish the precedent that a lower standard of housing was acceptable for northern Indigenous residents compared to Euro-Canadian residents elsewhere. In many cases, that double-standard persists to this day. The houses were also inappropriately designed for northern cultures. It’s been said in the research that the way that these houses were delivered to northern settlements was a significant factor in people being divorced from their traditional lifestyles, their traditional hierarchies, the way that they understood home. It was imposing a Euro-Canadian model on Indigenous communities and their ways of life.  Part of what the federal government was trying to do was to impose a cash economy and stimulate a market. They were delivering houses and asking for rent. But there weren’t a lot of opportunities to earn cash. This housing was delivered around the sites of former fur trading posts—but the fur trade had collapsed by 1930. There weren’t a lot of jobs. There wasn’t a lot of wage-based employment. And yet, rental payments were being collected in cash, and the rental payments increased significantly over the span of a couple decades.  The imposition of a cash economy created problems culturally. It’s been said that public housing delivery, in combination with other social policies, served to introduce the concept of poverty in the far North, where it hadn’t existed before. These policies created a situation where Indigenous northerners couldn’t afford to be adequately housed, because housing demanded cash, and cash wasn’t always available. That’s a big theme that continues to persist today. Most of the territory’s communities remain “non-market”: there is no housing market. There are different kinds of economies in the North—and not all of them revolve wholly around cash. And yet government policies do. The governments’ ideas about housing do, too. So there’s a conflict there.  The federal exit from social housing After 1969, the federal government devolved housing to the territorial government. The Government of Northwest Territories created the Northwest Territories Housing Corporation. By 1974, the housing corporation took over all the stock of federal housing and started to administer it, in addition to building their own. The housing corporation was rapidly building new housing stock from 1975 up until the mid-1990s. But beginning in the early 1990s, the federal government terminated federal spending on new social housing across the whole country. A couple of years after that, they also decided to allow operational agreements with social housing providers to expire. It didn’t happen that quickly—and maybe not everybody noticed, because it wasn’t a drastic change where all operational funding disappeared immediately. But at that time, the federal government was in 25- to 50-year operational agreements with various housing providers across the country. After 1995, these long-term operating agreements were no longer being renewed—not just in the North, but everywhere in Canada.  With the housing corporation up here, that change started in 1996, and we have until 2038 before the federal contribution of operational funding reaches zero. As a result, beginning in 1996, the number of units owned by the NWT Housing Corporation plateaued. There was a little bump in housing stock after that—another 200 units or so in the early 2000s. But basically, the Northwest Territories was stuck for 25 years, from 1996 to 2021, with the same number of public housing units. In 1990, there was a report on housing in the NWT that was funded by the Canada Mortgage and Housing Corporation. That report noted that housing was already in a crisis state. At that time, in 1990, researchers said it would take 30 more years to meet existing housing need, if housing production continued at the current rate. The other problem is that houses were so inadequately constructed to begin with, that they generally needed replacement after 15 years. So housing in the Northwest Territories already had serious problems in 1990. Then in 1996, the housing corporation stopped building more. So if you compare the total number of social housing units with the total need for subsidized housing in the territory, you can see a severely widening gap in recent decades. We’ve seen a serious escalation in housing need. The Northwest Territories has a very, very small tax base, and it’s extremely expensive to provide services here. Most of our funding for public services comes from the federal government. The NWT on its own does not have a lot of buying power. So ever since the federal government stopped providing operational funding for housing, the territorial government has been hard-pressed to replace that funding with its own internal resources. I should probably note that this wasn’t only a problem for the Northwest Territories. Across Canada, we have seen mass homelessness visibly emerge since the ’90s. This is related, at least in part, to the federal government’s decisions to terminate funding for social housing at that time. Today’s housing crisis Getting to present-day conditions in the NWT, we now have some “market” communities and some “non-market” communities. There are 33 communities total in the NWT, and at least 27 of these don’t have a housing market: there’s no private rental market and there’s no resale market. This relates back to the conflict I mentioned before: the cash economy did not entirely take root. In simple terms, there isn’t enough local employment or income opportunity for a housing market—in conventional terms—to work.  Yellowknife is an outlier in the territory. Economic opportunity is concentrated in the capital city. We also have five other “market” communities that are regional centres for the territorial government, where more employment and economic activity take place. Across the non-market communities, on average, the rate of unsuitable or inadequate housing is about five times what it is elsewhere in Canada. Rates of unemployment are about five times what they are in Yellowknife. On top of this, the communities with the highest concentration of Indigenous residents also have the highest rates of unsuitable or inadequate housing, and also have the lowest income opportunity. These statistics clearly show that the inequalities in the territory are highly racialized.  Given the situation in non-market communities, there is a severe affordability crisis in terms of the cost to deliver housing. It’s very, very expensive to build housing here. A single detached home costs over a million dollars to build in a place like Fort Good Hope. We’re talking about a very modest three-bedroom house, smaller than what you’d typically build in the South. The million-dollar price tag on each house is a serious issue. Meanwhile, in a non-market community, the potential resale value is extremely low. So there’s a massive gap between the cost of construction and the value of the home once built—and that’s why you have no housing market. It means that private development is impossible. That’s why, until recently, only the federal and territorial governments have been building new homes in non-market communities. It’s so expensive to do, and as soon as the house is built, its value plummets.  The costs of living are also very high. According to the NWT Bureau of Statistics, the estimated living costs for an individual in Fort Good Hope are about 1.8 times what it costs to live in Edmonton. Then when it comes to housing specifically, there are further issues with operations and maintenance. The NWT is not tied into the North American hydro grid, and in most communities, electricity is produced by a diesel generator. This is extremely expensive. Everything needs to be shipped in, including fuel. So costs for heating fuel are high as well, as are the heating loads. Then, maintenance and repairs can be very difficult, and of course, very costly. If you need any specialized parts or specialized labour, you are flying those parts and those people in from down South. So to take on the costs of homeownership, on top of the costs of living—in a place where income opportunity is limited to begin with—this is extremely challenging. And from a statistical or systemic perspective, this is simply not in reach for most community members. In 2021, the NWT Housing Corporation underwent a strategic renewal and became Housing Northwest Territories. Their mandate went into a kind of flux. They started to pivot from being the primary landlord in the territory towards being a partner to other third-party housing providers, which might be Indigenous governments, community housing providers, nonprofits, municipalities. But those other organisations, in most cases, aren’t equipped or haven’t stepped forward to take on social housing. Even though the federal government is releasing capital funding for affordable housing again, northern communities can’t always capitalize on that, because the source of funding for operations remains in question. Housing in non-market communities essentially needs to be subsidized—not just in terms of construction, but also in terms of operations. But that operational funding is no longer available. I can’t stress enough how critical this issue is for the North. Fort Good Hope and “one thing thatworked” I’ll talk a bit about Fort Good Hope. I don’t want to be speaking on behalf of the community here, but I will share a bit about the realities on the ground, as a way of putting things into context.  Fort Good Hope, or Rádeyı̨lı̨kóé, is on the Mackenzie River, close to the Arctic Circle. There’s a winter road that’s open at best from January until March—the window is getting narrower because of climate change. There were also barges running each summer for material transportation, but those have been cancelled for the past two years because of droughts linked to climate change. Aside from that, it’s a fly-in community. It’s very remote. It has about 500-600 people. According to census data, less than half of those people live in what’s considered acceptable housing.  The biggest problem is housing adequacy. That’s CMHC’s term for housing in need of major repairs. This applies to about 36% of households in Fort Good Hope. In terms of ownership, almost 40% of the community’s housing stock is managed by Housing NWT. That’s a combination of public housing units and market housing units—which are for professionals like teachers and nurses. There’s also a pretty high percentage of owner-occupied units—about 46%.  The story told by the community is that when public housing arrived in the 1960s, the people were living in owner-built log homes. Federal agents arrived and they considered some of those homes to be inadequate or unacceptable, and they bulldozed those homes, then replaced some of them—but maybe not all—with public housing units. Then residents had no choice but to rent from the people who took their homes away. This was not a good way to start up a public housing system. The state of housing in Fort Good Hope Then there was an issue with the rental rates, which drastically increased over time. During a presentation to a government committee in the ’80s, a community member explained that they had initially accepted a place in public housing for a rental fee of a month in 1971. By 1984, the same community member was expected to pay a month. That might not sound like much in today’s terms, but it was roughly a 13,000% increase for that same tenant—and it’s not like they had any other housing options to choose from. So by that point, they’re stuck with paying whatever is asked.  On top of that, the housing units were poorly built and rapidly deteriorated. One description from that era said the walls were four inches thick, with windows oriented north, and water tanks that froze in the winter and fell through the floor. The single heating source was right next to the only door—residents were concerned about the fire hazard that obviously created. Ultimately the community said: “We don’t actually want any more public housing units. We want to go back to homeownership, which was what we had before.”  So Fort Good Hope was a leader in housing at that time and continues to be to this day. The community approached the territorial government and made a proposal: “Give us the block funding for home construction, we’ll administer it ourselves, we’ll help people build houses, and they can keep them.” That actually worked really well. That was the start of the Homeownership Assistance Programthat ran for about ten years, beginning in 1982. The program expanded across the whole territory after it was piloted in Fort Good Hope. The HAP is still spoken about and written about as the one thing that kind of worked.  Self-built log cabins remain from Fort Good Hope’s 1980s Homeownership Program. Funding was cost-shared between the federal and territorial governments. Through the program, material packages were purchased for clients who were deemed eligible. The client would then contribute their own sweat equity in the form of hauling logs and putting in time on site. They had two years to finish building the house. Then, as long as they lived in that home for five more years, the loan would be forgiven, and they would continue owning the house with no ongoing loan payments. In some cases, there were no mechanical systems provided as part of this package, but the residents would add to the house over the years. A lot of these units are still standing and still lived in today. Many of them are comparatively well-maintained in contrast with other types of housing—for example, public housing units. It’s also worth noting that the one-time cost of the materials package was—from the government’s perspective—only a fraction of the cost to build and maintain a public housing unit over its lifespan. At the time, it cost about to to build a HAP home, whereas the lifetime cost of a public housing unit is in the order of This program was considered very successful in many places, especially in Fort Good Hope. It created about 40% of their local housing stock at that time, which went from about 100 units to about 140. It’s a small community, so that’s quite significant.  What were the successful principles? The community-based decision-making power to allocate the funding. The sweat equity component, which brought homeownership within the range of being attainable for people—because there wasn’t cash needing to be transferred, when the cash wasn’t available. Local materials—they harvested the logs from the land, and the fact that residents could maintain the homes themselves. The Fort Good Hope Construction Centre. Rendering by Taylor Architecture Group The Fort Good Hope Construction Centre The HAP ended the same year that the federal government terminated new spending on social housing. By the late 1990s, the creation of new public housing stock or new homeownership units had gone down to negligible levels. But more recently, things started to change. The federal government started to release money to build affordable housing. Simultaneously, Indigenous governments are working towards Self-Government and settling their Land Claims. Federal funds have started to flow directly to Indigenous groups. Given these changes, the landscape of Northern housing has started to evolve. In 2016, Fort Good Hope created the K’asho Got’ine Housing Society, based on the precedent of the 1980s Fort Good Hope Housing Society. They said: “We did this before, maybe we can do it again.” The community incorporated a non-profit and came up with a five-year plan to meet housing need in their community. One thing the community did right away was start up a crew to deliver housing maintenance and repairs. This is being run by Ne’Rahten Developments Ltd., which is the business arm of Yamoga Land Corporation. Over the span of a few years, they built up a crew of skilled workers. Then Ne’Rahten started thinking, “Why can’t we do more? Why can’t we build our own housing?” They identified a need for a space where people could work year-round, and first get training, then employment, in a stable all-season environment. This was the initial vision for the Fort Good Hope Construction Centre, and this is where TAG got involved. We had some seed funding through the CMHC Housing Supply Challenge when we partnered with Fort Good Hope. We worked with the community for over a year to get the capital funding lined up for the project. This process required us to take on a different role than the one you typically would as an architect. It wasn’t just schematic-design-to-construction-administration. One thing we did pretty early on was a housing design workshop that was open to the whole community, to start understanding what type of housing people would really want to see. Another piece was a lot of outreach and advocacy to build up support for the project and partnerships—for example, with Housing Northwest Territories and Aurora College. We also reached out to our federal MP, the NWT Legislative Assembly and different MLAs, and we talked to a lot of different people about the link between employment and housing. The idea was that the Fort Good Hope Construction Centre would be a demonstration project. Ultimately, funding did come through for the project—from both CMHC and National Indigenous Housing Collaborative Inc. The facility itself will not be architecturally spectacular. It’s basically a big shed where you could build a modular house. But the idea is that the construction of those houses is combined with training, and it creates year-round indoor jobs. It intends to combat the short construction seasons, and the fact that people would otherwise be laid off between projects—which makes it very hard to progress with your training or your career. At the same time, the Construction Centre will build up a skilled labour force that otherwise wouldn’t exist—because when there’s no work, skilled people tend to leave the community. And, importantly, the idea is to keep capital funding in the community. So when there’s a new arena that needs to get built, when there’s a new school that needs to get built, you have a crew of people who are ready to take that on. Rather than flying in skilled labourers, you actually have the community doing it themselves. It’s working towards self-determination in housing too, because if those modular housing units are being built in the community, by community members, then eventually they’re taking over design decisions and decisions about maintenance—in a way that hasn’t really happened for decades. Transitional homeownership My research also looked at a transitional homeownership model that adapts some of the successful principles of the 1980s HAP. Right now, in non-market communities, there are serious gaps in the housing continuum—that is, the different types of housing options available to people. For the most part, you have public housing, and you have homelessness—mostly in the form of hidden homelessness, where people are sleeping on the couches of relatives. Then, in some cases, you have inherited homeownership—where people got homes through the HAP or some other government program. But for the most part, not a lot of people in non-market communities are actually moving into homeownership anymore. I asked the local housing manager in Fort Good Hope: “When’s the last time someone built a house in the community?” She said, “I can only think of one person. It was probably about 20 years ago, and that person actually went to the bank and got a mortgage. If people have a home, it’s usually inherited from their parents or from relatives.” And that situation is a bit of a problem in itself, because it means that people can’t move out of public housing. Public housing traps you in a lot of ways. For example, it punishes employment, because rent is geared to income. It’s been said many times that this model disincentivizes employment. I was in a workshop last year where an Indigenous person spoke up and said, “Actually, it’s not disincentivizing, it punishes employment. It takes things away from you.” Somebody at the territorial housing corporation in Yellowknife told me, “We have clients who are over the income threshold for public housing, but there’s nowhere else they can go.” Theoretically, they would go to the private housing market, they would go to market housing, or they would go to homeownership, but those options don’t exist or they aren’t within reach.  So the idea with the transitional homeownership model is to create an option that could allow the highest income earners in a non-market community to move towards homeownership. This could take some pressure off the public housing system. And it would almost be like a wealth distribution measure: people who are able to afford the cost of operating and maintaining a home then have that option, instead of remaining in government-subsidized housing. For those who cannot, the public housing system is still an option—and maybe a few more public housing units are freed up.  I’ve developed about 36 recommendations for a transitional homeownership model in northern non-market communities. The recommendations are meant to be actioned at various scales: at the scale of the individual household, the scale of the housing provider, and the scale of the whole community. The idea is that if you look at housing as part of a whole system, then there are certain moves that might make sense here—in a non-market context especially—that wouldn’t make sense elsewhere. So for example, we’re in a situation where a house doesn’t appreciate in value. It’s not a financial asset, it’s actually a financial liability, and it’s something that costs a lot to maintain over the years. Giving someone a house in a non-market community is actually giving them a burden, but some residents would be quite willing to take this on, just to have an option of getting out of public housing. It just takes a shift in mindset to start considering solutions for that kind of context. One particularly interesting feature of non-market communities is that they’re still functioning with a mixed economy: partially a subsistence-based or traditional economy, and partially a cash economy. I think that’s actually a strength that hasn’t been tapped into by territorial and federal policies. In the far North, in-kind and traditional economies are still very much a way of life. People subsidize their groceries with “country food,” which means food that was harvested from the land. And instead of paying for fuel tank refills in cash, many households in non-market communities are burning wood as their primary heat source. In communities south of the treeline, like Fort Good Hope, that wood is also harvested from the land. Despite there being no exchange of cash involved, these are critical economic activities—and they are also part of a sustainable, resilient economy grounded in local resources and traditional skills. This concept of the mixed economy could be tapped into as part of a housing model, by bringing back the idea of a ‘sweat equity’ contribution instead of a down payment—just like in the HAP. Contributing time and labour is still an economic exchange, but it bypasses the ‘cash’ part—the part that’s still hard to come by in a non-market community. Labour doesn’t have to be manual labour, either. There are all kinds of work that need to take place in a community: maybe taking training courses and working on projects at the Construction Centre, maybe helping out at the Band Office, or providing childcare services for other working parents—and so on. So it could be more inclusive than a model that focuses on manual labour. Another thing to highlight is a rent-to-own trial period. Not every client will be equipped to take on the burdens of homeownership. So you can give people a trial period. If it doesn’t work out and they can’t pay for operations and maintenance, they could continue renting without losing their home. Then it’s worth touching on some basic design principles for the homeownership units. In the North, the solutions that work are often the simplest—not the most technologically innovative. When you’re in a remote location, specialized replacement parts and specialized labour are both difficult to come by. And new technologies aren’t always designed for extreme climates—especially as we trend towards the digital. So rather than installing technologically complex, high-efficiency systems, it actually makes more sense to build something that people are comfortable with, familiar with, and willing to maintain. In a southern context, people suggest solutions like solar panels to manage energy loads. But in the North, the best thing you can do for energy is put a woodstove in the house. That’s something we’ve heard loud and clear in many communities. Even if people can’t afford to fill their fuel tank, they’re still able to keep chopping wood—or their neighbour is, or their brother, or their kid, and so on. It’s just a different way of looking at things and a way of bringing things back down to earth, back within reach of community members.  Regulatory barriers to housing access: Revisiting the National Building Code On that note, there’s one more project I’ll touch on briefly. TAG is working on a research study, funded by Housing, Infrastructure and Communities Canada, which looks at regulatory barriers to housing access in the North. The National Building Codehas evolved largely to serve the southern market context, where constraints and resources are both very different than they are up here. Technical solutions in the NBC are based on assumptions that, in some cases, simply don’t apply in northern communities. Here’s a very simple example: minimum distance to a fire hydrant. Most of our communities don’t have fire hydrants at all. We don’t have municipal services. The closest hydrant might be thousands of kilometres away. So what do we do instead? We just have different constraints to consider. That’s just one example but there are many more. We are looking closely at the NBC, and we are also working with a couple of different communities in different situations. The idea is to identify where there are conflicts between what’s regulated and what’s actually feasible, viable, and practical when it comes to on-the-ground realities. Then we’ll look at some alternative solutions for housing. The idea is to meet the intent of the NBC, but arrive at some technical solutions that are more practical to build, easier to maintain, and more appropriate for northern communities.  All of the projects I’ve just described are fairly recent, and very much still ongoing. We’ll see how it all plays out. I’m sure we’re going to run into a lot of new barriers and learn a lot more on the way, but it’s an incremental trial-and-error process. Even with the Construction Centre, we’re saying that this is a demonstration project, but how—or if—it rolls out in other communities would be totally community-dependent, and it could look very, very different from place to place.  In doing any research on Northern housing, one of the consistent findings is that there is no one-size-fits-all solution. Northern communities are not all the same. There are all kinds of different governance structures, different climates, ground conditions, transportation routes, different population sizes, different people, different cultures. Communities are Dene, Métis, Inuvialuit, as well as non-Indigenous, all with different ways of being. One-size-fits-all solutions don’t work—they never have. And the housing crisis is complex, and it’s difficult to unravel. So we’re trying to move forward with a few different approaches, maybe in a few different places, and we’re hoping that some communities, some organizations, or even some individual people, will see some positive impacts.  As appeared in the June 2025 issue of Canadian Architect magazine  The post Insites: Addressing the Northern housing crisis appeared first on Canadian Architect. #insites #addressing #northern #housing #crisis
    WWW.CANADIANARCHITECT.COM
    Insites: Addressing the Northern housing crisis
    The housing crisis in Canada’s North, which has particularly affected the majority Indigenous population in northern communities, has been of ongoing concern to firms such as Taylor Architecture Group (TAG). Formerly known as Pin/Taylor, the firm was established in Yellowknife in 1983. TAG’s Principal, Simon Taylor, says that despite recent political gains for First Nations, “by and large, life is not improving up here.” Taylor and his colleagues have designed many different types of housing across the North. But the problems exceed the normal scope of architectural practice. TAG’s Manager of Research and Development, Kristel Derkowski, says, “We can design the units well, but it doesn’t solve many of the underlying problems.” To respond, she says, “we’ve backed up the process to look at the root causes more.” As a result, “the design challenges are informed by much broader systemic research.”  We spoke to Derkowski about her research, and the work that Taylor Architecture Group is doing to act on it. Here’s what she has to say. Inadequate housing from the start The Northwest Territories is about 51% Indigenous. Most non-Indigenous people are concentrated in the capital city of Yellowknife. Outside of Yellowknife, the territory is very much majority Indigenous.  The federal government got involved in delivering housing to the far North in 1959. There were problems with this program right from the beginning. One issue was that when the houses were first delivered, they were designed and fabricated down south, and they were completely inadequate for the climate. The houses from that initial program were called “Matchbox houses” because they were so small. These early stages of housing delivery helped establish the precedent that a lower standard of housing was acceptable for northern Indigenous residents compared to Euro-Canadian residents elsewhere. In many cases, that double-standard persists to this day. The houses were also inappropriately designed for northern cultures. It’s been said in the research that the way that these houses were delivered to northern settlements was a significant factor in people being divorced from their traditional lifestyles, their traditional hierarchies, the way that they understood home. It was imposing a Euro-Canadian model on Indigenous communities and their ways of life.  Part of what the federal government was trying to do was to impose a cash economy and stimulate a market. They were delivering houses and asking for rent. But there weren’t a lot of opportunities to earn cash. This housing was delivered around the sites of former fur trading posts—but the fur trade had collapsed by 1930. There weren’t a lot of jobs. There wasn’t a lot of wage-based employment. And yet, rental payments were being collected in cash, and the rental payments increased significantly over the span of a couple decades.  The imposition of a cash economy created problems culturally. It’s been said that public housing delivery, in combination with other social policies, served to introduce the concept of poverty in the far North, where it hadn’t existed before. These policies created a situation where Indigenous northerners couldn’t afford to be adequately housed, because housing demanded cash, and cash wasn’t always available. That’s a big theme that continues to persist today. Most of the territory’s communities remain “non-market”: there is no housing market. There are different kinds of economies in the North—and not all of them revolve wholly around cash. And yet government policies do. The governments’ ideas about housing do, too. So there’s a conflict there.  The federal exit from social housing After 1969, the federal government devolved housing to the territorial government. The Government of Northwest Territories created the Northwest Territories Housing Corporation. By 1974, the housing corporation took over all the stock of federal housing and started to administer it, in addition to building their own. The housing corporation was rapidly building new housing stock from 1975 up until the mid-1990s. But beginning in the early 1990s, the federal government terminated federal spending on new social housing across the whole country. A couple of years after that, they also decided to allow operational agreements with social housing providers to expire. It didn’t happen that quickly—and maybe not everybody noticed, because it wasn’t a drastic change where all operational funding disappeared immediately. But at that time, the federal government was in 25- to 50-year operational agreements with various housing providers across the country. After 1995, these long-term operating agreements were no longer being renewed—not just in the North, but everywhere in Canada.  With the housing corporation up here, that change started in 1996, and we have until 2038 before the federal contribution of operational funding reaches zero. As a result, beginning in 1996, the number of units owned by the NWT Housing Corporation plateaued. There was a little bump in housing stock after that—another 200 units or so in the early 2000s. But basically, the Northwest Territories was stuck for 25 years, from 1996 to 2021, with the same number of public housing units. In 1990, there was a report on housing in the NWT that was funded by the Canada Mortgage and Housing Corporation (CMHC). That report noted that housing was already in a crisis state. At that time, in 1990, researchers said it would take 30 more years to meet existing housing need, if housing production continued at the current rate. The other problem is that houses were so inadequately constructed to begin with, that they generally needed replacement after 15 years. So housing in the Northwest Territories already had serious problems in 1990. Then in 1996, the housing corporation stopped building more. So if you compare the total number of social housing units with the total need for subsidized housing in the territory, you can see a severely widening gap in recent decades. We’ve seen a serious escalation in housing need. The Northwest Territories has a very, very small tax base, and it’s extremely expensive to provide services here. Most of our funding for public services comes from the federal government. The NWT on its own does not have a lot of buying power. So ever since the federal government stopped providing operational funding for housing, the territorial government has been hard-pressed to replace that funding with its own internal resources. I should probably note that this wasn’t only a problem for the Northwest Territories. Across Canada, we have seen mass homelessness visibly emerge since the ’90s. This is related, at least in part, to the federal government’s decisions to terminate funding for social housing at that time. Today’s housing crisis Getting to present-day conditions in the NWT, we now have some “market” communities and some “non-market” communities. There are 33 communities total in the NWT, and at least 27 of these don’t have a housing market: there’s no private rental market and there’s no resale market. This relates back to the conflict I mentioned before: the cash economy did not entirely take root. In simple terms, there isn’t enough local employment or income opportunity for a housing market—in conventional terms—to work.  Yellowknife is an outlier in the territory. Economic opportunity is concentrated in the capital city. We also have five other “market” communities that are regional centres for the territorial government, where more employment and economic activity take place. Across the non-market communities, on average, the rate of unsuitable or inadequate housing is about five times what it is elsewhere in Canada. Rates of unemployment are about five times what they are in Yellowknife. On top of this, the communities with the highest concentration of Indigenous residents also have the highest rates of unsuitable or inadequate housing, and also have the lowest income opportunity. These statistics clearly show that the inequalities in the territory are highly racialized.  Given the situation in non-market communities, there is a severe affordability crisis in terms of the cost to deliver housing. It’s very, very expensive to build housing here. A single detached home costs over a million dollars to build in a place like Fort Good Hope (Rádeyı̨lı̨kóé). We’re talking about a very modest three-bedroom house, smaller than what you’d typically build in the South. The million-dollar price tag on each house is a serious issue. Meanwhile, in a non-market community, the potential resale value is extremely low. So there’s a massive gap between the cost of construction and the value of the home once built—and that’s why you have no housing market. It means that private development is impossible. That’s why, until recently, only the federal and territorial governments have been building new homes in non-market communities. It’s so expensive to do, and as soon as the house is built, its value plummets.  The costs of living are also very high. According to the NWT Bureau of Statistics, the estimated living costs for an individual in Fort Good Hope are about 1.8 times what it costs to live in Edmonton. Then when it comes to housing specifically, there are further issues with operations and maintenance. The NWT is not tied into the North American hydro grid, and in most communities, electricity is produced by a diesel generator. This is extremely expensive. Everything needs to be shipped in, including fuel. So costs for heating fuel are high as well, as are the heating loads. Then, maintenance and repairs can be very difficult, and of course, very costly. If you need any specialized parts or specialized labour, you are flying those parts and those people in from down South. So to take on the costs of homeownership, on top of the costs of living—in a place where income opportunity is limited to begin with—this is extremely challenging. And from a statistical or systemic perspective, this is simply not in reach for most community members. In 2021, the NWT Housing Corporation underwent a strategic renewal and became Housing Northwest Territories. Their mandate went into a kind of flux. They started to pivot from being the primary landlord in the territory towards being a partner to other third-party housing providers, which might be Indigenous governments, community housing providers, nonprofits, municipalities. But those other organisations, in most cases, aren’t equipped or haven’t stepped forward to take on social housing. Even though the federal government is releasing capital funding for affordable housing again, northern communities can’t always capitalize on that, because the source of funding for operations remains in question. Housing in non-market communities essentially needs to be subsidized—not just in terms of construction, but also in terms of operations. But that operational funding is no longer available. I can’t stress enough how critical this issue is for the North. Fort Good Hope and “one thing that (kind of) worked” I’ll talk a bit about Fort Good Hope. I don’t want to be speaking on behalf of the community here, but I will share a bit about the realities on the ground, as a way of putting things into context.  Fort Good Hope, or Rádeyı̨lı̨kóé, is on the Mackenzie River, close to the Arctic Circle. There’s a winter road that’s open at best from January until March—the window is getting narrower because of climate change. There were also barges running each summer for material transportation, but those have been cancelled for the past two years because of droughts linked to climate change. Aside from that, it’s a fly-in community. It’s very remote. It has about 500-600 people. According to census data, less than half of those people live in what’s considered acceptable housing.  The biggest problem is housing adequacy. That’s CMHC’s term for housing in need of major repairs. This applies to about 36% of households in Fort Good Hope. In terms of ownership, almost 40% of the community’s housing stock is managed by Housing NWT. That’s a combination of public housing units and market housing units—which are for professionals like teachers and nurses. There’s also a pretty high percentage of owner-occupied units—about 46%.  The story told by the community is that when public housing arrived in the 1960s, the people were living in owner-built log homes. Federal agents arrived and they considered some of those homes to be inadequate or unacceptable, and they bulldozed those homes, then replaced some of them—but maybe not all—with public housing units. Then residents had no choice but to rent from the people who took their homes away. This was not a good way to start up a public housing system. The state of housing in Fort Good Hope Then there was an issue with the rental rates, which drastically increased over time. During a presentation to a government committee in the ’80s, a community member explained that they had initially accepted a place in public housing for a rental fee of $2 a month in 1971. By 1984, the same community member was expected to pay $267 a month. That might not sound like much in today’s terms, but it was roughly a 13,000% increase for that same tenant—and it’s not like they had any other housing options to choose from. So by that point, they’re stuck with paying whatever is asked.  On top of that, the housing units were poorly built and rapidly deteriorated. One description from that era said the walls were four inches thick, with windows oriented north, and water tanks that froze in the winter and fell through the floor. The single heating source was right next to the only door—residents were concerned about the fire hazard that obviously created. Ultimately the community said: “We don’t actually want any more public housing units. We want to go back to homeownership, which was what we had before.”  So Fort Good Hope was a leader in housing at that time and continues to be to this day. The community approached the territorial government and made a proposal: “Give us the block funding for home construction, we’ll administer it ourselves, we’ll help people build houses, and they can keep them.” That actually worked really well. That was the start of the Homeownership Assistance Program (HAP) that ran for about ten years, beginning in 1982. The program expanded across the whole territory after it was piloted in Fort Good Hope. The HAP is still spoken about and written about as the one thing that kind of worked.  Self-built log cabins remain from Fort Good Hope’s 1980s Homeownership Program (HAP). Funding was cost-shared between the federal and territorial governments. Through the program, material packages were purchased for clients who were deemed eligible. The client would then contribute their own sweat equity in the form of hauling logs and putting in time on site. They had two years to finish building the house. Then, as long as they lived in that home for five more years, the loan would be forgiven, and they would continue owning the house with no ongoing loan payments. In some cases, there were no mechanical systems provided as part of this package, but the residents would add to the house over the years. A lot of these units are still standing and still lived in today. Many of them are comparatively well-maintained in contrast with other types of housing—for example, public housing units. It’s also worth noting that the one-time cost of the materials package was—from the government’s perspective—only a fraction of the cost to build and maintain a public housing unit over its lifespan. At the time, it cost about $50,000 to $80,000 to build a HAP home, whereas the lifetime cost of a public housing unit is in the order of $2,000,000. This program was considered very successful in many places, especially in Fort Good Hope. It created about 40% of their local housing stock at that time, which went from about 100 units to about 140. It’s a small community, so that’s quite significant.  What were the successful principles? The community-based decision-making power to allocate the funding. The sweat equity component, which brought homeownership within the range of being attainable for people—because there wasn’t cash needing to be transferred, when the cash wasn’t available. Local materials—they harvested the logs from the land, and the fact that residents could maintain the homes themselves. The Fort Good Hope Construction Centre. Rendering by Taylor Architecture Group The Fort Good Hope Construction Centre The HAP ended the same year that the federal government terminated new spending on social housing. By the late 1990s, the creation of new public housing stock or new homeownership units had gone down to negligible levels. But more recently, things started to change. The federal government started to release money to build affordable housing. Simultaneously, Indigenous governments are working towards Self-Government and settling their Land Claims. Federal funds have started to flow directly to Indigenous groups. Given these changes, the landscape of Northern housing has started to evolve. In 2016, Fort Good Hope created the K’asho Got’ine Housing Society, based on the precedent of the 1980s Fort Good Hope Housing Society. They said: “We did this before, maybe we can do it again.” The community incorporated a non-profit and came up with a five-year plan to meet housing need in their community. One thing the community did right away was start up a crew to deliver housing maintenance and repairs. This is being run by Ne’Rahten Developments Ltd., which is the business arm of Yamoga Land Corporation (the local Indigenous Government). Over the span of a few years, they built up a crew of skilled workers. Then Ne’Rahten started thinking, “Why can’t we do more? Why can’t we build our own housing?” They identified a need for a space where people could work year-round, and first get training, then employment, in a stable all-season environment. This was the initial vision for the Fort Good Hope Construction Centre, and this is where TAG got involved. We had some seed funding through the CMHC Housing Supply Challenge when we partnered with Fort Good Hope. We worked with the community for over a year to get the capital funding lined up for the project. This process required us to take on a different role than the one you typically would as an architect. It wasn’t just schematic-design-to-construction-administration. One thing we did pretty early on was a housing design workshop that was open to the whole community, to start understanding what type of housing people would really want to see. Another piece was a lot of outreach and advocacy to build up support for the project and partnerships—for example, with Housing Northwest Territories and Aurora College. We also reached out to our federal MP, the NWT Legislative Assembly and different MLAs, and we talked to a lot of different people about the link between employment and housing. The idea was that the Fort Good Hope Construction Centre would be a demonstration project. Ultimately, funding did come through for the project—from both CMHC and National Indigenous Housing Collaborative Inc. The facility itself will not be architecturally spectacular. It’s basically a big shed where you could build a modular house. But the idea is that the construction of those houses is combined with training, and it creates year-round indoor jobs. It intends to combat the short construction seasons, and the fact that people would otherwise be laid off between projects—which makes it very hard to progress with your training or your career. At the same time, the Construction Centre will build up a skilled labour force that otherwise wouldn’t exist—because when there’s no work, skilled people tend to leave the community. And, importantly, the idea is to keep capital funding in the community. So when there’s a new arena that needs to get built, when there’s a new school that needs to get built, you have a crew of people who are ready to take that on. Rather than flying in skilled labourers, you actually have the community doing it themselves. It’s working towards self-determination in housing too, because if those modular housing units are being built in the community, by community members, then eventually they’re taking over design decisions and decisions about maintenance—in a way that hasn’t really happened for decades. Transitional homeownership My research also looked at a transitional homeownership model that adapts some of the successful principles of the 1980s HAP. Right now, in non-market communities, there are serious gaps in the housing continuum—that is, the different types of housing options available to people. For the most part, you have public housing, and you have homelessness—mostly in the form of hidden homelessness, where people are sleeping on the couches of relatives. Then, in some cases, you have inherited homeownership—where people got homes through the HAP or some other government program. But for the most part, not a lot of people in non-market communities are actually moving into homeownership anymore. I asked the local housing manager in Fort Good Hope: “When’s the last time someone built a house in the community?” She said, “I can only think of one person. It was probably about 20 years ago, and that person actually went to the bank and got a mortgage. If people have a home, it’s usually inherited from their parents or from relatives.” And that situation is a bit of a problem in itself, because it means that people can’t move out of public housing. Public housing traps you in a lot of ways. For example, it punishes employment, because rent is geared to income. It’s been said many times that this model disincentivizes employment. I was in a workshop last year where an Indigenous person spoke up and said, “Actually, it’s not disincentivizing, it punishes employment. It takes things away from you.” Somebody at the territorial housing corporation in Yellowknife told me, “We have clients who are over the income threshold for public housing, but there’s nowhere else they can go.” Theoretically, they would go to the private housing market, they would go to market housing, or they would go to homeownership, but those options don’t exist or they aren’t within reach.  So the idea with the transitional homeownership model is to create an option that could allow the highest income earners in a non-market community to move towards homeownership. This could take some pressure off the public housing system. And it would almost be like a wealth distribution measure: people who are able to afford the cost of operating and maintaining a home then have that option, instead of remaining in government-subsidized housing. For those who cannot, the public housing system is still an option—and maybe a few more public housing units are freed up.  I’ve developed about 36 recommendations for a transitional homeownership model in northern non-market communities. The recommendations are meant to be actioned at various scales: at the scale of the individual household, the scale of the housing provider, and the scale of the whole community. The idea is that if you look at housing as part of a whole system, then there are certain moves that might make sense here—in a non-market context especially—that wouldn’t make sense elsewhere. So for example, we’re in a situation where a house doesn’t appreciate in value. It’s not a financial asset, it’s actually a financial liability, and it’s something that costs a lot to maintain over the years. Giving someone a house in a non-market community is actually giving them a burden, but some residents would be quite willing to take this on, just to have an option of getting out of public housing. It just takes a shift in mindset to start considering solutions for that kind of context. One particularly interesting feature of non-market communities is that they’re still functioning with a mixed economy: partially a subsistence-based or traditional economy, and partially a cash economy. I think that’s actually a strength that hasn’t been tapped into by territorial and federal policies. In the far North, in-kind and traditional economies are still very much a way of life. People subsidize their groceries with “country food,” which means food that was harvested from the land. And instead of paying for fuel tank refills in cash, many households in non-market communities are burning wood as their primary heat source. In communities south of the treeline, like Fort Good Hope, that wood is also harvested from the land. Despite there being no exchange of cash involved, these are critical economic activities—and they are also part of a sustainable, resilient economy grounded in local resources and traditional skills. This concept of the mixed economy could be tapped into as part of a housing model, by bringing back the idea of a ‘sweat equity’ contribution instead of a down payment—just like in the HAP. Contributing time and labour is still an economic exchange, but it bypasses the ‘cash’ part—the part that’s still hard to come by in a non-market community. Labour doesn’t have to be manual labour, either. There are all kinds of work that need to take place in a community: maybe taking training courses and working on projects at the Construction Centre, maybe helping out at the Band Office, or providing childcare services for other working parents—and so on. So it could be more inclusive than a model that focuses on manual labour. Another thing to highlight is a rent-to-own trial period. Not every client will be equipped to take on the burdens of homeownership. So you can give people a trial period. If it doesn’t work out and they can’t pay for operations and maintenance, they could continue renting without losing their home. Then it’s worth touching on some basic design principles for the homeownership units. In the North, the solutions that work are often the simplest—not the most technologically innovative. When you’re in a remote location, specialized replacement parts and specialized labour are both difficult to come by. And new technologies aren’t always designed for extreme climates—especially as we trend towards the digital. So rather than installing technologically complex, high-efficiency systems, it actually makes more sense to build something that people are comfortable with, familiar with, and willing to maintain. In a southern context, people suggest solutions like solar panels to manage energy loads. But in the North, the best thing you can do for energy is put a woodstove in the house. That’s something we’ve heard loud and clear in many communities. Even if people can’t afford to fill their fuel tank, they’re still able to keep chopping wood—or their neighbour is, or their brother, or their kid, and so on. It’s just a different way of looking at things and a way of bringing things back down to earth, back within reach of community members.  Regulatory barriers to housing access: Revisiting the National Building Code On that note, there’s one more project I’ll touch on briefly. TAG is working on a research study, funded by Housing, Infrastructure and Communities Canada, which looks at regulatory barriers to housing access in the North. The National Building Code (NBC) has evolved largely to serve the southern market context, where constraints and resources are both very different than they are up here. Technical solutions in the NBC are based on assumptions that, in some cases, simply don’t apply in northern communities. Here’s a very simple example: minimum distance to a fire hydrant. Most of our communities don’t have fire hydrants at all. We don’t have municipal services. The closest hydrant might be thousands of kilometres away. So what do we do instead? We just have different constraints to consider. That’s just one example but there are many more. We are looking closely at the NBC, and we are also working with a couple of different communities in different situations. The idea is to identify where there are conflicts between what’s regulated and what’s actually feasible, viable, and practical when it comes to on-the-ground realities. Then we’ll look at some alternative solutions for housing. The idea is to meet the intent of the NBC, but arrive at some technical solutions that are more practical to build, easier to maintain, and more appropriate for northern communities.  All of the projects I’ve just described are fairly recent, and very much still ongoing. We’ll see how it all plays out. I’m sure we’re going to run into a lot of new barriers and learn a lot more on the way, but it’s an incremental trial-and-error process. Even with the Construction Centre, we’re saying that this is a demonstration project, but how—or if—it rolls out in other communities would be totally community-dependent, and it could look very, very different from place to place.  In doing any research on Northern housing, one of the consistent findings is that there is no one-size-fits-all solution. Northern communities are not all the same. There are all kinds of different governance structures, different climates, ground conditions, transportation routes, different population sizes, different people, different cultures. Communities are Dene, Métis, Inuvialuit, as well as non-Indigenous, all with different ways of being. One-size-fits-all solutions don’t work—they never have. And the housing crisis is complex, and it’s difficult to unravel. So we’re trying to move forward with a few different approaches, maybe in a few different places, and we’re hoping that some communities, some organizations, or even some individual people, will see some positive impacts.  As appeared in the June 2025 issue of Canadian Architect magazine  The post Insites: Addressing the Northern housing crisis appeared first on Canadian Architect.
    0 Comentários 0 Compartilhamentos 0 Anterior
  • Boris FX releases Silhouette 2025

    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ";

    Boris FX has begun its 2025 updates to Silhouette, its roto and paint software.Silhouette 2025 adds new AI tools for refining mattes, generating depth maps and fixing glitches in video, and a new 3D Scene node for importing scenes with tracked 3D cameras.
    A VFX-industry standard tool for rotoscoping and roto paint work

    First released 20 years ago, and acquired by Boris FX in 2019, Silhouette is a rotoscoping and paint tool.The software is widely used in production for movie and broadcast visual effects, winning both a Scientific and Technical Academy Award and Engineering Emmy Award in 2019.
    As well as the original standalone edition, Silhouette is available as a plugin, making the toolset available inside Adobe software and OFX-compatible apps like Nuke and DaVinci Resolve.
    New AI tools for refining mattes, generating depth maps, and fixing glitches

    Silhouette 2025 introduces new AI-based features for automating common tasks.The 2024 releases added an AI-based matte workflow, with the Mask ML node automatically generating a mask for a significant object – like a person or animal – in a frame of video, and Matte Assist ML propagating it throughout the rest of the footage.
    They are now joined by Matte Refine ML, a new node for processing hard-edge mattes into “natural, detailed selections”, creating better results when isolating hair or fur.
    In addition, new Depth Map ML and Frame Fixer ML tools generate depth maps from footage, and semi-automatically fix artifacts like scratches, camera flashes, or dropped frames.
    You can read more about them in our story on Continuum 2025.5, Silhouette’s sibling tool.
    New 3D Scene node lets users work with tracked 3D cameras

    Other new features in Silhouette 2025 include the new 3D environment.The 3D Scene node makes it possible to load a scene with a tracked 3D camera in FBX or Alembic format, or to perform a 3D track using Mocha Pro or SynthEyes.
    It is then possible to place cards in 3D space and paint directly on them in the viewer, while a new Unproject/Reproject node allows for fuller composites.
    Other new features

    When using a PowerMesh from Silhouette’s Mocha module to track deforming organic surfaces, it is now possible to paint on undistorted frames using a new PowerMesh Morph node.In addition, it is now possible to merge custom node setups into a single Compound node, which can be reused between projects or shared with collaborators.
    Prices up since the previous release

    The price of the software has also risen since Silhouette 2024.5, although the increases aren’t as large as with some of Boris FX’s other recent product updates.For the standalone edition, the price of perpetual licenses rise by to Subscriptions rise by /month, to /month, or by /year, to /year.
    For the plugin edition, the price of perpetual licenses rise by to Subscriptions rise by /month, to /month, or by /year, to /year.
    Price and system requirements

    Silhouette 2025 is available as a standalone tool for Windows 10+, Linux and macOS 12.0+, and as a plugin for Adobe software and OFX-compatible tools like Nuke.Perpetual licences of the standalone cost ; the plugin costs Rental costs /month or /year for the standalone; /month or /year for the plugin.
    Read a list of new features in Silhouette 2025 on Boris FX’s blog

    Have your say on this story by following CG Channel on Facebook, Instagram and X. As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects.
    #boris #releases #silhouette
    Boris FX releases Silhouette 2025
    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "; Boris FX has begun its 2025 updates to Silhouette, its roto and paint software.Silhouette 2025 adds new AI tools for refining mattes, generating depth maps and fixing glitches in video, and a new 3D Scene node for importing scenes with tracked 3D cameras. A VFX-industry standard tool for rotoscoping and roto paint work First released 20 years ago, and acquired by Boris FX in 2019, Silhouette is a rotoscoping and paint tool.The software is widely used in production for movie and broadcast visual effects, winning both a Scientific and Technical Academy Award and Engineering Emmy Award in 2019. As well as the original standalone edition, Silhouette is available as a plugin, making the toolset available inside Adobe software and OFX-compatible apps like Nuke and DaVinci Resolve. New AI tools for refining mattes, generating depth maps, and fixing glitches Silhouette 2025 introduces new AI-based features for automating common tasks.The 2024 releases added an AI-based matte workflow, with the Mask ML node automatically generating a mask for a significant object – like a person or animal – in a frame of video, and Matte Assist ML propagating it throughout the rest of the footage. They are now joined by Matte Refine ML, a new node for processing hard-edge mattes into “natural, detailed selections”, creating better results when isolating hair or fur. In addition, new Depth Map ML and Frame Fixer ML tools generate depth maps from footage, and semi-automatically fix artifacts like scratches, camera flashes, or dropped frames. You can read more about them in our story on Continuum 2025.5, Silhouette’s sibling tool. New 3D Scene node lets users work with tracked 3D cameras Other new features in Silhouette 2025 include the new 3D environment.The 3D Scene node makes it possible to load a scene with a tracked 3D camera in FBX or Alembic format, or to perform a 3D track using Mocha Pro or SynthEyes. It is then possible to place cards in 3D space and paint directly on them in the viewer, while a new Unproject/Reproject node allows for fuller composites. Other new features When using a PowerMesh from Silhouette’s Mocha module to track deforming organic surfaces, it is now possible to paint on undistorted frames using a new PowerMesh Morph node.In addition, it is now possible to merge custom node setups into a single Compound node, which can be reused between projects or shared with collaborators. Prices up since the previous release The price of the software has also risen since Silhouette 2024.5, although the increases aren’t as large as with some of Boris FX’s other recent product updates.For the standalone edition, the price of perpetual licenses rise by to Subscriptions rise by /month, to /month, or by /year, to /year. For the plugin edition, the price of perpetual licenses rise by to Subscriptions rise by /month, to /month, or by /year, to /year. Price and system requirements Silhouette 2025 is available as a standalone tool for Windows 10+, Linux and macOS 12.0+, and as a plugin for Adobe software and OFX-compatible tools like Nuke.Perpetual licences of the standalone cost ; the plugin costs Rental costs /month or /year for the standalone; /month or /year for the plugin. Read a list of new features in Silhouette 2025 on Boris FX’s blog Have your say on this story by following CG Channel on Facebook, Instagram and X. As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects. #boris #releases #silhouette
    Boris FX releases Silhouette 2025
    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Boris FX has begun its 2025 updates to Silhouette, its roto and paint software.Silhouette 2025 adds new AI tools for refining mattes, generating depth maps and fixing glitches in video, and a new 3D Scene node for importing scenes with tracked 3D cameras. A VFX-industry standard tool for rotoscoping and roto paint work First released 20 years ago, and acquired by Boris FX in 2019, Silhouette is a rotoscoping and paint tool.The software is widely used in production for movie and broadcast visual effects, winning both a Scientific and Technical Academy Award and Engineering Emmy Award in 2019. As well as the original standalone edition, Silhouette is available as a plugin, making the toolset available inside Adobe software and OFX-compatible apps like Nuke and DaVinci Resolve. New AI tools for refining mattes, generating depth maps, and fixing glitches Silhouette 2025 introduces new AI-based features for automating common tasks.The 2024 releases added an AI-based matte workflow, with the Mask ML node automatically generating a mask for a significant object – like a person or animal – in a frame of video, and Matte Assist ML propagating it throughout the rest of the footage. They are now joined by Matte Refine ML, a new node for processing hard-edge mattes into “natural, detailed selections”, creating better results when isolating hair or fur. In addition, new Depth Map ML and Frame Fixer ML tools generate depth maps from footage, and semi-automatically fix artifacts like scratches, camera flashes, or dropped frames. You can read more about them in our story on Continuum 2025.5, Silhouette’s sibling tool. New 3D Scene node lets users work with tracked 3D cameras Other new features in Silhouette 2025 include the new 3D environment.The 3D Scene node makes it possible to load a scene with a tracked 3D camera in FBX or Alembic format, or to perform a 3D track using Mocha Pro or SynthEyes. It is then possible to place cards in 3D space and paint directly on them in the viewer, while a new Unproject/Reproject node allows for fuller composites. Other new features When using a PowerMesh from Silhouette’s Mocha module to track deforming organic surfaces, it is now possible to paint on undistorted frames using a new PowerMesh Morph node.In addition, it is now possible to merge custom node setups into a single Compound node, which can be reused between projects or shared with collaborators. Prices up since the previous release The price of the software has also risen since Silhouette 2024.5, although the increases aren’t as large as with some of Boris FX’s other recent product updates.For the standalone edition, the price of perpetual licenses rise by $200, to $2,195. Subscriptions rise by $15/month, to $165/month, or by $80/year, to $875/year. For the plugin edition, the price of perpetual licenses rise by $100, to $1,195. Subscriptions rise by $3/month, to $103/month, or by $50/year, to $545/year. Price and system requirements Silhouette 2025 is available as a standalone tool for Windows 10+, Linux and macOS 12.0+, and as a plugin for Adobe software and OFX-compatible tools like Nuke.Perpetual licences of the standalone cost $2,195; the plugin costs $1,195. Rental costs $165/month or $875/year for the standalone; $103/month or $545/year for the plugin. Read a list of new features in Silhouette 2025 on Boris FX’s blog Have your say on this story by following CG Channel on Facebook, Instagram and X (formerly Twitter). As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects.
    0 Comentários 0 Compartilhamentos 0 Anterior
  • Instant AI Depth Maps with Continuum [Boris FX]

    Automatically create depth maps from 2D footage to unlock selective focus, atmospheric effects, and more. This AI powered effect estimates the relative distance of objects in a scene and outputs an accurate grayscale depth maps.

    Choose from two model types, then refine your results with built-in matte controls. Depth Map ML is ideal for creating atmospheric depth-of-field effects, exciting transitions, or as a foundation for advanced compositing tasks.

    Learn more about Continuum here: /

    // D I S C O R D C H A N N E L //
    /

    #depthmap #VFX #videoeffects
    #instant #depth #maps #with #continuum
    Instant AI Depth Maps with Continuum [Boris FX]
    Automatically create depth maps from 2D footage to unlock selective focus, atmospheric effects, and more. This AI powered effect estimates the relative distance of objects in a scene and outputs an accurate grayscale depth maps. Choose from two model types, then refine your results with built-in matte controls. Depth Map ML is ideal for creating atmospheric depth-of-field effects, exciting transitions, or as a foundation for advanced compositing tasks. Learn more about Continuum here: / // D I S C O R D C H A N N E L // / #depthmap #VFX #videoeffects #instant #depth #maps #with #continuum
    WWW.YOUTUBE.COM
    Instant AI Depth Maps with Continuum [Boris FX]
    Automatically create depth maps from 2D footage to unlock selective focus, atmospheric effects, and more. This AI powered effect estimates the relative distance of objects in a scene and outputs an accurate grayscale depth maps. Choose from two model types, then refine your results with built-in matte controls. Depth Map ML is ideal for creating atmospheric depth-of-field effects, exciting transitions, or as a foundation for advanced compositing tasks. Learn more about Continuum here: https://borisfx.com/products/continuum/ // D I S C O R D C H A N N E L // https://www.borisfxdiscord.com/ #depthmap #VFX #videoeffects
    0 Comentários 0 Compartilhamentos 0 Anterior
  • Boris FX adds new AI tools to Continuum 2025.5

    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ";

    Boris FX has released Continuum 2025.5, the latest version of its set of effects plugins for compositing and editing software.The update adds an AI-based masking and tracking system, new AI tools for generating depth and ST maps and fixing bad frames, and updates Particle Illusion, Title Studio and the FX Editor.
    The prices of both perpetual licenses and subscriptions to Continuum have also risen since the previous release, particularly for OFX host applications like DaVinci Resolve and Nuke.
    More new AI-based tools for common editing and compositing tasks

    Boris FX began to add AI features to Continuum in its 2024 releases, beginning with machine learning-based filters for denoising, upresing and retiming video.In Continuum 2025.0, they were joined by machine-learning-based filters for generating motion blur, and obscuring car license plates in footage.

    New AI-based mask-generation and tracking system

    To that, Continuum 2025.5 adds the new AI-based object masking and tracking toolset from Mocha, Boris FX’s planar tracking software, the core tech from which is integrated into Sapphire.The Object Brush ML feature makes it possible to isolate objects in a single frame of footage simply by clicking inside them, with Continuum automatically generating a corresponding mask.
    The selection can be refined by selecting extra parts of the image to include or exclude, or by painting areas in or out manually.
    The Matte Assist ML feature automatically propagates a mask throughout a shot, tracking the object selected and generating animated mattes matching its changing outline.

    New AI tools for generating depth and ST maps, and fixing glitches in footage

    The release also adds three other new AI tools: BCC+ Depth Map ML, BCC+ ST Map, and BCC+ Frame Fixer ML.BCC+ Depth Map ML automatically generates depth maps from video footage, based on objects’ distance from the camera, making it easier to add fog and haze, or fake rack focus.
    Users have a choice of two ML models, one tuned for performance, and one for detail.
    BCC+ ST Map generates ST Maps, often used to encode lens distortion data, making it easier to distort or undistort video footage, or to convert it from rectilinear to 360° formats.
    BCC+ Frame Fixer ML automatically fixes ‘bad’ frames in footage: for example, those with scratches or tape degradation, or with flash photography changing the lighting of the subject.
    You have to identify the bad frames manually, but processing is automatic.
    According to Boris FX, the filter can also be used to fix dropped frames, and even to hide jump cuts.
    Updates to Witness Protection ML and Retimer ML

    Updates to existing AI tools include a Smoothing Level control for the BCC+ Witness Protection ML filter, used to obscure people’s faces automatically in source footage.BCC+ Retimer ML now supports retiming footage with variable frame rates, although only in Adobe host apps.
    The AI models used by the tools also now load faster on first use in a work session.
    Improvements to the FX Editor, Particle Illusion and Title Generator

    Of the non-AI features, the FX Editor, for editing effects and presets, gets performance and workflow improvements, with “2x speed improvements” when playing back 4K footage. Particle generator Particle Illusion gets workflow improvements including the option to save camera animation presets, and an updated emitter library.
    The 8,000 x 8,000px limit in 3D titling plugin Title Studio has been removed, making it possible to work up to the maximum resolution supported by the host application.
    There are also over 100 new presets for filters, and support for a “full set” of blend modes in BCC+ Vignette.
    Prices up, particularly for OFX licenses

    Boris FX has also raised the price of the plugins since the release of Continuum 2025.0.The software is priced according to host application, so the exact figures vary, but for After Effects and Premiere Pro, the cost of a perpetual license rises by to For OFX applications, including DaVinci Resolve and Nuke, the cost of a perpetual license rises by also to For all available hosts, the price rises by to The price of subscriptions is also up, with After Effects and Premiere Pro subscriptions rising by /month, to /month; and by /year, to /year.
    OFX subscriptions rise by /month, to /month; and by /year, to /year. For all hosts, subscriptions rise by /month, to /month, and by /year, to /year.
    Pricing and system requirements

    Continuum 2025.5 is compatible with a range of compositing and editing software, including After Effects, DaVinci Resolve and Nuke, on Windows 10+ or macOS 10.15+.It is priced according to host application, with new perpetual licences costing from to Subscriptions cost from /year to /year.
    Read an overview of the new features in Continuum 2025.5 on Boris FX’s website
    Read a full list of new features in Continuum 2025.5 in the release notesHave your say on this story by following CG Channel on Facebook, Instagram and X. As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects.
    #boris #adds #new #tools #continuum
    Boris FX adds new AI tools to Continuum 2025.5
    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "; Boris FX has released Continuum 2025.5, the latest version of its set of effects plugins for compositing and editing software.The update adds an AI-based masking and tracking system, new AI tools for generating depth and ST maps and fixing bad frames, and updates Particle Illusion, Title Studio and the FX Editor. The prices of both perpetual licenses and subscriptions to Continuum have also risen since the previous release, particularly for OFX host applications like DaVinci Resolve and Nuke. More new AI-based tools for common editing and compositing tasks Boris FX began to add AI features to Continuum in its 2024 releases, beginning with machine learning-based filters for denoising, upresing and retiming video.In Continuum 2025.0, they were joined by machine-learning-based filters for generating motion blur, and obscuring car license plates in footage. New AI-based mask-generation and tracking system To that, Continuum 2025.5 adds the new AI-based object masking and tracking toolset from Mocha, Boris FX’s planar tracking software, the core tech from which is integrated into Sapphire.The Object Brush ML feature makes it possible to isolate objects in a single frame of footage simply by clicking inside them, with Continuum automatically generating a corresponding mask. The selection can be refined by selecting extra parts of the image to include or exclude, or by painting areas in or out manually. The Matte Assist ML feature automatically propagates a mask throughout a shot, tracking the object selected and generating animated mattes matching its changing outline. New AI tools for generating depth and ST maps, and fixing glitches in footage The release also adds three other new AI tools: BCC+ Depth Map ML, BCC+ ST Map, and BCC+ Frame Fixer ML.BCC+ Depth Map ML automatically generates depth maps from video footage, based on objects’ distance from the camera, making it easier to add fog and haze, or fake rack focus. Users have a choice of two ML models, one tuned for performance, and one for detail. BCC+ ST Map generates ST Maps, often used to encode lens distortion data, making it easier to distort or undistort video footage, or to convert it from rectilinear to 360° formats. BCC+ Frame Fixer ML automatically fixes ‘bad’ frames in footage: for example, those with scratches or tape degradation, or with flash photography changing the lighting of the subject. You have to identify the bad frames manually, but processing is automatic. According to Boris FX, the filter can also be used to fix dropped frames, and even to hide jump cuts. Updates to Witness Protection ML and Retimer ML Updates to existing AI tools include a Smoothing Level control for the BCC+ Witness Protection ML filter, used to obscure people’s faces automatically in source footage.BCC+ Retimer ML now supports retiming footage with variable frame rates, although only in Adobe host apps. The AI models used by the tools also now load faster on first use in a work session. Improvements to the FX Editor, Particle Illusion and Title Generator Of the non-AI features, the FX Editor, for editing effects and presets, gets performance and workflow improvements, with “2x speed improvements” when playing back 4K footage. Particle generator Particle Illusion gets workflow improvements including the option to save camera animation presets, and an updated emitter library. The 8,000 x 8,000px limit in 3D titling plugin Title Studio has been removed, making it possible to work up to the maximum resolution supported by the host application. There are also over 100 new presets for filters, and support for a “full set” of blend modes in BCC+ Vignette. Prices up, particularly for OFX licenses Boris FX has also raised the price of the plugins since the release of Continuum 2025.0.The software is priced according to host application, so the exact figures vary, but for After Effects and Premiere Pro, the cost of a perpetual license rises by to For OFX applications, including DaVinci Resolve and Nuke, the cost of a perpetual license rises by also to For all available hosts, the price rises by to The price of subscriptions is also up, with After Effects and Premiere Pro subscriptions rising by /month, to /month; and by /year, to /year. OFX subscriptions rise by /month, to /month; and by /year, to /year. For all hosts, subscriptions rise by /month, to /month, and by /year, to /year. Pricing and system requirements Continuum 2025.5 is compatible with a range of compositing and editing software, including After Effects, DaVinci Resolve and Nuke, on Windows 10+ or macOS 10.15+.It is priced according to host application, with new perpetual licences costing from to Subscriptions cost from /year to /year. Read an overview of the new features in Continuum 2025.5 on Boris FX’s website Read a full list of new features in Continuum 2025.5 in the release notesHave your say on this story by following CG Channel on Facebook, Instagram and X. As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects. #boris #adds #new #tools #continuum
    Boris FX adds new AI tools to Continuum 2025.5
    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Boris FX has released Continuum 2025.5, the latest version of its set of effects plugins for compositing and editing software.The update adds an AI-based masking and tracking system, new AI tools for generating depth and ST maps and fixing bad frames, and updates Particle Illusion, Title Studio and the FX Editor. The prices of both perpetual licenses and subscriptions to Continuum have also risen since the previous release, particularly for OFX host applications like DaVinci Resolve and Nuke. More new AI-based tools for common editing and compositing tasks Boris FX began to add AI features to Continuum in its 2024 releases, beginning with machine learning-based filters for denoising, upresing and retiming video.In Continuum 2025.0, they were joined by machine-learning-based filters for generating motion blur, and obscuring car license plates in footage. New AI-based mask-generation and tracking system To that, Continuum 2025.5 adds the new AI-based object masking and tracking toolset from Mocha, Boris FX’s planar tracking software, the core tech from which is integrated into Sapphire.The Object Brush ML feature makes it possible to isolate objects in a single frame of footage simply by clicking inside them, with Continuum automatically generating a corresponding mask. The selection can be refined by selecting extra parts of the image to include or exclude, or by painting areas in or out manually. The Matte Assist ML feature automatically propagates a mask throughout a shot, tracking the object selected and generating animated mattes matching its changing outline. New AI tools for generating depth and ST maps, and fixing glitches in footage The release also adds three other new AI tools: BCC+ Depth Map ML, BCC+ ST Map, and BCC+ Frame Fixer ML.BCC+ Depth Map ML automatically generates depth maps from video footage, based on objects’ distance from the camera, making it easier to add fog and haze, or fake rack focus. Users have a choice of two ML models, one tuned for performance, and one for detail. BCC+ ST Map generates ST Maps, often used to encode lens distortion data, making it easier to distort or undistort video footage, or to convert it from rectilinear to 360° formats. BCC+ Frame Fixer ML automatically fixes ‘bad’ frames in footage: for example, those with scratches or tape degradation, or with flash photography changing the lighting of the subject. You have to identify the bad frames manually, but processing is automatic. According to Boris FX, the filter can also be used to fix dropped frames, and even to hide jump cuts. Updates to Witness Protection ML and Retimer ML Updates to existing AI tools include a Smoothing Level control for the BCC+ Witness Protection ML filter, used to obscure people’s faces automatically in source footage.BCC+ Retimer ML now supports retiming footage with variable frame rates, although only in Adobe host apps. The AI models used by the tools also now load faster on first use in a work session. Improvements to the FX Editor, Particle Illusion and Title Generator Of the non-AI features, the FX Editor, for editing effects and presets, gets performance and workflow improvements, with “2x speed improvements” when playing back 4K footage. Particle generator Particle Illusion gets workflow improvements including the option to save camera animation presets, and an updated emitter library. The 8,000 x 8,000px limit in 3D titling plugin Title Studio has been removed, making it possible to work up to the maximum resolution supported by the host application. There are also over 100 new presets for filters, and support for a “full set” of blend modes in BCC+ Vignette. Prices up, particularly for OFX licenses Boris FX has also raised the price of the plugins since the release of Continuum 2025.0.The software is priced according to host application, so the exact figures vary, but for After Effects and Premiere Pro, the cost of a perpetual license rises by $100, to $1,095. For OFX applications, including DaVinci Resolve and Nuke, the cost of a perpetual license rises by $400, also to $1,095. For all available hosts, the price rises by $200, to $2,195. The price of subscriptions is also up, with After Effects and Premiere Pro subscriptions rising by $11/month, to $48/month; and by $30/year, to $325/year. OFX subscriptions rise by $23/month, to $48/month; and by $130/year, to $325/year. For all hosts, subscriptions rise by $25/month, to $112/month, and by $70/year, to $765/year. Pricing and system requirements Continuum 2025.5 is compatible with a range of compositing and editing software, including After Effects, DaVinci Resolve and Nuke, on Windows 10+ or macOS 10.15+.It is priced according to host application, with new perpetual licences costing from $365 to $2,195. Subscriptions cost from $215/year to $765/year. Read an overview of the new features in Continuum 2025.5 on Boris FX’s website Read a full list of new features in Continuum 2025.5 in the release notes (Adobe edition) Have your say on this story by following CG Channel on Facebook, Instagram and X (formerly Twitter). As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects.
    0 Comentários 0 Compartilhamentos 0 Anterior
  • A feast for the eyes: Bon Appétit's first art & design issue explores food as creative canvas

    What does it mean to treat food as art? For Bon Appétit, it means more than aesthetic plating or a perfectly crisp croissant on your feed. It's a deeper recognition of the visual culture, artistic intention, and emotional storytelling that underpin how we cook, eat, and experience food.
    That philosophy is the driving force behind the magazine's first-ever Art & Design issue, a vibrant, visually rich edition that sharply focuses on the often-overlooked connections between culinary culture and the creative industries.
    "As a brand, Bon Appétit aims to illustrate how food shapes culture and society," says editor-in-chief Jamila Robinson. "It's not only essential for life, but it's a creative expression." That thinking permeates every page of the special issue, from recipes riffing on iconic paintings to cutlery designed with sculptural ambition.
    The magazine has always been known for its sharp visuals and stylish sensibility, but this issue turns the dial up to eleven, and the cover alone is a striking signal of intent. Commissioned by French-based Argentine artist Matías Larraín, it's a bold, poster-like work that distils the spirit of the edition: colour-forward, culture-rich, and unabashedly design-minded.
    "His vibrant palette and distinctive aesthetic resonated with our brand's creative direction," explains Creative Director Caroline Newton, adding that his fascination with food as subject matter made him a natural choice for the project.

    Inside, the magazine takes readers on a multisensory journey across disciplines, from still lifes and museum-inspired meals to flatware that's equal parts sculpture and utensil and a digital cover that nods to Wayne Thiebaud's saccharine 1979 Cake Slice. There are also restaurant features that spotlight spaces like Clemente Bar in Manhattan and Central in Lima, where dining and visual storytelling go hand in hand.
    When it came to curating the content, Newton says the ideas came thick and fast. "When the theme was announced, our creative team was flooded with ideas," she recalls. "We refined our concepts, seeking a balance of diverse visual and cultural references that explore the intersections of art, design, and food." The result is a publication that feels both eclectic and intentional – not just a celebration of beautiful things but an invitation to look at the everyday through a more creative lens.
    It's also a showcase of Bon Appétit's own talent. "This issue is an important showcase for our extraordinarily talented creative department who make our dishes look so beautiful," says Jamila. From the editorial team to the test kitchen, there's a sense of creative cross-pollination behind each feature. Take A Bite at the Museum, a centrepiece story that brings together diverse contributors to reimagine food through fine art, flexing a different creative muscle in the process.
    Food, after all, is a medium most of us use every day. "Food is the art form we all participate in," Jamila writes in the issue's foreword – a mantra that underpins the editorial direction. Whether it's the way colour impacts our cravings or how food photography has evolved in the social media age, the magazine explores the role of visual culture in shaping what and how we eat.
    "Social media is simply a continuum, a modern means of communicating our relationship with food," Jamila reflects. "Humans have chronicled what we eat from the beginning, whether that's a cave painting, a still life, or a TikTok."

    Beyond the magazine, the edition also highlights a growing shift in hospitality spaces, from gallery-like interiors to artist collaborations that blur the boundaries between form, function, and flavour.
    "The visual storytelling in restaurants often gives you a sense of place," says Jamila. "It can convey the relationship the chefs have with these other art forms and helps open people to other kinds of expression." That immersive quality and the idea that food can tell stories beyond the plate is echoed throughout the issue.
    There's also a sense of fun underpinning it all. "We are not in the business of being bored," laughs Caroline when asked how chefs and creatives are using artistic processes in their work. Whether sketching, sculpting, or throwing a dinner party inspired by personal heritage, the magazine revels in food's ability to inspire and surprise.
    With its first Art & Design issue, Bon Appétit positions itself not just as a food publication but as a curator of culture that champions creativity in its many edible forms. "I hope readers are inspired to take note of the artist who drew the doodles on their apron," says Jamila. "I hope they gaze at the mural that is outside their favourite taco spot. Or pick up their phone and share a picture of their favourite dish – or something they cooked that turned out beautifully – with the rest of us."
    If there's one takeaway from this issue, it's that food isn't just something we consume. It's something we create. And sometimes, it belongs on a coffee table just as much as on a dinner plate.
    #feast #eyes #bon #appétit039s #first
    A feast for the eyes: Bon Appétit's first art & design issue explores food as creative canvas
    What does it mean to treat food as art? For Bon Appétit, it means more than aesthetic plating or a perfectly crisp croissant on your feed. It's a deeper recognition of the visual culture, artistic intention, and emotional storytelling that underpin how we cook, eat, and experience food. That philosophy is the driving force behind the magazine's first-ever Art & Design issue, a vibrant, visually rich edition that sharply focuses on the often-overlooked connections between culinary culture and the creative industries. "As a brand, Bon Appétit aims to illustrate how food shapes culture and society," says editor-in-chief Jamila Robinson. "It's not only essential for life, but it's a creative expression." That thinking permeates every page of the special issue, from recipes riffing on iconic paintings to cutlery designed with sculptural ambition. The magazine has always been known for its sharp visuals and stylish sensibility, but this issue turns the dial up to eleven, and the cover alone is a striking signal of intent. Commissioned by French-based Argentine artist Matías Larraín, it's a bold, poster-like work that distils the spirit of the edition: colour-forward, culture-rich, and unabashedly design-minded. "His vibrant palette and distinctive aesthetic resonated with our brand's creative direction," explains Creative Director Caroline Newton, adding that his fascination with food as subject matter made him a natural choice for the project. Inside, the magazine takes readers on a multisensory journey across disciplines, from still lifes and museum-inspired meals to flatware that's equal parts sculpture and utensil and a digital cover that nods to Wayne Thiebaud's saccharine 1979 Cake Slice. There are also restaurant features that spotlight spaces like Clemente Bar in Manhattan and Central in Lima, where dining and visual storytelling go hand in hand. When it came to curating the content, Newton says the ideas came thick and fast. "When the theme was announced, our creative team was flooded with ideas," she recalls. "We refined our concepts, seeking a balance of diverse visual and cultural references that explore the intersections of art, design, and food." The result is a publication that feels both eclectic and intentional – not just a celebration of beautiful things but an invitation to look at the everyday through a more creative lens. It's also a showcase of Bon Appétit's own talent. "This issue is an important showcase for our extraordinarily talented creative department who make our dishes look so beautiful," says Jamila. From the editorial team to the test kitchen, there's a sense of creative cross-pollination behind each feature. Take A Bite at the Museum, a centrepiece story that brings together diverse contributors to reimagine food through fine art, flexing a different creative muscle in the process. Food, after all, is a medium most of us use every day. "Food is the art form we all participate in," Jamila writes in the issue's foreword – a mantra that underpins the editorial direction. Whether it's the way colour impacts our cravings or how food photography has evolved in the social media age, the magazine explores the role of visual culture in shaping what and how we eat. "Social media is simply a continuum, a modern means of communicating our relationship with food," Jamila reflects. "Humans have chronicled what we eat from the beginning, whether that's a cave painting, a still life, or a TikTok." Beyond the magazine, the edition also highlights a growing shift in hospitality spaces, from gallery-like interiors to artist collaborations that blur the boundaries between form, function, and flavour. "The visual storytelling in restaurants often gives you a sense of place," says Jamila. "It can convey the relationship the chefs have with these other art forms and helps open people to other kinds of expression." That immersive quality and the idea that food can tell stories beyond the plate is echoed throughout the issue. There's also a sense of fun underpinning it all. "We are not in the business of being bored," laughs Caroline when asked how chefs and creatives are using artistic processes in their work. Whether sketching, sculpting, or throwing a dinner party inspired by personal heritage, the magazine revels in food's ability to inspire and surprise. With its first Art & Design issue, Bon Appétit positions itself not just as a food publication but as a curator of culture that champions creativity in its many edible forms. "I hope readers are inspired to take note of the artist who drew the doodles on their apron," says Jamila. "I hope they gaze at the mural that is outside their favourite taco spot. Or pick up their phone and share a picture of their favourite dish – or something they cooked that turned out beautifully – with the rest of us." If there's one takeaway from this issue, it's that food isn't just something we consume. It's something we create. And sometimes, it belongs on a coffee table just as much as on a dinner plate. #feast #eyes #bon #appétit039s #first
    WWW.CREATIVEBOOM.COM
    A feast for the eyes: Bon Appétit's first art & design issue explores food as creative canvas
    What does it mean to treat food as art? For Bon Appétit, it means more than aesthetic plating or a perfectly crisp croissant on your feed. It's a deeper recognition of the visual culture, artistic intention, and emotional storytelling that underpin how we cook, eat, and experience food. That philosophy is the driving force behind the magazine's first-ever Art & Design issue, a vibrant, visually rich edition that sharply focuses on the often-overlooked connections between culinary culture and the creative industries. "As a brand, Bon Appétit aims to illustrate how food shapes culture and society," says editor-in-chief Jamila Robinson. "It's not only essential for life, but it's a creative expression." That thinking permeates every page of the special issue, from recipes riffing on iconic paintings to cutlery designed with sculptural ambition. The magazine has always been known for its sharp visuals and stylish sensibility, but this issue turns the dial up to eleven, and the cover alone is a striking signal of intent. Commissioned by French-based Argentine artist Matías Larraín, it's a bold, poster-like work that distils the spirit of the edition: colour-forward, culture-rich, and unabashedly design-minded. "His vibrant palette and distinctive aesthetic resonated with our brand's creative direction," explains Creative Director Caroline Newton, adding that his fascination with food as subject matter made him a natural choice for the project. Inside, the magazine takes readers on a multisensory journey across disciplines, from still lifes and museum-inspired meals to flatware that's equal parts sculpture and utensil and a digital cover that nods to Wayne Thiebaud's saccharine 1979 Cake Slice. There are also restaurant features that spotlight spaces like Clemente Bar in Manhattan and Central in Lima, where dining and visual storytelling go hand in hand. When it came to curating the content, Newton says the ideas came thick and fast. "When the theme was announced, our creative team was flooded with ideas," she recalls. "We refined our concepts, seeking a balance of diverse visual and cultural references that explore the intersections of art, design, and food." The result is a publication that feels both eclectic and intentional – not just a celebration of beautiful things but an invitation to look at the everyday through a more creative lens. It's also a showcase of Bon Appétit's own talent. "This issue is an important showcase for our extraordinarily talented creative department who make our dishes look so beautiful," says Jamila. From the editorial team to the test kitchen, there's a sense of creative cross-pollination behind each feature. Take A Bite at the Museum, a centrepiece story that brings together diverse contributors to reimagine food through fine art, flexing a different creative muscle in the process. Food, after all, is a medium most of us use every day. "Food is the art form we all participate in," Jamila writes in the issue's foreword – a mantra that underpins the editorial direction. Whether it's the way colour impacts our cravings or how food photography has evolved in the social media age, the magazine explores the role of visual culture in shaping what and how we eat. "Social media is simply a continuum, a modern means of communicating our relationship with food," Jamila reflects. "Humans have chronicled what we eat from the beginning, whether that's a cave painting, a still life, or a TikTok." Beyond the magazine, the edition also highlights a growing shift in hospitality spaces, from gallery-like interiors to artist collaborations that blur the boundaries between form, function, and flavour. "The visual storytelling in restaurants often gives you a sense of place," says Jamila. "It can convey the relationship the chefs have with these other art forms and helps open people to other kinds of expression." That immersive quality and the idea that food can tell stories beyond the plate is echoed throughout the issue. There's also a sense of fun underpinning it all. "We are not in the business of being bored," laughs Caroline when asked how chefs and creatives are using artistic processes in their work. Whether sketching, sculpting, or throwing a dinner party inspired by personal heritage, the magazine revels in food's ability to inspire and surprise. With its first Art & Design issue, Bon Appétit positions itself not just as a food publication but as a curator of culture that champions creativity in its many edible forms. "I hope readers are inspired to take note of the artist who drew the doodles on their apron," says Jamila. "I hope they gaze at the mural that is outside their favourite taco spot. Or pick up their phone and share a picture of their favourite dish – or something they cooked that turned out beautifully – with the rest of us." If there's one takeaway from this issue, it's that food isn't just something we consume. It's something we create. And sometimes, it belongs on a coffee table just as much as on a dinner plate.
    0 Comentários 0 Compartilhamentos 0 Anterior
  • Astronomers Baffled by a Suspicious, Perfectly Round Sphere in Our Galaxy

    Today, in questions you didn't know you needed the answer to: Is there such a thing as a perfect ball? And if there were, would it contain the secrets of the universe? To wit, a spherical object lurking in our galaxy is so perfectly round that astronomers can't explain how it was formed.Dubbed "Teleios" after the Greek word for "perfect," the object is what's known as a supernova remnant, a glowing cloud of hot gases and other material left behind after a massive star dies in a powerful explosion called a supernova. And it's definitely earned its nickname. According to the astronomers' findings, as reported in a pre-print study accepted for publication in Publications of the Astronomical Society of Australia, this is one of the most circular galactic SNRs ever found."The shape indicates Teleios has remained relatively untouched by its environment," said lead author Miroslav Filipovic, an astronomer at Western Sydney University, in an written with his colleagues earlier this year. "This presents us with an opportunity to make inferences about the initial supernova explosion, providing rare insight into one of the most energetic events in the universe."When a star goes supernova, it blasts all that stellar material into space in a tremendous release of energy bright enough to momentarily outshine even entire galaxies. The astronomers believe that Teleios is the result of a rare type of explosion — we're talking happening only once every 500 years in the Milky Way rare — called a type Ia supernova that occurs in binary star systems. When a smaller but far denser white dwarf siphons enough matter from its companion star whose orbit has crept too close, the stolen stellar material detonates in an epic thermonuclear explosion that obliterates both the stars.For something so symmetrical to emerge out of an event so violent is unusual, to put it mildly."The supernova remnant will be deformed by its environment over time. If one side of the explosion slams into an interstellar cloud, we'll see a squashed shape," explained Filipovic in the essay. "So, a near-perfect circle in a messy universe is a special find."Teleios was uncovered as part of the Evolutionary Map of the Universesurvey using the Australian Square Kilometer Array Pathfinder, an enormous radio telescope that's proving to be a powerful tool for finding SNRs that aren't visible in other wavelengths. Teleios, exclusively seen at radio-continuum frequencies, is one of them. Along with its perfect shape, it has one of the lowest surface brightnesses among all known galactic SNRs.The astronomers estimate that Teleios lies at a distance of either 2.2 or 7.7 kiloparsecs away. The uncertainty surrounding its distance means its age and size are hard to pin down, too. It's either on the younger side at less than 1,000 years old, or much older at over 10,000 years old. Likewise, it could be as small as 46 light years across, or as large as 157 light years. In any case, their findings place Teleios at a stage of its evolution called the Sedov-Taylor phase, during which the expansion of the SNR first begins to slow down, as it sweeps up additional mass from the interstellar medium of space. There's a catch, though: this process should produce detectable x-ray emissions, but the astronomers haven't see any.Maybe, the astronomers explored, Teleios is actually the remnant of an even rarer type of Ia supernova: a type Iax, in which the white dwarf partially survives as "zombie star." In that case, Teleios might be much closer at less than 3,200 light years away while being about 10.7 light years across.No hard answer, however, can be made from the data we have now. But this is just the beginning, and the astronomers are optimistic that more detailed observations in the future will one day help put this mystery to bed.Share This Article
    #astronomers #baffled #suspicious #perfectly #round
    Astronomers Baffled by a Suspicious, Perfectly Round Sphere in Our Galaxy
    Today, in questions you didn't know you needed the answer to: Is there such a thing as a perfect ball? And if there were, would it contain the secrets of the universe? To wit, a spherical object lurking in our galaxy is so perfectly round that astronomers can't explain how it was formed.Dubbed "Teleios" after the Greek word for "perfect," the object is what's known as a supernova remnant, a glowing cloud of hot gases and other material left behind after a massive star dies in a powerful explosion called a supernova. And it's definitely earned its nickname. According to the astronomers' findings, as reported in a pre-print study accepted for publication in Publications of the Astronomical Society of Australia, this is one of the most circular galactic SNRs ever found."The shape indicates Teleios has remained relatively untouched by its environment," said lead author Miroslav Filipovic, an astronomer at Western Sydney University, in an written with his colleagues earlier this year. "This presents us with an opportunity to make inferences about the initial supernova explosion, providing rare insight into one of the most energetic events in the universe."When a star goes supernova, it blasts all that stellar material into space in a tremendous release of energy bright enough to momentarily outshine even entire galaxies. The astronomers believe that Teleios is the result of a rare type of explosion — we're talking happening only once every 500 years in the Milky Way rare — called a type Ia supernova that occurs in binary star systems. When a smaller but far denser white dwarf siphons enough matter from its companion star whose orbit has crept too close, the stolen stellar material detonates in an epic thermonuclear explosion that obliterates both the stars.For something so symmetrical to emerge out of an event so violent is unusual, to put it mildly."The supernova remnant will be deformed by its environment over time. If one side of the explosion slams into an interstellar cloud, we'll see a squashed shape," explained Filipovic in the essay. "So, a near-perfect circle in a messy universe is a special find."Teleios was uncovered as part of the Evolutionary Map of the Universesurvey using the Australian Square Kilometer Array Pathfinder, an enormous radio telescope that's proving to be a powerful tool for finding SNRs that aren't visible in other wavelengths. Teleios, exclusively seen at radio-continuum frequencies, is one of them. Along with its perfect shape, it has one of the lowest surface brightnesses among all known galactic SNRs.The astronomers estimate that Teleios lies at a distance of either 2.2 or 7.7 kiloparsecs away. The uncertainty surrounding its distance means its age and size are hard to pin down, too. It's either on the younger side at less than 1,000 years old, or much older at over 10,000 years old. Likewise, it could be as small as 46 light years across, or as large as 157 light years. In any case, their findings place Teleios at a stage of its evolution called the Sedov-Taylor phase, during which the expansion of the SNR first begins to slow down, as it sweeps up additional mass from the interstellar medium of space. There's a catch, though: this process should produce detectable x-ray emissions, but the astronomers haven't see any.Maybe, the astronomers explored, Teleios is actually the remnant of an even rarer type of Ia supernova: a type Iax, in which the white dwarf partially survives as "zombie star." In that case, Teleios might be much closer at less than 3,200 light years away while being about 10.7 light years across.No hard answer, however, can be made from the data we have now. But this is just the beginning, and the astronomers are optimistic that more detailed observations in the future will one day help put this mystery to bed.Share This Article #astronomers #baffled #suspicious #perfectly #round
    FUTURISM.COM
    Astronomers Baffled by a Suspicious, Perfectly Round Sphere in Our Galaxy
    Today, in questions you didn't know you needed the answer to: Is there such a thing as a perfect ball? And if there were, would it contain the secrets of the universe? To wit, a spherical object lurking in our galaxy is so perfectly round that astronomers can't explain how it was formed.Dubbed "Teleios" after the Greek word for "perfect," the object is what's known as a supernova remnant (SNR), a glowing cloud of hot gases and other material left behind after a massive star dies in a powerful explosion called a supernova. And it's definitely earned its nickname. According to the astronomers' findings, as reported in a pre-print study accepted for publication in Publications of the Astronomical Society of Australia, this is one of the most circular galactic SNRs ever found."The shape indicates Teleios has remained relatively untouched by its environment," said lead author Miroslav Filipovic, an astronomer at Western Sydney University, in an written with his colleagues earlier this year. "This presents us with an opportunity to make inferences about the initial supernova explosion, providing rare insight into one of the most energetic events in the universe."When a star goes supernova, it blasts all that stellar material into space in a tremendous release of energy bright enough to momentarily outshine even entire galaxies. The astronomers believe that Teleios is the result of a rare type of explosion — we're talking happening only once every 500 years in the Milky Way rare — called a type Ia supernova that occurs in binary star systems. When a smaller but far denser white dwarf siphons enough matter from its companion star whose orbit has crept too close, the stolen stellar material detonates in an epic thermonuclear explosion that obliterates both the stars.For something so symmetrical to emerge out of an event so violent is unusual, to put it mildly."The supernova remnant will be deformed by its environment over time. If one side of the explosion slams into an interstellar cloud, we'll see a squashed shape," explained Filipovic in the essay. "So, a near-perfect circle in a messy universe is a special find."Teleios was uncovered as part of the Evolutionary Map of the Universe (EMU) survey using the Australian Square Kilometer Array Pathfinder (ASKAP), an enormous radio telescope that's proving to be a powerful tool for finding SNRs that aren't visible in other wavelengths. Teleios, exclusively seen at radio-continuum frequencies, is one of them. Along with its perfect shape, it has one of the lowest surface brightnesses among all known galactic SNRs.The astronomers estimate that Teleios lies at a distance of either 2.2 or 7.7 kiloparsecs away (or approximately 7,100 or 25,100 light years). The uncertainty surrounding its distance means its age and size are hard to pin down, too. It's either on the younger side at less than 1,000 years old, or much older at over 10,000 years old. Likewise, it could be as small as 46 light years across, or as large as 157 light years. In any case, their findings place Teleios at a stage of its evolution called the Sedov-Taylor phase, during which the expansion of the SNR first begins to slow down, as it sweeps up additional mass from the interstellar medium of space. There's a catch, though: this process should produce detectable x-ray emissions, but the astronomers haven't see any.Maybe, the astronomers explored, Teleios is actually the remnant of an even rarer type of Ia supernova: a type Iax, in which the white dwarf partially survives as "zombie star." In that case, Teleios might be much closer at less than 3,200 light years away while being about 10.7 light years across.No hard answer, however, can be made from the data we have now. But this is just the beginning, and the astronomers are optimistic that more detailed observations in the future will one day help put this mystery to bed.Share This Article
    0 Comentários 0 Compartilhamentos 0 Anterior
CGShares https://cgshares.com