Cool Finds Archaeologists Stumble Onto Sprawling Ancient Roman Villa During Construction of a Road in France Located near Auxerre, the grand estate once possessed an exorbitant level of wealth, with thermal baths and heated floors Aerial view of the villa, with thermal baths at the bottom right, the garden and fountain in the center, and the agricultural fields expanding to the left Ch. Fouquin / INRAP In ancient times, all roads led to Rome—or so the saying goes. Nowadays, new roads can lead to Roman ruins. During construction on an alternative route to D606, a regional road just under two miles outside of Auxerre, in central France, salvage archaeologists unearthed a sprawling Roman villa complete with a stately garden, a fountain and an elaborate system of underfloor heating known as a hypocaust, according to a statement from the French National Institute for Preventive Archaeological Research (INRAP). While researchers have been aware of the ruins on the outskirts of the Gallo-Roman settlement of Autissiodorum (as Auxerre was once known) since the 19th century, previous excavations have been limited. The most recent dig, in 1966, found a 7,500-square-foot building with ten rooms and amenities that suggested its residents enjoyed great wealth and regional power. The site of Sainte-Nitasse, adjacent to a regional highway Ch. Fouquin / INRAP But until now, the true scale of the villa known as Sainte-Nitasse and its surrounding agricultural estates along the River Yonne was unclear. Archaeologists at INRAP have since discovered a 43,000-square-foot building thought to date to between the first and third centuries C.E. It suggests a previously unimagined level of grandeur. INRAP identifies the site as one of the “grand villas of Roman Gaul,” according to the statement. Grand villas are typified by their vast dimensions and sophisticated architectural style. They typically encompass both agricultural and residential portions, known in Latin as pars rustica and pars urbana, respectively. In the pars urbana, grand villas tend to feature stately construction materials like marble; extensive mosaics and frescoes; and amenities like private baths, fountains and gardens. So far, the excavations at Sainte-Nitasse have revealed all these features and more. The villa’s development is extensive. A 4,800-square-foot garden is enclosed by a fountain to the south and a water basin, or an ornamental pond, to the north. The hypocaust, an ancient system of central heating that circulated hot air beneath the floors of the house, signals a level of luxury atypical for rural estates in Roman Gaul. A section of the villa's hypocaust heating system, which circulated hot air beneath the floor Ch. Fouquin / INRAP “We can imagine it as an ‘aristocratic’ villa, belonging to someone with riches, responsibilities—perhaps municipal, given the proximity to Auxerre—a landowner who had staff on site,” Alexandre Burgevin, the archaeologist in charge of the excavations with INRAP, tells France Info’s Lisa Guyenne. Near the banks of the Yonne, a thermal bath site contains several pools where the landowner and his family bathed. On the other side of the garden, workers toiled in the fields of a massive agricultural estate. Aside from its size and amenities, the villa’s level of preservation also astounded archaeologists. “For a rural site, it’s quite exceptional,” Burgevin tells L’Yonne Républicaine’s Titouan Stücker. “You can walk on floors from the time period, circulate between rooms like the Gallo-Romans did.”Over time, Autissiodorum grew to become a major city along the Via Agrippa, eventually earning the honor of serving as a provincial Roman capital by the fourth century C.E. As Gaul began slipping away from the Roman Empire around the same time, the prominence of the city fluctuated. INRAP archaeologists speculate that the site was repurposed during medieval times, around the 13th century. Burgevin offers several explanations for why the site remained so well preserved in subsequent centuries. The humid conditions along the banks of the river might have prevented excess decay. Since this portion of the River Yonne wasn’t canalized until the 19th century, engineers may have already been aware of the presence of ruins. Or, perhaps the rubble of the villa created “bumpy,” intractable soil that was “not easy to pass over with a tractor,” he tells France Info. While the site will briefly open to the public on June 15 for European Archaeology Days, an annual event held at sites across the continent, excavations will continue until September, at which time construction on the road will resume. Much work is to be done, including filling in large gaps of the site’s chronology between the Roman and medieval eras. “We have well-built walls but few objects,” says Burgevin, per L’Yonne Républicaine. “It will be necessary to continue digging to understand better.” Get the latest stories in your inbox every weekday.

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

Large projectile point made of Gray Whale bone from the Duruthy rockshelter, Landes, France, dated between 18,000 and 17,500 years ago.   CREDIT: Alexandre Lefebvre. Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. Prehistoric stone tools are among some of the oldest and important pieces of evidence we have of a time when our species began to evolve a higher level of intelligence. Many of these tools were also made from animal bones–including the bones of some of the biggest animals on the planet. New research finds that humans living up to 20,000 years ago may have been making tools out of whale bones. The discovery not only adds more to the story of early human tool use, but gives a glimpse into ancient whale ecology. The findings are detailed in a study published May 27 in the journal Nature Communications. “That humans frequented the seashore, and took advantage of its resources, is probably as old as humankind,” Jean-Marc Pétillon, an archaeologist at the Université Toulouse Jean Jaurès in France and study co-author, tells Popular Science. “There is evidence of whale scavenging at the site of Dungo 5 in Angola dating to 1 million years.” Fragment of projectile point from the cave site of Isturitz (Pyrénées-Atlantiques, France), made of bone from right whale or bowhead whale, dated to 17,300-16,700 years before present, curated at the Musée d’Archéologie Nationale (Saint-Germain-en-Laye, France). CREDIT:  Jean-Marc Pétillon. By land and sea For our Paleolithic ancestors living in coastal areas, the sturdy bones of large whales were potentially an excellent resource for various tools. However, many prehistoric coastal archaeological sites are fragile and are at risk of rising sea levels, making reconstructing the past interactions between marine mammals and humans a challenge for scientists..   “The tools were dated between 20,000 and 16,000 years before [the] present, a period way before the invention of agriculture, and during which all human groups in the world lived a life of nomadic hunter-gatherers,” says Pétillon. “Climatically, this is the last part of the last glaciation, with a climate much colder than today.” That colder climate brought a sea level that was roughly almost 400 feet lower than it is today. With this change in sea level, we have no direct evidence of the human occupations on the shore, since the rise in sea level either wiped them out or the settlements lay buried under 300 or so feet of water.  Excavations in 2022 in the Basque cave of Isturitz, France, where several dozen whale bone objects were discovered. CREDIT: Jean-Marc Pétillon, Christian Normand. With this lack of evidence Paleolithic people have historically been viewed as inland hunters. Those living in present day western Europe would have hunted red deer, reindeer, bison, horse, and ibex. While they did hunt inland, there is a growing body of evidence from the last 20 years showing that they also took advantage of the Paleolithic seashore. “There are studies showing that people also gathered seashells, hunted seabirds, fished marine fish, etc., as a complement to terrestrial diet, and these studies were made possible because Paleolithic people carried remains of marine origin away from the seashore, into inland sites,” explains Pétillon. “Our study adds whales to the lot. It is one more contribution showing that Late Paleolithic humans also regularly frequented the seashore and used its resources.” Ancient giants In the new study, the team analyzed 83 bone tools that were excavated from sites around Spain’s Bay of Biscay and 90 additional bones uncovered from Santa Catalina Cave in Spain. They used mass spectrometry and radiocarbon dating to identify which species the bones belonged to and estimate the age of  the samples.  The bones come from at least five species of large whales–sperm, fin, blue, gray, and either right whales or bowheads. The latter two species are indistinguishable using this technique. The oldest whale specimens are dated to roughly 19,000 to 20,000 years ago, representing some of the earliest known evidence of humans using the remains of whales to make tools. Some of the whale bone points themselves were over 15 inches long.  Fragment of projectile point from the rockshelter site of Duruthy (Landes, France), made of gray whale bone, dated to 17,300-16,800 years before present, curated at the Arthous Abbey Museum (Landes, France). CREDIT: A. Lefebvre. “Most of the objects made of whale bone are projectile points, part of the hunting equipment. They can be very long and thick, and were probably hafted on spear-style projectiles rather than arrows (and the use of the spearthrower is documented in this period),” says Pétillon. “The main raw material used to manufacture projectile points at that period is antler, because it is less brittle and more pliable than bone, but whale bone was preferred in certain cases probably because of its large dimensions.” The ocean’s bounty Most of these whale species identified in this study are still found in the Bay of Biscay and northeastern North Atlantic to this day. However, gray whales are now primarily limited to the North Pacific Ocean and Arctic. Additional chemical data from the tools also suggests that the feeding habits of the ancient whales were slightly different than those living today. According to the authors, this is likely due to behavioral or environmental changes. That the whales in the area have stayed relatively the same was particularly intriguing for Pétillon. “What was more surprising to me—as an archeologist more accustomed to terrestrial faunas—was that these whale species remained the same despite the great environmental difference between the Late Pleistocene and today,” he says. “In the same period, continental faunas are very different: the ungulates hunted include reindeer, saiga antelopes, bison, etc., all disappeared from Western Europe today.” Importantly, the findings here do not imply that active whaling was occurring. The techniques at the time would not allow humans to hunt sperm, blue, or fin whales and the team believes that these populations took advantage of whale strandings to harvest the bones for tools.  “The earliest evidence of active whaling is much younger, around 6,000 [years] before present in Korea (site of Bangudae) and maybe around 5,000 before present in Europe (Neolithic sites in the Netherlands),” says Pétillon. Future studies could look at the systematic way that these ancient Atlantic Europeans systematically used the seashore and how they developed their ocean hunting techniques. 

"In the 1970s, the USSR used nuclear devices to try to send water from Siberia's rivers flowing south, instead of its natural route north..." remembers the BBC. [T]he Soviet Union simultaneously fired three nuclear devices buried 127m (417ft) underground. The yield of each device was 15 kilotonnes (about the same as the atomic bomb dropped on Hiroshima in 1945). The experiment, codenamed "Taiga", was part of a two-decade long Soviet programme of carrying out peaceful nuclear explosions (PNEs). In this case, the blasts were supposed to help excavate a massive canal to connect the basin of the Pechora River with that of the Kama, a tributary of the Volga. Such a link would have allowed Soviet scientists to siphon off some of the water destined for the Pechora, and send it southward through the Volga. It would have diverted a significant flow of water destined for the Arctic Ocean to go instead to the hot, heavily populated regions of Central Asia and southern Russia. This was just one of a planned series of gargantuan "river reversals" that were designed to alter the direction of Russia's great Eurasian waterways... Years later, Leonid Volkov, a scientist involved in preparing the Taiga explosions, recalled the moment of detonation. "The final countdown began: ...3, 2, 1, 0... then fountains of soil and water shot upward," he wrote. "It was an impressive sight." Despite Soviet efforts to minimise the fallout by using a low-fission explosive, which produce fewer atomic fragments, the blasts were detected as far away as the United States and Sweden, whose governments lodged formal complaints, accusing Moscow of violating the Limited Test Ban Treaty... Ultimately, the nuclear explosions that created Nuclear Lake, one of the few physical traces left of river reversal, were deemed a failure because the crater was not big enough. Although similar PNE canal excavation tests were planned, they were never carried out. In 2024, the leader of a scientific expedition to the lake announced radiation levels were normal. "Perhaps the final nail in the coffin was the Chernobyl nuclear disaster in 1986, which not only consumed a huge amount of money, but pushed environmental concerns up the political agenda," the article notes. "Four months after the Number Four Reactor at the Chernobyl Nuclear Power Plant exploded, Soviet Premier Mikhail Gorbachev cancelled the river reversal project." And a Russian blogger who travelled to Nuclear Lake in the summer of 2024 told the BBC that nearly 50 years later, there were some places where the radiation was still significantly elevated. Read more of this story at Slashdot.

The US is less than 250 years old, but some of its most important archaeological sites are older than the Viking seafarers, the Roman Empire, and the pyramids.Many help tell the story of how the first humans came to North America. It's still a mystery exactly how and when people arrived, though it's widely believed they crossed the Bering Strait at least 15,000 years ago."As we get further back in time, as we get populations that are smaller and smaller, finding these places and interpreting them becomes increasingly difficult," archaeologist Kenneth Feder told Business Insider. He's the author of "Ancient America: Fifty Archaeological Sites to See for Yourself."Some sites, like White Sands and Cooper's Ferry, have skeptics about the accuracy of their age. Still, they contribute to our understanding of some of the earliest Americans.Others are more recent and highlight the different cultures that were spreading around the country, with complex buildings and illuminating pictographs.Many of these places are open to the public, so you can see the US' ancient history for yourself. White Sands National Park, New Mexico Footprints at White Sands. National Park Service Prehistoric camels, mammoths, and giant sloths once roamed what's now New Mexico, when it was greener and damper.As the climate warmed around 11,000 years ago, the water of Lake Otero receded, revealing footprints of humans who lived among these extinct animals. Some even seemed to be following a sloth, offering a rare glimpse into ancient hunters' behavior.Recent research puts some of these fossilized footprints at between 21,000 and 23,000 years old. If the dates are accurate, the prints would predate other archaeological sites in the US, raising intriguing questions about who these people were and how they arrived in the Southwestern state."Where are they coming from?" Feder said. "They're not parachute dropping in New Mexico. They must have come from somewhere else, which means there are even older sites." Archaeologists simply haven't found them yet.While visitors can soak in the sight of the eponymous white sands, the footprints are currently off-limits. Meadowcroft Rockshelter, Pennsylvania The archeological dig at the Meadowcroft National Historic Site in 2013. AP Photo/Keith Srakocic In the 1970s, archaeologist James M. Adovasio sparked a controversy when he and his colleagues suggested stone tools and other artifacts found in southwestern Pennsylvania belonged to humans who had lived in the area 16,000 years ago.For decades, scientists had been finding evidence of human habitation that all seemed to be around 12,000 to 13,000 years old, belonging to the Clovis culture. They were long believed to have been the first to cross the Bering land bridge. Humans who arrived in North America before this group are often referred to as pre-Clovis.At the time, skeptics said that the radiocarbon dating evidence was flawed, AP News reported in 2016. In the years since, more sites that appear older than 13,000 years have been found across the US.Feder said Adovasio meticulously excavated the site, but there's still no clear consensus about the age of the oldest artifacts. Still, he said, "that site is absolutely a major, important, significant site." It helped archaeologists realize humans started arriving on the continent before the Clovis people.The dig itself is on display at the Heinz History Center, allowing visitors to see an excavation in person. Cooper's Ferry, Idaho Excavators at Cooper's Ferry in 2013. Loren Davis/Oregon State University One site that's added intriguing evidence to the pre-Clovis theory is located in western Idaho. Humans living there left stone tools and charred bones in a hearth between 14,000 and 16,000 years ago, according to radiocarbon dating. Other researchers put the dates closer to 11,500 years ago.These stemmed tools are different from the Clovis fluted projectiles, researchers wrote in a 2019 Science Advances paper.Some scientists think humans may have been traveling along the West Coast at this time, when huge ice sheets covered Alaska and Canada. "People using boats, using canoes could hop along that coast and end up in North America long before those glacial ice bodies decoupled," Feder said.Cooper's Ferry is located on traditional Nez Perce land, which the Bureau of Land Management holds in public ownership. Page-Ladson, Florida Divers search in the sediment at the Page-Ladson site. Texas A&M University via Getty Images In the early 1980s, former Navy SEAL Buddy Page alerted paleontologists and archaeologists to a sinkhole nicknamed "Booger Hole" in the Aucilla River. There, the researchers found mammoth and mastodon bones and stone tools.They also discovered a mastodon tusk with what appeared to be cut marks believed to be made by a tool. Other scientists have returned to the site more recently, bringing up more bones and tools. They used radiocarbon dating, which established the site as pre-Clovis."The stone tools and faunal remains at the site show that at 14,550 years ago, people knew how to find game, fresh water and material for making tools," Michael Waters, one of the researchers, said in a statement in 2016. "These people were well-adapted to this environment."Since the site is both underwater and on private property, it's not open to visitors. Paisley Caves, Oregon One of the Paisley Caves near Paisley, Oregon. AP Photo/Jeff Barnard Scientists study coprolites, or fossilized poop, to learn about the diets of long-dead animals. Mineralized waste can also reveal much more. In 2020, archaeologist Dennis Jenkins published a paper on coprolites from an Oregon cave that were over 14,000 years old.Radiocarbon dating gave the trace fossils' age, and genetic tests suggested they belonged to humans. Further analysis of coprolites added additional evidence that a group had been on the West Coast 1,000 years before the Clovis people arrived.Located in southcentral Oregon, the caves appear to be a piece of the puzzle indicating how humans spread throughout the continent thousands of years ago.The federal Bureau of Land Management owns the land where the caves are found, and they are listed on the National Register of Historic Places. Swan Point, Alaska Excavators working at the Swan Point site in June 2016. Charles Holmes/University of Alaska, Fairbanks Whenever people arrived in the Americas, they crossed from Siberia into Beringia, an area of land and sea between Russia and Canada and Alaska. Now it's covered in water, but there was once a land bridge connecting them.The site in Alaska with the oldest evidence of human habitation is Swan Point, in the state's eastern-central region. In addition to tools and hearths dating back 14,000 years, mammoth bones have been found there.Researchers think this area was a kind of seasonal hunting camp. As mammoths returned during certain times of the years, humans would track them and kill them, providing plentiful food for the hunter-gatherers.While Alaska may have a wealth of archaeological evidence of early Americans, it's also a difficult place to excavate. "Your digging season is very narrow, and it's expensive," Feder said. Some require a helicopter to reach, for example. Blackwater Draw, New Mexico A palaeontologist excavating a mammoth in Portales, New Mexico, circa 1960. Dick Kent/FPG/Archive Photos/Getty Images In 1929, 19-year-old James Ridgley Whiteman found mammoth bones along with fluted projectile points near Clovis, New Mexico. The Clovis people who made these tools were named for this site.Researchers studying the site began to realize the artifacts found at the site belonged to different cultures. Clovis points are typically larger than Folsom flutes, which were first found at another archaeological site in New Mexico.For decades after Whiteman's discovery, experts thought the Clovis people were the first to cross the Bering land bridge from Asia around 13,000 years ago. Estimates for humans' arrival is now thought to be at least 15,000 years ago.Eastern New Mexico University's Blackwater Draw Museum grants access to the archaeological site between April and October. Upper Sun River, Alaska Excavations at the Upward Sun River, Alaska. Ben Potter/University of Alaska, Fairbanks One reason the dates of human occupation in North America is so contentious is that very few ancient remains have been found. Among the oldest is a child from Upward Sun River, or Xaasaa Na', in Central Alaska.Archaeologists found the bones of the child in 2013. Local indigenous groups refer to her as Xach'itee'aanenh t'eede gay, or Sunrise Girl-Child. Genetic testing revealed the 11,300-year-old infant belonged to a previously unknown Native American population, the Ancient Beringians.Based on the child's genetic information, researchers learned that she was related to modern Native Americans but not directly. Their common ancestors started becoming genetically isolated 25,000 years ago before dividing into two groups after a few thousand years: the Ancient Berignians and the ancestors of modern Native Americans.According to this research, it's possible humans reached Alaska roughly 20,000 years ago. Poverty Point National Monument, Louisiana Poverty Point in Louisiana. National Park Service Stretching over 80 feet long and 5 feet tall, the rows of curved mounds of Poverty Point are a marvel when viewed from above. Over 3,000 years ago, hunter-gatherers constructed them out of tons of soil. Scientists aren't sure exactly why people built them, whether they were ceremonial or a display of status.The artifacts various groups left behind indicate the site was used off and on for hundreds of years and was a meeting point for trading. People brought tools and rocks from as far as 800 miles away. Remains of deer, fish, frogs, alligators, nuts, grapes, and other food have given archaeologists insights into their diets and daily lives.You can see the World Heritage Site for yourself year-round. Horseshoe Canyon, Utah The Great Gallery in Horseshoe Canyon. Neal Herbert/National Park Service Though remote, the multicolored walls of Horseshoe Canyon have long attracted visitors. Some of its artifacts date back to between 9,000 and 7,000 BCE, but its pictographs are more recent. Some tests date certain sections to around 2,000 to 900 years ago.The four galleries contain life-sized images of anthropomorphic figures and animals in what's known as the Barrier Canyon style. Much of this art is found in Utah, produced by the Desert Archaic culture.The pictographs may have spiritual and practical significance but also help capture a time when groups were meeting and mixing, according to the Natural History Museum of Utah.It's a difficult trek to get to the pictographs (and the NPS warns it can be dangerously hot in summer) but are amazing to view in person, Feder said. "These are creative geniuses," he said of the artists. Canyon de Chelly, Arizona The Antelope House at Canyon de Chelly National Monument. Michael Denson/National Park Service Situated in the Navajo Nation, Canyon de Chelly has gorgeous desert views and thousands of years of human history. Centuries ago, Ancestral Pueblo and Hopi groups planted crops, created pictographs, and built cliff dwellings.Over 900 years ago, Puebloan people constructed the White House, named for the hue of its clay. Its upper floors sit on a sandstone cliff, with a sheer drop outside the windows.Navajo people, also known as Diné, still live in Canyon de Chelly. Diné journalist Alastair Lee Bitsóí recently wrote about visiting some of the sacred and taboo areas. They include Tsé Yaa Kin, where archaeologists found human remains.In the 1860s, the US government forced 8,000 Navajo to relocate to Fort Sumner in New Mexico. The deadly journey is known as the "Long Walk." Eventually, they were able to return, though their homes and crops were destroyed.A hike to the White House is the only one open to the public without a Navajo guide or NPS ranger. Mesa Verde National Park, Colorado Visitors line up at Mesa Verde National Park. Shutterstock/Don Mammoser In the early 1900s, two women formed the Colorado Cliff Dwelling Association, hoping to preserve the ruins in the state's southwestern region. A few years later, President Theodore Roosevelt signed a bill designating Mesa Verde as the first national park meant to "preserve the works of man."Mesa Verde National Park holds hundreds of dwellings, including the sprawling Cliff Palace. It has over 100 rooms and nearly two dozen kivas, or ceremonial spaces.Using dendrochronology, or tree-ring dating, archaeologists learned when Ancestral Pueblo people built some of these structures and that they migrated out of the area by the 1300s.Feder said it's his favorite archaeological site he's visited. "You don't want to leave because you can't believe it's real," he said.Tourists can view many of these dwellings from the road, but some are also accessible after a bit of a hike. Some require extra tickets and can get crowded, Feder said. Cahokia, Illinois A mound at Cahokia in Illinois. Matt Gush/Shutterstock Cahokia has been called one of North America's first cities. Not far from present-day St. Louis, an estimated 10,000 to 20,000 people lived in dense settlements roughly 1,000 years ago. Important buildings sat atop large mounds, which the Mississippians built by hand, The Guardian reported.At the time, it was thriving with hunters, farmers, and artisans. "It's an agricultural civilization," Feder said. "It's a place where raw materials from a thousand miles away are coming in." Researchers have also found mass graves, potentially from human sacrifices.The inhabitants built circles of posts, which one archaeologist later referred to as "woodhenges," as a kind of calendar. At the solstices, the sun would rise or set aligned with different mounds.After a few hundred years, Cahokia's population declined and disappeared by 1350. Its largest mound remains, and some aspects have been reconstructed.While Cahokia is typically open to the public, parts are currently closed for renovations. Montezuma Castle, Arizona Montezuma Castle, a cliff dwelling, in Arizona. MyLoupe/Universal Images Group via Getty Images Perched on a limestone cliff in Camp Verde, Arizona, this site is an apartment, not a castle, and is unrelated to the Aztec ruler Montezuma.The Sinagua people engineered the five-story, 20-room building around 1100. It curves to follow the natural line of the cliff, which would have been more difficult than simply making a straight building, Feder said."These people were architects," he said. "They had a sense of beauty."The inhabitants were also practical, figuring out irrigation systems and construction techniques, like thick walls and shady spots, to help them survive the hot, dry climate.Feder said the dwelling is fairly accessible, with a short walk along a trail to view it, though visitors can't go inside the building itself.

Hey there! Welcome to our weekly indie games roundup. We've got lots to get through this time, including some news before we highlight some brand-new games you can play right now. Indie journal publisher Lost in Cult is moving into physical game releases with a label called Editions. The focus here is on preservation — all of the games that it releases will be available to play offline, with no updates required. Physical game preservation team Does it Play? is playtesting each release. There are premium, limited-edition versions of each game with a slipcase cover, essay booklet, poster and more, as well as retail copies. There will be new releases every month, and the first batch includes a couple of humdingers: Immortality and Thank Goodness You're Here. The Excavation of Hob's Barrow, a point-and-click folk horror game rounds out the trio of debut titles. Really looking forward to seeing where Editions goes from here. The latest Six One Indie showcase took place this week. I've mentioned a game or two that was featured in it below (Game Informer has a list of all the announcements), but I just want to call out a couple of things here.  The score for 1000xResist, one of the best-received games of 2024, is getting a vinyl release in October. Pre-orders are open now. Also, the game that closed out the show has somehow flown under my radar. Dinoblade is an upcoming hack-and-slash action RPG that puts big blades in the jaws of big dinosaurs. Hell yeah. Meanwhile, the folks behind the showcase have set up their own publishing label, Six One Indie Publishing. We've got a ton of other gaming showcases coming up over the next few weeks as Summer Game Fest bobbles on the horizon. Fans of brainteasers may want to catch the Thinky Direct showcase from the Thinky Games community. The hour-long stream starts on May 29 at 1PM ET (just as the Cerebral Puzzle Showcase begins on Steam) It will focus on, you guessed it, puzzle games and other titles that should give your brain a workout. You'll be able to watch the stream on YouTube. Meanwhile, a fun showcase of spy games just premiered. The 25-minute video highlights games across several genres that are largely about snoopin' and sneakin'. All of them, including a bundle of the I Expect You To Die VR trilogy, are featured in the Spy Video Game Rendezvous festival on Steam. New releases Deliver At All Costs was among this week's newcomers. It's an action game in which you play a courier in the '50s. As the name suggests, your primary goal is to deliver your cargo, no matter what. Reviews are mixed for this one but, hey, it's free on the Epic Games Store until 11AM ET on May 29. You can also get it on Steam for 10 percent off the regular price of $30 for the time being. The game is also available on PS5 and Xbox Series X/S. Speaking of vehicle-oriented destruction, it can be a chore to get the first few Grand Theft Auto games running on modern hardware. I live for chaos and Maniac, from Transhuman Design and publisher Skystone Games, reminds me a bit of those early, top-down GTA entries (which were made in my hometown, fact fans). It's out now on Nintendo Switch, PS5 and Xbox Series X/S, a little over a year after debuting on Steam. I can't promise it'll tide you over for a year until GTA 6 drops, but Maniac will run you just five bucks. Lynked: Banner of the Spark is a co-op action RPG that just came out of early access on Steam and landed on PS5 and Xbox Series X|S. With its colorful visuals, it reminds me a bit of Hi-Fi Rush, aesthetically. There's a town-building aspect to this as well. I didn't get around to digging into the game during early access. Reviews have been pretty solid so far, though, so I'm hoping to try out Lynked (from FuzzyBot and publisher Dreamhaven) soon. A few seconds into the latest trailer for Tales of Seikyu, I spotted a centaur, which was enough to catch my attention. This yokai fantasy life sim from ACE Entertainment and Fireshine Games is out now in early access on Steam. You can morph into other forms (including a slime!) to help with navigation and combat in this one. Centaurs and slimes, what's not to love? Here's one for the turn-based strategy/history enthusiasts out there. Bonaparte - A Mechanized Revolution (the debut game from Studio Imugi) sees you take control of units like a giant commandant mech in a battle for the future of France. Expect some political intrigue from this one, which is out now on Steam early access. Upcoming Chrono Odyssey has picked up plenty of momentum, as more than 400,000 people have already signed up to try it out. The horror-tinged, open-world MMORPG from Kakao Games and Chrono Studio will have a closed beta on Steam next month. It's also set to be featured at the Summer Game Fest Live showcase on June 6. The latest trailer looks deliciously creepy. Any game from Katamari Damacy creator Keita Takahashi is worth paying attention to. Even more so when publisher Annapurna Interactive is on board. And when it's a game that has a "call unicycle" button, I'm triple sold. Life-sim To a T tells the story of a teenager whose body gets stuck in a T-pose, with their arms stuck out to the sides. Thankfully, they have a cute pup who helps them actually do things. A delightful demo is out now on Steam, and the game will hit PC, PS5 and Xbox Series X/S on May 28. This one will be available day one on Game Pass. We've mentioned The Wandering Village a few times over the years and the game is finally coming out of early access on Steam on July 17. It'll also hit PS4, PS5, Xbox One, Xbox Series X/S and Nintendo Switch on the same day. This is a city-building sim that takes place on the back of a giant creature. I do enjoy the voxel destruction of sandbox heist game Teardown. So I was happy to hear that Tuxedo Labs and Coffee Stain are set to release another expansion next month. This time, we're going to space, as all great franchises (i.e the Leprechaun movies) eventually do. The Greenwash Gambit DLC will arrive on PS5, Xbox Series X/S and PC on June 24. It'll cost $8, but owners of the season pass and ultimate edition will get access at no extra cost. Artis Impact's pretty pixel art made an immediate impression on me during the Six One Indie showcase. It took Malaysian solo developer Mas four years to make this cozy RPG, which is "set in a decaying world ruled by rogue AI." Although the game has a main, linear main path, there are side quests, hidden interactions and random events to experience. A demo for Artis Impact is out now, and the full game is coming to Steam on August 7.This article originally appeared on Engadget at https://www.engadget.com/gaming/chaotic-deliveries-colorful-co-op-action-rpgs-and-other-new-indie-games-worth-checking-out-140023626.html?src=rss

The island of Bolga, just visible off the starboard bow during the trial voyage onboard ‘Skårungen’ in May 2022, is an important traditional landmark that may have featured in Viking Age seafaring itineraries from the Arctic towards southern Scandinavia and mainland Europe. Credit: Journal of Archeological Method and Theory / Jarrett Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. Greer Jarrett has spent the past three years sailing Scandinavia’s waterways in historically accurate Viking ships. The voyages aren’t part of some reenactment fantasy or preparation for an upcoming film role. Instead, the archeologist wants to show that exploration based on historical knowledge can help us better understand how an ancient culture lived, explored, and interacted with the world around them. Last year, Jarrett contributed to research suggesting the Vikings participated in more complex trading routes with Indigenous Arctic tribes than previously believed. After his latest excursions along the eastern coasts of Norway, Jarrett now says his team believes that rather than solely relying on concentrated trading outposts, Norse sailors frequently utilized a decentralized network of ports on the region’s numerous islands and peninsulas. Their argument is detailed in a study published earlier this month in the Journal of Archeological Method and Theory. Over 3,100 miles at sea Since 2022, Jarrett and his intrepid crews have navigated multiple voyages aboard an open, square-rigged clinker boat built in the style of those used during the Viking Age (roughly 800–1050 CE). Their first trip traveled to and from the Arctic Circle from Trondheim, a common route for sailors after the Norwegian city’s founding in 997 CE. The researchers have since sailed more than 3,100 miles along historic Viking trade routes, as well as into the Baltic Sea and the Kattegat waterway separating Sweden from Denmark. These expeditions, coupled with interdisciplinary analysis and evidence, has provided substantial evidence that the original Viking travelers journeyed further from land than historians long theorized. However, these trips weren’t undertaken with the aid of a compass, sextant, or even a map. Instead, the Norse relied on mental maps informed by cultural myths tied to coastal landmarks. “Examples include Viking stories about the islands Torghatten, Hestmona and Skrova off the Norwegian coast,” Jarrett explained in a Lund University profile. “The stories serve to remind sailors of the dangers surrounding these places, or of their importance as navigation marks.”  These tales were passed down through generations to help seafarers, or what Jarrett refers to as a “Maritime Cultural Mindscape.” He also conducted interviews with present-day fishermen and sailors about various routes known to have been utilized in the 19th and early 20th century, before motorized boats were common. The Norðvegr, with the coastal regions mentioned in the text, the tracks of the project’s two trial voyages (black and white dashed lines), and the traditional sailing corridor along the west coast of Norway (blue shaded zone), known in Old Norse as leið. Credit: Journal of Archeological Method and Theory Coastal trips After previously demonstrating that Viking vessels can handle open oceanic waters even in tough conditions, Jarrett was determined to explore their capabilities close to land and among the fjords. He and his team sailed two trips along Norway’s western coast towards the Lofoten Islands, an archipelago in the Arctic Circle. While their rigging and ship were modeled after ancient technology, researchers also utilized digital geospatial reconstructions of the region to envision the surrounding landscapes as they would have existed at the time of the Vikings. According to Jarrett, the daily challenges are “just as great, but not as obvious” as ocean sailing. These included underwater currents and katabatic winds—the wind generated as a mountain’s dense, cool, high-altitude air flows into a lower elevation. Weather proved an additional challenge, particularly the cold temperatures in the Lofoten Islands. “Our hands really suffered. At that point I realized just how crucial it is to have a good crew,” Jarrett said. Extensive socio-cultural knowledge also didn’t keep the voyages free from danger, either. At one point, the boat’s mainsail yard snapped, forcing Jarrett and his crew to improvise a solution using only Viking-era materials. “We had to lash two oars together to hold the sail, and hope that it would hold,” he said. After returning home, Jarrett and colleagues combined their data with historical documentation and cultural knowledge. It was clear to them that the numerous environmental and oceanographic variables made coastal journeys difficult in their own special set of ways. “With this type of boat, it has to be easy to get in and out of the harbor in all possible wind conditions. There must be several routes in and out,” he said. “Shallow bays are not an issue because of the shallow draft of the boats. Getting far up the narrow fjords, however, is tricky. They are difficult to sail upwind with a square rig, and the boats are sensitive to katabatic winds.” Continuities in boatbuilding traditions from the Viking Age are evident in the shape and rig of this fyring, a smaller type of Åfjord boat similar to the vessels associated with non-elite Viking Age farmsteads. Credit: Tora Heide Viking havens His resulting study argues it is highly unlikely that Vikings only docked at well-established, populated towns and harbors. Instead, sailors probably relied on a decentralized network of smaller port hubs located farther out to sea that Jarrett refers to as “havens.” “A lot of the time, we only know about the starting and ending points of the trade that took place during the Viking Age. Major ports, such as Bergen and Trondheim in Norway, Ribe in Denmark, and Dublin in Ireland,” said Jarrett. “The thing I am interested in is what happened on the journeys between these major trading centers.” Jarrett has now identified four potential sites along the Norwegian coast that could have served as Viking havens. He hopes that archeological teams may soon investigate these areas to see what they might unearth. Evidence could include jetty and mooring post remnants, ballast stones, boatbuilding pits, temporary shelters, and artifacts indicating local commerce. At the same time, he acknowledges that these suggestions are starting points, not necessarily final destinations. “Due to the nature of the evidence, the methodology presented here can uncover potentials, but not realities,” Jarrett and the study’s co-authors write. “The list of possible Viking Age havens… is intended as a working document, which can shape and be shaped by future archaeological surveys and excavations.”

This German Town Carefully Reconstructed a 5,500-Year-Old Megalithic Monument After years of excavation and study, archaeologists have restored the Küsterberg burial site to its original layout to celebrate the annual European Day of Megalithic Culture Volunteers and archaeologists rebuilt the tomb site, lifting massive stones with modern excavation tools. Saxony-Anhalt State Office for Monument Preservation and Archaeology / Barbara Fritsch The Haldensleben forest in the German state of Saxony-Anhalt is home to more than 80 megalithic tombs from the Neolithic period—the largest concentration of such structures in central Europe. While some remain in fair condition, others have fallen victim to hazards ranging from ancient invasions to modern development. But instead of awaiting further decay, the town of Haldensleben has rebuilt a prominent 5,500-year-old tomb site known as Küsterberg to celebrate the European Day of Megalithic Culture, an annual holiday on the last Sunday of April. Archaeologists first excavated Küsterberg, located in a field southeast of Haldensleben, between 2010 and 2013, according to a statement from the Saxony-Anhalt State Office for Monument Preservation and Archaeology. Based on their findings, they were able to create a detailed plan of the site’s original layout. The semicircular site includes layers of rings around a central burial chamber, which is oriented from east to west. Saxony-Anhalt State Office for Monument Preservation and Archaeology / Anja Lochner-Rechta With the help of modern surveying equipment, excavators and a group of volunteers, archaeologists moved the massive granite megaliths stone by stone. In late April, the team unveiled the site, which has been transformed into an approximation of its original Neolithic layout. Like many Neolithic burial sites, Küsterberg is oriented from east to west. Some scholars speculate that this practice was meant to link the path of the sun to the course of a human life, according to Artnet’s Richard Whiddington. With an opening on the southern side, the semi-circular interior burial chamber once measured nearly 40 feet long and about 6.5 feet wide. It featured 19 orthostats—upright stone slabs—with seven capstones on top. Neolithic masons filled the gaps between individual stones with shards of greywacke, a type of sandstone that also lined the chamber floor. The reconstruction was based on years of measurements and careful study of the site's original layout. Saxony-Anhalt State Office for Monument Preservation and Archaeology / Barbara Fritsch The burial chamber was surrounded by 16 megaliths spaced about 6.5 feet apart. These gaps were also filled with greywacke. The complex was ringed by an earthen mound, which archaeologists suspect was built with dirt taken from a nearby hill. The reason for the abundance of burial sites in the region is the dense population that once lived in the forests, as Johannes Müller, an archaeologist at the University of Kiel, tells the German TV station MDR-Fernsehen. He adds that scholars have identified ten settlements nearby, and every family may have built their own gravesite. Barbara Fritsch, an archaeologist with the State Office for Monument Preservation and Archaeology, tells MDR-Fernsehen that the site was built around 3600 B.C.E., when migrants from northwestern Europe settled in the area. An aerial view of the reconstructed Küsterberg site Saxony-Anhalt State Office for Monument Preservation and Archaeology / Barbara Fritsch However, some 3,000 years ago—around the transition from the Bronze Age to the Iron Age—newcomers to the area disturbed the burial site by removing parts of the mound and displacing stones. Much later, agriculture and road construction caused additional damage to sites like Küsterberg throughout central Europe. Last year, archaeologists uncovered a Neolithic burial landscape, including burial mounds and cattle sacrifices, as they excavated the site of a proposed Intel semiconductor fabrication plant in Magdeburg, Germany, per Artnet. Now reconstructed and preserved, the Küsterberg site will join Megalithic Routes, a network of European archaeological sites from the Neolithic period, per a statement from the University of Kiel. Researchers hope it will “inspire visitors with enthusiasm for the region and its long history.” Get the latest stories in your inbox every weekday.

Physical games are under siege. Collector’s Editions often come with codes instead of discs. Game-key cards for the Switch 2 only allow you to access downloads. The newest Doom isn’t playable out of the box. In one or two decades’ time, large swaths of contemporary gaming history could become completely inaccessible to future players. Lost In Cult is one of a growing number of smaller companies now trying not only to preserve that history but to celebrate it with physical releases as artfully constructed as the games they contain. Suggested ReadingNintendo Switch 2 Could Launch With Almost No Reviews Share SubtitlesOffEnglishSuggested ReadingNintendo Switch 2 Could Launch With Almost No Reviews Share SubtitlesOffEnglishNintendo Switch 2 Could Launch With Almost No ReviewsKnown for its Lock On and Design Works series of lavish printed volumes of art and writing about games, the UK-based publisher this week announced a new Editions label that will be packaging and distributing bespoke physical versions of acclaimed indie titles. The debut releases are interactive film puzzler Immortality, the folk horror point-and-click adventure The Excavation of Hob’s Barrow, and the absurdist comedy Thank Goodness You’re Here! though in addition to these, Lost In Cult promises it already has lots of games in the pipeline, with new collections to be announced on an almost monthly basis. “People might think that we’ve selected our best games to start with,” marketing director Ryan Brown told Kotaku. “We actually haven’t. We’ve pretty much just released them in the order that we’ve signed them, because one thing we wanted to do right is not just in optically, in front of people, but also behind the scenes with our developer partners, like we want to make sure that they’re treated right, that they don’t get contracted and have to wait many years for the games to be released.”Image: Lost In Cult / KotakuEach collection runs roughly $80 and includes colorful boxed sleeves, posters, art cards, slip cases, and booklets featuring critical essays and developer interviews. Also a copy of the game with curator group Does It Play’s seal of approval certifying that everything is playable to completion right out of the box. Brown said they’re even working with some developers to time upcoming releases to when big new patches are ready so the physical version feels definitive. The platforms currently supported are PlayStation 5 and Switch, with Switch 2 following later in the year. Xbox remains MIA, though it’s not off the table for future releases.In just 24 hours since the announcement, the company has already sold through almost half of its limited-run collections of around 1,500 units each. But anyone who wants just a physical copy of one of the games being sold will still be able to secure retail versions for just $40 each. Those won’t come with original art or the rest of the materials that make Lost In Cult’s collections stand out, but they will be restocked on an ongoing basis. “I don’t think you can say that you’re all about preservation if you make a game and then it’s limited to 2,000 copies and it’s gone forever and costs 300 pounds on eBay,” Brown said. “For us, in promising preservation and availability, we don’t want to lock these games away. There’s going to be so many people that just want the game in a box and that’s fine. They can go do that.”The Criterion Collection, A24, and special-edition book publisher The Folio Society are cited as inspirations for Lost in Cult’s Editions publishing label, both in how games are presented and how they’re selected in the first place. “It’s really hard to pin down what that curation process looks like without sounding too overly artsy fartsy, but it is a little bit artsy fartsy, and that, you know, we kind of just know what a Lost in Cult-type game is when we see it. And that’s really hard to define, but it is a game that is usually very artful, whether that’s through its design, through its visuals, through its story. Again, that is in some way pushing the medium of video games as a serious form of art forward.”The physical medium of gaming also faces certain limitations that movies and books do not. For one, platform holders like PlayStation and Nintendo have strict rules about the certification process for physical games, down to where company logos and legal language appear on the boxes. You also can’t include developer commentary or other extras directly on a disc the way you might with an Ultra HD 4K Blu-ray re-release. When it comes to the rest of the packaging and physical inserts, however, publishers can let their imaginations run wild. Image: Lost In Cult / KotakuA devotion to physical media in the increasingly digi-fied gaming space adds Lost in Cult to a growing landscape of boutique curators who scavenge for smaller indie titles that wouldn’t otherwise have the scale or notoriety to play in a market still mostly structured around big retail stores. Fellow travelers include Limited Run, iam8bit, and Super Rare, where Brown worked previously. These companies serve collectors and fans who still cherish not just how a game plays but what it looks like when it’s displayed on a shelf, and knowing the magical experience that resides inside isn’t reliant on servers a thousand miles a way to bring it to life.“The way that we see games is just very different from how most do, like I personally care, slash we care, [that] if I pull a game off of my shelf in 40 years time I [can] go, ‘I remember that game, I want to play that.” You can pull it off your shelf, you can play it, and it’ll work. Most companies, unfortunately, aren’t really thinking about that.”While big publishers frequently invest in Deluxe Editions and Collector’s Editions, they more often prioritize digital rewards and branded merch over the games themselves and highlighting their artistry. The result is big boxes on store shelves with toys, hats, and statues instead of developer booklets, original art, or physical soundtracks. Like the three days of “early access” these editions often come with, the biggest bonuses are mostly virtual. “I personally would really, really, really love it if I managed to work with Bethesda and do a proper physical edition version of Doom: the Dark Ages,” Brown said. “That would be sick. But at the moment it is increasingly on boutique companies to solve this physical problem. And it seems a bit far-fetched for me to sit here and say I wish it wasn’t, because I have one, but I do wish it wasn’t. I do wish that this was taken seriously, and the sort of presentational aspects and ownership aspects were taken seriously across the board. I would love it if some other companies copied us.”.

Got a project that’s too contemporary for your client? Submit your conceptual works, images and ideas for global recognition and print publication in the 2025 Vision Awards! The clock is ticking — submit your work ahead of the Main Entry deadline on June 6th. Spiral staircases are famously beautiful but notoriously tricky to design, particularly in section. (Ask any architect who’s ever tried!) Still, the payoff is worth it. Beyond their visual appeal, spiral stairs can save space, guide circulation, and even become striking centerpieces within a building. The projects below prove there’s more than one way to embrace the twist, using unexpected materials and creative details to shape spaces in offices, schools, restaurants and parks. Even when things get complicated, these nine stairs make a strong case for taking the spiral route. OFFICE @ 63 By Sanjay Puri Architects, Navi Mumbai, India Popular Choice Winner, 12th Annual A+Awards, Commercial Interiors (<25,000 sq ft.) A curved steel staircase rises through the center of this workplace, connecting three levels in one continuous movement. Perforated and matte-finished, it feels both solid and light. Its underside, lined with warm tones, softens the otherwise industrial palette. Set within a tall, multipurpose space used for exhibitions and gatherings, the stair becomes a quiet focal point. Surrounded by concrete, cork, glass and exposed metal, it stands out not just as a route between floors, but as an element that gives the entire space rhythm and focus. La Maison de Beauté Carita, L’Oréal-Luxe By Le studio REV, Paris, France At the center of Carita’s Paris beauty house, part of the L’Oréal portfolio, a curved staircase rises through what was once a closed courtyard. The space is now topped with a tall glass roof that brings in soft, natural light. Pale marble, pink onyx and brushed metal set a quiet, polished tone. The staircase is kept light with floating steps and slim supports. It connects the levels clearly and efficiently, without blocking views through arched openings. In a building designed around care and detail, the stair adds just the right touch of structure and calm movement. Sjustjärnan, New Nordic Headquarters for E.On By Kanozi Arkitekter, Malmö, Sweden A wide, open staircase connects the floors of E.ON’s Malmö headquarters, rising through a central glass atrium that joins the two curved volumes of the building. Designed to encourage movement and connection between departments, the stair is placed at the heart of shared circulation. Materials are simple and natural: light wood treads, glass balustrades and metal accents, chosen to support the building’s focus on well-being and daylight. Generous landings allow for pauses and casual interaction, reinforcing the workplace’s flexible layout. With no assigned desks and no divided entrances, the building encourages a sense of togetherness and the staircase plays a clear role in making that daily flow visible and accessible. The Learning Center at Quest By KSM Architecture, Chennai, India Jury Winner, 12th Annual A+Awards, Architecture +Learning A vivid red spiral staircase rises along the facade of this learning center in Chennai, connecting the top floor library to a rooftop cafeteria and terrace. Attached to the exterior, the stair adds a moment of surprise to the otherwise calm, ribbed concrete surface. Made from perforated metal, its bright finish contrasts with the muted palette of the building while echoing the colorful window frames scattered across the elevation. Inside, a separate metal stair winds through a central atrium, linking five stacked classrooms and open learning spaces. Together, the staircases reflect the school’s focus on movement, openness and curiosity — key principles in its interest-based approach to education. Varee Valley Restaurant : Jungle Junction By NPDA studio, Thailand Inside this forest-side restaurant in Northeast Thailand, a white spiral staircase rises slowly through the center of a light-filled dining area. Designed for pause and perspective, the stair leads visitors to a rooftop platform that opens up to the surrounding trees. Built with slender steel members and a delicate footprint, it reflects the lightness of the overall structure and mirrors the verticality of nearby tree trunks. The stair wraps around a central cylindrical column that also serves as a rainwater drain and light shaft, drawing daylight into the heart of the space. The Opera Park By Cobe, Copenhagen, Denmark Jury Winner, Public Parks & Green Spaces, 12th Annual A+Awards At the heart of this new harbor front park in Copenhagen, a spiral staircase descends through the center of a circular greenhouse, wrapping gently around a subtropical garden. The stair connects the café at park level with an underground parking facility, guiding visitors down through layers of greenery. Slim metal railings trace its curve, while the surrounding glass enclosure creates the feeling of walking through an open-air terrarium. The park itself spans six themed gardens across a former industrial island, offering paths, ponds and planting from around the world. In this setting, the staircase becomes part of a wider idea: architecture that supports slow movement, seasonal change and a close connection to nature. Balmy Palmy By CplusC Architects + Builders, Sydney, Australia In this compact holiday home raised above a rocky slope, a yellow spiral staircase links the natural ground to the open-air platform above. Built from powder-coated steel, it curves tightly between tree trunks and timber posts, bringing a sharp contrast to the greens and browns of the site. The stair leads into an outdoor area that connects the home’s simple rooms, with views of the treetops, the bay and the sky shifting between the leaves. Designed to limit excavation and preserve the forest setting, the staircase plays a clear role in the project’s minimal footprint — serving as a key access point and everyday reminder of the landscape it rises from. Dental Clinic By IFAgroup, Gdańsk, Poland Jury Winner, Hospitals and Healthcare Centers, 12th Annual A+Awards Jury Winner,  Architecture +Health, 12th Annual A+Awards Photos by Hanna Połczyńska This dental clinic, once a granary, is organized around a wide spiral staircase that rises through its three-story foyer. Clad in warm wood, the stair connects waiting areas, dental offices and training spaces while giving the interior a clear center. It’s surrounded by concrete, brick and steel surfaces that reflect the building’s industrial past. Live piano music and soft lighting help create a calm atmosphere, while sound-absorbing materials keep the space quiet and focused. Envisioned as more than a circulation route, the stair shapes how people move, wait and gather inside. Concept WRRF Yixing (Water Resource Recovery Facility) By SUP Atelier of THAD, China Inside this water treatment facility, a spiral staircase sits next to a café and community area. Built from metal with clean, simple details, it leads visitors through spaces designed to educate the public about recycling and sustainability. Large windows around the stair offer clear views of the nearby farmland and waterways, connecting visitors with the natural setting. As part of the facility’s open, welcoming design, the staircase makes it easy to see and understand how wastewater is turned into clean water and renewable energy. Got a project that’s too contemporary for your client? Submit your conceptual works, images and ideas for global recognition and print publication in the 2025 Vision Awards! The clock is ticking — submit your work ahead of the Main Entry deadline on June 6th. Top image: The Learning Center at Quest by KSM Architecture, Chennai, India The post 9 (Somewhat) Unconventional Takes on The Beloved Spiral Staircase appeared first on Journal.