Google teased Material 3 Expressive for Photos last month, and one part of it — a redesign of the albums view — is now live on Android. QR code sharing for albums is also now available following last week’s announcement. more…

The Nixplay Touch 10 displays your loved one's favorite memories by freeing them from your phone and bringing them to a physical frame. Plus, it's $81 off when you buy it at Amazon.

It's easy to play videos on your TV by casting them from your phone. The trick is knowing which method will work best for your phone.

Sonos is selling a bunch of its speakers at a discount via Amazon. This includes the well-regarded Era 300 smart speaker, which is down to just $359. That's 20 percent off and notable because this particular speaker rarely goes on sale. It's a Sonos

06/02 — 2025 by abduzeedo Explore how andstudio created a unified, nature-inspired branding and visual identity for Mana Hotels, blending luxury with authentic connection. Hey fellow creatives! Ever dive into a project that just clicks? Where the core idea shines through every design choice? That’s exactly what happened with Mana Hotels' unified brand identity, a beautiful piece of work by andstudio. It's a masterclass in how thoughtful branding and visual identity can truly elevate an experience. Mana Hotels isn't just another luxury escape. It’s an apartment-style hotel and wellness retreat, redefining relaxation by blending nature with well-being. Think seaside tranquility in Palanga or spa serenity in Druskininkai. The challenge for andstudio was clear: how to create a unified brand identity that resonates across diverse locations and audiences, while still feeling authentic and personalized. The Sun's Embrace: A Core Inspiration The design team at andstudio found their anchor in the rhythm of the sun. This natural cycle, from dawn to twilight, became the central inspiration. It's a smart move. The sun-inspired logo isn't just pretty; it represents vitality, blending luxury with approachability. This focus on a natural, constant element grounds the entire visual language. Color Palettes: Reflecting Local Soul One of the standout elements in this branding and visual identity project is the use of distinct color palettes for each location. For Palanga, the branding reflects the sunlit coast, evoking a bright, airy feel. In contrast, Druskininkai's palette captures the shift from day to night, aligning with the spa's focus on tranquility and restful sleep. You can see this subtle yet impactful differentiation in the visual identity artifacts. It’s a clever way to maintain unity while celebrating local character. Beyond the Logo: A Holistic Experience The branding extends far beyond a simple logo. It’s a comprehensive system that includes motion design, signage, and stationery. Look at the subtle branding on the stationery, like the "Hey Hepy, see you at the pool!" note, or the refined packaging elements. Even the robes feature the Mana logo. This consistent visual language, paired with authentic photography of peaceful moments, highlights a retreat centered on genuine human connection and relaxation. It’s about creating an overall soothing and luxurious experience that nurtures mind, body, and soul. Mana’s approach to branding and visual identity truly emphasizes human connection and a deep understanding of modern-day stresses. They’ve successfully bridged the gap between a service-oriented approach and a family-oriented atmosphere, creating a unique value proposition. This project by andstudio reminds us that great design isn't just about aesthetics; it's about understanding the core essence of a brand and translating that into a cohesive, meaningful visual story. It's about creating a feeling, an experience, and a connection that resonates deeply with the audience. Want to see more of their inspiring work? Check out andstudio's portfolio directly on Behance. Branding and visual identity artifacts Tags branding

Mauricio Rocha | TaAU | Alejandro Castro | OMA | Michel Desvigne | Robert Moses | El Equipo Mazzanti | ContraFuerte |  Batlleiroig | Christian Kerez Earlier this year, news broke that levels of fine particulate matter in Paris had dropped by an astounding 55 per cent since 2005. Through a combination of regulation and public policy, the city has vastly reduced the number of cars on its streets, introducing bike lanes and public green spaces in the place of around 50,000 parking spaces. This issue is dedicated to roads and the architectures that support them. Cities around the world are reckoning with 20th-century car-oriented urban planning, as epitomised by Robert Moses’s New York (p36). Existing roads are increasingly repurposed for broader uses, prioritising pedestrians, cyclists and other forms of movement. São Paulo’s Minhocão has been gradually reclaimed by residents, and the restoration of a historical promenade in Reus is inclusive for all. Meanwhile, OMA’s new bridge in Bordeaux is designed to host public events – as well as six lanes of motorised traffic. Elsewhere, automobile infrastructure continues to expand; in Bahrain, four new car parks stand largely empty, and a roadside service station in Colombia is yet to be occupied. Roads promise prosperity and progress, often with expansionist ambitions; as Nadi Abusaada writes, ‘The road is both the myth and mechanism of the colonial frontier’.  Electric vehicles are now heralded as the future of transport, but as Nelo Magalhães writes in this issue’s keynote, ‘EVs do nothing to change the mass of roads or the issue of their maintenance’. The shift needed is more radical and wide‑reaching.  1522: Roads cover (above)Highway #5, Los Angeles, California, USA (2009) is part of Edward Burtynsky: The Great Acceleration, an exhibition on view at the International Center of Photography in New York City until 28 September. In it, a motorway bulldozes its way through suburbia, sending out smaller branches that further subdivide it. Credit: © Edward Burtynsky, courtesy Flowers Gallery, London folio (lead image)Home follows a family living in a house next to an uncompleted motorway, who reclaim it, temporarily, as an extension of their home. Credit: Album / Alamy keynote How much does your road weigh? Nelo Magalhãesbuilding Malecón de Villahermosa by Taller de Arquitectura Mauricio Rocha, TaAU and Alejandro Castro in Villahermosa, Mexico Laure Nashed building Simon Veil bridge by OMA and Michel Desvigne Paysagiste in Bordeaux, France John Bingham-Hall reputations Robert Moses Andy Battlebuilding Control and operations centre by El Equipo Mazzanti and ContraFuerte in Bolombolo, Colombia Felipe Walter essay Cape to Cairo Sara Salem essay A short history of the roadblock Jan-Werner Müller outrage The Amazonian road to COP30 Martha Dillonrevisit Schlangenbader Straße estate in Berlin, Germany Sophie Lovell essay Living with the Big Worm Richard J Williamsbuilding Passeig de Boca de la Mina by Batlleiroig in Reus, Spain Blanca Pujals essay Taking Norway’s scenic routes Tomà Berlanda building Pearling Path car parks by Christian Kerez in Muharraq, Bahrain Oliver Wainwright typology Petrol station Tom Wilkinson essay The road is the frontier Nadi Abusaada

Image: Nintendo LifeWho had the return of Survival Kids on their bingo cards for 2025? Let alone as a launch title for a brand new Nintendo console? Amidst a storm of third-party ports and first-party giants, Survival Kids quietly sneaked into the Nintendo Switch 2 Direct back in April 2025. And when we saw the Konami logo, something clicked — oh, it's that Survival Kids. The original Game Boy Color game launched way back in 1999 and was just added to the Game Boy app on Nintendo Switch Online. A GBC sequel, the Lost In Blue trilogy on DS, and a Wii game followed, but the series of survival RPGs has been dormant ever since. Until now.Subscribe to Nintendo Life on YouTube815kWatch on YouTube In a partnership with Unity Games — in what is the developer's first-ever game — Konami is flipping the script with this new entry. And, ahead of its Switch 2 release on 5th June, we had a chance to send Richard Jones, Creative Director at Konami Digital Entertainment, some questions about the surprise return of this cult classic series. Available today Nintendo Life: Konami has an extremely deep and rich back catalogue full of games and series that have lain dormant for years. Why did the team choose to bring back Survival Kids? Richard Jones, Creative Director at Konami Digital Entertainment: The reason we wanted to bring Survival Kids back was because the idea of being shipwrecked on an island is such a universally known story throughout the world and throughout generations. It harks back to stories like the Lost Boys from Peter Pan, Swallows and Amazons, or Treasure Island. There's something incredibly evocative about kids having adventures on remote islands. Thematically, the idea of kids on an island having fun and adventures is exactly what video games are about. The opportunity to update this game and play with some of the new Nintendo Switch 2 features was just very exciting. So, it just seemed like a really interesting theme to explore – where we could have fun and turn it into a game for all of the family. A sensation that goes back to everyone’s childhood, like running around the playground pretending to be pirates or whatever. How things change in over 25 years... — Images: Konami That idea of combining childhood adventure with modern co-operative gameplay felt like the perfect way to make something both nostalgic and new. We saw an opportunity to build a game that was more accessible, multiplayer-focused, and designed for families and friends to enjoy together. I think that’s why we liked the theme and thought there was a really good opportunity to update and reinvent it in a new, interesting way for modern audiences. You're working with Unity in what is the company's first fully developed video game. How did that partnership come about? I met with Unity a few years ago at Gamescom. It came to light that they were putting together a team for in-house development. I happened to be looking for external studios to work on a Konami IP, and it seemed like we were on the same sort of trajectory – same ideas around scope, budget, and timescale. So, we carried on talking and started exploring which IPs we’d be interested in working on. We quickly realised we were creatively aligned, and that led naturally into working together. Once we met the team at Unity, we realised what an experienced group of people they’d put together. Everyone throws around words like 'industry veteran,' but these were actual veterans – proper experts in their field with years and years of experience shipping all kinds of games. We knew immediately we were in safe hands – the developers and artists really knew their stuff, and we knew we could work really well with them. Are any of the original developers involved, or has Konami reached out to them about the new project? We love the original Survival Kids games – I remember working on Survival Kids (Stranded Kids, as it was called in the UK) when I first joined Konami. It’s a fantastic game, but we wanted to completely redesign it from the ground up. We had a different vision for what this game should be based on its premise. We wanted it to be more fun, more accessible – something people could play together. From the start, it was always about surviving together. this is very much a respectful reimagining based on the original’s premise - not a direct continuation. It was always going to be a group of kids on an island, working together to solve puzzles in fun ways. Rather than being a really hardcore, punishing RPG like the original, this is a lighter, more inclusive experience. So yeah, this is very much a respectful reimagining based on the original’s premise - not a direct continuation. The original Game Boy game is a single-player survival venture with resource management. How do these aspects translate into multiplayer? We wanted to use the idea of cooking and gathering food as something you could do communally. That was one of the really early ideas – we wanted people to come together around the cooking pot. We explored different iterations — should it be a campfire, should it be something else — and landed on a cooking pot. Everyone can throw bits of food in, and you get this communal pot of soup. Everyone gets something out of it. Rather than linking hunger or exhaustion to failure, we tied stats to improving your character. So, for example, if there's a really tall climbing net, you can’t just climb it straight away – you need to cook and eat food to build up stamina. That way, it encourages cooperation without punishing players. You're cooking to get stronger, not to avoid death. Image: Konami So it keeps that survival theme - but reframes it around teamwork and progression, not punishment. It’s a more approachable, co-op-friendly way to explore the same ideas. It’s all part of the shift from surviving alone to surviving together. What can returning fans expect in terms of new gameplay elements? The game is completely new, so it's a fresh experience. The original had a fairly hardcore, punishing survival design, but this version is less about failure states and more about creating time and space for people to have fun together – whether that’s in split-screen mode, using GameShare in the same room, or online with GameChat. this version is less about failure states and more about creating time and space for people to have fun together The whole point was friends and families gathering, solving puzzles, overcoming obstacles, and having fun. There are still challenges linked to the environment and items - and you can try speedrunning if you want, but at its heart it’s about playing together and enjoying the experience as a group. We want players to come away with a smile on their face at the end of a session. Was it always your goal to be a Switch 2 launch title? Will players be able to use GameShare between Switch 1 and 2? When we started the pitch and early design work, we didn’t even know about Switch 2. But during pre-production, speculation about the new console started to emerge, and it aligned closely with our schedule. We made some educated guesses – assuming the console would have a similar audience, and continue to target ways to play socially. We took a few leaps of faith early on, designing with those assumptions in mind - and they turned out to be close enough. Once we started designing around that, it all made sense – and we reached out to Nintendo to get dev kits and approval. Once they saw what we were doing, I think they realised it was a natural fit. So yes, it now supports new social features like GameChat but also GameShare with compatibility between Switch 1 and Switch 2. (EN: It's since been revealed that you can play Survival Kids via GameShare with up to two additional Switch 1 and/or Switch 2 consoles) Subscribe to Nintendo Life on YouTube815k Are you taking advantage of Switch 2 features like mouse mode or 120fps? We looked into mouse mode, but it didn’t really add anything meaningful to our gameplay. Instead, we focused on features like GameShare and GameChat, which made much more sense for the co-op experience. We also had to be mindful of performance – we’re supporting split screen and GameShare simultaneously, which puts constraints on frame rate. Those trade-offs were intentional - made to ensure a smooth, stable multiplayer experience across all supported modes. With games like Overcooked and Moving Out gaining popularity, how will Survival Kids stand out in a crowded multiplayer launch lineup? Games like Overcooked were definitely in our minds when we started this – the idea of co-op chaos is something we really liked. We approach it slightly differently – using real-time physics, for example. Things like logs rolling away from you or two players struggling to carry a heavy object. It’s deceptively simple, but ends up being chaotic, funny, and memorable - the kind of co-op experience where things go wrong in the best way. What sets Survival Kids apart is its tone - it’s light-hearted, session-based, and designed for friends and family to pick up and play. And it’s one of the few titles launching with full GameShare and GameChat support right out of the box. Image: Konami This interview has been edited lightly for clarity. Thank you to Richard Jones at Konami for taking the time to speak to us! Survival Kids washes onto the Switch 2's shores on the console's launch day, Thursday 5th June. Let us know if you're looking forward to this. Every game coming to Switch 2 on launch day Related Games See Also Share:0 0 Alana has been with Nintendo Life since 2022, and while RPGs are her first love, Nintendo is a close second. She enjoys nothing more than overthinking battle strategies, characters, and stories. She also wishes she was a Sega air pirate. Hold on there, you need to login to post a comment... Related Articles Pokémon Legends: Z-A's Switch 2 And Switch 1 Prices Have Been Revealed And we're pleasantly surprised Nintendo Updates Switch 2 Backwards Compatibility List Doom Eternal, NBA 2K25, and more to get an update Nintendo Appears To Have Updated Mario Kart World's Switch 2 File Size Some other file sizes have also changed Fantasy Life i Gets Switch 2 Release Date With Paid Upgrade Path For Switch 1 Players And it's coming launch day Title: Survival Kids System: Nintendo Switch 2 Also Available For: GBC Publisher: Konami Developer: Unity Games Genre: Adventure Players: 1 Release Date: Nintendo Switch 2 5th Jun 2025 — $49.99 5th Jun 2025 — £44.99 Series: Survival Kids Official Site: nintendo.com Where to buy: Buy on Amazon

This audio is auto-generated. Please let us know if you have feedback. Julianne Malveaux is an MIT-educated economist, author, educator and political commentator who has written extensively about the critical relationship between public policy, corporate accountability and social equity.  The rapid expansion of data centers across the U.S. is not only reshaping the digital economy but also threatening to overwhelm our energy infrastructure. These data centers aren’t just heavy on processing power — they’re heavy on our shared energy infrastructure. For Americans, this could mean serious sticker shock when it comes to their energy bills. Across the country, many households are already feeling the pinch as utilities ramp up investments in costly new infrastructure to power these data centers. With costs almost certain to rise as more data centers come online, state policymakers and energy companies must act now to protect consumers. We need new policies that ensure the cost of these projects is carried by the wealthy big tech companies that profit from them, not by regular energy consumers such as family households and small businesses. According to an analysis from consulting firm Bain & Co., data centers could require more than $2 trillion in new energy resources globally, with U.S. demand alone potentially outpacing supply in the next few years. This unprecedented growth is fueled by the expansion of generative AI, cloud computing and other tech innovations that require massive computing power. Bain’s analysis warns that, to meet this energy demand, U.S. utilities may need to boost annual generation capacity by as much as 26% by 2028 — a staggering jump compared to the 5% yearly increases of the past two decades. This poses a threat to energy affordability and reliability for millions of Americans. Bain’s research estimates that capital investments required to meet data center needs could incrementally raise consumer bills by 1% each year through 2032. That increase may seem small at first, but it can add up quickly for households already struggling with high energy prices. As utilities attempt to pay for these upgrades, the burden could fall on consumers' shoulders unless policies are enacted to make the tech companies driving this demand handle the costs. One example comes from Ohio, where the boom in data centers means central Ohio is on track to use as much power as Manhattan by 2030. There, the state's largest energy company, American Electric Power, has proposed a new rate structure for data centers that requires them to pay at least 85% of their predicted energy demand every month, even if they use less, to ensure the utility won't need to pass off costs for expanded infrastructure to consumers. States could also consider passing legislation to impose a temporary tax on new high-usage energy consumers, like data centers, cryptocurrency miners and chip manufacturing facilities. Those tax dollars could go directly into an energy relief fund, which could be used to offset increased energy costs for current consumers, either through a tax rebate or by funding the construction and maintenance of new infrastructure, so those costs aren't passed down to consumers in the first place. There's opportunity here, too, for policymakers, utilities and data centers to join forces and help drive the clean energy revolution. Policymakers could provide incentives for data centers that adopt energy-saving measures or include renewable energy sources to offset the burden on utilities and consumers. By encouraging tech companies to produce a certain percentage of their own energy on-site, states can reduce the need for costly grid expansions while promoting green energy initiatives. Tech companies have already pushed back against efforts to implement such policies, with a coalition of data center backers that includes Amazon, Microsoft and Meta claiming in Ohio that requiring them to pay higher rates is discriminatory and unprecedented, and that it could discourage future investment in Ohio. The reality, however, is that these tech companies can and should carry the burden of the new energy infrastructure they’re demanding. Amazon’s net earnings for 2023 were $30.4 billion. Microsoft brought in $72.4 billion. Meta? $39 billion. Passing on a fraction of these profits to fund the infrastructure that drives this wealth is a small price to pay to ensure fair treatment of energy consumers. The massive energy demand created by these new data centers is unprecedented. And that’s exactly why it’s important for policymakers and utilities to take action now, and set a precedent that protects average consumers by requiring tech companies to pay their fair share for the electricity they need. If left unaddressed, the unchecked growth of data centers will continue to threaten energy security and affordability for millions of Americans. States and energy companies must adopt policies to prevent the burden of rising electricity demands and prices from falling disproportionately on everyday energy consumers. By ensuring that tech companies contribute fairly to the infrastructure that sustains them, we can build a more sustainable and equitable energy future for all.

Scholars of gender and sexuality have been exploring ‘queer spaces’ for over six decades. While for many years homes and domesticity remained out of focus or at the margins of queer space research, a recent ‘domestic turn’ has brought queer people’s homes to the foreground. Queer Spaces (2022), a recollection of case studies of queer domestic spaces edited by Joshua Mardell and Adam Nathaniel Furman, is just one significant work within the recent shift to explore the intersection of queer identities and domesticity, for example. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival Over the past four years I have documented the homes of LGBTQ+ people and come to understand how they inhabit them through interviews, detailed spatial drawings and the creation of dollhouses. This methodology deliberately subverts traditional architectural model-making conventions, emphasising narrative over spatial clarity, interior qualities over façades, and incorporating elaborate details that standard architectural models typically avoid. While this may feel like a rather unusual pursuit for an architect, it’s also one I feel is necessary and urgent. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival My current research builds upon years of professional practice in London and scrutinises the limitations of standardised design approaches. Through interviews and detailed spatial surveys, I am examining how queer families navigate living spaces designed according to the London Plan’s Housing Design Guide.Advertisement Early findings from my field work show a chasm between the queer daily lives of some of London’s LGBTQ+ families and the rigid homes the standard produces. In cases where spatial flexibility is available within domestic architecture, wonderful, innovative, caring and radical uses of domestic space emerge, enabling queer forms of raising children or coexisting with current and former lovers. These are not just joyful nice-to-haves, but essential for my participants to live their queerness at home, in full. Homes should not just be where queer folk feel safe; they must also be spaces where our queerness flourishes. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival The housing emergency in the UK and most of the Western world has urged architects, planners and developers to focus on an increased delivery of ‘units of housing’. Perhaps unsurprisingly, my early findings suggest that this sense of urgency risks under-delivering on quality and space. Housing standards have codified aesthetic, functional, and spatial homogeneity. They reproduce conservative ideals of housing and family at a time when families are growing more and more diverse. All the while, with the expansion of permitted development rights, they are failing to deliver an overall improvement in size and quality of the UK’s housing stock. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival The need for an alternative, open-ended and, perhaps, queer toolkit to design homes – one that expands the ethical and aesthetic horizons of housing design – has never been more urgent. I am therefore also working on developing my ‘disobedient dollhouse making’ as a design tool. One that puts future users at the centre, allowing them to fabulate a different horizon for housing design. My aim is to use dollhouses as a ‘serious’ design game that enables participants to explore the true possibilities of housing beyond the ‘straightjacket’ of the standard. Follow Daniel Ovalle Costal’s research at @QueerDomCanon on Instagram 2025-06-03 Fran Williams comment and share

“Was your interior designer Ayn Bland?” Barely ten minutes into Mountainhead, the first feature film from Succession creator Jesse Armstrong, the viewer is confronted with one of the film’s central tenets: beige is bad.Articulated by Jeff (Ramy Youssef), the movie does a lot to engage this train of thought. Its central characters—tech bro founders Randall (Steve Carrell), Hugo (Jason Schwartzman), and Venis (Cory Michael Smith)—are pitted against not just each other, but the world writ large as it begins to crumble around them, mostly thanks to their own machinations.But when did our current beige malaise set in? Much of the recent divisiveness might be attributed to the Kardashians, whose homes are synonymous with muted putty tones: “less is more” taken to its only logical conclusion—least is best. The aesthetic has occasionally gone viral, with the TikTok account Sad Beige even garnering notoriety for documenting the lifelessness of children’s retail offerings in the voice of German documentary filmmaker Werner Herzog.Warner Bros.The cast of Mountainhead, the new HBO Original film from Succession creator Jesse Armstrong.Social media is as much a progenitor of the trend as it is the platform to document it and repackage it for frictionless consumption. Beige is safe, easy, legible—if your entire house has been unpacked from Amazon boxes, why fight the natural inclination to just live in one? The Mountainhead home might be the lair of a fictional tech boss, but the aesthetics remain the same up and down the corporate ladder.The color family has its own troubled history: “khaki,” which is derived from the Urdu term for “dusty,” originated in mid-19th-century colonial India, as the critic and author Andrea Codrington noted in an eerily prescient 2001 essay for Cabinet magazine that further elaborates on beige’s latent potential for evil. Mountainhead, then, sees the hue returning to its roots, becoming shorthand for what Armstrong sees as everything that’s wrong with the world: complacency, exhaustion, and boredom.MACALL POLAY. SMPSPAnother beige couch in the Mountainhead house. Armstrong’s camera treats the home, designed by local Utah firm Upwall Design, as a character in and of itself, with lingering shots of quietly humming servers, spiraling staircases and vacant driveways presenting solitude and menace as two sides of the same coin. Town & Country reported that production designer Stephen Carter liked the property for its The Shining-esque vibes. He wasn’t wrong. “There’s a solitary nature to that house, too,” star Steve Carrell told The Salt Lake Tribune. “You feel like you’re away from everything.”Another word for that feeling—articulated by scenes of the men laying about the home glued to their phones as scenes of worldwide terror stream in—would be dissociation. Think home is where the heart is? Mountainhead makes a compelling case that it's often just another a bad trip.Sean SantiagoDeputy EditorSean Santiago is ELLE Decor's Deputy Editor, covering news, trends and talents in interior design, hospitality and travel, culture, and luxury shopping. Since starting his career at an interior design firm in 2011, he has gone on to cover the industry for Vogue, Architectural Digest, Sight Unseen, PIN-UP and Domino. He is the author of The Lonny Home (Weldon Owens, 2018), has produced scripted social content for brands including West Elm and Streeteasy, and is sometimes recognized on the street for his Instagram Reels series, #DanceToDecor