L’équipe du podcast 12 FPS dévoile son nouveau projet : un ambitieux documentaire sur le studio d’animation DreamWorks. Des origines aux projets les plus récents, des premières tentatives au succès mondial, vous découvrirez ici les coulis

Final Fantasy Tactics - The Ivalice Chronicles will make the PS1 classic playable on modern hardware in September for the first time since the PlayStation 3 generation over a decade ago. Why did it take so long for Square Enix to bring back the belov

Don't think twice, it's all right.It's time to say goodbye.Well, not really. The massively popular Switch will live on in a way few other Nintendo consoles have done thanks to backwards compatibility, a host of free upgrades to existing games, and a Switch 2 form factor that keeps everything about the previous console. As generational jumps go, it doesn't get much smoother than this.Read the full article on nintendolife.com

PowerWash Simulator goes underground, overground in final free content update It's been a blast. News by Matt Wales News Reporter Published on May 29, 2025 The end is nigh for developer FuturLab's endlessly hypnotic original PowerWash Simulator, but before the studio packs away its nozzles in anticipation of an upcoming sequel, there's one last free update featuring a couple more spaces in which to unleash your hose. "The time has come to reach our final destination for PowerWash Simulator," FuturLab wrote in an update on its website, "and what a journey it has been!... Whether you've been with us busting the grime from early access, or hopped aboard the PowerWash hype train somewhere down the line, we'd love to say a huge thank you for enjoying this adventure with us." And as a final farewell to the original game, FuturLab has released Muckingham Files 6, which features two more locations in desperate need of a clean. The first will be immediately familiar to old hands, taking players down into the Muckingham subway station for one last spray. However, rather than demanding a repeat of the harrowing tunnel clean-up job featured in the base game, this time you'll be aiming your nozzle at an extremely grubby train that's pulled into the station, washing away the grime from its outers and innards. Watch on YouTube After that, there's one last stop in the form of Sculpture Park, where players will be working at the behest of Darcy d'Arcy to restore the area's collection of "fine" art - including a large Monolith and The Man of A Thousand Faces - to its former glory. And, of course, there's a giant gnome, because what sort of send off would it be without one? "We hope you enjoy this final PowerWash Simulator update as much as we have enjoyed creating it," FuturLab concluded in its update. "The team have poured their hearts and souls into creating a world for you all to escape to and clean, somewhere for you to relax and solo clean, or a place to gather with friends and catch up over a satisfying wash." PowerWash Simulator's free Muckingham Files 6 update - which follows April's inclusion of Muckingham's Dessert Parlour for a cleaning - is available now on all platforms, and FutureLab has taken the opportunity to squeeze in a couple more bug fixes, as detailed in its patch notes. Next up, of course, is PowerWash Simulator 2, which is currently expected to launch for PC, PlayStation 5, Xbox Series X/S, and possibly Switch 2 later this year. It promises new jobs, new dirt to blast, and a new hub-like HQ. And if you're a fan of PowerWash Simulator's ridiculous narrative, don't fret - FuturLab has also confirmed plenty more Muckingham lore.

This article contains spoilers for Big Mouth season 8. It’s become increasingly rare for a streaming series to end on its own terms, especially when that series has run for eight seasons and revolves around the uncontrollable hormonal impulses of a bunch of teenagers.  Big Mouth made waves upon its premiere back in 2017, yet it’s grown into one of Netflix’s longest-running shows and a program that’s experienced as many changes as its adolescent protagonists. The series is comfortable indulging in its cruder and more mature impulses, whether that’s relentless Hormone Monsters or anthropomorphic genitals. That being said, there’s an undeniable heart to Big Mouth and it’s an animated comedy that actually strives to educate and enlighten, as wild as that may seem, as it preaches inclusivity and a truly modern world of sex, relationships, and identity.  As Big Mouth reaches its splashy big finish with its eighth season, the comedy’s co-creators — Andrew Goldberg, Jennifer Flackett, and Mark Levin — open up on their animated project’s farewell year. Goldberg, Flackett, and Levin get candid on Big Mouth’s latest changes as its characters acclimate to high school, the highs and lows of pornography, and their trepidation over sticking the landing. Also: the one storyline that was almost turned into its own interactive episode! DEN OF GEEK: It’s been so much fun to see this series evolve since its beginning. Is it satisfying to get the rare luxury of bringing many of these characters’ stories to fruition across eight seasons as they all find their respective cliques and learn a little more about themselves? MARK LEVIN: I mean, it is a rare treat to be able to tell a story that long and to be able to really explore these characters in depth over so much time. To have anyone’s puberty last eight years is pretty cool.  JENNIFER FLACKETT: But also to age the characters and to have animation that changes was not something that [we anticipated]. Andrew often talks about the fact, because he’s from Family Guy. He never thought that the character models would change and we hadn’t really talked about that. Then when we realized that the show’s all about changes, that was really interesting to us.  ML: Also, to have the runway to be able to know that we were going to close out the show, and to be very thoughtful and intentional in our approach to that, was great. We went on a retreat with the writers in advance of season eight to just talk about everything and wrestling with this big idea. Ultimately, the big question was, “How do you end a story about characters who are just beginning their story – their lives,” you know? That’s the conclusion of the future being the thing they have to wrestle with most–the unknown of the future.  I’m glad you touched on that too, because I do think there are always really high expectations that surround any series finale and I think you guys handled this one very gracefully. Was this always kind of the ending that you had envisioned for the show? Did it change over time? ANDREW GOLDBERG: No, we don’t have plans. We even like to figure out each season with our staff as we go. I mean, it would be great if we had a plan from the very beginning, but we did not, and like Mark said, we really came into season eight with this dilemma of “how do you tell the end of a story about kids who are just starting out?” I remember when we were first talking about what the final episode would be, Gil Ozeri, who wrote it, kind of looked at us and was like, “Well, you guys, it’s your show. What do you think? What is the show about?” And I was like, “I don’t know.” Mark thought that the most salient thing that we’ve learned over the years is that the show is about this idea that you’re not alone. That was sort of our guiding principle for the final episode, too. This idea that the future is scary and unknown, but you’re not alone. You have your friends to go into it with.  Were there any other series finales that you looked to for inspiration? I felt the tiniest bit of Moonlighting in terms of the characters’ universe kind of being dismantled around them. Join our mailing list Get the best of Den of Geek delivered right to your inbox! AG: Not really. I wanted to do that Andrew was masturbating and right before he comes, it cuts to black, and we don’t know if he comes or not or if he gets shot by the guy in the diner. Nobody else got on board with that. JF: I will say, like when you were just talking about it – to me Cheers and Mary Tyler Moore–  AG: Cheers was a great finale.  JF: Those were two great finales that were funny and were emotional. That has always been our guiding light with Big Mouth. We didn’t really realize when we first started how important the emotionality was going to be. That these were kids with big feelings and everything mattered so much. So I think just that idea–we knew we wanted the end to be emotional, but it was also emotional for us! When we had our final table read and all those kids walked off, everyone was crying. So, I think that also a big part of it, too – being funny, emotional, and that we really wanted to do well by these characters. We wanted to feel like the future was pretty bright for them. AG: Sometimes with finales, shows try to reinvent the wheel. They’ll make the finale its whole own thing. As a fan, I always like a finale that’s just like a really good episode of the show. That was also one of our goals and one of the reasons why we went back to the middle school for the finale because that was the heart of the show. Big Mouth is obviously very silly, but it pushes some really important messages, too. It’s filled with encouraging examples of representation as well. Which storyline or piece of character development are you the most proud of bringing to life here? JF: I just think we all learned so much about human sexuality and human development making this show. I can really say I learned a lot and I feel like we really created something where the things that we learned–we really wanted to tell people about things like female pleasure. I did not think that was a story that I was going to do. Like, I knew there’d be periods. I knew there’d be masturbation, right? But beyond that–going into asexuality and all these things that really came from real students that we spoke to who said, “I don’t feel represented.” That was really interesting and we didn’t really know about that. I think that always interested us in all these different ways. Consent is something – both in the first and the last season – that we really talk about in a specific kind of way. Those were things we learned as the world changed. The world changed so much while we were making the show, so we had to really keep abreast of everything.  And Holly Hunter is Compassion. I really will say that Holly Hunter’s Compassion was a real thrill for all of us.  AG: I agree that the learning experience of making this show has been incredible and the breadth of who we’ve learned from. We had this moment in season one where we did “Girls Are Horny Too,” where we realized–we had read Peggy Orenstein’s book, Girls & Sex, and she had come to the writers’ room to talk to us. One of the things that she writes about is that in sex ed, we teach boys about their boners and ejaculation and girls about menstruation. We don’t teach–we don’t imply to girls as we’re teaching about sex–that they’re supposed to experience pleasure, too. We realized, “Oh my God, our first episode is literally about a boy masturbating and in the second episode a girl gets her period. We did the very thing that we’re not supposed to do. So we course-corrected with the fifth episode of the first season, “Girls Are Horny Too.”  Then, like Jen said, the idea for having an asexual kid was totally born out of how we speak to teenagers every year with their sex ed teacher, Shafia Zaloum, who’s a great sex ed teacher in the Bay Area. That storyline came directly from one of her students being like, “Hey, I’m asexual, and I’d really love to see a character like me on TV.” We were like, “Absolutely.” He actually read scripts for us and gave us his thoughts. It was a really great collaboration. So, we’ve had this amazing experience where we’re learning from experts, but also from teenagers; from kids. The pornography episode from this season is really strong, but it’s also exciting that you’re able to do an episode that helps normalize pornography, break it down, but also explore the more toxic behavior it can reinforce, too. Did this feel like significant subject matter to explore? JF: Well, that’s always how we like to explore any topic: like we’re having a conversation. The first one was about the head push and if it’s okay or if it’s not okay. We were like, “Oh, that’s got to go in the show.” Our kids need to basically be having the same conversation that we’re having. That’s often a way that leads us, but it was actually my daughter who was talking about guys and their relationship with porn. She was like, “It’s really kind of ruined them and it’s such a bummer.” So when we were coming into this last season, I thought that we should explore that. We had done porn in the very first season, but it didn’t get to the heart of the problem.  AG: It was more of an addiction story.  JF: It was more of an addiction story. It wasn’t really a porn story. We really realized–and this was another thing we talked to a lot of people about–just about how porn was becoming sex education and how unfortunate that is and what do we do about it. How do you masturbate again when you’ve gotten used to porn? All those things. It’s not just one thing. It turned out it was a lot of things, all of which play out over three episodes. You really get the chance to realize what’s going on and how it can actually affect your life in all these different ways. AG: We had this really cool experience where–as we were figuring out that story, we always, every season, meet with a group of teenagers via Zoom and really pick their brains and ask them questions. This time, for the first time ever, we split them up between boys and girls because we wanted to hear what the boys had to say and what the girls had to say. It was amazing just the disconnect that seemed to occur where – at least for the groups of kids that we talked to – the boys were kind of like, “We get it. Porn isn’t real. It doesn’t actually affect the way we behave.” While the girls were like, “No.” They did not feel the same way. JF: It was shocking, but true! All that was just so  interesting.  Absolutely, and then to have your characters at an age where they can emulate that behavior, too. I always love when the show will do a bit of a concept episode that does something structurally different, like the penultimate entry that has the whole grab bag of odds and ends formula. I think that’s such a smart way to touch on a bunch of stuff that couldn’t organically be covered in the series. ML: When you’re heading to the end of an experience like this, you realize there’s so much left to say and so much you still want to say. In this case, we reached out through social media to the fans and said, “Hey, what are the things you wish we talked about?” That’s really true, we really did do that.  So, are those real questions, then, from real fans?  ML: Yeah, those topics, they’re all real.  JF: And when we say that there was a ton about queefing, that’s also actually true. We had thousands of responses. We had this vaginismus story and one of the guys on the staff was like, “I don’t like the vaginismus story…” But a lot of people were asking about it so clearly there is interest there! So I wanted to find a way to do that. ML: It all really came from that experience of serving the fans. And we love form-breaker episodes. We love form-breakers, but this was a great one. It was an opportunity, in a grab bag kind of way, to race through all these things that we never got a chance to talk about. These probably would have been episodes or storylines, but maybe they’re even better for the fact that they don’t last for an entire episode. “What’s it like to go to the gynecologist?” That doesn’t need to be a whole episode. These ideas can be their own mini-movies, like the Looney Tunes one. Well, I was going to say exactly that. You dress each one up in a different style, whether it’s The Twilight Zone or the whole Looney Tunes aesthetic. Was this episode more of a challenge to bring together? AG: Yeah, I think that’s always the fun with the form-breakers. I think it’s fun for the fans. It’s fun for us, too, on a creative level. Last year we did the international episode, where we did a show in different languages. We did that Christmas episode with all the different kinds of animation. It’s always so much fun for us, but this one in particular was great because I do think our fans are so invested. They feel so much ownership over the show and we’re happy to share that with them. It was exciting to see all their questions that Maury explores in that episode.  You mentioned before that you don’t like to plan things out, but this season brings closure to the Ponytail Killer after so long, which is super funny to me. I can see this being an idea that just kept getting pushed back during previous seasons, but had you planned to do more with this tangent over the years? Did you know that this was the killer’s identity from the start? JF: And it was! We had tried to do something with the Ponytail Killer a couple of other times, but it just didn’t feel right. This felt good though and we were finally able to pay that one off. ML: At one point, we were talking about doing an interactive “Choose-Your-Own Adventure” episode like Black Mirror’s “Bandersnatch.” There was a minute where everything was going to be interactive! We flirted with the idea of doing a “Choose-Your-Own Adventure” episode where you solve the Ponytail Killer’s murders. We went down that road, but we realized just how much work it would take–it would have been like a whole season’s worth of work just to make all the multiple threads. So we were happy to at least bring closure to it inside this season.  AG: My favorite part of that is when Lola is like, “What? Who cares?” There are Reddit threads out there that have guessed it! There are people that will be very satisfied with this season. JF: One of my favorite Reddit threads is about, “Does Cyrus wear the radish bra?” Eight seasons is a lot of time to spend with these characters, but would you ever want to return to them and this universe, perhaps when they’re adults with kids of their own? Is there a possibility that you might do something like periodic Big Mouth specials in the future or some further extension of the series? ML: Yeah, I mean, we love these kids. We really want to see what happens to them. It’s fun to just let them go off into the void and imagine what would happen, but I’m sure that over time, we’ll miss them and want to revisit them again. Whether it’s the college years or some other thing, you know?  JF: It’s funny, because what happens is before you know exactly when your show is going to end, you’re like, “It’s so hard to find these stories…” But then when you know that you’re going to end, we suddenly had more stories to tell because we moved them to high school. It was ironic, but also kind of lovely, because you always want to leave people wanting more. That’s a great feeling and it’s nice to not feel like we’ve completely exhausted everything. It’s very bittersweet. We’ve had an amazing run here and we were at Netflix at just the right time. I’m not sure if Big Mouth could have existed at any other time. It seems like Big Mouth got to tell its full story, but that this might not have necessarily been the case with Human Resources. Can you talk a little on where else that show had gone if it lasted longer? Were there any ideas for future Human Resources stories that were incorporated into this final season as a way of providing closure? JF: We loved Human Resources. I mean, we just thought that was a great, great show, and such a wonderful universe.  ML: They’re infinite things that could be done there! And you know, there is an episode this season that visits Human Resources again. We really wanted to go back to Human Resources, whether it was in that episode where we had the Keke Palmer and Aidy Bryant characters come back. Rosie Perez’s character, too. The whole cast! We wanted to weave them all into this season to make sure that they were acknowledged as such an important part of the universe. We were fortunate to get to explore all of that in the same show, but just through a flipped perspective. We were seeing it all from the monsters’ point of view, but now we’re back to the kids. But we absolutely loved, loved Human Resources.  Big Mouth has ended, but your new animated series, Mating Season, has been announced. Can you talk at all on how this idea came together, what this show was born out of, and if it will have a similar vibe to Big Mouth or be a different type of animal? ML: The vibe will be similar in some ways, in that, it’s very honest and it deals, frankly, with things that we all deal with. In Big Mouth, it was puberty and that temporary change, but Mating Season is looking kind of into your twenties – your late twenties – when you’re trying to find a mate. You find your person, or hook up, or, you know – have sex, get married, all those things that we struggled with then. JF: What we always found in Big Mouth, when we were trying to depict sex, was that it was better when it had a metaphor behind it. But we realized that you really don’t want to see humans having sex. However, with animals, it’s a lot funnier.  ML: You’re not going to see anything you don’t see in the zoo, or in the forest, or in your backyard. I’m looking forward to it. I appreciated the Animorphs reference this season, so if you can make one of the characters an Animorph–just have one be an animal that is actually a human in disguise. I think that’s a fun approach. ML: That is a good idea. We’re putting it on the list. JF: We’re putting it on the list. Beautiful. That’s all I ask. All eight seasons of Big Mouth are now streaming on Netflix

Whether you’re heading to this year’s Biennale, planning a future visit, or simply daydreaming about Venice, this guide—contributed by Hamilton-based architect Bill Curran—offers insights and ideas for exploring the canal-crossed city. Venice is like eating an entire box of chocolate liqueurs in one go. – Truman Capote Venice is my mystical addiction and I soon will make my 26th trip there, always for about 10 days or more. I keep getting asked why, and asked by other architects to share what to do and what to see. Only Italo Calvino could have reimagined (in ‘Invisible Cities’) such a magical, unique place, a water-born gem forged from 120 islands linked by 400 bridges and beset by a crazy-quilt medieval street and canal pattern. Abstract, dancing light forms dappling off water, the distinct automobile-less quiet. La Serenissima, The Most Serene One. Most buildings along the Grand Canal were warehouses with the family home above on the piano nobile floor above, and servant apartments above that in the attics, in a sea-faring nation state of global traders and merchants like Marco Polo. Uniquely built on a foundation of 1,000-year-old wood pilings, its uneven, wonky buildings have forged a rich place in history, literature and movies: Joseph Brodsky’s Watermark, Hemingway’s Across the River and into the Trees, Don’t Look Now starring Donald Sutherland, Mann’s Death in Venice, The Comfort of Strangers with Christopher Walken, Henry James’ The Wings of the Dove and The Aspern Papers, Kate Hepburn’s ‘Summertime. Yes, yes, Ruskin’s Stones of Venice is an option, as are Merchant of Venice and Casanova. Palazzo Querini Stampalia (Venice): Photo via Wikipedia THE MODERN ARCHITECTURE OF VENICE Much of Venetian life is lived in centuries-old buildings, with a crushing post-war recession leaving it preserved in amber for decades until the mass tourists found it. Now somewhat relieved of at least the cruise ship daytrippers, it is a reasonable place again, except maybe in peak summer. The weight of history, a conservatism for preservation and post-war anti-Americanism led to architectural stagnation. So there are few new, modern buildings, mostly on the edges, and some fine interior interventions, mostly invisible. For modern architecture enthusiasts Venice is a challenge. Carlo Scarpa (Giardini, Venise) – Photo via Wikipedia, licensed under the Creative Commons Attribution 2.0 Generic license Here is what modern architects should see: Carlo Scarpa‘s Must-See Works: Go see any of Scarpa’s interventions, demonstrating his mastery of detailing, materials, joinery and his approach to blending with existing fabric. He is Italy’s organicist, their Frank Lloyd Wright, and they even worked together (on the Masieri Foundation). Negozio Olivetti: The tiny former Olivetti typewriter showroom enfronting Piazza San Marco is perhaps the most wonderful of his works. It is open now to visit as a heritage museum. ”God is in the details”; Scarpa carefully considered every detail, material and connection. Le magasin Olivetti de Carlo Scarpa (Venise). Photo via Wikipedia. This file is licensed under the Creative Commons Attribution 2.0 Generic license The Fondazione Querini Stampalia is a must see, a renovated palazzo with ground floor exhibit spaces with tidewater allowed to rise up inside in one area you bridge across. The former entrance bridge is a lovely gem of exquisite detailing, rendered obsolete by a meh renovation by Mario Botta. A MUST is to have a coffee or prosecco in Scarpa’s garden and see the craft and detail of its amazing water feature. The original palazzo rooms are a lovely semi-public library inhabited by uni students; sign up as a member on-line for free. Walk up the spiral stair. The entry gate to the UIAV Architecture School in Campo Tolentini  is an unexpected wonder. A brutalist yet crisply detailed sliding concrete and steel gate, a sculpted concrete lychgate, then an ancient doorway placed on the lawn as a basin. Main Gate of the Tolentini building headquarters of Iuav university of Venice designed by Carlo Scarpa. Photo via Wikipedia, licensed under the Creative Commons Attribution 2.0 Generic license OTHER MODERN ARCHITECTURE TO SEE: Minimalist Dave Chipperfield expanded an area of suede-like concrete columbariums on the St. Michele cemetery island. Sublime. Extra points if you can find the tomb Scarpa designed nearby. The Ponte della Costituzione (English: Constitution Bridge) is the fourth bridge over the Grand Canal in Venice, Italy. It was designed by Santiago Calatrava. (Image via: Wikipedia) Calatrava’s Ponte della Constituzione bridge is an elegant, springing gazelle over the entrance to the Grand Central. But the glass steps are slippery and are being replaced soon, and the City is suing Calatrava, oops. The barrier-free lift pod died soon after opening. It is lovely though.   Le Canal della Giudecca, la Punta della Dogana, la basilique Santa Maria della Salute de Venise et le Canal Grande à Venise (Italie). Photo via Wikipedia Tadao Ando’s Punte Della Dognana museum is large, with sublime, super-minimalist, steel and glass and velvety exposed concrete interventions, while his Palazzo Grassi Museum was more restoration. A little known fact is that Ando used Scarpa’s lovely woven basketweave metal gate design in homage. An important hidden gem is the Teatrino Grassi behind the Museum, a small but fabulous, spatially dramatic theatre that often has events, a must-see! Fondaco dei Tedeschi: At the foot of Rialto Bridge and renovated by Rem Koolhaas, this former German trading post had been transformed into a luxury shopping mall but closed last month, a financial failure. Graced with a stunning atrium and a not well know fabulous rooftop viewing terrace, its future is now uncertain. The atrium bar is by Phillipe Starck and is cool. Try it just in case. Fondaco dei Tedeschi. Photo via Wikipedia Procuratie Vecchie: This iconic 16th storey building is one of Piazza San Marco’s defining buildings, and David Chipperfield’s restoration and renovation of this building, which defines Piazza San Marco, is all about preservation with a few modern, minimalist interventions. It operates as a Biennale exhibit space. Infill housing on former industrial sites on Guidecca Island includes several interesting new developments called the Fregnans, IACP and Junghans sites (look for fine small apartments such as by Cino Zucchi that reinterpret traditional Venetian apartment language). A small site called Campo di Marte includes side-by-sides by Alvaro Siza (disappointing), Aldo Rossi and Carlo Aymonino (ho hum); some day there will be a Rafael Moneo on the empty lot.     View this post on Instagram   A post shared by Denton Corker Marshall (@dentoncorkermarshall) AT THE BIENNALE: At the Biennale grounds there is much to see, with the only recent project the Australia Pavilion by Denton Corker, a black granite box hovering along a canal. Famous buildings include the Nordic Pavilion (Sven Ferre), Venezuela Pavilion (Carlo Scarpa), Finland Pavilion (Alvar Aalto), former Ticket Booth (Carlo Scarpa), Giardino dell Sculture (Carlo Scarpa), Bookstore (James Stirling) and there are some fab modern interiors inside the old boat factory buildings. Canada’s Pavilion by the Milan firm BBPR (don’t ask why) from 1956 is awkward, weird and much loathed by artists and curators. Le pavillon des pays nordiques (Giardini, Venise). Photo via Wikipedia, licensed under the Creative Commons Attribution 2.0 Generic license. Just outside the Biennale on the Zattere waterfront is a stirring Monument to the Women Partisans of WWII, laid in the water by Augusto Maurer over a simple stepped-base designed by Scarpa. Venezia – Complesso monastico di San Giorgio Maggiore. Photo via Wikipedia,  licensed under the Creative Commons Attribution-Share Alike 4.0 International license. BEYOND THE BIENNALE The Vatican Chapels: In 2018 the Vatican decided to participate in the Biennale for the first time for some reason and commissioned ten architects to design chapels that are located in a wooded area on the Venetian island of San Giorgio Maggiore, behind Palladio’s church. The architects include Norman Foster, Eduardo Souto de Moura, and Smiljan Radic, and includes The Asplund Pavilion, like the Woodland Chapel  that inspired it. It is intended as a “place of orientation, encounter, meditation, and salutation.” The 10 chapels each symbolize one of the Ten Commandments, and offer 10 unique interpretations of the original Woodland Chapel; many are open air. These are fab and make you think! Chiese San Giorgio Maggiore was designed by Palladio and is fine. But its bell tower offers magnificent city views and avoids the long lines, crowds and costs of Piazza San Marco’s Campanile. Next to San Giorgio you should tour the Cini Foundation, with an amazing stair by Longhera, the modern Monica Lunga Library (Michele De Lucchi) and a lovely Borges-inspired labyrinth garden. Behind San Giorgio en route to the Chapels is the Museo del Vetro (Glass Museum) and the fabulous Le Stanze della Fotografia (contemporary photography gallery) featuring a Mapplethorpe retrospective this year. (If you’re visiting this year, join me in Piazza San Marco on July 7, 2025, for his ex Patti Smith’s concert.) An unknown MUST DO is a concert in the stunning Auditorium Lo Squero (Cattaruzza Millosevich), with but 200 comfy seats in an adapted boat workshop with a stage wall of glass onto the lagoon and the Venitian cityscape. La Fenice Opera House in Venice, Italy. Image via: Wikipedia La Fenice Opera House: after burning down in 1996, Aldo Rossi supervised the rebuilding, more or less ‘as it was, as it is’, the Italian heritage cop-out. There is no Rossi to see here, but it is a lovely grand hall. Book a concert with private box seats. Venice Marco Polo Airport is definitely Aldo Rossi-inspired in its language, materials and colours. The ‘Gateway Terminal’ boat bus and taxi dock is a true grand gateway (see note about Gehry having designed an unbuilt option below). Venice Marco Polo airport. Photo via Wikipedia HIDDEN GEMS Fondazione Vendova by Renzo Piano features automated displays of huge paintings by a local abstract modernist moving about a wonderful huge open warehouse and around viewers. Bizarre and fascinating. Massimo Scolari was a colleague or Rossi’s and is a brilliant, Rationalist visionary and painter, renown to those of us devotees of the Scarpa/Rossi/Scolari cult in the 1980’s. His ‘Wings’ sculpture is a large scale artwork motif from his drawings now perched on the roof of the UIAV School of Architecture, and from the 1991 Biennale. Do yourself a favour, dear reader, look up his work. Krier, Duany and the New Urbanists took note. He reminds me of the 1920s Italian Futurists. You can tour all the fine old churches you want, but only one matters to me: Santa Maria dei Miracoli, a barrel-vaulted, marble and wood-roofed confection. San Nicolo dei Mendicoli is admittedly pretty fab, and featured in ‘Don’t Look Now’.  And the Basilica of Santa Maria Assunta on Torcello has an amazing mosaic floor, very unusual stone slab window shutters (and is near Locanda Cipriani for a wonderful garden lunch, where Hemingway sat and wrote). For the Scarpiani: There is a courtroom, the Manilo Capitolo, inside the Venice Civic Tribunale building in the Rialto Market that was renovated by Scarpa, and is amazing in its detail, including furniture and furnishings. You have to pass security to get in, and wait until court ends if on. It is worth it! The Aula Mario Baratto is a large classroom in a Palazzo overlooking the Grand Canal designed by Carlo Scarpa with amazing wood details and furniture. The room has stunning frescoes also. You can book a tour through Universite Ca’ Foscari. The view at a bend in the Grand Canal is stunning, and you can see the Fondazione Masieri (Scarpa renovation) building off to the left across the side canal (see Missed Opportunities). Within the Accademia Galleries and Correr Museum are a number of small renovations, stairs and art stands designed by Scarpa. Next to the Chiesa di San Sebastino decorated by Veronese is the Scarpa entrance to a linguistics library for the Universita Ca’ Foscari. Fondation W – Wilmotte & Associés: A French architect who is not shy and presumably rather wealthy runs his own exhibition space focused on architecture; ‘…it is both a laboratory and shop window…’,  so one of those. Worth a look. There is a recent Courthouse that is sleek, long, narrow, black and compelling on the north side of Piazzalle Roma, but I have not yet wandered in.   FOOD AND DRINKS FOR ARCHITECTS Philippe Starck’s lobby bar at the Palazzina Grassi hotel is the only cool, mod bar in town. Wow! Ask the barman to see the secret Krug Room and use the PG bar’s unique selfie washroom. I love this bar: old, new, electic. Also, Starck has a house on Burano, next to the pescheria (sorry, useless ephemera). He wants you to drop by. Restaurant Algiubagiò is the only cool, modern restaurant and it has fab food. It also has a great terrace over the water. Go! Zanze XVI is a nice clean mod interior and Michelin food. Worth it. Ristorante Lineadombra: A lovely, crisp modern interior and crisp modern Venetian food. A great terrace on the water also. Local Venice is a newer, clean, crisp resto with ‘interesting’ prices. Your call. Osteria Alla Bifora, while in a traditional workshop space, is a clean open loft, adorned modernly with a lovely array of industrial and historic relics. It is a lovely bar with charcuterie and a patio on the buzzy campo for students. Great for late night. Cicchetti are Venetian tapas, a standard lunch you must try. All’ Arco near Rialto has excellent nouveau food and 50m away is the lovely old school Do Mori. Osteria Al Squero in Dorsoduro overlooks one of the last working gondola workshops, and 100m away is the great Cantino del Vino già Schiavi. Basegò has creative, nouveau cichetti. Drinks on a patio along the Grand Canal can only be had economically at Taverna al Remer, or in Campo Erberia at Nanzaria, Bancogira, Al Pesador or Osteria Al Cichetteria. Avoid any place around Rialto Bridge except these. El Sbarlefo San Pantalon has a Scarpa vibe and a hip, young crowd. There is a Banksy 50’ away. Ristorante Venissa is a short bridge from Burano to Mazzorbo island, a Michelin-starred delight set in its own vineyard.   Since restaurant design cannot tie you up here, try some fab local joints: Trattoria Anzolo Raffaele : The owner’s wife is from Montreal, which is something. A favorite! Pietra Rossa: A fab, smart place with a hidden garden run by a hip, fun young restauranteur, Andrea. Ask for the Canadian architect discount. Oste Mauro Lorenzon : An entertaining wine and charcuterie bar run by the hip young restauranteur’s larger than life father, and nearby. Mauro is a true iconoclast. Only open evenings and I dare you to hang there late. Anice Stellato: A great family run spot, especially for fish. Excellent food always. La Colonna Ristorante: A nice, neighbourhood joint hidden in a small campo. Il Paradiso Perduto: A very lively joint with good food and, rarely in Venice, music. Buzzy and fun. Busa da Lele: Great neighbourhood joint on Murano in a lovely Campo. Trattoria Da Romano: Best local joint on Burano. Starck hangs here, as did Bourdain.   Cafes: Bacaro aea Pescaria is at the corner by Campo de la Becarie. Tiny, but run by lovely guys who cater to pescaria staff. Stand outside with a prosecco and watch the market street theatre. Extra points if you come by for a late night drink. Bar ai Artisti is my second fav café, in Campo S. Barnaba facing where Kate Hepburn splashed into the canal. Real, fab pastries, great terrace in Campo too. Café at Querini Stampalia: get a free visit to Scarpa’s garden and wander it with a coffee or prosecco. Make sure to see the bookstore also (and the Scarpa exhibition hall adjacent). Carlo Scarpa à la Fondation Querini Stampalia (Venise). Photo via Wikipedia, A lesser known place is the nice café in the Biennale Office next to Hotel Monaco, called Ombra del Leone. The café in the Galleria Internationale d’Arte Moderna Ca’ Pesaro is great with a terrace on the Grand Canal.   Cocktail bars: Retro Venezia: Cool, retro vibe. The owner’s wife dated a Canadian hockey player. You must know him. Il Mercante: A fabulous cocktail bar. Go. Time Social Bar:  Another cool cocktail bar. Vero Vino: A fab wine bar where you can sit along a canal. Many good restaurants nearby! Arts Bar Venice: If you must have a cocktail with a compelling story, and are ok with a $45 pricetag. Claims Scarpa design influence, I say no. But read the cocktail stories, they are smart and are named for artists including Scarpa. Bar Longhi in in the Gritti Hotel is a classic, although cheesey to me. Hemingway liked it. It has a Grand Canal terrace. The Hilton Stucky Hotel is a fabulous former flour factory from when they built plants to look like castles, but now has a bland, soulless Hilton interior like you are in Dayton. But it has a rooftop bar and terrace with amazing sunset views! While traditional, the stunning, ornate lobby, atrium and main stair of the Hotel Danieli are a must-see. Have a drink in the lobby bar by the piano player some evening.   STAYING MODERN Palazzina Grassi is the only modern hotel in Venice, with a really lovely, unique lobby/bar/restaurant all done by Philippe Starck. At least see the fab bar! Johnny Depp’s favourite. Generator Hostel: A hip new-age ‘design-focused’ hostel well worth a look. Not like any hostel I ever patronized, no kegs on the porch. Go visit the lobby for the design. A Euro chain. DD724 is a small boutique hotel by an Italian architect with thoughtful detailing and colours, near the Peggy Guggenheim Museum (the infamous Unfinished Palazzo), and they have a small remote outpost with fabulous apartment called iQS that is lovely. The owner’s brother is the architect. My fave! Avogaria: Not just a 5 room hotel, it is ‘a concept’, which is great, right?  But very cool. An architect is one of the owners. German minimalist architect Matteo Thun’s JW Mariott Venice Resort Hotel and Spa is an expensive convent renovation on its own lagoon island that shows how blandness is yawningly close to minimalism. The Hotel Bauer Palazzo has a really lovely mid-century modern section facing Campo San Moise, but it is shrouded in construction scaffolding for now.   SHOPPING MODERN FOR ARCHITECTS It is hard to find cool modern shopping options, but here is where you can: Libreria Acqua Alta: Used books and a lovely, unexpected, fab, alt experience. You must see and wander this experience! It has cats too. Giovanna Zanella: Shoes that are absolute works of art! At least look in her window. Bancolotto N10: Stunning women’s clothing made in the women’ prison as a job skill training program. Impeccable clothes; save a moll from a life of crime. Designs188: Giorgio Nason makes fabulous glass jewellery around the corner from the Peggy Guggenheim Museum. Davide Penso: Artisan made glass jewellery on Murano. Ferrovetro Murano: Artisan made jewellery, bags, scarfs. (on Murano). Madera: All the cool designer housewares and jewellery. DECLARE: Cool, modern leathergoods in a very sweet modern shop with exquisite metal detailing. A must see! Ottica Urbani: Cool Italian eyewear and sunglasses. Paperowl: Handmade paper, products, classes. Feeling Venice: Cool design and tourist bling can be found only here. No shot glasses.   MISSED OPPORTUNITIES, MEMORIES AND B-SIDES The Masieri Foundation: Look up the tragic story of this project, a lovely, small memorial to a young architect who died in a car accident on his honeymoon en route to visit Fallingwater in 1952. Yep. His widow commissioned Frank Lloyd Wright to design a small student residence and study centre, but it was stopped by anti-American and anti-Modernism sentiments. (Models and renderings are on-line). This may be Venice’s saddest architectural loss ever. The consolation prize is a very, very lovely Scarpa interior reno. Try to get in, ring the bell (it is used as offices by the university)! (Read Troy M. Ainsworth’s thesis on the Masieri project history). Also cancelled: Lou Kahn’s Palace of Congress set for the Arsenale, Corbusier’s New Venice Hospital which would have been sitting over the Lagoon in Cannaregio near the rail viaduct, Gehry’s Venice Gateway (the airport’s ferry/water taxi dock area). Also lost was Rossi’s temporary Teatro del Mondo, a barged small theatre that tooted around Venice and was featured in a similar installation in 1988 at the R.C. Harris Water Treatment Plant. All available on-line. Teatro del Mondo di Aldo Rossi, Venezia 1980. Photo via Wikipedia, CC BY-SA 4.0 Itches to scratch: Exercise your design skills to finish the perennial favorite ‘Unfinished Palazzo’ of the Peggy Guggenheim Museum, design a new Masieri Foundation, design the 11th Vatican Chapel or infill the derelict gasometer site next to Palladio’s Chiese San Francisco della Vigna.   FURTHER AFIELD Within an hour’s drive, you can see the simply amazing Tombe Brion in San Vito Altivole and the tiny, stunning Giptotecha Canova in Possagna (both by Scarpa), the Nardini Grappa Distillery in Bassano del Grappa by Maximillio Fuksas, and a ferry and taxi will get you to Richard Meier’s Jesolo Lido Condos on the beach. A longer drive of two hours into the mountains near Cortina will bring you to Scarpa’s lovely and little known Nostra Signore di Cadora Church. It is sublime! Check out the floor! Zaha Hadid’s stunning Messner Mountain Museum floats above Cortina, accessible by cable car. The recent M-09 Museum on mainland Mestre, a quick 10 minute train ride from Venice, by Sauerbruch + Hutton is a lovely urban museum with dynamic cladding. Castelvecchio Museum. Photo via Wikipedia The Veneto region is home to many cool things, and fab train service gets you quickly to Verona (Scarpa’s Castelvecchio Museum and Banco Populare), Vicenza (Palladio’s Villa Rotonda and Basillicata). There are Palladio villas scattered about the Veneto, and you can daytrip by canal boat from Venice to them. Go stand where Hemingway was wounded in WWI near Fossalta Di Piave (there is a plaque), which led to his famous novel, ‘A Farewell to Arms’. He never got to visit Venice until 1948, then fell in love with the city, leading to ‘Across the River and into the Trees’. He also threatened to burn down FLW’s Masieri Foundation if built (and they both came from Oak Park, Illinois. So not very neighborly).   OTHER GOOD ARCHITECTURAL REFERENCES Venice Modern Architecture Map The only guidebook to Modern Architecture in Venice   These architectural guide folks do tours geared to architects: Architecture Tour Venice – Guiding Architects Venice Architecture City Guide: 15 Historical and Contemporary Attractions to Discover in Italy’s City of Canals | ArchDaily Venice architecture, what to see: buildings by Scarpa, Chipperfield and other great architects The post An Architect’s Guide to Venice and its Modern Architecture    appeared first on Canadian Architect.

This story appeared in The Logoff, a daily newsletter that helps you stay informed about the Trump administration without letting political news take over your life. Subscribe here.Welcome to The Logoff: President Donald Trump is one step closer to getting his “big, beautiful bill” after it passed the House in a close vote early this morning.What would the bill do? As my colleague Andrew Prokop has explained, the bill has four major pillars: Renewing Trump’s 2017 tax cutsImplementing new tax cuts, such as Trump’s “no tax on tips” proposalSpending billions on a border wall, US Customs and Border Protection, and the militaryIncreasing the debt ceiling, a recurring, necessary step that will likely have to get done by JulyIt would also lift the cap on the state and local tax deduction, or SALT — a political hot button important to frontline Republicans. And it would make deep cuts to Medicaid, clean energy programs, student loans, and food assistance.What happened last night? House Republicans had been staring down a self-imposed Memorial Day deadline to advance their bill. Early Thursday morning, they passed the bill 215 votes to 214.What happens now? The bill will head to the Senate, where the only certainty is another contentious process. Republican senators have a long list of sometimes-contradictory changes to iron out before their next deadline on July 4, and a relatively slim margin of error with their 53-member majority.Will this actually make it to Trump’s desk? No one knows. The bill is the centerpiece of Trump’s legislative agenda and passed the House despite a fractious Republican conference, but a number of Republican senators have already expressed concerns about elements of the bill. And it will need to pass the House again after the Senate makes its changes, potentially a tall ask given the number of Republican hardliners in the lower chamber.And with that, it’s time to log off…The penny is officially on its way out, as of this morning. But as we bid farewell, it’s a perfect opportunity to read Caity Weaver’s incredible history of the one-cent coin, past efforts to do away with it, and the mounting absurdity of its existence. One fun fact from her story: Did you know the US has produced at least enough pennies — some 240 billion — to give two to every human who has ever lived? You’ve read 1 article in the last monthHere at Vox, we're unwavering in our commitment to covering the issues that matter most to you — threats to democracy, immigration, reproductive rights, the environment, and the rising polarization across this country.Our mission is to provide clear, accessible journalism that empowers you to stay informed and engaged in shaping our world. By becoming a Vox Member, you directly strengthen our ability to deliver in-depth, independent reporting that drives meaningful change.We rely on readers like you — join us.Swati SharmaVox Editor-in-ChiefSee More: