• Borderlands 4, 2K Games, gaming industry, DLCs, video game pricing, game editions, Borderlands series, consumer rights

    ## Introduction

    Let’s not sugarcoat it: the gaming industry is a minefield of exploitative tactics, and 2K Games has just thrown another grenade into the mix with its pricing strategies for Borderlands 4. If you thought they were done with their money-grabbing antics, think again! As if the gaming community needed another reason to be furious, the latest revelations about the ...
    Borderlands 4, 2K Games, gaming industry, DLCs, video game pricing, game editions, Borderlands series, consumer rights ## Introduction Let’s not sugarcoat it: the gaming industry is a minefield of exploitative tactics, and 2K Games has just thrown another grenade into the mix with its pricing strategies for Borderlands 4. If you thought they were done with their money-grabbing antics, think again! As if the gaming community needed another reason to be furious, the latest revelations about the ...
    Borderlands 4: A Deep Dive into the Game Editions and Future DLCs
    Borderlands 4, 2K Games, gaming industry, DLCs, video game pricing, game editions, Borderlands series, consumer rights ## Introduction Let’s not sugarcoat it: the gaming industry is a minefield of exploitative tactics, and 2K Games has just thrown another grenade into the mix with its pricing strategies for Borderlands 4. If you thought they were done with their money-grabbing antics, think...
    Like
    Love
    Wow
    Sad
    Angry
    635
    1 Commentaires 0 Parts
  • 50 Preppy Fonts with Rich & Fancy Vibes

    In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.Preppy fonts capture that quintessential East Coast elite vibe – think Nantucket summers, yacht clubs, and monogrammed everything. These typefaces embody the perfect balance of tradition and refinement that makes preppy design so timeless and aspirational.
    But here’s the thing: not all fonts can pull off that coveted preppy aesthetic. The best preppy fonts have a certain je ne sais quoi – they’re classic without being stuffy, elegant without being pretentious, and refined without being inaccessible.
    In this comprehensive guide, we’ll explore the most gorgeous preppy fonts that’ll have your designs looking like they belong in the pages of Town & Country magazine. So grab your pearls and let’s dive into this typographic treasure trove!
    Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just /mo? Learn more »The Preppiest Fonts That Define 2025
    Let’s start with the crème de la crème – the fonts that truly embody that preppy spirit. I’ve curated this list based on their ability to channel that classic New England charm while remaining versatile enough for modern design needs.

    Gatsby Prelude

    Gatsby Prelude is an elegant and modern Art Deco font duo. It combines sans-serif characters with decorative elements, perfect for creating sophisticated designs with a touch of vintage glamour.Burtuqol

    Burtuqol is a vintage slab serif font that exudes a retro charm. Its bold, chunky serifs and aged appearance make it ideal for projects requiring a nostalgic or timeworn aesthetic.Gafler

    Gafler is a classy vintage serif font with decorative elements. It combines elegance with a touch of old-world charm, making it perfect for high-end branding and classic design projects.Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere.

    Kagnue

    Kagnue is a modern and classy serif font. It offers a fresh take on traditional serif typefaces, blending contemporary design with timeless elegance for versatile use in various design contexts.The Blendinroom

    The Blendinroom is a retro serif typeface featuring luxurious ligatures. Its vintage-inspired design and intricate details make it ideal for creating sophisticated, old-world aesthetics in design projects.MODER BULES

    MODER BULES is a playful sans-serif font with a fun, childlike appeal. Its quirky design makes it perfect for kids-oriented projects or Halloween-themed designs, adding a touch of whimsy to typography.Nickey Vintage

    Nickey Vintage is a decorative display font with a strong vintage flair. Its bold, eye-catching characters make it ideal for headlines, logos, and designs that require a striking retro aesthetic.Ladger

    Ladger is a casual script font that exudes luxury and elegance. Its flowing lines and graceful curves make it perfect for logo designs, high-end branding, and projects requiring a touch of sophistication.Hadnich

    Hadnich is a modern script font with a brush-like quality. Its versatile design makes it suitable for various applications, from signage to branding, offering a contemporary take on handwritten typography.Belly and Park

    Belly and Park is a condensed beauty classic font family featuring both serif and sans-serif styles. Its vintage-inspired design and narrow characters make it ideal for creating elegant, space-efficient layouts.Loubag

    Loubag is a modern retro font family encompassing sans-serif, serif, and decorative styles. Its bold, fashion-forward design makes it perfect for creating eye-catching headlines and trendy branding materials.Petter And Sons

    Petter And Sons is a romantic beauty script font with decorative elements. Its elegant, flowing design makes it ideal for wedding invitations, luxury branding, and projects requiring a touch of refined beauty.Preteoria

    Preteoria is a modern cursive font with a sleek, contemporary feel. Its smooth curves and clean lines make it versatile for various design applications, from branding to digital media projects.Delauney

    Delauney is an Art Deco-inspired sans-serif font that captures the essence of the roaring twenties. Its geometric shapes and sleek lines make it perfect for creating designs with a bold, metropolitan flair.Amadi Vintage

    Amadi Vintage is a chic and beautiful serif font with a timeless appeal. Its elegant design and vintage-inspired details make it ideal for creating sophisticated, classic-looking designs and branding materials.LEDERSON

    LEDERSON is a vintage-inspired shadow font. Its weathered look and strong character make it perfect for designs requiring an authentic, aged aesthetic.Fancyou

    Fancyou is a versatile serif font with alternate characters. Its elegant design and customizable options make it suitable for a wide range of projects, from formal invitations to modern branding materials.Catterpie Font

    Catterpie is a handwritten script font that mimics natural handlettering. Its fluid, signature-like style makes it perfect for creating personal, authentic-looking designs and branding materials.Jemmy Wonder

    Jemmy Wonder is a Victorian-inspired serif font with a strong vintage character. Its ornate details and old-world charm make it ideal for creating designs with a classic, nostalgic feel.Monthey

    Monthey is a bold, elegant vintage display serif font. Its chunky characters and 70s-inspired design make it perfect for creating eye-catching headlines and retro-themed branding materials.Madville

    Madville is a classy script font with a versatile design. Its elegant curves and smooth transitions make it suitable for a wide range of projects, from formal invitations to modern branding materials.Crowk

    Crowk is a luxury serif font with a timeless, elegant appeal. Its refined design and classic proportions make it ideal for high-end branding, editorial layouts, and sophisticated design projects.Peachy Fantasy

    Peachy Fantasy is an Art Nouveau-inspired display font with decorative elements. Its vintage charm and unique character make it perfect for creating eye-catching headlines and artistic design projects.Cormier

    Cormier is a decorative sans-serif font with a strong artistic flair. Its unique design and fashion-forward aesthetic make it ideal for creating bold, attention-grabbing headlines and branding materials.Syntage

    Syntage is a decorative modern luxury font with both serif and ornamental elements. Its retro-inspired design and luxurious details make it perfect for high-end branding and sophisticated design projects.Jeniffer Selfies

    Jeniffer Selfies is a retro-inspired bold font combining sans-serif and script styles. Its playful design and vintage feel make it ideal for creating nostalgic, fun-loving designs and branding materials.The Rilman

    The Rilman is a ligature-rich rounded sans-serif font with a 90s-inspired design. Its retro charm and smooth edges make it perfect for creating playful, nostalgic designs and branding materials.Milky Croffle

    Milky Croffle is a classic beauty elegant serif font. Its refined design and timeless appeal make it ideal for creating sophisticated layouts, high-end branding, and projects requiring a touch of traditional elegance.
    What Makes a Font Feel Preppy?
    You might be wondering what exactly gives a font that unmistakable preppy vibe. After years of working with typography, I’ve identified several key characteristics that define the preppy aesthetic:
    Classic Serif Structure: Most preppy fonts are serifs, drawing inspiration from traditional typography used in prestigious publications and academic institutions. These serifs aren’t just decorative – they’re a nod to centuries of refined typographic tradition.
    Elegant Proportions: Preppy fonts tend to have well-balanced letterforms with moderate contrast between thick and thin strokes. They’re neither too delicate nor too bold – just perfectly poised, like a well-tailored blazer.
    Timeless Appeal: The best preppy fonts don’t scream “trendy.” Instead, they whisper “timeless.” They’re the typography equivalent of a strand of pearls – always appropriate, never out of style.
    Sophisticated Details: Look for subtle refinements in letterforms – graceful curves, well-crafted terminals, and thoughtful spacing. These details separate truly preppy fonts from their more pedestrian cousins.
    Heritage Inspiration: Many preppy fonts draw inspiration from historical typefaces used by Ivy League universities, prestigious publishing houses, and old-money families. This connection to tradition is what gives them their authentic preppy pedigree.
    Where to Use Preppy FontsPreppy fonts aren’t one-size-fits-all solutions, but when used appropriately, they’re absolutely magical. Here’s where they shine brightest:
    Wedding Invitations: Nothing says “elegant affair” quite like a beautifully chosen preppy serif. These fonts are perfect for formal invitations, save-the-dates, and wedding stationery that needs to feel sophisticated and timeless.
    Luxury Branding: Brands targeting affluent audiences or positioning themselves as premium often benefit from preppy typography. Think boutique hotels, high-end fashion, or artisanal goods.
    Editorial Design: Magazines, newsletters, and publications focusing on lifestyle, fashion, or culture can leverage preppy fonts to establish credibility and sophistication.
    Corporate Identity: Professional services, law firms, financial institutions, and consulting companies often choose preppy fonts to convey trustworthiness and establishment credibility.
    Academic Materials: Universities, prep schools, and educational institutions naturally gravitate toward preppy typography that reflects their traditional values and heritage.
    However, preppy fonts might not be the best choice for:
    Tech Startups: The traditional nature of preppy fonts can feel at odds with innovation and disruption. Modern sans serifs usually work better for tech companies.
    Children’s Brands: While elegant, preppy fonts might feel too formal for products targeting young children. Playful, rounded fonts are typically more appropriate.
    Casual Brands: If your brand personality is laid-back and approachable, overly formal preppy fonts might create distance between you and your audience.
    How to Choose the Perfect Preppy Font
    Selecting the right preppy font requires careful consideration of several factors. Here’s my tried-and-true process:
    Consider Your Audience: Are you designing for actual prep school alumni, or are you trying to capture that aspirational preppy aesthetic for a broader audience? Your target demographic should influence how traditional or accessible your font choice is.
    Evaluate the Context: A wedding invitation can handle more ornate details than a business card. Consider where your text will appear and how much personality the context can support.
    Test Readability: Preppy doesn’t mean hard to read. Always test your chosen font at various sizes to ensure it remains legible. Your typography should enhance communication, not hinder it.
    Think About Pairing: Will you be using this font alone or pairing it with others? Consider how your preppy serif will work alongside sans serifs for body text or script fonts for accents.
    Consider Your Medium: Some preppy fonts work beautifully in print but struggle on screens. Others are optimized for digital use but lose their charm in print. Choose accordingly.
    Pairing Preppy Fonts Like a Pro
    The magic of preppy typography often lies in thoughtful font pairing. Here are some winning combinations that never fail:
    Classic Serif + Clean Sans Serif: Pair your preppy serif headline font with a crisp, readable sans serif for body text. This creates hierarchy while maintaining sophistication.
    Traditional Serif + Script Accent: Use a refined script font sparingly for special elements like signatures or decorative text, balanced by a solid preppy serif for main content.
    Serif + Serif Variation: Sometimes pairing two serifs from the same family – perhaps a regular weight for body text and a bold condensed version for headlines – creates beautiful, cohesive designs.
    Remember, less is often more with preppy design. Stick to two or three fonts maximum, and let the inherent elegance of your chosen typefaces do the heavy lifting.
    The Psychology Behind Preppy Typography
    Understanding why preppy fonts work so well psychologically can help you use them more effectively. These typefaces tap into powerful associations:
    Trust and Reliability: The traditional nature of preppy fonts suggests stability and permanence. When people see these fonts, they subconsciously associate them with established institutions and time-tested values.
    Sophistication and Education: Preppy fonts are reminiscent of academic institutions and intellectual pursuits. They suggest refinement, education, and cultural awareness.
    Exclusivity and Status: Let’s be honest – part of the preppy aesthetic’s appeal is its association with privilege and exclusivity. These fonts can make designs feel more premium and aspirational.
    Quality and Craftsmanship: The careful attention to typographic detail in preppy fonts suggests similar attention to quality in whatever they’re representing.
    Modern Takes on Classic Preppy Style
    While preppy fonts are rooted in tradition, the best designers know how to give them contemporary flair. Here are some ways to modernize preppy typography:
    Unexpected Color Palettes: Pair traditional preppy fonts with modern colors. Think sage green and cream instead of navy and white, or soft blush tones for a fresh take.
    Generous White Space: Give your preppy fonts room to breathe with plenty of white space. This modern approach to layout keeps traditional fonts feeling fresh and uncluttered.
    Mixed Media Integration: Combine preppy typography with photography, illustrations, or graphic elements for a more contemporary feel while maintaining that sophisticated foundation.
    Strategic Contrast: Pair your refined preppy fonts with unexpected elements – maybe a bold geometric shape or modern photography – to create dynamic tension.
    Preppy Font Alternatives for Every Budget
    Not every preppy project has a premium font budget, and that’s okay! Here are some strategies for achieving that coveted preppy look without breaking the bank:
    Google Fonts Gems: Fonts like Playfair Display, Crimson Text, and Libre Baskerville offer sophisticated serif options that can work beautifully for preppy designs.
    Font Pairing Magic: Sometimes combining two free fonts thoughtfully can create a more expensive-looking result than using a single premium font poorly.
    Focus on Execution: A free font used with excellent spacing, hierarchy, and layout will always look better than an expensive font used carelessly.
    Common Preppy Font Mistakes to Avoid
    Even with the perfect preppy font, poor execution can ruin the effect. Here are the most common mistakes I see designers make:
    Overdoing the Decoration: Just because a font has elegant details doesn’t mean you need to add more flourishes. Let the typeface’s inherent sophistication speak for itself.
    Ignoring Hierarchy: Preppy design relies on clear, elegant hierarchy. Don’t make everything the same size or weight – create visual flow through thoughtful typography scaling.
    Poor Spacing: Cramped text kills the elegant feel of preppy fonts. Give your typography generous leading and appropriate margins.
    Wrong Context: Using an ultra-formal preppy font for a casual pizza restaurant’s menu will feel jarring and inappropriate. Match your font choice to your content and audience.
    The Future of Preppy Typography
    As we look ahead in 2025, preppy fonts continue to evolve while maintaining their classic appeal. We’re seeing interesting trends emerge:
    Variable Font Technology: Modern preppy fonts are increasingly available as variable fonts, allowing designers to fine-tune weight, width, and optical size for perfect customization.
    Screen Optimization: Classic preppy fonts are being redrawn and optimized for digital screens without losing their traditional charm.
    Inclusive Preppy: Designers are expanding the preppy aesthetic beyond its traditional boundaries, creating fonts that maintain sophistication while feeling more accessible and diverse.
    Sustainable Design: The timeless nature of preppy fonts aligns perfectly with sustainable design principles – these typefaces won’t look dated next year, making them environmentally responsible choices.
    Conclusion: Embracing Timeless Elegance
    Preppy fonts represent more than just letterforms – they’re a gateway to timeless elegance and sophisticated communication. Whether you’re designing wedding invitations for a Martha’s Vineyard ceremony or creating brand identity for a boutique law firm, the right preppy font can elevate your work from merely professional to genuinely distinguished.
    The beauty of preppy typography lies in its ability to feel both traditional and fresh, formal yet approachable. These fonts have stood the test of time because they tap into something fundamental about how we perceive quality, tradition, and sophistication.
    As you explore the world of preppy fonts, remember that the best typography choices support your message rather than overshadowing it. Choose fonts that enhance your content’s inherent qualities and speak to your audience’s aspirations and values.
    So whether you’re channeling that old-money aesthetic or simply want to add a touch of refined elegance to your designs, preppy fonts offer a wealth of possibilities. After all, good typography, like good manners, never goes out of style.
    #preppy #fonts #with #rich #ampamp
    50 Preppy Fonts with Rich & Fancy Vibes
    In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.Preppy fonts capture that quintessential East Coast elite vibe – think Nantucket summers, yacht clubs, and monogrammed everything. These typefaces embody the perfect balance of tradition and refinement that makes preppy design so timeless and aspirational. But here’s the thing: not all fonts can pull off that coveted preppy aesthetic. The best preppy fonts have a certain je ne sais quoi – they’re classic without being stuffy, elegant without being pretentious, and refined without being inaccessible. In this comprehensive guide, we’ll explore the most gorgeous preppy fonts that’ll have your designs looking like they belong in the pages of Town & Country magazine. So grab your pearls and let’s dive into this typographic treasure trove! 👋 Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just /mo? Learn more »The Preppiest Fonts That Define 2025 Let’s start with the crème de la crème – the fonts that truly embody that preppy spirit. I’ve curated this list based on their ability to channel that classic New England charm while remaining versatile enough for modern design needs. Gatsby Prelude Gatsby Prelude is an elegant and modern Art Deco font duo. It combines sans-serif characters with decorative elements, perfect for creating sophisticated designs with a touch of vintage glamour.Burtuqol Burtuqol is a vintage slab serif font that exudes a retro charm. Its bold, chunky serifs and aged appearance make it ideal for projects requiring a nostalgic or timeworn aesthetic.Gafler Gafler is a classy vintage serif font with decorative elements. It combines elegance with a touch of old-world charm, making it perfect for high-end branding and classic design projects.Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere. Kagnue Kagnue is a modern and classy serif font. It offers a fresh take on traditional serif typefaces, blending contemporary design with timeless elegance for versatile use in various design contexts.The Blendinroom The Blendinroom is a retro serif typeface featuring luxurious ligatures. Its vintage-inspired design and intricate details make it ideal for creating sophisticated, old-world aesthetics in design projects.MODER BULES MODER BULES is a playful sans-serif font with a fun, childlike appeal. Its quirky design makes it perfect for kids-oriented projects or Halloween-themed designs, adding a touch of whimsy to typography.Nickey Vintage Nickey Vintage is a decorative display font with a strong vintage flair. Its bold, eye-catching characters make it ideal for headlines, logos, and designs that require a striking retro aesthetic.Ladger Ladger is a casual script font that exudes luxury and elegance. Its flowing lines and graceful curves make it perfect for logo designs, high-end branding, and projects requiring a touch of sophistication.Hadnich Hadnich is a modern script font with a brush-like quality. Its versatile design makes it suitable for various applications, from signage to branding, offering a contemporary take on handwritten typography.Belly and Park Belly and Park is a condensed beauty classic font family featuring both serif and sans-serif styles. Its vintage-inspired design and narrow characters make it ideal for creating elegant, space-efficient layouts.Loubag Loubag is a modern retro font family encompassing sans-serif, serif, and decorative styles. Its bold, fashion-forward design makes it perfect for creating eye-catching headlines and trendy branding materials.Petter And Sons Petter And Sons is a romantic beauty script font with decorative elements. Its elegant, flowing design makes it ideal for wedding invitations, luxury branding, and projects requiring a touch of refined beauty.Preteoria Preteoria is a modern cursive font with a sleek, contemporary feel. Its smooth curves and clean lines make it versatile for various design applications, from branding to digital media projects.Delauney Delauney is an Art Deco-inspired sans-serif font that captures the essence of the roaring twenties. Its geometric shapes and sleek lines make it perfect for creating designs with a bold, metropolitan flair.Amadi Vintage Amadi Vintage is a chic and beautiful serif font with a timeless appeal. Its elegant design and vintage-inspired details make it ideal for creating sophisticated, classic-looking designs and branding materials.LEDERSON LEDERSON is a vintage-inspired shadow font. Its weathered look and strong character make it perfect for designs requiring an authentic, aged aesthetic.Fancyou Fancyou is a versatile serif font with alternate characters. Its elegant design and customizable options make it suitable for a wide range of projects, from formal invitations to modern branding materials.Catterpie Font Catterpie is a handwritten script font that mimics natural handlettering. Its fluid, signature-like style makes it perfect for creating personal, authentic-looking designs and branding materials.Jemmy Wonder Jemmy Wonder is a Victorian-inspired serif font with a strong vintage character. Its ornate details and old-world charm make it ideal for creating designs with a classic, nostalgic feel.Monthey Monthey is a bold, elegant vintage display serif font. Its chunky characters and 70s-inspired design make it perfect for creating eye-catching headlines and retro-themed branding materials.Madville Madville is a classy script font with a versatile design. Its elegant curves and smooth transitions make it suitable for a wide range of projects, from formal invitations to modern branding materials.Crowk Crowk is a luxury serif font with a timeless, elegant appeal. Its refined design and classic proportions make it ideal for high-end branding, editorial layouts, and sophisticated design projects.Peachy Fantasy Peachy Fantasy is an Art Nouveau-inspired display font with decorative elements. Its vintage charm and unique character make it perfect for creating eye-catching headlines and artistic design projects.Cormier Cormier is a decorative sans-serif font with a strong artistic flair. Its unique design and fashion-forward aesthetic make it ideal for creating bold, attention-grabbing headlines and branding materials.Syntage Syntage is a decorative modern luxury font with both serif and ornamental elements. Its retro-inspired design and luxurious details make it perfect for high-end branding and sophisticated design projects.Jeniffer Selfies Jeniffer Selfies is a retro-inspired bold font combining sans-serif and script styles. Its playful design and vintage feel make it ideal for creating nostalgic, fun-loving designs and branding materials.The Rilman The Rilman is a ligature-rich rounded sans-serif font with a 90s-inspired design. Its retro charm and smooth edges make it perfect for creating playful, nostalgic designs and branding materials.Milky Croffle Milky Croffle is a classic beauty elegant serif font. Its refined design and timeless appeal make it ideal for creating sophisticated layouts, high-end branding, and projects requiring a touch of traditional elegance. What Makes a Font Feel Preppy? You might be wondering what exactly gives a font that unmistakable preppy vibe. After years of working with typography, I’ve identified several key characteristics that define the preppy aesthetic: Classic Serif Structure: Most preppy fonts are serifs, drawing inspiration from traditional typography used in prestigious publications and academic institutions. These serifs aren’t just decorative – they’re a nod to centuries of refined typographic tradition. Elegant Proportions: Preppy fonts tend to have well-balanced letterforms with moderate contrast between thick and thin strokes. They’re neither too delicate nor too bold – just perfectly poised, like a well-tailored blazer. Timeless Appeal: The best preppy fonts don’t scream “trendy.” Instead, they whisper “timeless.” They’re the typography equivalent of a strand of pearls – always appropriate, never out of style. Sophisticated Details: Look for subtle refinements in letterforms – graceful curves, well-crafted terminals, and thoughtful spacing. These details separate truly preppy fonts from their more pedestrian cousins. Heritage Inspiration: Many preppy fonts draw inspiration from historical typefaces used by Ivy League universities, prestigious publishing houses, and old-money families. This connection to tradition is what gives them their authentic preppy pedigree. Where to Use Preppy FontsPreppy fonts aren’t one-size-fits-all solutions, but when used appropriately, they’re absolutely magical. Here’s where they shine brightest: Wedding Invitations: Nothing says “elegant affair” quite like a beautifully chosen preppy serif. These fonts are perfect for formal invitations, save-the-dates, and wedding stationery that needs to feel sophisticated and timeless. Luxury Branding: Brands targeting affluent audiences or positioning themselves as premium often benefit from preppy typography. Think boutique hotels, high-end fashion, or artisanal goods. Editorial Design: Magazines, newsletters, and publications focusing on lifestyle, fashion, or culture can leverage preppy fonts to establish credibility and sophistication. Corporate Identity: Professional services, law firms, financial institutions, and consulting companies often choose preppy fonts to convey trustworthiness and establishment credibility. Academic Materials: Universities, prep schools, and educational institutions naturally gravitate toward preppy typography that reflects their traditional values and heritage. However, preppy fonts might not be the best choice for: Tech Startups: The traditional nature of preppy fonts can feel at odds with innovation and disruption. Modern sans serifs usually work better for tech companies. Children’s Brands: While elegant, preppy fonts might feel too formal for products targeting young children. Playful, rounded fonts are typically more appropriate. Casual Brands: If your brand personality is laid-back and approachable, overly formal preppy fonts might create distance between you and your audience. How to Choose the Perfect Preppy Font Selecting the right preppy font requires careful consideration of several factors. Here’s my tried-and-true process: Consider Your Audience: Are you designing for actual prep school alumni, or are you trying to capture that aspirational preppy aesthetic for a broader audience? Your target demographic should influence how traditional or accessible your font choice is. Evaluate the Context: A wedding invitation can handle more ornate details than a business card. Consider where your text will appear and how much personality the context can support. Test Readability: Preppy doesn’t mean hard to read. Always test your chosen font at various sizes to ensure it remains legible. Your typography should enhance communication, not hinder it. Think About Pairing: Will you be using this font alone or pairing it with others? Consider how your preppy serif will work alongside sans serifs for body text or script fonts for accents. Consider Your Medium: Some preppy fonts work beautifully in print but struggle on screens. Others are optimized for digital use but lose their charm in print. Choose accordingly. Pairing Preppy Fonts Like a Pro The magic of preppy typography often lies in thoughtful font pairing. Here are some winning combinations that never fail: Classic Serif + Clean Sans Serif: Pair your preppy serif headline font with a crisp, readable sans serif for body text. This creates hierarchy while maintaining sophistication. Traditional Serif + Script Accent: Use a refined script font sparingly for special elements like signatures or decorative text, balanced by a solid preppy serif for main content. Serif + Serif Variation: Sometimes pairing two serifs from the same family – perhaps a regular weight for body text and a bold condensed version for headlines – creates beautiful, cohesive designs. Remember, less is often more with preppy design. Stick to two or three fonts maximum, and let the inherent elegance of your chosen typefaces do the heavy lifting. The Psychology Behind Preppy Typography Understanding why preppy fonts work so well psychologically can help you use them more effectively. These typefaces tap into powerful associations: Trust and Reliability: The traditional nature of preppy fonts suggests stability and permanence. When people see these fonts, they subconsciously associate them with established institutions and time-tested values. Sophistication and Education: Preppy fonts are reminiscent of academic institutions and intellectual pursuits. They suggest refinement, education, and cultural awareness. Exclusivity and Status: Let’s be honest – part of the preppy aesthetic’s appeal is its association with privilege and exclusivity. These fonts can make designs feel more premium and aspirational. Quality and Craftsmanship: The careful attention to typographic detail in preppy fonts suggests similar attention to quality in whatever they’re representing. Modern Takes on Classic Preppy Style While preppy fonts are rooted in tradition, the best designers know how to give them contemporary flair. Here are some ways to modernize preppy typography: Unexpected Color Palettes: Pair traditional preppy fonts with modern colors. Think sage green and cream instead of navy and white, or soft blush tones for a fresh take. Generous White Space: Give your preppy fonts room to breathe with plenty of white space. This modern approach to layout keeps traditional fonts feeling fresh and uncluttered. Mixed Media Integration: Combine preppy typography with photography, illustrations, or graphic elements for a more contemporary feel while maintaining that sophisticated foundation. Strategic Contrast: Pair your refined preppy fonts with unexpected elements – maybe a bold geometric shape or modern photography – to create dynamic tension. Preppy Font Alternatives for Every Budget Not every preppy project has a premium font budget, and that’s okay! Here are some strategies for achieving that coveted preppy look without breaking the bank: Google Fonts Gems: Fonts like Playfair Display, Crimson Text, and Libre Baskerville offer sophisticated serif options that can work beautifully for preppy designs. Font Pairing Magic: Sometimes combining two free fonts thoughtfully can create a more expensive-looking result than using a single premium font poorly. Focus on Execution: A free font used with excellent spacing, hierarchy, and layout will always look better than an expensive font used carelessly. Common Preppy Font Mistakes to Avoid Even with the perfect preppy font, poor execution can ruin the effect. Here are the most common mistakes I see designers make: Overdoing the Decoration: Just because a font has elegant details doesn’t mean you need to add more flourishes. Let the typeface’s inherent sophistication speak for itself. Ignoring Hierarchy: Preppy design relies on clear, elegant hierarchy. Don’t make everything the same size or weight – create visual flow through thoughtful typography scaling. Poor Spacing: Cramped text kills the elegant feel of preppy fonts. Give your typography generous leading and appropriate margins. Wrong Context: Using an ultra-formal preppy font for a casual pizza restaurant’s menu will feel jarring and inappropriate. Match your font choice to your content and audience. The Future of Preppy Typography As we look ahead in 2025, preppy fonts continue to evolve while maintaining their classic appeal. We’re seeing interesting trends emerge: Variable Font Technology: Modern preppy fonts are increasingly available as variable fonts, allowing designers to fine-tune weight, width, and optical size for perfect customization. Screen Optimization: Classic preppy fonts are being redrawn and optimized for digital screens without losing their traditional charm. Inclusive Preppy: Designers are expanding the preppy aesthetic beyond its traditional boundaries, creating fonts that maintain sophistication while feeling more accessible and diverse. Sustainable Design: The timeless nature of preppy fonts aligns perfectly with sustainable design principles – these typefaces won’t look dated next year, making them environmentally responsible choices. Conclusion: Embracing Timeless Elegance Preppy fonts represent more than just letterforms – they’re a gateway to timeless elegance and sophisticated communication. Whether you’re designing wedding invitations for a Martha’s Vineyard ceremony or creating brand identity for a boutique law firm, the right preppy font can elevate your work from merely professional to genuinely distinguished. The beauty of preppy typography lies in its ability to feel both traditional and fresh, formal yet approachable. These fonts have stood the test of time because they tap into something fundamental about how we perceive quality, tradition, and sophistication. As you explore the world of preppy fonts, remember that the best typography choices support your message rather than overshadowing it. Choose fonts that enhance your content’s inherent qualities and speak to your audience’s aspirations and values. So whether you’re channeling that old-money aesthetic or simply want to add a touch of refined elegance to your designs, preppy fonts offer a wealth of possibilities. After all, good typography, like good manners, never goes out of style. #preppy #fonts #with #rich #ampamp
    DESIGNWORKLIFE.COM
    50 Preppy Fonts with Rich & Fancy Vibes
    In this article:See more ▼Post may contain affiliate links which give us commissions at no cost to you.Preppy fonts capture that quintessential East Coast elite vibe – think Nantucket summers, yacht clubs, and monogrammed everything. These typefaces embody the perfect balance of tradition and refinement that makes preppy design so timeless and aspirational. But here’s the thing: not all fonts can pull off that coveted preppy aesthetic. The best preppy fonts have a certain je ne sais quoi – they’re classic without being stuffy, elegant without being pretentious, and refined without being inaccessible. In this comprehensive guide, we’ll explore the most gorgeous preppy fonts that’ll have your designs looking like they belong in the pages of Town & Country magazine. So grab your pearls and let’s dive into this typographic treasure trove! 👋 Psst... Did you know you can get unlimited downloads of 59,000+ fonts and millions of other creative assets for just $16.95/mo? Learn more »The Preppiest Fonts That Define 2025 Let’s start with the crème de la crème – the fonts that truly embody that preppy spirit. I’ve curated this list based on their ability to channel that classic New England charm while remaining versatile enough for modern design needs. Gatsby Prelude Gatsby Prelude is an elegant and modern Art Deco font duo. It combines sans-serif characters with decorative elements, perfect for creating sophisticated designs with a touch of vintage glamour.Burtuqol Burtuqol is a vintage slab serif font that exudes a retro charm. Its bold, chunky serifs and aged appearance make it ideal for projects requiring a nostalgic or timeworn aesthetic.Gafler Gafler is a classy vintage serif font with decorative elements. It combines elegance with a touch of old-world charm, making it perfect for high-end branding and classic design projects.Get 300+ Fonts for FREEEnter your email to download our 100% free "Font Lover's Bundle". For commercial & personal use. No royalties. No fees. No attribution. 100% free to use anywhere. Kagnue Kagnue is a modern and classy serif font. It offers a fresh take on traditional serif typefaces, blending contemporary design with timeless elegance for versatile use in various design contexts.The Blendinroom The Blendinroom is a retro serif typeface featuring luxurious ligatures. Its vintage-inspired design and intricate details make it ideal for creating sophisticated, old-world aesthetics in design projects.MODER BULES MODER BULES is a playful sans-serif font with a fun, childlike appeal. Its quirky design makes it perfect for kids-oriented projects or Halloween-themed designs, adding a touch of whimsy to typography.Nickey Vintage Nickey Vintage is a decorative display font with a strong vintage flair. Its bold, eye-catching characters make it ideal for headlines, logos, and designs that require a striking retro aesthetic.Ladger Ladger is a casual script font that exudes luxury and elegance. Its flowing lines and graceful curves make it perfect for logo designs, high-end branding, and projects requiring a touch of sophistication.Hadnich Hadnich is a modern script font with a brush-like quality. Its versatile design makes it suitable for various applications, from signage to branding, offering a contemporary take on handwritten typography.Belly and Park Belly and Park is a condensed beauty classic font family featuring both serif and sans-serif styles. Its vintage-inspired design and narrow characters make it ideal for creating elegant, space-efficient layouts.Loubag Loubag is a modern retro font family encompassing sans-serif, serif, and decorative styles. Its bold, fashion-forward design makes it perfect for creating eye-catching headlines and trendy branding materials.Petter And Sons Petter And Sons is a romantic beauty script font with decorative elements. Its elegant, flowing design makes it ideal for wedding invitations, luxury branding, and projects requiring a touch of refined beauty.Preteoria Preteoria is a modern cursive font with a sleek, contemporary feel. Its smooth curves and clean lines make it versatile for various design applications, from branding to digital media projects.Delauney Delauney is an Art Deco-inspired sans-serif font that captures the essence of the roaring twenties. Its geometric shapes and sleek lines make it perfect for creating designs with a bold, metropolitan flair.Amadi Vintage Amadi Vintage is a chic and beautiful serif font with a timeless appeal. Its elegant design and vintage-inspired details make it ideal for creating sophisticated, classic-looking designs and branding materials.LEDERSON LEDERSON is a vintage-inspired shadow font. Its weathered look and strong character make it perfect for designs requiring an authentic, aged aesthetic.Fancyou Fancyou is a versatile serif font with alternate characters. Its elegant design and customizable options make it suitable for a wide range of projects, from formal invitations to modern branding materials.Catterpie Font Catterpie is a handwritten script font that mimics natural handlettering. Its fluid, signature-like style makes it perfect for creating personal, authentic-looking designs and branding materials.Jemmy Wonder Jemmy Wonder is a Victorian-inspired serif font with a strong vintage character. Its ornate details and old-world charm make it ideal for creating designs with a classic, nostalgic feel.Monthey Monthey is a bold, elegant vintage display serif font. Its chunky characters and 70s-inspired design make it perfect for creating eye-catching headlines and retro-themed branding materials.Madville Madville is a classy script font with a versatile design. Its elegant curves and smooth transitions make it suitable for a wide range of projects, from formal invitations to modern branding materials.Crowk Crowk is a luxury serif font with a timeless, elegant appeal. Its refined design and classic proportions make it ideal for high-end branding, editorial layouts, and sophisticated design projects.Peachy Fantasy Peachy Fantasy is an Art Nouveau-inspired display font with decorative elements. Its vintage charm and unique character make it perfect for creating eye-catching headlines and artistic design projects.Cormier Cormier is a decorative sans-serif font with a strong artistic flair. Its unique design and fashion-forward aesthetic make it ideal for creating bold, attention-grabbing headlines and branding materials.Syntage Syntage is a decorative modern luxury font with both serif and ornamental elements. Its retro-inspired design and luxurious details make it perfect for high-end branding and sophisticated design projects.Jeniffer Selfies Jeniffer Selfies is a retro-inspired bold font combining sans-serif and script styles. Its playful design and vintage feel make it ideal for creating nostalgic, fun-loving designs and branding materials.The Rilman The Rilman is a ligature-rich rounded sans-serif font with a 90s-inspired design. Its retro charm and smooth edges make it perfect for creating playful, nostalgic designs and branding materials.Milky Croffle Milky Croffle is a classic beauty elegant serif font. Its refined design and timeless appeal make it ideal for creating sophisticated layouts, high-end branding, and projects requiring a touch of traditional elegance. What Makes a Font Feel Preppy? You might be wondering what exactly gives a font that unmistakable preppy vibe. After years of working with typography, I’ve identified several key characteristics that define the preppy aesthetic: Classic Serif Structure: Most preppy fonts are serifs, drawing inspiration from traditional typography used in prestigious publications and academic institutions. These serifs aren’t just decorative – they’re a nod to centuries of refined typographic tradition. Elegant Proportions: Preppy fonts tend to have well-balanced letterforms with moderate contrast between thick and thin strokes. They’re neither too delicate nor too bold – just perfectly poised, like a well-tailored blazer. Timeless Appeal: The best preppy fonts don’t scream “trendy.” Instead, they whisper “timeless.” They’re the typography equivalent of a strand of pearls – always appropriate, never out of style. Sophisticated Details: Look for subtle refinements in letterforms – graceful curves, well-crafted terminals, and thoughtful spacing. These details separate truly preppy fonts from their more pedestrian cousins. Heritage Inspiration: Many preppy fonts draw inspiration from historical typefaces used by Ivy League universities, prestigious publishing houses, and old-money families. This connection to tradition is what gives them their authentic preppy pedigree. Where to Use Preppy Fonts (And Where Not To) Preppy fonts aren’t one-size-fits-all solutions, but when used appropriately, they’re absolutely magical. Here’s where they shine brightest: Wedding Invitations: Nothing says “elegant affair” quite like a beautifully chosen preppy serif. These fonts are perfect for formal invitations, save-the-dates, and wedding stationery that needs to feel sophisticated and timeless. Luxury Branding: Brands targeting affluent audiences or positioning themselves as premium often benefit from preppy typography. Think boutique hotels, high-end fashion, or artisanal goods. Editorial Design: Magazines, newsletters, and publications focusing on lifestyle, fashion, or culture can leverage preppy fonts to establish credibility and sophistication. Corporate Identity: Professional services, law firms, financial institutions, and consulting companies often choose preppy fonts to convey trustworthiness and establishment credibility. Academic Materials: Universities, prep schools, and educational institutions naturally gravitate toward preppy typography that reflects their traditional values and heritage. However, preppy fonts might not be the best choice for: Tech Startups: The traditional nature of preppy fonts can feel at odds with innovation and disruption. Modern sans serifs usually work better for tech companies. Children’s Brands: While elegant, preppy fonts might feel too formal for products targeting young children. Playful, rounded fonts are typically more appropriate. Casual Brands: If your brand personality is laid-back and approachable, overly formal preppy fonts might create distance between you and your audience. How to Choose the Perfect Preppy Font Selecting the right preppy font requires careful consideration of several factors. Here’s my tried-and-true process: Consider Your Audience: Are you designing for actual prep school alumni, or are you trying to capture that aspirational preppy aesthetic for a broader audience? Your target demographic should influence how traditional or accessible your font choice is. Evaluate the Context: A wedding invitation can handle more ornate details than a business card. Consider where your text will appear and how much personality the context can support. Test Readability: Preppy doesn’t mean hard to read. Always test your chosen font at various sizes to ensure it remains legible. Your typography should enhance communication, not hinder it. Think About Pairing: Will you be using this font alone or pairing it with others? Consider how your preppy serif will work alongside sans serifs for body text or script fonts for accents. Consider Your Medium: Some preppy fonts work beautifully in print but struggle on screens. Others are optimized for digital use but lose their charm in print. Choose accordingly. Pairing Preppy Fonts Like a Pro The magic of preppy typography often lies in thoughtful font pairing. Here are some winning combinations that never fail: Classic Serif + Clean Sans Serif: Pair your preppy serif headline font with a crisp, readable sans serif for body text. This creates hierarchy while maintaining sophistication. Traditional Serif + Script Accent: Use a refined script font sparingly for special elements like signatures or decorative text, balanced by a solid preppy serif for main content. Serif + Serif Variation: Sometimes pairing two serifs from the same family – perhaps a regular weight for body text and a bold condensed version for headlines – creates beautiful, cohesive designs. Remember, less is often more with preppy design. Stick to two or three fonts maximum, and let the inherent elegance of your chosen typefaces do the heavy lifting. The Psychology Behind Preppy Typography Understanding why preppy fonts work so well psychologically can help you use them more effectively. These typefaces tap into powerful associations: Trust and Reliability: The traditional nature of preppy fonts suggests stability and permanence. When people see these fonts, they subconsciously associate them with established institutions and time-tested values. Sophistication and Education: Preppy fonts are reminiscent of academic institutions and intellectual pursuits. They suggest refinement, education, and cultural awareness. Exclusivity and Status: Let’s be honest – part of the preppy aesthetic’s appeal is its association with privilege and exclusivity. These fonts can make designs feel more premium and aspirational. Quality and Craftsmanship: The careful attention to typographic detail in preppy fonts suggests similar attention to quality in whatever they’re representing. Modern Takes on Classic Preppy Style While preppy fonts are rooted in tradition, the best designers know how to give them contemporary flair. Here are some ways to modernize preppy typography: Unexpected Color Palettes: Pair traditional preppy fonts with modern colors. Think sage green and cream instead of navy and white, or soft blush tones for a fresh take. Generous White Space: Give your preppy fonts room to breathe with plenty of white space. This modern approach to layout keeps traditional fonts feeling fresh and uncluttered. Mixed Media Integration: Combine preppy typography with photography, illustrations, or graphic elements for a more contemporary feel while maintaining that sophisticated foundation. Strategic Contrast: Pair your refined preppy fonts with unexpected elements – maybe a bold geometric shape or modern photography – to create dynamic tension. Preppy Font Alternatives for Every Budget Not every preppy project has a premium font budget, and that’s okay! Here are some strategies for achieving that coveted preppy look without breaking the bank: Google Fonts Gems: Fonts like Playfair Display, Crimson Text, and Libre Baskerville offer sophisticated serif options that can work beautifully for preppy designs. Font Pairing Magic: Sometimes combining two free fonts thoughtfully can create a more expensive-looking result than using a single premium font poorly. Focus on Execution: A free font used with excellent spacing, hierarchy, and layout will always look better than an expensive font used carelessly. Common Preppy Font Mistakes to Avoid Even with the perfect preppy font, poor execution can ruin the effect. Here are the most common mistakes I see designers make: Overdoing the Decoration: Just because a font has elegant details doesn’t mean you need to add more flourishes. Let the typeface’s inherent sophistication speak for itself. Ignoring Hierarchy: Preppy design relies on clear, elegant hierarchy. Don’t make everything the same size or weight – create visual flow through thoughtful typography scaling. Poor Spacing: Cramped text kills the elegant feel of preppy fonts. Give your typography generous leading and appropriate margins. Wrong Context: Using an ultra-formal preppy font for a casual pizza restaurant’s menu will feel jarring and inappropriate. Match your font choice to your content and audience. The Future of Preppy Typography As we look ahead in 2025, preppy fonts continue to evolve while maintaining their classic appeal. We’re seeing interesting trends emerge: Variable Font Technology: Modern preppy fonts are increasingly available as variable fonts, allowing designers to fine-tune weight, width, and optical size for perfect customization. Screen Optimization: Classic preppy fonts are being redrawn and optimized for digital screens without losing their traditional charm. Inclusive Preppy: Designers are expanding the preppy aesthetic beyond its traditional boundaries, creating fonts that maintain sophistication while feeling more accessible and diverse. Sustainable Design: The timeless nature of preppy fonts aligns perfectly with sustainable design principles – these typefaces won’t look dated next year, making them environmentally responsible choices. Conclusion: Embracing Timeless Elegance Preppy fonts represent more than just letterforms – they’re a gateway to timeless elegance and sophisticated communication. Whether you’re designing wedding invitations for a Martha’s Vineyard ceremony or creating brand identity for a boutique law firm, the right preppy font can elevate your work from merely professional to genuinely distinguished. The beauty of preppy typography lies in its ability to feel both traditional and fresh, formal yet approachable. These fonts have stood the test of time because they tap into something fundamental about how we perceive quality, tradition, and sophistication. As you explore the world of preppy fonts, remember that the best typography choices support your message rather than overshadowing it. Choose fonts that enhance your content’s inherent qualities and speak to your audience’s aspirations and values. So whether you’re channeling that old-money aesthetic or simply want to add a touch of refined elegance to your designs, preppy fonts offer a wealth of possibilities. After all, good typography, like good manners, never goes out of style.
    Like
    Love
    Wow
    Sad
    Angry
    518
    0 Commentaires 0 Parts
  • Malicious PyPI Package Masquerades as Chimera Module to Steal AWS, CI/CD, and macOS Data

    Jun 16, 2025Ravie LakshmananMalware / DevOps

    Cybersecurity researchers have discovered a malicious package on the Python Package Indexrepository that's capable of harvesting sensitive developer-related information, such as credentials, configuration data, and environment variables, among others.
    The package, named chimera-sandbox-extensions, attracted 143 downloads and likely targets users of a service called Chimera Sandbox, which was released by Singaporean tech company Grab last August to facilitate "experimentation and development ofsolutions."
    The package masquerades as a helper module for Chimera Sandbox, but "aims to steal credentials and other sensitive information such as Jamf configuration, CI/CD environment variables, AWS tokens, and more," JFrog security researcher Guy Korolevski said in a report published last week.
    Once installed, it attempts to connect to an external domain whose domain name is generated using a domain generation algorithmin order to download and execute a next-stage payload.
    Specifically, the malware acquires from the domain an authentication token, which is then used to send a request to the same domain and retrieve the Python-based information stealer.

    The stealer malware is equipped to siphon a wide range of data from infected machines. This includes -

    JAMF receipts, which are records of software packages installed by Jamf Pro on managed computers
    Pod sandbox environment authentication tokens and git information
    CI/CD information from environment variables
    Zscaler host configuration
    Amazon Web Services account information and tokens
    Public IP address
    General platform, user, and host information

    The kind of data gathered by the malware shows that it's mainly geared towards corporate and cloud infrastructure. In addition, the extraction of JAMF receipts indicates that it's also capable of targeting Apple macOS systems.
    The collected information is sent via a POST request back to the same domain, after which the server assesses if the machine is a worthy target for further exploitation. However, JFrog said it was unable to obtain the payload at the time of analysis.
    "The targeted approach employed by this malware, along with the complexity of its multi-stage targeted payload, distinguishes it from the more generic open-source malware threats we have encountered thus far, highlighting the advancements that malicious packages have made recently," Jonathan Sar Shalom, director of threat research at JFrog Security Research team, said.

    "This new sophistication of malware underscores why development teams remain vigilant with updates—alongside proactive security research – to defend against emerging threats and maintain software integrity."
    The disclosure comes as SafeDep and Veracode detailed a number of malware-laced npm packages that are designed to execute remote code and download additional payloads. The packages in question are listed below -

    eslint-config-airbnb-compatts-runtime-compat-checksolders@mediawave/libAll the identified npm packages have since been taken down from npm, but not before they were downloaded hundreds of times from the package registry.
    SafeDep's analysis of eslint-config-airbnb-compat found that the JavaScript library has ts-runtime-compat-check listed as a dependency, which, in turn, contacts an external server defined in the former packageto retrieve and execute a Base64-encoded string. The exact nature of the payload is unknown.
    "It implements a multi-stage remote code execution attack using a transitive dependency to hide the malicious code," SafeDep researcher Kunal Singh said.
    Solders, on the other hand, has been found to incorporate a post-install script in its package.json, causing the malicious code to be automatically executed as soon as the package is installed.
    "At first glance, it's hard to believe that this is actually valid JavaScript," the Veracode Threat Research team said. "It looks like a seemingly random collection of Japanese symbols. It turns out that this particular obfuscation scheme uses the Unicode characters as variable names and a sophisticated chain of dynamic code generation to work."
    Decoding the script reveals an extra layer of obfuscation, unpacking which reveals its main function: Check if the compromised machine is Windows, and if so, run a PowerShell command to retrieve a next-stage payload from a remote server.
    This second-stage PowerShell script, also obscured, is designed to fetch a Windows batch script from another domainand configures a Windows Defender Antivirus exclusion list to avoid detection. The batch script then paves the way for the execution of a .NET DLL that reaches out to a PNG image hosted on ImgBB.
    "is grabbing the last two pixels from this image and then looping through some data contained elsewhere in it," Veracode said. "It ultimately builds up in memory YET ANOTHER .NET DLL."

    Furthermore, the DLL is equipped to create task scheduler entries and features the ability to bypass user account controlusing a combination of FodHelper.exe and programmatic identifiersto evade defenses and avoid triggering any security alerts to the user.
    The newly-downloaded DLL is Pulsar RAT, a "free, open-source Remote Administration Tool for Windows" and a variant of the Quasar RAT.
    "From a wall of Japanese characters to a RAT hidden within the pixels of a PNG file, the attacker went to extraordinary lengths to conceal their payload, nesting it a dozen layers deep to evade detection," Veracode said. "While the attacker's ultimate objective for deploying the Pulsar RAT remains unclear, the sheer complexity of this delivery mechanism is a powerful indicator of malicious intent."
    Crypto Malware in the Open-Source Supply Chain
    The findings also coincide with a report from Socket that identified credential stealers, cryptocurrency drainers, cryptojackers, and clippers as the main types of threats targeting the cryptocurrency and blockchain development ecosystem.

    Some of the examples of these packages include -

    express-dompurify and pumptoolforvolumeandcomment, which are capable of harvesting browser credentials and cryptocurrency wallet keys
    bs58js, which drains a victim's wallet and uses multi-hop transfers to obscure theft and frustrate forensic tracing.
    lsjglsjdv, asyncaiosignal, and raydium-sdk-liquidity-init, which functions as a clipper to monitor the system clipboard for cryptocurrency wallet strings and replace them with threat actor‑controlled addresses to reroute transactions to the attackers

    "As Web3 development converges with mainstream software engineering, the attack surface for blockchain-focused projects is expanding in both scale and complexity," Socket security researcher Kirill Boychenko said.
    "Financially motivated threat actors and state-sponsored groups are rapidly evolving their tactics to exploit systemic weaknesses in the software supply chain. These campaigns are iterative, persistent, and increasingly tailored to high-value targets."
    AI and Slopsquatting
    The rise of artificial intelligence-assisted coding, also called vibe coding, has unleashed another novel threat in the form of slopsquatting, where large language modelscan hallucinate non-existent but plausible package names that bad actors can weaponize to conduct supply chain attacks.
    Trend Micro, in a report last week, said it observed an unnamed advanced agent "confidently" cooking up a phantom Python package named starlette-reverse-proxy, only for the build process to crash with the error "module not found." However, should an adversary upload a package with the same name on the repository, it can have serious security consequences.

    Furthermore, the cybersecurity company noted that advanced coding agents and workflows such as Claude Code CLI, OpenAI Codex CLI, and Cursor AI with Model Context Protocol-backed validation can help reduce, but not completely eliminate, the risk of slopsquatting.
    "When agents hallucinate dependencies or install unverified packages, they create an opportunity for slopsquatting attacks, in which malicious actors pre-register those same hallucinated names on public registries," security researcher Sean Park said.
    "While reasoning-enhanced agents can reduce the rate of phantom suggestions by approximately half, they do not eliminate them entirely. Even the vibe-coding workflow augmented with live MCP validations achieves the lowest rates of slip-through, but still misses edge cases."

    Found this article interesting? Follow us on Twitter  and LinkedIn to read more exclusive content we post.

    SHARE




    #malicious #pypi #package #masquerades #chimera
    Malicious PyPI Package Masquerades as Chimera Module to Steal AWS, CI/CD, and macOS Data
    Jun 16, 2025Ravie LakshmananMalware / DevOps Cybersecurity researchers have discovered a malicious package on the Python Package Indexrepository that's capable of harvesting sensitive developer-related information, such as credentials, configuration data, and environment variables, among others. The package, named chimera-sandbox-extensions, attracted 143 downloads and likely targets users of a service called Chimera Sandbox, which was released by Singaporean tech company Grab last August to facilitate "experimentation and development ofsolutions." The package masquerades as a helper module for Chimera Sandbox, but "aims to steal credentials and other sensitive information such as Jamf configuration, CI/CD environment variables, AWS tokens, and more," JFrog security researcher Guy Korolevski said in a report published last week. Once installed, it attempts to connect to an external domain whose domain name is generated using a domain generation algorithmin order to download and execute a next-stage payload. Specifically, the malware acquires from the domain an authentication token, which is then used to send a request to the same domain and retrieve the Python-based information stealer. The stealer malware is equipped to siphon a wide range of data from infected machines. This includes - JAMF receipts, which are records of software packages installed by Jamf Pro on managed computers Pod sandbox environment authentication tokens and git information CI/CD information from environment variables Zscaler host configuration Amazon Web Services account information and tokens Public IP address General platform, user, and host information The kind of data gathered by the malware shows that it's mainly geared towards corporate and cloud infrastructure. In addition, the extraction of JAMF receipts indicates that it's also capable of targeting Apple macOS systems. The collected information is sent via a POST request back to the same domain, after which the server assesses if the machine is a worthy target for further exploitation. However, JFrog said it was unable to obtain the payload at the time of analysis. "The targeted approach employed by this malware, along with the complexity of its multi-stage targeted payload, distinguishes it from the more generic open-source malware threats we have encountered thus far, highlighting the advancements that malicious packages have made recently," Jonathan Sar Shalom, director of threat research at JFrog Security Research team, said. "This new sophistication of malware underscores why development teams remain vigilant with updates—alongside proactive security research – to defend against emerging threats and maintain software integrity." The disclosure comes as SafeDep and Veracode detailed a number of malware-laced npm packages that are designed to execute remote code and download additional payloads. The packages in question are listed below - eslint-config-airbnb-compatts-runtime-compat-checksolders@mediawave/libAll the identified npm packages have since been taken down from npm, but not before they were downloaded hundreds of times from the package registry. SafeDep's analysis of eslint-config-airbnb-compat found that the JavaScript library has ts-runtime-compat-check listed as a dependency, which, in turn, contacts an external server defined in the former packageto retrieve and execute a Base64-encoded string. The exact nature of the payload is unknown. "It implements a multi-stage remote code execution attack using a transitive dependency to hide the malicious code," SafeDep researcher Kunal Singh said. Solders, on the other hand, has been found to incorporate a post-install script in its package.json, causing the malicious code to be automatically executed as soon as the package is installed. "At first glance, it's hard to believe that this is actually valid JavaScript," the Veracode Threat Research team said. "It looks like a seemingly random collection of Japanese symbols. It turns out that this particular obfuscation scheme uses the Unicode characters as variable names and a sophisticated chain of dynamic code generation to work." Decoding the script reveals an extra layer of obfuscation, unpacking which reveals its main function: Check if the compromised machine is Windows, and if so, run a PowerShell command to retrieve a next-stage payload from a remote server. This second-stage PowerShell script, also obscured, is designed to fetch a Windows batch script from another domainand configures a Windows Defender Antivirus exclusion list to avoid detection. The batch script then paves the way for the execution of a .NET DLL that reaches out to a PNG image hosted on ImgBB. "is grabbing the last two pixels from this image and then looping through some data contained elsewhere in it," Veracode said. "It ultimately builds up in memory YET ANOTHER .NET DLL." Furthermore, the DLL is equipped to create task scheduler entries and features the ability to bypass user account controlusing a combination of FodHelper.exe and programmatic identifiersto evade defenses and avoid triggering any security alerts to the user. The newly-downloaded DLL is Pulsar RAT, a "free, open-source Remote Administration Tool for Windows" and a variant of the Quasar RAT. "From a wall of Japanese characters to a RAT hidden within the pixels of a PNG file, the attacker went to extraordinary lengths to conceal their payload, nesting it a dozen layers deep to evade detection," Veracode said. "While the attacker's ultimate objective for deploying the Pulsar RAT remains unclear, the sheer complexity of this delivery mechanism is a powerful indicator of malicious intent." Crypto Malware in the Open-Source Supply Chain The findings also coincide with a report from Socket that identified credential stealers, cryptocurrency drainers, cryptojackers, and clippers as the main types of threats targeting the cryptocurrency and blockchain development ecosystem. Some of the examples of these packages include - express-dompurify and pumptoolforvolumeandcomment, which are capable of harvesting browser credentials and cryptocurrency wallet keys bs58js, which drains a victim's wallet and uses multi-hop transfers to obscure theft and frustrate forensic tracing. lsjglsjdv, asyncaiosignal, and raydium-sdk-liquidity-init, which functions as a clipper to monitor the system clipboard for cryptocurrency wallet strings and replace them with threat actor‑controlled addresses to reroute transactions to the attackers "As Web3 development converges with mainstream software engineering, the attack surface for blockchain-focused projects is expanding in both scale and complexity," Socket security researcher Kirill Boychenko said. "Financially motivated threat actors and state-sponsored groups are rapidly evolving their tactics to exploit systemic weaknesses in the software supply chain. These campaigns are iterative, persistent, and increasingly tailored to high-value targets." AI and Slopsquatting The rise of artificial intelligence-assisted coding, also called vibe coding, has unleashed another novel threat in the form of slopsquatting, where large language modelscan hallucinate non-existent but plausible package names that bad actors can weaponize to conduct supply chain attacks. Trend Micro, in a report last week, said it observed an unnamed advanced agent "confidently" cooking up a phantom Python package named starlette-reverse-proxy, only for the build process to crash with the error "module not found." However, should an adversary upload a package with the same name on the repository, it can have serious security consequences. Furthermore, the cybersecurity company noted that advanced coding agents and workflows such as Claude Code CLI, OpenAI Codex CLI, and Cursor AI with Model Context Protocol-backed validation can help reduce, but not completely eliminate, the risk of slopsquatting. "When agents hallucinate dependencies or install unverified packages, they create an opportunity for slopsquatting attacks, in which malicious actors pre-register those same hallucinated names on public registries," security researcher Sean Park said. "While reasoning-enhanced agents can reduce the rate of phantom suggestions by approximately half, they do not eliminate them entirely. Even the vibe-coding workflow augmented with live MCP validations achieves the lowest rates of slip-through, but still misses edge cases." Found this article interesting? Follow us on Twitter  and LinkedIn to read more exclusive content we post. SHARE     #malicious #pypi #package #masquerades #chimera
    THEHACKERNEWS.COM
    Malicious PyPI Package Masquerades as Chimera Module to Steal AWS, CI/CD, and macOS Data
    Jun 16, 2025Ravie LakshmananMalware / DevOps Cybersecurity researchers have discovered a malicious package on the Python Package Index (PyPI) repository that's capable of harvesting sensitive developer-related information, such as credentials, configuration data, and environment variables, among others. The package, named chimera-sandbox-extensions, attracted 143 downloads and likely targets users of a service called Chimera Sandbox, which was released by Singaporean tech company Grab last August to facilitate "experimentation and development of [machine learning] solutions." The package masquerades as a helper module for Chimera Sandbox, but "aims to steal credentials and other sensitive information such as Jamf configuration, CI/CD environment variables, AWS tokens, and more," JFrog security researcher Guy Korolevski said in a report published last week. Once installed, it attempts to connect to an external domain whose domain name is generated using a domain generation algorithm (DGA) in order to download and execute a next-stage payload. Specifically, the malware acquires from the domain an authentication token, which is then used to send a request to the same domain and retrieve the Python-based information stealer. The stealer malware is equipped to siphon a wide range of data from infected machines. This includes - JAMF receipts, which are records of software packages installed by Jamf Pro on managed computers Pod sandbox environment authentication tokens and git information CI/CD information from environment variables Zscaler host configuration Amazon Web Services account information and tokens Public IP address General platform, user, and host information The kind of data gathered by the malware shows that it's mainly geared towards corporate and cloud infrastructure. In addition, the extraction of JAMF receipts indicates that it's also capable of targeting Apple macOS systems. The collected information is sent via a POST request back to the same domain, after which the server assesses if the machine is a worthy target for further exploitation. However, JFrog said it was unable to obtain the payload at the time of analysis. "The targeted approach employed by this malware, along with the complexity of its multi-stage targeted payload, distinguishes it from the more generic open-source malware threats we have encountered thus far, highlighting the advancements that malicious packages have made recently," Jonathan Sar Shalom, director of threat research at JFrog Security Research team, said. "This new sophistication of malware underscores why development teams remain vigilant with updates—alongside proactive security research – to defend against emerging threats and maintain software integrity." The disclosure comes as SafeDep and Veracode detailed a number of malware-laced npm packages that are designed to execute remote code and download additional payloads. The packages in question are listed below - eslint-config-airbnb-compat (676 Downloads) ts-runtime-compat-check (1,588 Downloads) solders (983 Downloads) @mediawave/lib (386 Downloads) All the identified npm packages have since been taken down from npm, but not before they were downloaded hundreds of times from the package registry. SafeDep's analysis of eslint-config-airbnb-compat found that the JavaScript library has ts-runtime-compat-check listed as a dependency, which, in turn, contacts an external server defined in the former package ("proxy.eslint-proxy[.]site") to retrieve and execute a Base64-encoded string. The exact nature of the payload is unknown. "It implements a multi-stage remote code execution attack using a transitive dependency to hide the malicious code," SafeDep researcher Kunal Singh said. Solders, on the other hand, has been found to incorporate a post-install script in its package.json, causing the malicious code to be automatically executed as soon as the package is installed. "At first glance, it's hard to believe that this is actually valid JavaScript," the Veracode Threat Research team said. "It looks like a seemingly random collection of Japanese symbols. It turns out that this particular obfuscation scheme uses the Unicode characters as variable names and a sophisticated chain of dynamic code generation to work." Decoding the script reveals an extra layer of obfuscation, unpacking which reveals its main function: Check if the compromised machine is Windows, and if so, run a PowerShell command to retrieve a next-stage payload from a remote server ("firewall[.]tel"). This second-stage PowerShell script, also obscured, is designed to fetch a Windows batch script from another domain ("cdn.audiowave[.]org") and configures a Windows Defender Antivirus exclusion list to avoid detection. The batch script then paves the way for the execution of a .NET DLL that reaches out to a PNG image hosted on ImgBB ("i.ibb[.]co"). "[The DLL] is grabbing the last two pixels from this image and then looping through some data contained elsewhere in it," Veracode said. "It ultimately builds up in memory YET ANOTHER .NET DLL." Furthermore, the DLL is equipped to create task scheduler entries and features the ability to bypass user account control (UAC) using a combination of FodHelper.exe and programmatic identifiers (ProgIDs) to evade defenses and avoid triggering any security alerts to the user. The newly-downloaded DLL is Pulsar RAT, a "free, open-source Remote Administration Tool for Windows" and a variant of the Quasar RAT. "From a wall of Japanese characters to a RAT hidden within the pixels of a PNG file, the attacker went to extraordinary lengths to conceal their payload, nesting it a dozen layers deep to evade detection," Veracode said. "While the attacker's ultimate objective for deploying the Pulsar RAT remains unclear, the sheer complexity of this delivery mechanism is a powerful indicator of malicious intent." Crypto Malware in the Open-Source Supply Chain The findings also coincide with a report from Socket that identified credential stealers, cryptocurrency drainers, cryptojackers, and clippers as the main types of threats targeting the cryptocurrency and blockchain development ecosystem. Some of the examples of these packages include - express-dompurify and pumptoolforvolumeandcomment, which are capable of harvesting browser credentials and cryptocurrency wallet keys bs58js, which drains a victim's wallet and uses multi-hop transfers to obscure theft and frustrate forensic tracing. lsjglsjdv, asyncaiosignal, and raydium-sdk-liquidity-init, which functions as a clipper to monitor the system clipboard for cryptocurrency wallet strings and replace them with threat actor‑controlled addresses to reroute transactions to the attackers "As Web3 development converges with mainstream software engineering, the attack surface for blockchain-focused projects is expanding in both scale and complexity," Socket security researcher Kirill Boychenko said. "Financially motivated threat actors and state-sponsored groups are rapidly evolving their tactics to exploit systemic weaknesses in the software supply chain. These campaigns are iterative, persistent, and increasingly tailored to high-value targets." AI and Slopsquatting The rise of artificial intelligence (AI)-assisted coding, also called vibe coding, has unleashed another novel threat in the form of slopsquatting, where large language models (LLMs) can hallucinate non-existent but plausible package names that bad actors can weaponize to conduct supply chain attacks. Trend Micro, in a report last week, said it observed an unnamed advanced agent "confidently" cooking up a phantom Python package named starlette-reverse-proxy, only for the build process to crash with the error "module not found." However, should an adversary upload a package with the same name on the repository, it can have serious security consequences. Furthermore, the cybersecurity company noted that advanced coding agents and workflows such as Claude Code CLI, OpenAI Codex CLI, and Cursor AI with Model Context Protocol (MCP)-backed validation can help reduce, but not completely eliminate, the risk of slopsquatting. "When agents hallucinate dependencies or install unverified packages, they create an opportunity for slopsquatting attacks, in which malicious actors pre-register those same hallucinated names on public registries," security researcher Sean Park said. "While reasoning-enhanced agents can reduce the rate of phantom suggestions by approximately half, they do not eliminate them entirely. Even the vibe-coding workflow augmented with live MCP validations achieves the lowest rates of slip-through, but still misses edge cases." Found this article interesting? Follow us on Twitter  and LinkedIn to read more exclusive content we post. SHARE    
    Like
    Love
    Wow
    Sad
    Angry
    514
    2 Commentaires 0 Parts
  • Dispatch offers something new for superhero video games — engaging deskwork

    While we’ve had plenty of superhero games come out over the past decade and a half, most have either been open-world adventures or fighting games. I’m as excited as anyone for the upcoming Marvel Tōkon and Invincible VS, but I’m also ready for a little something different. That’s where Dispatch from AdHoc Studio comes in.

    Dispatch is a game made for people who enjoy watching a rerun of The Office as a palate cleanser after the bloody battles of Invincible. So, me. You’re cast as Robert Robertson, the former superhero known as Mecha Man. He has to step away from frontline superheroics as the mech suit he relied on was destroyed in battle. Needing a job, he starts work at a dispatch center for superheroes, and the demo takes you through a small, 30-minute chunk of his first day.

    You’ll notice Dispatch’s crude humor early on. The first thing you can do in Dispatch is give a colleague a “bro fist” at a urinal, and the juvenile jokes don’t stop there. Middle school boys are going to love it, though I’d be lying if I said a few of the jokes didn’t get chuckles from me.

    Another of Robertson’s co-workers, who also used to be a superhero until his powers caused him to rapidly age, introduces Robertson’s team of misfit heroes, though that term should be used loosely. He notes they’re a “motley crew of dangerous fuck-ups” as Robertson examines their files, each with a mugshot and rapsheet. Robertson isn’t in charge of the Avengers — he’s leading a D-List Suicide Squad. The cast, however, is full of A-listers: Laura Bailey, Matthew Mercer, Aaron Paul, and Jeffrey Wright are among those lending their voices to Dispatch.

    Much like The Boys, Dispatch plays with the idea of the corporatization of superheroes. These heroes aren’t a lone Spider-Man swinging through Manhattan on patrol — they’re employees waiting for an assignment. Gameplay consists of matching the righthero to the job. Some assignments I saw in the demo included breaking up a robbery, catching a 12-year-old thief, and grabbing a kid’s balloon from a tree while also making sure the kid didn’t cry. Seeing as how one of your misfits is a literal bat man and another looks like a tiefling, you have to choose wisely.

    The real draw of Dispatch for me isn’t the point-and-click assignment gameplay, but rather the choice-based dialogue. It’s developed by AdHoc Studio, which was formed in 2018 by former developers who had worked on Telltale titles like The Wolf Among Us, The Walking Dead, and Tales from the Borderlands, and you can easily see the throughline from those titles to Dispatch. At various points, you have a limited time to select Robertson’s dialogue, and occasionally a pop-up saying a character “will remember that” appears. How much Robertson’s choices actually have consequences or influence his relationships with others remains to be seen, though I have no doubt those choices will be fun to make.

    After its reveal at The Game Awards six months ago, Dispatch will be coming to Windows PC and unspecified consoles sometime this year. You can check out its demo now on Steam.
    #dispatch #offers #something #new #superhero
    Dispatch offers something new for superhero video games — engaging deskwork
    While we’ve had plenty of superhero games come out over the past decade and a half, most have either been open-world adventures or fighting games. I’m as excited as anyone for the upcoming Marvel Tōkon and Invincible VS, but I’m also ready for a little something different. That’s where Dispatch from AdHoc Studio comes in. Dispatch is a game made for people who enjoy watching a rerun of The Office as a palate cleanser after the bloody battles of Invincible. So, me. You’re cast as Robert Robertson, the former superhero known as Mecha Man. He has to step away from frontline superheroics as the mech suit he relied on was destroyed in battle. Needing a job, he starts work at a dispatch center for superheroes, and the demo takes you through a small, 30-minute chunk of his first day. You’ll notice Dispatch’s crude humor early on. The first thing you can do in Dispatch is give a colleague a “bro fist” at a urinal, and the juvenile jokes don’t stop there. Middle school boys are going to love it, though I’d be lying if I said a few of the jokes didn’t get chuckles from me. Another of Robertson’s co-workers, who also used to be a superhero until his powers caused him to rapidly age, introduces Robertson’s team of misfit heroes, though that term should be used loosely. He notes they’re a “motley crew of dangerous fuck-ups” as Robertson examines their files, each with a mugshot and rapsheet. Robertson isn’t in charge of the Avengers — he’s leading a D-List Suicide Squad. The cast, however, is full of A-listers: Laura Bailey, Matthew Mercer, Aaron Paul, and Jeffrey Wright are among those lending their voices to Dispatch. Much like The Boys, Dispatch plays with the idea of the corporatization of superheroes. These heroes aren’t a lone Spider-Man swinging through Manhattan on patrol — they’re employees waiting for an assignment. Gameplay consists of matching the righthero to the job. Some assignments I saw in the demo included breaking up a robbery, catching a 12-year-old thief, and grabbing a kid’s balloon from a tree while also making sure the kid didn’t cry. Seeing as how one of your misfits is a literal bat man and another looks like a tiefling, you have to choose wisely. The real draw of Dispatch for me isn’t the point-and-click assignment gameplay, but rather the choice-based dialogue. It’s developed by AdHoc Studio, which was formed in 2018 by former developers who had worked on Telltale titles like The Wolf Among Us, The Walking Dead, and Tales from the Borderlands, and you can easily see the throughline from those titles to Dispatch. At various points, you have a limited time to select Robertson’s dialogue, and occasionally a pop-up saying a character “will remember that” appears. How much Robertson’s choices actually have consequences or influence his relationships with others remains to be seen, though I have no doubt those choices will be fun to make. After its reveal at The Game Awards six months ago, Dispatch will be coming to Windows PC and unspecified consoles sometime this year. You can check out its demo now on Steam. #dispatch #offers #something #new #superhero
    WWW.POLYGON.COM
    Dispatch offers something new for superhero video games — engaging deskwork
    While we’ve had plenty of superhero games come out over the past decade and a half (and I’m always down for more), most have either been open-world adventures or fighting games. I’m as excited as anyone for the upcoming Marvel Tōkon and Invincible VS, but I’m also ready for a little something different. That’s where Dispatch from AdHoc Studio comes in. Dispatch is a game made for people who enjoy watching a rerun of The Office as a palate cleanser after the bloody battles of Invincible. So, me. You’re cast as Robert Robertson, the former superhero known as Mecha Man. He has to step away from frontline superheroics as the mech suit he relied on was destroyed in battle. Needing a job, he starts work at a dispatch center for superheroes, and the demo takes you through a small, 30-minute chunk of his first day. You’ll notice Dispatch’s crude humor early on. The first thing you can do in Dispatch is give a colleague a “bro fist” at a urinal, and the juvenile jokes don’t stop there. Middle school boys are going to love it, though I’d be lying if I said a few of the jokes didn’t get chuckles from me. Another of Robertson’s co-workers, who also used to be a superhero until his powers caused him to rapidly age, introduces Robertson’s team of misfit heroes, though that term should be used loosely. He notes they’re a “motley crew of dangerous fuck-ups” as Robertson examines their files, each with a mugshot and rapsheet. Robertson isn’t in charge of the Avengers — he’s leading a D-List Suicide Squad. The cast, however, is full of A-listers: Laura Bailey, Matthew Mercer, Aaron Paul, and Jeffrey Wright are among those lending their voices to Dispatch. Much like The Boys, Dispatch plays with the idea of the corporatization of superheroes (though without the satire of and parallels to modern-day politics). These heroes aren’t a lone Spider-Man swinging through Manhattan on patrol — they’re employees waiting for an assignment. Gameplay consists of matching the right (or perhaps “good enough”) hero to the job. Some assignments I saw in the demo included breaking up a robbery, catching a 12-year-old thief, and grabbing a kid’s balloon from a tree while also making sure the kid didn’t cry. Seeing as how one of your misfits is a literal bat man and another looks like a tiefling, you have to choose wisely. The real draw of Dispatch for me isn’t the point-and-click assignment gameplay, but rather the choice-based dialogue. It’s developed by AdHoc Studio, which was formed in 2018 by former developers who had worked on Telltale titles like The Wolf Among Us, The Walking Dead, and Tales from the Borderlands, and you can easily see the throughline from those titles to Dispatch. At various points, you have a limited time to select Robertson’s dialogue, and occasionally a pop-up saying a character “will remember that” appears. How much Robertson’s choices actually have consequences or influence his relationships with others remains to be seen, though I have no doubt those choices will be fun to make. After its reveal at The Game Awards six months ago, Dispatch will be coming to Windows PC and unspecified consoles sometime this year. You can check out its demo now on Steam.
    Like
    Love
    Wow
    Sad
    Angry
    431
    0 Commentaires 0 Parts
  • Cape to Cairo: the making and unmaking of colonial road networks

    In 2024, Egypt completed its 1,155km stretch of the Cairo–Cape Town Highway, a 10,228km‑long road connecting 10 African countries – Egypt, Sudan, South Sudan, Ethiopia, Kenya, Tanzania, Zambia, Zimbabwe, Botswana and South Africa.  
    The imaginary of ‘Cape to Cairo’ is not new. In 1874, editor of the Daily Telegraph Edwin Arnold proposed a plan to connect the African continent by rail, a project that came to be known as the Cape to Cairo Railway project. Cecil Rhodes expressed his support for the project, seeing it as a means to connect the various ‘possessions’ of the British Empire across Africa, facilitating the movement of troops and natural resources. This railway project was never completed, and in 1970 was overlaid by a very different attempt at connecting the Cape to Cairo, as part of the Trans‑African Highway network. This 56,683km‑long system of highways – some dating from the colonial era, some built as part of the 1970s project, and some only recently built – aimed to create lines of connection across the African continent, from north to south as well as east to west. 
    Here, postcolonial state power invested in ‘moving the continent’s people and economies from past to future’, as architectural historians Kenny Cupers and Prita Meier write in their 2020 essay ‘Infrastructure between Statehood and Selfhood: The Trans‑African Highway’. The highways were to be built with the support of Kenya’s president Jomo Kenyatta, Ghana’s president Kwame Nkrumah and Ghana’s director of social welfare Robert Gardiner, as well as the United Nations Economic Commission for Africa. This project was part of a particular historical moment during which anticolonial ideas animated most of the African continent; alongside trade, this iteration of Cape to Cairo centred social and cultural connection between African peoples. But though largely socialist in ambition, the project nevertheless engaged modernist developmentalist logics that cemented capitalism. 
    Lead image: Over a century in the making, the final stretches of the Cairo–Cape Town Highway are being finished. Egypt completed the section within its borders last year and a section over the dry Merille River in Kenya was constructed in 2019. Credit: Allan Muturi / SOPA / ZUMA / Alamy. Above: The route from Cairo to Cape Town, outlined in red, belongs to the Trans‑African Highway network, which comprises nine routes, here in black

    The project failed to fully materialise at the time, but efforts to complete the Trans‑African Highway network have been revived in the last 20 years; large parts are now complete though some links remain unbuilt and many roads are unpaved or hazardous. The most recent attempts to realise this project coincide with a new continental free trade agreement, the agreement on African Continental Free Trade Area, established in 2019, to increase trade within the continent. The contemporary manifestation of the Cairo–Cape Town Highway – also known as Trans‑African Highway4 – is marked by deepening neoliberal politics. Represented as an opportunity to boost trade and exports, connecting Egypt to African markets that the Egyptian government view as ‘untapped’, the project invokes notions of trade steeped in extraction, reflecting the neoliberal logic underpinning contemporary Egyptian governance; today, the country’s political project, led by Abdel Fattah El Sisi, is oriented towards Egyptian dominance and extraction in relation to the rest of the continent. 
    Through an allusion to markets ripe for extraction, this language brings to the fore historical forms of domination that have shaped the connections between Egypt and the rest of the continent; previous iterations of connection across the continent often reproduced forms of domination stretching from the north of the African continent to the south, including the Trans‑Saharan slave trade routes across Africa that ended in various North African and Middle Eastern territories. These networks, beginning in the 8th century and lasting until the 20th, produced racialised hierarchies across the continent, shaping North Africa into a comparably privileged space proximate to ‘Arabness’. This was a racialised division based on a civilisational narrative that saw Arabs as superior, but more importantly a political economic division resulting from the slave trade routes that produced huge profits for North Africa and the Middle East. In the contemporary moment, these racialised hierarchies are bound up in political economic dependency on the Arab Gulf states, who are themselves dependent on resource extraction, land grabbing and privatisation across the entire African continent. 
    ‘The Cairo–Cape Town Highway connects Egypt to African markets viewed as “untapped”, invoking notions steeped in extraction’
    However, this imaginary conjured by the Cairo–Cape Town Highway is countered by a network of streets scattered across Africa that traces the web of Egyptian Pan‑African solidarity across the continent. In Lusaka in Zambia, you might find yourself on Nasser Road, as you might in Mwanza in Tanzania or Luanda in Angola. In Mombasa in Kenya, you might be driving down Abdel Nasser Road; in Kampala in Uganda, you might find yourself at Nasser Road University; and in Tunis in Tunisia, you might end up on Gamal Abdel Nasser Street. These street names are a reference to Gamal Abdel Nasser, Egypt’s first postcolonial leader and president between 1956 and 1970. 
    Read against the contemporary Cairo–Cape Town Highway, these place names signal a different form of connection that brings to life Egyptian Pan‑Africanism, when solidarity was the hegemonic force connecting the continent, coming up against the notion of a natural or timeless ‘great divide’ within Africa. From the memoirs of Egyptian officials who were posted around Africa as conduits of solidarity, to the broadcasts of Radio Cairo that were heard across the continent, to the various conferences attended by anticolonial movements and postcolonial states, Egypt’s orientation towards Pan‑Africanism, beginning in the early 20th century and lasting until the 1970s, was both material and ideological. Figures and movements forged webs of solidarity with their African comrades, imagining an Africa that was united through shared commitments to ending colonialism and capitalist extraction. 
    The route between Cape Town in South Africa and Cairo in Egypt has long occupied the colonial imaginary. In 1930, Margaret Belcher and Ellen Budgell made the journey, sponsored by car brand Morris and oil company Shell
    Credit: Fox Photos / Getty
    The pair made use of the road built by British colonisers in the 19th century, and which forms the basis for the current Cairo–Cape Town Highway. The road was preceded by the 1874 Cape to Cairo Railway project, which connected the colonies of the British Empire
    Credit: Library of Congress, Geography and Map Division
    This network of eponymous streets represents attempts to inscribe anticolonial power into the materiality of the city. Street‑naming practices are one way in which the past comes into the present, ‘weaving history into the geographic fabric of everyday life’, as geographer Derek Alderman wrote in his 2002 essay ‘Street Names as Memorial Arenas’. In this vein, the renaming of streets during decolonisation marked a practice of contesting the production of colonial space. In the newly postcolonial city, renaming was a way of ‘claiming the city back’, Alderman continues. While these changes may appear discursive, it is their embedding in material spaces, through signs and maps, that make the names come to life; place names become a part of the everyday through sharing addresses or giving directions. This quality makes them powerful; consciously or unconsciously, they form part of how the spaces of the city are navigated. 
    These are traces that were once part of a dominant historical narrative; yet when they are encountered in the present, during a different historical moment, they no longer act as expressions of power but instead conjure up a moment that has long passed. A street in Lusaka named after an Egyptian general made more sense 60 years ago than it does today, yet contextualising it recovers a marginalised history of Egyptian Pan‑Africanism. 
    Markers such as street names or monuments are simultaneously markers of anticolonial struggle as well as expressions of state power – part of an attempt, by political projects such as Nasser’s, to exert their own dominance over cities, towns and villages. That such traces are expressions of both anticolonial hopes and postcolonial state power produces a sense of tension within them. For instance, Nasser’s postcolonial project in Egypt was a contradictory one; it gave life to anticolonial hopes – for instance by breaking away from European capitalism and embracing anticolonial geopolitics – while crushing many parts of the left through repression, censorship and imprisonment. Traces of Nasser found today inscribe both anticolonial promises – those that came to life and those that did not – while reproducing postcolonial power that in most instances ended in dictatorship. 
    Recent efforts to complete the route build on those of the post‑independence era – work on a section north of Nairobi started in 1968
    Credit: Associated Press / Alamy
    The Trans‑African Highway network was conceived in 1970 in the spirit of Pan‑Africanism

    At that time, the routes did not extend into South Africa, which was in the grip of apartheid. The Trans‑African Highway initiative was motivated by a desire to improve trade and centre cultural links across the continent – an ambition that was even celebrated on postage stamps

    There have been long‑standing debates about the erasure of the radical anticolonial spirit from the more conservative postcolonial states that emerged; the promises and hopes of anticolonialism, not least among them socialism and a world free of white supremacy, remain largely unrealised. Instead, by the 1970s neoliberalism emerged as a new hegemonic project. The contemporary instantiation of Cape to Cairo highlights just how pervasive neoliberal logics continue to be, despite multiple global financial crises and the 2011 Egyptian revolution demanding ‘bread, freedom, social justice’. 
    But the network of streets named after anticolonial figures and events across the world is testament to the immense power and promise of anticolonial revolution. Most of the 20th century was characterised by anticolonial struggle, decolonisation and postcolonial nation‑building, as nations across the global south gained independence from European empire and founded their own political projects. Anticolonial traces, present in street and place names, point to the possibility of solidarity as a means of reorienting colonial geographies. They are a reminder that there have been other imaginings of Cape to Cairo, and that things can be – and have been – otherwise.

    2025-06-13
    Kristina Rapacki

    Share
    #cape #cairo #making #unmaking #colonial
    Cape to Cairo: the making and unmaking of colonial road networks
    In 2024, Egypt completed its 1,155km stretch of the Cairo–Cape Town Highway, a 10,228km‑long road connecting 10 African countries – Egypt, Sudan, South Sudan, Ethiopia, Kenya, Tanzania, Zambia, Zimbabwe, Botswana and South Africa.   The imaginary of ‘Cape to Cairo’ is not new. In 1874, editor of the Daily Telegraph Edwin Arnold proposed a plan to connect the African continent by rail, a project that came to be known as the Cape to Cairo Railway project. Cecil Rhodes expressed his support for the project, seeing it as a means to connect the various ‘possessions’ of the British Empire across Africa, facilitating the movement of troops and natural resources. This railway project was never completed, and in 1970 was overlaid by a very different attempt at connecting the Cape to Cairo, as part of the Trans‑African Highway network. This 56,683km‑long system of highways – some dating from the colonial era, some built as part of the 1970s project, and some only recently built – aimed to create lines of connection across the African continent, from north to south as well as east to west.  Here, postcolonial state power invested in ‘moving the continent’s people and economies from past to future’, as architectural historians Kenny Cupers and Prita Meier write in their 2020 essay ‘Infrastructure between Statehood and Selfhood: The Trans‑African Highway’. The highways were to be built with the support of Kenya’s president Jomo Kenyatta, Ghana’s president Kwame Nkrumah and Ghana’s director of social welfare Robert Gardiner, as well as the United Nations Economic Commission for Africa. This project was part of a particular historical moment during which anticolonial ideas animated most of the African continent; alongside trade, this iteration of Cape to Cairo centred social and cultural connection between African peoples. But though largely socialist in ambition, the project nevertheless engaged modernist developmentalist logics that cemented capitalism.  Lead image: Over a century in the making, the final stretches of the Cairo–Cape Town Highway are being finished. Egypt completed the section within its borders last year and a section over the dry Merille River in Kenya was constructed in 2019. Credit: Allan Muturi / SOPA / ZUMA / Alamy. Above: The route from Cairo to Cape Town, outlined in red, belongs to the Trans‑African Highway network, which comprises nine routes, here in black The project failed to fully materialise at the time, but efforts to complete the Trans‑African Highway network have been revived in the last 20 years; large parts are now complete though some links remain unbuilt and many roads are unpaved or hazardous. The most recent attempts to realise this project coincide with a new continental free trade agreement, the agreement on African Continental Free Trade Area, established in 2019, to increase trade within the continent. The contemporary manifestation of the Cairo–Cape Town Highway – also known as Trans‑African Highway4 – is marked by deepening neoliberal politics. Represented as an opportunity to boost trade and exports, connecting Egypt to African markets that the Egyptian government view as ‘untapped’, the project invokes notions of trade steeped in extraction, reflecting the neoliberal logic underpinning contemporary Egyptian governance; today, the country’s political project, led by Abdel Fattah El Sisi, is oriented towards Egyptian dominance and extraction in relation to the rest of the continent.  Through an allusion to markets ripe for extraction, this language brings to the fore historical forms of domination that have shaped the connections between Egypt and the rest of the continent; previous iterations of connection across the continent often reproduced forms of domination stretching from the north of the African continent to the south, including the Trans‑Saharan slave trade routes across Africa that ended in various North African and Middle Eastern territories. These networks, beginning in the 8th century and lasting until the 20th, produced racialised hierarchies across the continent, shaping North Africa into a comparably privileged space proximate to ‘Arabness’. This was a racialised division based on a civilisational narrative that saw Arabs as superior, but more importantly a political economic division resulting from the slave trade routes that produced huge profits for North Africa and the Middle East. In the contemporary moment, these racialised hierarchies are bound up in political economic dependency on the Arab Gulf states, who are themselves dependent on resource extraction, land grabbing and privatisation across the entire African continent.  ‘The Cairo–Cape Town Highway connects Egypt to African markets viewed as “untapped”, invoking notions steeped in extraction’ However, this imaginary conjured by the Cairo–Cape Town Highway is countered by a network of streets scattered across Africa that traces the web of Egyptian Pan‑African solidarity across the continent. In Lusaka in Zambia, you might find yourself on Nasser Road, as you might in Mwanza in Tanzania or Luanda in Angola. In Mombasa in Kenya, you might be driving down Abdel Nasser Road; in Kampala in Uganda, you might find yourself at Nasser Road University; and in Tunis in Tunisia, you might end up on Gamal Abdel Nasser Street. These street names are a reference to Gamal Abdel Nasser, Egypt’s first postcolonial leader and president between 1956 and 1970.  Read against the contemporary Cairo–Cape Town Highway, these place names signal a different form of connection that brings to life Egyptian Pan‑Africanism, when solidarity was the hegemonic force connecting the continent, coming up against the notion of a natural or timeless ‘great divide’ within Africa. From the memoirs of Egyptian officials who were posted around Africa as conduits of solidarity, to the broadcasts of Radio Cairo that were heard across the continent, to the various conferences attended by anticolonial movements and postcolonial states, Egypt’s orientation towards Pan‑Africanism, beginning in the early 20th century and lasting until the 1970s, was both material and ideological. Figures and movements forged webs of solidarity with their African comrades, imagining an Africa that was united through shared commitments to ending colonialism and capitalist extraction.  The route between Cape Town in South Africa and Cairo in Egypt has long occupied the colonial imaginary. In 1930, Margaret Belcher and Ellen Budgell made the journey, sponsored by car brand Morris and oil company Shell Credit: Fox Photos / Getty The pair made use of the road built by British colonisers in the 19th century, and which forms the basis for the current Cairo–Cape Town Highway. The road was preceded by the 1874 Cape to Cairo Railway project, which connected the colonies of the British Empire Credit: Library of Congress, Geography and Map Division This network of eponymous streets represents attempts to inscribe anticolonial power into the materiality of the city. Street‑naming practices are one way in which the past comes into the present, ‘weaving history into the geographic fabric of everyday life’, as geographer Derek Alderman wrote in his 2002 essay ‘Street Names as Memorial Arenas’. In this vein, the renaming of streets during decolonisation marked a practice of contesting the production of colonial space. In the newly postcolonial city, renaming was a way of ‘claiming the city back’, Alderman continues. While these changes may appear discursive, it is their embedding in material spaces, through signs and maps, that make the names come to life; place names become a part of the everyday through sharing addresses or giving directions. This quality makes them powerful; consciously or unconsciously, they form part of how the spaces of the city are navigated.  These are traces that were once part of a dominant historical narrative; yet when they are encountered in the present, during a different historical moment, they no longer act as expressions of power but instead conjure up a moment that has long passed. A street in Lusaka named after an Egyptian general made more sense 60 years ago than it does today, yet contextualising it recovers a marginalised history of Egyptian Pan‑Africanism.  Markers such as street names or monuments are simultaneously markers of anticolonial struggle as well as expressions of state power – part of an attempt, by political projects such as Nasser’s, to exert their own dominance over cities, towns and villages. That such traces are expressions of both anticolonial hopes and postcolonial state power produces a sense of tension within them. For instance, Nasser’s postcolonial project in Egypt was a contradictory one; it gave life to anticolonial hopes – for instance by breaking away from European capitalism and embracing anticolonial geopolitics – while crushing many parts of the left through repression, censorship and imprisonment. Traces of Nasser found today inscribe both anticolonial promises – those that came to life and those that did not – while reproducing postcolonial power that in most instances ended in dictatorship.  Recent efforts to complete the route build on those of the post‑independence era – work on a section north of Nairobi started in 1968 Credit: Associated Press / Alamy The Trans‑African Highway network was conceived in 1970 in the spirit of Pan‑Africanism At that time, the routes did not extend into South Africa, which was in the grip of apartheid. The Trans‑African Highway initiative was motivated by a desire to improve trade and centre cultural links across the continent – an ambition that was even celebrated on postage stamps There have been long‑standing debates about the erasure of the radical anticolonial spirit from the more conservative postcolonial states that emerged; the promises and hopes of anticolonialism, not least among them socialism and a world free of white supremacy, remain largely unrealised. Instead, by the 1970s neoliberalism emerged as a new hegemonic project. The contemporary instantiation of Cape to Cairo highlights just how pervasive neoliberal logics continue to be, despite multiple global financial crises and the 2011 Egyptian revolution demanding ‘bread, freedom, social justice’.  But the network of streets named after anticolonial figures and events across the world is testament to the immense power and promise of anticolonial revolution. Most of the 20th century was characterised by anticolonial struggle, decolonisation and postcolonial nation‑building, as nations across the global south gained independence from European empire and founded their own political projects. Anticolonial traces, present in street and place names, point to the possibility of solidarity as a means of reorienting colonial geographies. They are a reminder that there have been other imaginings of Cape to Cairo, and that things can be – and have been – otherwise. 2025-06-13 Kristina Rapacki Share #cape #cairo #making #unmaking #colonial
    WWW.ARCHITECTURAL-REVIEW.COM
    Cape to Cairo: the making and unmaking of colonial road networks
    In 2024, Egypt completed its 1,155km stretch of the Cairo–Cape Town Highway, a 10,228km‑long road connecting 10 African countries – Egypt, Sudan, South Sudan, Ethiopia, Kenya, Tanzania, Zambia, Zimbabwe, Botswana and South Africa.   The imaginary of ‘Cape to Cairo’ is not new. In 1874, editor of the Daily Telegraph Edwin Arnold proposed a plan to connect the African continent by rail, a project that came to be known as the Cape to Cairo Railway project. Cecil Rhodes expressed his support for the project, seeing it as a means to connect the various ‘possessions’ of the British Empire across Africa, facilitating the movement of troops and natural resources. This railway project was never completed, and in 1970 was overlaid by a very different attempt at connecting the Cape to Cairo, as part of the Trans‑African Highway network. This 56,683km‑long system of highways – some dating from the colonial era, some built as part of the 1970s project, and some only recently built – aimed to create lines of connection across the African continent, from north to south as well as east to west.  Here, postcolonial state power invested in ‘moving the continent’s people and economies from past to future’, as architectural historians Kenny Cupers and Prita Meier write in their 2020 essay ‘Infrastructure between Statehood and Selfhood: The Trans‑African Highway’. The highways were to be built with the support of Kenya’s president Jomo Kenyatta, Ghana’s president Kwame Nkrumah and Ghana’s director of social welfare Robert Gardiner, as well as the United Nations Economic Commission for Africa (UNECA). This project was part of a particular historical moment during which anticolonial ideas animated most of the African continent; alongside trade, this iteration of Cape to Cairo centred social and cultural connection between African peoples. But though largely socialist in ambition, the project nevertheless engaged modernist developmentalist logics that cemented capitalism.  Lead image: Over a century in the making, the final stretches of the Cairo–Cape Town Highway are being finished. Egypt completed the section within its borders last year and a section over the dry Merille River in Kenya was constructed in 2019. Credit: Allan Muturi / SOPA / ZUMA / Alamy. Above: The route from Cairo to Cape Town, outlined in red, belongs to the Trans‑African Highway network, which comprises nine routes, here in black The project failed to fully materialise at the time, but efforts to complete the Trans‑African Highway network have been revived in the last 20 years; large parts are now complete though some links remain unbuilt and many roads are unpaved or hazardous. The most recent attempts to realise this project coincide with a new continental free trade agreement, the agreement on African Continental Free Trade Area (AfCFTA), established in 2019, to increase trade within the continent. The contemporary manifestation of the Cairo–Cape Town Highway – also known as Trans‑African Highway (TAH) 4 – is marked by deepening neoliberal politics. Represented as an opportunity to boost trade and exports, connecting Egypt to African markets that the Egyptian government view as ‘untapped’, the project invokes notions of trade steeped in extraction, reflecting the neoliberal logic underpinning contemporary Egyptian governance; today, the country’s political project, led by Abdel Fattah El Sisi, is oriented towards Egyptian dominance and extraction in relation to the rest of the continent.  Through an allusion to markets ripe for extraction, this language brings to the fore historical forms of domination that have shaped the connections between Egypt and the rest of the continent; previous iterations of connection across the continent often reproduced forms of domination stretching from the north of the African continent to the south, including the Trans‑Saharan slave trade routes across Africa that ended in various North African and Middle Eastern territories. These networks, beginning in the 8th century and lasting until the 20th, produced racialised hierarchies across the continent, shaping North Africa into a comparably privileged space proximate to ‘Arabness’. This was a racialised division based on a civilisational narrative that saw Arabs as superior, but more importantly a political economic division resulting from the slave trade routes that produced huge profits for North Africa and the Middle East. In the contemporary moment, these racialised hierarchies are bound up in political economic dependency on the Arab Gulf states, who are themselves dependent on resource extraction, land grabbing and privatisation across the entire African continent.  ‘The Cairo–Cape Town Highway connects Egypt to African markets viewed as “untapped”, invoking notions steeped in extraction’ However, this imaginary conjured by the Cairo–Cape Town Highway is countered by a network of streets scattered across Africa that traces the web of Egyptian Pan‑African solidarity across the continent. In Lusaka in Zambia, you might find yourself on Nasser Road, as you might in Mwanza in Tanzania or Luanda in Angola. In Mombasa in Kenya, you might be driving down Abdel Nasser Road; in Kampala in Uganda, you might find yourself at Nasser Road University; and in Tunis in Tunisia, you might end up on Gamal Abdel Nasser Street. These street names are a reference to Gamal Abdel Nasser, Egypt’s first postcolonial leader and president between 1956 and 1970.  Read against the contemporary Cairo–Cape Town Highway, these place names signal a different form of connection that brings to life Egyptian Pan‑Africanism, when solidarity was the hegemonic force connecting the continent, coming up against the notion of a natural or timeless ‘great divide’ within Africa. From the memoirs of Egyptian officials who were posted around Africa as conduits of solidarity, to the broadcasts of Radio Cairo that were heard across the continent, to the various conferences attended by anticolonial movements and postcolonial states, Egypt’s orientation towards Pan‑Africanism, beginning in the early 20th century and lasting until the 1970s, was both material and ideological. Figures and movements forged webs of solidarity with their African comrades, imagining an Africa that was united through shared commitments to ending colonialism and capitalist extraction.  The route between Cape Town in South Africa and Cairo in Egypt has long occupied the colonial imaginary. In 1930, Margaret Belcher and Ellen Budgell made the journey, sponsored by car brand Morris and oil company Shell Credit: Fox Photos / Getty The pair made use of the road built by British colonisers in the 19th century, and which forms the basis for the current Cairo–Cape Town Highway. The road was preceded by the 1874 Cape to Cairo Railway project, which connected the colonies of the British Empire Credit: Library of Congress, Geography and Map Division This network of eponymous streets represents attempts to inscribe anticolonial power into the materiality of the city. Street‑naming practices are one way in which the past comes into the present, ‘weaving history into the geographic fabric of everyday life’, as geographer Derek Alderman wrote in his 2002 essay ‘Street Names as Memorial Arenas’. In this vein, the renaming of streets during decolonisation marked a practice of contesting the production of colonial space. In the newly postcolonial city, renaming was a way of ‘claiming the city back’, Alderman continues. While these changes may appear discursive, it is their embedding in material spaces, through signs and maps, that make the names come to life; place names become a part of the everyday through sharing addresses or giving directions. This quality makes them powerful; consciously or unconsciously, they form part of how the spaces of the city are navigated.  These are traces that were once part of a dominant historical narrative; yet when they are encountered in the present, during a different historical moment, they no longer act as expressions of power but instead conjure up a moment that has long passed. A street in Lusaka named after an Egyptian general made more sense 60 years ago than it does today, yet contextualising it recovers a marginalised history of Egyptian Pan‑Africanism.  Markers such as street names or monuments are simultaneously markers of anticolonial struggle as well as expressions of state power – part of an attempt, by political projects such as Nasser’s, to exert their own dominance over cities, towns and villages. That such traces are expressions of both anticolonial hopes and postcolonial state power produces a sense of tension within them. For instance, Nasser’s postcolonial project in Egypt was a contradictory one; it gave life to anticolonial hopes – for instance by breaking away from European capitalism and embracing anticolonial geopolitics – while crushing many parts of the left through repression, censorship and imprisonment. Traces of Nasser found today inscribe both anticolonial promises – those that came to life and those that did not – while reproducing postcolonial power that in most instances ended in dictatorship.  Recent efforts to complete the route build on those of the post‑independence era – work on a section north of Nairobi started in 1968 Credit: Associated Press / Alamy The Trans‑African Highway network was conceived in 1970 in the spirit of Pan‑Africanism At that time, the routes did not extend into South Africa, which was in the grip of apartheid. The Trans‑African Highway initiative was motivated by a desire to improve trade and centre cultural links across the continent – an ambition that was even celebrated on postage stamps There have been long‑standing debates about the erasure of the radical anticolonial spirit from the more conservative postcolonial states that emerged; the promises and hopes of anticolonialism, not least among them socialism and a world free of white supremacy, remain largely unrealised. Instead, by the 1970s neoliberalism emerged as a new hegemonic project. The contemporary instantiation of Cape to Cairo highlights just how pervasive neoliberal logics continue to be, despite multiple global financial crises and the 2011 Egyptian revolution demanding ‘bread, freedom, social justice’.  But the network of streets named after anticolonial figures and events across the world is testament to the immense power and promise of anticolonial revolution. Most of the 20th century was characterised by anticolonial struggle, decolonisation and postcolonial nation‑building, as nations across the global south gained independence from European empire and founded their own political projects. Anticolonial traces, present in street and place names, point to the possibility of solidarity as a means of reorienting colonial geographies. They are a reminder that there have been other imaginings of Cape to Cairo, and that things can be – and have been – otherwise. 2025-06-13 Kristina Rapacki Share
    0 Commentaires 0 Parts
  • Premier Truck Rental: Inside Sales Representative - Remote Salt Lake Area

    Are you in search of a company that resonates with your proactive spirit and entrepreneurial mindset? Your search ends here with Premier Truck Rental! Company Overview At Premier Truck Rental, we provide customized commercial fleet rentals nationwide, helping businesses get the right trucks and equipment to get the job done. Headquartered in Fort Wayne, Indiana, PTR is a family-owned company built on a foundation of integrity, innovation, and exceptional service. We serve a wide range of industriesincluding construction, utilities, and infrastructureby delivering high-quality, ready-to-work trucks and trailers tailored to each customers needs. At PTR, we dont just rent truckswe partner with our customers to drive efficiency and success on every job site. Please keep reading Not sure if you meet every requirement? Thats okay! We encourage you to apply if youre passionate, hardworking, and eager to contribute. We know that diverse perspectives and experiences make us stronger, and we want you to be part of our journey. Inside Sales Representativeat PTR is a friendly, people-oriented, and persuasive steward of the sales process. This role will support our Territory Managers with their sales pipeline while also prospecting and cross-selling PTR products themselves. This support includes driving results by enrolling the commitment and buy-in of other internal departments to achieve sales initiatives. The Inside Sales Representative will also represent PTRs commitment to being our customers easy button by serving as the main point of contact. They will be the front-line hero by assisting them in making informed decisions, providing guidance on our rentals, and resolving any issues they might face. We are seeking someone eager to develop their sales skills and grow within our organization. This role is designed as a stepping stone to a Territory Sales Managerposition, providing hands-on experience with customer interactions, lead qualification, and sales process execution. Ideal candidates will demonstrate a strong drive for results, the ability to build relationships, and a proactive approach to learning and development. High-performing ISRs will have the opportunity to be mentored, trained, and considered for promotion into a TSM role as part of their career path at PTR. COMPENSATION This position offers a competitive compensation package of base salaryplus uncapped commissions =OTE annually. RESPONSIBILITIES Offer top-notch customer service and respond with a sense of urgency for goal achievement in a fast-paced sales environment. Build a strong pipeline of customers by qualifying potential leads in your territory. This includes strategic prospecting and sourcing. Develop creative ways to engage and build rapport with prospective customers by pitching the Premier Truck Rental value proposition. Partner with assigned Territory Managers by assisting with scheduling customer visits, trade shows, new customer hand-offs, and any other travel requested. Facilitate in-person meetings and set appointments with prospective customers. Qualify and quote inquiries for your prospective territories both online and from the Territory Manager. Input data into the system with accuracy and follow up in a timely fashion. Facilitate the onboarding of new customers through the credit process. Drive collaboration between customers, Territory Managers, Logistics, and internal teams to coordinate On-Rent and Off-Rent notices with excellent attention to detail. Identify and arrange the swap of equipment from customers meeting the PTR de-fleeting criteria. Manage the sales tools to organize, compile, and analyze data with accuracy for a variety of activities and multiple projects occurring simultaneously.Building and developing a new 3-4 state territory! REQUIREMENTS MUST HAVE2+ years of strategic prospecting or account manager/sales experience; or an advanced degree or equivalent experience converting prospects into closed sales. Tech-forward approach to sales strategy. Excellent prospecting, follow-up, and follow-through skills. Committed to seeing deals through completion. Accountability and ownership of the sales process and a strong commitment to results. Comfortable with a job that has a variety of tasks and is dynamic and changing. Proactive prospecting skills and can overcome objections; driven to establish relationships with new customers. Ability to communicate in a clear, logical manner in formal and informal situations. Proficiency in CRMs and sales tracking systems Hunters mindsetsomeone who thrives on pursuing new business, driving outbound sales, and generating qualified opportunities. Prospecting: Going on LinkedIn, Looking at Competitor data, grabbing contacts for the TM, may use technology like Apollo and LinkedIn Sales Navigator Partner closely with the Territory Manager to ensure a unified approach in managing customer relationships, pipeline development, and revenue growth. Maintain clear and consistent communication to align on sales strategies, customer needs, and market opportunities, fostering a seamless and collaborative partnership with the Territory Manager. Consistently meet and exceed key performance indicators, including rental revenue, upfit revenue, and conversion rates, by actively managing customer accounts and identifying growth opportunities. Support the saturation and maturation of the customer base through strategic outreach, relationship management, and alignment with the Territory Manager to drive long-term success. Remote in the United States with some travel to trade shows, quarterly travel up to a week at a time, and sales meetingsNICE TO HAVE Rental and/or sales experience in the industry. Proficiency in , Apollo.io , LinkedIn Sales Navigator, Power BI, MS Dynamics, Chat GPT. Established relationships within the marketplace or territory. Motivated to grow into outside territory management position with relocation On Target Earnings:EMPLOYEE BENEFITSWellness & Fitness: Take advantage of our on-site CrossFit-style gym, featuring a full-time personal trainer dedicated to helping you reach your fitness goals. Whether you're into group classes, virtual personal training, personalized workout plans, or nutrition coaching, weve got you covered!Exclusive Employee Perks: PTR Swag & a Uniform/Boot Allowance, On-site Micro-Markets stocked with snacks & essentials, discounts on phone plans, supplier vehicles, mobile detailing, tools, & equipmentand much more!Profit SharingYour Success, rewarded: At PTR, we believe in sharing success. Our Profit-SharingComprehensive BenefitsStarting Day One:Premium healthcare coverage401matching & long-term financial planning Paid time off that lets you recharge Life, accidental death, and disability coverage Ongoing learning & development opportunitiesTraining, Growth & RecognitionWe partner with Predictive Index to better understand your strengths, ensuring tailored coaching, structured training, and career development. Performance and attitude evaluations every 6 months keep you on track for growth.Culture & ConnectionMore Than Just a JobAt PTR, we dont just build relationships with our customerswe build them with each other. Our tech-forward, highly collaborative culture is rooted in our core values. Connect and engage through:PTR Field Days & Team EventsThe Extra Mile Recognition ProgramPTR Text Alerts & Open CommunicationPremier Truck Rental Is an Equal Opportunity Employer We are an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability status, protected veteran status, or any other characteristic protected by law. If you need support or accommodation due to a disability, contact us at PI6e547fa1c5-
    #premier #truck #rental #inside #sales
    Premier Truck Rental: Inside Sales Representative - Remote Salt Lake Area
    Are you in search of a company that resonates with your proactive spirit and entrepreneurial mindset? Your search ends here with Premier Truck Rental! Company Overview At Premier Truck Rental, we provide customized commercial fleet rentals nationwide, helping businesses get the right trucks and equipment to get the job done. Headquartered in Fort Wayne, Indiana, PTR is a family-owned company built on a foundation of integrity, innovation, and exceptional service. We serve a wide range of industriesincluding construction, utilities, and infrastructureby delivering high-quality, ready-to-work trucks and trailers tailored to each customers needs. At PTR, we dont just rent truckswe partner with our customers to drive efficiency and success on every job site. Please keep reading Not sure if you meet every requirement? Thats okay! We encourage you to apply if youre passionate, hardworking, and eager to contribute. We know that diverse perspectives and experiences make us stronger, and we want you to be part of our journey. Inside Sales Representativeat PTR is a friendly, people-oriented, and persuasive steward of the sales process. This role will support our Territory Managers with their sales pipeline while also prospecting and cross-selling PTR products themselves. This support includes driving results by enrolling the commitment and buy-in of other internal departments to achieve sales initiatives. The Inside Sales Representative will also represent PTRs commitment to being our customers easy button by serving as the main point of contact. They will be the front-line hero by assisting them in making informed decisions, providing guidance on our rentals, and resolving any issues they might face. We are seeking someone eager to develop their sales skills and grow within our organization. This role is designed as a stepping stone to a Territory Sales Managerposition, providing hands-on experience with customer interactions, lead qualification, and sales process execution. Ideal candidates will demonstrate a strong drive for results, the ability to build relationships, and a proactive approach to learning and development. High-performing ISRs will have the opportunity to be mentored, trained, and considered for promotion into a TSM role as part of their career path at PTR. COMPENSATION This position offers a competitive compensation package of base salaryplus uncapped commissions =OTE annually. RESPONSIBILITIES Offer top-notch customer service and respond with a sense of urgency for goal achievement in a fast-paced sales environment. Build a strong pipeline of customers by qualifying potential leads in your territory. This includes strategic prospecting and sourcing. Develop creative ways to engage and build rapport with prospective customers by pitching the Premier Truck Rental value proposition. Partner with assigned Territory Managers by assisting with scheduling customer visits, trade shows, new customer hand-offs, and any other travel requested. Facilitate in-person meetings and set appointments with prospective customers. Qualify and quote inquiries for your prospective territories both online and from the Territory Manager. Input data into the system with accuracy and follow up in a timely fashion. Facilitate the onboarding of new customers through the credit process. Drive collaboration between customers, Territory Managers, Logistics, and internal teams to coordinate On-Rent and Off-Rent notices with excellent attention to detail. Identify and arrange the swap of equipment from customers meeting the PTR de-fleeting criteria. Manage the sales tools to organize, compile, and analyze data with accuracy for a variety of activities and multiple projects occurring simultaneously.Building and developing a new 3-4 state territory! REQUIREMENTS MUST HAVE2+ years of strategic prospecting or account manager/sales experience; or an advanced degree or equivalent experience converting prospects into closed sales. Tech-forward approach to sales strategy. Excellent prospecting, follow-up, and follow-through skills. Committed to seeing deals through completion. Accountability and ownership of the sales process and a strong commitment to results. Comfortable with a job that has a variety of tasks and is dynamic and changing. Proactive prospecting skills and can overcome objections; driven to establish relationships with new customers. Ability to communicate in a clear, logical manner in formal and informal situations. Proficiency in CRMs and sales tracking systems Hunters mindsetsomeone who thrives on pursuing new business, driving outbound sales, and generating qualified opportunities. Prospecting: Going on LinkedIn, Looking at Competitor data, grabbing contacts for the TM, may use technology like Apollo and LinkedIn Sales Navigator Partner closely with the Territory Manager to ensure a unified approach in managing customer relationships, pipeline development, and revenue growth. Maintain clear and consistent communication to align on sales strategies, customer needs, and market opportunities, fostering a seamless and collaborative partnership with the Territory Manager. Consistently meet and exceed key performance indicators, including rental revenue, upfit revenue, and conversion rates, by actively managing customer accounts and identifying growth opportunities. Support the saturation and maturation of the customer base through strategic outreach, relationship management, and alignment with the Territory Manager to drive long-term success. Remote in the United States with some travel to trade shows, quarterly travel up to a week at a time, and sales meetingsNICE TO HAVE Rental and/or sales experience in the industry. Proficiency in , Apollo.io , LinkedIn Sales Navigator, Power BI, MS Dynamics, Chat GPT. Established relationships within the marketplace or territory. Motivated to grow into outside territory management position with relocation On Target Earnings:EMPLOYEE BENEFITSWellness & Fitness: Take advantage of our on-site CrossFit-style gym, featuring a full-time personal trainer dedicated to helping you reach your fitness goals. Whether you're into group classes, virtual personal training, personalized workout plans, or nutrition coaching, weve got you covered!Exclusive Employee Perks: PTR Swag & a Uniform/Boot Allowance, On-site Micro-Markets stocked with snacks & essentials, discounts on phone plans, supplier vehicles, mobile detailing, tools, & equipmentand much more!Profit SharingYour Success, rewarded: At PTR, we believe in sharing success. Our Profit-SharingComprehensive BenefitsStarting Day One:Premium healthcare coverage401matching & long-term financial planning Paid time off that lets you recharge Life, accidental death, and disability coverage Ongoing learning & development opportunitiesTraining, Growth & RecognitionWe partner with Predictive Index to better understand your strengths, ensuring tailored coaching, structured training, and career development. Performance and attitude evaluations every 6 months keep you on track for growth.Culture & ConnectionMore Than Just a JobAt PTR, we dont just build relationships with our customerswe build them with each other. Our tech-forward, highly collaborative culture is rooted in our core values. Connect and engage through:PTR Field Days & Team EventsThe Extra Mile Recognition ProgramPTR Text Alerts & Open CommunicationPremier Truck Rental Is an Equal Opportunity Employer We are an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability status, protected veteran status, or any other characteristic protected by law. If you need support or accommodation due to a disability, contact us at PI6e547fa1c5- #premier #truck #rental #inside #sales
    WEWORKREMOTELY.COM
    Premier Truck Rental: Inside Sales Representative - Remote Salt Lake Area
    Are you in search of a company that resonates with your proactive spirit and entrepreneurial mindset? Your search ends here with Premier Truck Rental! Company Overview At Premier Truck Rental (PTR), we provide customized commercial fleet rentals nationwide, helping businesses get the right trucks and equipment to get the job done. Headquartered in Fort Wayne, Indiana, PTR is a family-owned company built on a foundation of integrity, innovation, and exceptional service. We serve a wide range of industriesincluding construction, utilities, and infrastructureby delivering high-quality, ready-to-work trucks and trailers tailored to each customers needs. At PTR, we dont just rent truckswe partner with our customers to drive efficiency and success on every job site. Please keep reading Not sure if you meet every requirement? Thats okay! We encourage you to apply if youre passionate, hardworking, and eager to contribute. We know that diverse perspectives and experiences make us stronger, and we want you to be part of our journey. Inside Sales Representative (ISR) at PTR is a friendly, people-oriented, and persuasive steward of the sales process. This role will support our Territory Managers with their sales pipeline while also prospecting and cross-selling PTR products themselves. This support includes driving results by enrolling the commitment and buy-in of other internal departments to achieve sales initiatives. The Inside Sales Representative will also represent PTRs commitment to being our customers easy button by serving as the main point of contact. They will be the front-line hero by assisting them in making informed decisions, providing guidance on our rentals, and resolving any issues they might face. We are seeking someone eager to develop their sales skills and grow within our organization. This role is designed as a stepping stone to a Territory Sales Manager (TSM) position, providing hands-on experience with customer interactions, lead qualification, and sales process execution. Ideal candidates will demonstrate a strong drive for results, the ability to build relationships, and a proactive approach to learning and development. High-performing ISRs will have the opportunity to be mentored, trained, and considered for promotion into a TSM role as part of their career path at PTR. COMPENSATION This position offers a competitive compensation package of base salary ($50,000/yr) plus uncapped commissions =OTE $85,000 annually. RESPONSIBILITIES Offer top-notch customer service and respond with a sense of urgency for goal achievement in a fast-paced sales environment. Build a strong pipeline of customers by qualifying potential leads in your territory. This includes strategic prospecting and sourcing. Develop creative ways to engage and build rapport with prospective customers by pitching the Premier Truck Rental value proposition. Partner with assigned Territory Managers by assisting with scheduling customer visits, trade shows, new customer hand-offs, and any other travel requested. Facilitate in-person meetings and set appointments with prospective customers. Qualify and quote inquiries for your prospective territories both online and from the Territory Manager. Input data into the system with accuracy and follow up in a timely fashion. Facilitate the onboarding of new customers through the credit process. Drive collaboration between customers, Territory Managers, Logistics, and internal teams to coordinate On-Rent and Off-Rent notices with excellent attention to detail. Identify and arrange the swap of equipment from customers meeting the PTR de-fleeting criteria. Manage the sales tools to organize, compile, and analyze data with accuracy for a variety of activities and multiple projects occurring simultaneously.Building and developing a new 3-4 state territory! REQUIREMENTS MUST HAVE2+ years of strategic prospecting or account manager/sales experience; or an advanced degree or equivalent experience converting prospects into closed sales. Tech-forward approach to sales strategy. Excellent prospecting, follow-up, and follow-through skills. Committed to seeing deals through completion. Accountability and ownership of the sales process and a strong commitment to results. Comfortable with a job that has a variety of tasks and is dynamic and changing. Proactive prospecting skills and can overcome objections; driven to establish relationships with new customers. Ability to communicate in a clear, logical manner in formal and informal situations. Proficiency in CRMs and sales tracking systems Hunters mindsetsomeone who thrives on pursuing new business, driving outbound sales, and generating qualified opportunities. Prospecting: Going on LinkedIn, Looking at Competitor data, grabbing contacts for the TM, may use technology like Apollo and LinkedIn Sales Navigator Partner closely with the Territory Manager to ensure a unified approach in managing customer relationships, pipeline development, and revenue growth. Maintain clear and consistent communication to align on sales strategies, customer needs, and market opportunities, fostering a seamless and collaborative partnership with the Territory Manager. Consistently meet and exceed key performance indicators (KPIs), including rental revenue, upfit revenue, and conversion rates, by actively managing customer accounts and identifying growth opportunities. Support the saturation and maturation of the customer base through strategic outreach, relationship management, and alignment with the Territory Manager to drive long-term success. Remote in the United States with some travel to trade shows, quarterly travel up to a week at a time, and sales meetingsNICE TO HAVE Rental and/or sales experience in the industry. Proficiency in , Apollo.io , LinkedIn Sales Navigator, Power BI, MS Dynamics, Chat GPT. Established relationships within the marketplace or territory. Motivated to grow into outside territory management position with relocation On Target Earnings: ($85,000)EMPLOYEE BENEFITSWellness & Fitness: Take advantage of our on-site CrossFit-style gym, featuring a full-time personal trainer dedicated to helping you reach your fitness goals. Whether you're into group classes, virtual personal training, personalized workout plans, or nutrition coaching, weve got you covered!Exclusive Employee Perks: PTR Swag & a Uniform/Boot Allowance, On-site Micro-Markets stocked with snacks & essentials, discounts on phone plans, supplier vehicles, mobile detailing, tools, & equipmentand much more!Profit SharingYour Success, rewarded: At PTR, we believe in sharing success. Our Profit-SharingComprehensive BenefitsStarting Day One:Premium healthcare coverage (medical, dental, vision, mental health & virtual healthcare)401(k) matching & long-term financial planning Paid time off that lets you recharge Life, accidental death, and disability coverage Ongoing learning & development opportunitiesTraining, Growth & RecognitionWe partner with Predictive Index to better understand your strengths, ensuring tailored coaching, structured training, and career development. Performance and attitude evaluations every 6 months keep you on track for growth.Culture & ConnectionMore Than Just a JobAt PTR, we dont just build relationships with our customerswe build them with each other. Our tech-forward, highly collaborative culture is rooted in our core values. Connect and engage through:PTR Field Days & Team EventsThe Extra Mile Recognition ProgramPTR Text Alerts & Open CommunicationPremier Truck Rental Is an Equal Opportunity Employer We are an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability status, protected veteran status, or any other characteristic protected by law. If you need support or accommodation due to a disability, contact us at PI6e547fa1c5-
    0 Commentaires 0 Parts
  • The nine-armed octopus and the oddities of the cephalopod nervous system

    Extra-sensory perception

    The nine-armed octopus and the oddities of the cephalopod nervous system

    A mix of autonomous and top-down control manage the octopus's limbs.

    Kenna Hughes-Castleberry



    Jun 7, 2025 8:00 am

    |

    19

    Credit:

    Nikos Stavrinidis / 500px

    Credit:

    Nikos Stavrinidis / 500px

    Story text

    Size

    Small
    Standard
    Large

    Width
    *

    Standard
    Wide

    Links

    Standard
    Orange

    * Subscribers only
      Learn more

    With their quick-change camouflage and high level of intelligence, it’s not surprising that the public and scientific experts alike are fascinated by octopuses. Their abilities to recognize faces, solve puzzles, and learn behaviors from other octopuses make these animals a captivating study.
    To perform these processes and others, like crawling or exploring, octopuses rely on their complex nervous system, one that has become a focus for neuroscientists. With about 500 million neurons—around the same number as dogs—octopuses’ nervous systems are the most complex of any invertebrate. But, unlike vertebrate organisms, the octopus’s nervous system is also decentralized, with around 350 million neurons, or 66 percent of it, located in its eight arms.
    “This means each arm is capable of independently processing sensory input, initiating movement, and even executing complex behaviors—without direct instructions from the brain,” explains Galit Pelled, a professor of Mechanical Engineering, Radiology, and Neuroscience at Michigan State University who studies octopus neuroscience. “In essence, the arms have their own ‘mini-brains.’”
    A decentralized nervous system is one factor that helps octopuses adapt to changes, such as injury or predation, as seen in the case of an Octopus vulgaris, or common octopus, that was observed with nine arms by researchers at the ECOBAR lab at the Institute of Marine Research in Spain between 2021 and 2022.
    By studying outliers like this cephalopod, researchers can gain insight into how the animal’s detailed scaffolding of nerves changes and regrows over time, uncovering more about how octopuses have evolved over millennia in our oceans.
    Brains, brains, and more brains
    Because each arm of an octopus contains its own bundle of neurons, the limbs can operate semi-independently from the central brain, enabling faster responses since signals don’t always need to travel back and forth between the brain and the arms. In fact, Pelled and her team recently discovered that “neural signals recorded in the octopus arm can predict movement type within 100 milliseconds of stimulation, without central brain involvement.” She notes that “that level of localized autonomy is unprecedented in vertebrate systems.”

    Though each limb moves on its own, the movements of the octopus’s body are smooth and conducted with a coordinated elegance that allows the animal to exhibit some of the broadest range of behaviors, adapting on the fly to changes in its surroundings.
    “That means the octopus can react quickly to its environment, especially when exploring, hunting, or defending itself,” Pelled says. “For example, one arm can grab food while another is feeling around a rock, without needing permission from the brain. This setup also makes the octopus more resilient. If one arm is injured, the others still work just fine. And because so much decision-making happens at the arms, the central brain is freed up to focus on the bigger picture—like navigating or learning new tasks.”
    As if each limb weren’t already buzzing with neural activity, things get even more intricate when researchers zoom in further—to the nerves within each individual sucker, a ring of muscular tissue, which octopuses use to sense and taste their surroundings.
    “There is a sucker ganglion, or nerve center, located in the stalk of every sucker. For some species of octopuses, that’s over a thousand ganglia,” says Cassady Olson, a graduate student at the University of Chicago who works with Cliff Ragsdale, a leading expert in octopus neuroscience.
    Given that each sucker has its own nerve centers—connected by a long axial nerve cord running down the limb—and each arm has hundreds of suckers, things get complicated very quickly, as researchers have historically struggled to study this peripheral nervous system, as it’s called, within the octopus’s body.
    “The large size of the brain makes it both really exciting to study and really challenging,” says Z. Yan Wang, an assistant professor of biology and psychology at the University of Washington. “Many of the tools available for neuroscience have to be adjusted or customized specifically for octopuses and other cephalopods because of their unique body plans.”

    While each limb acts independently, signals are transmitted back to the octopus’s central nervous system. The octopus’ brain sits between its eyes at the front of its mantle, or head, couched between its two optic lobes, large bean-shaped neural organs that help octopuses see the world around them. These optic lobes are just two of the over 30 lobes experts study within the animal’s centralized brain, as each lobe helps the octopus process its environment.
    This elaborate neural architecture is critical given the octopus’s dual role in the ecosystem as both predator and prey. Without natural defenses like a hard shell, octopuses have evolved a highly adaptable nervous system that allows them to rapidly process information and adjust as needed, helping their chances of survival.

    Some similarities remain
    While the octopus’s decentralized nervous system makes it a unique evolutionary example, it does have some structures similar to or analogous to the human nervous system.
    “The octopus has a central brain mass located between its eyes, and an axial nerve cord running down each arm,” says Wang. “The octopus has many sensory systems that we are familiar with, such as vision, touch, chemosensation, and gravity sensing.”
    Neuroscientists have homed in on these similarities to understand how these structures may have evolved across the different branches in the tree of life. As the most recent common ancestor for humans and octopuses lived around 750 million years ago, experts believe that many similarities, from similar camera-like eyes to maps of neural activities, evolved separately in a process known as convergent evolution.
    While these similarities shed light on evolution's independent paths, they also offer valuable insights for fields like soft robotics and regenerative medicine.
    Occasionally, unique individuals—like an octopus with an unexpected number of limbs—can provide even deeper clues into how this remarkable nervous system functions and adapts.

    Nine arms, no problem
    In 2021, researchers from the Institute of Marine Research in Spain used an underwater camera to follow a male Octopus vulgaris, or common octopus. On its left side, three arms were intact, while the others were reduced to uneven, stumpy lengths, sharply bitten off at varying points. Although the researchers didn’t witness the injury itself, they observed that the front right arm—known as R1—was regenerating unusually, splitting into two separate limbs and giving the octopus a total of nine arms.
    “In this individual, we believe this condition was a result of abnormal regenerationafter an encounter with a predator,” explains Sam Soule, one of the researchers and the first author on the corresponding paper recently published in Animals.
    The researchers named the octopus Salvador due to its bifurcated arm coiling up on itself like the two upturned ends of Salvador Dali’s moustache. For two years, the team studied the cephalopod’s behavior and found that it used its bifurcated arm less when doing “riskier” movements such as exploring or grabbing food, which would force the animal to stretch its arm out and expose it to further injury.
    “One of the conclusions of our research is that the octopus likely retains a long-term memory of the original injury, as it tends to use the bifurcated arms for less risky tasks compared to the others,” elaborates Jorge Hernández Urcera, a lead author of the study. “This idea of lasting memory brought to mind Dalí’s famous painting The Persistence of Memory, which ultimately became the title of the paper we published on monitoring this particular octopus.”
    While the octopus acted more protective of its extra limb, its nervous system had adapted to using the extra appendage, as the octopus was observed, after some time recovering from its injuries, using its ninth arm for probing its environment.
    “That nine-armed octopus is a perfect example of just how adaptable these animals are,” Pelled adds. “Most animals would struggle with an unusual body part, but not the octopus. In this case, the octopus had a bifurcatedarm and still used it effectively, just like any other arm. That tells us the nervous system didn’t treat it as a mistake—it figured out how to make it work.”
    Kenna Hughes-Castleberry is the science communicator at JILAand a freelance science journalist. Her main writing focuses are quantum physics, quantum technology, deep technology, social media, and the diversity of people in these fields, particularly women and people from minority ethnic and racial groups. Follow her on LinkedIn or visit her website.

    19 Comments
    #ninearmed #octopus #oddities #cephalopod #nervous
    The nine-armed octopus and the oddities of the cephalopod nervous system
    Extra-sensory perception The nine-armed octopus and the oddities of the cephalopod nervous system A mix of autonomous and top-down control manage the octopus's limbs. Kenna Hughes-Castleberry – Jun 7, 2025 8:00 am | 19 Credit: Nikos Stavrinidis / 500px Credit: Nikos Stavrinidis / 500px Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more With their quick-change camouflage and high level of intelligence, it’s not surprising that the public and scientific experts alike are fascinated by octopuses. Their abilities to recognize faces, solve puzzles, and learn behaviors from other octopuses make these animals a captivating study. To perform these processes and others, like crawling or exploring, octopuses rely on their complex nervous system, one that has become a focus for neuroscientists. With about 500 million neurons—around the same number as dogs—octopuses’ nervous systems are the most complex of any invertebrate. But, unlike vertebrate organisms, the octopus’s nervous system is also decentralized, with around 350 million neurons, or 66 percent of it, located in its eight arms. “This means each arm is capable of independently processing sensory input, initiating movement, and even executing complex behaviors—without direct instructions from the brain,” explains Galit Pelled, a professor of Mechanical Engineering, Radiology, and Neuroscience at Michigan State University who studies octopus neuroscience. “In essence, the arms have their own ‘mini-brains.’” A decentralized nervous system is one factor that helps octopuses adapt to changes, such as injury or predation, as seen in the case of an Octopus vulgaris, or common octopus, that was observed with nine arms by researchers at the ECOBAR lab at the Institute of Marine Research in Spain between 2021 and 2022. By studying outliers like this cephalopod, researchers can gain insight into how the animal’s detailed scaffolding of nerves changes and regrows over time, uncovering more about how octopuses have evolved over millennia in our oceans. Brains, brains, and more brains Because each arm of an octopus contains its own bundle of neurons, the limbs can operate semi-independently from the central brain, enabling faster responses since signals don’t always need to travel back and forth between the brain and the arms. In fact, Pelled and her team recently discovered that “neural signals recorded in the octopus arm can predict movement type within 100 milliseconds of stimulation, without central brain involvement.” She notes that “that level of localized autonomy is unprecedented in vertebrate systems.” Though each limb moves on its own, the movements of the octopus’s body are smooth and conducted with a coordinated elegance that allows the animal to exhibit some of the broadest range of behaviors, adapting on the fly to changes in its surroundings. “That means the octopus can react quickly to its environment, especially when exploring, hunting, or defending itself,” Pelled says. “For example, one arm can grab food while another is feeling around a rock, without needing permission from the brain. This setup also makes the octopus more resilient. If one arm is injured, the others still work just fine. And because so much decision-making happens at the arms, the central brain is freed up to focus on the bigger picture—like navigating or learning new tasks.” As if each limb weren’t already buzzing with neural activity, things get even more intricate when researchers zoom in further—to the nerves within each individual sucker, a ring of muscular tissue, which octopuses use to sense and taste their surroundings. “There is a sucker ganglion, or nerve center, located in the stalk of every sucker. For some species of octopuses, that’s over a thousand ganglia,” says Cassady Olson, a graduate student at the University of Chicago who works with Cliff Ragsdale, a leading expert in octopus neuroscience. Given that each sucker has its own nerve centers—connected by a long axial nerve cord running down the limb—and each arm has hundreds of suckers, things get complicated very quickly, as researchers have historically struggled to study this peripheral nervous system, as it’s called, within the octopus’s body. “The large size of the brain makes it both really exciting to study and really challenging,” says Z. Yan Wang, an assistant professor of biology and psychology at the University of Washington. “Many of the tools available for neuroscience have to be adjusted or customized specifically for octopuses and other cephalopods because of their unique body plans.” While each limb acts independently, signals are transmitted back to the octopus’s central nervous system. The octopus’ brain sits between its eyes at the front of its mantle, or head, couched between its two optic lobes, large bean-shaped neural organs that help octopuses see the world around them. These optic lobes are just two of the over 30 lobes experts study within the animal’s centralized brain, as each lobe helps the octopus process its environment. This elaborate neural architecture is critical given the octopus’s dual role in the ecosystem as both predator and prey. Without natural defenses like a hard shell, octopuses have evolved a highly adaptable nervous system that allows them to rapidly process information and adjust as needed, helping their chances of survival. Some similarities remain While the octopus’s decentralized nervous system makes it a unique evolutionary example, it does have some structures similar to or analogous to the human nervous system. “The octopus has a central brain mass located between its eyes, and an axial nerve cord running down each arm,” says Wang. “The octopus has many sensory systems that we are familiar with, such as vision, touch, chemosensation, and gravity sensing.” Neuroscientists have homed in on these similarities to understand how these structures may have evolved across the different branches in the tree of life. As the most recent common ancestor for humans and octopuses lived around 750 million years ago, experts believe that many similarities, from similar camera-like eyes to maps of neural activities, evolved separately in a process known as convergent evolution. While these similarities shed light on evolution's independent paths, they also offer valuable insights for fields like soft robotics and regenerative medicine. Occasionally, unique individuals—like an octopus with an unexpected number of limbs—can provide even deeper clues into how this remarkable nervous system functions and adapts. Nine arms, no problem In 2021, researchers from the Institute of Marine Research in Spain used an underwater camera to follow a male Octopus vulgaris, or common octopus. On its left side, three arms were intact, while the others were reduced to uneven, stumpy lengths, sharply bitten off at varying points. Although the researchers didn’t witness the injury itself, they observed that the front right arm—known as R1—was regenerating unusually, splitting into two separate limbs and giving the octopus a total of nine arms. “In this individual, we believe this condition was a result of abnormal regenerationafter an encounter with a predator,” explains Sam Soule, one of the researchers and the first author on the corresponding paper recently published in Animals. The researchers named the octopus Salvador due to its bifurcated arm coiling up on itself like the two upturned ends of Salvador Dali’s moustache. For two years, the team studied the cephalopod’s behavior and found that it used its bifurcated arm less when doing “riskier” movements such as exploring or grabbing food, which would force the animal to stretch its arm out and expose it to further injury. “One of the conclusions of our research is that the octopus likely retains a long-term memory of the original injury, as it tends to use the bifurcated arms for less risky tasks compared to the others,” elaborates Jorge Hernández Urcera, a lead author of the study. “This idea of lasting memory brought to mind Dalí’s famous painting The Persistence of Memory, which ultimately became the title of the paper we published on monitoring this particular octopus.” While the octopus acted more protective of its extra limb, its nervous system had adapted to using the extra appendage, as the octopus was observed, after some time recovering from its injuries, using its ninth arm for probing its environment. “That nine-armed octopus is a perfect example of just how adaptable these animals are,” Pelled adds. “Most animals would struggle with an unusual body part, but not the octopus. In this case, the octopus had a bifurcatedarm and still used it effectively, just like any other arm. That tells us the nervous system didn’t treat it as a mistake—it figured out how to make it work.” Kenna Hughes-Castleberry is the science communicator at JILAand a freelance science journalist. Her main writing focuses are quantum physics, quantum technology, deep technology, social media, and the diversity of people in these fields, particularly women and people from minority ethnic and racial groups. Follow her on LinkedIn or visit her website. 19 Comments #ninearmed #octopus #oddities #cephalopod #nervous
    ARSTECHNICA.COM
    The nine-armed octopus and the oddities of the cephalopod nervous system
    Extra-sensory perception The nine-armed octopus and the oddities of the cephalopod nervous system A mix of autonomous and top-down control manage the octopus's limbs. Kenna Hughes-Castleberry – Jun 7, 2025 8:00 am | 19 Credit: Nikos Stavrinidis / 500px Credit: Nikos Stavrinidis / 500px Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more With their quick-change camouflage and high level of intelligence, it’s not surprising that the public and scientific experts alike are fascinated by octopuses. Their abilities to recognize faces, solve puzzles, and learn behaviors from other octopuses make these animals a captivating study. To perform these processes and others, like crawling or exploring, octopuses rely on their complex nervous system, one that has become a focus for neuroscientists. With about 500 million neurons—around the same number as dogs—octopuses’ nervous systems are the most complex of any invertebrate. But, unlike vertebrate organisms, the octopus’s nervous system is also decentralized, with around 350 million neurons, or 66 percent of it, located in its eight arms. “This means each arm is capable of independently processing sensory input, initiating movement, and even executing complex behaviors—without direct instructions from the brain,” explains Galit Pelled, a professor of Mechanical Engineering, Radiology, and Neuroscience at Michigan State University who studies octopus neuroscience. “In essence, the arms have their own ‘mini-brains.’” A decentralized nervous system is one factor that helps octopuses adapt to changes, such as injury or predation, as seen in the case of an Octopus vulgaris, or common octopus, that was observed with nine arms by researchers at the ECOBAR lab at the Institute of Marine Research in Spain between 2021 and 2022. By studying outliers like this cephalopod, researchers can gain insight into how the animal’s detailed scaffolding of nerves changes and regrows over time, uncovering more about how octopuses have evolved over millennia in our oceans. Brains, brains, and more brains Because each arm of an octopus contains its own bundle of neurons, the limbs can operate semi-independently from the central brain, enabling faster responses since signals don’t always need to travel back and forth between the brain and the arms. In fact, Pelled and her team recently discovered that “neural signals recorded in the octopus arm can predict movement type within 100 milliseconds of stimulation, without central brain involvement.” She notes that “that level of localized autonomy is unprecedented in vertebrate systems.” Though each limb moves on its own, the movements of the octopus’s body are smooth and conducted with a coordinated elegance that allows the animal to exhibit some of the broadest range of behaviors, adapting on the fly to changes in its surroundings. “That means the octopus can react quickly to its environment, especially when exploring, hunting, or defending itself,” Pelled says. “For example, one arm can grab food while another is feeling around a rock, without needing permission from the brain. This setup also makes the octopus more resilient. If one arm is injured, the others still work just fine. And because so much decision-making happens at the arms, the central brain is freed up to focus on the bigger picture—like navigating or learning new tasks.” As if each limb weren’t already buzzing with neural activity, things get even more intricate when researchers zoom in further—to the nerves within each individual sucker, a ring of muscular tissue, which octopuses use to sense and taste their surroundings. “There is a sucker ganglion, or nerve center, located in the stalk of every sucker. For some species of octopuses, that’s over a thousand ganglia,” says Cassady Olson, a graduate student at the University of Chicago who works with Cliff Ragsdale, a leading expert in octopus neuroscience. Given that each sucker has its own nerve centers—connected by a long axial nerve cord running down the limb—and each arm has hundreds of suckers, things get complicated very quickly, as researchers have historically struggled to study this peripheral nervous system, as it’s called, within the octopus’s body. “The large size of the brain makes it both really exciting to study and really challenging,” says Z. Yan Wang, an assistant professor of biology and psychology at the University of Washington. “Many of the tools available for neuroscience have to be adjusted or customized specifically for octopuses and other cephalopods because of their unique body plans.” While each limb acts independently, signals are transmitted back to the octopus’s central nervous system. The octopus’ brain sits between its eyes at the front of its mantle, or head, couched between its two optic lobes, large bean-shaped neural organs that help octopuses see the world around them. These optic lobes are just two of the over 30 lobes experts study within the animal’s centralized brain, as each lobe helps the octopus process its environment. This elaborate neural architecture is critical given the octopus’s dual role in the ecosystem as both predator and prey. Without natural defenses like a hard shell, octopuses have evolved a highly adaptable nervous system that allows them to rapidly process information and adjust as needed, helping their chances of survival. Some similarities remain While the octopus’s decentralized nervous system makes it a unique evolutionary example, it does have some structures similar to or analogous to the human nervous system. “The octopus has a central brain mass located between its eyes, and an axial nerve cord running down each arm (similar to a spinal cord),” says Wang. “The octopus has many sensory systems that we are familiar with, such as vision, touch (somatosensation), chemosensation, and gravity sensing.” Neuroscientists have homed in on these similarities to understand how these structures may have evolved across the different branches in the tree of life. As the most recent common ancestor for humans and octopuses lived around 750 million years ago, experts believe that many similarities, from similar camera-like eyes to maps of neural activities, evolved separately in a process known as convergent evolution. While these similarities shed light on evolution's independent paths, they also offer valuable insights for fields like soft robotics and regenerative medicine. Occasionally, unique individuals—like an octopus with an unexpected number of limbs—can provide even deeper clues into how this remarkable nervous system functions and adapts. Nine arms, no problem In 2021, researchers from the Institute of Marine Research in Spain used an underwater camera to follow a male Octopus vulgaris, or common octopus. On its left side, three arms were intact, while the others were reduced to uneven, stumpy lengths, sharply bitten off at varying points. Although the researchers didn’t witness the injury itself, they observed that the front right arm—known as R1—was regenerating unusually, splitting into two separate limbs and giving the octopus a total of nine arms. “In this individual, we believe this condition was a result of abnormal regeneration [a genetic mutation] after an encounter with a predator,” explains Sam Soule, one of the researchers and the first author on the corresponding paper recently published in Animals. The researchers named the octopus Salvador due to its bifurcated arm coiling up on itself like the two upturned ends of Salvador Dali’s moustache. For two years, the team studied the cephalopod’s behavior and found that it used its bifurcated arm less when doing “riskier” movements such as exploring or grabbing food, which would force the animal to stretch its arm out and expose it to further injury. “One of the conclusions of our research is that the octopus likely retains a long-term memory of the original injury, as it tends to use the bifurcated arms for less risky tasks compared to the others,” elaborates Jorge Hernández Urcera, a lead author of the study. “This idea of lasting memory brought to mind Dalí’s famous painting The Persistence of Memory, which ultimately became the title of the paper we published on monitoring this particular octopus.” While the octopus acted more protective of its extra limb, its nervous system had adapted to using the extra appendage, as the octopus was observed, after some time recovering from its injuries, using its ninth arm for probing its environment. “That nine-armed octopus is a perfect example of just how adaptable these animals are,” Pelled adds. “Most animals would struggle with an unusual body part, but not the octopus. In this case, the octopus had a bifurcated (split) arm and still used it effectively, just like any other arm. That tells us the nervous system didn’t treat it as a mistake—it figured out how to make it work.” Kenna Hughes-Castleberry is the science communicator at JILA (a joint physics research institute between the National Institute of Standards and Technology and the University of Colorado Boulder) and a freelance science journalist. Her main writing focuses are quantum physics, quantum technology, deep technology, social media, and the diversity of people in these fields, particularly women and people from minority ethnic and racial groups. Follow her on LinkedIn or visit her website. 19 Comments
    Like
    Love
    Wow
    Sad
    Angry
    542
    0 Commentaires 0 Parts
  • Venice Biennale 2025 round-up: what else to see?

    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 PavilionUK 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, 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. here.
    Danish PavilionDemark 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 PavilionBelgium 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 PavilionSpain Pavilion
    One for the pure architecture lovers out there, models, 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 PavilionPoland 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 PavilionNetherlands 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 scarfsworn by players in the alternative Anonymous Allyship aligning the walls. Read Derin Fadina’s review for the AJ here.
    Performance inside the Nordic Countries PavilionNordic Countries Pavilion
    Probably the most impactful national pavilion this year, 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, loudlyturns 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 PavilionGermany 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 PavilionBahrain 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 PavilionSlovenia 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 Designin 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 PavilionUzbekistan 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 PavilionV&A Applied Arts Pavilion
    Diller Scofidio + Renfrois 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 newcollections archive in east London.
    Featured is a six-channelfilm 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 CaféCanal 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 PavilionThe 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 PavilionTogo 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 PavilionEstonia 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 ProcuratieSMACTimed 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 installationHolcim 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 DiedoThe Next Earth
    At Palazzo Diedo’s incredible dedicated Berggruen Arts and Culture space, MIT’s department of architecture and think tank Antikytherahave 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.
    #venice #biennale #roundup #what #else
    Venice Biennale 2025 round-up: what else to see?
    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 PavilionUK 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, 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. here. Danish PavilionDemark 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 PavilionBelgium 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 PavilionSpain Pavilion One for the pure architecture lovers out there, models, 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 PavilionPoland 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 PavilionNetherlands 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 scarfsworn by players in the alternative Anonymous Allyship aligning the walls. Read Derin Fadina’s review for the AJ here. Performance inside the Nordic Countries PavilionNordic Countries Pavilion Probably the most impactful national pavilion this year, 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, loudlyturns 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 PavilionGermany 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 PavilionBahrain 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 PavilionSlovenia 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 Designin 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 PavilionUzbekistan 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 PavilionV&A Applied Arts Pavilion Diller Scofidio + Renfrois 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 newcollections archive in east London. Featured is a six-channelfilm 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 CaféCanal 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 PavilionThe 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 PavilionTogo 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 PavilionEstonia 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 ProcuratieSMACTimed 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 installationHolcim 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 DiedoThe Next Earth At Palazzo Diedo’s incredible dedicated Berggruen Arts and Culture space, MIT’s department of architecture and think tank Antikytherahave 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. #venice #biennale #roundup #what #else
    WWW.ARCHITECTSJOURNAL.CO.UK
    Venice Biennale 2025 round-up: what else to see?
    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.
    Like
    Love
    Wow
    Sad
    Angry
    632
    0 Commentaires 0 Parts