Key Takeaways New EU rules take effect June 20, 2025, requiring mobile phones and tablets to be easier and cheaper to repair, including mandatory access to spare parts for up to seven years. Devices must meet durability standards, such as resistance to drops, water, and dust, and batteries must retain 80% capacity after 800 cycles. Manufacturers must offer 5 years of software updates and grant repair professionals access to firmware and repair tools to ensure long-term device usability. Energy consumption is expected to drop, with households projected to save €98 over five years due to longer-lasting, more repairable devices. In a win for the right to repair, the European Union (EU) has released its new energy labeling and ecodesign requirements for mobile phones, tablets, and even cordless phones.  Once implemented, this would help extend the product lifetime of these devices by making them cheaper and easier to repair. Up Ahead: Long-Lasting and Easy-to-Repair Devices The new ecodesign and energy labeling regulations will apply to devices sold in the EU effective June 20, 2025. One key area is the availability of spare parts. Once the regulations take effect, critical spare parts for a device must remain available for seven years from the last day the producer stops selling it. These parts must also be available to repairers within 5–10 working days. Mobile phones, cordless phones, and tablets under the ecodesign regulations must also be resistant to scratches and accidental drops, and be protected from dust and water.  The EU also specified that batteries must withstand at least 800 charge and discharge cycles while holding 80% of their initial capacity. These measures could help ensure devices last longer, thus reducing the need to replace them and lowering their cost of ownership. The requirements go beyond just the hardware. On the software side, manufacturers must also provide at least 5 years of operating system upgrades and give professional repairers access to software or firmware.  These would allow devices to continue to run smoothly and protect them from security vulnerabilities. On top of the ecodesign requirements, the EU also specified energy labeling requirements on the applicable devices. The labels would provide information about the device’s repairability score, energy efficiency, battery longevity, dust and water protection, and resistance to accidental drops. Having clear and easy-to-understand labels can help consumers in the EU make better choices when buying phones and tablets. They’ll know at a glance whether a device can withstand drops or if the batteries will remain reliable for as long as possible. The Projected Impact of the Ecodesign and Energy Labeling Requirements With the new requirements, the EU expects a significant reduction in the energy consumption of the applicable devices. Regarding charging time, this should go down from 2.5 to 1.75 hours per day.  Also, the annual electrical consumption of high-end smartphones is projected to decrease by 25%, while it’s 23% for tablets by 2030. Making devices easier to repair is also seen to reduce the acquisition costs of devices by € 98 per household in five years. A Win for the Right to Repair, But Obstacles Lie Ahead While the EU has already made significant progress in the area of the right to repair, many countries remain well behind. In the US, for instance, only a handful of states like California and Colorado have already enacted right-to-repair laws, while most of the country has yet to catch up. Without laws like these, most manufacturers won’t have the incentive to make their devices easier to repair.  A quick look at iFixit’s smartphone repairability scores shows that only Fairphone, which scored a perfect 10, HMD (9), and Nokia (8) had high scores among current phones. At the same time, Apple’s iPhone 16 line received a respectable 7. The Fairphone 5, launched in 2023, is especially notable for its repairability. According to iFixit, it’s easy to disassemble with common tools, the battery can be replaced quickly, and manuals and replacement parts are available to DIYers. As for the others, Ifixit gave Google’s Pixel 9 series a 5 for making it difficult to remove the battery and the USB-C port and requiring a replacement adhesive to secure the screen or back glass instead of using clips or fasteners. Meanwhile, the Samsung Galaxy S23 Ultra received a 4 because the battery is attached with a strong adhesive, and repairing the screen needs a lot of disassembly. All in all, we remain hopeful that with the EU’s lead, manufacturers can finally be encouraged to make repairing their devices easier than ever before. As technology continues to evolve—from the return of 'dumbphones' to faster and sleeker computers—seasoned tech journalist, Cedric Solidon, continues to dedicate himself to writing stories that inform, empower, and connect with readers across all levels of digital literacy. With 20 years of professional writing experience, this University of the Philippines Journalism graduate has carved out a niche as a trusted voice in tech media. Whether he's breaking down the latest advancements in cybersecurity or explaining how silicon-carbon batteries can extend your phone’s battery life, his writing remains rooted in clarity, curiosity, and utility. Long before he was writing for Techreport, HP, Citrix, SAP, Globe Telecom, CyberGhost VPN, and ExpressVPN, Cedric's love for technology began at home courtesy of a Nintendo Family Computer and a stack of tech magazines. Growing up, his days were often filled with sessions of Contra, Bomberman, Red Alert 2, and the criminally underrated Crusader: No Regret. But gaming wasn't his only gateway to tech.  He devoured every T3, PCMag, and PC Gamer issue he could get his hands on, often reading them cover to cover. It wasn’t long before he explored the early web in IRC chatrooms, online forums, and fledgling tech blogs, soaking in every byte of knowledge from the late '90s and early 2000s internet boom. That fascination with tech didn’t just stick. It evolved into a full-blown calling. After graduating with a degree in Journalism, he began his writing career at the dawn of Web 2.0. What started with small editorial roles and freelance gigs soon grew into a full-fledged career. He has since collaborated with global tech leaders, lending his voice to content that bridges technical expertise with everyday usability. He’s also written annual reports for Globe Telecom and consumer-friendly guides for VPN companies like CyberGhost and ExpressVPN, empowering readers to understand the importance of digital privacy. His versatility spans not just tech journalism but also technical writing. He once worked with a local tech company developing web and mobile apps for logistics firms, crafting documentation and communication materials that brought together user-friendliness with deep technical understanding. That experience sharpened his ability to break down dense, often jargon-heavy material into content that speaks clearly to both developers and decision-makers. At the heart of his work lies a simple belief: technology should feel empowering, not intimidating. Even if the likes of smartphones and AI are now commonplace, he understands that there's still a knowledge gap, especially when it comes to hardware or the real-world benefits of new tools. His writing hopes to help close that gap. Cedric’s writing style reflects that mission. It’s friendly without being fluffy and informative without being overwhelming. Whether writing for seasoned IT professionals or casual readers curious about the latest gadgets, he focuses on how a piece of technology can improve our lives, boost our productivity, or make our work more efficient. That human-first approach makes his content feel more like a conversation than a technical manual. As his writing career progresses, his passion for tech journalism remains as strong as ever. With the growing need for accessible, responsible tech communication, he sees his role not just as a journalist but as a guide who helps readers navigate a digital world that’s often as confusing as it is exciting. From reviewing the latest devices to unpacking global tech trends, Cedric isn’t just reporting on the future; he’s helping to write it. View all articles by Cedric Solidon Our editorial process The Tech Report editorial policy is centered on providing helpful, accurate content that offers real value to our readers. We only work with experienced writers who have specific knowledge in the topics they cover, including latest developments in technology, online privacy, cryptocurrencies, software, and more. Our editorial policy ensures that each topic is researched and curated by our in-house editors. We maintain rigorous journalistic standards, and every article is 100% written by real authors.

designer491/Getty Images 2025-06-05T08:27:25Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Scott Edinburgh is still advising international students to apply for MBAs this year. US MBA programs can offer more networking and job opportunities than their European counterparts, he said. Sitting on the decision to apply for too long may hurt a candidate's acceptance chances. This as-told-to essay is based on a conversation with Scott Edinburgh, a Boston-based MBA admissions consultant. It has been edited for length and clarity.I launched an admissions consulting business in 2008 — it's a family business that I run with my sister.We get a lot of international students, and they sometimes make up half our clients for the year. Our reach matches what many schools are seeing. There is a lot of interest from India and China, as well as growing numbers in Europe, the Middle East, and some countries in Africa. For MBA programs, most students are in their mid- to late 20s and have some years of work experience.We offer guidance for universities in Europe and some other places, but there are still some unique features about pursuing an MBA in the US. An MBA as a course is more popular in the US than Europe and it opens up more networking opportunities, and the degree holds a bit more value. US programs are also stronger from a recruiting and job standpoint. It also comes down to where you want to establish yourself. If you want to live in the US, there's no better way to do it than to study here.Given the uncertainty surrounding US immigration policies, we've been getting questions about studying and working in the US and seeing some students apply to European schools instead. Still, there are a couple of reasons tons of students are still keen on pursuing an MBA in the US and why I recommend they apply now.Schools are working hard to keep international studentsI'm getting questions about the US being open to accepting international students and the risks of studying here.There are over 1.1 million international students in the US right now, and they're not all being kicked out and told to leave. There's a lot of hesitation among some international students about their ability to show up on campus.But what we're seeing from talking with deans and councils is that schools are doing a lot so that they can have their international students. These students make up a large percentage of the class at top business schools. Their legal teams are quite strong, and we've seen a lot of court interventions to uphold the rights and opportunities for international students.While it seems like there's an issue now, it's probably going to work itself out. People hesitating means there are fewer applicants, which means you're more likely to get in.You're not entering the job market nowPeople are worried about the job market not being great, and they're reading jobs reports that are coming out from these schools. We tell them you're not applying to apply for a job now. Things are cyclical. If you're applying to business school in 2025 and graduating in 2028, that's three years from now. The chances are that the job market will not be in the same place three years from now.Right now is the absolute best time to apply. This will be the best round in the span of many rounds that I've seen as far as acceptance rates go. The market is not great job-wise wise and you can spend that time educating yourself. You won't be missing out on huge promotions, huge raises, and new jobs. By the time you graduate, things may start to improve.MBAs are time-boundThe job market and political situation add an element of risk, but those who are looking to get ahead will find a way to succeed.Students often forget that the MBA is a time-bound program, and waiting too long to apply while the situation clears up might make it too difficult to get in.Universities prefer those in their mid- to late 20s because they are easier to place into jobs and because they want cohorts to mesh well. The median number of years of experience is five, and as you go further down the bell curve, there are just fewer and fewer spots that are available.Unless you are in your early 20s, you could be shooting yourself in the foot by delaying by one or two years. The fear of what might happen from a policy standpoint becomes irrelevant if you don't get into a program in a future year.Do you have a story to share about international graduate students in the US? Contact this reporter at sgoel@businessinsider.com.

Women weren’t allowed to officially serve in combat jobs when Emelie Vanasse started her ROTC program at George Washington University. Instead, she used her biology degree to serve as a medical officer — but it still bothered Vanasse to be shut out of something just because she was a woman. “I always felt like, who really has the audacity to tell me that I can’t be in combat arms? I’m resilient, I am tough, I can make decisions in stressful environments,” Vanasse said.By 2015, the Obama administration opened all combat jobs to women, despite a plea from senior leaders in the Marine Corps to keep certain frontline units male only. Then-Defense Secretary Ash Carter told reporters that, “We cannot afford to cut ourselves off from half the country’s talents and skills.”The policy change meant that women could attend Ranger school, the training ground for the Army Rangers, an elite special operations infantry unit. When Capt. Kristen Griest and 1st Lt. Shaye Haver became the first women to graduate from the school in 2015, Vanasse taped their photos to her desk and swore she would be next, no matter what it took. She went on to become one of the first women to serve as an Army infantry officer and graduated from Ranger school in 2017. After the Pentagon integrated women into combat jobs, the services developed specific fitness standards for jobs like infantry and armor with equal standards for men and women. Special operations and other highly specialized units require additional qualification courses that are also gender-neutral. To continue past the first day of Ranger school, candidates must pass the Ranger Physical Fitness test, for which there is only one standard. Only the semi-annual fitness tests that service members take, which vary by branch, are scaled for age and gender.Despite that, Defense Secretary Pete Hegseth has continued to insist that the standards were lowered for combat roles. In a podcast interview in November, Hegseth said, “We’ve changed the standards in putting [women in combat], which means you’ve changed the capability of that unit.” (Despite Hegseth’s remark, many women worked alongside male infantry units in Iraq and Afghanistan, facing the same dangerous conditions.)In the same interview, Hegseth said that he didn’t believe women should serve in combat roles.In March, Hegseth ordered the military services to make the basic fitness standards for all combat jobs gender-neutral. The Army is the first service to comply: Beginning June 1, most combat specialties will require women to meet the male standard for basic physical fitness, something most women serving in active-duty combat roles are already able to do.Vanasse told Noel King on Today, Explained what it was like to attend Ranger School at a time when some men didn’t want to see a woman in the ranks. What is Ranger School?I went to Ranger School on January 1, 2017. I woke up at 3 am that day in Fort Benning, Georgia, shaved my head, a quarter-inch all the way around, just like the men. Took my last hot shower, choked down some French toast, and then I drove to Camp Rogers, and I remember being very acutely aware of the pain that the school would inflict, both physically and mentally. I was also very aware that there was kind of half of this population of objective graders that just kind of hated my guts for even showing up. They hated you for showing up because you’re a woman?Back in 2016 and 2017, it was so new to have women in Ranger School. I used to think, I don’t have to just be good, I have to be lucky. I have to get a grader who is willing to let a woman pass. I had dark times at that school. I tasted real failure. I sat under a poncho in torrential rain and I shivered so hard my whole body cramped. I put on a ruck that weighed 130 pounds and I crawled up a mountain on my hands and knees. I hallucinated a donut shop in the middle of the Appalachian Mountains and I cried one morning when someone told me I had to get out of my sleeping bag. But I think all of those experiences are quintessential Ranger School experiences. They’re what everyone goes through there. And I think the point of the school is that failure, that suffering, it’s not inherently bad, right? In a way, I like to think Ranger School was the most simplistic form of gender integration that ever could have happened because if I was contributing to the team, there was no individual out there that really had the luxury of disliking or excluding me. When you wanted to give up, what did you tell yourself? What was going through your head? I don’t think I ever considered quitting Ranger School. I just knew that it was something that I could get through and had the confidence to continue. I had a thought going in of What could be so bad that would make me quit? and the answer that I found throughout the school was, Nothing. Did you ever feel like they had lowered the standards for you compared to the men who were alongside you?No. Never. I did the same thing that the men did. I did the same Ranger physical fitness test that all the men took. I ran five miles in 40 minutes. I did 49 pushups, 59 situps, six pullups. I rucked 12 miles in three hours with a 45-pound ruck. I climbed the same mountains. I carried the same stuff. I carried the same exact packing list they did, plus 250 tampons for some reason. At no point were the standards lowered for me. Whose idea was it for you to carry 250 tampons? It was not mine! It was a misguided effort to have everyone very prepared for the first women coming through Ranger School.In Ranger School, there’s only one standard for the fitness test. Everybody has to meet it, and that allows you to get out of Ranger School and say, “Look, fellas, I took the same test as the men and I passed.” Secretary of Defense Pete Hegseth is saying that Army combat jobs should only have one standard of fitness for both men and women. And there’s part of me that thinks: Doesn’t that allow the women who meet the standards to be like, look, We met the same standards as the men. Nothing suspicious here, guys. I think gender-neutral standards for combat arms are very important. It should not be discounted how important physical fitness is for combat arms. I think there’s nuance in determining what is a standard that is useful for combat arms, right? But it’s an important thing. And there have been gender-neutral standards for combat arms. In things like Infantry Basic Officer Leader Course, which is the initial basic training for officers going into the infantry, there are gender-neutral standards that you have to meet: You have to run five miles in 40 minutes, you have to do a 12-mile ruck. All of those standards have remained the same. Pete Hegseth is specifically referring to the Army Combat Physical Fitness test, and to a certain extent I agree, it should be gender-neutral for combat arms. But I think there’s nuance in determining what exactly combat arms entails physically.Secretary Hegseth has a lot to say about women, and sometimes he says it directly and sometimes he alludes to it. What he often does is he talks about lethality as something that is critically important for the military. He says the Army in particular needs more of it, but he never really defines what he means by lethality. What is the definition as you understand it? There’s a component of lethality that is physical fitness and it should not be discounted. But lethality extends far beyond that, right? It’s tactical skills, it’s decision-making, it’s leadership, it’s grit, it’s the ability to build trust and instill purpose and a group of people. It’s how quick a fire team in my platoon can react to contact. How well my SAW [Squad Automatic Weapon] gunner can shoot, how quickly I can employ and integrate combat assets, how fast I can maneuver a squad. All of those things take physical fitness, but they certainly take more than just physical fitness. There’s more to lethality than just how fast you can run and how many pushups you can do.To an average civilian like myself, I hear lethality and I think of the dictionary definition, the ability to kill. Does this definition of lethality involve the ability, physically and emotionally and psychologically, to kill another person? Absolutely. And so when Secretary Hegseth casts doubt on the ability of women to be as lethal as men, do you think there’s some stuff baked in there that maybe gets to his idea of what women are willing and able to do?Yes, possibly. I think the [secretary’s] message is pretty clear. According to him, the women in combat arms achieved success because the standards were lowered for them. We were never accommodated and the standards were never lowered.What’s your response, then, to hearing the Secretary of Defense say women don’t belong in combat? It makes me irate, to be honest. Like, it’s just a complete discounting of all of the accomplishments of the women that came before us. Do you think that if Secretary Hegseth could take a look at what you did in Ranger School, and he could hear from you that there were no second chances, there were no excuses, there was no babying, the men didn’t treat you nicer just because you were a woman, do you think he’d change his mind about women serving in combat? I’d like to think he would, but I’ve met plenty of people whose minds couldn’t be changed by reality. I’d love it if he went to Ranger School. He has a lot of opinions about Ranger School for someone who does not have his Ranger tab.What is a Ranger tab, for civilians? A Ranger tab is what you receive upon graduating Ranger School, which means you have passed all three phases and you are now Ranger-qualified in the military.You have that. And the Secretary of Defense doesn’t. He does not, though he has a lot of opinions about Ranger School.See More:

Gironda Residence | © Simone Bossi Located just steps from Piazza del Popolo in Ravenna, the Renaissance-era Casa Guaccimanni holds centuries of architectural and historical weight. Constructed in the fifteenth century for the Venetian podestà Nicolò Giustinian, the building evolved through noble ownership and later became home to Vittorio and Alessandro Guaccimanni, sons of Risorgimento figure Luigi Guaccimanni. Architecturally, the structure is characterized by a tripartite plan with a central corridor flanked by large rooms, an interior courtyard with a double loggia, and decorative elements spanning Renaissance to Neoclassical periods. Once concealed beneath plaster, its frescoed veranda and exposed wooden ceilings speak to a layered history of intervention, concealment, and rediscovery. Gironda Residence in Casa Guaccimanni Technical Information Architects1-13: Giovanni Mecozzi Architetti Location: Casa Guaccimanni, Via Armando Diaz, Ravenna, Italy Client: Emanuela Docimo Project Years: 2022 – 2024 Original Structure: 15th Century Photographs: © Andrea Sestito, © Simone Bossi, © Omar Sartor The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension. – Giovanni Mecozzi Gironda Residence in Casa Guaccimanni Photographs © Omar Sartor © Andrea Sestito © Andrea Sestito © Andrea Sestito © Omar Sartor © Simone Bossi © Simone Bossi © Simone Bossi © Omar Sartor © Omar Sartor © Omar Sartor © Andrea Sestito © Omar Sartor Design Intent: Reversibility and Temporal Tension The recent architectural project by Giovanni Mecozzi Architetti centers on the noble floor of the palazzo, reinterpreted as a contemporary residence named Gironda. Rather than imposing a new visual regime onto the historic shell, the intervention operates with restraint, foregrounding the building’s original character while establishing new spatial and material conditions. At the core of the project lies a design philosophy rooted in reversibility. Mecozzi’s intervention resists permanence. The furnishings and spatial devices introduced into the historic rooms are self-supporting and detached from the structure. No new element makes physical contact with the floors, ceilings, or walls, preserving the integrity of the original surfaces. This strategy avoids irreversible alterations and allows the architecture to remain temporally flexible. Architect Giovanni Mecozzi articulates this approach succinctly: “The new and the old never touch, but gently brush against each other, maintaining a distance capable of generating tension.” This spatial tension is not decorative but conceptual, prompting occupants to consider the relationship between historical continuity and contemporary transformation. The design does not attempt to erase time but rather exposes its layers through careful juxtaposition. The project draws conceptual and chromatic inspiration from Ravenna’s early Christian and Byzantine mosaics. Rather than replicate ornamental motifs, Mecozzi extracts abstract qualities such as color, luminosity, and surface texture, integrating them as subtle spatial references throughout the residence. Gironda Residence Material Strategy Access to the residence is organized through a longitudinal hallway that bisects the plan, connecting a balcony on the north façade with a loggia overlooking the garden to the south. This corridor becomes a spine for circulation and orientation, punctuated by entries into five main rooms: the kitchen, veranda, and three independent suites. Each suite functions as a self-contained spatial environment. The original large rooms have been reimagined with integrated volumes housing diverse domestic functions: bathrooms, saunas, walk-in closets, reading nooks, and home cinemas. These new programmatic layers are embedded within freestanding furniture structures, which operate more as inhabitable objects than architectural partitions. Color becomes an operative tool for spatial differentiation. The three principal suites, the Gold Room, the Blue Room, and the Green Room, are introduced chromatically through thresholds that face the main corridor. This prelude of color sets the tone for each room’s unique interior experience. Within, glossy glass tiles, gilded surfaces, and a reduced palette of materials establish a scenographic yet restrained environment. The flooring, a Venetian terrazzo installed during earlier restoration work in the 2000s, has been retained. Its beveled borders and rounded corners respond to the proportions of each room, reinforcing a visual continuity that binds the new interventions with the inherited context. In contrast to the historical envelope, the furniture and spatial devices employ a language of monochromatic forms and minimal detailing, occasionally verging on neoplastic abstraction. This tension between old ornament and new abstraction is one of the project’s defining features. Furnishings curated by Atelier Biagetti, known for their theatrical and ironic sensibility, further enrich the atmosphere. These pieces do not mimic the historical setting but create moments of visual friction and playful ambiguity, enhancing the multi-temporal character of the interiors. Architectural Significance and Cultural Dialogue The Gironda residence exemplifies a growing discourse in contemporary architecture around adaptive reuse that neither mimics nor erases the past. Rather than treating heritage as a constraint or an aesthetic to be curated, Mecozzi engages it as an active agent in spatial transformation. The project is a case study in reversible architecture, where temporality is embedded in the design, not just its historical references. This intervention prompts broader questions about the role of preservation in contemporary practice. Can architectural interventions occupy historic contexts without becoming parasitic or nostalgic? Mecozzi’s project suggests that they can adopt a posture of critical distance and conceptual clarity. Gironda does not attempt to restore Casa Guaccimanni to a previous state or impose a singular vision of modernity. Instead, it crafts a dialogue between past and present, structured through spatial strategies, material choices, and chromatic cues. In doing so, it opens a new chapter in the building’s ongoing life, one that is fully contemporary yet deeply rooted in architectural memory. Gironda Residence in Casa Guaccimanni Plans Floor Plan | © Giovanni Mecozzi Architetti Golden Room Layout | © Giovanni Mecozzi Architetti Door Detail | © Giovanni Mecozzi Architetti Gironda Residence in Casa Guaccimanni Image Gallery About Giovanni Mecozzi Giovanni Mecozzi is an Italian architect based in Ravenna, Italy, and the founder of Giovanni Mecozzi Architetti (GMA), a multidisciplinary studio specializing in architecture, interior design, and landscape projects. After graduating from the University of Ferrara with an architecture degree, Mecozzi gained international experience working in Spain, including collaborating with Mendaro Arquitectos in Madrid. Upon returning to Italy, he co-founded GMA, focusing on projects emphasizing the relationship between architecture, the client, and the context, with a particular interest in renovating and transforming historical buildings.  Credits and Additional Notes Design Team: Giovanni Mecozzi, Cecilia Verdini, Filippo Minghetti Construction: Edilcostruzioni (Leoni Andrea) Electrical Systems: Elektra Service (Andrea Baiardi) Mechanical and Hydraulic Systems: Nuova OLP Structural Alterations: Not applicable (intervention is fully reversible) Custom Furniture: Idea Legno (Paolo Berdondini) Curtains and Fabrics: Selezione Arredamenti, Ravenna Lighting: Viabizzuno (via Tutto Luce, Cesena) Resin Coatings and Flooring: Kerakoll Rugs and Carpeting: Centro Moquette, Rimini Bathroom Furnishings: Salaroli, Ravenna Furniture, Artwork, and Design Objects Selected by: Atelier Biagetti (Milan) Furniture Designers: Alberto Biagetti and Laura Baldassarri

I spent years living in major East Coast cities, and now I'm back in my hometown of Rochester, New York. Emma Guillen 2025-05-30T13:49:39Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? After living in Miami, Boston, and NYC, my husband and I chose to buy a home in Rochester, New York. For a midsize city, we think the access to nature and fabulous food is unparalleled. We also love the variety of art and culture available through museums and festivals. Within 24 hours of graduating from college, I hit the road and drove 1,500 miles away from my hometown to begin my first full-time job. I was officially in the "real world."For the next eight years, I moved from apartment to apartment and city to city, spending my 20s exploring Miami's vibrant art scene, Boston's rich history, and New York City's — well, everything.Still, when it came time to sign another yearlong lease on the Upper East Side of Manhattan, my husband and I reconsidered.With dreams to start a family and possibly a business someday, we decided to move back to my hometown of Rochester, New York, in June 2024.Upstate New York has so much to offer I love the festivals, restaurants, museums, and nature in Rochester. Emma Guillen For a midsize city, I think Rochester has earned some major bragging rights. It's the birthplace of Wegmans, has more than 140 annual festivals, and is home to the largest variety of lilacs on earth (a fun fact that requires its own festival, of course).The area's greatness is catching on, too. This year, Redfin named Fairport, a suburb of Rochester, one of the hottest neighborhoods in the country.The food and beverage scene is incredible We enjoy the burgers, fries, and drinks at Good Luck. Emma Guillen I may have been spoiled by New York City's global cuisine, but it's safe to say that Rochester has impressed me, too.If I'm in the mood to go out, I like to make reservations at the upscale steakhouse Patron Saint, the buzzy farm-to-table space Good Luck, or the seven-time Michelin-starred restaurant Redd.Or if the day calls for casual eats, you'll find my husband and me at the beloved hot dog joint Dogtown, the family-owned Mexican eatery Peach Blossom, or a local favorite, Pizza Wizard, for a Detroit-style slice.Award-winning wineries, breweries, and distilleries are also rising in popularity everywhere from Rochester's downtown to suburbs such as Fairport.The beautiful nature is next-level My husband and I visited Seneca Lake, one of the 11 Finger Lakes. Emma Guillen We traded taxis and turnstiles for scenic trails, and we couldn't be happier. With more than 12,000 acres of parkland, this part of New York has plenty of wide open spaces to explore, all a relatively short drive from Rochester's city limits.Our favorite place to hike is Highland Park, which was designed by the same landscape architect who created Central Park.Though we enjoyed our days biking alongside the Hudson River and relaxing on the esplanade in Boston's Back Bay, our proximity to the Finger Lakes is yet another reason we chose to grow roots in Rochester. We love spending weekends in the summer visiting the numerous vineyards in New York's wine country.Living in Rochester also means we can plan a mountain escape to the Adirondacks, a day trip to Niagara Falls, or a last-minute attempt to see the northern lights over Lake Ontario. There's always a museum to visit or an event to attend I loved visiting George Eastman House. Emma Guillen We may not be catching Broadway shows on Tuesday nights anymore, but the variety of art and culture here in Rochester is off the charts.I recommend visiting the Strong National Museum of Play, George Eastman House, and the world-class performances at the Rochester International Jazz Festival.My favorite event of the year is Fairport Canal Days, a weekend-long celebration featuring local artisans, trendy food trucks, and a whimsical rubber duck charity race held on the Erie Canal.I'm so glad I found my way back to my hometownIt's officially been a year since I reclaimed my 585 area code, and I haven't regretted it for a second. Although I gave up the hustle and bustle of New York City, the access to nature and family friendly activities have made this move more than worthwhile. Rochester is no longer just my hometown — it's now my forever home.

After eight seasons and over 200 guest stars, the adult animated franchise "Big Mouth" premiered its final season on Friday.Though it never reached the viewership numbers of behemoths like "Bridgerton" or "Stranger Things," it's one of the streamer's longest running original scripted shows.Across eight years, the series has won five Emmys and inspired the 2022 spin-off, "Human Resources." Season eight concludes the series, which was created by Nick Kroll, his childhood best friend Andrew Goldberg, Jennifer Flackett, and Mark Levin.The season follows a group of teens entering Bridgeton High School and having to rediscover their identities in the new school.As with previous seasons, the teens' hormones, feelings, and mental illnesses are personified through various creatures that appear to help guide the teens through the ups and downs of puberty. Nick Kroll plays Nick and Maury. Nick Kroll plays numerous characters in "Big Mouth." Courtesy of Netflix / Charley Gallay / Getty Images for Netflix Kroll played several human characters, including Nick Birch, the series' lead character, who was inspired by Kroll's childhood.Kroll also played Lola Skumpy and Coach Steve, Andrew's hormone monster, Maury, and Nick's hormone monster, Rick.Kroll is known for starring in the FX comedy "The League," creating and starring in his own sketch series "Kroll Show," and creating the "Big Mouth" spinoff series "Human Resources." John Mulaney plays Andrew Glouberman. John Mulaney plays Andrew, who is inspired by series co-creator Andrew Goldberg. Courtesy of Netflix Andrew Glouberman, a boy obsessed with masturbation, is Nick Birch's best friend who joins him on his adventure through puberty.John Mulaney, a comedian and former "Saturday Night Live" writer, plays the character. Mulaney has starred in other animated movies, including "Puss in Boots: The Last Wish" and "Spider-Man: Into the Spider-Verse." Jessi Klein plays Jessi Glaser. Jessi Klein is a producer and writer. Charley Gallay / Getty Images for Netflix / Courtesy of Netflix Jessi Klein plays Jessi Glaser, a close friend of Nick and Andrew's who explores her sexuality and struggles with depression and her parents' divorce.Klein is best known for her writing and producing work, having previously produced "Inside Amy Schumer," "Transparent," and "Dead to Me." Maya Rudolph plays Connie LaCienega and Diane Birch. Maya Rudolph has won four Emmys for her performance as Connie. Will Heath / NBC via Getty Images / Courtesy of Netflix Maya Rudolph plays two characters in the series — Connie LaCienega, the hormone monster for Jessi, and Diane Birch, Nick's mother.Rudolph, who rose to fame as a cast member on "Saturday Night Live," has won four primetime Emmy Awards for her performance in "Big Mouth" and has starred in numerous movies and TV shows, including "Bridesmaids," "The Good Place," and "The Lego Movie 2." Ayo Edebiri plays Missy Foreman-Greenwald. Ayo Edebiri played Missy from seasons five to eight. Charley Gallay / Getty Images for Netflix / Courtesy of Netflix Missy is a nerdy biracial classmate of Andrew, Jessi, and Nick's.In the first four seasons, Jenny Slate voiced the character, but she stepped down from the role in 2020, announcing on Instagram that black people should play black characters.Slate was replaced with Ayo Edebiri as Missy began to explore her Black identity in the show.Edebiri is best known for her breakout roles in the 2020s in "Bottoms" and "The Bear." Thandiwe Newton plays Mona. Thandiwe Newton plays a British hormone monster. Rodin Eckenroth / Film Magic / Getty / Courtesy of Netflix Thandiwe Newton played Missy's British hormone monster, Mona.Newton is known for starring in "Westworld," "Mission: Impossible II," and "Solo: A Star Wars Story." Jason Mantzoukas plays Jay Bilzerian. Jason Mantzoukas is known for playing chaotic characters like Jay. Charley Gallay / Getty Images for Netflix / Courtesy of Netflix Jay Bilzerian, a sex-obsessed bisexual boy, is another friend of Andrew, Nick, and Jessi's.Mantzoukas is a comedian who has previously played equally wacky characters in "Brooklyn Nine-Nine," "The Good Place," and "The League." Andrew Rannells plays Matthew MacDell. Andrew Rannells is the voice behind Matthew. Charley Gallay / Getty Images for Netflix Matthew MacDell, a gossipy gay student, was initially a secondary character in the first few seasons but became one of the main characters after season 3, developing relationships with Jay and Jessi.Broadway and screen actor Andrew Rannells has starred in "The Prom" and "Girls" and has a vibrant voice-acting career, appearing on shows like "Sonic X," "Pokémon," and "Invincible." David Thewlis plays The Shame Wizard. David Thewlis plays a spectre known as The Shame Wizard. Lisa Maree Williams / Getty Images / Courtesy of Netflix David Thewlis joined the cast in season two as the Shame Wizard, who will mock and bully the children to amplify their shame around their mistakes.Thewlis previously starred in multiple "Harry Potter" movies, "Wonder Woman," and "The Theory of Everything." Jean Smart plays Depression Kitty. Jean Smart played Depression Kitty since season two. Frazer Harrison / Getty Images / Courtesy of Netflix Depression Kitty first shows up in season two after Jessi starts to develop strong negative emotions amid her parents' divorce. Since then, Depression Kitty has made a few appearances across the show.Jean Smart, an Emmy-winning actor who stars in "Hacks," played Depression Kitty. Maria Bamford plays Tito the Anxiety Mosquito. Tito (Maria Bamford) has had recurring appearances since season four. Dia Dipasupil / Getty Images / Courtesy of Netflix. Tito the Anxiety Mosquito embodies the children's anxiety, first appearing in season four. Comedian Maria Bamford is known for her comedy specials as well as her Netflix show "Lady Dynamite." Zazie Beetz plays Danni. Zazie Beetz only starred in season 7. Amy Sussman / Getty Images / Netflix Danni is a student Nick meets in season seven when considering attending a private school.Zazie Beetz is known for her roles in "Atlanta," "Deadpool 2," "Joker," and "Bullet Train." Megan Thee Stallion plays Megan. Megan Thee Stallion made a cameo in "Big Mouth" season 7 as Megan the hormone monstress. David Crotty / Patrick McMullan via Getty Images / Netflix In season seven, Megan Thee Stallion guest stars as Megan, a hormone monster for Danni.Megan Thee Stallion is better known for her rapping career, though she has also starred in Disney+'s "She-Hulk: Attorney At Law" and the 2023 movie "Dicks: The Musical." Jordan Peele plays the ghost of Duke Ellington. The ghost of Duke Ellington (Jordan Peele) was a major supporting character in the first few seasons. Unique Nicole / WireImage / Netflix One of Nick's friends is the ghost of jazz pianist Duke Ellington, who lives in the teen's attic.Jordan Peele is the voice behind the ghost. He also played Missy's father, Cyrus Foreman-Greenwald.Peele is an Oscar-winning horror director and comedy actor best known for directing "Get Out," "Nope," and "Us" and starring in "Key and Peele." Brian Tyree Henry plays Elijah. Brian Tyree Henry joined the cast in season six. Jamie McCarthy / Getty Images / Netflix Elijah, an asexual Christian student, appears in seasons six and seven, building a relationship with Missy. They broke up after graduating from middle school.Brian Tyree Henry, known for his roles in "Atlanta," "Bullet Train," and Marvel's "Eternals," plays Elijah. Henry has voice acting experience from starring in the "Spider-Verse" movies as Miles Morales' father, Jefferson. Natasha Lyonne plays Ms. Dunn. Natasha Lyonne stars as a sex-ed teacher in "Big Mouth" season eight. The Hapa Blonde / GC Images / Getty Images / Courtesy of Netflix Natasha Lyonne guest stars in the final season as sex-ed teacher Ms. Dunn. Lyonne has also made cameos in previous seasons playing Suzette Saint James, Jay's pillow girlfriend, and Nadia Vulvokov, the character Lyonne plays in Netflix's "Russian Doll."Lyonne is best known for starring in "American Pie," "Orange is the New Black," and "Poker Face." Ali Wong plays Ali. Ali Wong joined the cast in season three, playing a transfer student. Jeff Kravitz / FilmMagic via Getty Images Ali Wong joined "Big Mouth" in season three, playing the pansexual transfer student Ali.Wong is a comedian who has previously starred in other Netflix originals like "Beef" and "Always Be My Maybe." Keke Palmer plays Rochelle. Keke Palmer is the voice actor behind the "Big Mouth" character Rochelle. Emma McIntyre / WireImage / Courtesy of Netflix "Big Mouth" season five introduced the concept of Hateworms and Lovebugs, who strengthen the children's emotions. Rochelle, played by Keke Palmer, was Missy's Hateworm but later transformed into her Lovebug.Palmer is best known for starring in "True Jackson, VP," "One of Them Days," and "Nope."

For our Financial Transparency theme, independent design executive and educator Rachel Gogel gets into navigating pay disparities, pricing for value, and why true success lies in unlocking human energy, not just income. Rachel Gogel’s career spans some of the most recognisable names in publishing and tech – GQ, The New York Times, Meta – and now, as an independent creative executive, she brings that experience to startups, nonprofits, and purpose-driven ventures alike. But the journey to building a financially sustainable, values-led practice wasn’t always smooth. From $12-an-hour gigs to leading multimillion-dollar design teams, Rachel has faced the realities of wage gaps, client pushback, and burnout culture head-on. In this powerful Q&A, she shares the hard-earned lessons that shaped her pricing philosophy, the tools that helped her take control, and why choosing impact over scale is her definition of success. How did you learn to navigate pricing, salaries, or negotiations in your field? My journey with pricing started from a place of absolute uncertainty. After graduating during the 2009 recession amid a hiring freeze, I took an internship at Diane von Furstenberg for about $20 a day, just trying to get my foot in the door. When they later offered me $12 an hour as a “full-time freelancer,” I thought that was a normal starting point! My first real design contract at Travel + Leisure was $20/hour—which felt like a fortune compared to my internship. Around the same time, I quoted a WordPress project for GQ at $60/hour, originally estimating it would take only 15 hours (I was way off). I still remember sending that first email, nervously suggesting just $900 for the entire project. My contact called me immediately to say, “This is not my money, this is GQ’s money. You should have a $1,000 down payment for taking on the project, then charge an hourly rate after that.” That conversation was a trigger to start taking myself more seriously. With each career move, I learned to negotiate better. From my $70,000 base starting salary at GQ (which I barely negotiated because I was so excited about the offer), to $120,000 as Creative Director at The New York Times, to $230,000 plus stock and bonuses at Facebook—each step taught me to advocate for my worth. When I officially launched my independent design business in 2020, I had this history to draw from, but establishing consistent pricing still involved a lot of trial and error. What transformed my approach was implementing a time tracker (I use Toggl) which helped me gather real data on how long projects actually take versus my estimates. This was eye-opening and gave me confidence in pricing conversations. Today, I maintain a sliding scale across client types and engagement models. My fractional executive work commands $375/hour, while nonprofits start at $200/hour. For my Airbnb creative director maternity coverage contract (40 hours weekly), I’ve structured a $200/hour rate with $300/hour overtime. I’ve also diversified beyond hourly rates to include day rates and project-based fees tailored to specific services. The biggest shift came when I stopped thinking about charging purely for hours and started charging for value—my unique perspective, expertise, and what the work will do for a client’s business. As Jessica Strelioff from Goodside puts it: “We built Goodside to do good work for good people but we also built it to fit into the lives we want to live. Staying small is hard but it’s worth it and it’s what works for us.” This resonated deeply with me as I’ve built a practice focused on quality and impact rather than size. Have you ever experienced pay disparity or financial challenges in your career? Absolutely. Early in my career, I discovered through casual conversations that male colleagues with similar or even less experience were making substantially more than me. That realization was both infuriating and motivating—it pushed me to become more assertive in negotiations and more transparent about compensation (see my Contractor Wrapped 2024 on LinkedIn). Throughout my career trajectory, being a woman in this industry has come with distinct financial challenges. I’ve been challenged during salary negotiations and requests for promotions in ways my male colleagues haven’t. As an independent practitioner, I’ve received comments about being “too expensive” from potential clients—feedback that often makes me wonder if male creatives face the same resistance. These micro-aggressions around compensation reinforce why I encourage women—and all marginalized voices—at every stage of their careers to talk more openly about money so we can help each other get paid equitably. Going independent came with its own financial challenges. The feast-or-famine cycle hit hard, especially in 2023 when clients rescinded contracts and my projected income fell short by about $40K from what I had forecasted. There were months when I questioned everything about my business model. But these challenges taught me to build financial resilience—creating a robust emergency fund, diversifying income streams through teaching and speaking engagements, and being much more strategic about planning for both busy and quiet periods. I’ve had to acknowledge the privilege embedded in my trajectory too—being a 37-year-old white woman in a dual-income household has allowed me to capitalise on opportunities not available to all. The volatility can be stressful, but I’ve learned that transparency about these challenges helps others prepare for similar situations. What’s the best piece of financial advice you’ve received as a creative professional? “If you’re not embarrassed by the amount you’re asking for, you’re not asking for enough.” A friend told me this early in my career, and it completely changed my approach to negotiations. As creatives, especially those of us who identify as women, we often undervalue our contributions. This advice pushed me to recognise my worth and ask for compensation that reflects not just my time, but the unique perspective I bring as a designer working at the intersection of brand, culture, and technology. When I transitioned from in-house roles to founding my San Francisco-based solo consultancy, this advice became even more crucial. What’s often left unsaid is that going independent can be financially empowering—especially for those historically underpaid in conventional roles. By setting our own rates and being transparent about money, we’re not just making a living—we’re thriving. While the business logistics may seem daunting (incorporation, taxes, insurance), the real breakthrough is mental: realising we have the ability to create sustainable businesses on our own terms, often matching or exceeding previous full-time compensation. How do you balance making a living with doing work that feels meaningful? I visualise my work as a Venn diagram of activities that bring me joy, generate income, and create impact. The sweet spot is where all three overlap, but I don’t expect every project to hit that trifecta. My consulting work (about 45% of my time) provides financial stability and allows me to be selective about other opportunities. I deliberately allocate time for teaching at California College of the Arts (15%), mentoring and volunteering (20% combined), and both speaking and writing (20% combined). While these non-consulting activities may not always be as financially lucrative, they fulfill my desire to support the next generation of creatives, contribute to causes I believe in, and share my perspective with wider audiences. I’ve learned to say no to projects that might pay well but don’t align with my values or wouldn’t allow me to do my best work. This has sometimes meant walking away from significant income, but it’s preserved my energy for more meaningful opportunities like collaborating with women-founded ventures such as A Space, In Between, Acora, Anew, and Chicken & Egg Films. Success isn’t necessarily about scaling up, and growth doesn’t always mean expansion. For me, it means intentionally keeping things small and intimate. There’s power in being selective; there’s wisdom in recognizing that sometimes, less is more—especially in a society that subconsciously breeds burnout, and women especially are not giving themselves permission to rest. As Jacqueline Novogratz, Founder and CEO of Acumen, once asked: “What if we measured true success not by the amount of money you have, but by the amount of human energy you unlock, the amount of potential you enable? If that were our metric, our world would be a different place.” This question has become central to how I approach my solo venture. For me, it’s always been about depth of impact rather than breadth of reach.

May 20, 20254 min readContributors to Scientific American’s June 2025 IssueWriters, artists, photographers and researchers share the stories behind the storiesBy Allison Parshall edited by Jen SchwartzJennifer N. R. Smith. Charles SmithJennifer N. R. SmithThe Social Lives of MitochondriaIn 2020, on a trip to Devon, England, Jennifer N. R. Smith (above) went swimming in the sea. Just as night fell, the water began to glow with light from bioluminescent algae. “It’s electric blue,” she recalls. “If you lift your arm up out of the water, it kind of sparkles all over your skin. It was the most magical experience I’ve ever had.” Smith, who had just finished a program in medical illustration, felt she had to draw this phenomenon immediately.Smith took inspiration from that experience to create her own style of illustration, which combines the traditional textures of collage and paper marbling with a technique called reverse stippling—pinpricks of light over a dark background. The technique evokes wonder in her for the natural world, with the dots representing more than just flecks of algae on her skin. “They could be the night sky or atoms, either the macro or the micro.”On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.For this issue’s feature story on the mysteries of mitochondria, by behavioral neuroscientist Martin Picard, Smith visualized the organelles’ zigzagging inner walls by using this illustration method to “turn the mitochondrion into a labyrinth.” Rather than explaining concepts to readers with her drawings, she tries to invite them in by inspiring a sense of awe. “If you can spark wonder within someone about a certain topic,” she says, “they will interact with it in a way that’s much more deep and authentic.”Alec LuhnRefreezing the ArcticIn February climate journalist Alec Luhn took four days and four planes to travel to Cambridge Bay in Canada’s Nunavut territory. It was his second trip to the Arctic Circle for Scientific American—in 2023 he went to Alaska to investigate why rivers in Kobuk Valley National Park were turning orange. This time, while reporting on efforts to refreeze parts of the melting Arctic to stall the worst effects of climate change, he was struck by just how fast the environment was changing.“This is the Northwest Passage—the holy grail of ocean exploration for 400 years,” Luhn says, referring to the famed sea route connecting the Atlantic and Pacific Oceans. Many colonial explorers died trying to navigate the ice-clogged sea lane, “but now that ice is melting to the degree that cruise ships go through the Northwest Passage every single summer,” and local Indigenous communities, he says, are struggling to maintain a way of life that depends heavily on sea ice for hunting, transportation, and more.As Luhn observed the efforts to refreeze the melting cap, he often thought about how this harsh environment has made a mockery of colonial expeditions’ efforts to bend it to their will. “And here we are now again, trying to bring our technology to bear on the forces of nature” to counteract the melting we continue to cause, he says. “Will we succeed this time?”Rowan JacobsenCan Sunlight Cure Disease?For the past few years science journalist Rowan Jacobsen has been fascinated by the effect of light on our bodies. “We tend to think of light as ephemeral,” he says, yet it is physical—we’re constantly bombarded by photons, little packets of energy. “There’s no way it couldn’t have a health impact, in a way,” he says. Indeed, research across fields of medicine has shown that people exposed to more light tend to have better health outcomes. In our cover story for this issue, Jacobsen explores new phototherapies for autoimmune conditions such as multiple sclerosis.Jacobsen has written several books, on topics including oysters, truffles and chocolate. Food, he says, is a “clandestine” way to get people interested in the natural world. For his next book, about how light affects health, he recently embarked on a “self-experiment.” Jacobsen rented a 1962 Airstream in southwestern Arizona and spent a month without artificial light at night. After sunset “there’s nothing to do [except] lie out and look at the stars,” he says.Jacobsen had returned to his home in Vermont just before we spoke for this interview, and he reported feeling refreshed. “My energy and my focus were awesome,” he says, attributing the improvement mainly to the early mornings. “Less [artificial] light at night was good, but I think the bright sunlight in the morning was equally important.”Jay BendtScience of HealthJay Bendt fell into her illustration career “sort of backward,” she says. She had planned to take the path of many members of her family and become a doctor. But during her first year of college, she expressed interest in drawing on an administrative form and was unwittingly sorted into an art-focused track. “Being very young, I was like, ‘You know what, that actually doesn’t sound like a bad idea,’ ” she recalls. Bendt had grown up drawing in the age of DeviantArt, an online art platform popular in the 2000s, and had been inspired by the “magical girl” aesthetic of Sailor Moon and other anime. After graduating with a painting degree, she learned to integrate these interests with formal, conceptual skills to become a freelance illustrator.Bendt illustrates Scientific American’s Science of Health column, written by Lydia Denworth. This issue’s column about the impact of exercise on gut bacteria was a particular challenge. “Anything that has bacteria in it is one I need to think on more” to make it original, she says; it’s too easy to fall back on drawing little anthropomorphic cells. For editorial illustrations, Bendt picks a style that matches the story, but her personal work is unfailingly whimsical. “I try to make work that, once you’ve caught a glimpse, you have to look at it.”

A native Michigander, Nawal Motawi enrolled in the University of Michigan's Stamps School of Art & Design in the 1980s. After a year and a half, she dropped out "in disgust," she revealed in an interview with the Ann Arbor District Library. Motawi was turned off by the program's emphasis on self-marketing, and "I felt the critiques were a lot of baloney," she says. Motawi resolved to start over and study something else.Motawi's father, an Egyptian immigrant and food scientist for Gerber, wasn't thrilled that Motawi had enrolled in art school in the first place. But her parents were less thrilled that she had dropped out. As they were footing the bill for her education, they laid down the law: "We're going to pay for college through this date. If you're still in school after that, you got to pay for it yourself." Motawi looked at the credits she'd amassed, then returned to finish her degree.8x8 Imperial Peacock - Turquoise 8x8 Imperial Peacock - Turquoise After graduating, Motawi got a job at Detroit's Pewabic Pottery, where she learned about both the intricacies of ceramic tile glazes and the Arts & Crafts movement. Following that and a residency at CCS, she resolved to start her own studio. Dithering or daunted, "I was thinking of trying to go back to school, and my dad said, 'Look, why don't you just start the thing?' My mom came up with this idea to buy a house and rent it to me on very reasonable terms…. They invested in real estate and rented to me, and I started the tile works in that garage."4x12 Samara - Cream 4x12 Samara - Cream Motawi began producing tiles of her own design and selling them at the Ann Arbor Farmer's Market. "I realized I didn't have a marketing budget, so I had to figure out how to sell them any way I could. The fee at the time was $11 per day. I started out just selling little Christmas ornaments made of clay, and I also had samples, just concept boards of layouts.4x8 Skylight - Turquoise 4x8 Skylight - Turquoise "Ann Arbor has a very art appreciating and affluent society, and that was very, very important [LAUGHTER] to my being able to start the business." Motawi's work caught the eye of a wealthy shopper named Cynthia, who was redoing her fireplace. Motawi invited her to her garage studio, pitched some ideas, and won the project.8x8 March Balloons - Cream 8x8 March Balloons - Cream "I did a fireplace for Cynthia, who lived in a brand new duplex on Fourth Street. [Her next-door neighbor] saw her place and said, I want Motawi for mine. I did a fireplace and a backsplash for her." That led to a photograph of Motawi and her brother Karim standing in front of the fireplace, in an article in the Ann Arbor News; in the 1990s, this was the closest you could get to going viral.8x8 May Basket - Cream 8x8 May Basket - Cream Motawi—who had repeatedly tried to get into the Ann Arbor Art Fair and been rejected—began to build her client base. Motawi Tileworks soon outgrew the 600-square-foot garage studio and moved, several times, into larger spaces. (Her parents sold the rental house and turned a profit.)6x8 Saguaro - Green 6x8 Saguaro - Green Today Motawi Tileworks has over 40 employees working out of a 12,900-square-foot facility in Ann Arbor. The company's handmade art tiles are distributed in over 300 locations in North America. The Motawi collection that most caught my eye are the ones you see pictured here. Motawi licensed the right to translate Frank Lloyd Wright's architectural motifs into ceramic art tiles.8x8 Jewelry Shop Window 8x8 Jewelry Shop Window 4x8 Skylight - Brown 4x8 Skylight - Brown 6x8 Saguaro - Rainbow 6x8 Saguaro - Rainbow 4x8 Sumac - Bone 4x8 Sumac - Bone 6x8 Waterlilies - Light Blue 6x8 Waterlilies - Light Blue 8x8 Coonley Playhouse 8x8 Coonley Playhouse 8x8 Frozen Spheres - Purple 8x8 Frozen Spheres - Purple 8x8 Frozen Spheres - Cream 8x8 Frozen Spheres - Cream 4x4 Avery Tulip - Turquoise 4x4 Avery Tulip - Turquoise Check out all of Motawi's Frank Lloyd Wright collection here. The company's other collections are also well worth a gander.8x8 Frank Lloyd Wright Framed Set