Jim Sanborn is auctioning off the elusive solution to K4, the outdoor sculpture that sits at CIA headquarters.

In a 12,000-square-foot warehouse in Zeeland, Michigan, hundreds of chairs, sofas, and loveseats rest on open storage racks. Their bold colors and elegant forms stand in striking contrast to the industrial setting. A plush recliner, seemingly made for sinking into, sits beside a mesh desk chair like those found in generic office cubicles. Nearby, a rare prototype of the Knoll Womb® Chair, gifted by Eero Saarinen to his mother, blooms open like a flower–inviting someone to sit. There’s also mahogany furniture designed by Gilbert Rohde for Herman Miller, originally unveiled at the 1933 World’s Fair; early office pieces by Florence Knoll; and a sculptural paper lamp by Isamu Noguchi. This is the newly unveiled MillerKnoll Archive, a space that honors the distinct legacies of its formerly rival brands. In collaboration with New York–based design firm Standard Issue, MillerKnoll has created a permanent display of its most iconic designs at the company’s Michigan Design Yard headquarters. In the early 1920s, Dutch-born businessman Herman Miller became the majority stakeholder in a Zeeland, Michigan, company where his son-in-law served as president. Following the acquisition, Star Furniture Co. was renamed the Herman Miller Furniture Company. Meanwhile, across the Atlantic in Stuttgart, Germany, Walter Knoll joined his family’s furniture business and formed close ties with modernist pioneers Ludwig Mies van der Rohe and Walter Gropius, immersing himself in the Bauhaus movement as Germany edged toward war.  Just before the outbreak of World War II, Walter Knoll relocated to the United States and established his own furniture company in New York City. Around the same time, Michigan native Florence Schust was studying at the Cranbrook Academy of Art under Eliel Saarinen. There, she met Eero Saarinen and Charles Eames. Schust, who later married Walter Knoll, and Saarinen would go on to become key designers for the company, while Eames would play a similarly pivotal role at Herman Miller—setting both firms on parallel paths in the world of modern design. The facility was designed in collaboration with New York-based design firm Standard Issue. The archive, located in MillerKnoll’s Design Yard Headquarters, is 12,000 square feet and holds over one million objects. (Nicholas Calcott/Courtesy MillerKnoll) Formerly seen as competitors, Herman Miller acquired Knoll four years ago in a $1.8 billion merger that formed MillerKnoll. The deal united two of the most influential names in American furniture, merging their storied design legacies and the iconic pieces that helped define modern design. Now, MillerKnoll is honoring the distinct histories of each brand through this new archive. The archive is a permanent home for the brands’ archival collections and also exhibits the evolution of modern design. The facility is organized into three distinct areas: an exhibition space, open storage, and a reading room.  The facility’s first exhibition, Manufacturing Modern, explores the intertwined histories of Knoll and Herman Miller. It showcases designs from the individuals who helped shape each company. The open storage area displays over 300 pieces of modern furniture, featuring both original works from Knoll and Herman Miller as well as contemporary designs. In addition to viewing the furniture pieces, visitors can kick back in the reading room, which offers access to a collection of archival materials, including correspondence, photography, drawings, and textiles. The facility is organized into three distinct areas: an exhibition space, open storage, and a reading room and will be open for tours in partnership with the Cranbrook Art Academy this summer. (Nicholas Calcott/Courtesy MillerKnoll) “The debut of the MillerKnoll Archives invites our communities to experience design history – and imagine its future– in one dynamic space,” said MillerKnoll’s chief creative and product officer Ben Watson. “The ability to not only understand how iconic designs came to be, but how design solutions evolved over time, is a never-ending source of inspiration.” Exclusive tours of the archive will be available in July and August in partnership with the Cranbrook Art Museum and in October in partnership with Docomomo.

This month, join forces to tackle the paranormal crises of a mysterious federal agency under siege in the cooperative first-person shooter FBC: Firebreak, lead your team to victory in the iconic all-out warfare of Battlefield 2042, test your skills as a new Fazbear employee managing and maintaining the eerie pizzeria of Five Nights at Freddy’s: Help Wanted 2 or live for the thrill of the hunt in the realistic hunting open world theHunter: Call of the Wild. All of these titles and more are available in June’s PlayStation Plus Game Catalog lineup*.    Meanwhile, PS2’s Deus Ex: The Conspiracy merges action-RPG, stealth and FPS gameplay in PlayStation Plus Premium.    All titles will be available to play on June 17.   PlayStation Plus Extra and Premium | Game Catalog  View and download image Download the image close Close Download this image FBC: Firebreak | PS5 Launching on the PlayStation Plus Game Catalog this month is FBC: Firebreak, a cooperative first-person shooter set within a mysterious federal agency under assault by otherworldly forces. Return to the strange and unexpected world of Control or venture in for the first time in this standalone, multiplayer experience. As a years-long siege on the agency’s headquarters reaches its boiling point, only Firebreak—the Bureau’s most versatile unit—has the gear and the guts to plunge into the building’s strangest crises, restore order, contain the chaos, and fight to reclaim control. Join forces with friends or strangers to tackle each job as a well-oiled crew. Survival in this three-player cooperative FPS hinges on quick thinking and seamless teamwork as you scramble to tame raging paranatural crises across a variety of unexpected locations.    View and download image Download the image close Close Download this image Battlefield 2042 | PS4, PS5 Battlefield 2042 is a first-person shooter that marks the return to the iconic all-out warfare of the franchise. With the help of a cutting-edge arsenal, engage in intense, immersive multiplayer battles. Lead your team to victory in both large all-out warfare and close quarters combat on maps from the world of 2042 and classic Battlefield titles. Find your playstyle in class-based gameplay and take on several experiences comprising elevated versions of Conquest and Breakthrough. Explore Battlefield Portal, a platform where players can discover, create, and share unexpected battles from Battlefield’s past and present. View and download image Download the image close Close Download this image Five Nights at Freddy’s: Help Wanted 2 | PS5 Five Nights at Freddy’s: Help Wanted 2 is the sequel to the terrifying VR experience that brought new life to the iconic horror franchise. As a brand new Fazbear employee you’ll have to prove you have what it takes to excel in all aspects of Pizzeria management and maintenance. Find out if you have what it takes to be a Fazbear Entertainment Superstar! View and download image Download the image close Close Download this image theHunter: Call of the Wild | PS4 Discover an atmospheric hunting game like no other in this realistic, stunning open world – regularly updated in collaboration with its community. Immerse yourself in the single player campaign, or share the ultimate hunting experience with friends. Roam freely across meticulously crafted environments and explore a diverse range of regions and biomes, each with its own unique flora and fauna. Experience the intricacies of complex animal behavior, dynamic weather events, full day and night cycles, simulated ballistics, highly realistic acoustics, and scents carried by the wind. Select from a variety of weapons, ammunition, and equipment to create the ultimate hunting experience. With a diverse range of wildlife, including Jackrabbits, Mallard Ducks, Black Bears, Elk, and Moose, you will need to strategically match prey to weaponry to successfully track, lure, and ambush animals based on their unique behavior and environment. View and download image Download the image close Close Download this image We Love Katamari Reroll + Royal Reverie | PS4, PS5 We Love Katamari Damacy, the second title in the Katamari series released in 2005, has been remastered with redesigned graphics and a revamped in-game UI. The King of the Cosmos accidentally destroyed all the stars in the universe. He sent his son, the Prince, to Earth and ordered him to create a large katamari. Roll the katamari to make it bigger and bigger, rolling up all the things on the earth. You can roll up anything from paper clips and snacks in the house, to telephone poles and buildings in the town, to even living creatures such as people and animals. Once the katamari is complete, it will turn into a star that colors the night sky. You cannot roll up anything larger than the current size of your katamari, so the key is to think in advance about the order in which you roll things up around the stage. In Royal Reverie, roll up katamari as the King of All Cosmos in his boyhood! View and download image Download the image close Close Download this image Eiyuden Chronicles: Hundred Heroes | PS4, PS5 Directed and produced by the creator of treasured JRPG series Suikoden, Eiyuden Chronicle: Hundred Heroes provides a contemporary take on the classic JRPG experience. In the land of Allraan, two friends from different backgrounds are united by a war waged by the power-hungry Galdean Empire. Explore a diverse, magical world populated by humans, beastmen, elves and desert people. Meet and recruit over 100 unique characters, each with their own vivid voice acting and intricate backstories. Over four years in the making, and funded by the most successful Kickstarter videogame campaign of 2020, Eiyuden Chronicle: Hundred Heroes features turn-based battles, a staggering selection of heroes and a thrilling story to discover. View and download image Download the image close Close Download this image Train Sim World 5 | PS4, PS5 The rails are yours in Train Sim World 5! Take on new challenges and new roles as you master the tracks and trains of iconic cities across 3 new routes. Immerse yourself in the ultimate rail hobby and embark on your next journey. Be swept off your feet with the commuter mayhem of the West Coast main line with the Northwestern Class 350, the twisting Kinzigtalbahn with the tilting DB BR 411 ICE-T, or the sun-soaked tracks of the San Bernardino line and its Metrolink movements, powered by the MP36 & F125.  View and download image Download the image close Close Download this image Endless Dungeon | PS4, PS5 Endless Dungeon is a unique blend of roguelite, tactical action, and tower defense set in the award-winning Endless Universe. Plunge into an abandoned space station alone or with friends in co-op, recruit a team of shipwrecked heroes, and protect your crystal against never-ending waves of monsters… or die trying, get reloaded, and try again. You’re stranded on an abandoned space station chock-full of monsters and mysteries. To get out you’ll have to reach The Core, but you can’t do that without your crystal bot. That scuttling critter is your key to surviving the procedurally generated rooms of this space ruin. Sadly, it’s also a fragile soul, and every monster in the place wants a piece of it. You’re going to have to think quick, plan well, place your turrets, and then… fireworks! Bugs, bots and blobs will stop at nothing to turn you and that crystal into dust and debris. With a large choice of weapons and turrets, the right gear will be the difference between life and death. PlayStation Plus Premium  View and download image Download the image close Close Download this image Deus Ex: The Conspiracy | PS4, PS5This is an emulation of the classic PS2 title, Deus Ex: The Conspiracy, playable on PS4 and PS5 for the first time. The year is 2052 and the world is a dangerous and chaotic place. Terrorists operate openly – killing thousands; drugs, disease and pollution kill even more. The world’s economies are close to collapse and the gap between the insanely wealthy and the desperately poor grows ever wider. Worst of all, an age- old conspiracy bent on world domination has decided that the time is right to emerge from the shadows and take control.  *PlayStation Plus Game Catalog and PlayStation Plus Premium/Deluxe lineups may differ by region. Please check PlayStation Store on release day. 

12 June, 2025 In our turning points series, design studios share some of the key moments that shaped their business. This week, we meet Accept & Proceed. Accept & Proceed is a London based brand and design studio that works with clients like NASA, Nike and LEGO. Founder David Johnston talks us through some of the decisions that defined his business. In 2006, Johnston took the leap to start his own business, armed with a good name and a willingness to bend the truth about his team… I’d gone through my career learning from big organisations, and one small organisation, and I felt like I wasn’t happy where I was. It was my dad who encouraged me to take a leap of faith and try and go it alone. With nothing more than a month’s wages in the bank and a lot of energy, I decided to go and set up an agency. That really just means giving yourself a name and starting to promote yourself in the world. Accept & Proceed founder David Johnston I think the name itself is a very important thing. I wanted something that was memorable but also layered in meaning. A name that starts with an “a” is very beneficial when you’re being listed in the index of books and things like that. But it became a bit of a compass for the way that we wanted to create work, around accepting the status quo for what it is, but with a continual commitment to proceed nonetheless. Because I didn’t have anyone to work with, in those early months I just made up email addresses of people that didn’t exist. That allowed me to cost projects up for multiple people. That’s obviously a degree of hustle I wouldn’t encourage in everyone, but it meant I was able to charge multiple day rates for projects where I was playing the role of four or five people. Self-initiated projects have long been part of the studio’s DNA and played a key role in building key client relationships. A&P by… was a brief to explore these letterforms without any commercial intent apart from the joy of creative expression. I started reaching out to illustrators and artists and photographers and designers that I really rated, and the things that started coming back were incredible. I was overwhelmed by the amount of energy and passion that people like Mr Bingo and Jason Evans were bringing to this. I think in so many ways, the answer to everything is community. I’ve gone on to work with a lot of the people that created these, and they also became friends. It was an early example of dissolving these illusionary boundaries around what an agency might be, but also expanding and amplifying your potential. The first of Accept & Proceed’s Light Calendars Then in 2006, I was trying to establish our portfolio and I wanted something to send out into the world that would also be an example of how Accept & Proceed thinks about design. I landed on these data visualisations that show the amount of light and darkness that would happen in London in the year ahead. I worked with a freelance designer called Stephen Heath on the first one – he is now our creative director. This kickstarted a 10-year exploration, and they became a rite of passage for new designers that came into the studio, to take that very similar data and express it in completely new ways. It culminated in an exhibition in London in 2016, showing ten years’ of prints. They were a labour of love, but they also meant that every single year we had a number of prints that we could send out to new potential contacts. Still when I go to the global headquarters of Nike in Beaverton in Portland, I’m amazed at how many of these sit in leaders’ offices there. When we first got a finance director, they couldn’t believe how much we’d invested as a business in things like this – we even had our own gallery for a while. It doesn’t make sense from a purely numbers mindset, but if you put things out there for authentic reasons, there are ripple effects over time. In 2017, the studio became a B-corp, the fourth creative agency in the UK to get this accreditation. Around 2016, I couldn’t help but look around – as we probably all have at varying points over the last 10 years – and wondered, what the fuck is going on? All these systems are not fit for purpose for the future – financial systems, food systems, relationship systems, energy systems. They’re not working. And I was like shit, are we part of the problem? Accept & Proceed’s work for the NASA Jet Propulsion Laboratory I’ve always thought of brand as a piece of technology that can fundamentally change our actions and the world around us. That comes with a huge responsibility. We probably paid four months’ wages of two people full-time just to get accredited, so it’s quite a high bar. But I like that the programme shackles you to this idea of improvement. You can’t rest on your laurels if you want to be re-accredited. It’s like the way design works as an iterative process – you have to keep getting better. In 2019, Johnston and his team started thinking seriously about the studio’s own brand, and created a punchy, nuanced new positioning. We got to a point where we’d proven we could help brands achieve their commercial aims. But we wanted to hold a position ourselves, not just be a conduit between a brand and its audience. It still amazes me that so few agencies actually stand for anything. We realised that all the things – vision, mission, principles – that we’ve been creating for brands for years, we hadn’t done for ourselves. It’s a bit like when you see a hairdresser with a really dodgy haircut. But it’s hard to cut your own hair. So we went through that process, which was really difficult, and we landed on “Design for the future” as our promise to the world. And if you’re going to have that as a promise, you better be able to describe the world you’re creating through your work, which we call “the together world.” Accept & Proceed’s work for Second Sea We stand at this most incredible moment in history where the latest technology and science is catching up with ancient wisdom, to know that we must become more entangled, more together, more whole. And we’ve assessed five global shifts that are happening in order to be able to take us towards a more together world through our work – interbeing, reciprocity, healing, resilience and liberation. The year before last, we lost three global rebrand projects based on our positioning. Every one of them said to me, “You’re right but we’re not ready.” But this year, I think the product market fit of what we’ve been saying for the last five years is really starting to mesh. We’re working with Arc’teryx on their 2030 landscape, evolving Nike’s move to zero, and working with LEGO on what their next 100 years might look like, which is mind-boggling work. I don’t think we could have won any of those opportunities had we not been talking for quite a long time about design for the future. In 2023, Johnston started a sunrise gathering on Hackney Marshes, which became a very significant part of his life. I had the flu and I had a vision in my dreamy fluey state of a particular spot on Hackney Marshes where people were gathering and watching the sunrise. I happened to tell my friend, the poet Thomas Sharp this, and he said, “That’s a premonition. You have to make it happen.” The first year there were five of us – this year there were 300 people for the spring equinox in March. I don’t fully know what these gatherings will lead to. Will Accept & Proceed start to introduce the seasons to the way we operate as a business? It’s a thought I’ve had percolating, but I don’t know. Will it be something else? One of the 2024 sunrise gatherings organised by Accept & Proceed founder David Johnston I do know that there’s major learnings around authentic community building for brands. We should do away with these buckets we put people into, of age group and location. They aren’t very true. It’s fascinating to see the breadth of people who come to these gatherings. Me and Laura were thinking at some point of moving out of London, but I think these sunrise gatherings are now my reason to stay. It’s the thing I didn’t know I needed until I had it. They have made London complete for me. There’s something so ancient about watching our star rise, and the reminder that we are actually just animals crawling upon the surface of a planet of mud. That’s what’s real. But it can be hard to remember that when you’re sitting at your computer in the studio. These gatherings help me better understand creativity’s true potential, for brands, for the world, and for us. Design disciplines in this article Brands in this article What to read next Features Turning Points: Cultural branding agency EDIT Brand Identity 20 Nov, 2024

AI researchers have recently been asking themselves a version of the question, “Is that really Zuck?”As first reported by Bloomberg, the Meta CEO has been personally asking top AI talent to join his new “superintelligence” AI lab and reboot Llama. His recruiting process typically goes like this: a cold outreach via email or WhatsApp that cites the recruit’s work history and requests a 15-minute chat. Dozens of researchers have gotten these kinds of messages at Google alone. For those who do agree to hear his pitch (amazingly, not all of them do), Zuckerberg highlights the latitude they’ll have to make risky bets, the scale of Meta’s products, and the money he’s prepared to invest in the infrastructure to support them. He makes clear that this new team will be empowered and sit with him at Meta’s headquarters, where I’m told the desks have already been rearranged for the incoming team.Most of the headlines so far have focused on the eye-popping compensation packages Zuckerberg is offering, some of which are well into the eight-figure range. As I’ve covered before, hiring the best AI researcher is like hiring a star basketball player: there are very few of them, and you have to pay up. Case in point: Zuckerberg basically just paid 14 Instagrams to hire away Scale AI CEO Alexandr Wang. It’s easily the most expensive hire of all time, dwarfing the billions that Google spent to rehire Noam Shazeer and his core team from Character.AI (a deal Zuckerberg passed on). “Opportunities of this magnitude often come at a cost,” Wang wrote in his note to employees this week. “In this instance, that cost is my departure.”Zuckerberg’s recruiting spree is already starting to rattle his competitors. The day before his offer deadline for some senior OpenAI employees, Sam Altman dropped an essay proclaiming that “before anything else, we are a superintelligence research company.” And after Zuckerberg tried to hire DeepMind CTO Koray Kavukcuoglu, he was given a larger SVP title and now reports directly to Google CEO Sundar Pichai. I expect Wang to have the title of “chief AI officer” at Meta when the new lab is announced. Jack Rae, a principal researcher from DeepMind who has signed on, will lead pre-training. Meta certainly needs a reset. According to my sources, Llama has fallen so far behind that Meta’s product teams have recently discussed using AI models from other companies (although that is highly unlikely to happen). Meta’s internal coding tool for engineers, however, is already using Claude. While Meta’s existing AI researchers have good reason to be looking over their shoulders, Zuckerberg’s $14.3 billion investment in Scale is making many longtime employees, or Scaliens, quite wealthy. They were popping champagne in the office this morning. Then, Wang held his last all-hands meeting to say goodbye and cried. He didn’t mention what he would be doing at Meta. I expect his new team will be unveiled within the next few weeks after Zuckerberg gets a critical number of members to officially sign on. Tim Cook. Getty Images / The VergeApple’s AI problemApple is accustomed to being on top of the tech industry, and for good reason: the company has enjoyed a nearly unrivaled run of dominance. After spending time at Apple HQ this week for WWDC, I’m not sure that its leaders appreciate the meteorite that is heading their way. The hubris they display suggests they don’t understand how AI is fundamentally changing how people use and build software.Heading into the keynote on Monday, everyone knew not to expect the revamped Siri that had been promised the previous year. Apple, to its credit, acknowledged that it dropped the ball there, and it sounds like a large language model rebuild of Siri is very much underway and coming in 2026.The AI industry moves much faster than Apple’s release schedule, though. By the time Siri is perhaps good enough to keep pace, it will have to contend with the lock-in that OpenAI and others are building through their memory features. Apple and OpenAI are currently partners, but both companies want to ultimately control the interface for interacting with AI, which puts them on a collision course. Apple’s decision to let developers use its own, on-device foundational models for free in their apps sounds strategically smart, but unfortunately, the models look far from leading. Apple ran its own benchmarks, which aren’t impressive, and has confirmed a measly context window of 4,096 tokens. It’s also saying that the models will be updated alongside its operating systems — a snail’s pace compared to how quickly AI companies move. I’d be surprised if any serious developers use these Apple models, although I can see them being helpful to indie devs who are just getting started and don’t want to spend on the leading cloud models. I don’t think most people care about the privacy angle that Apple is claiming as a differentiator; they are already sharing their darkest secrets with ChatGPT and other assistants. Some of the new Apple Intelligence features I demoed this week were impressive, such as live language translation for calls. Mostly, I came away with the impression that the company is heavily leaning on its ChatGPT partnership as a stopgap until Apple Intelligence and Siri are both where they need to be. AI probably isn’t a near-term risk to Apple’s business. No one has shipped anything close to the contextually aware Siri that was demoed at last year’s WWDC. People will continue to buy Apple hardware for a long time, even after Sam Altman and Jony Ive announce their first AI device for ChatGPT next year. AR glasses aren’t going mainstream anytime soon either, although we can expect to see more eyewear from Meta, Google, and Snap over the coming year. In aggregate, these AI-powered devices could begin to siphon away engagement from the iPhone, but I don’t see people fully replacing their smartphones for a long time. The bigger question after this week is whether Apple has what it takes to rise to the occasion and culturally reset itself for the AI era. I would have loved to hear Tim Cook address this issue directly, but the only interview he did for WWDC was a cover story in Variety about the company’s new F1 movie.ElsewhereAI agents are coming. I recently caught up with Databricks CEO Ali Ghodsi ahead of his company’s annual developer conference this week in San Francisco. Given Databricks’ position, he has a unique, bird’s-eye view of where things are headed for AI. He doesn’t envision a near-term future where AI agents completely automate real-world tasks, but he does predict a wave of startups over the next year that will come close to completing actions in areas such as travel booking. He thinks humans will need (and want) to approve what an agent does before it goes off and completes a task. “We have most of the airplanes flying automated, and we still want pilots in there.”Buyouts are the new normal at Google. That much is clear after this week’s rollout of the “voluntary exit program” in core engineering, the Search organization, and some other divisions. In his internal memo, Search SVP Nick Fox was clear that management thinks buyouts have been successful in other parts of the company that have tried them. In a separate memo I saw, engineering exec Jen Fitzpatrick called the buyouts an “opportunity to create internal mobility and fresh growth opportunities.” Google appears to be attempting a cultural reset, which will be a challenging task for a company of its size. We’ll see if it can pull it off. Evan Spiegel wants help with AR glasses. I doubt that his announcement that consumer glasses are coming next year was solely aimed at AR developers. Telegraphing the plan and announcing that Snap has spent $3 billion on hardware to date feels more aimed at potential partners that want to make a bigger glasses play, such as Google. A strategic investment could help insulate Snap from the pain of the stock market. A full acquisition may not be off the table, either. When he was recently asked if he’d be open to a sale, Spiegel didn’t shut it down like he always has, but instead said he’d “consider anything” that helps the company “create the next computing platform.”Link listMore to click on:If you haven’t already, don’t forget to subscribe to The Verge, which includes unlimited access to Command Line and all of our reporting.As always, I welcome your feedback, especially if you’re an AI researcher fielding a juicy job offer. You can respond here or ping me securely on Signal.Thanks for subscribing.See More:

In case you haven't checked out Archinect's Pinterest boards in a while, we have compiled ten recently pinned images from outstanding projects on various Archinect Firm and People profiles.Today's top images (in no particular order) are from the board Glass. Tip: Use the handy FOLLOW feature to easily keep up-to-date with all your favorite Archinect profiles. ↑ Glorya Kaufman Performing Arts Center in Los Angeles, CA by AUX Architecture; Photo: Nic Lehoux ↑ Raffles City Beijing in Beijing, China by CLOU architects ↑ Amirá in Querétaro, Mexico by Archetonic; Photo: Rafael Gamo ↑ Ishida Tokyo Regional Headquarters in Tokyo, Japan by NIKKEN SEKKEI; Photo: Ken’ichi Suzuki ↑ Poetry Anthology of Light in Guangzhou, China by PMA STUDIO; Photo: Jason Xie ↑ RLJ Chapel in San Juan Cosalá, Mexico by Ricardo Yslas Gámez Arquitectos; Photo: Jaime Navarro Soto ↑ Mountain Villa in Huizhou, China by BDSD Boundless Design; Photo: Hanmo Vision Yi Gao ↑ PLP City Range mixed-use in Bangkok, Thailand by...

Gabriel Faria Lima Corporate / Perkins&Will São PauloSave this picture!© Pedro MascaroOffice Buildings•São Paulo, Brazil Architects: Perkins&Will São Paulo Area Area of this architecture project Area:  2900 m² Year Completion year of this architecture project Year:  2025 Photographs Photographs:Pedro Mascaro Manufacturers Brands with products used in this architecture project Manufacturers:  Protecnica, Stone, Sulmetais Lead Architects: Douglas Tolaine More SpecsLess Specs Save this picture! Text description provided by the architects. Alameda Gabriel Monteiro da Silva is home to the most prestigious addresses in Brazilian design, where big names in furniture and interior design set up their headquarters and welcome design enthusiasts daily, connecting the financial hubs of Avenida Paulista and Avenida Brigadeiro Faria Lima. In 2025, this star-studded address will gain yet another example of design excellence, this time an icon of contemporary architecture developed by Perkins&Will, Gabriel Faria Lima Corporate.Save this picture!Save this picture!The neighborhood is a high-end residential area, marked by a series of restrictions on the height and typology of buildings. In other words, designing at this address means being aware of the enormous responsibility of interacting with the surrounding area, taking advantage of this very special opportunity to contribute to the development of a strategic and inspiring area of the city.Save this picture!Save this picture!Save this picture!The single-occupancy building is composed of two floors resting on a permeable ground floor, with concrete pilotis and glass panels that reinforce the connection between the interior and exterior, elegant design and abundant landscaping. The large slabs – free of structural interruptions – offer flexibility for occupation and interaction with the vegetation that surrounds the building, without giving up privacy, guaranteed by the Corten steel brise-soleils, which also mark the limit with the sidewalk, in a composition complemented by the soft stone walls, which lend organicity (and Brazilianness) to the timeless volume.Save this picture!Save this picture!Save this picture!The distinctive metal elements dictate the rhythm of the façade, with alternating vertical lines that protect the generous windows, always ready to flood the spaces with natural light. The landscaping enhances the garden, echoing the beauty and tranquility that greenery can provide to the urban environment.Save this picture!"Developing a corporate boutique in such an iconic location is a tremendous opportunity to redevelop and give new meaning and purpose to a corner lot. Our proposal is to integrate the Jardins neighborhood into the building, as if the development had always existed. We seek to combine the comfort, scale and identity of the surrounding homes with a unique design that values nature in an exuberant and singular symbiosis, meeting the needs of a society in constant evolution," shares Douglas Tolaine, creative leader and design director at Perkins&Will São Paulo.Save this picture!Save this picture!This corporate project challenges the outdated notion that office buildings must be imposing, mirrored structures. What makes it particularly appealing is the way it embraces its surroundings — respecting the existing urban fabric and integrating deeply into the local landscape, creating a harmonious and solid presence in the city.Save this picture! Project gallerySee allShow less Project locationAddress:Jardim America, BrazilLocation to be used only as a reference. It could indicate city/country but not exact address.About this office Published on June 07, 2025Cite: "Gabriel Faria Lima Corporate / Perkins&Will São Paulo" 07 Jun 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030666/gabriel-faria-lima-corporate-perkins-and-will-sao-paulo&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Additive Manufacturing UK (AMUK)’s first Members Forum of 2025 was held at Siemens’ UK headquarters in South Manchester earlier this year. The event featured presentations from AMUK members and offered attendees a chance to network and share insights.  Ahead of the day-long meetup, 3D Printing Industry caught up with Joshua Dugdale, Head of AMUK, to learn more about the current state of additive manufacturing and the future of 3D printing in Britain.  AMUK is the United Kingdom’s primary 3D printing trade organization. Established in 2014, it operates within the Manufacturing Technologies Association (MTA) cluster. Attendees at this year’s first meetup spanned the UK’s entire 3D printing ecosystem. Highlights included discussion on precious materials from Cookson Industrial, simulation software from Siemens, digital thread solutions from Kaizen PLM, and 3D printing services provided by ARRK.  With a background in mechanical engineering, Dugdale is “responsible for everything and anything AMUK does as an organization.” According to the Loughborough University alumnus, who is also Head of Technology and Skills at the MTA, AMUK’s core mission is to “create an environment in the UK where additive manufacturing can thrive.” He elaborated on how his organization is working to increase the commercial success of its members within the “struggling” global manufacturing environment. Dugdale shared his perspective on the key challenges facing 3D printing in the UK. He pointed to a “tough” operating environment hampered by global financial challenges, which is delaying investments.  Despite this, AMUK’s leader remains optimistic about the sector’s long-term potential, highlighting the UK’s success in R&D and annual 3D printing intellectual property (IP) output. Dugdale emphasized the value of 3D printing for UK defense and supply chain resilience, arguing that “defense will lead the way” in 3D printing innovation.  Looking ahead, Dugdale called on the UK Government to create a unified 3D printing roadmap to replace its “disjointed” approach to policy and funding. He also shared AMUK’s strategy for 2025 and beyond, emphasizing a focus on eductaion, supply chain visibility, and standards. Ultimately, the AMUK figurehead shared a positive outlook on the future of 3D printing in the UK. He envisions a new wave of innovation that will see more British startups and university spinouts emerging over the next five years.          Siemens’ Manchester HQ hosted the first AMUK Members Forum of 2025. Photo by 3D Printing Industry. What is the current state of additive manufacturing in the UK? According to Dugdale, the 3D printing industry is experiencing a challenging period, driven largely by global economic pressures. “I wouldn’t describe it as underperforming, I’d describe it as flat,” Dugdale said. “The manufacturing sector as a whole is facing significant challenges, and additive manufacturing is no exception.” He pointed to increased competition, a cautious investment climate, and the reluctance of businesses to adopt new technologies due to the economic uncertainty.  Dugdale specifically highlighted the increase in the UK’s National Insurance contribution (NIC) rate for employers, which rose from 13.8% to 15% on April 6, 2025. He noted that many British companies postponed investment decisions ahead of the announcement, reflecting growing caution within the UK manufacturing sector. “With additive manufacturing, people need to be willing to take risks,” added Dugdale. “People are holding off at the moment because the current climate doesn’t favor risk.”  Dugdale remains optimistic about the sector’s long-term potential, arguing that the UK continues to excel in academia and R&D. However, for Dugdale, commercializing that research is where the country must improve before it can stand out on the world stage. This becomes especially clear when compared to countries in North America and Asia, which receive significantly greater financial support. “We’re never going to compete with the US and China, because they have so much more money behind them,” he explained. In a European context, Dugdale believes the UK “is doing quite well.” However, Britain remains below Spain in terms of financial backing and technology adoption. “Spain has a much more mature industry,” Dugdale explained. “Their AM association has been going for 10 years, and it’s clear that their industry is more cohesive and further along. It’s a level of professionalism we can learn from.” While the Iberian country faces similar challenges in standards, supply chain, and visibility, it benefits from a level of cohesion that sets it apart from many other European countries. Dugdale pointed to the Formnext trade show as a clear example of this disparity. He expects the Spanish pavilion to span around 200 square meters and feature ten companies at this year’s event, a “massive” difference compared to the UK’s 36 square meters last year. AMUK’s presence could grow to around 70 square meters at Formnext 2025, but this still lags far behind. Dugdale attributes this gap to government support. “They get more funding. This makes it a lot more attractive for companies to come because there’s less risk for them,” he explained.   Josh Dugdale speaking at the AMUK Members Forum in Manchester. Photo by 3D Printing Industry. 3D printing for UK Defense  As global security concerns grow, the UK government has intensified efforts to bolster its defense capabilities. In this context, 3D printing is emerging as a key enabler. Earlier this year, the Ministry of Defence (MoD) released its first Defence Advanced Manufacturing Strategy, outlining a plan to “embrace 3D printing,” with additive manufacturing expected to play a pivotal role in the UK’s future military operations.  Dugdale identified two key advantages of additive manufacturing for defense: supply chain resilience and frontline production. For the former, he stressed the importance of building localized supply chains to reduce lead times and eliminate dependence on overseas shipments. This capability is crucial for ensuring that military platforms, whether on land, at sea, or in the air, remain operational.  3D printing near the front lines offers advantages for conducting quick repairs and maintaining warfighting capabilities in the field. “If a tank needs to get back off the battlefield, you can print a widget or bracket that’ll hold for just five miles,” Dugdale explained. “It’s not about perfect engineering; it’s about getting the vehicle home.”  The British Army has already adopted containerized 3D printers to test additive manufacturing near the front lines. Last year, British troops deployed metal and polymer 3D printers during Exercise Steadfast Defender, NATO’s largest military exercise since the Cold War. Dubbed Project Bokkr, the additive manufacturing capabilities included XSPEE3D cold spray 3D printer from Australian firm SPEE3D.     Elsewhere in 2024, the British Army participated in Additive Manufacturing Village 2024, a military showcase organized by the European Defence Agency. During the event, UK personnel 3D printed 133 functional parts, including 20 made from metal. They also developed technical data packs (TDPs) for 70 different 3D printable spare parts. The aim was to equip Ukrainian troops with the capability to 3D print military equipment directly at the point of need. Dugdale believes success in the UK defense sector will help drive wider adoption of 3D printing. “Defense will lead the way,” he said, suggesting that military users will build the knowledge base necessary for broader civilian adoption. This could also spur innovation in materials science, an area Dugdale expects to see significant advancements in the coming years.     A British Army operator checks a part 3D printed on SPEE3D’s XSPEE3D Cold Spray 3D printer. Photo via the British Army. Advocating for a “unified industrial strategy” Despite promising growth in defence, Dugdale identified major hurdles that still hinder the widespread adoption of additive manufacturing (AM) in the UK.  A key challenge lies in the significant knowledge gap surrounding the various types of AM and their unique advantages. This gap, he noted, discourages professionals familiar with traditional manufacturing methods like milling and turning from embracing 3D printing. “FDM is not the same as WAAM,” added Dugdale. “Trying to explain that in a very nice, coherent story is not always easy.” Dugdale also raised concerns about the industry’s fragmented nature, especially when it comes to software compatibility and the lack of interoperability between 3D printing systems. “The software is often closed, and different machines don’t always communicate well with each other. That can create fear about locking into the wrong ecosystem too early,” he explained.  For Dugdale, these barriers can only be overcome with a clear industrial strategy for additive manufacturing. He believes the UK Government should develop a unified strategy that defines a clear roadmap for development. This, Dugdale argued, would enable industry players to align their efforts and investments.  The UK has invested over £500 million in AM-related projects over the past decade. However, Dugdale explained that fragmented funding has limited its impact. Instead, the AMUK Chief argues that the UK Government’s strategy should recognize AM as one of “several key enabling technologies,” alongside machine tooling, metrology, and other critical manufacturing tools.  He believes this unified approach could significantly boost the UK’s productivity and fully integrate 3D printing into the wider industrial landscape. “Companies will align themselves with the roadmap, allowing them to grow and mature at the same rate,” Dugdale added. “This will help us to make smarter decisions about how we fund and where we fund.”    AMUK’s roadmap and the future of 3D printing in the UK    When forecasting 3D printing market performance, Dugdale and his team track five key industries: automotive, aerospace, medical, metal goods, and chemical processes. According to Dugdale, these industries are the primary users of machine tools, which makes them crucial indicators of market health. AMUK also relies on 3D printing industry surveys to gauge confidence, helping them to spot trends even when granular data is scarce. By comparing sector performance with survey-based confidence indicators, AMUK builds insights into the future market trajectory. The strong performance of sectors like aerospace and healthcare, which depend heavily on 3D printing, reinforces Dugdale’s confidence in the long-term potential of additive manufacturing. Looking ahead to the second half of 2025, AMUK plans to focus on three primary challenges: supply chain visibility, skills development, and standards. Dugdale explains that these issues remain central to the maturation of the UK’s AM ecosystem. Education will play a key role in these efforts.  AMUK is already running several additive manufacturing upskilling initiatives in schools and universities to build the next generation of 3D printing pioneers. These include pilot projects that introduce 3D printing to Key Stage 3 students (aged 11) and AM university courses that are tailored to industry needs.  In the longer term, Dugdale suggests AMUK could evolve to focus more on addressing specific industry challenges, such as net-zero emissions or automotive light-weighting. This would involve creating specialized working groups that focus on how 3D printing can address specific pressing issues.  Interestingly, Dugdale revealed that AMUK’s success in advancing the UK’s 3D printing industry could eventually lead to the organization being dissolved and reabsorbed into the MTA. This outcome, he explained, would signal that “additive manufacturing has really matured” and is now seen as an integral part of the broader manufacturing ecosystem, rather than a niche technology. Ultimately, Dugdale is optimistic for the future of 3D printing in the UK. He acknowledged that AMUK is still “trying to play catch-up for the last 100 years of machine tool technology.” However, additive manufacturing innovations are set to accelerate. “There’s a lot of exciting research happening in universities, and we need to find ways to help these initiatives gain the funding and visibility they need,” Dugdale urged. As the technology continues to grow, Dugdale believes additive manufacturing will gradually lose its niche status and become a standard tool for manufacturers. “In ten years, we could see a generation of workers who grew up with 3D printers at home,” he told me. “For them, it will just be another technology to use in the workplace, not something to be amazed by.”  With this future in mind, Dugdale’s vision for 3D printing is one of broad adoption, supported by clear strategy and policy, as the technology continues to evolve and integrate into UK industry.  Take the 3DPI Reader Survey — shape the future of AM reporting in under 5 minutes. 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