ActuGaming.net No Rest for the Wicked pourrait d’abord sortir sur PS5 avant d’arriver sur Xbox Series Disponible en accès anticipé depuis plus d’un an maintenant, No Rest for the Wicked fait […] L'article No Rest for the Wick

The Switch 2 has finally arrived (assuming you snagged a pre-order) but there's plenty of other news to chew on this week.

The latest version of the popular engine also includes powerful new animation and rigging features.

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In 1989 a computer scientist argued that more functionality in software actually lowers usability and practicality — leading to the counterintuitive proposition that "worse is better". But is that still true? Python's original creator Guido van Rossum addressed the question last month in a lightning talk at the annual Python Language Summit 2025. Guido started by recounting earlier periods of Python development from 35 years ago, where he used UNIX "almost exclusively" and thus "Python was greatly influenced by UNIX's 'worse is better' philosophy"... "The fact that [Python] wasn't perfect encouraged many people to start contributing. All of the code was straightforward, there were no thoughts of optimization... These early contributors also now had a stake in the language; [Python] was also their baby"... Guido contrasted early development to how Python is developed now: "features that take years to produce from teams of software developers paid by big tech companies. The static type system requires an academic-level understanding of esoteric type system features." And this isn't just Python the language, "third-party projects like numpy are maintained by folks who are paid full-time to do so.... Now we have a huge community, but very few people, relatively speaking, are contributing meaningfully." Guido asked whether the expectation for Python contributors going forward would be that "you had to write a perfect PEP or create a perfect prototype that can be turned into production-ready code?" Guido pined for the "old days" where feature development could skip performance or feature-completion to get something into the hands of the community to "start kicking the tires". "Do we have to abandon 'worse is better' as a philosophy and try to make everything as perfect as possible?" Guido thought doing so "would be a shame", but that he "wasn't sure how to change it", acknowledging that core developers wouldn't want to create features and then break users with future releases. Guido referenced David Hewitt's PyO3 talk about Rust and Python, and that development "was using worse is better," where there is a core feature set that works, and plenty of work to be done and open questions. "That sounds a lot more fun than working on core CPython", Guido paused, "...not that I'd ever personally learn Rust. Maybe I should give it a try after," which garnered laughter from core developers. "Maybe we should do more of that: allowing contributors in the community to have a stake and care". Read more of this story at Slashdot.

432 Park Avenue | © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects Located in Midtown Manhattan, 432 Park Avenue is a prominent figure in the evolution of supertall residential towers. Completed in 2015, this 1,396-foot-high building by Rafael Viñoly Architects asserts a commanding presence over the city’s skyline. Its minimalist form and rigorous geometry have sparked considerable debate within the architectural community, marking it as a significant and controversial addition to New York City’s built environment. 432 Park Avenue Technical Information Architects1-8: Rafael Viñoly Architects Location: Midtown Manhattan, New York City, USA Gross Area: 38,344 m2 | 412,637 Sq. Ft. Project Years: 2011 – 2015 Photographs: © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects It’s a building designed for the enjoyment of its occupants, not for the delight of its creator. – Rafael Viñoly 432 Park Avenue Photographs © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Design Intent and Conceptual Framework At the heart of 432 Park Avenue’s design lies a commitment to pure geometry. The square, an elemental form, defines every aspect of the building, from its floor plate to its overall silhouette. This strict adherence to geometry speaks to Viñoly’s rationalist sensibilities and interest in stripping architecture to its fundamental components. The tower’s proportions, with its height-to-width ratio of roughly 1:15, transform this simple geometry into a monumental presence. This conceptual rigor positions the building as an object of formal clarity and a deliberate statement within the city’s varied skyline. The design’s minimalism extends beyond the building’s shape, reflecting Viñoly’s pursuit of a refined and disciplined expression. Eschewing decorative flourishes, the tower’s form directly responds to programmatic needs and structural imperatives. This disciplined approach underpins the project’s ambition to redefine the experience of vertical living, asserting that luxury in residential design can emerge from formal simplicity and a mastery of proportion. Spatial Organization and Interior Volumes The interior organization of 432 Park Avenue reveals an equally uncompromising commitment to clarity and openness. Each residential floor is free of interior columns, a testament to the structural ingenuity of the concrete exoskeleton. This column-free arrangement grants unobstructed floor plans and expansive panoramic views of the city, the rivers, and beyond. Floor-to-ceiling windows, measuring nearly 10 feet in height, accentuate the sense of openness and lightness within each residence. The tower’s slender core houses the vertical circulation and mechanical systems, ensuring the perimeter remains uninterrupted. This core placement allows for generous living spaces that maximize privacy and connection to the urban landscape. The interplay between structural precision and panoramic transparency shapes the experience of inhabiting these spaces. The result is a sequence of interiors that privilege intimacy and vastness, anchoring domestic life within an architectural expression of purity. Materiality, Structural Clarity, and Detailing Material choices in 432 Park Avenue reinforce the project’s disciplined approach. The building’s exposed concrete frame, treated as structure and façade, lends the tower a stark yet refined character. The grid of square windows, systematically repeated across the height of the building, becomes a defining feature of its visual identity. This modular repetition establishes a rhythmic order and speaks to the building’s underlying structural logic. High-strength concrete enables the tower’s slender profile and exceptional height while imparting a tactile materiality that resists the glassy anonymity typical of many contemporary towers. The restrained palette and attention to detail emphasize the tectonic clarity of the building’s assembly. By treating the structure itself as an architectural finish, Viñoly’s design elevates the material expression of concrete into a fundamental element of the building’s identity. Urban and Cultural Significance As one of the tallest residential buildings in the Western Hemisphere, 432 Park Avenue has significantly altered the Manhattan skyline. Its unwavering verticality and minimal ornamentation create a dialogue with the city’s diverse architectural heritage, juxtaposing a severe abstraction against a backdrop of historic and contemporary towers. 432 Park Avenue occupies a distinctive place in the ongoing narrative of New York City’s architectural evolution. Its reductive form, structural clarity, and spatial generosity offer a compelling study of the power of minimalism at an urban scale. 432 Park Avenue Plans Floor Plans | © Rafael Viñoly Architects Floor Plans | © Rafael Viñoly Architects Floor Plans | © Rafael Viñoly Architects Floor Plans | © Rafael Viñoly Architects 432 Park Avenue Image Gallery © Rafael Viñoly Architects About Rafael Viñoly Architects Rafael Viñoly, a Uruguayan-born architect (1944–2023), founded Rafael Viñoly Architects in New York City in 1983. After studies in Buenos Aires and early practice in Argentina, he relocated to the U.S.. He established a global firm with offices in cities including London, Palo Alto, and Abu Dhabi. Renowned for large-scale, function-driven projects such as the Tokyo International Forum, Cleveland Museum of Art expansions, and 432 Park Avenue, the firm is praised for combining structural clarity, context-sensitive design, and institutional rigor across six continents. Credits and Additional Notes Client: Macklowe Properties and CIM Group Design Team: Rafael Viñoly (Architect), Deborah Berke Partners (Interior Design of residential units), Bentel & Bentel (Amenity Spaces Design) Structural Engineer: WSP Cantor Seinuk Mechanical, Electrical, and Plumbing Engineers: Jaros, Baum & Bolles (JB&B) Construction Manager: Lendlease Height: 1,396 feet (425.5 meters) Number of Floors: 96 stories Construction Years: 2011–2015

The name, the myth, the icon: Barbie is almost synonymous with pink, the specific hues of the time responding to cultural trends across the decades. The doll – created by Ruth Handler in 1959, and distributed and produced by Mattel – has reflected and also shaped decades of American culture. Bauhaus-inspired, Barbie and HEWI have collaborated to present the Barbie x HEWI sanitaryware collection, bathed in an approachable yet sophisticated shade of pink. With a focus on celebrating individuality the Barbie way, HEWI fosters a precedent of inclusive design for bathrooms at large, ushering in a new era where all are safe and welcome. HEWI continues to set new standards in bathroom and accessory design for almost one hundred years. Their iconic extruded door handle has extended to every facet of the bathroom, including a towel bar, shower seat, soap dish, and toilet roll holder, offering everything you might need if your bathroom needs a bit of brightness. A lovely shade of light pink accented with an approachable cream color allows the Barbie x HEWI collection to fit in with existing decor, palette incredibly important in a room made for washing and cleanliness. With a satisfying thickness sometimes absent from bathroom collections, each piece receives the signature HEWI finish, glossy and made to last even through the toughest bath times. Barbie has been an integral part of our culture for over 65 years, offering a new perspective about what professions the doll could take part in and the roles she could play. In more recent years, inclusion has been a priority for the brand, choosing a more natural silhouette and featuring a more accurate and diverse picture of who Barbie and her friends could be. Here, this energy extends to the restroom, where the iconic Barbie pink meets the bold, Bauhaus silhouette of HEWI designs. HEWI has been at the forefront of product design for over 90 years, challenging themselves and others to anticipate the needs of subsequent generations. With work in healthcare, public projects, hotels, and education, HEWI strives to continue to push the boundaries of materials technology, closing loops on their production processes with projects like the Re-seat collection, made out of offcuts from injection molding. To learn more about the Barbie x HEWI sanitaryware collection, please visit barbiexhewi.com.  Imagery courtesy of HEWI.