By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”

With its comfortable, laid-back decorating vibes, no room says “come and sit awhile” or “aah, I’m home” quite like a beautifully inviting rustic and cozy living room. Whether you live in a farmhouse, cabin, cottage, a new-build in the suburbs, or even a city apartment—rustic living room ideas bring a certain homespun style that ranges from downright traditional to modern and chic.Here at Country Living, we’ve discovered that the very best classic and country rustic living room ideas begin with good ol’ tried-and-true character-rich decor. We're talking reclaimed wood, stone focal points (there are so many rustic style living room ideas with cozy fireplaces!), and a casual mix of natural textures and materials (think wood and woven furniture, perfectly worn leather sofas, vintage wool rugs laid atop natural sisal). More modern rustic living room ideas include a less-is-more approach with calming neutral color palettes and clean-lined furniture. Paint colors, fabrics, and accessories in grays, browns, and greens pulled from nature make for the just-right warmth—all simple rustic living room ideas at their finest. So relax and sink into our best country rustic living room ideas from some of our all-time favorite Country Living house tours!Here are more creative ways to make your home feel rustic and cozy:1Fill the Room With CharacterSean LitchfieldFrom floor to ceiling and wall to wall, this rustic living room packs in loads of character. Comfy leather and upholstered furniture, a vintage patterned rug, and a blue and yellow painted cupboard found on Facebook marketplace sit well together against a backdrop of rustic wood.2Source Local MaterialsLincoln BarbourIn this beautifully rustic Mississippi barn. the owners sourced local wood materials from a nearby military depot to clad the walls and ceiling, bringing maximum warmth and texture. Large windows let in loads of natural light during the day, while a chandelier and mounted sconces make for a romantic glow come nighttime.RELATED: These Wood Ceiling Ideas Bring Country Charm to Any RoomTOUR THE ENTIRE HOUSEAdvertisement - Continue Reading Below3Pick a Cozy Paint ColorAlpha Smoot for Country LivingThis cozy living room has a built-in warmth, thanks to saturated navy blue walls (“It’s sort of a gentleman’s navy,” says homeowner Justin Reis). Its handsomely worn floorboards, doors, mantel, and warming cabinet above the fireplace complement the dark blue beautifully. The fire and candlelight emit a magical glow.Get the Look:Wall Paint Color: Dark Navy by BehrTOUR THE ENTIRE HOUSE4Lay a Comfy RugSara Ligorria-TrampWhat's cozier than a roaring fire on a cool night? A soft, fuzzy rug in front of it! The fireplace features mantel made from a tree felled on-site and white Zellige tile. The artwork is a vintage find paired with a contemporary painting.TOUR THE ENTIRE HOUSEAdvertisement - Continue Reading Below5Embrace Log Cabin DetailsLisa FloodIn this stunning Wyoming log cabin, the family usually gathers in the wonderfully rustic great room. Its cozy factor is off the charts, thanks country decorating classics like unpainted log walls and beams, a woodburning stove, textural rugs, and a sweet swing that hangs from the ceiling. Get the Look:Swing: The Oak & Rope CompanyTOUR THE ENTIRE HOUSE6Wrap a Room in WoodMarta Xochilt PerezIn this rustic and cozy cabin, an original fieldstone fireplace creates the warmest welcome. A pair of cushy leather sofas piled with pillows blankets face off, anchoring the wood-wrapped space, and providing the perfect perches for game night. TOUR THE ENTIRE HOUSE Advertisement - Continue Reading Below7Build an Rustic Stone Accent WallMarta Xochilt Perez for Country LivingThis impressive wall of moss rock surrounds the fireplace. Chiseled stone corbels provide mantel supports. On cool nights, you can count on a roaring fire! Throughout the home, carved timbers, rough-cut stone, and walls of windows reflect a combination of the homeowners’ Scandinavian heritage and Irish roots.TOUR THE ENTIRE HOUSE8Go Big in a Small SpaceEmily FollowillThis tiny living room is packed with so much character. Designer James Farmer added decorative oomph with a large tobacco basket, an art-forward fireplace screen, and natural design elements like plants. Details like arranging the paneling on the diagonal to “point” upward enhance the vertical space. Says James, “Tall ceilings, bold plant arrangements, and large light fixtures have even more impact in a small home. Play with scale to find what feels right.” Advertisement - Continue Reading Below9Mix and Match FurnitureLincoln BarbourFor the ultimate collected-over-time vibe, forgo matching furniture. Here, a wingback chair and a spool chair look right at home in this living room. Other period-appropriate decor found in this 100-year-old home: painted paneled walls, exposed ceiling beams, and a rustic mantel wood.TOUR THE ENTIRE HOUSE 10Let There Be Light (Wood)Christopher DibbleWe put this family room in the “rustic light” category. For a top-to-bottom cabin-like feel, designer Max Humphrey wrapped the space in eight-foot knotty pine planks on the ceiling and walls. A clear coat of polyurethane protects the wood while letting its natural color shine through (a stain would’ve darkened the room). Colorful national park posters, globes, camp grounds signage, and a linen modern sectional create a hip yet homey living space.Advertisement - Continue Reading Below11Customize a Focal PointHomeowners Victoria and Marcus Ford’s vision of a custom wood fireplace surround included open shelves and striking floor-to-ceiling firewood nooks (our favorite detail!). “We figured go big or go home,” says Victoria. Brass sconces provide a library-like touch, and a custom frame has the TV looking picture-perfect above the mantel.Get the Look:Wall and Trim Paint: Endless Sea by Sherwin-WilliamsCeiling Paint: Oyster White by Sherwin-WilliamsTOUR THE ENTIRE SPACE12Incorporate Rustic Furniture FindsAnnie SchlechterTopped with a plaid cushion, a rustic yellow daybed nestled in the corner makes for the coziest spot to take in lake views. The 22-foot cathedral ceilings are clad in wood, warming up this lofty open-concept space designed by Amy Meier that also includes a dining area and kitchen.TOUR THE ENTIRE HOUSE Advertisement - Continue Reading Below13Paint the FloorsDane Tashima for Country LivingWhile the homeowners of this New Jersey dairy barn were able to salvage the structure’s original knotty beams, the walls and floors in the soaring 25-foot-high space needed to be replaced. Simple poplar planks painted white got the job done affordably. A new cast-iron pellet stove warms the space with a rustic, authentic look. Get the Look:Wall and Floor Paint Color: Alabaster by Sherwin-WilliamsTOUR THE ENTIRE HOUSE14Tell the BackstorySean LitchfieldWhere possible, the original Eastern Hemlock posts and beams of this 1819 Maine barn were carefully preserved when, in 1999, the structure was disassembled and then reassembled several miles down the road. Hand-split slabs of Maine granite (some from the barn's original foundation) and brick were used to fabricate the massive woodburning fireplace. The walls and floors are lined in rough-hewn, nonuniform wood planks. The sofa table, made from an old piece of barn wood found on the farm, shows off collections of books, ceramics, and shells.Advertisement - Continue Reading Below15Use Old Materials for New BuildsBrie WilliamsIn this new build, reclaimed materials create instant patina for a warm and welcoming family room. Here’s what makes it rustic: reclaimed beams came from an 1800s mill in Massachusetts mill; log skins salvaged from old Midwest barns; North Carolina stone on the fireplace. A soft palette for the furniture and window treatments was inspired by the antique rug that covers the ottoman.TOUR THE ENTIRE HOUSE 16Balance Natural Wood with ColorNick JohnsonA pretty blue on the fireplace and in the fabrics balances the overall rustic vibe in this country house. “I wanted this room to feel rich and cozy and warm—the kind of place you’d sit by the fire to read a book,” says Erica Harrison of Detroit-based design firm Hudson and Sterling.TOUR THE ENTIRE HOUSEAdvertisement - Continue Reading Below17Make It WorkHelen NormanDespite the renovation challenges, this cozy sitting area situated just off the open kitchen works. The fireplace, which had to be rebuilt from the inside, was covered in stucco to balance all the exposed brick that was discovered underneath damaged drywall. For attic access, a ladder that was found in a barn on the property gets the job done in lieu of stairs. On the other side of the fireplace, a sturdy wooden bookshelf replaces an existing one that was crumbling.18Paint It WhiteZIO AND SONSFor the ultimate modern farmhouse vibe, start with an all-white palette, like in this home of designer Anthony D’Argenzio. This allows you to layer in character-rich architectural elements, like wide-planked wood floors and ceiling beams. A comfy sectional piled with pillows balances perfectly with hard elements, like the wood-and-iron coffee table, handmade oak stump side table, and a round iron chandelier. The hanging chair in the corner provides a wink to this serene design. RELATED: The Best Warm White Paint Colors For Every Room in Your HouseAdvertisement - Continue Reading Below19Leave Materials NaturalJames MerrellRustic meets cozy in this cabin that features walls constructed of hand-hewn logs, a stone fireplace, exposed ceiling beams, and a pair of comfy armchairs. Leaving all materials in their natural finish and unpainted contributes to the overall homespun feel.RELATED: The Best Places to Find or Buy Reclaimed Wood Near You20Choose Neutral FurnishingsSeth SmootIn this California living room, a comfortable collection of neutral furnishings complements the home’s rustic redwood walls. The solid sofa and barrel chairs that are upholstered in linen leave room for visual delights, like the wicker and fringe lamps, an antique rug, a patterned ottoman, and piles of pillows.Jennifer KopfJennifer Kopf is the Executive Editor of Country Living. She also covers antiques and collecting.Amy MitchellManaging EditorAmy Mitchell is the managing editor for VERANDA and Country Living, where she writes articles on a variety of topics—decorating and design, gardens, and holidays. Amy’s experience in the shelter magazine category spans more than 20 years, as she’s previously held positions at Coastal Living and Cottage Living. Her personal pursuits include cooking, gardening, and hunting her favorite tag sale spots for the next piece of Pyrex for her prized collection.

Pentagram's latest project introduces a striking new identity for TwelveLabs, an AI company redefining how machines comprehend video. At its heart, the rebrand marks a conceptual shift, positioning video not as a linear sequence of frames but as a volume. For TwelveLabs, this reframing is more than a technological advancement, as it's setting them apart in the fast-moving AI landscape. For Jody Hudson-Powell and the Pentagram team, it became the foundation for the entire creative direction. "The 'video as volume' idea became our way of visualising their technology," Jody explains. "Traditionally, AI sees video as separate frames – individual moments, isolated. But TwelveLabs understands everything at once, an interconnected whole. This shift in perspective became the core idea guiding all our design choices." Turning such an abstract and dynamic concept into a tangible brand identity was no small feat. In a sector often awash with dense data visualisations and corporate clichés, Pentagram's work for TwelveLabs stands out for its clarity and restraint. Described by the team as "smart, elegant, alive", the identity not only enhances the product's appearance but also helps explain it. "Abstract concepts can easily get complicated, but by staying closely focused on 'video as volume,' every decision felt purposeful and naturally clear," says Jody. A key part of this clarity is the system's use of diagrams and modular layouts. These elements do the heavy lifting when it comes to representing TwelveLabs' complex technology in a way that's accessible to a wide range of audiences, from engineers and developers to enterprise clients and creatives. "Complexity becomes understandable when you strip things back to what's truly important," Jody says. "We spent time refining the diagrams to say just enough – clear for everyone but authentic to those who really know the tech. When engineers see their work clearly represented, and others intuitively understand it, you've found some interesting ground." What's striking is how the identity balances the technical with the emotive. It's a visual language that feels structured but not cold, intelligent but not aloof. According to Jody, this tension was carefully calibrated. "Technology can feel distant, cold, but it's built around human experiences: images, memories, moments," he explains. "Our system provided clarity and structure, creating natural space for these human elements to emerge, balancing intelligence and warmth." Motion, too, plays a critical role in bringing the brand to life. Given that TwelveLabs' platform revolves around continuous, connected reasoning, it made sense for motion to echo that logic, being subtle but purposeful. "Motion always means something, even subtly," says Jody. "Every bit of movement mirrored the continuous reasoning of the platform. Allowing room for gentle expressiveness and even playfulness didn't take away from clarity – it enhanced it." One of the most distinctive elements of the new identity is the horse symbol. On the surface, it's a nod to Eadweard Muybridge's pioneering photographic studies of motion and an iconic reference for any visual technology. But there's a deeper connection, as TwelveLabs already named its AI models after horses. The Pentagram team simply brought that story to the forefront. "Often, the best ideas are already there, just waiting to be noticed," says Jody. "We simply amplified that story, connecting it back to Muybridge's historical images, allowing it to clearly communicate motion and intelligence in a fresh yet familiar way." Throughout the project, the team had to consider the diversity of TwelveLabs' audience, from developers and researchers to large-scale enterprise clients and the broader creative community. The result is an identity system that feels accessible without being simplistic and capable of meeting users at every level of expertise. "We aimed for a universal tone – clear, direct, and welcoming for everyone, regardless of their expertise," Jody says. "Precision doesn't have to be complicated, and clarity invites everyone in. Finding a voice that felt calm, clear, and honest meant meeting each person exactly where they are." The outcome is an identity that doesn't just repackage complex AI technology. It embodies the very qualities that make TwelveLabs' approach revolutionary: interconnected, intelligent, and distinctly human.

House of the Future | 1956 Photograph Exhibited at the 1956 Ideal Home Exhibition in London, the House of the Future by Alison and Peter Smithson is a visionary prototype that challenges conventions of domesticity. Set within the context of post-war Britain, a period marked by austerity and emerging optimism, the project explored the intersection of technology, material innovation, and evolving social dynamics. The Smithsons, already recognized for their theoretical rigor and critical stance toward mainstream modernism, sought to push the boundaries of domestic architecture. In the House of the Future, they offered not merely a dwelling but a speculative environment that engaged with the promise and anxieties of the atomic age. House of the Future Technical Information Architects: Alison and Peter Smithson Location: Ideal Home Exhibition, London, United Kingdom Client: Daily Mail Ideal Home Exhibition  Gross Area: 90 m2 | 970 Sq. Ft. Construction Year: 1956 Photographs: Canadian Centre for Architecture and Unknown Photographer The House of the Future should be a serious attempt to visualize the future of our daily living in the light of modern knowledge and available materials. – Alison and Peter Smithson 1 House of the Future Photographs 1956 Photograph © Klaas Vermaas | 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph Design Intent and Spatial Organization At the heart of the House of the Future lies a radical rethinking of spatial organization. Departing from conventional room hierarchies, the design promotes an open, fluid environment. Walls dissolve into curved partitions and adjustable elements, allowing for flexible reinterpretation of domestic spaces. Sleeping, dining, and social areas are loosely demarcated, creating a dynamic continuity that anticipates the contemporary concept of adaptable, multi-functional living. Circulation is conceived as an experiential sequence rather than a rigid path. Visitors enter through an air-lock-like vestibule, an explicit nod to the futuristic theme, and are drawn into an environment that eschews right angles and conventional thresholds. The Smithsons’ emphasis on flexibility and continuous movement within the house reflects their belief that domestic architecture must accommodate the evolving rhythms of life. Materiality, Technology, and the Future Materiality in the House of the Future embodies the optimism of the era. Plastics and synthetic finishes dominate the interior, forming seamless surfaces that evoke a sense of sterility and futility. Often associated with industrial production, these materials signaled a departure from traditional domestic textures. The smooth, malleable surfaces of the house reinforce the Smithsons’ embrace of prefabrication and modularity. Technological integration is a key theme. The design includes built-in appliances and concealed mechanical systems, hinting at a utopian and disquieting automated lifestyle. Bathrooms, kitchens, and sleeping pods are incorporated as interchangeable modules, underscoring the house as a system rather than a static structure. In doing so, the Smithsons prefigured later discourses on the “smart home” and the seamless integration of technology into daily life. This material and technological strategy reflects a critical understanding of domestic labor and convenience. The house’s self-contained gadgets and synthetic surfaces suggest a future in which maintenance and domestic chores are minimized, freeing inhabitants to engage with broader cultural and social pursuits. Legacy and Influence The House of the Future’s influence resonates far beyond its exhibition. It prefigured the radical experimentation of groups like Archigram and the metabolist visions of the 1960s. Its modular approach and embrace of technology also foreshadowed the high-tech movement’s fascination with flexibility and systems thinking. While the project was ephemeral, a temporary installation at a trade fair, its theoretical provocations endure. It questioned how architecture could not only house but also anticipate and shape new living forms. Moreover, it crystallized the Smithsons’ ongoing interrogation of architecture’s social role, from their later brutalist housing schemes to urban design theories. In retrospect, the House of the Future is less of a resolved design proposal and more of an architectural manifesto. It embodies a critical tension: the optimism of technological progress and the need for architecture to respond to human adaptability and social evolution. As we confront contemporary challenges like climate crisis, digital living, and shifting social paradigms, the Smithsons’ speculative experiment remains an evocative reminder that the architecture of tomorrow must be as thoughtful and provocative as the House of the Future. House of the Future Plans Axonometric View | © Alison and Peter Smithson via CCA Floor Plan | © Alison and Peter Smithson, via CCA Floor Plan | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA House of the Future Image Gallery About Alison and Peter Smithson Alison and Peter Smithson were British architects and influential thinkers who emerged in the mid-20th century, celebrated for their critical reimagining of modern architecture. Their work, including projects like the House of the Future, the Robin Hood Gardens housing complex, and the Upper Lawn Solar Pavilion, consistently challenged conventional notions of domesticity, urbanism, and materiality. Central to their practice was a belief in architecture’s capacity to shape social life, emphasizing adaptability, flexibility, and the dynamic interactions between buildings and their users. They were pivotal in bridging the gap between post-war modernism and the experimental architectural movements of the 1960s and 1970s. Credits and Additional Notes Banham, Reyner. Theory and Design in the First Machine Age. MIT Press, 1960. Forty, Adrian. Words and Buildings: A Vocabulary of Modern Architecture. Thames & Hudson, 2000. Smithson, Alison, and Peter Smithson. The Charged Void: Architecture. Monacelli Press, 2001. OASE Journal. “Houses of the Future: 1956 and Beyond.” OASE 75, 2007. Vidler, Anthony. Histories of the Immediate Present: Inventing Architectural Modernism. MIT Press, 2008. Canadian Centre for Architecture (CCA). “House of the Future.”

All images © Shane Drinkwater, shared with permission Enigmatic Phenomena and Galactic Shapes Revolve in Shane Drinkwater’s Cosmic Systems June 2, 2025 Art Kate Mothes For Queensland-based artist Shane Drinkwater, self-imposed restrictions provide a key starting point for works he creates in ink, pen, acrylic, and collage—always in a square format measuring about 50 by 50 centimeters. Arrows, crosses, dots, and numbers build linear elements and patterns, while primary colors provide the foundation for the occasional green or gradient. Drawing on a lifelong love for maps, ciphers, and astronomical charts, Drinkwater continues to explore the possibilities of fictional cosmic networks (previously). In some pieces, concentric circles resemble diagrams of the Solar System, while in others, references to comets or esoteric systems suggest the imaginary workings of atomic phenomena or alchemical experiments. Drinkwater’s work was recently included in the book Elements: Chaos, Order and the Five Elemental Forces, published by Thames & Hudson. He is currently preparing work for art fairs this fall in Copenhagen and Paris, along with a group show at Gagné Contemporary in Toronto. Find more on the artist’s website and Instagram. Next article

Just a few days ago, Related Companies and Wynn Resorts scrapped their casino bid for Hudson Yards West. Silverstein Properties, Rush Street Gaming, and Greenwood Gaming and Entertainment have simultaneously updated their own proposal for a “first-class gaming facility” on Manhattan’s West Side, designed by CetraRuddy Architecture and Steelman Partners. The Avenir is a masterplan for 11th Avenue just north of the Javits Center, pushed up against the Port Authority Bus Terminal ramps, where construction is underway on a $10 billion replacement complex by Foster + Partners. The plan entails a 1,000-room luxury hotel, over 12 bars and restaurants, conference and meeting rooms, a spa and fitness center, an outdoor pool, a community gallery on 11th Avenue, and a casino, should the development team earn a gaming license. There will also be 100 units of permanently affordable housing available through New York’s housing lottery system. The Avenir looking east (Courtesy Silverstein Properties) The ground-floor community gallery on 11th Avenue would span the entire block between 40th and 41st Streets, the team noted. The casino would begin on the second floor, and comprise a total 12 percent of the Avenir’s footprint. It would also have natural light, making it noticeably different from other casinos. Renderings show a 785-foot tower that rests atop a podium. The base is 9 stories, and the tower tops out at 45 stories, with by a biophilic green rooftop. The casino would have a separate entrance from the community gallery and hotel to ensure good egress for both user groups. The sculptural qualities are meant to create a “rhythmic harmony within its dense urban surroundings,” developers said, “and the hotel tower is additionally sculpted to create an elegant silhouette on the skyline while creating view corridors from the surrounding neighborhood.” Entrance from 41st Street (Courtesy Silverstein Properties) Nancy Ruddy, CetraRuddy founding principal, said, the “site is located at the crossroads of diverse neighborhoods and activity districts that currently are not connected.” Ruddy said too that the Avenir will “knit together the fabric of this part of the Far West Side by creating an exciting cultural hub that reinforces New York’s character as a pedestrian-friendly and walkable city.” There are today just about a dozen major proposals for New York gaming licenses that the team behind Avenir is up against. The State Gaming Commission is scheduled to announce its decision for the three gaming licenses by December 31, 2025.

May 30, 20252 min readLawmakers Form First Extreme Heat Caucus, Citing ‘Deadly Risk’The House of Representatives’ first caucus to address extreme heat is being launched by a Democrat from the Southwest and a Republican from the NortheastBy Ariel Wittenberg & E&E News A construction worker in Folsom, Calif., during a July 2024 heatwave that brought daytime highs of 110 degrees Fahrenheit. David Paul Morris/Bloomberg via Getty ImagesCLIMATEWIRE | An Arizona Democrat and a New York Republican are teaming up to form the Congressional Extreme Heat Caucus in an attempt to find bipartisan solutions for deadly temperatures.“We hope this caucus can make sure the United States is better prepared for the inevitable increase in temperatures, not just in Arizona and the Southwest but all across the country,” Arizona Rep. Greg Stanton (D) said in an interview.He's creating the caucus with New York Rep. Mike Lawler, a moderate Republican who bucked his party last year by expressing support for the nation's first proposed regulation to protect workers from heat by the Occupational Safety and Health Administration.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.“Extreme heat kills more Americans each year than any other weather event — over 1,300 lives lost, including 570 in New York alone — and it’s a growing threat to the Hudson Valley,” Lawler said in a statement. “That’s why I’m co-chairing the Heat Caucus to drive real solutions, raise awareness, and protect our communities from this deadly risk.”Stanton said he was excited to team up with Lawler, who understands that heat jeopardizes health even in northern climates.“He is from New York and I’m proud he recognizes how heat is important for workers,” he said.The caucus will be open to House lawmakers who have bipartisan ideas for addressing extreme heat. Noting that many Republicans have slammed OSHA's proposed heat rule, Stanton said the caucus doesn't have to find consensus on every policy, but members should be willing to search for common ground."It is important to have that conversation on what we can come together and agree on because that's how we get legislation passed in this town, even if we don't agree on how far to go," he said.Lawler and Stanton teamed up earlier this spring to protest workforce reductions at the Department of Health and Human Services that could degrade heat-related programs.In April, the pair wrote a letter to Health Secretary Robert F. Kennedy Jr., protesting layoffs that purged the entire staff of the Centers for Disease Control and Prevention’s Division of Environmental Health Science and Practice as well as the Low-Income Home Energy Assistance Program, which helps families pay for heating and cooling.“As we head into another summer — with projections suggesting 2025 will rank again among the warmest years on record, we cannot afford to limit our ability to counter the impacts of extreme heat,” they wrote in April with nine other lawmakers.Among the caucus' priorities is making LIHEAP funding more evenly distributed to southern states to help pay for cooling assistance. The program was initially created to help low-income families pay their heating bills during winter, and the majority of its funding still goes toward cold-weather states.“We have had too many deaths of people in their homes because they are unable to access programs that would help them access air conditioning,” Stanton said.Reprinted from E&E News with permission from POLITICO, LLC. Copyright 2025. E&E News provides essential news for energy and environment professionals.

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.