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Architectural education is an important part of becoming an architect. It provides a foundation in art and architectural history, basic concepts of design, and foundational technical knowledge. It promotes critical thinking, examines social and economic complexities, and encourages creativity and teamwork. I may be biased, but I believe the camaraderie and pride that are part of architectural students’ design studio experience are unmatched by any other educational program.    In this issue of the AIA Canada Journal, Pauline Thimm, Hannah Allawi and I reached out to schools of architecture from across the country. Our conversations centred on research themes in today’s design studios, with a focus on housing affordability. Students and faculties are actively engaging in challenging the status quo on the shortage of housing. It takes a village to derive plausible solutions—and schools of architecture across the country are united in bringing their voices and minds to this pressing issue. In a Social Sciences and Humanities Research Council (SSHRC)-supported partnership, AIA Canada Society is also actively participating in research on designing inclusive, sustainable and healthy cities.  We want to thank all the educators who took time to speak with us and provide their invaluable insights.  -Dora Ng, AIA Canada Society President Rick Haldenby Professor, School of Architecture, University of Waterloo Rick Haldenby, FRAIC, served as Director of the School of Architecture at the University of Waterloo from 1988 to 2013, and founded the Waterloo Rome Program in 1979. Among many accomplishments, Haldenby was appointed to the Order of Canada in 2021, and has received the Lifetime Achievement Award from the Canadian Council of University Schools of Architecture, the Special Jury Prize at the Kitchener Waterloo Arts Awards, and the Dr. Jean Steckle Award for Heritage Education from the Waterloo Regional Heritage Foundation. Q: Kitchener-Waterloo is known as a university town that is home to top Ontario post-secondary institutions. Tell us a bit about the twin cities. A: The Waterloo Region’s industrial development began with the arrival of German-speaking immigrants in the 19th century. Its cities were literally “founded on factories.” Its prosperity was influenced by a rail-based transport system. In the late 19th century, the extension of the Grand Trunk Railway contributed to the industrialization of the area. In the 1950s, visionary community leaders made concerted efforts to build educational infrastructure, and in just a few years created the University of Waterloo, Wilfrid Laurier University and Conestoga College. The region experienced significant growth in manufacturing industries, insurance companies, and high-tech businesses over time. Home to two universities and a college, it is an education hub that attracts talents and businesses, which increases the demand for housing for students and families. The once-suburban neighbourhood of Northdale, surrounded by these post-secondary institutions, saw a surge in student population in the early 2000s, including a large percentage of international students. We saw a building boom to increase medium-density housing like stacked townhomes and row houses, as well as taller buildings up to 30+ stories in what was once a primarily low-density town. Q:  Like the building boom in Waterloo, we saw many residential high-rises going up in the GTA, but this growth still does not adequately address housing demand. In many cities across Canada, there are unprecedented housing issues including affordability and homelessness. What do you see emerging as key areas of interest and inquiry among students at your school? Is housing one of them? A: Connection between affordability and homelessness is not a one-to-one problem. The housing crisis can have many dimensions. In our undergraduate design studios, we are laying the groundwork for approaches to affordability, environmental responsibility and social justice. Many of my colleagues and graduate students at the University of Waterloo are involved in various research studies, exhibitions and campaigns, including the 2023 Venice Architecture Biennale. We also try to keep a balance to cover diverse topics in architecture, including housing. Second- and third-year design studios focus on urban intensification amid the building boom, enabling students to discuss ideas for keeping cities habitable and attractive for future growth. Design studios have also worked with the local chapter of Habitat for Humanity to support the ambitious program to build affordable housing for families in need. In partnership with the City of Cambridge, Waterloo architecture students designed and built tiny homes as prototypes for emergency shelter. Photo courtesy University of Waterloo Q: Any examples of collaboration between studio projects and practicing professionals in tackling the housing crisis? A: Through collaboration and communication with the community, the School of Architecture has engaged with social housing agencies, municipality planning authorities, Indigenous groups and aging-in-place consultants to develop housing solutions for a diverse population including seniors. Moving the School of Architecture from Waterloo to Cambridge in 2004 was a communal project with great support from the City of Cambridge. Occupying the repurposed silk mill in Cambridge, the school aims to be the design campus for the city to allow exchange of creative ideas and intellectual stimulation. Since the move, we have had many opportunities to collaborate and work closely with the municipality. The Tiny Homes project is an initiative in partnership with the City of Cambridge, whereby Waterloo architecture students were engaged to design and build prototype tiny homes that offer practical, cost-effective and dignified emergency housing solutions. It is an example of collaboration that makes a meaningful difference.  Photo by Danielle Sneesby Shauna Mallory-Hill Associate Professor and Associate Dean of Research, Faculty of Architecture, University of Manitoba Shauna Mallory-Hill, PhD, is currently Associate Professor and Associate Dean of Research at the University of Manitoba’s Faculty of Architecture. Her 25-year-long career spans teaching, research and advocacy, with a focus on building systems, universal and sustainable design, as well as building performance evaluation. Her sponsored research includes accessible design, along with post-occupancy work on how sustainably designed environments impact human health and productivity. Q: How is The University of Manitoba Faculty of Architecture (FAUM) specifically engaging in design explorations addressing housing?  A: In addition to hosting public events and delivering focused design studios, we are actively engaged and support research collaborations including funded research with the Social Sciences and Humanities Research Council (SSHRC) and the Canada Mortgage and Housing Corporation (CMHC). We are also committed to partnering and working with communities.    In 2022, U of M professor Lancelot Coar’s undergraduate studio engaged with One House Many Nations to develop a mobile design and construction trailer for on-site design-build work. Photo by Lancelot Coar One House Many Nations (OHMN) originally started as a grassroots movement to shed light on the housing crisis faced by Indigenous communities.  For the past four years, OHMN, led by Dr. Alex Wilson and Sylvia McAdam, has been working with faculty and students from FAUM, houseless First Nations youth, and students at Saskatoon’s Nutana Collegiate to design and construct small, affordable homes that are trucked to remote Indigenous communities in Northern Saskatchewan. After a house is delivered, it is occupied by one of the youth participants. Each year, another house is built, informed by post-occupancy data that was collected on the previous year’s house(s).  First Nations youth participants have learned to advocate for community needs while gaining skills and knowledge about home-building and maintenance.  Lancelot Coar’s 2022 undergraduate architecture studio engaged with OHMN to create a mobile design lab that can be brought onsite to design-build in First Nations communities. OHMN’s work was exhibited at the Canadian Pavilion at the Venice Biennale of Architecture in 2023.    Q: What are key areas of interest and inquiry among students at your school? Is housing one of them?  A: We are seeing that this generation is increasingly concerned about what is happening to the world—concerns about sustainability, housing, and food deserts are paramount. Students want to work on things that are meaningful. Students also really embrace hands-on learning. Any time students are encouraged and supported to engage with community, they feel like they are making a difference.     Here in Winnipeg, we can all see the encampments of the unhoused. It is apparent that there is work to do to solve this dilemma.This past year, one of our housing-themed studios worked with a local grassroots organization, St. Boniface Street Links, in the design and construction of a prototype transitional house as a safer interim housing solution. This housing project ultimately was built and included as part of the annual Warming Huts design competition at the Forks. Q: Are there any barriers to collaborating in this way, involving practitioners and real community groups? A: We often get groups who approach us to collaborate. We need to be clear that we are not providing a design service, but we are committed to the exploration of ideas and working together on important problems.     It is important to me that doing housing research work in collaboration with Indigenous communities is respectful, responsible and reciprocal. Ensuring that some benefit of the research stays with the community is crucial, given the long history of research involving Indigenous populations where this did not happen. A willingness to listen and understand community priorities and context—and adapt—is key.  It can be difficult for some to have enough capacity to deal with added administration (meetings, paperwork, report writing, etc.); a local liaison is helpful.  The Wîkiwin student-built house is part of an ongoing collaboration with Kawéchiwasik Development Corporation at York Factory First Nation. Photo by Shauna Mallory-Hill Q: Some of your current research and design work is supported by the CMHC Housing Supply Challenge. Can you tell us a bit about that project?  A: The CMHC funding in part supports the Wîkiwin Training Enterprise of York Factory First Nation project, geared to building healthy homes by leveraging local resources and tradespeople in collaboration with the Kawéchiwasik Development Corporation. The purpose is to provide design education and construction skills in the northern communities where they are needed. A key goal is that kids won’t need to leave their communities to get skills, and communities can develop capacity to increase their self-sufficiency.    In collaboration with FAUM, the project will include a comprehensive education model based on a co-created curriculum, training programs, housing designs and research on building materials. Students earn micro-credentials through distance education to get basic training in design and construction, or have the opportunity to work as research assistants to assist with collection of data, such as indoor air quality.     Focusing on sustainable construction techniques, using local materials like stone and wood, the initiative promises to employ residents, cut production costs, and enhance housing quality. Additionally, the creation of a year-round skilled trades school facility and housing for students and teachers will boost the local labour force.    Stage 2 of the project involves the building of the Wîkiwin skilled trades training and research facility and dormitory. This phase will also see the expansion of the educational curriculum in partnership with the University of Manitoba, ultimately increasing the labour force capacity of York Factory First Nation and creating more opportunities for its youth.  Sasha Tsenkova Professor of Planning and Director of the Cities, Policy & Planning Lab at the School of Architecture, Planning & Landscape (SAPL), University of Calgary Sasha Tsenkova, PhD, is a professor at the School of Architecture, Planning & Landscape at the University of Calgary. With a background in architecture, urbanism, and planning, her work spans over 30 years of research, teaching, and professional practice, focusing on creating more inclusive and sustainable urban environments. She is a Fellow of the Canadian Institute of Planners and a Fellow of the Royal Society of Canada/Academy of Social Sciences. Q: Major cities across Canada are seeing unprecedented housing issues. As an educator, what have you seen in research or studio projects that tackle these issues?    A: We are a nation of suburban homeowners, where much of the wealth creation in the urban system is driven by investment in housing. Today, income and wealth inequality in Canadian cities is higher than ever before, which is exacerbated by the suburban homeownership model. In cities, newcomers to the housing market—young and old—face incredible affordability constraints. Homelessness has grown exponentially and homeownership is not within the reach of the middle class. In the design world, we must begin to address, through systemic intervention, these challenges. Many of our research and studio projects focus on sustainable urbanism through designs  that explore strategies to provide affordable homes across the income spectrum and embrace different types of housing.      We cannot continue to replicate a model of postwar city building that no longer serves the needs of the people. We encourage students to learn from successful cities in Europe, Latin America, and the United States, where a more systematic approach to neighbourhood design and redevelopment allows various types of housing to be built along the same street within a community. This is a different approach to growth premised on urban regeneration and intensification, where people come before cars and community identity evolves over time.   Q: Any examples of collaboration between studio projects and practicing professionals in tackling the housing crisis?  A: We focus on community-engaged scholarship, research and teaching at SAPL. Integration with communities of practice is necessary, but so is a direct relationship with clients, so that we situate our studio projects in the real-world. The housing crisis is multi-faceted and future professionals need to be aware of the complexity of design intervention—solutions require a nexus of policy, planning and design approaches. In a graduate school, we must prepare aspiring designers, architects and planners to embrace these challenges.      The interface with critical practice is the ultimate test for us to remain relevant and committed to innovation and excellence within the realm of what we can control. Studio teaching needs to address housing affordability in a systematic way, as it will make a critical difference within Canadian society and will define the future of our cities. This requires a much stronger emphasis on sustainable urbanism and community-based projects.  Q: What policies do you feel cities in Canada should create or address to aid in addressing the housing crisis and homelessness?  A: The planning regulation, upzoning, and permitting processes can be improved to enhance infill housing, gentle density and inner-city intensification. Recognizing that cities and neighbourhoods need to be built for people and not for cars requires a focus on transit-oriented development in strategic locations where low-density retail, industrial and housing sites can be redeveloped to become mixed-use urban villages with a variety of housing types. Changes to minimum parking standards and lot coverage can energize the infusion of missing middle housing to create opportunities for multi-generational living, cohousing and home sharing with renters. But the real difference in addressing the homelessness and affordability crisis is the renewed investment into affordable housing through partnerships of federal, provincial and municipal governments with non-profit organizations. We need to grow this segment of the housing market and to make sure that it is an integral part of our urban neighbourhoods through the design process. Q: What role do you think schools of architecture and design have in tackling the housing crisis in Canada?  A: We need to make a major commitment to building knowledge and capacity that focuses on solutions to the housing crisis in our curriculum. Design thinking is premised on innovation; it is part of the competency, creativity and collaboration that we try to instill in future professionals. Architects today are absent from the design of neighbourhoods on the periphery of our cities. We need to bring back that creativity and the knowledge of architects, planners, and designers, and develop the prototypes that will provide solutions to the housing crisis.     SAPL is moving downtown so that we can be a part of downtown rebuilding and innovation. Our adaptive reuse of existing office space in Calgary’s downtown will provide opportunities to connect to local businesses and residents and offer immersion in city life that is critical for our students. Our school will be a living urban design lab, where we embrace social justice, community-inspired design work and collaborate with different communities of practice to demonstrate viable solutions for changing cities and changing societies.   Sara Stevens Associate Professor & Chair – Urban Design at the School of Architecture & Landscape Architecture (SALA), University of British Columbia Sara Stevens is an architectural historian and Associate Professor at the University of British Columbia in Vancouver. Her book Developing Expertise (Yale University Press, 2016) studies real estate development in 20th-century American cities. She is a member of the collective Architects Against Housing Alienation, curators of the Canada Pavilion at the 2023 Venice Architecture Biennale. Q:  Major cities across Canada are seeing unprecedented housing issues (affordability issues and homelessness). As an educator, what have you seen in research or studio projects that tackle these issues?  A: There are so many great examples of design studios in Canada that are looking at housing challenges, such as the ‘Not for Sale’ study abroad course on contemporary housing that recently won the ACSA’s 2024 Architectural Education Award. McGill has a long history of housing research with the Minimum Cost Housing Group, which was the subject of a recent exhibition curated by Ipek Türeli. The work of Shawn Bailey and Lancelot Coar at the University of Manitoba is bringing really innovative pedagogy to the question of housing for Indigenous communities to design schools.  Q: Any examples of collaboration between studio projects and practicing professionals in tackling the housing crisis?  A: At UBC, questions around missing middle housing brought forth a collaboration between Haeccity Studio Architects and UBC students that resulted in a publication of the students’ work, co-sponsored by SALA and the Urbanarium, an organization in Vancouver that is a forum for sharing ideas about city building, particularly around climate change and housing affordability. The Urbananium’s design competitions have focused on missing middle housing, mixed-use neighbourhoods, and the codes and regulations that are barriers to housing affordability. Their current competition, Decoding Timber Towers, is focused on prefab and mass timber housing.  Q: What policies do you feel cities in Canada should create or address to aid in the housing crisis and homelessness?  A: I think that Canada needs to take UNDRIP and the TRC Calls to Action seriously. We can’t separate the issue of housing for Indigenous people, and the history of colonization that it’s part of, from the housing challenges everyone else faces. The United Nations Housing as a Human Right work is a great resource on this, as their work also points to the problems of financialization and the effect this has had on renters, social housing, and un-housed folks.  The Land Back Courtyard was part of the Not For Sale exhibition at the Canada Pavilion in the 2023 Venice Architecture Biennale. Photo by Maris Mezulis Q: What role do you think schools of architecture and design have in tackling the housing crisis in Canada? A: Schools of architecture and design can play an important role by educating students about the role of architects in the housing crisis in Canada. We need the next generation of architects to understand that they have a part to play. It’s not an issue that can be solved through policy and the market alone: their expertise in design, which of course touches policy and works with the private sector, is inherently part of this issue.     To develop deeper conversations around this, I am working with collaborators in the collective Architects Against Housing Alienation to organize a super-studio across Canada for the next school year (25-26) called “End Housing Alienation Now!” that is inviting all schools of architecture to run studios on a shared set of themes and principles. (This builds off of the exhibition and campaign we did for the 2023 Venice Architecture Biennale, which the teaching award I mentioned is also related to.) We have commitments from almost all the schools already, and have hosted a number of conversations with people from the schools to develop how this will work, balancing what is shared vs. independent, the different schedules and levels of students, etc.      For these studios, one ambition is that the studios work with local activists, advocates, and professional practices to show students how important these kinds of collaborations can be, and how important embedded local knowledge is. We hope to share resources and create opportunities for students to connect across geographies to ensure that many, many people with lots of passion and expertise are focused on this topic.     As appeared in the June 2025 issue of Canadian Architect magazine  The post AIA Canada Journal: Canadian educators on housing affordability appeared first on Canadian Architect.

05/28 — 2025 by abduzeedo Explore Italia Grace, a graphic novel by Keva Epale. Discover its unique illustration, branding, and character-driven story. Ever wonder how a creative project truly finds its voice? Sometimes, the initial spark leads to an entirely new direction. That's the journey of "Italia Grace," an upcoming graphic novel by Keva Epale. It's a fascinating example of how illustration, branding, and storytelling evolve. The Genesis of a Vision "Italia Grace" began as a food project. Yet, as Keva Epale started developing her first character, Fabiola, the concept expanded. Fabiola's essence demanded a richer narrative, a world of her own. This shift highlights the organic nature of creative development. It shows how characters can truly drive a project's scope. Initially, the focus leaned towards wine for an Italian theme. However, Epale, as the author and illustrator, realized this didn't align with her personal non-drinking lifestyle. The narrative needed authenticity. This led to a pivotal change: the star became hibiscus. This vibrant flower, with its natural healing properties, resonated deeply with Epale's daily life. Her personal connection to hibiscus infusions, prepared by her mother, brought a genuine touch to the story. This personal anecdote, woven into the narrative, makes the project feel incredibly human. Crafting a World Through Illustration The graphic novel centers on Fabiola's journey. She's building a world around a restaurant, a unique recipe, and a strong value proposition. This world is populated by a rich cast of characters. We meet Pearl, the best friend; Reeny, the iconic bird; Raphaël, the architect; and Sofia, "La Milanaise," a journalist and ceramic artist. Even Jinny, a violinist turned wine journalist, joins the growing support team. Each character, through Epale's illustrations, becomes a centerpiece, enjoying the food and delicacies from "Italia Grace.". The illustrations themselves are a masterclass in visual storytelling. Consider the vibrant image showcasing Fabiola with hibiscus drinks, alongside keywords like "hibiscus plays audacity." This visual instantly conveys the project's playful and bold spirit. The graphic elements, like the arrows pointing to "Paris, Milan, Dakar & More," hint at Fabiola's global journey. Branding Beyond the Obvious The branding for "Italia Grace" is subtle yet effective. The shift from wine to hibiscus is a key branding decision. It positions the project around health and natural beauty, moving away from a more common theme. This choice reflects a unique value proposition. The graphic explicitly stating "This is not Wine," reinforces this branding message. It's a clear, concise statement that sets the tone. The visual representation of the "Venue" offers a glimpse into Fabiola's restaurant. The simplistic, almost isometric illustration, with "Italia Grace" emblazoned on top, gives a clear sense of place. It's a clean, inviting design that sparks curiosity. Fabiola's Journey: A Visual Narrative The "Fabiola in 6 Objects" illustration is a clever way to introduce her character through visual metaphors. Objects like a "menu TOOLKIT," a mirror ("le passage"), and a suitcase ("La Valise") offer insights into her aspirations and journey. This visual toolkit helps readers connect with Fabiola on a deeper level. The "La Valise" illustration further emphasizes her travels, adorned with stickers from Lisbon and Los Angeles, signifying "THE DEPARTURE." "Italia Grace" is more than just a graphic novel; it's a "build-in-public experiment". Keva Epale shares the story's evolution, context, and ideas through each post. This transparency offers a unique look into the creative process. It's a testament to passion and dedication. A Journey Worth Following Keva Epale's "Italia Grace" is a compelling example of how a designer's personal experiences and evolving vision can shape a truly unique project. The vibrant illustrations and thoughtful branding create an engaging narrative. It's a reminder that the most impactful design often comes from a place of authenticity. Explore more of Keva Epale's inspiring work and the ongoing journey of "Italia Grace" on her Instagram: https://www.instagram.com/kevaepale/ Illustration artifacts Tags illustration

Writer's block is no match for Microsoft's latest AI infusion for its Notepad app. The long-neglected Notepad now has the ability to write custom content based on any prompt you feed it, so long as you have Microsoft 365 or a Copilot Pro subscription. Microsoft's updated Notepad even lets you fine-tune the generated text with follow-up prompts. This update comes several months after Microsoft added the Rewrite tool to Notepad that lets you lean on generative AI to refine an existing chunk of text. Instead of rewriting, you can now right-click where you want brand-new text and hit Write from the Copilot menu, or use the Ctrl + Q shortcut. From its humble start as a simple text editor with no spellcheck until recently, Notepad is finally getting the modern AI makeover it deserves. Notepad isn't the only app getting some love from Microsoft. The updated Paint app can tap into generative AI to make custom stickers based on user prompts. On top of that, there's an Object select feature that can isolate specific parts of an image so you can just edit that portion. These two features are only available on Copilot+ PCs, like the recently announced HP laptops. Lastly, Microsoft upgraded the Snipping Tool with the Perfect screenshot feature that automatically edits your screen captures. With the Copilot AI, the tool will automatically resize the screenshot so you don't have to spend time getting the right crop. The Perfect screenshot feature requires a Copilot+ PC, but Snipping Tool's new Color picker tool, which can provide you with the HEX, RGB or HSL values of a color you see on screen, doesn't. As usual, these AI features will roll out to Windows Insiders users first.This article originally appeared on Engadget at https://www.engadget.com/ai/microsoft-notepads-latest-ai-trick-churns-out-custom-text-for-you-174257053.html?src=rss

PROS: Easy, tool-less RAM and SSD access and replacement Excellent performance and impressive cooling More refined, premium-looking design AniMe Vision matrix display for some gamer flair Stunning matte Mini LED display CONS: Slightly larger and heavier than previous gen Quite pricey RATINGS: AESTHETICSERGONOMICSPERFORMANCESUSTAINABILITY / REPAIRABILITYVALUE FOR MONEYEDITOR'S QUOTE:The ASUS Strix SCAR 18 (2025) delivers a powerhouse of a gaming laptop wrapped in a design that's modern, mature, and premium. Typical gaming laptops come in thick, bulky chassis with flashy lighting. The former is a result of cramming as many high-performance components as possible in such a cramped space, while the latter is a product of boxing gamer aesthetics into a particular stereotype. As more people embrace video gaming, however, the variety of design tastes also grows, with some preferring their gaming gear to be a bit more discreet and subtle. Announced earlier this year, the ASUS ROG Strix SCAR 18 (2025) is bringing more than just the latest and greatest in PC gaming technologies. It also arrived with a redesigned appearance, breaking away from its peers to some degree. But does the gaming laptop’s embrace of subdued aesthetics also mean it cuts down on its performance? We give this racing car-inspired powerhouse a spin to see if it manages to strike a balance between power and beauty that will appeal to a wider audience. Designer: ASUS Republic of Gamers Aesthetics You might be surprised by the sight that greets you when you remove the ROG Strix SCAR 18 (2025) from its packaging. You immediately behold a frame that looks premium, eschewing the shiny plastic surfaces and geometric details that deck most gaming laptops. Instead, the soft-touch matte black material on its back gives it a sleeker, more premium personality, a design language that ASUS seems to be adopting across its laptop line. That design continues inside, where the semi-transparent keyboard deck of last year’s model is replaced with an opaque, all-black case that is less distracting and, to be honest, looks more professional. If you turn all the RGB lights off, the ROG Strix SCAR 18 (2025) could easily pass off for a business laptop, though a rather bulky one at that. The one complaint we have with this smoother texture is how it easily smudges, so you’ll find yourself wiping surfaces more often to keep them looking pristine and presentable. Of course, a Republic of Gamers laptop is still designed for gamers, and those who do want some flair will find plenty of sliders and switches to play with. In addition to the lightbar that runs around the bottom of the chassis and the standard keyboard backlighting, the Strix SCAR 18 (2025) brings the AniMe Vision matrix display from the ROG Zephyrus line, providing 810 LEDs shining through 9,152 precision-milled holes that you can control to show off some lo-fi text or images, both static and animated. The ROG logo sitting in the corner also has its own RGB lights, though it might be a little too big for our tastes. The ASUS ROG Strix SCAR 18 (2025) delivers a design that successfully pulls off a tough balancing act, providing a sophisticated and premium look that can still flaunt all those bright RGB colors if wanted. It is distinctly gaming-oriented without having to shout it, preferring to let its performance do the talking. Ergonomics There’s no escaping the laws of physics, and until the day we can truly shrink hardware and develop some magical cooling technology, there will always be concessions when it comes to balancing power and portability. Gaming laptops are unsurprisingly the worst offenders in this matter, and this year’s ROG Strix SCAR 18 sadly takes a step back. Although the Strix SCAR 18 (2025) is an upgrade in almost every other aspect, it is also slightly larger and noticeably heavier than its predecessor. The good news is that it isn’t for naught, because the newer model does pack an improved cooling system as well as a more modular design, but it’s still something potential buyers will have to consider to manage their expectations, not to mention prepare their backs or shoulders when lugging it around. The SCAR 18 (2025)’s more streamlined design also has ramifications for its usability, particularly with the ports. Gone are the side exhausts, allowing the connectivity ports to be pushed backward a bit. ASUS also took the opportunity to add a third full-sized USB-A port, probably to the delight of many gamers and computer users whose favorite accessories haven’t yet moved to the age of USB-C. The power connector has also been redesigned with a new rectangular plug instead of a round barrel. Unfortunately, the power cable has also been changed to stick out from the side rather than at a 90-degree angle like last year’s charger. The ergonomics of the keyboard and the large touchpad are quite good, providing comfort and precision despite not having your ideal mechanical switches. One thing that might throw off new users, however, is the non-standard position of the cursor keys and the layout of the numeric keypad. It’s not a complete deal-breaker, but one that will require developing some muscle memory that you can’t carry over to other keyboards or laptops. Performance The ASUS ROG Strix SCAR 18 (2025) is an upgrade in every sense of the word, bearing the latest and greatest Intel chip, the Core Ultra 9 275HX. This is paired with a Series 5000 NVIDIA graphics card, which will naturally depend on what model you’ll have. Our review unit, the G835LW, comes with a GeForce RTX 5080, while there are also options for a 5070 (G835LR) and the highest 5090 (G835LX). Out of the box, you get 32GB of RAM and 2TB of SSD storage, but you can easily double that, as we’ll see later. Long story short, this machine is a beast, making short work of modern AAA titles. Of course, don’t expect to get desktop-grade performance that will let you crank up all the settings to 11, but you won’t be far off either. What’s more impressive than the benchmark numbers is how stable that performance is, particularly thanks to an improved cooling system this year. In addition to your typical high-capacity fans, which now number three, the Strix SCAR 18 (2025) features heatsinks that stretch across the whole width of the laptop. Also running from end to end is the vapor chamber sandwiched between these heatsinks. Completely new to this generation, however, is the Conductonaut Extreme liquid metal that replaces your typical thermal paste on the CPU and the GPU. All these work together to keep thermals down to a manageable level and keep the laptop running in peak condition for far longer. While performance is something you’ll only be able to feel when actually pushing the laptop to its limits, the stunning 18-inch Mini LED is a beauty that you’ll be able to immediately see and appreciate. It definitely has a laundry list of features that not only gamers but also designers will love, starting with the 2.5K resolution and 1200 nits of peak brightness. 100% DCI-P3 coverage ensures color accuracy, while 240Hz refresh rates mean your content will be able to keep up with the action. Vibrant, colorful, and fluid, this screen is pretty much the mouth-watering icing on top of the cake that is the laptop’s performance. Battery life, on the other hand, isn’t as impressive. It’s still the same 90Wh capacity from last year’s model, so its average expectancy isn’t that much. You’d be lucky to get even an hour of gaming with medium settings, which is quite average among gaming laptops. ASUS did upgrade the charger to 380W from 330W, so you have a shorter charging time. The bonus is that the ROG Strix SCAR 18 (2025) now supports 100W PD (Power Delivery) charging via USB-C, which expands charging options just a bit. Of course, it’s still slower and won’t be able to support heavy gaming compared to the official power brick, but it’s better than completely draining your battery dry in less than an hour. The ASUS ROG Strix SCAR 18 (2025) definitely doesn’t hold back when it comes to performance, making it an excellent portable workstation for designers and creators as well. There’s no denying that it offers one of, if not, the best options in the gaming laptop market, but the real question is whether that justifies the price that ASUS is asking for in turn. We’ll get to that in a bit, but first, we make a segue into what is probably the third-best thing about the laptop after its sophisticated beauty and unmatched performance. Sustainability At first glance, the Strix SCAR 18 (2025) is your typical mix of metal and plastic that you’d find in many gaming laptops. In fact, you might even be disappointed to find out that there’s still quite a lot of plastic, especially on the interior deck, rather than the aluminum that premium laptops have begun to flaunt. That said, the plastic does help with keeping things a bit cooler and even a little bit lighter, despite the laptop being quite a heavyweight. ROG added one feature that trumps all that, though. With a simple slide of a latch, you can easily remove the back panel to have instant access to SSD and RAM slots. Even better, ASUS has brought its Q-Latch system to easily remove and replace the SSDs with just a plastic hinge. The fans and battery are also quickly exposed, though those will require a bit more work to take out. The motherboard is also well protected with a special frame but is still just a few screws away. This tool-less access to the most commonly upgraded components ensures that the Strix SCAR 18 (2025) will last you a long, long time. Value Subtly sophisticated, impressively powerful, and easily upgradable, the ASUS ROG Strix SCAR 18 (2025) almost has it all. The combination of refined aesthetics and flexibility to show off your gamer DNA positions this laptop as a powerhouse not just for gaming but for any endeavor that requires extensive processing, which usually includes AI these days. It’s almost perfect except for one particularly thorny subject: the price. The G835LW with an RTX 5080 fetches a jaw-dropping $3,399.99, and the highest configuration easily goes for $4,449.99. That puts it close to luxury laptop territory, which isn’t something you might call such a gaming laptop, especially one that still has plenty of plastic to go around. Between these two, this G835LW model we’re reviewing seems to have the best balance, compromising just a little bit on performance for a huge cut in cost. Are there other options in this price range? Definitely. But are there other options in this price range that offer this trifecta of style, power, and longevity? Probably not. Verdict We’re entering an age where gaming laptops are no longer just hulking portable counterparts of their desktop cousins. As user tastes evolve, so too, do laptop designs. Those neon-lit futuristic slabs won’t disappear, but we’ll be getting an infusion of gaming laptops that cast their nets wider to appeal to a more diverse audience, some of which might not want to broadcast their gaming passion 24/7. The ASUS ROG Strix SCAR 18 (2025) manages to strike a balance that will probably satisfy a good number of gamers of different aesthetic preferences. It cuts a rather captivating image of a powerful portable machine that can handle any task without breaking a sweat. Yes when you turn the RGB lights on and bring the AniMe Vision display to life, it immediately transforms into a dynamic battle station that will carry you to victory. The price tag is definitely a bitter pill to swallow, but you can rest assured that you’re getting you’re money’s worth, especially in the long term. The post ASUS ROG Strix SCAR 18 (2025) Review: Subtly Sophisticated Performance Powerhouse first appeared on Yanko Design.

Scene at UKREiiF 2025 outside the Canary bar UKREiiF is getting bigger by the year, with more than 16,000 professionals attending the 2025 construction conference in Leeds this week during three days of sunny weather, networking, panel discussions and robust amounts of booze. It has grown so big over the past few years that it seems almost to have outgrown the city of Leeds itself. A running joke among attendees was the varying quality of accommodation people had managed to secure. All of the budget hotels in the city were fully booked months in advance of the conference, with many - including at least one member of Parliament - reduced to kipping in bed and breakfasts of a questionable nature. Many were forced to stay in nearby towns including York, Wakefield and Bradford and catch the train to the conference each morning. But these snags served as ice breakers for more important conversations at an event which has come at a key pivot point for the industry. With the government on the brink of launching its 10-year industrial strategy and its new towns programme, opportunity was in the air. Networking events between government departments and potential suppliers of all sectors were well attended, although many discussion panels focused on the question of how all of this work would be paid for. And hanging over the conference like a storm cloud were the mounting issues at the Building Safety Regulator which are continuing to cause expensive delays to high rise schemes across the country. While many attendees eyed a huge amount of potential work to fill up pipelines, it was clear the industry is still facing some systemic challenges which could threaten a much-needed recovery following a long period of turmoil. How will the issues at the Building Safety Regulator be fixed? You did not even have to go inside an event titled “Gateways and Growing Pains: Tackling the Building Safety Act” to see how much this issue is affecting construction at the moment. The packed out tent was overflowing into the space outside, with those inside stood like sardines to watch a panel discussion about what has been happening in the high rise residential sector over the past year.  Audience members shared their horror stories of schemes which have been waiting for the best part of a year to get gateway 2 approval from the regulator, which is needed to start construction. There was a palpable sense of anger in the crowd, one professional describing the hold-ups which had affected his scheme as a “disgrace”. Others highlighted the apparent inconsistency of the regulator’s work. One attendee told how two identical buildings had been submitted to the regulator in separate gateway 2 applications and assigned to two separate technical teams for approval. One application had received no follow up questions, while the other had been extensively interrogated. “The industry should hold its head in shame with regard to what happened at Grenfell, but post that, it’s just complete disarray,” he said. More than 16,000 professionals attended the 2025 event While many are currently focusing on delays at pre-construction, others raised the looming gateway 3 approvals which are needed before occupation. Pareto Projects director Kuli Bajwa said: “Gateway 2 is an issue, but when we get to gateway 3, we’re committed to this project, money’s been spent, debt’s been taken out and week on week it’s costing money. It just keeps wracking up, so we need to resolve that with the regulator asap.” >> See also: Homes England boss calls on government to fix ‘unacceptably slow’ gateway 2 approvals Caddick Construction managing director for Yorkshire and the North East Steve Ford added: “I think where it will probably get interesting and quite heated I guess is at the point where some of these schemes get rejected at gateway 3, and the finger pointing starts as to why it’s not got through gateway 3.” Simon Latson, head of living for the UK and Ireland at JLL, offered a potential solution. “We will be dealing with the regulator all the way through the construction process, and you would like to think that there is a collaborative process where you get early engagement and you can say ‘I’m 12 weeks out from completion, I’m going to start sending you all of my completion documents, my fire alarm certificate’, and say ‘thanks very much that’s the last thing on my list’. That’s probably wishful thinking but that’s got to be a practical solution, as early engagement as possible.” How is the government going to pay for its infrastructure strategy? Ministers are expected to outline the government’s ten-year infrastructure strategy next month, outlining ambitions not only for transport but social infrastructure including schools and healthcare. At an event titled “A Decade of National Renewal: What Will This Mean for our Regions, Towns and Cities?”, a panel of experts including London deputy mayor Jules Pipe highlighted how much of this new infrastructure is needed to enable the government to achieve its housing targets. But how will it be funded? Tom Wagner, cofounder of investment firm Knighthead Capital, which operates largely in the West Midlands with assets including Birmingham City FC, gave a frank assessment of the government’s policies on attracting private sector investment. “There have been a lot of policies in the UK that have forced capital allocators to go elsewhere,” he said, calling for lower taxes and less restrictions on private finance in order to stop investors fleeing to more amenable destinations overseas.  “What we’ve found in the UK is, as we’re seeking to tax those who can most afford it, that’s fine, but unless they’re chained here, they’ll just go somewhere else. That creates a bad dynamic because those people are the capital providers, and right now what we need is capital infusion to foster growth.” The main square at the centre of the conference Pipe offered a counterpoint, suggesting low taxes were not the only reason which determines where wealthy people live and highlighted the appeal of cities which had been made livable by good infrastructure. “There are people living in some very expensive cities but they live there because of the cosmopolitan culture and the parks and the general vibe, and that’s what we have to get right. And the key thing that leads to that is good transport, making it livable.” Pipe also criticised the penny-pinching tendencies of past governments on infrastructure investment, including on major transports schemes like Crossrail 2 which were mothballed due to a lack of funds and a perceived lack of value added. “All these things were fought in the trenches with the Treasury about ‘oh well there’s no cost benefit to this’. And where is the major transport like that where after ten years people are saying ‘no one’s using it, that was a really bad idea, it’s never opened up any new businesses or new homes’? It’s absolute nonsense. But that seems to be how we judge it,” he said. One solution could be funding through business rates, an approach used on the Northern Line Extension to Battersea Power Station. But the benefits of this have been largely overlooked, Pipe said. “One scheme every ten or twenty years is not good enough. We need to do this more frequently”. What is the latest on the government’s new towns programme? Where are the new towns going to be built? It was a question which everybody was asking during the conference, with rumours circulating around potential sites in Cambridge of Plymouth. The government is set to reveal the first 12 locations of 10,000 homes each in July, an announcement which will inevitably unleash an onslaught of NIMBY outcries from affected communities. A large crowd gathered for an “exclusive update” on the programme from Michael Lyons, chair of the New Towns Taskforce appointed by the government to recommend suitable sites, with many in attendance hoping for a big reveal on the first sites. They were disappointed, but Lyons did provide some interesting insights into the taskforce’s work. Despite a “rather hairbrained” timescale given to the team, which was only established last September, Lyons said it was at a “very advanced stage” in its deliberations after spending the past few months touring the country speaking to developers, landowners and residents in search of potential sites. >> See also: Don’t scrimp on quality standards for new towns, taskforce chair tells housebuilders “We stand at a crucial moment in the history of home building in this country,” he said. The government’s commitment to so many large-scale developments could herald a return to ambitious spatial planning, he said, with communities strategically located close to the most practical locations for the supply of new infrastructure needed for people to move in. A line of tents at the docks site, including the London Pavilion “Infrastructure constraints, whether it’s water or power, sewage or transport, must no longer be allowed to hold back growth, and we’ve been shocked as we looked around the country at the extent to which plans ready to be advanced are held back by those infrastructure problems,” he said. The first sites will be in places where much of this infrastructure is already in place, he said, allowing work to start immediately.  An emphasis on “identity and legibility” is also part of the criteria for the initial locations, with the government’s design and construction partners to be required to put placemaking at the heart of their schemes. “ We need to be confident that these can be distinctive places, and that the title of new town, whether it’s an urban extension or whether it’s even a reshaping of an existing urban area or a genuine greenfield site, that it genuinely can be seen and will be seen by its residents as a distinct community.” How do you manage a working public-private partnership? Successful public partnerships between the public sector and private housebuilders will be essential for the government to achieve its target to build 1.5 million homes by the end of this parliament in 2029. At an event hosted by Muse, a panel discussed where past partnerships have gone wrong and what lessons have been learned. Mark Bradbury, Thurrock council’s chief officer for strategic growth partnerships and special projects, spoke of the series of events which led to L&Q pulling out of the 2,800-home Purfleet-on-Thames scheme in Essex and its replacement by housing association Swan. “I think it was partly the complex nature of the procurement process that led to market conditions being quite different at the end of the process to the start,” he said. “Some of the original partners pulled out halfway through because their business model changed. I think the early conversations at Purfleet on Thames around the masterplan devised by Will Alsop, the potential for L&Q to be one of the partners, the potential for a development manager, the potential for some overseas investment, ended up with L&Q deciding it wasn’t for their business model going forwards. The money from the far east never materialised, so we ended up with somebody who didn’t have the track record, and there was nobody who had working capital.  “By then it was clear that the former partnership wasn’t right, so trying to persuade someone to join a partnership which wasn’t working was really difficult. So you’ve got to be really clear at the outset that this is a partnership which is going to work, you know where the working capital is coming from, and everybody’s got a track record.” Muse development director for residential Duncan Cumberland outlined a three-part “accelerated procurement process” which the developer has been looking at in order to avoid some of the setbacks which can hit large public private partnerships on housing schemes. The first part is developing a masterplan vision which has the support of community stakeholders, the second is outlining a “realistic and honest” business plan which accommodates viability challenges, and the third is working closely with public sector officials on a strong business case. A good partnership is almost like being in a marriage, Avison Young’s London co-managing director Kat Hanna added. “It’s hard to just walk away. We’re in it now, so we need to make it work, and perhaps being in a partnership can often be more revealing in tough times.”

Diablo IV Season 9 will introduce plenty of new content, including new activities, powers, and the return of Astaroth as an endgame fight. As revealed during yesterday's Campfire Chat with members of the development team, Season 9, Sins of the Horadrim, will introduce a new endgame activity called Escalating Nightmares, a series of three Nightmare Dungeons where each dungeon's affixes stack with the next one. Awaiting the end of the third dungeon is an Exalted version of Astaroth that will surely provide an excellent challenge. To take part in the Escalating Nightmares activity, players will need to use Escalation Sigils, which can only be found inside Horadic caches found in Horadric Strongrooms, small dungeons found in Nightmare Dungeons. Another reward available for completing Horadric Strongrooms is Horadric Attunement, which can be exchanged for rewards. Every Horadric Strongroom allows players to choose between different challenges, providing a decent level of variety. Diablo IV Season 9 will also feature the introduction of Horadric Spellcraft. This system allows users to create spells by combining three elements - Catalysts, Infusions, and Arcana. The first will determine the base, unmodified power, while the second and the third change the elemental property and enhance the base power of the spell. This system feels like a new variant of systems seen in previous seasons, so those who have been playing the game for a while and have engaged with its seasonal content shouldn't have too many problems getting to grips with it. Beyond the new content coming with Season 9, the Diablo IV developers also outlined some of the changes coming to dungeons of both the Seasonal and Eternal Realms variety. In the new season, players can activate Nightmare Sigils from inside Nightmare Dungeons once complete, allowing them to go through a completed dungeon without having to exit it first. Nightmer Dungeons affixes are also getting expanded, and the new affixes will be available in both Seasonal and Eternal Realms Dungeons. All the new content and the changes outlined above will become available for testing next week on May 27th, when the 2.3.0 PTR patch goes live. Diablo IV is now available on PC, PlayStation 5, Xbox Series X, and Xbox Series S worldwide. Products mentioned Diablo IV: Vessel of Hatred USD 27.99 Buy from Amazon Deal of the Day

We'll Take Astaroth Diablo 4's Season 9 finally lets us fight Astaroth in the endgame, but the rest of what it brings feels like a re-skin of old systems Diablo 4's Season 9 may not be the one that saves the game, but at least it's bringing back that Astaroth boss fight. Image credit: Blizzard Entertainment. News by Sherif Saed Contributing Editor Published on May 23, 2025 Right on schedule, Blizzard delivered a long and detailed livestream covering Diablo 4’s upcoming patch 2.3.0 PTR (Public Test Realm). The developer revealed when the PTR will be going online, and what it’s actually going to include. The PTR will, as previously revealed, only be available on PC through Battlenet. It will go live next week, on Tuesday, May 27, ending one week later on June 3. To see this content please enable targeting cookies. As you may recall from the Diablo 4 roadmap, Season 9 is titled Sins of the Horadrim. The structure of the next season will be similar to recent ones: there’s going to be a new activity or two, with the new gameplay revolving mainly around powers you can acquire as you play said activities. For Sins of the Horadrim, the new endgame activity is called Escalating Nightmares (previously Dungeon Escalation), and the powers will be Horadric Spellcraft. Astaroth will also return as part of the season. The highlight of the new season is the ability to create Horadric Spells, a new system that relies on three elements to function: Catalysts, Infusions, and Arcana. Catalysts are the base, unmodified powers, which you can then alter with Infusions. This changes the elemental damage type of the spell, but you can also change the baseline power of it using Arcana. The system, in essence, is a refresh of Season 7's Witchcraft Powers, and is similar to Season 8's Boss Powers in the way it works, too. Look familiar? | Image credit: Blizzard Entertainment. Something else being introduced with Sins of the Horadrim is Horadric Strongrooms. These are micro-dungeons that can be found within larger Nightmare Dungeons. Your goal is to claim some lost Horadric knowledge within, and fight your way out in time, as a timer kicks in after you trigger a Strongroom. Doing so will earn you Horadric Attunement, which can later be exchanged for rewards. The chances of Horadric Strongrooms spawning increase the higher your Torment level, but you can also use Horadric Phials (a new seasonal currency) to increase your chance of finding them further. Some Nightmare Dungeon Sigils will also guarantee a Horadric Strongroom can be found within. Horadric Strongrooms follow a similar dungeon design where you get to choose what sort of challenge you want to take on by interacting with one of the different Horadric Pillars. Once the ritual is performed and the pillar is satiated, you’ll get Horadric Attunement. At the end of it, there’s a boss you’ll need to fight to complete the run. Before you leave, you’ll get to use your Horadric Attunement to acquire a Horadric cache. He's back! | Image credit: Blizzard Entertainment. The big new activity in Season 9 is Escalating Nightmares, which is a fancy name for a new chain of three Nightmare Dungeons, with nightmares escalating as you go through each. The main hook here is that each dungeon’s affixes stack with the next one, meaning the third in the chain will have affixes from all three. If you manage to go through all three, you’ll get to fight an Exalted version of Astaroth. Triggering an instance of Escalating Nightmare requires an Escalation Sigil, which can be found in Horadric caches from the aforementioned Strongrooms (starting from Torment 1). The Astaroth fight itself is one of the most impressive and memorable fights from Diablo 4’s campaign, and players have been asking Blizzard since launch to bring it into the endgame. This version has something of a mechanical twist, too. Astaroth will jump off his mount, essentially forcing you to fight both him and Amalgam. This isn’t just a visual trick, either, because slaying Amalgam before Astaroth sends the hound into a resurrection state that will put it back in the fight after some time. Watch on YouTube As you might have guessed, there’s a major focus on dungeons in Season 9. Blizzard is turning its gaze to dungeons across both the Seasonal, and Eternal Realms. This will encompass a few tweaks, as well as some new quality of life changes. You’ll soon be able to activate a Nightmare Sigil from within the Nightmare Dungeon itself once it’s complete, meaning you’ll be able to re-run the same one without having to leave and re-enter to create a new instance. The pool of Nightmare Dungeon affixes is also being bolstered with a set of new ones, available across both realms. Then there’s Horadric Jewels, which will be available in Torment 1 and beyond. Completing a Strongroom has a chance to spawn Horadric Tomes, which, when consumed, let you craft Horadric Jewels. These are effectively gems, just with some powerful effects that play nicely with your Horadric Spells. You’ll also need Horadric Phials and Gem Fragments to craft them, and they can only be socketed into Amulets and Rings. Catch up on the full change log on the Diablo 4 blog, which also includes PTR-specific boosts those taking part will need to rely on if they want to get into endgame content quickly.