Posted on : June 13, 2025 By Tech World Times Development and Testing  Rate this post Sorting helps organize data in a specific order. It is used in search, reports, and efficient storage. Different sorting algorithms offer different performance. In this article, we will explain the Time Complexity of Sorting Algorithms in simple words. We will cover Python, Java, and C++ examples. 1. What Is Time Complexity? Time complexity tells how fast an algorithm runs. It measures the number of steps as input grows. It is written in Big-O notation. For example, O(n²) means steps grow with the square of inputs. 2. Types of Time Complexity Here are common types: O(1): Constant time O(n): Linear time O(n log n): Log-linear time O(n²): Quadratic time We will now apply these to sorting. 3. Bubble Sort Bubble Sort compares two numbers and swaps them if needed. It repeats until the list is sorted. Time Complexity: Best Case: O(n) (if already sorted) Average Case: O(n²) Worst Case: O(n²) Python Example: pythonCopyEditdef bubble_sort(arr): n = len(arr) for i in range(n): for j in range(n - i - 1): if arr[j] > arr[j+1]: arr[j], arr[j+1] = arr[j+1], arr[j] Java Example: javaCopyEditvoid bubbleSort(int arr[]) { int n = arr.length; for (int i = 0; i < n-1; i++) for (int j = 0; j < n-i-1; j++) if (arr[j] > arr[j+1]) { int temp = arr[j]; arr[j] = arr[j+1]; arr[j+1] = temp; } } C++ Example: cppCopyEditvoid bubbleSort(int arr[], int n) { for (int i = 0; i < n-1; i++) for (int j = 0; j < n-i-1; j++) if (arr[j] > arr[j+1]) swap(arr[j], arr[j+1]); } 4. Selection Sort This sort picks the smallest number and places it at the front. Time Complexity: Best Case: O(n²) Average Case: O(n²) Worst Case: O(n²) Python Example: pythonCopyEditdef selection_sort(arr): for i in range(len(arr)): min_idx = i for j in range(i+1, len(arr)): if arr[j] < arr[min_idx]: min_idx = j arr[i], arr[min_idx] = arr[min_idx], arr[i] 5. Insertion Sort This algorithm builds the final list one item at a time. Time Complexity: Best Case: O(n) Average Case: O(n²) Worst Case: O(n²) Java Example: javaCopyEditvoid insertionSort(int arr[]) { for (int i = 1; i < arr.length; i++) { int key = arr[i]; int j = i - 1; while (j >= 0 && arr[j] > key) { arr[j + 1] = arr[j]; j = j - 1; } arr[j + 1] = key; } } 6. Merge Sort Merge Sort splits the array into halves and merges them back in order. Time Complexity of Sorting Algorithms like Merge Sort is usually better. Best Case: O(n log n) Average Case: O(n log n) Worst Case: O(n log n) Python Example: pythonCopyEditdef merge_sort(arr): if len(arr) > 1: mid = len(arr) // 2 left = arr[:mid] right = arr[mid:] merge_sort(left) merge_sort(right) i = j = k = 0 while i < len(left) and j < len(right): if left[i] < right[j]: arr[k] = left[i] i += 1 else: arr[k] = right[j] j += 1 k += 1 arr[k:] = left[i:] + right[j:] 7. Quick Sort Quick Sort picks a pivot and places smaller numbers before it. Time Complexity: Best Case: O(n log n) Average Case: O(n log n) Worst Case: O(n²) C++ Example: cppCopyEditint partition(int arr[], int low, int high) { int pivot = arr[high]; int i = low - 1; for (int j = low; j < high; j++) { if (arr[j] < pivot) { i++; swap(arr[i], arr[j]); } } swap(arr[i+1], arr[high]); return i + 1; } void quickSort(int arr[], int low, int high) { if (low < high) { int pi = partition(arr, low, high); quickSort(arr, low, pi - 1); quickSort(arr, pi + 1, high); } } 8. Built-in Sort Methods Languages have built-in sort functions. These are well-optimized. Python: sorted() or list.sort() uses TimSort Time Complexity: O(n log n) Java: Arrays.sort() uses Dual-Pivot QuickSort Time Complexity: O(n log n) C++: std::sort() uses IntroSort Time Complexity: O(n log n) These are better for most real-world tasks. 9. Time Complexity Comparison Table AlgorithmBestAverageWorstStableBubble SortO(n)O(n²)O(n²)YesSelection SortO(n²)O(n²)O(n²)NoInsertion SortO(n)O(n²)O(n²)YesMerge SortO(n log n)O(n log n)O(n log n)YesQuick SortO(n log n)O(n log n)O(n²)NoTimSort (Python)O(n)O(n log n)O(n log n)YesIntroSort (C++)O(n log n)O(n log n)O(n log n)No 10. How to Choose the Right Algorithm? Use Merge Sort for large stable data. Use Quick Sort for faster average speed. Use Insertion Sort for small or nearly sorted lists. Use built-in sort functions unless you need control. Conclusion The Time Complexity of Sorting Algorithms helps us pick the right tool. Bubble, Selection, and Insertion Sort are simple but slow. Merge and Quick Sort are faster and used often. Built-in functions are highly optimized. Python, Java, and C++ each have their strengths. Understand your problem and input size. Then pick the sorting method. This ensures better speed and performance in your code. Tech World TimesTech World Times (TWT), a global collective focusing on the latest tech news and trends in blockchain, Fintech, Development & Testing, AI and Startups. If you are looking for the guest post then contact at techworldtimes@gmail.com

Drinking Fountain of La Arboleda (Bebedero) | 1970s Photograph Luis Barragan’s work is often celebrated for its profound dialogue between form, memory, and landscape. In the Drinking Fountain of La Arboleda, Barragán channels these core principles into a singular architectural gesture. Situated at the culmination of the Paseo de los Gigantes, this fountain transcends utilitarian function to become a space of contemplation and poetic reflection. Drinking Fountain of La Arboleda Technical Information Architects1-2: Luis Barragán Location: Avenida Paseo de los Gigantes, Las Arboledas, Mexico Height: 14.6 meters Width: 10.4 meters Project Years: 1960s Plans by: Enrique Delgado Camara In Las Arboledas I had the pleasure of building a large rectangular pond among eucalyptus trees; however, while doing so, I thought of Persian gardens, I also thought of De Chirico, I also thought that water is a mirror, and I liked that it reflected the branches of the trees. You know, popular architecture has always impressed me because it is pure truth and because the spaces that occur in plazas, in porticos, in courtyards, are always given with generosity. – Luis Barragán Drinking Fountain of La Arboleda Photographs Drinking Fountain of La Arboleda (Bebedero) | 1970s Photograph 1970s Photograph 1970s Photograph 1970s Photograph 1970s Photograph Spatial Composition and Geometric Manipulation The project extends Barragán’s broader explorations in Las Arboledas and Los Clubes, developments marked by an intimate relationship with nature and a restrained formal language. Here, water becomes material and metaphor, shaping a spatial experience that is as much about the mind as the body. The Drinking Fountain of La Arboleda is defined by the dynamic interplay of two elements: a towering white wall and a long, linear water trough. The wall, rising to a height of 14.6 meters, asserts its presence in the landscape as a vertical marker. It competes with, yet does not overshadow, the surrounding eucalyptus trees. The water trough, measuring 44 meters in length, 2.55 meters in width, and 0.67 meters in height, extends along the path in a measured horizontal counterpoint. This juxtaposition of vertical and horizontal geometries establishes a composition of duality. The white wall commands attention from afar, while the dark basin of water, offset to the side, quietly draws in the viewer’s gaze. The deliberate misalignment of these two forms prevents a static symmetry, generating a subtle sense of movement and tension within the space. Barragán’s manipulation of circulation further reinforces this dynamic quality. Rather than a direct approach, entry to the plaza is orchestrated through a series of turns. These indirect paths obscure the view and gradually reveal the fountain, heightening the sense of arrival and emphasizing the experiential choreography of the approach. Materiality and Sensory Qualities Material choices are critical in the fountain’s ability to evoke stillness and dynamism. The white stucco of the wall acts as a canvas for the interplay of light and shadow, particularly as the sun filters through the towering eucalyptus canopy. This shifting luminosity imbues the space with a living quality, constantly animated by the rhythms of the day. The basin of the fountain is constructed from dark anthracite, lending the water a reflective depth that absorbs and mirrors the surrounding environment. The edge of the water, defined by precisely cut, sharp-edged walls, creates an illusion of the water as a freestanding volume. This interplay of light, shadow, and reflection intensifies the perception of depth, dissolving the boundary between container and contained. The gentle sound of water flowing over the basin’s edge adds a sonic dimension to the experience. It serves as a subtle counterpoint to the plaza’s otherwise hushed atmosphere, enhancing the sensory richness without disrupting the meditative calm. Drinking Fountain of La Arboleda Cultural Resonance In this project, Barragán evokes a memory of rural Mexico that resonates with personal nostalgia and collective cultural imagery. The trough recalls the water basins of his childhood, echoing the hacienda landscapes and the enduring significance of water in Mexican life. Yet, by abstracting these elements into minimalist forms, he situates them within a modern architectural discourse that transcends mere historicism. Barragán’s insistence on the evocative power of space is evident in every aspect of the Drinking Fountain. It is a site of transition, marking the end of the linear paseo while simultaneously inviting introspection and pause. The project’s restrained materiality and precise spatial articulation distill Barragán’s belief in architecture as a vehicle for personal reflection and cultural continuity. His 1980 Pritzker Prize acceptance speech, in which he described his enduring fascination with water and the memories of fountains and acequias, underscores this deep personal connection. The Drinking Fountain of La Arboleda can be read as an architectural meditation on that theme. This work bridges the abstraction of modernism with the rich, elemental forces of the Mexican landscape. Drinking Fountain of La Arboleda Plans Floor Plan | © Enrique Delgado Camara Axonometric View | © Enrique Delgado Camara Drinking Fountain of La Arboleda Image Gallery About Luis Barragán Luis Barragán (1902–1988) was a Mexican architect renowned for his masterful integration of light, color, and landscape into architecture. His work blends modernist abstraction with deeply rooted Mexican traditions, crafting spaces that evoke memory, contemplation, and poetic resonance. Credits and Additional Notes Water Trough (Bebedero) Length: 44 meters Water Trough (Bebedero) Width: 2.55 meters Water Trough (Bebedero) Height: 0.67 meters Material: Anthracite-colored stone (dark tone to enhance reflections) Delgado Cámara, Enrique. La Geometría del Agua: Mecanismos Arquitectónicos de Manipulación Espacial. Enrique Delgado Cámara, 2024.  Ambasz, Emilio. The Architecture of Luis Barragán. Museum of Modern Art, New York, 1976.

Submitted by WA Contents Seriema House is shaped around massive, black Portuguese stones for contemplation in Brazil Brazil Architecture News - Jun 03, 2025 - 04:23   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Brazilian architecture practice TETRO Architecture has built a house that is shaped around massive, black Portuguese stones for for reading, contemplation, rest, and sharing moments with friends in Brumadinho - Minas Gerais, Brazil. Named Seriema House, the 350-square-metre house is nestled in a tranquil setting on the outskirts of Belo Horizonte. Seriema House won the WA Awards 50th Cycle in the Architecture/Realised category.To reach it, visitors must traverse a mountain range, marking a transition from the bustling city to a peaceful environment. This journey allows guests to leave behind the urban noise and immerse themselves in nature."The client's requirement was to create a place for pause—a space for reading, contemplation, rest, and sharing moments with friends," said TETRO Architecture. "The client desired an environment that fosters meeting and introspection, where architecture would engage in a dialogue with poetry," the firm added.The location of the house presents two contrasting views. On one side, there is a broad and open view of the mountains; on the other, a dense forest filled with trees. The house is beautifully integrated into this balance of expansive landscape and shaded refuge. Seriemas, local birds known to the region, roam freely around the property and inspired the name of the residence.The conceptual foundation of the project focuses on the harmonious integration of architecture with nature. The house is designed as a transitional space that bridges the vast mountain views with the contemplative atmosphere of the forest. The architecture embodies a sense of poetry through its form, particularly highlighted by a winding wall that both separates and connects different spatial experiences.The main structure of the house is constructed from reinforced concrete, utilizing black Portuguese stones and white stone flooring as the primary materials. A winding wall divides the space and is adorned with the black stones, creating a striking visual and tactile contrast against the white stone floor. This use of natural stone emphasizes the house's connection to the surrounding landscape, showcasing its organic integration with the environment and highlighting its poetic essence.The house is masterfully organized into two distinct zones, elegantly separated by a sweeping, curving wall. On one side lies the welcoming space, a vibrant and open environment bursting with energy. Here, sounds of laughter, music, and movement fill the air, accompanied by breathtaking panoramic views of the majestic mountains. This area encompasses an integrated living room, dining room, and kitchen, all meticulously designed to foster social interaction and encourage deep contemplation of the stunning landscape.Conversely, on the other side resides the retreat—an intimate sanctuary that is serene, shaded, and profoundly introspective. This tranquil space gazes out onto the lush, dense forest, serving as a haven for relaxation and reading, and featuring the exquisite main suite. The thoughtful spatial planning creates a harmonious balance between openness and intimacy, beautifully reflecting the duality of the surrounding nature and the human experience within it.Conceptual floor planTetro is an architecture studio located in Belo Horizonte, Brazil, and operates on a global scale. It is composed of architects Carlos Maia, Débora Mendes, and Igor Macedo. The firm’s approach to professional practice focuses on a thorough examination of the site’s conditions and the client's needs, striving to create unique and irreplicable solutions for each project.TETRO Architecture previously won the WA Awards 10+5+X with Café House and Casa Açucena in Brazil.Project factsProject name: Seriema HouseArchitects: TETRO ArchitectureLocation: Brumadinho - Minas Gerais, Brazil. Lead architects: Carlos Maia, Debora Mendes, and Igor MacedoContributors: Bruno Bontempo, Bianca Carvalho, Bruna Maciel, Carolina Amaral, Saulo Saraiva, Sabrina FreitasCompletion year: 2024Structure: Cálculo ConcretoHydraulic; Electric: CA engenhariaLighting Design: IluminarConstruction: TechnoAll images © Luisa Lage.Drawing © TETRO Architecture.> via TETRO Architecture

The Photography Seoul Museum of Art (PhotoSeMA) officially opened its doors in May 2025, marking a significant milestone as South Korea’s first public institution solely dedicated to the art of photography. Situated in the Dobong District of northeastern Seoul, this architectural marvel is the result of a collaboration between Austrian firm Jadric Architektur and Korean studio 1990uao Architects. The museum’s dynamic, twisting facade not only serves as a visual landmark but also symbolizes the fluidity and transformative nature of photography itself. Spanning six levels, four above ground and two below, the museum encompasses a total area of 7,048 square meters. Its design emphasizes the interplay between light and space, with broad concrete surfaces and filtered lighting creating an environment conducive to introspection and artistic appreciation. Designers: Jadric Architektur and 1990uao Architects Interior spaces are thoughtfully punctuated by voids and light wells, allowing natural light to shape the visitor experience throughout the day. The building’s exterior features a twisting monolithic shape that integrates seamlessly with the surrounding public space, inviting visitors to engage with the museum both inside and out. This design choice reflects the architects’ intention to create a “walk-in object” that fosters community interaction and cultural engagement. PhotoSeMA’s opening is marked by two inaugural exhibitions that delve into the history and evolution of Korean photography. The Radiance: Beginnings of Korean Art Photography showcases seminal works by artists such as Jung Haechang, Lim Suk Je, Lee Hyungrok, Cho Hyundu, and Park Youngsook. Drawing from a collection of over 20,000 works and archival materials dating from the 1920s to the 1990s, the exhibition offers a comprehensive look at the medium’s development in Korea. Meanwhile, Storage Story features contemporary artists Dongsin Seo, Won Seoung Won, Jihyun Jung, Joo Yongseong, Melmel Chung, and Oh Jooyoung. This exhibition explores the museum itself as a subject, examining themes of classification, memory, and the evolving role of cultural institutions in society. As part of the Seoul Museum of Art (SeMA) network, PhotoSeMA extends the institution’s reach and reinforces its commitment to diverse artistic expressions. The museum not only provides a dedicated space for photographic art but also contributes to the cultural revitalization of the Dobong District, aligning with the city’s broader efforts to establish a “cultural mile” in the area. With its innovative design and focused curatorial approach, the Photography Seoul Museum of Art stands as a testament to the dynamic intersection of architecture and photography, offering visitors a unique space to explore and appreciate the visual narratives that shape our world. The post South Korea’s first public museum for photography now open first appeared on Yanko Design.

The Valhalla DLC for God of War: Ragnarok was more than an epilogue; it was a creative pivot that fused the series' core combat with roguelike progression and introspective storytelling. What began as an experimental postscript became a defining part of the game’s legacy. It gave players randomized encounters, branching upgrades, and emotional growth for Kratos—all for free.

Perched quietly in the mountains north of Kyoto, Le Picabier is a micro tea room that redefines the notion of solitude and ritual in architecture. Designed by Studio 2m26 in collaboration with French practice Onomiau, this diminutive pavilion—intended for a single guest—offers an exquisite blend of tradition, material honesty, and site-specific design. Commissioned by Villa Kujoyama, the project stands as a poetic response to its environment, inviting reflection on both nature and the act of tea itself. The structure’s distinctive chimney-like silhouette, clad in charred cedar shingles, instantly sets it apart from conventional tea houses. The use of yakisugi, the Japanese technique of burning wood for preservation, not only gives Le Picabier its striking black exterior but also grounds the building firmly in the local tradition of craftsmanship. This method enhances both the texture and longevity of the pavilion, while the deep, tactile surfaces evoke the beauty found in imperfection and transience—core themes of Japanese aesthetics. Designer: 2m26 x Onomiau Inside, Le Picabier is a study in mindful minimalism. Natural light filters through the narrow space, shifting throughout the day to create an ever-changing play of shadow and texture. A single lantern suspended above the guest casts flickering candlelight, marking the subtle passage of time and further heightening the sense of introspection. The black tatami mat flooring, crafted by Mitsuru Yokoyama, and sparse furnishings encourage a meditative focus on the ritual at hand, with every detail supporting an atmosphere of quiet contemplation. The tea room’s vertical emphasis is both visual and experiential. The tall chimney serves as the pavilion’s focal point, drawing the gaze upward and reinforcing a sense of aspiration and spiritual retreat. The integrated fire pit, essential for boiling water, becomes the heart of the space—its warmth and glow connecting the guest to elemental forces. This combination of verticality and warmth transforms the small structure into a sanctuary, where silence and simplicity become luxuries in themselves. Le Picabier’s design is deeply informed by the legacy of Sen no Rikyū, the 16th-century tea master who revolutionized the Japanese tea ceremony by embracing shadow, silence, and the beauty of imperfection. Yet, the project is unmistakably contemporary, merging traditional Japanese elements with a European sensibility brought by Onomiau. Its compact footprint and careful use of materials make it an exemplary case of micro-architecture, where constraints become sources of creativity and meaning. In a world increasingly dominated by noise and distraction, Le Picabier offers a rare kind of architectural experience—one that prioritizes solitude, sensory awareness, and connection to place. By distilling the tea house to its essence, Studio 2m26 and Onomiau have crafted more than a shelter; they have created a space for personal ritual and reflection. It’s a timely reminder that even the smallest buildings can inspire profound encounters between people, objects, and the natural world. The post Kyoto’s Solo Tea Room Blends Japanese Tradition With Contemporary Micro-Architecture first appeared on Yanko Design.

Analogous color schemes, composed of colors adjacent to each other on the color wheel, naturally produce harmonious and visually appealing images. These palettes offer photographers a gentle yet compelling approach to color, creating soothing, cohesive photographs that effortlessly draw viewers into a serene visual experience. Understanding Analogous Colors Analogous colors share common undertones and naturally complement each other, creating visual comfort and unity. Common examples include: Warm Analogous Schemes: Red, orange, and yellow hues evoke warmth, energy, and positivity. Cool Analogous Schemes: Green, blue, and violet hues convey calmness, tranquility, and introspection. Emotional Impact of Analogous Colors Each analogous color palette carries unique emotional associations. Selecting colors intentionally allows photographers to reinforce specific moods: Warm palettes promote excitement, vitality, and optimism, ideal for lifestyle or dynamic portrait photography. Cool palettes emphasize relaxation, peace, and contemplation, perfect for landscapes, seascapes, or reflective narratives. Techniques for Successful Analogous Compositions Creating powerful analogous compositions requires mindful planning and execution: Dominant and Supporting Colors: Choose a primary color to dominate your composition, using adjacent hues to provide depth and visual interest. Balancing Tonal Values: Incorporate a variety of tones within your analogous palette—from dark to light—to maintain visual balance and ensure clear differentiation between elements. Lighting to Enhance Color Harmony Lighting profoundly affects the appearance and interaction of colors within analogous schemes: Natural Light: Soft, natural daylight enhances color cohesion, bringing out subtle tonal variations and supporting visual harmony. Studio Lighting: Controlled lighting setups enable photographers to precisely manage color intensity, highlighting specific hues to strengthen composition and mood. Composition Tips for Analogous Schemes Intentional composition enhances the natural beauty and harmony of analogous color photography: Simplify Your Scene: Removing unnecessary elements ensures the analogous palette remains clear, focused, and impactful. Layering and Depth: Thoughtfully layering colors within your composition adds depth and encourages viewer engagement, inviting exploration of visual details. Refine Through Subtle Post-Processing Analogous color photography often benefits from nuanced post-processing: Adjust subtle differences in hue, saturation, and luminance to fine-tune harmony and enhance emotional resonance. Consider gentle contrast adjustments to highlight variations without disrupting overall visual tranquility. Analogous color schemes offer photographers a unique opportunity to create naturally harmonious and emotionally resonant images. By thoughtfully selecting your palette, carefully managing composition and lighting, and subtly refining in post-processing, you can produce photographs characterized by visual ease, depth, and emotional clarity. Embrace the subtle power of analogous colors and elevate your photographic storytelling with visually cohesive, harmonious compositions. Extended reading: Using Color to Strengthen Your Photographic Narratives The post Creating Harmony with Analogous Color Schemes appeared first on 500px.