The theme of the German Pavilion at Expo 2025 Osaka is the circular economy. The Berlin-based studio of architecture network LAVA designed the structures which are, unsurprisingly, circular: Circular shape aside, visitors are meant to wend their way through the displays—which cover exhibitions of biospheres, circular cities with closed material and energy cycles, and examples of humans coexisting harmoniously with nature—in a linear fashion. Not literally, but meaning that there is a beginning and end to the exhibit hall. What most caught my eye is the final room in this sequence, this "Circular Me" hall: Within this space, designed by Cologne-based creative agency Facts and Fiction, "visitors reflect on personal choices, habits, and values. Through poetic imagery, thought-provoking questions, and a space that invites to pause, you're asked: 'What are you willing to change? What kind of future do you want to co-create?'" The space is an interesting twist on the sunken living room/conversation pit, creating intimacy through a depression in the ceiling rather than the floor. And while I'm getting away from the theme of the exhibition here, the following occurred to me: If the screen was divided into four quadrants all showing the same thing, and if a lenticular effect could be created such that someone sitting at 6 o'clock could only see the screen centered on 12 o'clock, it would make for a rather novel home cinema.

Looking back, there are a few mistakes I made while traveling internationally with my grandma. Emily Schlorf 2025-05-13T14:12:01Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? In summer 2024, I traveled with my grandma, mom, and sister to Montreal. I wish I'd thought more about my grandma's physical needs when planning the itinerary. It would've been nice to have more downtime in our schedule, too. Despite living 1,800 miles apart, my 81-year-old grandma and I have always been close. We share a love for "Downton Abbey," cross-stitch, and strong coffee, and I couldn't imagine spending weeks in the summer anywhere but her sunny kitchen table in central Minnesota.Of course, I'd be naive to assume my time with her is unlimited. That's one reason my grandma, mom, sister, and I decided to embark on a trip to Montreal together last summer.Although I'm grateful we were able to take this trip, it could have gone a lot smoother had I known these three things about traveling with an older relative. The itinerary should have reflected everyone's physical needs, not just my own I should've considered how long it would take my grandma to get to excursions like our afternoon tea. Emily Schlorf I'm the most frequent traveler in my family, so I took on all the planning myself and approached the task the same way I do for solo travel: leaving no stone unturned.I thought my grandma would be well-prepared for the long days, given that she walks 3 miles a day and eats a far more balanced diet than I do.What I failed to consider, though, was how difficult it would be for her to walk on the uneven cobblestone streets. On our first day in the city, we nearly missed an afternoon tea reservation since I didn't factor in the slower pace we'd have to take to accommodate my grandma's careful steps.I also didn't realize just how exhausting a full-day Three Pines tour would be. Although fantastic — with stops at a monastery, local museum, and five-star resort for lunch — our visit to the villages that inspired the fictional location of my grandma's favorite mystery series was nine hours long. My family and I went on a nine-hour tour of Three Pines. Emily Schlorf As the day progressed, we took turns snoozing in the back seat of our tour guide's van. Upon arriving back at the bed and breakfast, my grandma exclaimed how long of a day it was; and I didn't disagree.Similarly, I didn't consider my grandma's physical limitations when choosing restaurants. Although they weren't lacking in ambiance — picture patios swallowed in bougainvillea and cool, brutalist interiors overlooking Lake Saint Louis — the dim lighting and small font sizes made it challenging for her to read the menu.My mom, sister, and I mitigated my grandma's vision issues by taking turns reading the menu aloud, line by line, but that got old fast.In retrospect, I wish I'd shown up equipped with solutions, such as finding the menu online so she could zoom in on my phone or reminding her to bring her readers, to improve everyone's dining experience. A long trip means extended time away from routinesEveryone gets to a point on vacation when they're ready to return home, but I would argue that the feeling is stronger for older adults like my grandma, who travel once or twice a year and may be used to a strict daily routine.Although my grandma never expressed this feeling to me outright, I noticed as the days went on, she became less game for her granddaughters' plans.For example, on our last evening, my sister and I wanted to check out the shops lining Saint-Laurent Boulevard, but my grandma preferred to have takeout in the hotel.We compromised, and my sister and I walked to the boulevard to pick up dinner, but we ditched our shopping plan since we felt bad keeping my mom and grandma waiting.I wish we'd had more downtime together One of my favorite memories from the trip was when we spontaneously visited a speakeasy. Emily Schlorf Instead of jam-packing every day with new experiences, I wish I'd taken my foot off the gas as the trip progressed — for my grandma's sake as well as my own.As we reached days five and six of the trip, my excitement for the activities I planned dwindled, and I found myself wishing I hadn't planned them at all.Besides, the memories I cherish most from the trip weren't the museums or guided tours, they were the unplanned ones: a shared bottle of wine with our bed and breakfast hosts, a visit to an outdoor antique market, and a nightcap at a speakeasy.Despite the challenges, I'd love to travel with my grandma again I would love to go on another trip with my grandma. Emily Schlorf To anyone contemplating a multigenerational trip, I say do it, but be more considerate than I was. Take time to plan the trip together, think of everyone's needs, and be content with slowing down.Strolling through the city hand-in-hand with my grandma, I learned that it's OK to leave some stones unturned, because the real joy comes from who you're turning them with. Recommended video

Whether beamers, bollards, or lamp posts, the following light solutions prioritize lumen strength and distribution as well as charming, modern aesthetics. (Courtesy Landscape Forms) Moment Lighting Landscape Forms Characterized by straight lines, perfect circles, and conical shapes, this collection offers sleek, adaptable profiles. It’s available in different pole heights and mounting configurations, or hung and wall-mounted and with an optional hexcell louver to ensure precise illumination with minimal glare. (Courtesy Artemide) Gople Outdoor Artemide Drawing from the silhouette of a glass diffuser, BIG designed Gople Outdoor as a cotton candy–colored family of lighting. Bollards, spots, and lanterns make up some of the line, each interpreting diffusers in different ways. (Courtesy ERCO) Beamer Contour Projector ERCO Available in a new large size, ERCO’s beamers provide precise and powerful lighting suitable for museum applications. The narrow, inconspicuous framing houses straight-edge projections to create exact framing, cutting down on light pollution. (Courtesy Cyclone) Mochi Cyclone Mochi’s curved dome brings softness to urban settings. Offered in a side or pendant mount, the luminaire features 14 light distribution types as well as backward optics that can be oriented to illuminate a road or bike path. (Courtesy Lebello) Spore Garden & Path Light Lebello These mushroom-shaped LED lights illuminate pathways and gardens. They come in a variety of pole heights and colors, in brass, copper, stainless silver, or black accents, and in 3000K warm light or 4500K cool light. (Courtesy Luminis) Syrios Pro Luminis This luminaire enables a continuous aesthetic from curb to cube with pole, wall, and ceiling mount options. Optional beam angle reflectors are also available for public spaces, pathways, and facades.

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here Skydance Games has delayed its extremely exciting upcoming Captain America and Black Panther game, Marvel 1943: Rise of Hydra. Originally set to release this year, the studio has officially delayed the title until 2026. The second major delay of the year, the first being GTA 6, the upcoming action-adventure game will release in Early 2026 to make sure the game is the best experience possible for players. Marvel 1943 delayed In a statement on Twitter, or X if you’re like that, Skydance confirmed the early 2026 release date while also keeping details very light. “We have an important update,” the studio explained. “Marvel 1943: Rise of Hydra will now be launching in early 2026.” “Taking this additional time will allow us to add more polish, and make sure we give you the best possible experience, and one that lives up to our vision,” they continued. “We have some exciting things in store and look forward to sharing more soon.” Marvel 1943: Rise of Hydra is the first title in a new Marvel games initiative. Alongside the continued Insomniac titles focusing on Spider-Man and Wolverine, the superhero license is expanding further into the realm of blockbuster video games. Alongside Rise of Hydra, Xbox-owned Arkane Studios is working on an immersive sim-style Blade game. Additionally, EA is working on an open-world Iron Man game built in Unreal Engine 5. Very few details have been revealed regarding either title. Subscribe to our newsletters! By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime. Share

"Artificial intelligence, if we're being frank, is a con: a bill of goods you are being sold to line someone's pockets."That is the heart of the argument that linguist Emily Bender and sociologist Alex Hanna make in their new book The AI Con. It's a useful guide for anyone whose life has intersected with technologies sold as artificial intelligence and anyone who's questioned their real usefulness, which is most of us. Bender is a professor at the University of Washington who was named one of Time magazine's most influential people in artificial intelligence, and Hanna is the director of research at the nonprofit Distributed AI Research Institute and a former member of the ethical AI team at Google.The explosion of ChatGPT in late 2022 kicked off a new hype cycle in AI. Hype, as the authors define it, is the "aggrandizement" of technology that you are convinced you need to buy or invest in "lest you miss out on entertainment or pleasure, monetary reward, return on investment, or market share." But it's not the first time, nor likely the last, that scholars, government leaders and regular people have been intrigued and worried by the idea of machine learning and AI.Bender and Hanna trace the roots of machine learning back to the 1950s, to when mathematician John McCarthy coined the term artificial intelligence. It was in an era when the United States was looking to fund projects that would help the country gain any kind of edge on the Soviets militarily, ideologically and technologically. "It didn't spring whole cloth out of Zeus's head or anything. This has a longer history," Hanna said in an interview with CNET. "It's certainly not the first hype cycle with, quote, unquote, AI."Today's hype cycle is propelled by the billions of dollars of venture capital investment into startups like OpenAI and the tech giants like Meta, Google and Microsoft pouring billions of dollars into AI research and development. The result is clear, with all the newest phones, laptops and software updates drenched in AI-washing. And there are no signs that AI research and development will slow down, thanks in part to a growing motivation to beat China in AI development. Not the first hype cycle indeed.Of course, generative AI in 2025 is much more advanced than the Eliza psychotherapy chatbot that first enraptured scientists in the 1970s. Today's business leaders and workers are inundated with hype, with a heavy dose of FOMO and seemingly complex but often misused jargon. Listening to tech leaders and AI enthusiasts, it might seem like AI will take your job to save your company money. But the authors argue that neither is wholly likely, which is one reason why it's important to recognize and break through the hype.So how do we recognize AI hype? These are a few telltale signs, according to Bender and Hanna, that we share below. The authors outline more questions to ask and strategies for AI hype busting in their book, which is out now in the US.Watch out for language that humanizes AIAnthropomorphizing, or the process of giving an inanimate object human-like characteristics or qualities, is a big part of building AI hype. An example of this kind of language can be found when AI companies say their chatbots can now "see" and "think."These can be useful comparisons when trying to describe the ability of new object-identifying AI programs or deep-reasoning AI models, but they can also be misleading. AI chatbots aren't capable of seeing of thinking because they don't have brains. Even the idea of neural nets, Hanna noted in our interview and in the book, is based on human understanding of neurons from the 1950s, not actually how neurons work, but it can fool us into believing there's a brain behind the machine.That belief is something we're predisposed to because of how we as humans process language. We're conditioned to imagine that there is a mind behind the text we see, even when we know it's generated by AI, Bender said. "We interpret language by developing a model in our minds of who the speaker was," Bender added.In these models, we use our knowledge of the person speaking to create meaning, not just using the meaning of the words they say. "So when we encounter synthetic text extruded from something like ChatGPT, we're going to do the same thing," Bender said. "And it is very hard to remind ourselves that the mind isn't there. It's just a construct that we have produced."The authors argue that part of why AI companies try to convince us their products are human-like is that this sets the foreground for them to convince us that AI can replace humans, whether it's at work or as creators. It's compelling for us to believe that AI could be the silver bullet fix to complicated problems in critical industries like health care and government services.But more often than not, the authors argue, AI isn't bring used to fix anything. AI is sold with the goal of efficiency, but AI services end up replacing qualified workers with black box machines that need copious amounts of babysitting from underpaid contract or gig workers. As Hanna put it in our interview, "AI is not going to take your job, but it will make your job shittier."Be dubious of the phrase 'super intelligence'If a human can't do something, you should be wary of claims that an AI can do it. "Superhuman intelligence, or super intelligence, is a very dangerous turn of phrase, insofar as it thinks that some technology is going to make humans superfluous," Hanna said. In "certain domains, like pattern matching at scale, computers are quite good at that. But if there's an idea that there's going to be a superhuman poem, or a superhuman notion of research or doing science, that is clear hype." Bender added, "And we don't talk about airplanes as superhuman flyers or rulers as superhuman measurers, it seems to be only in this AI space that that comes up."The idea of AI "super intelligence" comes up often when people talk about artificial general intelligence. Many CEOs struggle to define what exactly AGI is, but it's essentially AI's most advanced form, potentially capable of making decisions and handling complex tasks. There's still no evidence we're anywhere near a future enabled by AGI, but it's a popular buzzword.Many of these future-looking statements from AI leaders borrow tropes from science fiction. Both boosters and doomers — how Bender and Hanna describe AI enthusiasts and those worried about the potential for harm — rely on sci-fi scenarios. The boosters imagine an AI-powered futuristic society. The doomers bemoan a future where AI robots take over the world and wipe out humanity.The connecting thread, according to the authors, is an unshakable belief that AI is smarter than humans and inevitable. "One of the things that we see a lot in the discourse is this idea that the future is fixed, and it's just a question of how fast we get there," Bender said. "And then there's this claim that this particular technology is a step on that path, and it's all marketing. It is helpful to be able to see behind it."Part of why AI is so popular is that an autonomous functional AI assistant would mean AI companies are fulfilling their promises of world-changing innovation to their investors. Planning for that future — whether it's a utopia or dystopia — keeps investors looking forward as the companies burn through billions of dollars and admit they'll miss their carbon emission goals. For better or worse, life is not science fiction. Whenever you see someone claiming their AI product is straight out of a movie, it's a good sign to approach with skepticism. Ask what goes in and how outputs are evaluatedOne of the easiest ways to see through AI marketing fluff is to look and see whether the company is disclosing how it operates. Many AI companies won't tell you what content is used to train their models. But they usually disclose what the company does with your data and sometimes brag about how their models stack up against competitors. That's where you should start looking, typically in their privacy policies.One of the top complaints and concerns from creators is how AI models are trained. There are many lawsuits over alleged copyright infringement, and there are a lot of concerns over bias in AI chatbots and their capacity for harm. "If you wanted to create a system that is designed to move things forward rather than reproduce the oppressions of the past, you would have to start by curating your data," Bender said. Instead, AI companies are grabbing "everything that wasn't nailed down on the internet," Hanna said.If you're hearing about an AI product for the first time, one thing in particular to look out for is any kind of statistic that highlights its effectiveness. Like many other researchers, Bender and Hanna have called out that a finding with no citation is a red flag. "Anytime someone is selling you something but not giving you access to how it was evaluated, you are on thin ice," Bender said.It can be frustrating and disappointing when AI companies don't disclose certain information about how their AI products work and how they were developed. But recognizing those holes in their sales pitch can help deflate hype, even though it would be better to have the information. For more, check out our full ChatGPT glossary and how to turn off Apple Intelligence.

Apple today previewed a wide array of new accessibility features launching as part of iOS 19 this fall. As part of this broader announcement, Apple also detailed a pair of changes coming to CarPlay. With iOS 18 last year, Apple added Sound Recognition to CarPlay. This feature alerts drivers or passengers who are deaf or hard of hearing for sounds like car horns and sirens. iOS 19 coming this fall will update Sound Recognition via CarPlay to alert drivers or passengers to the sound of a crying baby. Additionally, iOS 19 will add support for Large Text to CarPlay for the first time. This will make it easier for people to see information on their CarPlay screens at a glance. This update comes after iOS 18 added support for Color Filters on CarPlay, optimizing the interface for users who are colorblind, as well as support for bold text. Whether or not Apple has other CarPlay upgrades planned for this year remains to be seen. We’ll learn more about what’s new as part of iOS 19 at WWDC next month. My favorite iPhone accessories: Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel

The International Architecture Exhibition – La Biennale di Venezia,  has returned, with its grand opening held in early May. The exhibition runs until November 23, 2025 The Canada Council for the Arts, Commissioner of Canada’s official participation in the International Architecture Exhibition – La Biennale di Venezia, administers the selection process and oversees the exhibition at the Canada Pavilion. But in addition to the Canada Pavilion, Canadian architects and designers have a presence in several other exhibitions that are part of this year’s festival. Here’s a round-up of the Canadian work in Venice. Picoplanktonics. Photo credit: Valentina Mori Picoplanktonics led by Living Room Collective Canada’s official entry to the Biennale is Picoplanktonics, a 3D-printed living artwork incorporating cyanobacteria—a global first at the intersection of architecture, biotechnology, and art. The exhibition, developed by the Living Room Collective, showcases the potential for collaboration between humans and nature. Picoplanktonics is an exploration of the potential to co-operate with living systems by co-constructing spaces that “remediate the planet rather than exploit it.” The installation transforms the Canada Pavilion into an aquatic micro-ecosystem, where architectural structures grow, evolve, and naturally degrade alongside their living components. It was designed according to regenerative architecture principles, and is not only a built object, but also a breathing organism interacting with its environment, which prompts reflection on potential futures of the built environment. The creative team is led by bio-designer Andrea Shin Ling, alongside core team members Nicholas Hoban, Vincent Hui and Clayton Lee. Etude Ile Verte by Atelier Pierre Thibault. Photo credit Alex Lesage Les boucaneries de l’île Verte by Atelier Pierre Thibault Atelier Pierre Thibault has been invited to participate in this year’s Venice Biennale as the only team from Québec. His project is inspired by the old fish smokehouses, or boucaneries, of Île Verte. With the support of the fifty permanent residents of Île Verte, Atelier Pierre Thibault has designed a participatory architectural project that aims to reinterpret the boucaneries as creative canvases to imagine new uses to strengthen Île Verte’s autonomy. This includes community greenhouses, artist studios, and gathering places. The exhibition aims to highlight, as Thibault puts it, “the strength of a sensitive and collective gesture in response to the erosion of traditional buildings and the major climate challenges faced by inhabitants living year-round in an isolated island environment.” The construction of the installations, along with the exchanges sparked with the community, was documented through photography and video, and captures both the process and the spirit of collaboration that defined the project. Celebrating the Verdoyants’ collective intelligence and inviting reflection on the future of the boucaneries, this participatory project highlights the exemplary and internationally resonant nature of this approach. The Atelier Pierre Thibault project will be on view at the Corderie dell’Arsenale. The pavilion itself will take the form of a temporary, lightweight structure constructed from reused materials, situated on the grounds of the French Pavilion, which is currently undergoing renovation. The curators have selected 50 projects to be featured across six thematic sections: Living With the Existing, the Immediate, the Broken, Vulnerabilities, Nature, and Combined Intelligences. Image courtesy of WZMH Architects Speedstac by WZMH Architects as part of Living With…Combined Intelligences  As part of the exhibition “Living With… Combined Intelligences,” WZMH Architects presents Speedstac, a prefabricated modular precast solution that aims to reimagine how urban areas devastated by war can be rebuilt. Originally designed to accelerate housing construction in Canada, Speedstac took on urgent new relevance following the Russian invasion of Ukraine. With more than 170,000 buildings damaged or destroyed and millions displaced, WZMH’s innovation, developed through its R&D lab, sparkbird, aims to offer a scalable solution: self-contained, plug-and-play building modules with integrated electrical and plumbing systems that can be seamlessly inserted into existing structures. The use of modern materials such as high-performance concrete can reduce the weight of the modules, making them easier to lift and move using conventional crane equipment. Using a robust locking mechanism, several modules can be securely fastened and unfastened as needed, to produce an adaptive modular housing solution. The Speedstac system aims to offer a solution to the challenges of traditional construction methods, enabling faster, more flexible, and more sustainable building projects. The Vivre Avec / Living With exhibition is hosted in the French Pavilion. Presentation, Northern Horizons. Photo credit: Blouin Orzes architectes Northern Horizons by Blouin Orzes architectes as part of Time Space Existence  Through a wide selection of projects—ranging from conceptual works, models and photographs to videos, sculptures and site-specific installations—the exhibition Time Space Existence, hosted by the European Cultural Centre, aims to provoke participants to question their relationship with space and time, re-envisioning new ways of living and rethinking architecture through a larger lens. Quebec firm Blouin Orzes’ participation revolves around their first-hand understanding of Inuit territories, where they have been working since 2000. Their contribution is based on their  recent publication, Northern Journeys. Blouin Orzes’ contribution in on display at the Palazzo Mora, and additional contributions to Time Space Existence are on view at the Palazzo Bembo and Marinaressa Gardens. View of Commercial and Residential Towers from Seymour and West Georgia Streets. Image credit: Henriquez Partners Studio BC Glass Sea Sponge Another contribution to Time Space Existence is the work of Henriquez Partners Studio. The transformative mixed-use development which they are presenting merges architectural innovation, social responsibility and urban revitalization, and has recently been submitted to the City of Vancouver. The project is about ambitious city-building, and aims to unlock public benefits on currently underutilized land in a way that supports some of the city’s most urgent needs, while contributing bold architecture to the city skyline. Four towers, designed by Henriquez, draw inspiration from rare and ancient glass sea sponge reefs, whose ecological strength and resilience have shaped both form and structure. These living marine organisms, which are unique to the Pacific Northwest, aim to serve as a metaphor for regeneration and adaptation. This concept is translated through the architectural language of the towers: silhouettes, sculptural forms, and sustainable performance. The tallest tower, a stand-alone hotel, proposed at 1,033 feet, is shaped by a structural diagrid exoskeleton that allows for column-free interiors while maximizing strength and minimizing material use. Developed in collaboration with Arup, the structural system references the skeletal lattice of sea sponges; a concept researched at Harvard for its groundbreaking structural efficiency. Henriquez Partners’  contribution is on display at Palazzo Bembo. Renewal Development Shishalh Project Duplex Renderings – Image credit: Renewal Development Shíshálh Nation: Ten Home Rescue Project as part of theLiving With / Vivre avec exhibition Vancouver-based company Renewal Development has been selected to appear as part of the French Pavilion’s exhibition on housing innovation. In 2024, Renewal Development partnered with developer Wesgroup and the shíshálh Nation to relocate ten high value Port Moody homes set for demolition to the shíshálh Nation on the Sunshine Coast. The Nation has been experiencing an acute housing shortage with 900 Nation members currently on a waitlist for housing. Renewal Development says that this initiative reflects its “deeply held values of sustainability, and reconciliation” and its “work to offer real-world solutions to waste and housing shortages by reimagining what already exists.” The project will be on display in the French Pavilion. The following is a list of other Canadian groups and individuals contributing to this year’s Venice Biennale: On Storage Brendan Cormier is a Canadian writer, curator, and urban designer based in London. He is currently the lead curator of 20th and 21st Century Design for the Shekou Partnership at the Victoria and Albert Museum. Prior to this he served as the managing editor of Volume Magazine. La Biennale di Venezia and the Victoria and Albert Museum, London present for the ninth consecutive year the Applied Arts Pavilion Special Project titled On Storage, curated by Brendan Cormier, in collaboration with Diller, Scofidio + Renfro (DS+R). It explores the global architecture of storage in service of the circulation of things, and features a newly commissioned six-channel film directed by DS+R. From Liquid to Stone: A Reconfigurable Concrete Tectonic Against Obsolescence Inge Donovan, based in Boston, achieved her Bachelor of Arts in Architectural Design and Architectural History, Theory and Criticism from the Daniels Faculty of Architecture at the University of Toronto in 2019 after growing up in Nova Scotia, Canada. The Curse of Dimensionality Adeline Chum is currently a Graduate Research Assistant at the Center for Spatial Research and third-year student in the MArch Program at GSAPP. She has received her Bachelor of Architectural Studies from the University of Waterloo, Canada and has worked in small and medium-sized architecture firms in Toronto, New York, and London. Oceanic Refractions Elise Misao Hunchuck, born in Toronto and currently based Berlin and Milan, is a transdisciplinary researcher, editor, writer, and educator. Her practice brings together architecture, landscape architecture, and media studies to research sites in Canada, Japan, China, and Ukraine, employing text, images, and cartographies to document, explore, and archive the co-constitutive relationships between plants, animals, and minerals—in all of their forms. SpaceSuits.Us: A Case for Ultra Thin Adjustments Charles Kim is a designer currently based in Boston. Stemming from his background in architecture, he is interested in materials, DIY, and the aesthetics of affordability. Since graduating from Harvard Graduate School of Design in 2022, he has been working as an architectural designer at Utile. Uncommon Knowledge: Plants as Sensors Sonia Sobrino Ralston is a designer, researcher, and educator, and is currently an Assistant Teaching Professor in Landscape Architecture and Art + Design at Northeastern University in the College of Arts, Media, and Design. She is interested in the intersections between landscape, architecture, and the history of technology. Doxiadis’ Informational Modernism Mark Wasiuta is Senior Lecturer in Architecture at Columbia GSAPP and Co-Director of the Critical, Curatorial and Conceptual Practices in Architecture program. Wasiuta is recipient of recent grants from the Onassis Foundation, the Asian Cultural Council, NYSCA, and the Graham Foundation, where he was an inaugural Graham Foundation Fellow. Blue Garden: The Architecture of Emergence Tanvi Khurmi, based in London, UK, is a multidisciplinary designer and artist. Her practice is focused on addressing and combatting issues surrounding the climate crisis. After receiving a Bachelor’s in Architecture with a minor in Environmental Studies from the John H. Daniels Faculty of Architecture at the University of Toronto, she earned a Masters of Architecture in Bio-Integrated Design at the Bartlett School of Architecture at University College London. Design as an Astronaut Dr. Cody Paige is the Director of the Space Exploration Initiative at the MIT Media Lab, a team of 50+ students, faculty, and staff building and flying advanced technology for space exploration. The Initiative focuses on helping students take their research into space. The pipeline developed to achieve this works with students from across the Media Lab and the MIT community to prototype space-related research in the lab, fly and test them in microgravity on parabolic and suborbital flights, and finally to take them to the International Space Station or on to the Moon. Cody also has a background in geology, specifically quaternary geochronology, and completed her Master of Applied Science at the University of Toronto in Aerospace Engineering and her Bachelor of Applied Science from Queen’s University in Engineering Physics.   The post Round-up: Canadian-led exhibitions at the 2025 Venice Biennale appeared first on Canadian Architect.

Macworld Super-weird bugs in Messages are nothing new, but this latest one is a real head-scratcher: If you try to send an audio message with the phrase “Dave and Buster’s,” it won’t work. Why would that specific phrasing cause a problem? A coding expert has cracked the case. I won’t say “and the reason will shock you,” but if you’re anything like me, you’ll find it interesting. First, let me explain what happens when the bug triggers. At first, the audio message (“I’m off to eat lunch at Dave and Buster’s,” as an example) appears to send normally. It shows up in the Messages thread to the recipient, along with a transcript of the content. No problem is flagged. It’s at the recipient’s end that we spot the issue. Initially the recipient sees the ellipsis icon, indicating that something is being typed or sent… but this carries on, and carries on, and eventually disappears. And at this point there is no indication that anything has been sent at all: no message, no message transcript, no message failed notification. In fact, if the recipient didn’t happen to have the app open, or had it open but was in a different conversation thread, they never would have known something was supposed to be on the way. This bug is new to me, and the first time I heard about it was when it was discussed on Monday in the blog run by Guilherme Rambo, a coding and engineering expert. Rambo, in turn, heard about the bug on the Search Engine podcast, which devoted its May 9 episode to the subject. Rambo reproduced the bug, guessed the problem must be at the recipient end, then plugged that device into his Mac and started looking at logs. And from that point it doesn’t appear to have taken long for him to work out what was going on: iOS’s transcription engine was recognizing the name of the U.S. restaurant chain, changing it to the correct corporate branding (“Dave & Buster’s,” with an all-important ampersand), and then passing that into the XHTML code used to send a transcript with the audio message. The problem isn’t being caused by the words Dave and Buster’s, but by the ampersand character between them, which has a special purpose in coding and prevents the code from being parsed correctly. The phrase “Dave and Buster’s” doesn’t cause a problem in the U.K. because iOS doesn’t add an ampersand (or even an apostrophe).David Price / Foundry As you can see in the image at the top of this story, a seemingly successfully sent audio iMessage ending with the phrase “Dave & Buster’s” appears as sent but never actually appears on the recipient’s phone. After a while, the audio message disappeared from the sender’s phone, and the recipient was completely unaware that the message had ever been sent. With that in mind, it’s a short leap to recognize that other brands could cause the same issue—they just haven’t been spotted doing so up to now. Rambo notes that “M&Ms” will do the same thing. For U.K. iPhone owners, in fact, “Dave and Buster’s” doesn’t trigger the bug because that chain is evidently not well enough known here and doesn’t get its ampersand added by autocorrect. To reproduce the issue, I had to ask a friend to send me a message about the supermarket chain M&S. Sure enough, this caused the hanging ellipsis followed by an unsent message. At the time of writing, it seems almost certain that any phrase iOS would recognize as containing an ampersand would cause an audio message to fail, and when I put it like that, it’s surprising the bug hasn’t been more widely reported. But here’s what happens when a U.K. user tries to send a message about the supermarket chain M&S, complete with ampersand.Karen Haslam / Foundry On the plus side, one would imagine it’s a bug that should be easy to patch in an iOS update. The transcription feature in Messages simply needs to be told to “escape” special characters so they don’t mess up the parsing process. And as Rambo notes, this isn’t a bug with any security vulnerabilities; indeed, it shows Apple’s BlastDoor mechanism working correctly. “Many bad parsers would probably accept the incorrectly-formatted XHTML,” he writes, “but that sort of leniency when parsing data formats is often what ends up causing security issues. By being pedantic about the formatting, BlastDoor is protecting the recipient from an exploit that would abuse that type of issue.”