Il est inacceptable que dans des zones comme l'Arkansas rural, la technologie ne soit pas capable de protéger nos équipements contre des phénomènes naturels tels que la foudre ou les pics de courant. L'article "Comment empêcher Zeus de griller votre Pi" souligne un problème alarmant : la vulnérabilité de notre infrastructure électrique ! Pourquoi devrions-nous continuer à subir les conséquences de cette négligence ? Les pertes de matériel à cause de ces défaillances sont non seulement frustrantes, mais elles révèlent une totale incompétence à résoudre un problème aussi basique. Les gouvernements et les entreprises doivent agir maintenant pour sécuriser nos équipements contre ces dangers ! #SécuritéÉlectrique #ProtectionContre

Il est absolument scandaleux de voir la montée de communautés comme celle des "Whites Only" en Arkansas, où le racisme et l'antisémitisme sont non seulement tolérés, mais célébrés ! Ces individus osent faire l'apologie d'Adolf Hitler et du parti nazi tout en levant des centaines de milliers de dollars pour leur mouvement abominable. Comment peut-on rester silencieux face à une telle horreur ? La haine ne devrait jamais être une option, et nous devons nous lever contre cette idéologie rétrograde qui menace notre société. Il est temps d'agir et de dénoncer ces comportements inacceptables ! #Racisme #Antisémitisme #Haine #Arkansas #StopNazisme

La solitude pèse lourd sur nos âmes, alors que les robots s'annoncent comme les nouveaux maîtres de nos champs. 🍇💔 La récolte des mûres, autrefois un moment de joie et de communion avec la nature, se transforme en un souvenir lointain. L'Université de l'Arkansas veut remplacer nos mains par des machines, effaçant ainsi l'essence de ce que nous aimions. La tristesse m'envahit en pensant à ces jours où nous étions ensemble, à rire et à partager la beauté de la nature. La technologie promet l'efficacité, mais à quel prix pour notre humanité? 😞 #Solitude #Technologie #Chagrin #Récol

After detailing the VFX work on The Last of Us Season 1 in 2023, Alex Wang returns to reflect on how the scope and complexity have evolved in Season 2. With close to 30 years of experience in the visual effects industry, Fiona Campbell Westgate has contributed to major productions such as Ghost in the Shell, Avatar: The Way of Water, Ant-Man and the Wasp: Quantumania, and Nyad. Her work on Nyad earned her a VES Award for Outstanding Supporting Visual Effects in a Photoreal Feature. Collaboration with Craig Mazin and Neil Druckmann is key to shaping the visual universe of The Last of Us. Can you share with us how you work with them and how they influence the visual direction of the series? Alex Wang // Craig visualizes the shot or scene before putting words on the page. His writing is always exceptionally detailed and descriptive, ultimately helping us to imagine the shot. Of course, no one understands The Last of Us better than Neil, who knows all aspects of the lore very well. He’s done much research and design work with the Naughty Dog team, so he gives us good guidance regarding creature and environment designs. I always try to begin with concept art to get the ball rolling with Craig and Neil’s ideas. This season, we collaborated with Chromatic Studios for concept art. They also contributed to the games, so I felt that continuity was beneficial for our show. Fiona Campbell Westgate // From the outset, it was clear that collaborating with Craig would be an exceptional experience. Early meetings revealed just how personable and invested Craig is. He works closely with every department to ensure that each episode is done to the highest level. Craig places unwavering trust in our VFX Supervisor, Alex Wang. They have an understanding between them that lends to an exceptional partnership. As the VFX Producer, I know how vital the dynamic between the Showrunner and VFX Supervisor is; working with these two has made for one of the best professional experiences of my career.  Photograph by Liane Hentscher/HBO How has your collaboration with Craig evolved between the first and second seasons? Were there any adjustments in the visual approach or narrative techniques you made this season? Alex Wang // Since everything was new in Season 1, we dedicated a lot of time and effort to exploring the show’s visual language, and we all learned a great deal about what worked and what didn’t for the show. In my initial conversations with Craig about Season 2, it was clear that he wanted to expand the show’s scope by utilizing what we established and learned in Season 1. He felt significantly more at ease fully committing to using VFX to help tell the story this season. The first season involved multiple VFX studios to handle the complexity of the effects. How did you divide the work among different studios for the second season? Alex Wang // Most of the vendors this season were also in Season 1, so we already had a shorthand. The VFX Producer, Fiona Campbell Westgate, and I work closely together to decide how to divide the work among our vendors. The type of work needs to be well-suited for the vendor and fit into our budget and schedule. We were extremely fortunate to have the vendors we did this season. I want to take this opportunity to thank Weta FX, DNEG, RISE, Distillery VFX, Storm Studios, Important Looking Pirates, Blackbird, Wylie Co., RVX, and VDK. We also had ILM for concept art and Digital Domain for previs. Fiona Campbell Westgate // Alex Wang and I were very aware of the tight delivery schedule, which added to the challenge of distributing the workload. We planned the work based on the individual studio’s capabilities, and tried not to burden them with back to back episodes wherever possible. Fortunately, there was shorthand with vendors from Season One, who were well-acquainted with the process and the quality of work the show required. The town of Jackson is a key location in The Last of Us. Could you explain how you approached creating and expanding this environment for the second season? Alex Wang // Since Season 1, this show has created incredible sets. However, the Jackson town set build is by far the most impressive in terms of scope. They constructed an 822 ft x 400 ft set in Minaty Bay that resembled a real town! I had early discussions with Production Designer Don MacAulay and his team about where they should concentrate their efforts and where VFX would make the most sense to take over. They focused on developing the town’s main street, where we believed most scenes would occur. There is a big reveal of Jackson in the first episode after Ellie comes out of the barn. Distillery VFX was responsible for the town’s extension, which appears seamless because the team took great pride in researching and ensuring the architecture aligned with the set while staying true to the tone of Jackson, Wyoming. Fiona Campbell Westgate // An impressive set was constructed in Minaty Bay, which served as the foundation for VFX to build upon. There is a beautiful establishing shot of Jackson in Episode 1 that was completed by Distillery, showing a safe and almost normal setting as Season Two starts. Across the episodes, Jackson set extensions were completed by our partners at RISE and Weta. Each had a different phase of Jackson to create, from almost idyllic to a town immersed in Battle.  What challenges did you face filming Jackson on both real and virtual sets? Was there a particular fusion between visual effects and live-action shots to make it feel realistic? Alex Wang // I always advocate for building exterior sets outdoors to take advantage of natural light. However, the drawback is that we cannot control the weather and lighting when filming over several days across two units. In Episode 2, there’s supposed to be a winter storm in Jackson, so maintaining consistency within the episode was essential. On sunny and rainy days, we used cranes to lift large 30x60ft screens to block the sun or rain. It was impossible to shield the entire set from the rain or sun, so we prioritized protecting the actors from sunlight or rain. Thus, you can imagine there was extensive weather cleanup for the episode to ensure consistency within the sequences. Fiona Campbell Westgate // We were fortunate that production built a large scale Jackson set. It provided a base for the full CG Jackson aerial shots and CG Set Extensions. The weather conditions at Minaty Bay presented a challenge during the filming of the end of the Battle sequence in Episode 2. While there were periods of bright sunshine, rainfall occurred during the filming of the end of the Battle sequence in Episode 2. In addition to the obvious visual effects work, it became necessary to replace the ground cover. Photograph by Liane Hentscher/HBO The attack on Jackson by the horde of infected in season 2 is a very intense moment. How did you approach the visual effects for this sequence? What techniques did you use to make the scale of the attack feel as impressive as it did? Alex Wang // We knew this would be a very complex sequence to shoot, and for it to be successful, we needed to start planning with the HODs from the very beginning. We began previs during prep with Weta FX and the episode’s director, Mark Mylod. The previs helped us understand Mark and the showrunner’s vision. This then served as a blueprint for all departments to follow, and in many instances, we filmed the previs. Fiona Campbell Westgate // The sheer size of the CG Infected Horde sets the tone for the scale of the Battle. It’s an intimidating moment when they are revealed through the blowing snow. The addition of CG explosions and atmospheric effects contributed in adding scale to the sequence.  Can you give us an insight into the technical challenges of capturing the infected horde? How much of the effect was done using CGI, and how much was achieved with practical effects? Alex Wang // Starting with a detailed previs that Mark and Craig approved was essential for planning the horde. We understood that we would never have enough stunt performers to fill a horde, nor could they carry out some stunts that would be too dangerous. I reviewed the previs with Stunt Coordinator Marny Eng numerous times to decide the best placements for her team’s stunt performers. We also collaborated with Barrie Gower from the Prosthetics team to determine the most effective allocation of his team’s efforts. Stunt performers positioned closest to the camera would receive the full prosthetic treatment, which can take hours. Weta FX was responsible for the incredible CG Infected horde work in the Jackson Battle. They have been a creative partner with HBO’s The Last of Us since Season 1, so they were brought on early for Season 2. I began discussions with Weta’s VFX supervisor, Nick Epstein, about how we could tackle these complex horde shots very early during the shoot. Typically, repetition in CG crowd scenes can be acceptable, such as armies with soldiers dressed in the same uniform or armour. However, for our Infected horde, Craig wanted to convey that the Infected didn’t come off an assembly line or all shop at the same clothing department store. Any repetition would feel artificial. These Infected were once civilians with families, or they were groups of raiders. We needed complex variations in height, body size, age, clothing, and hair. We built our base library of Infected, and then Nick and the Weta FX team developed a “mix and match” system, allowing the Infected to wear any costume and hair groom. A procedural texturing system was also developed for costumes, providing even greater variation. The most crucial aspect of the Infected horde was their motion. We had numerous shots cutting back-to-back with practical Infected, as well as shots where our CG Infected ran right alongside a stunt horde. It was incredibly unforgiving! Weta FX’s animation supervisor from Season 1, Dennis Yoo, returned for Season 2 to meet the challenge. Having been part of the first season, Dennis understood the expectations of Craig and Neil. Similar to issues of model repetition within a horde, it was relatively easy to perceive repetition, especially if they were running toward the same target. It was essential to enhance the details of their performances with nuances such as tripping and falling, getting back up, and trampling over each other. There also needed to be a difference in the Infected’s running speed. To ensure we had enough complexity within the horde, Dennis motion-captured almost 600 unique motion cycles. We had over a hundred shots in episode 2 that required CG Infected horde. Fiona Campbell Westgate // Nick Epstein, Weta VFX Supervisor, and Dennis Yoo, Weta Animation Supervisor, were faced with having to add hero, close-up Horde that had to integrate with practical Stunt performers. They achieved this through over 60 motion capture sessions and running it through a deformation system they developed. Every detail was applied to allow for a seamless blend with our practical Stunt performances. The Weta team created a custom costume and hair system that provided individual looks to the CG Infected Horde. We were able to avoid the repetitive look of a CG crowd due to these efforts. The movement of the infected horde is crucial for the intensity of the scene. How did you manage the animation and simulation of the infected to ensure smooth and realistic interaction with the environment? Fiona Campbell Westgate // We worked closely with the Stunt department to plan out positioning and where VFX would be adding the CG Horde. Craig Mazin wanted the Infected Horde to move in a way that humans cannot. The deformation system kept the body shape anatomically correct and allowed us to push the limits from how a human physically moves.  The Bloater makes a terrifying return this season. What were the key challenges in designing and animating this creature? How did you work on the Bloater’s interaction with the environment and other characters? Alex Wang // In Season 1, the Kansas City cul-de-sac sequence featured only a handful of Bloater shots. This season, however, nearly forty shots showcase the Bloater in broad daylight during the Battle of Jackson. We needed to redesign the Bloater asset to ensure it looked good in close-up shots from head to toe. Weta FX designed the Bloater for Season 1 and revamped the design for this season. Starting with the Bloater’s silhouette, it had to appear large, intimidating, and menacing. We explored enlarging the cordyceps head shape to make it feel almost like a crown, enhancing the Bloater’s impressive and strong presence. During filming, a stunt double stood in for the Bloater. This was mainly for scale reference and composition. It also helped the Infected stunt performers understand the Bloater’s spatial position, allowing them to avoid running through his space. Once we had an edit, Dennis mocapped the Bloater’s performances with his team. It is always challenging to get the motion right for a creature that weighs 600 pounds. We don’t want the mocap to be overly exaggerated, but it does break the character if the Bloater feels too “light.” The brilliant animation team at Weta FX brought the Bloater character to life and nailed it! When Tommy goes head-to-head with the Bloater, Craig was quite specific during the prep days about how the Bloater would bubble, melt, and burn as Tommy torches him with the flamethrower. Important Looking Pirates took on the “Burning Bloater” sequence, led by VFX Supervisor Philip Engstrom. They began with extensive R&D to ensure the Bloater’s skin would start to bubble and burn. ILP took the final Bloater asset from Weta FX and had to resculpt and texture the asset for the Bloater’s final burn state. Craig felt it was important for the Bloater to appear maimed at the end. The layers of FX were so complex that the R&D continued almost to the end of the delivery schedule. Fiona Campbell Westgate // This season the Bloater had to be bigger, more intimidating. The CG Asset was recreated to withstand the scrutiny of close ups and in daylight. Both Craig Mazin and Neil Druckmann worked closely with us during the process of the build. We referenced the game and applied elements of that version with ours. You’ll notice that his head is in the shape of crown, this is to convey he’s a powerful force.  During the Burning Bloater sequence in Episode 2, we brainstormed with Philip Engström, ILP VFX Supervisor, on how this creature would react to the flamethrower and how it would affect the ground as it burns. When the Bloater finally falls to the ground and dies, the extraordinary detail of the embers burning, fluid draining and melting the surrounding snow really sells that the CG creature was in the terrain.  Given the Bloater’s imposing size, how did you approach its integration into scenes with the actors? What techniques did you use to create such a realistic and menacing appearance? Fiona Campbell Westgate // For the Bloater, a stunt performer wearing a motion capture suit was filmed on set. This provided interaction with the actors and the environment. VFX enhanced the intensity of his movements, incorporating simulations to the CG Bloater’s skin and muscles that would reflect the weight and force as this terrifying creature moves.  Seattle in The Last of Us is a completely devastated city. Can you talk about how you recreated this destruction? What were the most difficult visual aspects to realize for this post-apocalyptic city? Fiona Campbell Westgate // We were meticulous in blending the CG destruction with the practical environment. The flora’s ability to overtake the environment had to be believable, and we adhered to the principle of form follows function. Due to the vastness of the CG devastation it was crucial to avoid repetitive effects. Consequently, our vendors were tasked with creating bespoke designs that evoked a sense of awe and beauty. Was Seattle’s architecture a key element in how you designed the visual effects? How did you adapt the city’s real-life urban landscape to meet the needs of the story while maintaining a coherent aesthetic? Alex Wang // It’s always important to Craig and Neil that we remain true to the cities our characters are in. DNEG was one of our primary vendors for Boston in Season 1, so it was natural for them to return for Season 2, this time focusing on Seattle. DNEG’s VFX Supervisor, Stephen James, who played a crucial role in developing the visual language of Boston for Season 1, also returns for this season. Stephen and Melaina Maceled a team to Seattle to shoot plates and perform lidar scans of parts of the city. We identified the buildings unique to Seattle that would have existed in 2003, so we ensured these buildings were always included in our establishing shots. Overgrowth and destruction have significantly influenced the environments in The Last of Us. The environment functions almost as a character in both Season 1 and Season 2. In the last season, the building destruction in Boston was primarily caused by military bombings. During this season, destruction mainly arises from dilapidation. Living in the Pacific Northwest, I understand how damp it can get for most of the year. I imagined that, over 20 years, the integrity of the buildings would be compromised by natural forces. This abundant moisture creates an exceptionally lush and vibrant landscape for much of the year. Therefore, when designing Seattle, we ensured that the destruction and overgrowth appeared intentional and aesthetically distinct from those of Boston. Fiona Campbell Westgate // Led by Stephen James, DNEG VFX Supervisor, and Melaina Mace, DNEG DFX Supervisor, the team captured photography, drone footage and the Clear Angle team captured LiDAR data over a three-day period in Seattle. It was crucial to include recognizable Seattle landmarks that would resonate with people familiar with the game.  The devastated city almost becomes a character in itself this season. What aspects of the visual effects did you have to enhance to increase the immersion of the viewer into this hostile and deteriorated environment? Fiona Campbell Westgate // It is indeed a character. Craig wanted it to be deteriorated but to have moments where it’s also beautiful in its devastation. For instance, in the Music Store in Episode 4 where Ellie is playing guitar for Dina, the deteriorated interior provides a beautiful backdrop to this intimate moment. The Set Decorating team dressed a specific section of the set, while VFX extended the destruction and overgrowth to encompass the entire environment, immersing the viewer in strange yet familiar surroundings. Photograph by Liane Hentscher/HBO The sequence where Ellie navigates a boat through a violent storm is stunning. What were the key challenges in creating this scene, especially with water simulation and the storm’s effects? Alex Wang // In the concluding episode of Season 2, Ellie is deep in Seattle, searching for Abby. The episode draws us closer to the Aquarium, where this area of Seattle is heavily flooded. Naturally, this brings challenges with CG water. In the scene where Ellie encounters Isaac and the W.L.F soldiers by the dock, we had a complex shoot involving multiple locations, including a water tank and a boat gimbal. There were also several full CG shots. For Isaac’s riverine boat, which was in a stormy ocean, I felt it was essential that the boat and the actors were given the appropriate motion. Weta FX assisted with tech-vis for all the boat gimbal work. We began with different ocean wave sizes caused by the storm, and once the filmmakers selected one, the boat’s motion in the tech-vis fed the special FX gimbal. When Ellie gets into the Jon boat, I didn’t want it on the same gimbal because I felt it would be too mechanical. Ellie’s weight needed to affect the boat as she got in, and that wouldn’t have happened with a mechanical gimbal. So, we opted to have her boat in a water tank for this scene. Special FX had wave makers that provided the boat with the appropriate movement. Instead of guessing what the ocean sim for the riverine boat should be, the tech- vis data enabled DNEG to get a head start on the water simulations in post-production. Craig wanted this sequence to appear convincingly dark, much like it looks out on the ocean at night. This allowed us to create dramatic visuals, using lightning strikes at moments to reveal depth. Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint? Alex Wang // The Last of Us tells the story of our characters’ journey. If you look at how season 2 begins in Jackson, it differs significantly from how we conclude the season in Seattle. We seldom return to the exact location in each episode, meaning every episode presents a unique challenge. The scope of work this season has been incredibly rewarding. We burned a Bloater, and we also introduced spores this season! Photograph by Liane Hentscher/HBO Looking back on the project, what aspects of the visual effects are you most proud of? Alex Wang // The Jackson Battle was incredibly complex, involving a grueling and lengthy shoot in quite challenging conditions, along with over 600 VFX shots in episode 2. It was truly inspiring to witness the determination of every department and vendor to give their all and create something remarkable. Fiona Campbell Westgate // I am immensely proud of the exceptional work accomplished by all of our vendors. During the VFX reviews, I found myself clapping with delight when the final shots were displayed; it was exciting to see remarkable results of the artists’ efforts come to light.  How long have you worked on this show? Alex Wang // I’ve been on this season for nearly two years. Fiona Campbell Westgate // A little over one year; I joined the show in April 2024. What’s the VFX shots count? Alex Wang // We had just over 2,500 shots this Season. Fiona Campbell Westgate // In Season 2, there were a total of 2656 visual effects shots. What is your next project? Fiona Campbell Westgate // Stay tuned… A big thanks for your time. WANT TO KNOW MORE?Blackbird: Dedicated page about The Last of Us – Season 2 website.DNEG: Dedicated page about The Last of Us – Season 2 on DNEG website.Important Looking Pirates: Dedicated page about The Last of Us – Season 2 website.RISE: Dedicated page about The Last of Us – Season 2 website.Weta FX: Dedicated page about The Last of Us – Season 2 website. © Vincent Frei – The Art of VFX – 2025 #last #season #alex #wang #production

The Wicked movie was only half of the story from the hit Broadway musical. The conclusion — literally the entire second act of the show — is the basis for Wicked: For Good, featuring the same castand directed once again by Jon M. Chu.The first trailer for the movie features the song that gives the film its subtitle, and teases a larger role for Dorothy and the rest of her friends from The Wizard of Oz than existed in the first Wicked movie. It’s also got even more beautiful costumes for Glinda and Elphaba — Elphaba’s new cloak with those big lapels is really sharp.You can watch the trailer below:READ MORE: Why Are Trailers For Musicals Afraid of Their Music?There’s a new trailer for the film as well.UniversalUniversalloading...Here is the film’s official synopsis:Elphaba, now demonized as The Wicked Witch of the West, lives in exile, hidden within the Ozian forest while continuing her fight for the freedom of Oz’s silenced Animals and desperately trying to expose the truth she knows about The Wizard. Glinda, meanwhile, has become the glamorous symbol of Goodness for all of Oz, living at the palace in Emerald City and reveling in the perks of fame and popularity. Under the instruction of Madame Morrible, Glinda is deployed to serve as an effervescent comfort to Oz, reassuring the masses that all is well under the rule of The Wizard. As Glinda’s stardom expands and she prepares to marry Prince Fiyeroin a spectacular Ozian wedding, she is haunted by her separation from Elphaba. She attempts to broker a conciliation between Elphaba and The Wizard, but those efforts will fail, driving Elphaba and Glinda only further apart. The aftershocks will transform Boqand Fiyero forever, and threaten the safety of Elphaba’s sister, Nessarose, when a girl from Kansas comes crashing into all their lives. As an angry mob rises against the Wicked Witch, Glinda and Elphaba will need to come together one final time. With their singular friendship now the fulcrum of their futures, they will need to truly see each other, with honesty and empathy, if they are to change themselves, and all of Oz, for good.Well that was quite extensive. Wicked: For Good is scheduled to open in theaters on November 21.Get our free mobile appThe Best Food and Drink at Epic UniverseIf you visit Universal’s Epic Universe theme park, here are the foods and drink you have to try. #wicked #good #trailer #teases #wizard

June 02, 2025 Eagles Star Hurdles into Madden 99 Club and Iconic Madden NFL 26 Covers After Championship and Record-Setting Season Fans Can Pre-Order* The EA SPORTS MVP Bundle Now To Get Madden NFL Deluxe Edition and Early Access To Madden NFL 26. REDWOOD CITY, Calif.---- Electronic Arts Inc.and EA SPORTS™ announced today that Philadelphia Eagles running back Saquon Barkley will grace the cover of EA SPORTS™ Madden NFL 26, the first Eagle to do so in 20 years. Barkley’s record-setting season earned him both the cover and induction as the first member of the coveted Madden NFL 26 ‘99 Club.’ Barkley appears on two unique covers with one memorializing his spectacular reverse hurdle from last season. New features coming to Madden NFL 26 will be revealed this Wednesday, June 4 and Madden NFL 26 will launch worldwide on August 14 on Xbox Series X|S, PlayStation 5, Nintendo Switch 2, and PC via EA app for Windows, Steam, and Epic Games Store.Eagles Superstar Saquon Barkley Soars Onto Standard and Deluxe Covers Following Record-Setting, Super Bowl-Winning Season“Starring on the cover of Madden NFL 26 and being named to the Madden NFL ‘99 Club’ are both dreams come true,” said Barkley. “I’m grateful to my teammates, coaches, and Eagles fans for their support, and I can’t wait to hit the field again to give Madden players more highlight-reel moments in Madden NFL 26.”Barkley etched his name in the record books in 2024 with one of the most dominant seasons ever, becoming the first player in NFL history to rush for more than 2,500 yards in a single season, including playoffs, and leading Philadelphia to a Super Bowl LIX victory over the Kansas City Chiefs."Saquon's reverse hurdle was one of the rare, defining moments in NFL history that would have once been described as 'something out of a videogame,'” said Evan Dexter, VP, Franchise Strategy & Marketing, EA SPORTS Madden NFL. “Now, it’s a display of the athleticism and creativity of one football's most electrifying athletes. Madden NFL 26 will deliver the most real NFL experience we've ever built so that players can experience more of the unreal moments that Saquon put on display all season long. The full reveal is this Wednesday - don’t miss what’s next."Fans can pre-order* the Madden NFL 26 Deluxe Edition now to unlock a host of benefits, including 3-day early access, 4600 Madden Points, and a range of amazing extras. Pre-ordering* theEA SPORTS™ MVP Bundle for PlayStation®5 and Xbox Series X|S gets fans deluxe editions of EA SPORTS™ College Football 26 and Madden NFL 26, complete with 3-day early access and a suite of rewards for both games. EA Play** subscribers will enjoy a 10-hour early access trial alongside recurring monthly in-game bonuses for Madden NFL 26.Follow the Madden NFL 26 journey on the official website and social channelsfor the latest updates and stay tuned for the trailer and feature reveal coming Wednesday, June 4. Madden NFL 26 is developed by EA SPORTS in Orlando, Florida, and Madrid, Spain.*Conditions & restrictions apply. See for details. **Conditions, limitations and exclusions apply. See EA Play Terms for details.For Madden NFL 26 assets, visit: EAPressPortal.com.About Electronic ArtsElectronic Artsis a global leader in digital interactive entertainment. The Company develops and delivers games, content and online services for Internet-connected consoles, mobile devices and personal computers.In fiscal year 2025, EA posted GAAP net revenue of approximately billion. Headquartered in Redwood City, California, EA is recognized for a portfolio of critically acclaimed, high-quality brands such as EA SPORTS FC™, Battlefield™, Apex Legends™, The Sims™, EA SPORTS™ Madden NFL, EA SPORTS™ College Football, Need for Speed™, Dragon Age™, Titanfall™, Plants vs. Zombies™ and EA SPORTS F1®. More information about EA is available at www.ea.com/news.EA, EA SPORTS, EA SPORTS FC, Battlefield, Need for Speed, Apex Legends, The Sims, Dragon Age, Titanfall, and Plants vs. Zombies are trademarks of Electronic Arts Inc. John Madden, NFL, and F1 are the property of their respective owners and used with permission.Category: EA Sports Erin Exum Director, Integrated CommsSource: Electronic Arts Inc. Multimedia Files: #super #bowl #champion #saquon #barkley

June 1 Wreckage of American Airlines Flight 1420 1676 – Scanian War: The Swedish warship Kronan, one of the largest ships in the world at the time, sank at the Battle of Öland with the loss of around 800 men. 1857 – The Revolution of the Ganhadores, the first general strike in Brazil, began in Salvador, Bahia. 1974 – In an informal article in a medical journal, Henry Heimlich introduced the concept of abdominal thrusts, commonly known as the Heimlich maneuver, to treat victims of choking. 1988 – Group representation constituencies were introduced to the parliament of Singapore. 1999 – On landing at Little Rock National Airport in the U.S. state of Arkansas, American Airlines Flight 1420 overran the runway and crashed, resulting in 11 deaths. Kitabatake ChikafusaLouisa Caroline TuthillTom HollandFaizul WaheedMore anniversaries: May 31 June 1 June 2 Archive By email List of days of the year About #this #day #june

Architect: PPAALocation: Santiago de Querétaro, MexicoCompletion Date:2024Sometimes all it takes to deliver a successful project is a client who is willing to take a chance. When a past residential customer approached Pablo Pérez Palacios, principal of his eponymous firm, Pérez Palacios Arquitectos Asociados, about an expansion of an office for the premium dairy company Lyncott in Santiago de Querétaro, Mexico, the architect suggested something unusual: a modular structure made entirely of cross-laminated timber. In Mexico, as Pérez Palacios explained to AN, concrete is considered the de facto building material. In fact, when the client asked for examples of similar wood construction in Mexico, there simply weren’t any. Adding to the complexity, the architect advocated to use a polycarbonate system by the manufacturer Danpal as the facade. Essentially, Pérez Palacios was proposing a never-usedstructure clad in a translucent envelope that would obscure most views from the interior offices. In theory, it sounded crazy. The building’s exterior is clad entirely in Danpal, a polycarbonate system, and connected to a cross-laminated timber frame.Fortunately, the client, who had recently risen to the top spot in the family-owned company, engaged with Pérez Palacios. At first, the executive told him, “I’m sure you won’t take this project, because it’s in an industrial park with zero budget,” recalled the architect, a past AN Interior Top 50 honoree. “I told him I’d take the project, without telling him that in the back of my mind, I knew I was going to do it out of wood.” Pérez Palacios had to overcome two hurdles from the outset: how to keep costs down despite CLT being a more expensive material than concrete and finding workers who could deliver on the construction. Fortunately, Vigalam, a company that manufactures prefabricated wood structures was located in the same office park as Lyncott, virtually eliminating shipping costs and simplifying the contracting. The team enlisted representatives from Danpal to install the facade system. The company sent a team to place and attach the panels, an exacting process that involves a clip to which a frame is attached and which then receives the polycarbonate pieces. Inside, the framing systems of the CLT and Danpal meet.Pérez Palacios is either a sly salesman or an eccentric designer—or both—but he managed to pull off one of Mexico’s first all-CLT projects and one of the most striking industrial buildings in recent memory. PPAA connected the thin 10,900-square-foot office expansion to an existing structure. Here the light, efficient addition contrasts the heavy, inefficient existing conditions; Pérez Palacios explained that the original steel and concrete building operates 24 hours a day to support the dairy plant and relies on artificial light. As PPAA captioned an Instagram post about the project, “This new intervention addresses the challenge of balancing the industrial character of the context with a serene and conscious environment focused on connecting with nature.” The translucent facade allows light into the offices and exposes the wood frame from the exterior.One of the most intriguing aspects of the facade is its lack of transparent glass, though Pérez Palacios noted that there are windows along the side of the building facing the dairy plant. “When you’re in an office, you’re not looking at the view. You are looking at a screen,” he said. “To create an atmosphere with natural light, it’s super nice if you’re going to be sitting at a computer for eight hours a day.” Besides, he added: “There’s nothing to see outside. It’s an industrial park.” The offices are bathed in light via the translucent facade.PPAA has completed two translucent projects previously: a now-finished office building in China that employed fabric and a housing prototype for a 2022 exhibition at Crystal Bridges Museum in Arkansas. “It was our interpretation of an affordable housing project—and we used Danpal!” Pérez Palacios exclaimed. Still, the dairy building project is the first time he put his theories about Danpal into practice. “We created this translucent envelope that allows people to work in natural light all day long,” Pérez Palacios explained. “It has solar capacities; it blocks the sun rays. It requires zero maintenance and protects the interior structure.” PPAA used wood for the entire structure, including beams, columns, and ceilings.Efficiency was part of the selling point to Lyncott, whose leader worried about the building’s lightness. “I had to tell him, ‘Don’t worry, it won’t blow away,’” Pérez Palacios recalled with a laugh. He went on to connect the agricultural aspects of the client’s business to the sustainability of building with these methods. The wood reduces the structure’s carbon footprint, and an all-glass facade would have run up the air-conditioning bills. Instead, Lyncott’s new building redirects the sun, part of the reason it has become something of an attraction in Mexico. Pérez Palacios foresees bringing students for site visits, and Danpal has shown the site to potential clients. PPAA has even sold the idea of mass timber construction to a skeptical audience: Now the firm has two more wood projects in the pipeline. Project Specifications Architect: PPAA Structural engineering: Vigalam Electrical engineering: ROA Civil engineering: Consulta Urbana Lighting design: PPAA Facade system: Danpal Glass: Consulta Urbana Roofing: Aircrete Interior finishes: Alfombras de Mexico Fixtures: Biticino Lighting: Magg Furniture: PM Steele, Vipp #ppaa #clads #crosslaminated #timber #expansion

Rocky Mountain region interior designers, architects, builders, and landscape architects have a bounty of inspiration right outside their doors. Accordingly, their work reflects the beauty of the natural world. The region’s design and construction talents have the ability to bring the surrounding landscape into projects of all types, from modern mountain homes to urban apartments and town houses. If you’re ready to start a project, these AD-approved Rocky Mountain region interior designers, architects, builders, and landscape architects should be your first call.On the listInterior DesignersAshley Scheidel Design StudioAshley Scheidel Design Studio let the natural beauty of the materials take center stage in a Denver home’s tranquil bedroom. Photo by Jess Blackwell PhotographySustainability is a driving force in interiors by Ashley Scheidel Design Studio. The Denver-based interior architecture and design firm specializes in new construction and renovations. Whether they are helping clients reimagine their existing spaces or building new ones from scratch, Scheidel and her team focus on creating timeless environments that balance livability and easygoing elegance. The client’s personal style also drives the design, but natural materials such as warm woods and rugged stone feature prominently in the firm’s portfolio.Beaumier InteriorsIn a renovated midcentury brick ranch home in Denver, Beaumier Interiors balanced warmth and restraint through the use of soft textures, sculptural forms, and quiet tones. The resulting space feels both grounded and welcoming. Photo by Jess BlackwellAfter earning her stripes working for several leading firms in Chicago, designer Ashley Beaumier brought her signature organic modern style to the Denver area, where she founded her eponymous firm. Beaumier Interiors crafts polished interiors, which are layered with natural materials, including striking stone, pale linens, and warm woods. The full-service firm works with clients on projects of all sizes, including large renovations and new constructions, and guides each project from start to finish, ensuring a cohesive look throughout the entire home.Elizabeth Stanley DesignCurated vintage furnishings and lighting by Elizabeth Stanley Design softens the concrete architectural rigor of this austere Austin home. Photo by Shade DeggesFor nearly 20 years, contemporary and minimalist houses have been transformed into welcoming, character-filled homes at the hands of designer Elizabeth Stanley and her eponymous firm. The Aspen, Colorado–based studio focuses on bringing its clients’ personal style to the fore as it guides them through the design process. The resulting tranquil spaces balance functionality and aesthetics and incorporate statement furnishings, natural materials, graphic art, and rich textures.Donna Mondi Interior DesignIn a Michigan living room by Donna Mondi Interior Design, sculptural seating and a floating concrete fireplace strike a confident balance between softness and strength. Cascading fiber art adds an unexpected edge. Photo by Dustin Halleck; Styled by Darwin FitzKnown for her ability to mix traditional and modern design into soulful spaces, designer Donna Mondi has been transforming everything from city penthouses to country estates to desert retreats for almost 25 years. With offices in Denver and Chicago, Donna Mondi Interior Design works on high-end projects across the country, including renovations, new construction, and furnishings. The firm specializes in crafting architecturally driven designs that expertly balance luxury and comfort.Dream Homes Inc.In a Denver home, Dream Homes Inc. moved and redesigned the fireplace with a chevron-patterned Italian granite surround. Photo by David Patterson PhotographySpecializing in large-scale renovations, Denver-based Dream Homes Inc. has been transforming homes in the Rocky Mountain region and nationwide since 1999. Led by founder Joyce Clegg, the interior architecture and design firm is known for its expertly planned and personality-filled residences. Dream Homes oversees every aspect of the construction process, and also works on kitchen and bath remodels. Notably, accessibility and aging is at the forefront of its place design.Duet Design GroupIn a historic Denver neighborhood, Duet Design created a cozy family home in a 1937 Tudor. The original architecture’s charm is elevated with inherited art, classic and modern pieces, and vintage finds. Photo by David PattersonWhether designing an updated log cabin, a historic Tudor home, or a contemporary Mexican beach retreat, Denver-based Duet Design Group has an uncanny ability to bring the beauty of a home’s natural surroundings indoors. Led by founder and principal Devon Tobin, the firm works with clients on residential projects, including renovations and new construction, as well as commercial spaces. While the firm is known for its collaborative process, clients can also expect every logistical detail to be taken care of for a stress-free experience.Jede InteriorsBeauty and functionality meet in this polished Orem, Utah, kitchen designed by Jede Interiors. Photo by Camilia LundNeutral hues and natural materials contribute to the calming, timeless homes created by Orem, Utah–based Jede Interiors. Led by principal designer Jen Dean, the firm is known for its fresh take on traditional style, combining comfortable furnishings with vintage pieces that add patina and history. Jede Interiors works to make every space feel authentic to the clients who live in it—it services those based locally and across the country.Bowen Design StudioThe Red Rocks of Southern Utah were the inspiration for the dining area’s cabinet color, adding a playful yet sophisticated design element. Photo by Lacey Alexander PhotographyBuilding a new home can bring a daunting number of decisions, which is where Bowen Design Studio comes in. Led by designer Hailey Brodale, the Saint George, Utah–based firm specializes in helping clients make their custom homes feel truly personal. Whether it’s devising an organic desert retreat or a dramatic mountain home, Bowen Design Studio takes a hands-on approach throughout the construction process, making sure that the end result is exactly what the client envisioned.Lund Haus StudioFor a mountain home, Lund Haus Studio incorporated thoughtful organization solutions to enhance functionality and ease of living, as well as textures and materials inspired by the raw beauty of nature. Photo by Rebekah WestoverSalt Lake City, Utah–based Lund Haus Studio designs joyful homes that truly work. The firm focuses on functionality, adding creative storage solutions and crafting layouts optimized for family life. Principal designer and professional organizer Sam Lund draws on her background in psychology as she works with clients, helping them express their needs and visions for their homes, and the team boasts extensive experience with construction, allowing the firm to expertly manage projects from start to finish.Eider InteriorsA book-matched stone fireplace is a focal point in the living area of an Eider Interiors–designed contemporary home overlooking the Salt Lake City Valley. Photo by Christina Zolotaia PhotographyA clients’ story is at the heart of every space that Bluffdale, Utah–based Eider Interiors creates. Led by founder and principal designer Mallory Bouchard, the residential and commercial design studio is known for its contemporary interiors that balance modern details with elements of warmth and texture. Eider Interiors works on a wide range of projects, from a modern Miami apartment to a nature-inspired desert escape to a luxurious RV.The FlairhunterHigh on the ski runs of Park City, this custom bunk room was designed by The Flairhunter to comfortably accommodate adults and/or kids. Crafted from reclaimed barn wood, it features pops of color in the bedding and accessories to add an element of freshness and fun. Photo by Doug Burke; Styling by Jen PaulInterior design firm The Flairhunter isn’t afraid to make a statement, incorporating bold colors, unique elements, and eye-catching artwork. Founder Stephanie Hunt leads a team of ten across the firm’s outposts in Salt Lake City and Southern California, and the firm works on projects throughout the United States and globally. The Flairhunter balances custom furnishings with vintage pieces and adds energy and personality by mixing colors, patterns, and materials.DwellifyCheckered floors, butcher block countertops, and vintage finishes revived the kitchen of this 100-year-old home updated by Dwellify. Photo by Katie Griffith PhotographyDwellify streamlines the remodeling process, letting homeowners easily choose a design that fits their personal aesthetic and budget constraints. The company’s technology helps clients visualize their future spaces, and the process also includes virtual meetings with designers and Design Boxes of physical samples. The Salt Lake City–based company works remotely with clients across the country, pairing them with a remodel coordinator and a network of carefully vetted pros to help get the job done.Studio EckströmStudio Eckström revives the living room of a 1927 Spanish Colonial Revival in Omaha. Photo by Daniel Johnson PhotographyDesigners Mark and Mikal Eckstrom bring a sense of whimsy and fun to the interiors they create with their Omaha, Nebraska–based firm, Studio Eckström. Unique details abound in the firm’s projects, from fanciful ironwork to bold wall treatments to unexpected color palettes, and the team isn’t afraid to push clients out of their comfort zones. Studio Eckström relies on a trusted roster of artisans, gallerists, and dealers to help them make each home one of a kind.Trove HomesDrawing inspiration from the breathtaking lake views, Trove Home’s design for a Lake Quivira kitchen features a custom curved island leg—an homage to the natural, flowing beauty of the water. Photo by Nate Sheets PhotographyWith a portfolio full of dramatic before and afters, it’s obvious that Kansas City, Kansas–based firm Trove Homes knows how to completely reinvent a home to fit its clients’ personal styles. Co-owners Jessica and Nate White lead clients through every decision, ensuring that the finished space balances livability and sophistication. Whether tackling a renovation or starting from the ground up with a new build, the firm works in an array of aesthetics, from traditional to coastal.Emily Tucker DesignEmily Tucker Design updated a historic Denver Tudor for a young family, maintaining the history of the home while giving the furnishings a more youthful feel. Photo by David LauerBased in Boulder, Colorado, Emily Tucker Design is a full-service firm helping clients across the country create personalized and highly curated residences. Tucker and her team work in a variety of styles, from modern mountain homes to historical residences, adding unexpected touches, including bold color palettes, playful patterns, and dazzling art. The firm prides itself on designing livable spaces, so it’s no wonder it has become a go-to for families looking for stylish yet durable interiors. Emily Tucker Design works on projects of a variety of scopes, including gut renovations, full home design, and new construction.Nadia Watts Interior DesignNadia Watts Interior Design created a bold dining room in a Denver home. Katie Ridder’s Pagoda wallpaper inspired the room’s unexpected color palette. Photo by Emily Minton RedfieldDesigner Nadia Watts founded her eponymous Denver design firm in 2009, and since then she’s become known for her artful—and often colorful—approach to interiors. The great, great granddaughter of Louis Comfort Tiffany and a former assistant to a curator at The Metropolitan Museum of Art, Watts has a special appreciation for the decorative arts and is able to give her client’s collections of art and furnishings the showcase they deserve. In addition to working with clients across the country, Watts recently launched a fabric collection with Kravet and designed a jewel-inspired space for the 2024 Kips Bay Palm Beach Showhouse.Inside StoriesA custom fireplace with walnut panels is the focal point of an Aspen home by Inside Stories. A piece by artist Trevor Kiernander is on display alongside swivel chairs by A. Rudin and a leather ottoman by Lee Industries. Photo by Eric LuceroDenver’s Inside Stories combines the capabilities of a large design firm with the hands-on approach of a smaller studio, giving clients the best of both worlds. Led by designer Miranda Cullen, the company tackles projects of all scopes, from paint consultations to complete redesigns, as well as commercial and hospitality designs. For clients looking for white-glove service, Inside Stories has a Residential X team that handles luxury projects like new builds and full-home renovations. Cullen and her team aren’t afraid of making bold moves in their designs, which showcase a mix of styles from midcentury-modern to rustic.Kristin Dittmar DesignKristin Dittmar Design devised a warm and moody primary bathroom for a home in Aspen. Herringbone marble tile lines the floor, while the vanity showcases warm walnut accents. Photo courtesy of Kristin Dittmar DesignEarthy elements and streamlined details blend beautifully in the work of Aspen’s Kristin Dittmar Design. The firm brings its signature mountain modern style to homes across the country, showcasing the natural beauty of each location with rugged stonework, warm wood accents, and perfectly framed views. Whether they’re designing a retreat in the Rockies or modernizing a 19th-century Victorian, Dittmar and her team are hands-on during each phase of a project, making sure that every space shows exacting attention to detail.Susannah Holmberg StudiosFor the foyer of a Chicago carriage house, Susannah Holmberg Studios used wallpaper, art, and color to create a layered entryway. Ryan McDonald. Stylist: Kimberly SwedeliusWhether it’s in a desert retreat or a storied Tudor house, Salt Lake City’s Susannah Holmberg Studios knows how to set a mood. The firm’s stylish spaces balance beauty and livability, and showcase the client’s personality with unique color palettes, curated art, and iconic design pieces. While they specialize in full-home renovations and new construction, Holmerg and her team work on residential and commercial projects across the country, tailoring the designs to each client, as well as the geographic and architectural settings.Margarita BravoFor a whole-home project in Denver’s LoHi district, Bravo drew inspiration from her client’s adventurous spirit and love of unique design, incorporating a mix of colors, patterns, and textures to create a sophisticated and dynamic space. Photo courtesy of Margarita BravoDesigner Margarita Bravo’s projects are as far-flung as her inspirations. Her eponymous firm is headquartered in Denver and has outposts in Miami, Montecito, Aspen, and Barcelona. Bringing in influences from European and Latin American design, Bravo masterfully mixes natural elements, streamlined furnishings, metallic accents, and delightful patterns in her projects, which range from mountain homes to beachfront condos. The designer is also behind Sorella Furniture, which she created with her sister Maria, and MB Home Collection.Ashley Campbell Interior DesignAshley Campbell Interior Design turned the lower level of a new build in Denver into a party-ready space with a wet bar and a custom concrete coffee table. Photo by Meagan Larsen PhotographyDenver designer Ashley Campbell puts a contemporary twist on mountain style, contrasting natural elements with streamlined furnishings, a crisp black-and-white palette, and minimalist lighting and fireplaces. These sophisticated spaces serve as striking backdrops for her clients’ collections of art and artifacts, and Campbell balances contemporary elements with plenty of texture to bring in a sense of warmth. The firm uses the latest technology to realize its designs, giving clients the full picture of the team’s creative vision.ArchitectsCharles Cunniffe Architects & InteriorsIn the great room of an Aspen, Colorado, home, Charles Cunniffe Architects perfectly framed the mountain views in a seating area. Photo by Aaron LeitzScenic views are treated like works of art in the homes designed by Charles Cunniffe Architects & Interiors. The Aspen, Colorado–based firm has been creating residential, commercial, and institutional structures for over 40 years. They bring a dedication to sustainability and innovation to each project, incorporating innovative materials and energy-efficient systems for spaces that enhance their occupant’s well-being. A project’s context is a driving force in the creative process, and CCA expertly incorporates nature into the design.CLB ArchitectsSituated in the heart of Moonlight Basin in Big Sky, Montana, CLB Architects’ Basecamp residence rises into the dense fir and pine trees, offering a close connection to the natural environment. Photo by Kevin ScottNature isn’t just an inspiration for the work of CLB Architects, it’s an integral part of each design. The cross-disciplinary design studio, which has offices in Jackson, Wyoming, and Bozeman, Montana, takes a site-specific approach and lets the surroundings inform each detail. The firm works on projects across the country and internationally, each rooted in context, whether it’s a ski-in, ski-out mountain retreat or an Upper East Side apartment.Forum Phi Architecture and Interior DesignBlending seamlessly with its surroundings, this home by Forum Phi Architecture + Interior Design pairs rustic textures with modern lines—capturing the spirit of the landscape through thoughtful design. Photo by Dallas & Harris PhotographyForum Phi Architecture and Interior Design brings architecture, interior design, and land planning together under one roof, allowing the team to work collaboratively with clients on all aspects of a project. The resulting structures showcase the beauty of the natural world. With offices in Aspen, Denver, and Carbondale, the team works on residential, commercial, and institutional projects in a wide range of locations and styles, from rustic ranches to historic renovations to modern mountain retreats.CCY ArchitectsClad in stone, wood, steel, and glass, a home by CCY Architects nestles quietly within the natural surroundings of Aspen, Colorado, creating a rugged and durable contemporary interpretation of alpine architecture. Photo by Draper WhiteThe American West and its striking landscapes inspire CCY Architects’ regional modernism. The Colorado architecture and design firm seeks to develop a deep connection to nature and community through its work—whether its residential, commercial, or institutional—and makes sustainability a priority. Cross-disciplinary collaboration is at the heart of the firm’s process, and the team immerses itself in the site, ensuring that the final design is rooted in place.Vera Iconica ArchitectureVera Iconica Architecture was inspired by the Japanese concept of ma, or “the space between,” when designing this Shooting Star sanctuary at the base of the Jackson Hole Resort. A series of small view courtyards are carved out of the massing, giving moments for pause and reflection offset with views of woods, streams, and the majestic Tetons. Photo by Blok StudiosFor Vera Iconica Architecture, architecture and wellness go hand in hand. The firm’s evidence-based approach prioritizes the health and well-being of a client, resulting in spaces that feel restorative and connected to nature. The team finds inspiration in the landscape of the West, incorporating natural materials and sustainable building practices. With offices in Jackson, Wyoming; Denver, Colorado; and Park City, Utah, Vera Iconica Architecture designs globally, working on residential and hospitality projects from Hong Kong to South Dakota to Peru.Landscape ArchitectsStudio CampoStudio Campo devised a three-acre farm and homestead in Portland, Oregon, with stylist Emily Henderson. The property is complete with a seating area, plunge pool, raised beds, and a greenhouse workout facility. Photo by Kaitlin GreenLandscape architecture firm Studio Campo creates outdoor spaces that enhance the ecosystem and the lives of those who enjoy them. Led by founding principal Cali Pfaff, the firm has a naturalistic style and a focus on both placemaking and biodiversity, highlighting native species in its work. Based in Denver and Oregon’s Willamette Valley, Studio Campo works on a wide range of landscape projects, including gardens, public spaces, farms, and habitats.BuildersVitruvius BuiltVitruvius Built collaborated with designer Barclay Butera on a sophisticated Deer Valley mountain retreat that blends rustic charm with modern elegance. Photo by Cristina ZolotaiaFounded by Charles Ochello, Park City, Utah–based Vitruvius Built specializes in luxury construction, realizing even the most ambitious designs. The homes, located across the country, feature the highest quality materials and amenities such speakeasy-style golf suites, entertainment floors, and cozy bunk rooms. From a contemporary A-frame style residence to a mountain retreat made for entertaining, the homes in the firm’s portfolio showcase its ability to harness the latest technology to craft personal sanctuaries.Cadre General ContractorsEast Coast meets Colorado in this home constructed by Cadre General Contractors that blends traditional sophistication with a rich, Western aesthetic. Photo courtesy of Cadre General ContractorsCadre General Contractors has been building custom homes in Colorado for nearly 30 years and its decades of experience shows in its extensive portfolio. The contracting firm works in a wide range of styles from traditional to contemporary, collaborating closely with architects and designers to bring the overall vision to life. Cadre prides itself on its ability to execute ambitious designs while maintaining an exacting attention to detail and quality.The Jackson Home CompanyWithin a newly constructed home by The Jackson Home Company, the expansive great room, with its vaulted ceilings, exposed steel beams, and grand stone fireplace, is framed by floor-to-ceiling windows showcasing breathtaking views of the Teton Range. Photo by David AgnelloThe Jackson Home Company channels the rugged beauty of Jackson Hole, Wyoming, into striking mountain homes. In 2019, Brooklyn Home Company founders Bill Caleo, Lyndsay Caleo Karol, and Fitzhugh Karol expanded west to Wyoming, and since then the division has designed and built over 20 luxury single-family homes, including a 6,414-square-foot ski-in/ski-out home in Teton Village and an artful retreat nestled beside an Aspen grove. The firm prioritizes sustainability in its homes, incorporating elements like green roofs and locally sourced materials.APPLY NOWGrow your business with the AD PRO DirectoryArrowAre you looking for an interior decorator or designer to hire for your next project? Wherever you are, visit the AD PRO Directory to browse our list of AD-approved designers and find your match for a design consultation. #rocky #mountain #region #interior #designers