html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" A unique insight into the reality of NATO's eastern boundary is provided by the Latvian Pavilion at the 2025 Venice Architecture Biennale. The exhibition, titled Landscape Of Defence, examines how defense infrastructure affects daily living, the land, and public perception. Located in the center of the Biennale's main display path, Campo della Tana provides entrance to the Artiglierie of the Arsenale, where the Pavilion is housed.The Pavilion, which was designed by Latvian architecture studios Sampling and Nomad and curated by Liene Jākobsone and Ilka Ruby, explores the junction of the military and civilian environments along Latvia's borders with Belarus and Russia, posing significant questions.What does it mean to be on the periphery of NATO during a geopolitical conflict? How are lives and landscapes shaped by defensive measures?, asked the curators. National and NATO-wide defense are now a part of everyday life in Latvia and are not merely a government mandate.Visitors are urged to reevaluate the concept of "border" in a time of global unrest by use of an impactful and provocative exhibition design. The curators present opposing viewpoints: Architect and designer Liene Jākobsone, who holds a PhD in product design, is the director of the Art Academy of Latvia's Institute of Contemporary Art, Design, and Architecture and co-founder of the firm Sampling.Her research focuses on the relationship between cultural creation and geographical activity. The independent publishing company Ruby Press, which focuses on architecture and spatial activities, was co-founded by author and curator Ilka Ruby. She offers a more comprehensive analysis of the political and social function of architecture through a critical and transdisciplinary perspective.Road signs, watchtowers, fences, barbed wire, and other man-made structures found in the Latvian borders are among the natural elements, vernacular architecture, and remnants of everyday life that are documented in a photographic collage that is shown behind a wide circular curtain that defines the exhibition area. Anti-tank hedgehogs, dragon's teeth, a surveillance pole, and rustic wooden benches are among the items from the military and civil worlds that are replicated in the center using luminous, abstract material that changes their look and encourages critical thought.Six television screens provide the illusion of a control room: footage, shown in Latvian with English subtitles, switches between shots of the surrounding terrain and testimony from border residents. A second, 4.5-meter-tall curtain on one wall displays a sizable, historically-inspired map of the 30-kilometer border zone. From the standpoint of military defense, informative writings and firsthand accounts provide a human and spatial context. The pavilion's technical details and curatorial text are also displayed on the same curtain.The Latvian Pavilion highlights the complexity involved in developing defense infrastructure rather than offering answers. In the face of actual threats, walls and barriers might be required, but they also present moral, environmental, and aesthetic issues. The goal is to encourage discussion among visitors as well as with military and political stakeholders on the interrelationships between security, space, and society.A folded-out catalogue in postcard size, published by Ruby Press, is included with the exhibition. It features original pictures by Latvian photographer Reinis Hofmanis, who received the Fuji Global Grant for his borderlands investigation, as well as an essay by Liene Jākobsone. The publication, which resembles a passport, emphasizes the relationship between territory and identity, the experience of crossing, and the importance of the border."The eastern border of Latvia has been fortified in such a way over the past few years. Work is still underway, but the territory has changed significantly. The border is not just a line, but an area. A whole landscape of defence has been created along with imposing fortifications," as Jākobsone writes in the postcard leporello. "The border itself (...) marks the end of the country and, in this case, of a much wider region — that of Europe. (...) These postcards from the very edge of Europe are not only a testimony to its diversity and its values, but also offer an opportunity for this landscape of defence to be represented to those it is intended to defend.""In Berlin, where I live, you still feel every day how the fall of a physical and systemic border can transform a city’s urban fabric. That frontier has now shifted to the border between Latvia — and Europe — and Russia. Our goal is to understand the effects that such fortifications can have on landscapes and lives," added Ruby.Uncertain characters, halfway between tour guides and sentinels, greet guests at the Pavilion while wearing outfits created by Latvian fashion designer Laima Jurča.The Pavilion's suspended atmosphere, which reflects the entrance of a militarized zone where the public is faced with the tension between security and threat, welcome and surveillance, freedom and control, is heightened by their subdued yet noticeable presence, which evokes gestures and postures of control."What does it mean to live on NATO’s external border in times of geopolitical conflict?," wrote the curators Liene Jākobsone and Ilka Ruby. "The exhibition focuses on the military defence of the Latvian state from the perspective of the inhabitants of the border area. We want to highlight the specific conditions of Latvia’s geographical situation – the reason why its population lives under a constant threat of attack," the curators explained."The exhibition aims to offer the international architectural discourse a study of the relationship between military defence and spatial condition in the Latvian context. We want to draw attention to the impact of defence measures on people and the landscape.""It is an invitation not only to architects, but also policy makers and military defence specialists to take part in the conversation on spatial qualities, encouraging them to consider the physical footprint of defence strategies on a territory and the emotional impact on its population," the curators added.The Latvian Pavilion is commissioned by Jānis Dripe, Ministry of Culture of the Republic of Latvia. The exhibitors are Sampling (Manten Devriendt, Liene Jākobsone) and Nomad architects (Marija Katrīna Dambe, Florian Betat). The 19th International Architecture Exhibition will take place from 10 May to 23 November 2025 at the Giardini, the Arsenale and various venues in Venice, Italy. Find out all exhibition news on WAC's Venice Architecture Biennale page. All images © Michiel De Cleene.> via Latvian Pavilion

The Canopy Pavilion by the Canal / AESEU Architectural Technology and Art studioSave this picture!© Timeraw StudioCommunity Center•Tai Xing Shi, China Architects: AESEU Architectural Technology and Art studio Area Area of this architecture project Area:  2400 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Timeraw Studio More SpecsLess Specs Save this picture! Urban Regeneration by the Canal - Taixing, situated in the south-central region of Jiangsu Province, stands as the convergence of Huai and Wu cultures. Established in the first year of Shengyuan during the Southern Tang Dynasty, it is a millennium-old city with a rich history. Historically, Taixing County was characterized by an intricate network of waterways, thriving alongside and in harmony with the water, and its fortified walls were constructed in the shape of a turtle's shell. Encircling the city were two moats, both inside and outside the walls, with several winding watercourses resembling snakes in between, forming a pattern reminiscent of the Black Tortoise and White Snake, commonly known as the " City laid out in the shape of a turtle and snake." In recent times, with the city's growth, a new urban layout gradually emerged to the north and east of the old city, intersected by the Rutai Canal and Qiangxi River. Notably, the Rutai Canal, linking the Yangtze River in the west and the Yellow Sea in the east, has served as a pivotal regional waterway spanning Rugao and Taixing since ancient times.Save this picture!In 2023, Taixing City embarked on the "Double Water Nourishing City" supporting facilities project, utilizing the Rutai Canal and Qiangxi River as the foundation. The project involves renovating the disorganized factories, wharves, and shacks along the rivers to create a riverside scenic zone for leisure activities. This scenic zone encompasses numerous cultural squares, parks, and small ancillary garden buildings. The question arises: how can these unused buildings be put to good use? On the one hand, they can enhance services for citizens' riverside leisure activities; on the other hand, the operational revenue generated can alleviate the maintenance costs of public green spaces. This represents the trend towards operational management of urban assets against the backdrop of urban renewal. Consequently, Taixing City has decided to revamp and repurpose six idle ancillary buildings scattered along the parks by the two rivers, endowing them with commercial attributes to leverage their footfall-drawing potential and infuse more vitality into the riverside scenic zone.Save this picture!The value of architectural assets and waterside living - In the northwest direction of the north gate of the old county town, there lies a junction formed by the Rutai Canal and other waterways. Following partial rerouting of the canal in modern times, the construction of urban highway bridges in the vicinity and the development of high-rise residential areas have enclosed this area, transforming it into a relatively spacious waterfront spot within the community. The site features a children's playground beloved by residents, making it a must-visit destination for citizens taking strolls and engaging in fitness activities along the Rutai Canal.Save this picture!The site originally housed two independent two-story buildings with concrete frame structures. One building features a V-shaped floor plan, while the other boasts a zigzag floor plan. Together, these two buildings, along with the river channel, enclose an approximately triangular plot of land. To address the elevation differences within the site, stairs and flower beds have been incorporated into the current design.Save this picture!At the onset of designing this project, the owner's requirement was to impart operational capabilities to these idle urban assets. Often, this is mistakenly interpreted in isolation as necessitating a "tailor-made" design based solely on operational demands. The business needs appear to be prioritized in the design brief, with a tendency to conflate building renovation and interior refurbishment, which represents an all-too-common shortcut in urban renewal. Building renewal constitutes a vital component of urban revitalization: it aids in realigning the site's traffic and spatial connections with the city through renovation and reconstruction, and employs functional integration to reintegrate the building into the city's fabric. Additionally, renovation extends the lifecycle of buildings and enhances their adaptability to a broader range of business types. Furthermore, it delves deeper into the site's unique attributes and leverages them to boost the building's appeal.Save this picture!To capture the cultural and geographical essence of a site, one must revert to the perspective of the city. In this water-laden town, water serves not merely as a geographical feature but also as a cultural emblem deeply ingrained in the fabric of daily life. The teahouses lining the canal bustle with activity, offering a pot of tea, a plate of steamed silken tofu, a basket of steamed pork buns, and a bowl of fish noodle soup. Old tea enthusiasts wander over to the riverside teahouses with their enamel mugs, where the aroma of steaming Xuanbao small wontons blends with the sesame fragrance of Huangqiao sesame cakes, wafting towards the river's heart. They sip on "Langli tea" brewed with canal water while watching barges glide by, leaving ripples in their wake. These are taste memories nurtured by the canal.The clanging of washing sticks at the riverbank, the tapping of chess pieces under the eaves of riverside houses; children leaning over railings to count passing sandboats, morning joggers' silhouettes mirrored in the shimmering waves, elderly couples taking a stroll and pausing at the flood embankment, pointing to the newly erected buildings across the river and reminiscing about the ferry pier of yesteryears. These scenes and people collectively paint a unique and vibrant picture of life along the waterfront in Taixing.Hence, the primary objective of renovating this site is to honor and perpetuate this vibrant atmosphere, providing a comfortable and inviting environment for people to linger and gather. By fostering conditions conducive to meeting the diverse needs of citizens, the potential value of the architecture can be fully realized.Save this picture!Revitalization strategy - With these considerations in mind, let's revisit the original site and buildings. Serving as administrative offices, each building boasts a modest area and features just one staircase inside. The elaborate decoration of the building facades actually obstructs the indoor view of the canal. The outdoor area between the two buildings, segmented by varying heights, struggles to serve as an effective venue for events. These are the aspects of the buildings that necessitate renovation and upgrading.Save this picture!Save this picture!Save this picture!More crucially, the site requires a powerful spatial configuration to redefine and distinguish this area, establishing it as a significant destination along the riverside scenic corridor. We define this spatial configuration as a prominent, large-scale open area, aimed at strengthening the connectivity between the site and the public spaces of adjacent blocks. By analyzing the types of traditional public spaces along the canal, we discovered that the awning form exhibits strong applicability. Both the boat awning and the market awning on the shore exhibit a form that is both sheltered and open. This convenient and easily maintainable semi-outdoor public space can effectively adapt to the complex surrounding environment, while encouraging the emergence of temporary and diverse public activities. It is a common spatial outcome nurtured by canal culture. Furthermore, utilizing the roofs of existing buildings to create more platforms that offer both accessibility and river views is undoubtedly a morphological projection of the site's characteristics onto the architectural form, and also facilitates the creation of favorable conditions for shaping outdoor commercial spaces.Save this picture!The final design employs a large canopy to complement the originally fragmented site. This canopy extends over the triangular site and portions of the V-shaped building's rooftop, creating a flat and expansive area between the two structures, akin to a waterfront urban stage. The height difference of the site is seamlessly integrated into the surrounding stepped seating areas. The V-shaped building's rooftop achieves a more direct connection to the ground through the addition of stairs and setback terraces. Likewise, the newly added columnar staircase adjacent to the building on the northern side of the site becomes a dynamic element in the space, directing individuals to the rooftop platform of the L-shaped building. Besides providing a vast shaded area for activities, the canopy alleviates the oppressive feeling imparted by the surrounding dense high-rise residential buildings. As people move under the canopy, their gaze is directed towards the canal and the ships navigating through it, restoring the appropriate scale of waterside life. The concave shape in the middle of the canopy collects rainwater from the rooftop and directs it to a reserved oval drain below through a cantilevered stainless steel spout, creating a "dragon spitting water" landscape.Save this picture!Technical measures - After assessing the concrete frame structure of the existing building, structural reinforcement was carried out on the foundation, beams, slabs, and columns. Transparent peripheral protective structures, such as glass curtain walls, were reintroduced. The horizontally extended white aluminum panels suggest a layered, accessible roof that steps back progressively. For the large canopy spanning approximately 1,000 square meters, a combination of curved grid glued bamboo-steel structure and membrane structure was selected through technical comparison. The basic configuration of the roof consists of several full-length square steel beams and V-shaped columns. The grid units composed of engineered bamboo members facilitate the creation of a gradual curved surface.Save this picture!Save this picture!The curved mesh glued bamboo-steel structure imbues this enclosed space with structural expression and illumination, emphasizing the openness and airiness of the structure to foster a relaxed and joyful atmosphere. This stands in contrast to the confined interior of buildings, suggesting the equitable use of public spaces and leveraging technical expression to promote community interaction and sharing.Save this picture!Community space - Benefiting from the maturity of the commercial and residential districts surrounding the project, as well as its strategic location adjacent to water, we defined the building as Taixing Teahouse—a venue that embodies the local morning tea culture of Taixing during the initial project planning stage. This decision was made after a comprehensive assessment of various factors, including project scale, surrounding traffic conditions, and potential impacts on nearby residents. Leveraging the separation of two buildings, we designated separate areas for the morning tea hall and private dining rooms. In the morning tea area, the middle section of the V-shaped layout serves as an open kitchen, showcasing the production of morning tea as an intangible cultural heritage.Upon completion, this revitalized venue has garnered immense popularity among Taixing residents. The riverside morning tea hall is often fully booked, while private dining rooms offering a panoramic view of the canal have become a favorite gathering spot for families and friends. The small plaza underneath the canopy is utilized by residents at various times of the day and has also hosted numerous cultural events in Taixing. Additionally, the semi-outdoor terrace on the second floor and the rooftop terrace on the third floor under the canopy have transformed into outdoor spaces for leisure bars. Evidently, the transformed space has transcended its original singular function, and its aesthetic appeal has been acknowledged through daily use by residents. It has emerged as a neighborhood hub in the contemporary waterfront living environment, seamlessly integrating culture, nature, and even spiritual and emotional sustenance.Save this picture!Conclusion - In the process of renewing urban idle buildings and neglected spaces leftover from the incremental development era, the approach of merely pursuing commercial value by forcibly integrating untimely commercial format often proves unsustainable. The crucial solution lies in reverting to the essence of the site, by examining the relationship between the architecture and the urban fabric, deeply exploring the site's potential, and reestablishing its public character. Only when the space genuinely transforms into a delightful venue for public interaction and fosters an organic connection with the city can commercial vitality naturally emerge. This incremental renewal strategy, which prioritizes public use over commercial gain, not only respects the natural evolution of urban spaces but also achieves a harmonious coexistence between public and commercial values. It stands to become a pivotal approach in urban renewal.Save this picture! Project gallerySee allShow less Project locationAddress:Tai Xing Shi, ChinaLocation to be used only as a reference. It could indicate city/country but not exact address.About this office MaterialsMaterials and TagsPublished on May 16, 2025Cite: "The Canopy Pavilion by the Canal / AESEU Architectural Technology and Art studio" 16 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030080/the-canopy-pavilion-by-the-canal-aeseu-architectural-technology-and-art-studio&gt ISSN 0719-8884

Watching the behavior of our tech overlords has answered questions I’d never thought to ask. How do you NDA an army of baby mamas? Is there anything more embarrassing than impersonating Benson Boone? (Also, who is Benson Boone?) And now, the latest: how long after a sovereign ruler of a repressive state murders one of your columnists should you make a deal with him? The answer, it turns out, is a little over six years.In October 2018, Jamal Khashoggi, a writer for the Jeff Bezos-owned Washington Post, was killed and dismembered with the approval of Saudi Crown Prince Mohammed bin Salman (better known as MBS) after Khashoggi entered a Saudi consulate in Istanbul to get paperwork for his upcoming marriage. His body has never been found. On May 13th, Bezos’ Amazon announced it would work with Humain, MBS’ AI company, to build an “AI Zone” in Saudi Arabia — and the two companies will spend more than $5 billion in the process.Saudi money is old news in the tech industry — the Public Investment Fund has sloshed into lots of startups, either directly or via intermediaries such as SoftBank. Morally bankrupt moneygrubbers such as Andreessen Horowitz have been wooing Saudi funds for a while. (Perhaps that’s the real reason they endorsed the Saudis’ preferred candidate?) This isn’t the first deal for Amazon, either. In March, Amazon pledged to invest $5 billion to build data centers in a country that’s scrambling to look futuristic. In 2024, Saudi Arabia said it wanted to build an AI-powered economy. There’s a fancy website for Project 2030, which I guess is meant to distract us from all the oil money. That date isn’t a coincidence — many projections say that’s when oil production will peak and then decline. Regardless of when the actual peak occurs, a global shift away from petroleum threatens Saudi Arabia’s wealth. That’s why the country is behaving like a dipshit startup.Take Neom, billed as the city of the future, vaporware at a previously unimagined scale that also served as a “key tool” for MBS to consolidate power, according to Ali Dogan, a researcher at the Leibniz-Zentrum Moderner Orient in Berlin. Khashoggi’s murder was a blow to the project, as luminaries such as OpenAI’s Sam Altman and former US energy secretary Ernest Moniz suspended their involvement. A number of companies publicly renounced Saudi money — at least, for a while. Does the freedom to assassinate count as one of the personal liberties Bezos claims to treasure?Neom is moving down the entirely predictable vaporware path. It keeps getting delayed and downsized, which makes sense because it’s no longer the city of the future and a spectacular investment opportunity once it’s built — it’s just another city. But, according to Saudi officials, we won’t have to worry about that for another 50, or possibly 100, years. In the meantime, though, contracts! Investment! AI!Look, I don’t expect ethics out of Altman or any of his ilk. But for basic reasons of maintaining employee morale, I would hesitate to invest in a state that literally murdered one of my contractors. And didn’t merely murder him — but dismembered and then disappeared him. An opportunity the state had only because Khashoggi wanted to get married. Murder is bad enough, but every single detail makes it worse.Lately, it seems Bezos has been dismantling the Washington Post, one of the US’ premier journalistic institutions — putting British failure machine Will Lewis, known for his role in the UK phone-hacking scandal, in charge. Last year, the Post didn’t endorse a candidate in the US presidential race for the first time since 1960, resulting in more than 200,000 canceled subscriptions. Its stars have been fleeing in droves. (Ann Telnaes, who was driven to quit the Post after a cartoon making fun of Bezos was killed, recently won a Pulitzer Prize for her work. Oops!) Now, after all Bezos’ posturing about the free press, he’s cutting deals with people who murder journalists for saying inconvenient things. But maybe we should have seen that coming when he banned op-ed writers from opposing “free speech and the markets.” Does the freedom to assassinate count as one of the personal liberties Bezos claims to treasure?It’s all so spineless. I mean, we already know that MBS may have hacked Bezos’ phone, but I guess that’s water under the bridge. Or maybe not. Maybe MBS got something real good in that hack. Impossible to say whether this is motivated by kompromat or greed, I suppose. But whatever the motive, we know one thing: it takes five years for Bezos to go from posting his photo op with the headstone of a murdered reporter to making billion-dollar deals with his killer.See More:

The Precinct – you are the sound of the police (Kwalee) An interesting new indie title is a homage to both old school, top-down GTA games and 80s cop shows like Kojak and Cagney & Lacey. Nostalgia is very much to the fore in The Precinct. Not just for video games but for TV. While its appearance, with an isometric style camera mounted high in its virtual sky, brings to mind memories of early, top-down Grand Theft Auto games, its content is a clear and unabashed homage to much-loved cop shows and films of the 1970s and 80s – from Kojak and The French Connection to Hill Street Blues, and Cagney & Lacey. That’s an unusual setting for a game, made more interesting because it tries to turn the GTA blueprint on its head, by playing as a police officer instead of a criminal. To be precise, you play as rookie Nick Cordell Jr., fresh out of the Police Academy and eager to make his mark on the mean streets of Averno City (a thinly disguised New York, without the skyscrapers but with lots of neon and forbiddingly rundown dark alleys). This is basically a police procedural in video game form – and if you think about it, there have been precious few of those over the years (weirdly, RoboCop: Rogue City is about as close as it’s come recently). So, if you’ve ever had a secret hankering to pound a beat, you should find plenty to interest you here. It splits its gameplay into working day chunks, so you can be sent out with a brief to do everything from issuing parking tickets to keeping a lid on rowdiness in the nightclub district on a Friday night. While Cordell’s days on Averno City’s streets might start off as mundane, they rarely finish that way. There are two very active gangs (The Jawheads, centred on a punk band, and Crimson Serpent, which is based in Chinatown) and as you perform your duties, you frequently encounter their members performing crimes, which yields evidence enabling you to work up the food chain from captains to underbosses to bosses. There are also other activities to pursue, such as very GTA style illegal street races (the story being that Cordell has been placed undercover to gather evidence about who’s running them) and murders that the homicide cops get you to perform the grunt work for. Whenever you amass enough evidence to arrest a key gang member, you’re given the honour of leading the charge in what inevitably becomes a big shoot-out. The Precinct also has a role-playing element, in that as you level up you acquire upgrade tokens which improve Cordell’s key stats (including stamina – in true 80s cop show style, there’s an awful lot of running after criminals, weaponry (acquiring the automatic rifle is a game changer) and general privileges, such as the clearance to commandeer random cars and pilot the police chopper. Despite all this, The Precinct’s upgrade tree is commendably compact, in keeping with the game’s general size: the main story takes about six hours to work through and then there’s probably another six hours’ worth of general sandbox style police work to pursue after that. That will, undoubtedly, be added to via DLC, but The Precinct is not a game designed to occupy your every waking hour. Developer Fallen Tree Games, although full of industry veterans, is a small outfit and most of The Precinct was created by a team of just five people. In practice, the action is fun: the cars are wallow-y and tail-happy – much like those of GTA – and the third person shooting uses a line-of-sight indicator, makes use of cover, and is heavy on the snap aim. But the odd thing is that perhaps the most enjoyable tasks to perform in The Precinct are the most mundane ones. This includes the thrill of finding a car parked on a pavement, to which you can issue a ticket, and the satisfaction of finding something illegal on a random suspect who has committed a minor misdemeanour – which enables you to arrest them rather than merely issuing a fine. More Trending Even when you’re driving, you can run random cars’ plates, and occasionally uncover wanted criminals, inevitably leading to some classic car chase action. Despite its obvious homages to early era GTA, The Precinct looks pretty decent, too; whatever its viewpoint, it is fully 3D and properly textured, with some modern visual effects in evidence. It also nails the 80s atmosphere, with some very good music and hard-boiled dialogue – although not as problematically hard-boiled as many of those old cop shows are now deemed to be. The Precinct is something of an antidote to games that are over-the-top and in your face: it has an understated, matter-of-fact air that somehow serves to make it more compelling. The fact that it is clearly a labour of love helps, as does its simple but effective structure. Anyone with a secret urge to live the vicarious life of an 80s cop should find it satisfyingly authentic. The Precinct review summary In Short: A fine attempt at turning 80s cop shows into a video game, that wisely uses PS1 era GTA games as its gameplay template. Pros: Well structured and with plenty of varied mission types. Decent action sequence and surprisingly good graphics and music. Nails the 80s tone. Cons: The AI for criminals sometimes acts very oddly, and the driving can be a bit too reminiscent of GTA at times. Relatively expensive for the short length. Score: 7/10 Formats: Xbox Series X/S (reviewed), PlayStation 5, and PCPrice: £24.99Publisher: KwaleeDeveloper: Fallen Tree GamesRelease Date: 13th March 2025Age Rating: 18 Get to da choppa (Kwalee) Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

Should you care about the suffering of bugs? For most people, it’s a laughable question. But for those who really, really care about animal welfare, there’s a certain intellectual journey that might lead them to take it seriously. It goes something like this: First, they learn that the vast majority of the 84 billion birds and mammals raised for food are kept on factory farms, where animals are routinely mutilated and intensively confined. They become passionate advocates for these neglected and abused creatures. Then they learn that over 90 percent of those land animals are poultry birds — chickens and turkeys raised for meat, and hens raised for eggs — who are treated worse than pigs and cows, and have even fewer legal protections. They become, more or less, advocates for chickens. But then they might learn that fish and shrimp are farmed (or caught from the ocean) on an even greater scale — trillions annually compared to a measly 76 billion chickens. If their compassion for animals extends equally to marine life, they might come to advocate primarily for these sea creatures. Go even further, and they’ll discover the emerging industry of insect farming, which works much like chicken, pig, or fish factory farming, with the aim of producing as many animals as possible as cheaply as possible. On these insect factory farms, vast numbers of bugs are confined in trays or other containers until, at several weeks old, they’re frozen, cooked, shredded, or suffocated alive. Most are then sold as feed for farmed fish, poultry, and pigs, as food for pets, or to a lesser degree, direct human consumption. For the animal advocates who take this journey and wind up at the bottom of this animal suffering rabbit hole, a new report from the research organization Rethink Priorities will be pure nightmare fuel. According to the group, humanity is on track to farm and kill nearly 6 trillion animals annually by 2033, a near-quadrupling from 2023. And almost all of the growth in animal farming will come from tiny animals: shrimp, fish, and most of all, two insect species (mealworms and black soldier fly larvae). While humans farm and slaughter an astonishing 3 billion pigs, sheep, goats, and cattle each year, these animals are so dwarfed in numbers by farmed chicken, fish, and bugs that Rethink Priorities didn’t even include them in its calculation, nor did it include the 1 to 2 trillion wild fish scooped out of the ocean every year. The forecast starkly illustrates how a transformation in global agriculture patterns have ratcheted up animal suffering to mind-boggling proportions. The reason is that we’re increasingly eating really small animals. In the 1990s, chicken overtook beef as America’s meat of choice, and US chicken consumption continues to climb every year. And it takes about 127 chickens to produce the same amount of meat as one cow, because cows are enormous, while chickens weigh only about 6 pounds at slaughter. So, as Americans shifted toward eating animal species that are smaller in size, the total number of animals raised on US factory farms shot up. The same logic applies to an even greater extent to fish and shrimp — you’d have to kill about 28,500 shrimps to get the same amount of meat as you would from one cow. These animals are being farmed and eaten in increasingly massive numbers around the world, with both fish and shrimp typically confined in crowded, disease-ridden ponds or tanks that animal advocates liken to underwater factory farms. The world now eats more fish from these farms than from the ocean. Even worse, small animals, like chickens, fish, insects, and shrimp, tend to be treated worse and have fewer protections than larger animals like pigs and cattle.Concern for the welfare of insects — and even fish and shrimp — might bemuse or even offend many people. Humans already kill untold numbers of bugs annually by simply going about our daily business — driving, walking, exterminating ant infestations from our homes, and spraying pesticides on our crops. Americans eat tens of billions of individual shrimps each year with virtually no worry that they might feel pain. While farmed chickens and pigs have received the sympathetic Hollywood treatment, like the Chicken Run movies, Charlotte’s Web, and Okja, similar films about shrimp or mealworms don’t seem to be in the offing. But Rethink Priorities, along with a growing chorus of scientists and philosophers, believe that invertebrates like shrimp and insects could be sentient, meaning they possess the capacity for pain, pleasure, and other sensations. They’re not arguing that these animals are equivalent to a chicken, cow, or human, but that they may be worth some moral consideration given emerging research on their potential for sentience and the massive scale on which they’re farmed.History has long shown us that today’s laughable moral concern could be tomorrow’s tragedy. That could be the case for these tiny, unfamiliar, uncharismatic animals the more we come to understand who they are and what they might be capable of feeling. What can a shrimp or an insect feel?There had long been relatively little research into whether invertebrates like shrimp and insects are sentient, but that’s begun to change in recent years.“Evidence is building that there’s a form of sentience there in insects,” Jonathan Birch, a philosopher at the London School of Economics who leads the Foundations of Animal Sentience project at the university, told me. Historically, this line of inquiry has focused on bees, he said, who have demonstrated signs of sentience by engaging in wound-tending behavior, complex decision-making in weighing pain versus pleasure, and even play. Some research has shown that fruit flies may have the capacity to feel pain and enjoy play.According to Birch and several of his colleagues, adult flies and mosquitoes, along with cockroaches and termites, satisfy six of eight key criteria for sentience, while several other orders satisfy three to four. He’s now collaborating with researchers to study pain indicators in black soldier fly larvae and crickets.What little research has looked at shrimp sentience has found mixed results, and much of it has been conducted on Caridean shrimp, not penaeid shrimp, the group that’s most commonly farmed (shrimp are not a single species, but a massive category comprising more than 2,000 known species across several taxonomic groups).Fish thrash inside a tightening net on a fish farm. Havva Zorlu/We AnimalsSome research has shown that shrimp have nociceptors, sensory neurons that detect and respond to potentially harmful stimuli — an important indicator of sentience — but their efforts to avoid threats could be merely reflexive. In one study, shrimp engaged in wound-tending behavior when researchers poured acid onto their antennae, but when they treated it with an anesthetic, the shrimp increased that behavior. This suggests they may not feel pain the way other animals do because the pain relief should have caused them to reduce wound tending.But Birch believes there is strong evidence of sentience in another crustacean species: the crab.Despite our limited understanding of invertebrates’ capacity for pain, our understanding of other animals’ capacities can quickly evolve. Just a couple of decades ago, it was largely thought that fish (which are not invertebrates) couldn’t feel pain, but scientific consensus has significantly shifted toward the belief that they can — and that they could experience many other physical and mental states. Given everything humans have learned about animals’ capacities in recent decades, there’s a strong argument to be made in favor of assuming that other animals are sentient unless proved otherwise, rather than assuming that they aren’t as the starting point.And if shrimp and insects are sentient, it would exacerbate an already emergency situation for global animal welfare, raising the number of farmed sentient animals by well over a trillion creatures today, and potentially many trillions in the decade ahead. The proposition to include these animals in humanity’s moral circle can lead some, Birch said, to throw up their hands in exasperation. “We lack ethical frameworks that tell us how to think about them, but to me, that’s not an excuse for ignoring the issue,” Birch said. “I think people sometimes imagine, well, if the sentient world is so vast — if all ways of feeding ourselves cause harm — then there can’t be any ethical constraints. And I think that’s entirely wrong. I think we do need to take the harm seriously, and think about what we might do to conduct ourselves more ethically.”A question of strategyMost people who advocate for factory-farmed animals focus on pigs, cows, chickens, and turkeys. Only the most quantitatively minded number-crunchers, like Birch and the folks at Rethink Priorities, look at the data and focus on fish, shrimp, and insects.Some in the animal advocacy movement might consider this expansion of moral concern — especially for insects — a major strategic error, one that will make an already fringe movement seem even more strange and scolding. It’s something, if I’m being honest, I’ve felt myself. A worker disinfects crickets’ watering trays in the final grow room at Entomo Farms in Ontario, Canada. James MacDonald/Bloomberg via Getty ImagesBut the general public might be more open to having some ethical consideration for these animals than we might think. Hannah McKay, a research analyst at Rethink Priorities who co-authored the new report, pointed me to recent surveys from the UK and Brazil in which a majority of participants said that they believed that shrimp can feel pain. In the UK and the Netherlands, food companies are phasing out particularly cruel practices in their shrimp supply chains, “even in the absence of high public pressure,” McKay said. Last month, a post about eyestalk ablation — the common, disturbing practice of tearing out female shrimp’s eyes to make them breed faster — made it to the front page of Reddit, whose users were overwhelmingly horrified by it.In 2022, the UK passed the Animal Welfare (Sentience) Act, which included decapod crustaceans (shrimp, lobsters, crabs, and crayfish) among the animals that should be considered sentient, in large part on the advice of Birch and colleagues.The aim of Rethink Priorities, Birch, and their ilk isn’t necessarily to start a campaign for worldwide shrimp and insect liberation, but rather to, at the very least, secure some minimum welfare standards.Many animal advocates today wish that their predecessors in the 1950s, who were more focused on the welfare of pets, had devoted more attention to cows, pigs, and chickens. Instead, the quiet rise of factory farming in mid-20th-century America went largely unchallenged, and has now led to the confinement, abuse, and slaughter of tens of billions of mammals and birds each year. Sagar Shah, a senior researcher at Rethink Priorities who co-authored the report with McKay, feels the same way about fish and shrimp farming, telling me that if he could turn the clock back 30 years to when these industries were relatively small, he would’ve pushed for “more resources into thinking about these questions: Are [fish and shrimp] sentient? What does good welfare mean for these animals if we’re going to use them?”“Collectively, we missed the boat a bit, and we’ve already got a huge scale of farming for fish and shrimp, and we’re catching up now,” Shah said. “But for insects, the industry is in its infancy, and that means we’ve got an opportunity to figure out what good welfare means and shape the growth of the industry.” It’s a cause that few animal advocates are willing to dedicate themselves to, and it may not win them many allies anytime soon. But that doesn’t deter Shah, who says “that doesn’t mean we shouldn’t try.” You’ve read 1 article in the last monthHere at Vox, we're unwavering in our commitment to covering the issues that matter most to you — threats to democracy, immigration, reproductive rights, the environment, and the rising polarization across this country.Our mission is to provide clear, accessible journalism that empowers you to stay informed and engaged in shaping our world. By becoming a Vox Member, you directly strengthen our ability to deliver in-depth, independent reporting that drives meaningful change.We rely on readers like you — join us.Swati SharmaVox Editor-in-ChiefSee More:

Pictured above, Cynara by Osborne & Little, shot at Dutch Flower Line.There’s something ineffably romantic about an early morning sprint through New York City’s Flower District. Tucked along West 28th Street, this energetic and fragrant corridor has long been a mecca for interior designers, stylists, and creatives. Buckets overflow with ruffled ranunculus, chartreuse parrot tulips, and branches of cherry blossoms stretching skyward—each one an ephemeral muse. For me, it’s not just about blooms, it’s about fabric.This season a wave of new floral textiles has burst forth (April showers… as it goes). From delicately block-printed and hand-embroidered linens to screen-printed silks and bold cotton chintzes, textile houses are turning to flowers not merely as motif but as mood. As florals reassert themselves this season, there’s no better place to begin than the Flower Market, where scent, texture, and color convene like a mood board in bloom. Supporting this local institution not only sustains a vital creative ecosystem, it keeps the soul of the city’s design scene alive and rooted in community. In this garden of inspiration, flowers are forever.Jennifer LivingstonSandrine by Leah O’Connell Textiles, shot at G. Page.Jennifer LivingstonFrom left: Francesca Purple by Tulu Textiles; Frenchy by James Malone available through John Rosselli, shot at US Evergreen.Jennifer LivingstonPersephone by Spring Street Textiles, shot at Dutch Flower Line.My Favorite SourcesNew York Flower Group (Dutch Flower Line)150 W. 28th StreetThis team has some of the best service and freshest blooms in every color. If you need something specific, call ahead to place an order.28th Street Wholesale150 W. 28th StreetAlthough it has the same address, this shop is next door to the New York Flower Group. They carry interesting seasonal branches and offerings, such as, in season, uncut tulips growing from the bulb.Caribbean Cuts120 W. 28th StreetWith some of the most unique and exotic tropical plants and flowers, this is the place to go for the most interesting foliage and fruit.US Evergreen805 Sixth AvenueRight around the corner, this institution takes over the street and is bursting with the best local branches. It also specializes in custom wreaths and garlands during the holidays, so place your orders early for next season.Tropical Plants and Orchids106 W. 28th StreetChicly located behind the McDonald’s, I always check Tropical Plant for myrtle topiaries and indoor plants, like maiden’s hair ferns or potted orchids—they tend to have the best prices on the block. Plus, they’ll pot anything beautifully with moss.Jamali Floral and Garden149 W. 28th StreetThe go-to source for floral supplies, basic decorative containers, and shears. Head to Jamali to grab some simple taper candles or a julep cup.Jennifer LivingstonBeaton Floral by Ralph Lauren Home, available through Designers Guild, shot outside of Jamali Floral and Garden.Jennifer LivingstonProtea Print by Thibaut, shot at Caribbean Cuts.Jennifer LivingstonPolka by Décors Barbares for Namay Samay, available through John Rosselli, shot outside of 28th Street Wholesale.What to KnowGo early: I recommend arriving between 5:30 and 6 a.m. for the freshest finds and best variety. You’d be surprised how crowded it is with floral designers and stylists, even at this hour.Dress warmly: Since the temperatures inside are often quite low (for the flowers), I recommend bringing an extra layer and dressing for utilitarian purposes—Mother Nature isn’t always the cleanest. Park on 27th Street: Street parking is free on 27th Street but only until 8 a.m. Avoid 28th Street for parking and Uber pickup, as it is always extremely crowded.Use the shelves: The open shelves in the rear of each shop are for customers. It’s really helpful to arrange everything you’re considering buying facing outward so you can see what you have and what you’re missing.Walk the street: I recommend starting on one side of the market and walking across 28th Street between Sixth and Seventh avenues to see who has the best of whatever is in season at the moment. Make a mental list and then go back when ready to purchase.Bring a wagon: I am now the proud owner of a collapsible wagon. While not the most attractive item I own, it’s helpful if you’re working on a big project and don’t have an extra pair of hands. Be respectful: Everyone working at the market is super-knowledgeable, kind, and hardworking. I’ve sadly seen some horrifying customer behavior. In a place chock-full of beauty, no one needs to make enemies.Jennifer LivingstonPansy by Marvic Textiles, shot at 28th Street Wholesale.Jennifer LivingstonHindi by Zak and Fox, shot at Dutch Flower Line.Jennifer LivingstonTara Magnolia by Lee Jofa, shot outside of Tropical Plants and Orchids.Style assistant: Julia Stevens

05/15 — 2025 by abduzeedo Explore how Slanted Magazine pushes editorial design, challenges conventions, and champions independent typography. Dive into visual storytelling. For those immersed in the world of graphic design, there’s a unique satisfaction in seeing a publication truly come alive. It’s not just about the content; it’s about the entire experience. Abduzeedo has always championed design that inspires, and today, we’re looking at a prime example of editorial design pushing boundaries: Slanted Magazine #45—Sex. Slanted Magazine, in collaboration with Munich’s Archive Artist Publications (AAP), has created an issue that dives deep into sexuality, gender, and body politics through a curated selection of artistic publications and critical essays. This isn't merely a magazine; it's a meticulously crafted artifact, a testament to how powerful editorial design can be. Visual Storytelling and Challenging Norms The magazine showcases a diverse range of historical and contemporary works. It presents publications that challenge conventions and reshape discourse on self-image, identity, and representation. Alongside these visual narratives, in-depth essays offer multifaceted perspectives on media, cultural taboos, and shifting societal norms. The issue actively provides a space for critical engagement, questioning how marginalized bodies—non-binary, queer, disabled, racialized—are represented in art and media. This commitment to impactful visual storytelling is evident throughout the entire publication. Consider the striking imagery and thought-provoking texts that open a dialogue on desire, power, and the politics of visibility. From the tactile feel of the softcover with its open thread-stitching to the dust jacket, every detail contributes to the overall narrative. The use of uncoated and transparent high-quality papers by Reflex paper adds another layer of sensory engagement. This attention to physical attributes elevates the magazine from a simple collection of pages to a tactile experience. The Power of Independent Type Beyond Slanted Magazine #45—Sex, there’s also a significant new release that influences editorial design: Support Independent Type II. This follow-up to the acclaimed 2020 book continues to celebrate the vibrant culture of independent type specimens and their influence on design and typography. It acts as both a manifesto and a visual showcase, featuring over 300 cutting-edge type foundries that offer a promising alternative to corporate font distributors. The book highlights a diverse range of fonts, from experimental designs to bold, groundbreaking typefaces that push traditional boundaries. It delves into new trends and innovative designs, presenting the book itself as a visual art object. Through this carefully curated collection, the authors emphasize how independent type design reflects cultural shifts and sparks creative innovation. The impact of independent type on editorial design is immense, offering designers a richer palette for expression and a way to imbue their work with unique character. A Thought on the Future of Editorial Design The work exemplified by Slanted Magazine and the Support Independent Type series underscores a crucial point for designers: the medium is as important as the message. Editorial design is not static; it evolves with cultural dialogues and technological advancements. The choices we make in typography, layout, imagery, and even the physical properties of a publication, all contribute to how a message is received and understood. These projects inspire us to consider how our design choices can challenge, inform, and engage, making the printed page, or digital screen, a truly dynamic space. Explore more about their work and publications on their website: Slanted Publishers Editorial design artifacts Tags editorial design

Hackers have been stealing Coinbase customer information by bribing the company’s overseas support agents for access. The scheme affects a "small subset of customers," the popular cryptocurrency platform said on Thursday. "Their aim was to gather a customer list they could contact while pretending to be Coinbase—tricking people into handing over their crypto,” the company wrote in a blog post. Fortunately, the hackers had no access to user passwords, two-factor authentication codes, or the private keys for any cryptocurrency accounts. Still, in some cases, the cybercriminals successfully phished affected customers using stolen data, which included names, addresses, phones, email addresses, the last four digits of Social Security numbers, “masked bank account numbers,” government ID images such as driver’s license, along with balance snapshots and transaction histories. Unsuspecting victims then sent their cryptocurrency to the scammers, believing them to be official Coinbase representatives. In addition, the hackers even tried to extort Coinbase itself, demanding a $20 million payment from the cryptocurrency company to cover up the incident. However, Coinbase refused to pay and instead disclosed the hacking activity to warn users.    The scheme risks endangering customers who regularly use Coinbase for cryptocurrency transactions. “Less than 1% of our monthly transacting users had their records accessed,” CEO Brian Armstrong said in a video, without mentioning a firm number. Recommended by Our EditorsIn some good news, Coinbase plans on reimbursing users who fell for the phishing attempts. The company is also bolstering its security around customer support to prevent a repeat. “We’re actually relocating some of our customer support operations as a result of this,” Armstrong added. Coinbase is also offering a $20 million reward for any information that leads to the arrest of the culprits. “For these would-be extortionists, or anyone seeking to harm Coinbase customers, know that we will prosecute you and bring you to justice,” Armstrong said.Still, the hackers could use the stolen data to commit identity theft and other malicious schemes against the impacted users. Hence, victims should take measures to protect themselves. Coinbase says it already sent alert notices to affected customers, though details on the reimbursement process are scant. For now, the blog post merely says: “Coinbase will voluntarily reimburse retail customers who mistakenly sent funds to the scammer as a direct result of this incident prior to the date of this post, following a review to confirm the facts.”In the meantime, the company says it's working with law enforcement to ID the scammers.

Part antiques dealer, part architect, this Belgian maverick is an unlikely source of lessons for contemporary material reuse Marcel Raymaekers (1933–) never qualified as an architect. This did not stop him from procuring the materials for, designing and building around 150 villas across Belgium. The exact number is unknown: Belgium’s architectural establishment mostly ignored and rejected Raymaekers just as he ignored and rejected them, and as a result his work has never been collated or taken seriously. Raymaekers himself never kept records of his work; he regarded the drawing board as a ‘torture device’, preferring sketches and improvisation on site, determined by the material batches he had to hand. The extent of Raymaekers’ oeuvre is also hard to fathom because he wanted to keep it under the radar of the tax authorities. They caught up with him eventually; he was bankrupted in 2014. Today, Raymaekers is a 92‑year‑old tenant living inside what was once his personal empire, Queen of the South, in the Limburg countryside in north‑western Belgium. This compound was – and to a limited extent, still is – a vast salvage yard packed with components scavenged from aggressive postwar demolition. This puzzling place, completed in 1972 but constantly expanded, is stuffed with billowing pitched roofs, impossible archways, numerous appendages and antechambers. In its heyday – the 1970s and ’80s – Queen of the South also had a nightclub, a restaurant, a jazz venue, Raymaekers’ own ultra‑luxe apartment, and an estaminet – a plush, wood‑panelled, banquet‑seated, mirror‑pillared café‑bar. Marcel Raymaekers was born in 1933 near Leuven in Belgium. In 1950, he enrolled to study architecture at the Sint-Lukas School in Brussels but left a year later without a degree. Though not officially an architect, Raymaekers proceeded to design around 150 projects, from suburban homes to hotels and music venues – in 1986, he completed the Orlando discotheque, which burned down in 2014 Credit: Roger Dyckmans It was here that Raymaekers would sit – when he was not criss‑crossing Belgium scouting for materials – scoping out clients as they stumbled giddily into his world, overwhelmed by the aspiration and status anxiety that Queen of the South was designed to induce. The project was also a cultural hub attracting misfits and eccentrics, wheelers and dealers, experts and charlatans. The novelist Hugo Claus had his 50th birthday at Queen of the South, honouring Raymaekers in his speech. Raymaekers and his wife Hilde did interviews for newspapers, magazines and TV, often while reclining on their bed. The media was not interested in him as an accomplished architect, but as a purveyor of kitsch, an absurdity.  What Raymaekers had to sell his clients was more than simply antiques or even houses composed of them (buy enough materials and he would design you a house for no charge: that was always the deal). What Raymaekers was really selling were dreams of nobility: the life of a lord and lady of the manor, set apart (and above) from an increasingly modernised, homogenised world. Sensuality and hedonism, expressed through haptic, resplendent materials, was a big part of the allure too – the promise of a new way of life. One of Raymaekers’ bigger projects was a love hotel, Rubensexclusief, near Diest, completed in 1979. Each chamber was bestowed with an excess of padded velvet upholstery, often creeping up the walls and curving onto the ceilings. In the lobby, a salvaged confession booth was intended as a hiding place for guilty parties. Raymaekers brought several clients here to celebrate a successful transaction or to introduce them to his material language before starting design negotiations. His clients were middle‑class professionals – teachers, dentists, entrepreneurs, doctors, engineers, florists, pharmacists. Wealthy, but not extraordinarily rich. Many of his houses allowed them to live and work – interfacing with the public – on the same property. House Kelchtermans from 1970, for example, designed with architect Jos Witters, is composed of three pyramids – a home, a doctor’s office and a garage – structured with reclaimed oak beams. The roof tiles were salvaged by the client himself, Dr Kelchtermans, who received tips on where to find them from his patients, many of whom were farmers whose buildings were undergoing modernisation or demolition. Inside, it is all split‑levels, enormous fireplaces and complex, spiralling spaces. But the house’s biggest flourish is the skylights: 23 cupolas from decommissioned Lockheed T‑33 fighter jet cockpits. Raymaekers had found them languishing in a salvage yard on the other side of Flanders, saw their architectural potential and persuaded the client to buy them. Client participation was everything. The Boncher family’s house, completed in 1984, is a mash‑up of components from a derelict slaughterhouse in the city of Tienen and an army barracks in Verviers. The Bonchers themselves spent weeks carefully dismantling the bricks, Gobertange white stone and fleur‑de‑lis roof tiles from the slaughterhouse. Raymaekers had the grand entrance and guardhouses from the barracks available in his stock at Queen of the South, probably at a time‑sensitive discount. Many of the construction and final design decisions for House Boncher were left to happenstance; as the contractors built the walls up row‑by‑row, whenever a hole was needed for a window, Raymaekers would decide the dimensions only at that moment, based on whatever blue limestone window frame he happened to have in stock. Occasionally, the masons had to deconstruct part of a wall if a larger‑than‑anticipated window became available.  ‘Raymaekers’ houses are intelligent, instinctive assemblages of unpredictable material streams’ The interior, too, required improvisation. A white stone staircase, salvaged from a church pulpit, was meant to spiral up to the main bedroom of House Boncher but turned out to be about 200mm too short. The solution? Raymaekers and the contractors decided to build a hefty bump into the floor, consisting of cobbles and decorative tiling. It gave the staircase the necessary boost to reach up to the bedroom. It was typical of how designing exclusively with old materials required Raymaekers to empower and trust his contractors. Their design contributions, extemporisation and management of materials and how they might fit together were intrinsic to the realisation of every project. Working with large batches helped simplify matters – or allowed further complexity. When the Antwerp townhouse of art nouveau architect Joseph Bascourt was demolished to make way for the extension of a car park, Raymaekers snapped up the facade. Without knowing or caring how the pieces were originally composed, Raymaekers shuffled them into a new configuration for the facade of a flower shop a client had commissioned in the Brussels hinterland, completed in 1987. Raymaekers moved Bascourt’s decorative entablature from the top of the facade down to eye level, the better to be enjoyed; that this meant the windows on the top floor would now poke strangely above the roofline was fine with both Raymaekers and the client. The shreds of Raymaekers’ reputation that survive today, and what can be retrieved and reconstructed of his private and professional habits, are complex at best. His charisma and determination enabled him to convince artisans, contractors, labourers and clients to stretch themselves beyond what they thought possible, adding their own talent to his difficult buildings. But Raymaekers could also be intimidating and domineering. Collaborators often stepped away from his all‑consuming process; clients who considered him too pushy and found themselves running out of money could cease working with him. But this was not the case for his spouses, sons, grandchildren and daughters‑in‑law. They were bound to him by more than his business practice and art, and some of them suffered enduring and even unbearable distress. Their suffering is the shadow behind Raymaekers’ work. When researchers from Belgian design practice Rotor and the University of Ghent – also the authors of this article – started showing up at Queen of the South in 2011, it was not because of Raymaekers’ reputation; it was merely to include Queen of the South on Opalis’s database, a roster of salvage dealers covering much of north‑western Europe. We only realised the extent and importance of his work after several years and at least three visits. Raymaekers had refused all interviews since his bankruptcy, but after some persuasion, a meeting was scheduled in the courtyard on a grey winter day. Triggered by newspaper cuttings, his own limited archive of photographs and strolls through the stock, a picture emerged of the rich reuse ecosystem in which he was active in his glory days. It is this ecosystem, along with the remarkable and necessary fluidity of Raymaekers’ practice with old building materials, that was critical to his success. Belgium was blessed in the postwar period with a remarkably robust network of demolition contractors who were also salvage dealers, antiques dealers who were also designers, industrial scrapyards willing to let architects pick through their mountains of waste. The landscape was ripe for reuse. So was the legislative field. Raymaekers’ oeuvre could be mistaken, at a cursory glance, for just more Ugly Belgian Houses (several of them have indeed appeared on Hannes Coudenys’ infamous blog). His houses appear to be kitsch, chaotic, brazen, overstuffed with mixed metaphors. But they are much more than that. They are intelligent, instinctive assemblages of unpredictable material streams. They are bracing, never boring. And though they are wildly out‑of‑step with today’s tastes, the houses – and moreover, the kind of innovative practice that built them – have a lot to teach spatial practitioners about reusing architectural materials and circularity in the construction industry. And as with any of those so‑called ‘ugly’ Belgian houses, the label is a trivialisation (and an elitist one) of something systemic and generative. What makes possible such expressionistic and characterful suburban houses in Belgium – whatever one thinks of their quality – is government policy since the postwar era. While other European countries went all in on standardised social housing, in Belgium, the 1948 De Taeye Law offered construction grants and a state guarantee on mortgages, triggering families to initiate, help design and sometimes even execute the construction of their own homes, tapping into a rural tradition of self‑reliance. Raymaekers worked at a time when modernisation – and the demolition it demanded – was churning out a constant flow of antique materials. It was also a time when the merger and exchange of roles in the architectural process – from material procurement, to design and collaboration live on site – was still possible. Material reuse today is much harder. It must work precisely against the linear flows of extraction, capital, efficiency and predictability – all supercharged by the digital and its requirement of an almost omniscient predictability, and by increasingly demanding rules around compliance and liability. But to explore the wild potential of material reuse – not just to reduce embodied carbon, but to unleash new design potential and a richer culture around material (heritage) and practice – it must be possible to imagine ways in which material procurement, construction sites and the architects’ role can change fundamentally again.  Illustration: Laslo Antal for The Architectural Review. Read more about the process of making this portrait here 2025-05-15 Justinien Tribillon Share AR May 2025CircularityBuy Now

Lovell House | © Julius Shulman Few residential projects in the history of architecture have so concisely synthesized the aspirations of the modernist movement as the Lovell House. Designed by Richard Neutra and constructed between 1927 and 1929, this hillside residence overlooking Los Angeles is more than a stylistic landmark. It is a rigorous exploration of space, health, and industrial modernity. Commissioned by Dr. Philip Lovell, a health advocate and proponent of naturopathy, the house was conceived not as a retreat from the world but as a manifesto supporting rational living. For Neutra, who had recently arrived in the United States from Europe, this project represented a professional breakthrough and a profoundly personal alignment of ideological principles. Lovell House Technical Information Architects1-6: Richard Neutra Location: 4616 Dundee Drive, Los Feliz, Los Angeles, California, USA Area: 446 m2 | 4,800 Sq. Ft. Project Year: 1927 – 1928 Photographs: © Julius Shulman Philip Lovell wanted a house that would express his ideas of health, hygiene, and fitness. I wanted a house that would express my ideas of modern architecture. In the end, we built both. – Richard Neutra 7 Lovell House Photographs © Michael Locke, Flickr User © Michael Locke, Flickr User © Barcelo Photography © Barcelo Photography © Barcelo Photography © Barcelo Photography © Julius Shulman © Julius Shulman © Julius Shulman © Julius Shulman © Julius Shulman © Julius Shulman Context and Commission The interwar period witnessed a radical reevaluation of domestic space, partly driven by technological advancements and shifting attitudes toward hygiene and well-being. Within this cultural milieu, Dr. Lovell, already known for commissioning the Lovell Beach House by Rudolf Schindler, sought to build a residence that would embody his beliefs in clean living, sun exposure, and fresh air. His choice of Neutra, an architect trained in Vienna and influenced by figures such as Adolf Loos and Erich Mendelsohn, signaled a deliberate move toward a more European, functionalist approach. The Lovell House was Neutra’s first major commission in the United States and his opportunity to engage with the burgeoning discourse around the International Style. Lovell’s trust in Neutra and the architect’s commitment to creating a scientifically ordered environment set the stage for one of the most iconic modern homes in American architecture. Design Strategies and Construction Innovation On the hills of Los Feliz, the Lovell House is among the earliest examples of residential steel-frame construction in the United States. Neutra’s use of this system, more commonly associated with commercial or industrial buildings then, allowed for a remarkably lightweight structure that could seemingly float above its steep site. The steel frame also permitted large spans and cantilevers, freeing the plan from traditional load-bearing constraints and enabling expansive glazed openings. The house is organized as a vertical sequence of spaces, with each floor serving a distinct function. The lower level includes areas for exercise and recreation, aligned with Lovell’s ideals, while the upper floors house living and sleeping quarters. Circulation is carefully orchestrated, with a suspended exterior stair emphasizing the connection between levels without interrupting the building’s formal clarity. Transparency and openness are guiding principles throughout the design. Ribbon windows, floor-to-ceiling glazing, and open terraces blur the boundary between inside and out, capitalizing on Southern California’s climate while reinforcing Neutra’s belief in architecture’s capacity to mediate between human beings and their environment. Materiality and Environmental Integration The Lovell House’s material language is deliberately spare. Industrial steel, concrete, glass, and stucco are deployed precisely, rejecting ornamentation in favor of surface, proportion, and rhythm. Neutra’s choice of materials was aesthetic and deeply aligned with the project’s hygienic ethos: smooth, cleanable surfaces, built-in furniture, and controlled daylight contribute to a sense of physical and psychological well-being. Despite its machine-like clarity, the house is far from alienated from its context. The steeply sloping terrain becomes an active component of the design. Outdoor terraces, bridges, and gardens mediate between the constructed and natural environments, encouraging movement, exposure to sunlight, and engagement with the landscape. Neutra’s sensitivity to site and orientation ensured that the building was not merely placed on the land but woven into its topography and climate. Legacy and Influence The Lovell House has long occupied a pivotal place in the architectural canon. Featured in the 1932 Museum of Modern Art exhibition that introduced the International Style to an American audience, it exemplified the movement’s nationalist ideals in built form. Its influence on subsequent generations of architects in the U.S. and abroad cannot be overstated. For Neutra, the project marked the beginning of a prolific career dedicated to what he termed “biorealism”: integrating architecture with its inhabitants’ physiological and psychological needs. The house’s emphasis on health, efficiency, and environmental responsiveness would become hallmarks of his later work. Lovell House Plans Sketches | © Richard Neutra Floor Plans | © Richard Neutra Elevations | © Richard Neutra Elevations | © Richard Neutra Isometric View | © Richard Neutra Lovell House Image Gallery About Richard Neutra Richard Neutra (1892–1970) was an Austrian-American architect whose work played a pivotal role in defining the architectural identity of mid-20th century California. Deeply influenced by European modernism and trained under figures like Adolf Loos and briefly Frank Lloyd Wright, Neutra brought a rigorous, human-centered approach to design that emphasized clarity, health, and environmental responsiveness. His architecture fused technological precision with psychological and physiological considerations, resulting in dwellings that were as much about wellness as they were about aesthetics. Best known for projects like the Lovell House and the Kaufmann Desert House, Neutra’s legacy is a model of modern architecture’s potential to harmonize life, nature, and innovation. Credits and Additional Notes Client: Dr. Philip Lovell Design Period: 1927 Construction Period: 1928–1929 Site Conditions: Steep hillside lot in Los Feliz with expansive views over Los Angeles Construction System: Steel-frame structure with gunite (sprayed concrete) and stucco cladding Architectural Style: International Style / Modernism Neutra: Complete Works by Barbara Mac Lamprecht, Peter Gossel, Dion Neutra, Julius Shulman