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2025-06-06 07:35:57 ·

Taurine may not be a key driver of ageing after all

Taurine supplements have been considered promising for delaying ageing, but that may not be the caseShutterstock / Eugeniusz Dudzinski
The amino acid taurine was once thought to decline with age, and animal research suggested that taurine supplements could delay ageing. But a new study shows that the decline doesn’t happen consistently. In fact, taurine levels tend to increase in people over time, suggesting that low levels of the nutrient aren’t a driver of ageing.

Previous research has shown that taurine concentrations decline in men as they age and that people with higher taurine levels at 60 years old tend to have better health outcomes. This, along with evidence that taurine supplements extend lifespan in mice and monkeys, suggested that low taurine contributes to ageing.Advertisement
The trouble is that taurine fluctuates in response to other factors too, such as illness, stress and diet – therefore, declines in this key amino acid may not be due to ageing. Maria Emilia Fernandez at the National Institute on Aging in Maryland and her colleagues analysed taurine levels in 742 people between 26 and 100 years old. The participants, about half of whom were women, didn’t have underlying health conditions and provided three to five blood samples between January 2006 and October 2018.
On average, taurine levels were almost 27 per cent higher in women at 100 years old than at 26 years old and rose about 6 per cent in men between the ages of 30 and 97. Similar results were seen in 32 monkeys that underwent three to seven blood draws between 3 and 32 years of age. Between 5 and 30 years of age, taurine levels rose 72 per cent in female monkeys and 27 per cent in male monkeys, on average.
Together, these findings indicate that taurine levels are not a reliable indication of ageing. What’s more, taurine levels also varied widely between people and even within individuals over time, suggesting that other environmental factors influence them, says Fernandez.

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However, some people may still benefit from taurine supplementation, says Fernandez, pointing to studies that show it helps regulate blood sugar in people with type 2 diabetes or obesity. But whether it can delay ageing in otherwise healthy people is an open question.
Vijay Yadav at Rutgers University in New Jersey says he and his colleagues are currently conducting a clinical trial of taurine supplementation in middle-aged adults. “We hope to finish the trial by the end of 2025,” he says. “Hopefully it will generate sufficiently rigorous data to show whether or not taurine supplementation delays the pace of ageing in humans or increases health and fitness.”
Journal reference:Science DOI: 10.1126/science.adl2116
Article amended on 5 June 2025We corrected Vijay Yadav's affiliationTopics:
#taurine #not #key #driver #ageing

Taurine may not be a key driver of ageing after all
Taurine supplements have been considered promising for delaying ageing, but that may not be the caseShutterstock / Eugeniusz Dudzinski The amino acid taurine was once thought to decline with age, and animal research suggested that taurine supplements could delay ageing. But a new study shows that the decline doesn’t happen consistently. In fact, taurine levels tend to increase in people over time, suggesting that low levels of the nutrient aren’t a driver of ageing. Previous research has shown that taurine concentrations decline in men as they age and that people with higher taurine levels at 60 years old tend to have better health outcomes. This, along with evidence that taurine supplements extend lifespan in mice and monkeys, suggested that low taurine contributes to ageing.Advertisement The trouble is that taurine fluctuates in response to other factors too, such as illness, stress and diet – therefore, declines in this key amino acid may not be due to ageing. Maria Emilia Fernandez at the National Institute on Aging in Maryland and her colleagues analysed taurine levels in 742 people between 26 and 100 years old. The participants, about half of whom were women, didn’t have underlying health conditions and provided three to five blood samples between January 2006 and October 2018. On average, taurine levels were almost 27 per cent higher in women at 100 years old than at 26 years old and rose about 6 per cent in men between the ages of 30 and 97. Similar results were seen in 32 monkeys that underwent three to seven blood draws between 3 and 32 years of age. Between 5 and 30 years of age, taurine levels rose 72 per cent in female monkeys and 27 per cent in male monkeys, on average. Together, these findings indicate that taurine levels are not a reliable indication of ageing. What’s more, taurine levels also varied widely between people and even within individuals over time, suggesting that other environmental factors influence them, says Fernandez. Get the most essential health and fitness news in your inbox every Saturday. Sign up to newsletter However, some people may still benefit from taurine supplementation, says Fernandez, pointing to studies that show it helps regulate blood sugar in people with type 2 diabetes or obesity. But whether it can delay ageing in otherwise healthy people is an open question. Vijay Yadav at Rutgers University in New Jersey says he and his colleagues are currently conducting a clinical trial of taurine supplementation in middle-aged adults. “We hope to finish the trial by the end of 2025,” he says. “Hopefully it will generate sufficiently rigorous data to show whether or not taurine supplementation delays the pace of ageing in humans or increases health and fitness.” Journal reference:Science DOI: 10.1126/science.adl2116 Article amended on 5 June 2025We corrected Vijay Yadav's affiliationTopics: #taurine #not #key #driver #ageing

WWW.NEWSCIENTIST.COM

Taurine may not be a key driver of ageing after all

Taurine supplements have been considered promising for delaying ageing, but that may not be the caseShutterstock / Eugeniusz Dudzinski The amino acid taurine was once thought to decline with age, and animal research suggested that taurine supplements could delay ageing. But a new study shows that the decline doesn’t happen consistently. In fact, taurine levels tend to increase in people over time, suggesting that low levels of the nutrient aren’t a driver of ageing. Previous research has shown that taurine concentrations decline in men as they age and that people with higher taurine levels at 60 years old tend to have better health outcomes. This, along with evidence that taurine supplements extend lifespan in mice and monkeys, suggested that low taurine contributes to ageing.Advertisement The trouble is that taurine fluctuates in response to other factors too, such as illness, stress and diet – therefore, declines in this key amino acid may not be due to ageing. Maria Emilia Fernandez at the National Institute on Aging in Maryland and her colleagues analysed taurine levels in 742 people between 26 and 100 years old. The participants, about half of whom were women, didn’t have underlying health conditions and provided three to five blood samples between January 2006 and October 2018. On average, taurine levels were almost 27 per cent higher in women at 100 years old than at 26 years old and rose about 6 per cent in men between the ages of 30 and 97. Similar results were seen in 32 monkeys that underwent three to seven blood draws between 3 and 32 years of age. Between 5 and 30 years of age, taurine levels rose 72 per cent in female monkeys and 27 per cent in male monkeys, on average. Together, these findings indicate that taurine levels are not a reliable indication of ageing. What’s more, taurine levels also varied widely between people and even within individuals over time, suggesting that other environmental factors influence them, says Fernandez. Get the most essential health and fitness news in your inbox every Saturday. Sign up to newsletter However, some people may still benefit from taurine supplementation, says Fernandez, pointing to studies that show it helps regulate blood sugar in people with type 2 diabetes or obesity. But whether it can delay ageing in otherwise healthy people is an open question. Vijay Yadav at Rutgers University in New Jersey says he and his colleagues are currently conducting a clinical trial of taurine supplementation in middle-aged adults. “We hope to finish the trial by the end of 2025,” he says. “Hopefully it will generate sufficiently rigorous data to show whether or not taurine supplementation delays the pace of ageing in humans or increases health and fitness.” Journal reference:Science DOI: 10.1126/science.adl2116 Article amended on 5 June 2025We corrected Vijay Yadav's affiliationTopics:

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The Architect’s Newspaper compartilhou um link

2025-06-06 07:32:52 ·

Decades ago, concrete overtook steel as the predominant structural material for towers worldwide—the Skyscraper Museum’s new exhibition examines why and how

“Is that concrete all around, or is it in my head?” asked Ian Hunter in “All the Young Dudes,” the song David Bowie wrote for Mott the Hoople in 1972. Concrete is all around us, and we haven’t quite wrapped our heads around it. It’s one of the indispensable materials of modernity; as we try to decarbonize the built environment, it’s part of the problem, and innovations in its composition may become part of the solution. Understanding its history more clearly, the Skyscraper Museum’s new exhibition in Manhattan implies, just might help us employ it better.

Concrete is “the second most used substance in the world, after water,” the museum’s founder/director/curator Carol Willis told AN during a recent visit. For plasticity, versatility, and compressive strength, reinforced concrete is hard to beat, though its performance is more problematic when assessed by the metric of embodied and operational carbon, a consideration the exhibition acknowledges up front. In tall construction, concrete has become nearly hegemonic, yet its central role, contend Willis and co-curator Thomas Leslie, formerly of Foster + Partners and now a professor at the University of Illinois, Urbana-Champaign, is underrecognized by the public and by mainstream architectural history. The current exhibition aims to change that perception.
The Skyscraper Museum in Lower Manhattan features an exhibition, The Modern Concrete Skyscraper, which examines the history of material choices in building tall towers.The Modern Concrete Skyscraper examines the history of tall towers’ structural material choices, describing a transition from the early dominance of steel frames to the contemporary condition, in which most large buildings rely on concrete. This change did not happen instantly or for any single reason but through a combination of technical and economic factors, including innovations by various specialists, well-recognized and otherwise; the availability of high-quality limestone deposits near Chicago; and the differential development of materials industries in nations whose architecture grew prominent in recent decades. As supertalls reach ever higher—in the global race for official height rankings by the Council on Tall Buildings and Urban Habitatand national, corporate, or professional bragging rights—concrete’s dominance may not be permanent in that sector, given the challenge of pumping the material beyond a certain height.For the moment, however, concrete is ahead of its chief competitors, steel andtimber. Regardless of possible promotional inferences, Willis said, “we did not work with the industry in any way for this exhibition.”

“The invention of steel and the grid of steel and the skeleton frame is only the first chapter of the history of the skyscraper,” Willis explained. “The second chapter, and the one that we’re in now, is concrete. Surprisingly, no one had ever told that story of the skyscraper today with a continuous narrative.” The exhibition traces the use of concrete back to the ancient Roman combination of aggregate and pozzolana—the chemical formula for which was “largely lost with the fall of the Roman Empire,” though some Byzantine and medieval structures approximated it. From there, the show explores comparable materials’ revival in 18th-century England, the patenting of Portland cement by Leeds builder Joseph Aspdin in 1824, the proof-of-concept concrete house by François Coignet in 1856, and the pivotal development of rebar in the mid-19th century, with overdue attention to Ernest Ransome’s 1903 Ingalls Building in Cincinnati, then the world’s tallest concrete building at 15 stories and arguably the first concrete skyscraper.
The exhibition includes a timeline that depicts concrete’s origins in Rome to its contemporary use in skyscraper construction.Baker’s lectures, Willis reported, sometimes pose a deceptively simple question: “‘What is a skyscraper?’ In 1974, when the World Trade Center and Sears Tower are just finished, you would say it’s a very tall building that is built of steel, an office building in North America. But if you ask that same question today, the answer is: It’s a building that is mixed-use, constructed of concrete, andin Asia or the Middle East.” The exhibition organizes the history of concrete towers by eras of engineering innovation, devoting special attention to the 19th- and early-20th-century “patent era” of Claude Allen Porter Turnerand Henry Chandlee Turner, Ransome, and François Hennebique. In the postwar era, “concrete comes out onto the surfaceboth a structural material and aesthetic.” Brutalism, perhaps to some observers’ surprise, “does not figure very large in high-rise design,” Willis said, except for Paul Rudolph’s Tracey Towers in the Bronx. The exhibition, however, devotes considerable attention to the work of Pier Luigi Nervi, Bertrand Goldberg, and SOM’s Fazlur Khan, pioneer of the structural tube system in the 1960s and 1970s—followed by the postmodernist 1980s, when concrete could express either engineering values or ornamentation.
The exhibition highlights a number of concrete towers, including Paul Rudolph’s Tracey Towers in the Bronx.“In the ’90s, there were material advances in engineering analysis and computerization that helped to predict performance, and so buildings can get taller and taller,” Willis said. The current era, if one looks to CTBUH rankings, is dominated by the supertalls seen in Dubai, Shanghai, and Kuala Lumpur, after the Petronas Towers“took the title of world’s tallest building from North America for the first time and traumatized everybody about that.” The previous record holder, Chicago’s SearsTower, comprised steel structural tubes on concrete caissons; with Petronas, headquarters of Malaysia’s national petroleum company of that name, a strong concrete industry was represented but a strong national steel industry was lacking, and as Willis frequently says, form follows finances. In any event, by the ’90s concrete was already becoming the standard material for supertalls, particularly on soft-soiled sites like Shanghai, where its water resistance and compressive strength are well suited to foundation construction. Its plasticity is also well suited to complex forms like the triangular Burj, Kuala Lumpur’s Merdeka 118, andthe even taller Jeddah Tower, designed to “confuse the wind,” shed vortices, and manage wind forces. Posing the same question Louis Kahn asked about the intentions of a brick, Willis said, with concrete “the answer is: anything you want.”

The exhibition is front-loaded with scholarly material, presenting eight succinct yet informative wall texts on the timeline of concrete construction. The explanatory material is accompanied by ample photographs as well as structural models on loan from SOM, Pelli Clarke & Partners, and other firms. Some materials are repurposed from the museum’s previous shows, particularly Supertall!and Sky High and the Logic of Luxury. The models allow close examination of the Burj Khalifa, Petronas Towers, Jin Mao Tower, Merdeka 118, and others, including two unbuilt Chicago projects that would have exceeded 2,000 feet: the Miglin-Beitler Skyneedleand 7 South Dearborn. The Burj, Willis noted, was all structure and no facade for a time: When its curtain-wall manufacturer, Schmidlin, went bankrupt in 2006, it “ended up going to 100 stories without having a stitch of glass on it,” temporarily becoming a “1:1 scale model of the structural system up to 100 stories.” Its prominence justifies its appearance here in two models, including one from RWDI’s wind-tunnel studies.
Eero Saarinen’s only skyscraper, built for CBS in 1965 and also known as “Black Rock,” under construction in New York City.The exhibition opened in March, with plans to stay up at least through October, with accompanying lectures and panels to be announced on the museum’s website. Though the exhibition’s full textual and graphic content is available online, the physical models alone are worth a trip to the Battery Park City headquarters.
Intriguing questions arise from the exhibition without easy answers, setting the table for lively discussion and debate. One is whether the patenting of innovations like Ransome bar and the Système Hennebique incentivized technological progress or hindered useful technology transfer. Willis speculated, “Did the fact that there were inventions and patents mean that competition was discouraged, that the competition was only in the realm of business, rather than advancing the material?” A critical question is whether research into the chemistry of concrete, including MIT’s 2023 report on the self-healing properties of Roman pozzolana and proliferating claims about “green concrete” using alternatives to Portland cement, can lead to new types of the material with improved durability and lower emissions footprints. This exhibition provides a firm foundation in concrete’s fascinating history, opening space for informed speculation about its future.
Bill Millard is a regular contributor to AN.
#decades #ago #concrete #overtook #steel

Decades ago, concrete overtook steel as the predominant structural material for towers worldwide—the Skyscraper Museum’s new exhibition examines why and how
“Is that concrete all around, or is it in my head?” asked Ian Hunter in “All the Young Dudes,” the song David Bowie wrote for Mott the Hoople in 1972. Concrete is all around us, and we haven’t quite wrapped our heads around it. It’s one of the indispensable materials of modernity; as we try to decarbonize the built environment, it’s part of the problem, and innovations in its composition may become part of the solution. Understanding its history more clearly, the Skyscraper Museum’s new exhibition in Manhattan implies, just might help us employ it better. Concrete is “the second most used substance in the world, after water,” the museum’s founder/director/curator Carol Willis told AN during a recent visit. For plasticity, versatility, and compressive strength, reinforced concrete is hard to beat, though its performance is more problematic when assessed by the metric of embodied and operational carbon, a consideration the exhibition acknowledges up front. In tall construction, concrete has become nearly hegemonic, yet its central role, contend Willis and co-curator Thomas Leslie, formerly of Foster + Partners and now a professor at the University of Illinois, Urbana-Champaign, is underrecognized by the public and by mainstream architectural history. The current exhibition aims to change that perception. The Skyscraper Museum in Lower Manhattan features an exhibition, The Modern Concrete Skyscraper, which examines the history of material choices in building tall towers.The Modern Concrete Skyscraper examines the history of tall towers’ structural material choices, describing a transition from the early dominance of steel frames to the contemporary condition, in which most large buildings rely on concrete. This change did not happen instantly or for any single reason but through a combination of technical and economic factors, including innovations by various specialists, well-recognized and otherwise; the availability of high-quality limestone deposits near Chicago; and the differential development of materials industries in nations whose architecture grew prominent in recent decades. As supertalls reach ever higher—in the global race for official height rankings by the Council on Tall Buildings and Urban Habitatand national, corporate, or professional bragging rights—concrete’s dominance may not be permanent in that sector, given the challenge of pumping the material beyond a certain height.For the moment, however, concrete is ahead of its chief competitors, steel andtimber. Regardless of possible promotional inferences, Willis said, “we did not work with the industry in any way for this exhibition.” “The invention of steel and the grid of steel and the skeleton frame is only the first chapter of the history of the skyscraper,” Willis explained. “The second chapter, and the one that we’re in now, is concrete. Surprisingly, no one had ever told that story of the skyscraper today with a continuous narrative.” The exhibition traces the use of concrete back to the ancient Roman combination of aggregate and pozzolana—the chemical formula for which was “largely lost with the fall of the Roman Empire,” though some Byzantine and medieval structures approximated it. From there, the show explores comparable materials’ revival in 18th-century England, the patenting of Portland cement by Leeds builder Joseph Aspdin in 1824, the proof-of-concept concrete house by François Coignet in 1856, and the pivotal development of rebar in the mid-19th century, with overdue attention to Ernest Ransome’s 1903 Ingalls Building in Cincinnati, then the world’s tallest concrete building at 15 stories and arguably the first concrete skyscraper. The exhibition includes a timeline that depicts concrete’s origins in Rome to its contemporary use in skyscraper construction.Baker’s lectures, Willis reported, sometimes pose a deceptively simple question: “‘What is a skyscraper?’ In 1974, when the World Trade Center and Sears Tower are just finished, you would say it’s a very tall building that is built of steel, an office building in North America. But if you ask that same question today, the answer is: It’s a building that is mixed-use, constructed of concrete, andin Asia or the Middle East.” The exhibition organizes the history of concrete towers by eras of engineering innovation, devoting special attention to the 19th- and early-20th-century “patent era” of Claude Allen Porter Turnerand Henry Chandlee Turner, Ransome, and François Hennebique. In the postwar era, “concrete comes out onto the surfaceboth a structural material and aesthetic.” Brutalism, perhaps to some observers’ surprise, “does not figure very large in high-rise design,” Willis said, except for Paul Rudolph’s Tracey Towers in the Bronx. The exhibition, however, devotes considerable attention to the work of Pier Luigi Nervi, Bertrand Goldberg, and SOM’s Fazlur Khan, pioneer of the structural tube system in the 1960s and 1970s—followed by the postmodernist 1980s, when concrete could express either engineering values or ornamentation. The exhibition highlights a number of concrete towers, including Paul Rudolph’s Tracey Towers in the Bronx.“In the ’90s, there were material advances in engineering analysis and computerization that helped to predict performance, and so buildings can get taller and taller,” Willis said. The current era, if one looks to CTBUH rankings, is dominated by the supertalls seen in Dubai, Shanghai, and Kuala Lumpur, after the Petronas Towers“took the title of world’s tallest building from North America for the first time and traumatized everybody about that.” The previous record holder, Chicago’s SearsTower, comprised steel structural tubes on concrete caissons; with Petronas, headquarters of Malaysia’s national petroleum company of that name, a strong concrete industry was represented but a strong national steel industry was lacking, and as Willis frequently says, form follows finances. In any event, by the ’90s concrete was already becoming the standard material for supertalls, particularly on soft-soiled sites like Shanghai, where its water resistance and compressive strength are well suited to foundation construction. Its plasticity is also well suited to complex forms like the triangular Burj, Kuala Lumpur’s Merdeka 118, andthe even taller Jeddah Tower, designed to “confuse the wind,” shed vortices, and manage wind forces. Posing the same question Louis Kahn asked about the intentions of a brick, Willis said, with concrete “the answer is: anything you want.” The exhibition is front-loaded with scholarly material, presenting eight succinct yet informative wall texts on the timeline of concrete construction. The explanatory material is accompanied by ample photographs as well as structural models on loan from SOM, Pelli Clarke & Partners, and other firms. Some materials are repurposed from the museum’s previous shows, particularly Supertall!and Sky High and the Logic of Luxury. The models allow close examination of the Burj Khalifa, Petronas Towers, Jin Mao Tower, Merdeka 118, and others, including two unbuilt Chicago projects that would have exceeded 2,000 feet: the Miglin-Beitler Skyneedleand 7 South Dearborn. The Burj, Willis noted, was all structure and no facade for a time: When its curtain-wall manufacturer, Schmidlin, went bankrupt in 2006, it “ended up going to 100 stories without having a stitch of glass on it,” temporarily becoming a “1:1 scale model of the structural system up to 100 stories.” Its prominence justifies its appearance here in two models, including one from RWDI’s wind-tunnel studies. Eero Saarinen’s only skyscraper, built for CBS in 1965 and also known as “Black Rock,” under construction in New York City.The exhibition opened in March, with plans to stay up at least through October, with accompanying lectures and panels to be announced on the museum’s website. Though the exhibition’s full textual and graphic content is available online, the physical models alone are worth a trip to the Battery Park City headquarters. Intriguing questions arise from the exhibition without easy answers, setting the table for lively discussion and debate. One is whether the patenting of innovations like Ransome bar and the Système Hennebique incentivized technological progress or hindered useful technology transfer. Willis speculated, “Did the fact that there were inventions and patents mean that competition was discouraged, that the competition was only in the realm of business, rather than advancing the material?” A critical question is whether research into the chemistry of concrete, including MIT’s 2023 report on the self-healing properties of Roman pozzolana and proliferating claims about “green concrete” using alternatives to Portland cement, can lead to new types of the material with improved durability and lower emissions footprints. This exhibition provides a firm foundation in concrete’s fascinating history, opening space for informed speculation about its future. Bill Millard is a regular contributor to AN. #decades #ago #concrete #overtook #steel

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Decades ago, concrete overtook steel as the predominant structural material for towers worldwide—the Skyscraper Museum’s new exhibition examines why and how

“Is that concrete all around, or is it in my head?” asked Ian Hunter in “All the Young Dudes,” the song David Bowie wrote for Mott the Hoople in 1972. Concrete is all around us, and we haven’t quite wrapped our heads around it. It’s one of the indispensable materials of modernity; as we try to decarbonize the built environment, it’s part of the problem, and innovations in its composition may become part of the solution. Understanding its history more clearly, the Skyscraper Museum’s new exhibition in Manhattan implies, just might help us employ it better. Concrete is “the second most used substance in the world, after water,” the museum’s founder/director/curator Carol Willis told AN during a recent visit. For plasticity, versatility, and compressive strength, reinforced concrete is hard to beat, though its performance is more problematic when assessed by the metric of embodied and operational carbon, a consideration the exhibition acknowledges up front. In tall construction, concrete has become nearly hegemonic, yet its central role, contend Willis and co-curator Thomas Leslie, formerly of Foster + Partners and now a professor at the University of Illinois, Urbana-Champaign, is underrecognized by the public and by mainstream architectural history. The current exhibition aims to change that perception. The Skyscraper Museum in Lower Manhattan features an exhibition, The Modern Concrete Skyscraper, which examines the history of material choices in building tall towers. (Courtesy the Skyscraper Museum) The Modern Concrete Skyscraper examines the history of tall towers’ structural material choices, describing a transition from the early dominance of steel frames to the contemporary condition, in which most large buildings rely on concrete. This change did not happen instantly or for any single reason but through a combination of technical and economic factors, including innovations by various specialists, well-recognized and otherwise; the availability of high-quality limestone deposits near Chicago; and the differential development of materials industries in nations whose architecture grew prominent in recent decades. As supertalls reach ever higher—in the global race for official height rankings by the Council on Tall Buildings and Urban Habitat (CTBUH) and national, corporate, or professional bragging rights—concrete’s dominance may not be permanent in that sector, given the challenge of pumping the material beyond a certain height. (The 2,717-foot Burj Khalifa, formerly Burj Dubai, uses concrete up to 1,987 and steel above that point; Willis quotes SOM’s William Baker describing it as “the tallest steel building with a concrete foundation of 156 stories.”) For the moment, however, concrete is ahead of its chief competitors, steel and (on a smaller scale) timber. Regardless of possible promotional inferences, Willis said, “we did not work with the industry in any way for this exhibition.” “The invention of steel and the grid of steel and the skeleton frame is only the first chapter of the history of the skyscraper,” Willis explained. “The second chapter, and the one that we’re in now, is concrete. Surprisingly, no one had ever told that story of the skyscraper today with a continuous narrative.” The exhibition traces the use of concrete back to the ancient Roman combination of aggregate and pozzolana—the chemical formula for which was “largely lost with the fall of the Roman Empire,” though some Byzantine and medieval structures approximated it. From there, the show explores comparable materials’ revival in 18th-century England, the patenting of Portland cement by Leeds builder Joseph Aspdin in 1824, the proof-of-concept concrete house by François Coignet in 1856, and the pivotal development of rebar in the mid-19th century, with overdue attention to Ernest Ransome’s 1903 Ingalls Building in Cincinnati, then the world’s tallest concrete building at 15 stories and arguably the first concrete skyscraper. The exhibition includes a timeline that depicts concrete’s origins in Rome to its contemporary use in skyscraper construction. (Courtesy the Skyscraper Museum) Baker’s lectures, Willis reported, sometimes pose a deceptively simple question: “‘What is a skyscraper?’ In 1974, when the World Trade Center and Sears Tower are just finished, you would say it’s a very tall building that is built of steel, an office building in North America. But if you ask that same question today, the answer is: It’s a building that is mixed-use, constructed of concrete, and [located] in Asia or the Middle East.” The exhibition organizes the history of concrete towers by eras of engineering innovation, devoting special attention to the 19th- and early-20th-century “patent era” of Claude Allen Porter Turner (pioneer in flat-slab flooring and mushroom columns) and Henry Chandlee Turner (founder of Turner Construction), Ransome (who patented twisted-iron rebar), and François Hennebique (known for the re-inforced concrete system exemplified by Liverpool’s Royal Liver Building, the world’s tallest concrete office building when completed in 1911). In the postwar era, “concrete comes out onto the surface [as] both a structural material and aesthetic.” Brutalism, perhaps to some observers’ surprise, “does not figure very large in high-rise design,” Willis said, except for Paul Rudolph’s Tracey Towers in the Bronx. The exhibition, however, devotes considerable attention to the work of Pier Luigi Nervi, Bertrand Goldberg (particularly Marina City), and SOM’s Fazlur Khan, pioneer of the structural tube system in the 1960s and 1970s—followed by the postmodernist 1980s, when concrete could express either engineering values or ornamentation. The exhibition highlights a number of concrete towers, including Paul Rudolph’s Tracey Towers in the Bronx. (Courtesy the Skyscraper Museum) “In the ’90s, there were material advances in engineering analysis and computerization that helped to predict performance, and so buildings can get taller and taller,” Willis said. The current era, if one looks to CTBUH rankings, is dominated by the supertalls seen in Dubai, Shanghai, and Kuala Lumpur, after the Petronas Towers (1998) “took the title of world’s tallest building from North America for the first time and traumatized everybody about that.” The previous record holder, Chicago’s Sears (now Willis) Tower, comprised steel structural tubes on concrete caissons; with Petronas, headquarters of Malaysia’s national petroleum company of that name, a strong concrete industry was represented but a strong national steel industry was lacking, and as Willis frequently says, form follows finances. In any event, by the ’90s concrete was already becoming the standard material for supertalls, particularly on soft-soiled sites like Shanghai, where its water resistance and compressive strength are well suited to foundation construction. Its plasticity is also well suited to complex forms like the triangular Burj, Kuala Lumpur’s Merdeka 118, and (if eventually completed) the even taller Jeddah Tower, designed to “confuse the wind,” shed vortices, and manage wind forces. Posing the same question Louis Kahn asked about the intentions of a brick, Willis said, with concrete “the answer is: anything you want.” The exhibition is front-loaded with scholarly material, presenting eight succinct yet informative wall texts on the timeline of concrete construction. The explanatory material is accompanied by ample photographs as well as structural models on loan from SOM, Pelli Clarke & Partners, and other firms. Some materials are repurposed from the museum’s previous shows, particularly Supertall! (2011–12) and Sky High and the Logic of Luxury (2013–14). The models allow close examination of the Burj Khalifa, Petronas Towers, Jin Mao Tower, Merdeka 118, and others, including two unbuilt Chicago projects that would have exceeded 2,000 feet: the Miglin-Beitler Skyneedle (Cesar Pelli/Thornton Tomasetti) and 7 South Dearborn (SOM). The Burj, Willis noted, was all structure and no facade for a time: When its curtain-wall manufacturer, Schmidlin, went bankrupt in 2006, it “ended up going to 100 stories without having a stitch of glass on it,” temporarily becoming a “1:1 scale model of the structural system up to 100 stories.” Its prominence justifies its appearance here in two models, including one from RWDI’s wind-tunnel studies. Eero Saarinen’s only skyscraper, built for CBS in 1965 and also known as “Black Rock,” under construction in New York City. (Courtesy Eero Saarinen Collection, Manuscripts, and Archives, Yale University Library) The exhibition opened in March, with plans to stay up at least through October (Willis prefers to keep the date flexible), with accompanying lectures and panels to be announced on the museum’s website (skyscraper.org). Though the exhibition’s full textual and graphic content is available online, the physical models alone are worth a trip to the Battery Park City headquarters. Intriguing questions arise from the exhibition without easy answers, setting the table for lively discussion and debate. One is whether the patenting of innovations like Ransome bar and the Système Hennebique incentivized technological progress or hindered useful technology transfer. Willis speculated, “Did the fact that there were inventions and patents mean that competition was discouraged, that the competition was only in the realm of business, rather than advancing the material?” A critical question is whether research into the chemistry of concrete, including MIT’s 2023 report on the self-healing properties of Roman pozzolana and proliferating claims about “green concrete” using alternatives to Portland cement, can lead to new types of the material with improved durability and lower emissions footprints. This exhibition provides a firm foundation in concrete’s fascinating history, opening space for informed speculation about its future. Bill Millard is a regular contributor to AN.

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2025-06-06 07:26:15 ·

Call for entries: Together, Let&#039;s All Go to the Sports Center!

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The Faculté de l'aménagement at the Université de Montréal is pleased to announce the launch of an international, multidisciplinary and anonymous ideas competition, reserved for students, to create inclusive experiences at the CEPSUM, the Université de Montréal's sports center.With a total of in prizes, the competition promotes the idea of invisible accessibility, an experience of the built environment that is of high quality to all, where the design of accessibility is integrated in an indistinguishable manner, and where universal accessibility is envisaged as a global state of the project experience, rather than a dedicated path made up of identifiable and visible solutions.Participants are invited to propose transformative ideas that offer inclusive and equitable experiences for all users. The competition is structured around three typical sports center experiences that are not currently universally accessible:1. The main entrance - Rethinking the entrance and reception of the sports center;2. Carabins stadium - Improve the game-going experience;3. The pool - Creating an inclusive swimming experience.The proposals received over the summer will be evaluated by a multidisciplinary jury of eight experts. For each of the three experiences, three winning projects will be selected, making a total of nine winners.All proposals will be presented in October 2025 at a conference organized by the Faculté de l'aménagement, bringing together researchers working on accessibility in the built environment."We warmly welcome students from around the world to propose bold, creative ideas that reimagine universal accessibility—not as an add-on, but as an integral, seamless, and uplifting experience for everyone, says Carmela Cucuzzella, Dean of the Faculté de l'aménagement. We are looking for designs that are not only inclusive but also invisible in their accommodation, free of stigma, and full of delight and safety. Think beyond the box—then break it wide open.""A public space that is not accessible to everyone cannot be considered public, says Bechara Helal, Associate Dean of Research and Scientific Life. It is high time to rethink the place of universal accessibility in design disciplines, and that is what this competition aims to do: define innovative ways of designing the built environment so that it can become the setting for quality public experiences for all."About the Faculty of Environmental DesignThe mission of the Faculty of Environmental Design is to train high-calibre professionals and researchers who are qualified to contribute to progress and innovation in design practices. The Faculty is recognized for offering students a rich and stimulating learning environment in a context of intellectual freedom in which students acquire innovative work methods and develop the kind of critical thinking and professional discipline that allow them to become responsible citizens aware of the issues facing them.PrizesAn eight-member multidisciplinary jury will review the proposals. There will be three winning projects given out for each of the three experiences:First place: CAD Second place: CAD Bronze third place: CADAdditionally, each winner will get a certificate of merit.Registrations are open until July 1, 2025. Submission deadline is August 05, 2025 02:00 PM. The top image in the article courtesy of The Faculté de l'aménagement. > via University of Montreal - Faculty of Environmental Design
#call #entries #together #letampamp039s #all

Call for entries: Together, Let&#039;s All Go to the Sports Center!
html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "; The Faculté de l'aménagement at the Université de Montréal is pleased to announce the launch of an international, multidisciplinary and anonymous ideas competition, reserved for students, to create inclusive experiences at the CEPSUM, the Université de Montréal's sports center.With a total of in prizes, the competition promotes the idea of invisible accessibility, an experience of the built environment that is of high quality to all, where the design of accessibility is integrated in an indistinguishable manner, and where universal accessibility is envisaged as a global state of the project experience, rather than a dedicated path made up of identifiable and visible solutions.Participants are invited to propose transformative ideas that offer inclusive and equitable experiences for all users. The competition is structured around three typical sports center experiences that are not currently universally accessible:1. The main entrance - Rethinking the entrance and reception of the sports center;2. Carabins stadium - Improve the game-going experience;3. The pool - Creating an inclusive swimming experience.The proposals received over the summer will be evaluated by a multidisciplinary jury of eight experts. For each of the three experiences, three winning projects will be selected, making a total of nine winners.All proposals will be presented in October 2025 at a conference organized by the Faculté de l'aménagement, bringing together researchers working on accessibility in the built environment."We warmly welcome students from around the world to propose bold, creative ideas that reimagine universal accessibility—not as an add-on, but as an integral, seamless, and uplifting experience for everyone, says Carmela Cucuzzella, Dean of the Faculté de l'aménagement. We are looking for designs that are not only inclusive but also invisible in their accommodation, free of stigma, and full of delight and safety. Think beyond the box—then break it wide open.""A public space that is not accessible to everyone cannot be considered public, says Bechara Helal, Associate Dean of Research and Scientific Life. It is high time to rethink the place of universal accessibility in design disciplines, and that is what this competition aims to do: define innovative ways of designing the built environment so that it can become the setting for quality public experiences for all."About the Faculty of Environmental DesignThe mission of the Faculty of Environmental Design is to train high-calibre professionals and researchers who are qualified to contribute to progress and innovation in design practices. The Faculty is recognized for offering students a rich and stimulating learning environment in a context of intellectual freedom in which students acquire innovative work methods and develop the kind of critical thinking and professional discipline that allow them to become responsible citizens aware of the issues facing them.PrizesAn eight-member multidisciplinary jury will review the proposals. There will be three winning projects given out for each of the three experiences:First place: CAD Second place: CAD Bronze third place: CADAdditionally, each winner will get a certificate of merit.Registrations are open until July 1, 2025. Submission deadline is August 05, 2025 02:00 PM. The top image in the article courtesy of The Faculté de l'aménagement. > via University of Montreal - Faculty of Environmental Design #call #entries #together #letampamp039s #all

WORLDARCHITECTURE.ORG

Call for entries: Together, Let&#039;s All Go to the Sports Center!

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The Faculté de l'aménagement at the Université de Montréal is pleased to announce the launch of an international, multidisciplinary and anonymous ideas competition, reserved for students, to create inclusive experiences at the CEPSUM, the Université de Montréal's sports center.With a total of $31,500 in prizes, the competition promotes the idea of invisible accessibility, an experience of the built environment that is of high quality to all, where the design of accessibility is integrated in an indistinguishable manner, and where universal accessibility is envisaged as a global state of the project experience, rather than a dedicated path made up of identifiable and visible solutions.Participants are invited to propose transformative ideas that offer inclusive and equitable experiences for all users. The competition is structured around three typical sports center experiences that are not currently universally accessible:1. The main entrance - Rethinking the entrance and reception of the sports center;2. Carabins stadium - Improve the game-going experience;3. The pool - Creating an inclusive swimming experience.The proposals received over the summer will be evaluated by a multidisciplinary jury of eight experts. For each of the three experiences, three winning projects will be selected, making a total of nine winners.All proposals will be presented in October 2025 at a conference organized by the Faculté de l'aménagement, bringing together researchers working on accessibility in the built environment."We warmly welcome students from around the world to propose bold, creative ideas that reimagine universal accessibility—not as an add-on, but as an integral, seamless, and uplifting experience for everyone, says Carmela Cucuzzella, Dean of the Faculté de l'aménagement. We are looking for designs that are not only inclusive but also invisible in their accommodation, free of stigma, and full of delight and safety. Think beyond the box—then break it wide open.""A public space that is not accessible to everyone cannot be considered public, says Bechara Helal, Associate Dean of Research and Scientific Life. It is high time to rethink the place of universal accessibility in design disciplines, and that is what this competition aims to do: define innovative ways of designing the built environment so that it can become the setting for quality public experiences for all."About the Faculty of Environmental DesignThe mission of the Faculty of Environmental Design is to train high-calibre professionals and researchers who are qualified to contribute to progress and innovation in design practices. The Faculty is recognized for offering students a rich and stimulating learning environment in a context of intellectual freedom in which students acquire innovative work methods and develop the kind of critical thinking and professional discipline that allow them to become responsible citizens aware of the issues facing them.PrizesAn eight-member multidisciplinary jury will review the proposals. There will be three winning projects given out for each of the three experiences:First place (gold): CAD $6,000.Second place (silver): CAD $3,000.Bronze third place: $1,500.00 CADAdditionally, each winner will get a certificate of merit.Registrations are open until July 1, 2025. Submission deadline is August 05, 2025 02:00 PM. The top image in the article courtesy of The Faculté de l'aménagement. > via University of Montreal - Faculty of Environmental Design

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2025-06-05 08:57:59 ·

Everything We Saw During Sony's Big State Of Play

Today, Sony held its latest State of Play and while it didn’t include some of the bigger games that people were likely hoping for, like a new God of War spin-off, it did include some cool surprises, including what might be the best-looking fighting game I’ve seen in years and a remake of a beloved Final Fantasy title. Suggested ReadingTears Of The Kingdom's Newspaper Questline And The State Of Hyrulean Journalism

Share SubtitlesOffEnglishview videoSuggested ReadingTears Of The Kingdom's Newspaper Questline And The State Of Hyrulean Journalism

Share SubtitlesOffEnglishHere’s the full State of Play if you want to watch it all: State of Play | June 4, 2025Lumines Arise Lumines Arise - Announce Trailer | PS5 GamesThis fun announcement kicked off the 45-minute show. It’s from the devs behind Tetris Effect, and it looksawesome. This one is coming to PS5 and PSVR2 in Fall 2025.Pragmata delayed againPragmata - First Contact Trailer | PS5 GamesCapcom had a new gameplay trailer for its long-awaited space-adventure-action-horror game featuring a young robot girl and a cool astronaut dude fighting robots. The game was set to come out in 2022, got delayed until 2023, and then got delayed again. Now it’s set to arrive in 2026. Romeo Is a Deadman looks wildRomeo is a Dead Man - Announce Trailer | PS5 GamesZombies attack, nearly killing Romeo, but luckily his grandfather shoves a big sci-fi thing into his head and turns him into a sword-wielding half-dead undead killer. Okay, I’m interested. This one is “maybe” arriving in 2026. No shock that Suda51 and Grasshopper Manufacture are behind this wild-looking game. Silent Hill F arrives in SeptemberSilent Hill f - Release Date Trailer | PS5 GamesI’m very happy that we’ve entered a new and better era for the Silent Hill franchise after so, so many years of crap and lukewarm slop. This latest entry looks very different than past games, but still seems properly foggy, spooky, and creepy. And that’s all I need in a Silent Hill sequel. Don’t have to wait long for this one as it launches September 25, 2025.Bloodstained: The Scarlett Engagement is revealedBloodstained: The Scarlet Engagement - Announce Trailer | PS5 GamesSurprise! We are getting a new Bloodstained game. What started back in 2015 as a crowdfunded attempt to make a new Castlevania-inspired 2D action game has expanded into a large franchise of its own. And it’s about to get bigger when this new entry arrives sometime in the future on PS5. Digimon Story Time StrangerDigimon Story Time Stranger - Release Date Trailer | PS5 GamesWow, it’s wild how much better Digimon games look than Pokémon games. This latest time-traveling RPG set in the universe features some slick visuals and a lot of people screaming about the digital world. As someone living in 2025, I’m fine with the digital world being burned to the ground. Time Stranger is out October 3, 2025. Final Fantasy Tactics is finally getting a remakeFinal Fantasy Tactics - The Ivalice Chronicles - Announcement Trailer | PS5 GamesYou can read more about this in our story here, but suffice it to say that the legendary tactics RPG is, at long last, getting the remake fans have been clamoring for for ages. Sony devoted a few minutes to sharing trailers and a few bits of info on these four games, one of which is launching on PS4. Wild. Baby Steps - Release Date Announcement | PS5 GamesHirogami - Pre-order Trailer | PS5 GamesCairn - Release Date and Demo | PS5 GamesNinja Gaiden: Ragebound - Release Date Announcement | PS5 & PS4 GamesMortal Kombat Legacy Collection looks amazingMortal Kombat: Legacy Kollection - Announce Trailer | PS5 & PS4 GamesDigital Eclipse, the retro game wizards behind some excellent old-school video game collections, is taking on the Mortal Kombat series in 2025. Legacy Collection will contain a ton of games from the series, including handheld, console, and arcade ports, as well as rollback netcode and documentary content. I’m very excited to see more of this thing.Sony is making a fight stickProject Defiant Wireless Fight Stick - Teaser TrailerNot much info beyond that. Here’s Sony’s official description of the device:Join the fray at home or away with the Project Defiant wireless fight stick*. Take the fight to your opponents with the included sling carry case, and enjoy precise in-game response with ultra-low latency wireless and wired play options, along with a durable, ergonomic design that’s built for battle.New Metal Gear Solid Delta Snake Eater trailerMetal Gear Solid Δ: Snake Eater - Gameplay Trailer | PS5 GamesThe Ape Escape mode is back and looks bigger than before. But the big news is at the very end, where Konami is teasing what looks like a multiplayer mode. Is Metal Gear Online returning? I hope so. Nioh 3 is coming in 2026, a demo is out nowNioh 3 - Announcement Trailer | PS5 GamesTeam Ninja is back with Nioh 3. The game will let players swap between a samurai and a ninja on the fly during combat, and looks slick as heck. This one drops in 2026, but you can check out a demo for it today on PS5. Thief VR spin-off coming to PSVR2 this yearThief VR: Legacy of Shadow - Reveal Trailer | PS VR2 GamesWhen I saw this trailer, I thought, “Hey, this looks like a new Thief game.” And I was right. Thief VR Legacy of Shadow arrives in 2025 and is being co-developed by Eidos-Montréal and Vertigo Games. Tides of Tomorrow looks like a colorful Waterworld gameTides of Tomorrow - Release Date Trailer | PS5 GamesI love colorful-looking games, so Tides of Tomorrow instantly caught my eye. The mix of online asynchronous gameplay and having to deal with other people’s decisions in a dying and flooded world sounds interesting. Tides of Tomorrow arrives in February 2026.Astro Bot is getting even more levels! Astro Bot - Challenge DLC Trailer | State of Play 2025One of the best PS5 games ever made, Astro Bot, is getting even more free levels later this month. Five new levels will soon be added to Astro Bot. And Sony is bringing back the fan-favorite Astro Bot PS5 controller that sold out instantly last year.Sea of Remnants is another colorful pirate gameSea of Remnants - Announce Trailer | PS5 GamesWait a minute, another colorful and fun-looking ocean-based adventure game? That’s strange. But anyway, this third-person pirate game has a cool style and big bosses to fight. and ship gameplay. And mermaids. It arrives on PS5 in 2026. Sword of the Sea is coming to PS PlusSword of the Sea - Launch Date Announcement | PS5 GamesThe people behind Abzu and Pathless have a new game coming out, and it looks like you’ll be doing a lot of sick sword surfing. This launches on PS Plus on August 19. More games coming to PS Plus Classic CatalogDeus Ex’s PS2 port - Jun 17Twisted Metal 3 and Twisted Metal 4 - July 15Resident Evil 2 and Resident Evil 3 - Later this summer007 First Light reveals its new Bond“Bond is a bullet without a target. Let’s give him one.” This new trailer looks exciting as heck, but I’m really bummed by how boring the new Bond himself looks. This is out in 2026. here. Ghost of Yotei will get its own digital eventSony is promising a big gamepaly deep dive for Sucker Punch’s upcoming samurai game. Expect to learn more in July. MARVEL Tōkon: Fighting Souls | Announce TrailerWell, this is a wonderful surprise. Sony, Marvel, and Arc System Worksare teaming up to make a 2.5D Marvel Comics tag-team fighting game. And it looks sick as hell. Marvel Tōkon: Fighting Souls is coming out in 2026 on PS5 and PC. Here’s a separate video Sony posted about how the game came about and the work going into it: MARVEL Tōkon: Fighting Souls | From Japan to the World
#everything #saw #during #sony039s #big

Everything We Saw During Sony's Big State Of Play
Today, Sony held its latest State of Play and while it didn’t include some of the bigger games that people were likely hoping for, like a new God of War spin-off, it did include some cool surprises, including what might be the best-looking fighting game I’ve seen in years and a remake of a beloved Final Fantasy title. Suggested ReadingTears Of The Kingdom's Newspaper Questline And The State Of Hyrulean Journalism Share SubtitlesOffEnglishview videoSuggested ReadingTears Of The Kingdom's Newspaper Questline And The State Of Hyrulean Journalism Share SubtitlesOffEnglishHere’s the full State of Play if you want to watch it all: State of Play | June 4, 2025Lumines Arise Lumines Arise - Announce Trailer | PS5 GamesThis fun announcement kicked off the 45-minute show. It’s from the devs behind Tetris Effect, and it looksawesome. This one is coming to PS5 and PSVR2 in Fall 2025.Pragmata delayed againPragmata - First Contact Trailer | PS5 GamesCapcom had a new gameplay trailer for its long-awaited space-adventure-action-horror game featuring a young robot girl and a cool astronaut dude fighting robots. The game was set to come out in 2022, got delayed until 2023, and then got delayed again. Now it’s set to arrive in 2026. Romeo Is a Deadman looks wildRomeo is a Dead Man - Announce Trailer | PS5 GamesZombies attack, nearly killing Romeo, but luckily his grandfather shoves a big sci-fi thing into his head and turns him into a sword-wielding half-dead undead killer. Okay, I’m interested. This one is “maybe” arriving in 2026. No shock that Suda51 and Grasshopper Manufacture are behind this wild-looking game. Silent Hill F arrives in SeptemberSilent Hill f - Release Date Trailer | PS5 GamesI’m very happy that we’ve entered a new and better era for the Silent Hill franchise after so, so many years of crap and lukewarm slop. This latest entry looks very different than past games, but still seems properly foggy, spooky, and creepy. And that’s all I need in a Silent Hill sequel. Don’t have to wait long for this one as it launches September 25, 2025.Bloodstained: The Scarlett Engagement is revealedBloodstained: The Scarlet Engagement - Announce Trailer | PS5 GamesSurprise! We are getting a new Bloodstained game. What started back in 2015 as a crowdfunded attempt to make a new Castlevania-inspired 2D action game has expanded into a large franchise of its own. And it’s about to get bigger when this new entry arrives sometime in the future on PS5. Digimon Story Time StrangerDigimon Story Time Stranger - Release Date Trailer | PS5 GamesWow, it’s wild how much better Digimon games look than Pokémon games. This latest time-traveling RPG set in the universe features some slick visuals and a lot of people screaming about the digital world. As someone living in 2025, I’m fine with the digital world being burned to the ground. Time Stranger is out October 3, 2025. Final Fantasy Tactics is finally getting a remakeFinal Fantasy Tactics - The Ivalice Chronicles - Announcement Trailer | PS5 GamesYou can read more about this in our story here, but suffice it to say that the legendary tactics RPG is, at long last, getting the remake fans have been clamoring for for ages. Sony devoted a few minutes to sharing trailers and a few bits of info on these four games, one of which is launching on PS4. Wild. Baby Steps - Release Date Announcement | PS5 GamesHirogami - Pre-order Trailer | PS5 GamesCairn - Release Date and Demo | PS5 GamesNinja Gaiden: Ragebound - Release Date Announcement | PS5 & PS4 GamesMortal Kombat Legacy Collection looks amazingMortal Kombat: Legacy Kollection - Announce Trailer | PS5 & PS4 GamesDigital Eclipse, the retro game wizards behind some excellent old-school video game collections, is taking on the Mortal Kombat series in 2025. Legacy Collection will contain a ton of games from the series, including handheld, console, and arcade ports, as well as rollback netcode and documentary content. I’m very excited to see more of this thing.Sony is making a fight stickProject Defiant Wireless Fight Stick - Teaser TrailerNot much info beyond that. Here’s Sony’s official description of the device:Join the fray at home or away with the Project Defiant wireless fight stick*. Take the fight to your opponents with the included sling carry case, and enjoy precise in-game response with ultra-low latency wireless and wired play options, along with a durable, ergonomic design that’s built for battle.New Metal Gear Solid Delta Snake Eater trailerMetal Gear Solid Δ: Snake Eater - Gameplay Trailer | PS5 GamesThe Ape Escape mode is back and looks bigger than before. But the big news is at the very end, where Konami is teasing what looks like a multiplayer mode. Is Metal Gear Online returning? I hope so. Nioh 3 is coming in 2026, a demo is out nowNioh 3 - Announcement Trailer | PS5 GamesTeam Ninja is back with Nioh 3. The game will let players swap between a samurai and a ninja on the fly during combat, and looks slick as heck. This one drops in 2026, but you can check out a demo for it today on PS5. Thief VR spin-off coming to PSVR2 this yearThief VR: Legacy of Shadow - Reveal Trailer | PS VR2 GamesWhen I saw this trailer, I thought, “Hey, this looks like a new Thief game.” And I was right. Thief VR Legacy of Shadow arrives in 2025 and is being co-developed by Eidos-Montréal and Vertigo Games. Tides of Tomorrow looks like a colorful Waterworld gameTides of Tomorrow - Release Date Trailer | PS5 GamesI love colorful-looking games, so Tides of Tomorrow instantly caught my eye. The mix of online asynchronous gameplay and having to deal with other people’s decisions in a dying and flooded world sounds interesting. Tides of Tomorrow arrives in February 2026.Astro Bot is getting even more levels! Astro Bot - Challenge DLC Trailer | State of Play 2025One of the best PS5 games ever made, Astro Bot, is getting even more free levels later this month. Five new levels will soon be added to Astro Bot. And Sony is bringing back the fan-favorite Astro Bot PS5 controller that sold out instantly last year.Sea of Remnants is another colorful pirate gameSea of Remnants - Announce Trailer | PS5 GamesWait a minute, another colorful and fun-looking ocean-based adventure game? That’s strange. But anyway, this third-person pirate game has a cool style and big bosses to fight. and ship gameplay. And mermaids. It arrives on PS5 in 2026. Sword of the Sea is coming to PS PlusSword of the Sea - Launch Date Announcement | PS5 GamesThe people behind Abzu and Pathless have a new game coming out, and it looks like you’ll be doing a lot of sick sword surfing. This launches on PS Plus on August 19. More games coming to PS Plus Classic CatalogDeus Ex’s PS2 port - Jun 17Twisted Metal 3 and Twisted Metal 4 - July 15Resident Evil 2 and Resident Evil 3 - Later this summer007 First Light reveals its new Bond“Bond is a bullet without a target. Let’s give him one.” This new trailer looks exciting as heck, but I’m really bummed by how boring the new Bond himself looks. This is out in 2026. here. Ghost of Yotei will get its own digital eventSony is promising a big gamepaly deep dive for Sucker Punch’s upcoming samurai game. Expect to learn more in July. MARVEL Tōkon: Fighting Souls | Announce TrailerWell, this is a wonderful surprise. Sony, Marvel, and Arc System Worksare teaming up to make a 2.5D Marvel Comics tag-team fighting game. And it looks sick as hell. Marvel Tōkon: Fighting Souls is coming out in 2026 on PS5 and PC. Here’s a separate video Sony posted about how the game came about and the work going into it: MARVEL Tōkon: Fighting Souls | From Japan to the World #everything #saw #during #sony039s #big

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Everything We Saw During Sony's Big State Of Play

Today, Sony held its latest State of Play and while it didn’t include some of the bigger games that people were likely hoping for, like a new God of War spin-off, it did include some cool surprises, including what might be the best-looking fighting game I’ve seen in years and a remake of a beloved Final Fantasy title. Suggested ReadingTears Of The Kingdom's Newspaper Questline And The State Of Hyrulean Journalism Share SubtitlesOffEnglishview videoSuggested ReadingTears Of The Kingdom's Newspaper Questline And The State Of Hyrulean Journalism Share SubtitlesOffEnglishHere’s the full State of Play if you want to watch it all: State of Play | June 4, 2025 [English]Lumines Arise Lumines Arise - Announce Trailer | PS5 GamesThis fun announcement kicked off the 45-minute show. It’s from the devs behind Tetris Effect, and it looks (and sounds) awesome. This one is coming to PS5 and PSVR2 in Fall 2025.Pragmata delayed againPragmata - First Contact Trailer | PS5 GamesCapcom had a new gameplay trailer for its long-awaited space-adventure-action-horror game featuring a young robot girl and a cool astronaut dude fighting robots. The game was set to come out in 2022, got delayed until 2023, and then got delayed again. Now it’s set to arrive in 2026. Romeo Is a Deadman looks wildRomeo is a Dead Man - Announce Trailer | PS5 GamesZombies attack, nearly killing Romeo, but luckily his grandfather shoves a big sci-fi thing into his head and turns him into a sword-wielding half-dead undead killer. Okay, I’m interested. This one is “maybe” arriving in 2026. No shock that Suda51 and Grasshopper Manufacture are behind this wild-looking game. Silent Hill F arrives in SeptemberSilent Hill f - Release Date Trailer | PS5 GamesI’m very happy that we’ve entered a new and better era for the Silent Hill franchise after so, so many years of crap and lukewarm slop. This latest entry looks very different than past games, but still seems properly foggy, spooky, and creepy. And that’s all I need in a Silent Hill sequel. Don’t have to wait long for this one as it launches September 25, 2025.Bloodstained: The Scarlett Engagement is revealedBloodstained: The Scarlet Engagement - Announce Trailer | PS5 GamesSurprise! We are getting a new Bloodstained game. What started back in 2015 as a crowdfunded attempt to make a new Castlevania-inspired 2D action game has expanded into a large franchise of its own. And it’s about to get bigger when this new entry arrives sometime in the future on PS5. Digimon Story Time StrangerDigimon Story Time Stranger - Release Date Trailer | PS5 GamesWow, it’s wild how much better Digimon games look than Pokémon games. This latest time-traveling RPG set in the universe features some slick visuals and a lot of people screaming about the digital world. As someone living in 2025, I’m fine with the digital world being burned to the ground. Time Stranger is out October 3, 2025. Final Fantasy Tactics is finally getting a remakeFinal Fantasy Tactics - The Ivalice Chronicles - Announcement Trailer | PS5 GamesYou can read more about this in our story here, but suffice it to say that the legendary tactics RPG is, at long last, getting the remake fans have been clamoring for for ages. Sony devoted a few minutes to sharing trailers and a few bits of info on these four games, one of which is launching on PS4. Wild. Baby Steps - Release Date Announcement | PS5 GamesHirogami - Pre-order Trailer | PS5 GamesCairn - Release Date and Demo | PS5 GamesNinja Gaiden: Ragebound - Release Date Announcement | PS5 & PS4 GamesMortal Kombat Legacy Collection looks amazingMortal Kombat: Legacy Kollection - Announce Trailer | PS5 & PS4 GamesDigital Eclipse, the retro game wizards behind some excellent old-school video game collections, is taking on the Mortal Kombat series in 2025. Legacy Collection will contain a ton of games from the series, including handheld, console, and arcade ports, as well as rollback netcode and documentary content. I’m very excited to see more of this thing.Sony is making a fight stickProject Defiant Wireless Fight Stick - Teaser TrailerNot much info beyond that. Here’s Sony’s official description of the device:Join the fray at home or away with the Project Defiant wireless fight stick*. Take the fight to your opponents with the included sling carry case, and enjoy precise in-game response with ultra-low latency wireless and wired play options, along with a durable, ergonomic design that’s built for battle.New Metal Gear Solid Delta Snake Eater trailerMetal Gear Solid Δ: Snake Eater - Gameplay Trailer | PS5 GamesThe Ape Escape mode is back and looks bigger than before. But the big news is at the very end, where Konami is teasing what looks like a multiplayer mode. Is Metal Gear Online returning? I hope so. Nioh 3 is coming in 2026, a demo is out nowNioh 3 - Announcement Trailer | PS5 GamesTeam Ninja is back with Nioh 3. The game will let players swap between a samurai and a ninja on the fly during combat, and looks slick as heck. This one drops in 2026, but you can check out a demo for it today on PS5. Thief VR spin-off coming to PSVR2 this yearThief VR: Legacy of Shadow - Reveal Trailer | PS VR2 GamesWhen I saw this trailer, I thought, “Hey, this looks like a new Thief game.” And I was right. Thief VR Legacy of Shadow arrives in 2025 and is being co-developed by Eidos-Montréal and Vertigo Games. Tides of Tomorrow looks like a colorful Waterworld gameTides of Tomorrow - Release Date Trailer | PS5 GamesI love colorful-looking games, so Tides of Tomorrow instantly caught my eye. The mix of online asynchronous gameplay and having to deal with other people’s decisions in a dying and flooded world sounds interesting. Tides of Tomorrow arrives in February 2026.Astro Bot is getting even more levels! Astro Bot - Challenge DLC Trailer | State of Play 2025One of the best PS5 games ever made, Astro Bot, is getting even more free levels later this month. Five new levels will soon be added to Astro Bot. And Sony is bringing back the fan-favorite Astro Bot PS5 controller that sold out instantly last year.Sea of Remnants is another colorful pirate gameSea of Remnants - Announce Trailer | PS5 GamesWait a minute, another colorful and fun-looking ocean-based adventure game? That’s strange. But anyway, this third-person pirate game has a cool style and big bosses to fight. and ship gameplay. And mermaids. It arrives on PS5 in 2026. Sword of the Sea is coming to PS PlusSword of the Sea - Launch Date Announcement | PS5 GamesThe people behind Abzu and Pathless have a new game coming out, and it looks like you’ll be doing a lot of sick sword surfing. This launches on PS Plus on August 19. More games coming to PS Plus Classic CatalogDeus Ex’s PS2 port - Jun 17Twisted Metal 3 and Twisted Metal 4 - July 15Resident Evil 2 and Resident Evil 3 - Later this summer007 First Light reveals its new Bond“Bond is a bullet without a target. Let’s give him one.” This new trailer looks exciting as heck, but I’m really bummed by how boring the new Bond himself looks. This is out in 2026. Read more here. Ghost of Yotei will get its own digital eventSony is promising a big gamepaly deep dive for Sucker Punch’s upcoming samurai game. Expect to learn more in July. MARVEL Tōkon: Fighting Souls | Announce TrailerWell, this is a wonderful surprise. Sony, Marvel, and Arc System Works (Guilty Gear, BlazBlue, Dragon Ball FighterZ) are teaming up to make a 2.5D Marvel Comics tag-team fighting game. And it looks sick as hell. Marvel Tōkon: Fighting Souls is coming out in 2026 on PS5 and PC. Here’s a separate video Sony posted about how the game came about and the work going into it: MARVEL Tōkon: Fighting Souls | From Japan to the World

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World Architecture Community compartilhou um link

2025-06-05 08:30:08 ·

The 2025 São Paulo International Architecture Biennale will be held from September 18 to October 19

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The São Paulo International Architecture Biennale is one of the most important venues for the promotion and discussion of Brazilian architectural culture. Its history begins in 1951, when it was part of the São Paulo Art Biennale as the International Architecture Exhibition. There were eleven editions between 1951 and 1971. Under 1973, the first BIAsp under the current format was conducted. Over two million individuals are thought to have attended the 13 biennales since then; certain editions, such as the 12th, had over 300,000 guests.This year, the 14th São Paulo International Architecture Biennale will take place from September 18 to October 19, 2025, at the Oca Pavilion in Ibirapuera Park, an iconic building designed by Oscar Niemeyer.The curatorial proposal is "Extremes: Architectures for an Overheated Planet", emphasizing the problem of climate extremes. The point of no return challenges us to reconsider how we live on Earth, looking for solutions not just in production studies and scientific discoveries but also in the knowledge of Indigenous villages, quilombos, and urban peripheries. By offering tangible solutions to global warming and methods for adjusting to the extreme occurrences we are already seeing, the Biennale will act as a meeting place for various knowledge systems.The 14th BIAsp's curators have identified five thematic axes that will direct the event's talks, ideas, and proposals, drawing inspiration from the IPCC'sfindings, especially the AR6 report:–Preserving Forests and Reforesting Cities–Embracing Water–Refurbishing More and Building Green–Moving and Reaching Places Together with Renewable Energies–Ensuring Climate Justice and Social HousingSix architects—Renato Anelli, Karina de Souza, Marcos Cereto, Clevio Rabelo, Marcella Arruda, and Jerá Guarani—are part of the collective curatorship for the 14th BIAsp this year. Through their professional activities, they represent many regional contexts throughout Brazil.The top image in the article courtesy of São Paulo International Architecture Biennale.> via São Paulo International Architecture Biennale
#são #paulo #international #architecture #biennale

The 2025 São Paulo International Architecture Biennale will be held from September 18 to October 19
html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "; The São Paulo International Architecture Biennale is one of the most important venues for the promotion and discussion of Brazilian architectural culture. Its history begins in 1951, when it was part of the São Paulo Art Biennale as the International Architecture Exhibition. There were eleven editions between 1951 and 1971. Under 1973, the first BIAsp under the current format was conducted. Over two million individuals are thought to have attended the 13 biennales since then; certain editions, such as the 12th, had over 300,000 guests.This year, the 14th São Paulo International Architecture Biennale will take place from September 18 to October 19, 2025, at the Oca Pavilion in Ibirapuera Park, an iconic building designed by Oscar Niemeyer.The curatorial proposal is "Extremes: Architectures for an Overheated Planet", emphasizing the problem of climate extremes. The point of no return challenges us to reconsider how we live on Earth, looking for solutions not just in production studies and scientific discoveries but also in the knowledge of Indigenous villages, quilombos, and urban peripheries. By offering tangible solutions to global warming and methods for adjusting to the extreme occurrences we are already seeing, the Biennale will act as a meeting place for various knowledge systems.The 14th BIAsp's curators have identified five thematic axes that will direct the event's talks, ideas, and proposals, drawing inspiration from the IPCC'sfindings, especially the AR6 report:–Preserving Forests and Reforesting Cities–Embracing Water–Refurbishing More and Building Green–Moving and Reaching Places Together with Renewable Energies–Ensuring Climate Justice and Social HousingSix architects—Renato Anelli, Karina de Souza, Marcos Cereto, Clevio Rabelo, Marcella Arruda, and Jerá Guarani—are part of the collective curatorship for the 14th BIAsp this year. Through their professional activities, they represent many regional contexts throughout Brazil.The top image in the article courtesy of São Paulo International Architecture Biennale.> via São Paulo International Architecture Biennale #são #paulo #international #architecture #biennale

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The 2025 São Paulo International Architecture Biennale will be held from September 18 to October 19

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The São Paulo International Architecture Biennale is one of the most important venues for the promotion and discussion of Brazilian architectural culture. Its history begins in 1951, when it was part of the São Paulo Art Biennale as the International Architecture Exhibition. There were eleven editions between 1951 and 1971. Under 1973, the first BIAsp under the current format was conducted. Over two million individuals are thought to have attended the 13 biennales since then; certain editions, such as the 12th, had over 300,000 guests.This year, the 14th São Paulo International Architecture Biennale will take place from September 18 to October 19, 2025, at the Oca Pavilion in Ibirapuera Park, an iconic building designed by Oscar Niemeyer.The curatorial proposal is "Extremes: Architectures for an Overheated Planet", emphasizing the problem of climate extremes. The point of no return challenges us to reconsider how we live on Earth, looking for solutions not just in production studies and scientific discoveries but also in the knowledge of Indigenous villages, quilombos (traditional communities of enslaved people who have escaped), and urban peripheries. By offering tangible solutions to global warming and methods for adjusting to the extreme occurrences we are already seeing, the Biennale will act as a meeting place for various knowledge systems.The 14th BIAsp's curators have identified five thematic axes that will direct the event's talks, ideas, and proposals, drawing inspiration from the IPCC's (Intergovernmental Panel on Climate Change) findings, especially the AR6 report:–Preserving Forests and Reforesting Cities–Embracing Water–Refurbishing More and Building Green–Moving and Reaching Places Together with Renewable Energies–Ensuring Climate Justice and Social HousingSix architects—Renato Anelli, Karina de Souza, Marcos Cereto, Clevio Rabelo, Marcella Arruda, and Jerá Guarani—are part of the collective curatorship for the 14th BIAsp this year. Through their professional activities, they represent many regional contexts throughout Brazil.The top image in the article courtesy of São Paulo International Architecture Biennale.> via São Paulo International Architecture Biennale

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2025-06-05 08:26:49 ·

Build A Rocket Boy execs depart one week before MindsEye launches

Two executives at Build A Rocket Boy have parted ways with the studio, a mere week ahead of the launch of its next title, MindsEye, on June 10.Spotted by Eurogamer, Chief Legal Officer Riley Graebner and Chief Financial Officer Paul Bland have departed the company. They announced their leave on LinkedIn.Graebner, who was at the studio for three and a half years, said he’s proud of what the team accomplished. He mentioned doubling the size of the company to over 450 people and building a legal team and legal ops infrastructure as highlights of his tenure."There are so many people who have made my time at BARB memorable and I fear forgetting essential names," Graebner wrote. "A heartfelt thank you will have to do."A "concerted effort" to "trash" MindsEye and Build A Rocket BoyThe news comes days after a user in the MindsEye Discord server asked studio co-CEO Mark Gerhard if the people who reacted negatively to the game were financed by someone, to which he replied "100%"He then claimed that there's been a "concerted effort to trash the game and the studio."Build A Rocket Boy, which is spearheaded by former Grand Theft Auto V producer Leslie Benzies, is following up on a tumultuous 2024. In January, the studio received million to continue building its immersive game platform Everywhere, announced back in 2022 around vague mentions of a blockchain component, as well as MindsEye and UGC design tools. Then, it laid off an unknown number of staff just over four weeks later.Related:In October, Hitman creator IO Interactive announced a partnership as publisher for MindsEye, as well as the Everywhere platform. Two months later, the studio acquired PlayFusion. As part of the deal, Gerhard, who was CEO and CTO at the studio, joined Build A Rocket Boy as co-CEO."We’ve always admired PlayFusion’s creativity and innovative approach to transmedia entertainment, and joining forces with them will ascend Build a Rocket Boy to our next level of excellence," Benzies said at the time.
#build #rocket #boy #execs #depart

Build A Rocket Boy execs depart one week before MindsEye launches
Two executives at Build A Rocket Boy have parted ways with the studio, a mere week ahead of the launch of its next title, MindsEye, on June 10.Spotted by Eurogamer, Chief Legal Officer Riley Graebner and Chief Financial Officer Paul Bland have departed the company. They announced their leave on LinkedIn.Graebner, who was at the studio for three and a half years, said he’s proud of what the team accomplished. He mentioned doubling the size of the company to over 450 people and building a legal team and legal ops infrastructure as highlights of his tenure."There are so many people who have made my time at BARB memorable and I fear forgetting essential names," Graebner wrote. "A heartfelt thank you will have to do."A "concerted effort" to "trash" MindsEye and Build A Rocket BoyThe news comes days after a user in the MindsEye Discord server asked studio co-CEO Mark Gerhard if the people who reacted negatively to the game were financed by someone, to which he replied "100%"He then claimed that there's been a "concerted effort to trash the game and the studio."Build A Rocket Boy, which is spearheaded by former Grand Theft Auto V producer Leslie Benzies, is following up on a tumultuous 2024. In January, the studio received million to continue building its immersive game platform Everywhere, announced back in 2022 around vague mentions of a blockchain component, as well as MindsEye and UGC design tools. Then, it laid off an unknown number of staff just over four weeks later.Related:In October, Hitman creator IO Interactive announced a partnership as publisher for MindsEye, as well as the Everywhere platform. Two months later, the studio acquired PlayFusion. As part of the deal, Gerhard, who was CEO and CTO at the studio, joined Build A Rocket Boy as co-CEO."We’ve always admired PlayFusion’s creativity and innovative approach to transmedia entertainment, and joining forces with them will ascend Build a Rocket Boy to our next level of excellence," Benzies said at the time. #build #rocket #boy #execs #depart

WWW.GAMEDEVELOPER.COM

Build A Rocket Boy execs depart one week before MindsEye launches

Two executives at Build A Rocket Boy have parted ways with the studio, a mere week ahead of the launch of its next title, MindsEye, on June 10.Spotted by Eurogamer, Chief Legal Officer Riley Graebner and Chief Financial Officer Paul Bland have departed the company. They announced their leave on LinkedIn.Graebner, who was at the studio for three and a half years, said he’s proud of what the team accomplished. He mentioned doubling the size of the company to over 450 people and building a legal team and legal ops infrastructure as highlights of his tenure."There are so many people who have made my time at BARB memorable and I fear forgetting essential names," Graebner wrote. "A heartfelt thank you will have to do."A "concerted effort" to "trash" MindsEye and Build A Rocket BoyThe news comes days after a user in the MindsEye Discord server asked studio co-CEO Mark Gerhard if the people who reacted negatively to the game were financed by someone, to which he replied "100%" (via VG247.) He then claimed that there's been a "concerted effort to trash the game and the studio."Build A Rocket Boy, which is spearheaded by former Grand Theft Auto V producer Leslie Benzies, is following up on a tumultuous 2024. In January, the studio received $110 million to continue building its immersive game platform Everywhere, announced back in 2022 around vague mentions of a blockchain component, as well as MindsEye and UGC design tools. Then, it laid off an unknown number of staff just over four weeks later.Related:In October, Hitman creator IO Interactive announced a partnership as publisher for MindsEye, as well as the Everywhere platform. Two months later, the studio acquired PlayFusion. As part of the deal, Gerhard, who was CEO and CTO at the studio, joined Build A Rocket Boy as co-CEO."We’ve always admired PlayFusion’s creativity and innovative approach to transmedia entertainment, and joining forces with them will ascend Build a Rocket Boy to our next level of excellence," Benzies said at the time.

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Animation World Network compartilhou um link

2025-06-05 08:26:45 ·

Warner Bros. Pictures Pushes ‘Animal Friends’ to Next Year

Warner Bros Pictures has moved the release of Legendary Entertainment’s live-action toon hybrid feature Animal Friends from October 10, 2025 to May 1, 2026, according to Deadline.
Filmmaker Peter Atencio will helm the project, from a script by Kevin Burrows and Matt Mider. The cast includes Ryan Reynolds, Jason Momoa, Aubrey Plaza, Addison Rae, Dan Levy, Lil Rel Howery, and Ellie Bamber.
Still premiering this year on October 10 are Disney’s Tron: Ares, Paramount/Miramax’s Roofman, Roadside Attractions/LD Entertainment and Lionsgate’s Kiss of the Spider Woman, and Sony’s Soul on Fire.
Legendary, Maximum Effort and Prime Focus Studios produce.

Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions.
#warner #bros #pictures #pushes #animal

Warner Bros. Pictures Pushes ‘Animal Friends’ to Next Year
Warner Bros Pictures has moved the release of Legendary Entertainment’s live-action toon hybrid feature Animal Friends from October 10, 2025 to May 1, 2026, according to Deadline. Filmmaker Peter Atencio will helm the project, from a script by Kevin Burrows and Matt Mider. The cast includes Ryan Reynolds, Jason Momoa, Aubrey Plaza, Addison Rae, Dan Levy, Lil Rel Howery, and Ellie Bamber. Still premiering this year on October 10 are Disney’s Tron: Ares, Paramount/Miramax’s Roofman, Roadside Attractions/LD Entertainment and Lionsgate’s Kiss of the Spider Woman, and Sony’s Soul on Fire. Legendary, Maximum Effort and Prime Focus Studios produce. Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions. #warner #bros #pictures #pushes #animal

WWW.AWN.COM

Warner Bros. Pictures Pushes ‘Animal Friends’ to Next Year

Warner Bros Pictures has moved the release of Legendary Entertainment’s live-action toon hybrid feature Animal Friends from October 10, 2025 to May 1, 2026, according to Deadline. Filmmaker Peter Atencio will helm the project, from a script by Kevin Burrows and Matt Mider. The cast includes Ryan Reynolds, Jason Momoa, Aubrey Plaza, Addison Rae, Dan Levy, Lil Rel Howery, and Ellie Bamber. Still premiering this year on October 10 are Disney’s Tron: Ares, Paramount/Miramax’s Roofman, Roadside Attractions/LD Entertainment and Lionsgate’s Kiss of the Spider Woman, and Sony’s Soul on Fire. Legendary, Maximum Effort and Prime Focus Studios produce. Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions.

260

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2025-06-05 08:19:06 ·

Sun and shade take centre stage with The Bentway’s immersive summer program

Project Render. Image credit: The Bentway
The Bentway has announced its summer 2025 season of programming headlined by a new public art exhibition, Sun/Shade, a dance performance atop a large sand dune, and a city-wide installation of a moving forest.
From now until October 5, Sun/Shade will explore the city’s changing relationship with these natural features. The art exhibition aims to bring together a mix of artists, designers, and researchers from Toronto and beyond to deploy natural light and shadow as creative tools, to reveal how new thinking about familiar resources can improve urban life.
The Gardiner offers a canvas for the new art exhibition and experimentation. Stretching over 6.5 km, the elevated highway’s canopy provides the city with its largest continuous shadow, making the area a natural haven for those seeking sun and shade. This space will provide the benefits of both elements while also serving as a gathering place for community events, public art, recreation, and lively celebrations throughout the summer.
“As extreme urban heat events rise in Toronto and cities everywhere, it’s even more vital to create accessible spaces where communities can maximize access to shade and stay protected from harsh light,” said Ilana Altman, co-executive director of The Bentway. “This season of programming explores how we must adapt to our changing climate and reshape our public spaces to balance the benefits of both sun and shade. Our creative collaborators are prompting us to recognize shade as an essential public resource and embrace sunlight as a creative collaborator.”
Visitors will be able to experience the world premiere of Sand Flight from Norway choreographer Ingri Fiksdal and theatre director Jonas Corell Petersen, where eight dancers and a 50-person choir will descend on a massive sand dune exploring new traditions for changing climates. Carrying on the theme is Moving Forest by Amsterdam’s NL Architects, a mobile project featuring a flock of 50 trees travelling throughout the city, will bring shade to sunbaked urban sites across the Greater Toronto Area.
A key dimension of Sun/Shade explores the importance of shaded spaces for public health, anchored by a new partnership with The Bentway’s official Sun-Safety Partner, the David Cornfield Melanoma Fund.
“Skin cancer is the most commonly diagnosed cancer in Canada, and the incidence of melanoma – the deadliest form of skin cancer – is rising. The best way to prevent skin cancer is to protect your skin from the sun,” said Danielle Paterson, executive director of the David Cornfield Melanoma Fund. “We are proud to partner with The Bentway on Sun/Shade, an amazing sun safety initiative that emphasizes the importance of accessible public shade in Toronto.”
For more information, click here.
The post Sun and shade take centre stage with The Bentway’s immersive summer program appeared first on Canadian Architect.
#sun #shade #take #centre #stage

Sun and shade take centre stage with The Bentway’s immersive summer program
Project Render. Image credit: The Bentway The Bentway has announced its summer 2025 season of programming headlined by a new public art exhibition, Sun/Shade, a dance performance atop a large sand dune, and a city-wide installation of a moving forest. From now until October 5, Sun/Shade will explore the city’s changing relationship with these natural features. The art exhibition aims to bring together a mix of artists, designers, and researchers from Toronto and beyond to deploy natural light and shadow as creative tools, to reveal how new thinking about familiar resources can improve urban life. The Gardiner offers a canvas for the new art exhibition and experimentation. Stretching over 6.5 km, the elevated highway’s canopy provides the city with its largest continuous shadow, making the area a natural haven for those seeking sun and shade. This space will provide the benefits of both elements while also serving as a gathering place for community events, public art, recreation, and lively celebrations throughout the summer. “As extreme urban heat events rise in Toronto and cities everywhere, it’s even more vital to create accessible spaces where communities can maximize access to shade and stay protected from harsh light,” said Ilana Altman, co-executive director of The Bentway. “This season of programming explores how we must adapt to our changing climate and reshape our public spaces to balance the benefits of both sun and shade. Our creative collaborators are prompting us to recognize shade as an essential public resource and embrace sunlight as a creative collaborator.” Visitors will be able to experience the world premiere of Sand Flight from Norway choreographer Ingri Fiksdal and theatre director Jonas Corell Petersen, where eight dancers and a 50-person choir will descend on a massive sand dune exploring new traditions for changing climates. Carrying on the theme is Moving Forest by Amsterdam’s NL Architects, a mobile project featuring a flock of 50 trees travelling throughout the city, will bring shade to sunbaked urban sites across the Greater Toronto Area. A key dimension of Sun/Shade explores the importance of shaded spaces for public health, anchored by a new partnership with The Bentway’s official Sun-Safety Partner, the David Cornfield Melanoma Fund. “Skin cancer is the most commonly diagnosed cancer in Canada, and the incidence of melanoma – the deadliest form of skin cancer – is rising. The best way to prevent skin cancer is to protect your skin from the sun,” said Danielle Paterson, executive director of the David Cornfield Melanoma Fund. “We are proud to partner with The Bentway on Sun/Shade, an amazing sun safety initiative that emphasizes the importance of accessible public shade in Toronto.” For more information, click here. The post Sun and shade take centre stage with The Bentway’s immersive summer program appeared first on Canadian Architect. #sun #shade #take #centre #stage

WWW.CANADIANARCHITECT.COM

Sun and shade take centre stage with The Bentway’s immersive summer program

Project Render. Image credit: The Bentway The Bentway has announced its summer 2025 season of programming headlined by a new public art exhibition, Sun/Shade, a dance performance atop a large sand dune, and a city-wide installation of a moving forest. From now until October 5, Sun/Shade will explore the city’s changing relationship with these natural features. The art exhibition aims to bring together a mix of artists, designers, and researchers from Toronto and beyond to deploy natural light and shadow as creative tools, to reveal how new thinking about familiar resources can improve urban life. The Gardiner offers a canvas for the new art exhibition and experimentation. Stretching over 6.5 km, the elevated highway’s canopy provides the city with its largest continuous shadow, making the area a natural haven for those seeking sun and shade. This space will provide the benefits of both elements while also serving as a gathering place for community events, public art, recreation, and lively celebrations throughout the summer. “As extreme urban heat events rise in Toronto and cities everywhere, it’s even more vital to create accessible spaces where communities can maximize access to shade and stay protected from harsh light,” said Ilana Altman, co-executive director of The Bentway. “This season of programming explores how we must adapt to our changing climate and reshape our public spaces to balance the benefits of both sun and shade. Our creative collaborators are prompting us to recognize shade as an essential public resource and embrace sunlight as a creative collaborator.” Visitors will be able to experience the world premiere of Sand Flight from Norway choreographer Ingri Fiksdal and theatre director Jonas Corell Petersen, where eight dancers and a 50-person choir will descend on a massive sand dune exploring new traditions for changing climates. Carrying on the theme is Moving Forest by Amsterdam’s NL Architects, a mobile project featuring a flock of 50 trees travelling throughout the city, will bring shade to sunbaked urban sites across the Greater Toronto Area (GTA). A key dimension of Sun/Shade explores the importance of shaded spaces for public health, anchored by a new partnership with The Bentway’s official Sun-Safety Partner, the David Cornfield Melanoma Fund. “Skin cancer is the most commonly diagnosed cancer in Canada, and the incidence of melanoma – the deadliest form of skin cancer – is rising. The best way to prevent skin cancer is to protect your skin from the sun,” said Danielle Paterson, executive director of the David Cornfield Melanoma Fund. “We are proud to partner with The Bentway on Sun/Shade, an amazing sun safety initiative that emphasizes the importance of accessible public shade in Toronto.” For more information, click here. The post Sun and shade take centre stage with The Bentway’s immersive summer program appeared first on Canadian Architect.

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2025-06-05 08:08:26 ·

Meta Apps Have Been Covertly Tracking Android Users' Web Activity for Months

I don't expect Meta to respect my data or my privacy, but the company continues to surprise me with how low they're willing to go in the name of data collection. The latest such story comes to us from a report titled "Disclosure: Covert Web-to-App Tracking via Localhost on Android." In short, Meta and Yandexhave been tracking potentially billions of Android users by abusing a security loophole in Android. That loophole allows the companies to access identifying browsing data from your web browser as long as you have their Android apps installed. How does this tracking work?As the report explains, Android allows any installed app with internet permissions to access the "loopback address" or localhost, an address a device uses to communicate with itself. As it happens, your web browser also has access to the localhost, which allows JavaScripts embedded on certain websites to connect to Android apps and share browsing data and identifiers.What are those JavaScripts, you might ask? In this case, that's Meta Pixel and Yandex Metrica, scripts that let companies track users on their sites. Trackers are an unfortunate part of the modern internet, but Meta Pixel is only supposed to be able to follow you while you browse the web. This loop lets Meta Pixel scripts send your browsing data, cookies, and identifiers back to installed Meta apps like Facebook and Instagram. The same goes for Yandex with its apps like Maps and Browser.You certainly didn't sign up for that when you installed Instagram on your Android device. But once you logged in, the next time you visited a website that embedded Meta Pixel, the script beamed your information back to the app. All of a sudden, Meta had identifying browsing data from your web activity, not via the browsing itself, but from the "unrelated" Instagram app. Chrome, Firefox, and Edge were all affected in these findings. DuckDuckGo blocked some but not all of the domains here, so it was "minimally affected." Brave does block requests to the localhost if you don't consent to it, so it did successfully protect users from this tracking.Researchers say Yandex has been doing this since February of 2017 on HTTP sites, and May of 2018 on HTTPS sites. Meta Pixel, on the other hand, hasn't been tracking this way for long: It only started September of 2024 for HTTP, and ended that practice in October. It started via Websocket and WebRTC STUN in November, and WebRTC TURN in May. Website owners apparently complained to Meta starting in September, asking why Meta Pixel communicates with the localhost. As far as researchers could find, Meta never responded.Researchers make it clear that the type of tracking is possible on iOS, as developers can establish localhost connections and apps can "listen in" too. However, they found no evidence of this tracking on iOS devices, and hypothesize that it has to do with how iOS restricts native apps running in the background.Meta has officially stopped this tracking The good news is, as of June 3, researchers say they have not observed Meta Pixel communicating with the localhost. They didn't say the same for Yandex Metrika, though Yandex told Ars Technica it was "discontinuing the practice." Ars Technica also reports that Google has opened an investigation into these actions that "blatantly violate our security and privacy principles."However, even if Meta has stopped this tracking following the report, the damage could be widespread. As highlighted in the report, estimates put Meta Pixel adoption anywhere from 2.4 million to 5.8 million sites. From here, researchers found that just over 17,000 Meta Pixel sites in the U.S. attempt to connect to the localhost, and over 78% of those do so without any user consent needed, including sites like AP News, Buzzfeed, and The Verge. That's a lot of websites that could have been sending your data back to your Facebook and Instagram apps. The report features a tool that you can use to look for affected sites, but notes the list is not exhaustive, and absence doesn't mean the site is safe.Meta sent me the following statement in response to my request for comment: “We are in discussions with Google to address a potential miscommunication regarding the application of their policies. Upon becoming aware of the concerns, we decided to pause the feature while we work with Google to resolve the issue.”
#meta #apps #have #been #covertly

Meta Apps Have Been Covertly Tracking Android Users' Web Activity for Months
I don't expect Meta to respect my data or my privacy, but the company continues to surprise me with how low they're willing to go in the name of data collection. The latest such story comes to us from a report titled "Disclosure: Covert Web-to-App Tracking via Localhost on Android." In short, Meta and Yandexhave been tracking potentially billions of Android users by abusing a security loophole in Android. That loophole allows the companies to access identifying browsing data from your web browser as long as you have their Android apps installed. How does this tracking work?As the report explains, Android allows any installed app with internet permissions to access the "loopback address" or localhost, an address a device uses to communicate with itself. As it happens, your web browser also has access to the localhost, which allows JavaScripts embedded on certain websites to connect to Android apps and share browsing data and identifiers.What are those JavaScripts, you might ask? In this case, that's Meta Pixel and Yandex Metrica, scripts that let companies track users on their sites. Trackers are an unfortunate part of the modern internet, but Meta Pixel is only supposed to be able to follow you while you browse the web. This loop lets Meta Pixel scripts send your browsing data, cookies, and identifiers back to installed Meta apps like Facebook and Instagram. The same goes for Yandex with its apps like Maps and Browser.You certainly didn't sign up for that when you installed Instagram on your Android device. But once you logged in, the next time you visited a website that embedded Meta Pixel, the script beamed your information back to the app. All of a sudden, Meta had identifying browsing data from your web activity, not via the browsing itself, but from the "unrelated" Instagram app. Chrome, Firefox, and Edge were all affected in these findings. DuckDuckGo blocked some but not all of the domains here, so it was "minimally affected." Brave does block requests to the localhost if you don't consent to it, so it did successfully protect users from this tracking.Researchers say Yandex has been doing this since February of 2017 on HTTP sites, and May of 2018 on HTTPS sites. Meta Pixel, on the other hand, hasn't been tracking this way for long: It only started September of 2024 for HTTP, and ended that practice in October. It started via Websocket and WebRTC STUN in November, and WebRTC TURN in May. Website owners apparently complained to Meta starting in September, asking why Meta Pixel communicates with the localhost. As far as researchers could find, Meta never responded.Researchers make it clear that the type of tracking is possible on iOS, as developers can establish localhost connections and apps can "listen in" too. However, they found no evidence of this tracking on iOS devices, and hypothesize that it has to do with how iOS restricts native apps running in the background.Meta has officially stopped this tracking The good news is, as of June 3, researchers say they have not observed Meta Pixel communicating with the localhost. They didn't say the same for Yandex Metrika, though Yandex told Ars Technica it was "discontinuing the practice." Ars Technica also reports that Google has opened an investigation into these actions that "blatantly violate our security and privacy principles."However, even if Meta has stopped this tracking following the report, the damage could be widespread. As highlighted in the report, estimates put Meta Pixel adoption anywhere from 2.4 million to 5.8 million sites. From here, researchers found that just over 17,000 Meta Pixel sites in the U.S. attempt to connect to the localhost, and over 78% of those do so without any user consent needed, including sites like AP News, Buzzfeed, and The Verge. That's a lot of websites that could have been sending your data back to your Facebook and Instagram apps. The report features a tool that you can use to look for affected sites, but notes the list is not exhaustive, and absence doesn't mean the site is safe.Meta sent me the following statement in response to my request for comment: “We are in discussions with Google to address a potential miscommunication regarding the application of their policies. Upon becoming aware of the concerns, we decided to pause the feature while we work with Google to resolve the issue.” #meta #apps #have #been #covertly

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Meta Apps Have Been Covertly Tracking Android Users' Web Activity for Months

I don't expect Meta to respect my data or my privacy, but the company continues to surprise me with how low they're willing to go in the name of data collection. The latest such story comes to us from a report titled "Disclosure: Covert Web-to-App Tracking via Localhost on Android." In short, Meta and Yandex (a Russian technology company) have been tracking potentially billions of Android users by abusing a security loophole in Android. That loophole allows the companies to access identifying browsing data from your web browser as long as you have their Android apps installed. How does this tracking work?As the report explains, Android allows any installed app with internet permissions to access the "loopback address" or localhost, an address a device uses to communicate with itself. As it happens, your web browser also has access to the localhost, which allows JavaScripts embedded on certain websites to connect to Android apps and share browsing data and identifiers.What are those JavaScripts, you might ask? In this case, that's Meta Pixel and Yandex Metrica, scripts that let companies track users on their sites. Trackers are an unfortunate part of the modern internet, but Meta Pixel is only supposed to be able to follow you while you browse the web. This loop lets Meta Pixel scripts send your browsing data, cookies, and identifiers back to installed Meta apps like Facebook and Instagram. The same goes for Yandex with its apps like Maps and Browser.You certainly didn't sign up for that when you installed Instagram on your Android device. But once you logged in, the next time you visited a website that embedded Meta Pixel, the script beamed your information back to the app. All of a sudden, Meta had identifying browsing data from your web activity, not via the browsing itself, but from the "unrelated" Instagram app. Chrome, Firefox, and Edge were all affected in these findings. DuckDuckGo blocked some but not all of the domains here, so it was "minimally affected." Brave does block requests to the localhost if you don't consent to it, so it did successfully protect users from this tracking.Researchers say Yandex has been doing this since February of 2017 on HTTP sites, and May of 2018 on HTTPS sites. Meta Pixel, on the other hand, hasn't been tracking this way for long: It only started September of 2024 for HTTP, and ended that practice in October. It started via Websocket and WebRTC STUN in November, and WebRTC TURN in May. Website owners apparently complained to Meta starting in September, asking why Meta Pixel communicates with the localhost. As far as researchers could find, Meta never responded.Researchers make it clear that the type of tracking is possible on iOS, as developers can establish localhost connections and apps can "listen in" too. However, they found no evidence of this tracking on iOS devices, and hypothesize that it has to do with how iOS restricts native apps running in the background.Meta has officially stopped this tracking The good news is, as of June 3, researchers say they have not observed Meta Pixel communicating with the localhost. They didn't say the same for Yandex Metrika, though Yandex told Ars Technica it was "discontinuing the practice." Ars Technica also reports that Google has opened an investigation into these actions that "blatantly violate our security and privacy principles."However, even if Meta has stopped this tracking following the report, the damage could be widespread. As highlighted in the report, estimates put Meta Pixel adoption anywhere from 2.4 million to 5.8 million sites. From here, researchers found that just over 17,000 Meta Pixel sites in the U.S. attempt to connect to the localhost, and over 78% of those do so without any user consent needed, including sites like AP News, Buzzfeed, and The Verge. That's a lot of websites that could have been sending your data back to your Facebook and Instagram apps. The report features a tool that you can use to look for affected sites, but notes the list is not exhaustive, and absence doesn't mean the site is safe.Meta sent me the following statement in response to my request for comment: “We are in discussions with Google to address a potential miscommunication regarding the application of their policies. Upon becoming aware of the concerns, we decided to pause the feature while we work with Google to resolve the issue.”

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2025-06-05 08:07:36 ·

HOLLYWOOD VFX TOOLS FOR SPACE EXPLORATION

By CHRIS McGOWAN

This image of Jupiter from NASA’s James Webb Space Telescope’s NIRCamshows stunning details of the majestic planet in infrared light.Special effects have been used for decades to depict space exploration, from visits to planets and moons to zero gravity and spaceships – one need only think of the landmark 2001: A Space Odyssey. Since that era, visual effects have increasingly grown in realism and importance. VFX have been used for entertainment and for scientific purposes, outreach to the public and astronaut training in virtual reality. Compelling images and videos can bring data to life. NASA’s Scientific Visualization Studioproduces visualizations, animations and images to help scientists tell stories of their research and make science more approachable and engaging.
A.J. Christensen is a senior visualization designer for the NASA Scientific Visualization Studioat the Goddard Space Flight Center in Greenbelt, Maryland. There, he develops data visualization techniques and designs data-driven imagery for scientific analysis and public outreach using Hollywood visual effects tools, according to NASA. SVS visualizations feature datasets from Earth-and space-based instrumentation, scientific supercomputer models and physical statistical distributions that have been analyzed and processed by computational scientists. Christensen’s specialties include working with 3D volumetric data, using the procedural cinematic software Houdini and science topics in Heliophysics, Geophysics and Astrophysics. He previously worked at the National Center for Supercomputing Applications’ Advanced Visualization Lab where he worked on more than a dozen science documentary full-dome films as well as the IMAX films Hubble 3D and A Beautiful Planet – and he worked at DNEG on the movie Interstellar, which won the 2015 Best Visual Effects Academy Award.

This global map of CO2 was created by NASA’s Scientific Visualization Studio using a model called GEOS, short for the Goddard Earth Observing System. GEOS is a high-resolution weather reanalysis model, powered by supercomputers, that is used to represent what was happening in the atmosphere.“The NASA Scientific Visualization Studio operates like a small VFX studio that creates animations of scientific data that has been collected or analyzed at NASA. We are one of several groups at NASA that create imagery for public consumption, but we are also a part of the scientific research process, helping scientists understand and share their data through pictures and video.”
—A.J. Christensen, Senior Visualization Designer, NASA Scientific Visualization StudioAbout his work at NASA SVS, Christensen comments, “The NASA Scientific Visualization Studio operates like a small VFX studio that creates animations of scientific data that has been collected or analyzed at NASA. We are one of several groups at NASA that create imagery for public consumption, but we are also a part of the scientific research process, helping scientists understand and share their data through pictures and video. This past year we were part of NASA’s total eclipse outreach efforts, we participated in all the major earth science and astronomy conferences, we launched a public exhibition at the Smithsonian Museum of Natural History called the Earth Information Center, and we posted hundreds of new visualizations to our publicly accessible website: svs.gsfc.nasa.gov.”

This is the ‘beauty shot version’ of Perpetual Ocean 2: Western Boundary Currents. The visualization starts with a rotating globe showing ocean currents. The colors used to color the flow in this version were chosen to provide a pleasing look.The Gulf Stream and connected currents.Venus, our nearby “sister” planet, beckons today as a compelling target for exploration that may connect the objects in our own solar system to those discovered around nearby stars.WORKING WITH DATA
While Christensen is interpreting the data from active spacecraft and making it usable in different forms, such as for science and outreach, he notes, “It’s not just spacecraft that collect data. NASA maintains or monitors instruments on Earth too – on land, in the oceans and in the air. And to be precise, there are robots wandering around Mars that are collecting data, too.”
He continues, “Sometimes the data comes to our team as raw telescope imagery, sometimes we get it as a data product that a scientist has already analyzed and extracted meaning from, and sometimes various sensor data is used to drive computational models and we work with the models’ resulting output.”

Jupiter’s moon Europa may have life in a vast ocean beneath its icy surface.HOUDINI AND OTHER TOOLS
“Data visualization means a lot of different things to different people, but many people on our team interpret it as a form of filmmaking,” Christensen says. “We are very inspired by the approach to visual storytelling that Hollywood uses, and we use tools that are standard for Hollywood VFX. Many professionals in our area – the visualization of 3D scientific data – were previously using other animation tools but have discovered that Houdini is the most capable of understanding and manipulating unusual data, so there has been major movement toward Houdini over the past decade.”

Satellite imagery from NASA’s Solar Dynamics Observatoryshows the Sun in ultraviolet light colorized in light brown. Seen in ultraviolet light, the dark patches on the Sun are known as coronal holes and are regions where fast solar wind gushes out into space.Christensen explains, “We have always worked with scientific software as well – sometimes there’s only one software tool in existence to interpret a particular kind of scientific data. More often than not, scientific software does not have a GUI, so we’ve had to become proficient at learning new coding environments very quickly. IDL and Python are the generic data manipulation environments we use when something is too complicated or oversized for Houdini, but there are lots of alternatives out there. Typically, we use these tools to get the data into a format that Houdini can interpret, and then we use Houdini to do our shading, lighting and camera design, and seamlessly blend different datasets together.”

While cruising around Saturn in early October 2004, Cassini captured a series of images that have been composed into this large global natural color view of Saturn and its rings. This grand mosaic consists of 126 images acquired in a tile-like fashion, covering one end of Saturn’s rings to the other and the entire planet in between.The black hole Gargantua and the surrounding accretion disc from the 2014 movie Interstellar.Another visualization of the black hole Gargantua.INTERSTELLAR & GARGANTUA
Christensen recalls working for DNEG on Interstellar. “When I first started at DNEG, they asked me to work on the giant waves on Miller’s ocean planet. About a week in, my manager took me into the hall and said, ‘I was looking at your reel and saw all this astronomy stuff. We’re working on another sequence with an accretion disk around a black hole that I’m wondering if we should put you on.’ And I said, ‘Oh yeah, I’ve done lots of accretion disks.’ So, for the rest of my time on the show, I was working on the black hole team.”
He adds, “There are a lot of people in my community that would be hesitant to label any big-budget movie sequence as a scientific visualization. The typical assumption is that for a Hollywood movie, no one cares about accuracy as long as it looks good. Guardians of the Galaxy makes it seem like space is positively littered with nebulae, and Star Wars makes it seem like asteroids travel in herds. But the black hole Gargantua in Interstellar is a good case for being called a visualization. The imagery you see in the movie is the direct result of a collaboration with an expert scientist, Dr. Kip Thorne, working with the DNEG research team using the actual Einstein equations that describe the gravity around a black hole.”

Thorne is a Nobel Prize-winning theoretical physicist who taught at Caltech for many years. He has reached wide audiences with his books and presentations on black holes, time travel and wormholes on PBS and BBC shows. Christensen comments, “You can make the argument that some of the complexity around what a black hole actually looks like was discarded for the film, and they admit as much in the research paper that was published after the movie came out. But our team at NASA does that same thing. There is no such thing as an objectively ‘true’ scientific image – you always have to make aesthetic decisions around whether the image tells the science story, and often it makes more sense to omit information to clarify what’s important. Ultimately, Gargantua taught a whole lot of people something new about science, and that’s what a good scientific visualization aims to do.”

The SVS produces an annual visualization of the Moon’s phase and libration comprising 8,760 hourly renderings of its precise size, orientation and illumination.FURTHER CHALLENGES
The sheer size of the data often encountered by Christensen and his peers is a challenge. “I’m currently working with a dataset that is 400GB per timestep. It’s so big that I don’t even want to move it from one file server to another. So, then I have to make decisions about which data attributes to keep and which to discard, whether there’s a region of the data that I can cull or downsample, and I have to experiment with data compression schemes that might require me to entirely re-design the pipeline I’m using for Houdini. Of course, if I get rid of too much information, it becomes very resource-intensive to recompute everything, but if I don’t get rid of enough, then my design process becomes agonizingly slow.”
SVS also works closely with its NASA partner groups Conceptual Image Laband Goddard Media Studiosto publish a diverse array of content. Conceptual Image Lab focuses more on the artistic side of things – producing high-fidelity renders using film animation and visual design techniques, according to NASA. Where the SVS primarily focuses on making data-based visualizations, CIL puts more emphasis on conceptual visualizations – producing animations featuring NASA spacecraft, planetary observations and simulations, according to NASA. Goddard Media Studios, on the other hand, is more focused towards public outreach – producing interviews, TV programs and documentaries. GMS continues to be the main producers behind NASA TV, and as such, much of their content is aimed towards the general public.

An impact crater on the moon.Image of Mars showing a partly shadowed Olympus Mons toward the upper left of the image.Mars. Hellas Basin can be seen in the lower right portion of the image.Mars slightly tilted to show the Martian North Pole.Christensen notes, “One of the more unique challenges in this field is one of bringing people from very different backgrounds to agree on a common outcome. I work on teams with scientists, communicators and technologists, and we all have different communities we’re trying to satisfy. For instance, communicators are generally trying to simplify animations so their learning goal is clear, but scientists will insist that we add text and annotations on top of the video to eliminate ambiguity and avoid misinterpretations. Often, the technologist will have to say we can’t zoom in or look at the data in a certain way because it will show the data boundaries or data resolution limits. Every shot is a negotiation, but in trying to compromise, we often push the boundaries of what has been done before, which is exciting.”
#hollywood #vfx #tools #space #exploration

HOLLYWOOD VFX TOOLS FOR SPACE EXPLORATION
By CHRIS McGOWAN This image of Jupiter from NASA’s James Webb Space Telescope’s NIRCamshows stunning details of the majestic planet in infrared light.Special effects have been used for decades to depict space exploration, from visits to planets and moons to zero gravity and spaceships – one need only think of the landmark 2001: A Space Odyssey. Since that era, visual effects have increasingly grown in realism and importance. VFX have been used for entertainment and for scientific purposes, outreach to the public and astronaut training in virtual reality. Compelling images and videos can bring data to life. NASA’s Scientific Visualization Studioproduces visualizations, animations and images to help scientists tell stories of their research and make science more approachable and engaging. A.J. Christensen is a senior visualization designer for the NASA Scientific Visualization Studioat the Goddard Space Flight Center in Greenbelt, Maryland. There, he develops data visualization techniques and designs data-driven imagery for scientific analysis and public outreach using Hollywood visual effects tools, according to NASA. SVS visualizations feature datasets from Earth-and space-based instrumentation, scientific supercomputer models and physical statistical distributions that have been analyzed and processed by computational scientists. Christensen’s specialties include working with 3D volumetric data, using the procedural cinematic software Houdini and science topics in Heliophysics, Geophysics and Astrophysics. He previously worked at the National Center for Supercomputing Applications’ Advanced Visualization Lab where he worked on more than a dozen science documentary full-dome films as well as the IMAX films Hubble 3D and A Beautiful Planet – and he worked at DNEG on the movie Interstellar, which won the 2015 Best Visual Effects Academy Award. This global map of CO2 was created by NASA’s Scientific Visualization Studio using a model called GEOS, short for the Goddard Earth Observing System. GEOS is a high-resolution weather reanalysis model, powered by supercomputers, that is used to represent what was happening in the atmosphere.“The NASA Scientific Visualization Studio operates like a small VFX studio that creates animations of scientific data that has been collected or analyzed at NASA. We are one of several groups at NASA that create imagery for public consumption, but we are also a part of the scientific research process, helping scientists understand and share their data through pictures and video.” —A.J. Christensen, Senior Visualization Designer, NASA Scientific Visualization StudioAbout his work at NASA SVS, Christensen comments, “The NASA Scientific Visualization Studio operates like a small VFX studio that creates animations of scientific data that has been collected or analyzed at NASA. We are one of several groups at NASA that create imagery for public consumption, but we are also a part of the scientific research process, helping scientists understand and share their data through pictures and video. This past year we were part of NASA’s total eclipse outreach efforts, we participated in all the major earth science and astronomy conferences, we launched a public exhibition at the Smithsonian Museum of Natural History called the Earth Information Center, and we posted hundreds of new visualizations to our publicly accessible website: svs.gsfc.nasa.gov.” This is the ‘beauty shot version’ of Perpetual Ocean 2: Western Boundary Currents. The visualization starts with a rotating globe showing ocean currents. The colors used to color the flow in this version were chosen to provide a pleasing look.The Gulf Stream and connected currents.Venus, our nearby “sister” planet, beckons today as a compelling target for exploration that may connect the objects in our own solar system to those discovered around nearby stars.WORKING WITH DATA While Christensen is interpreting the data from active spacecraft and making it usable in different forms, such as for science and outreach, he notes, “It’s not just spacecraft that collect data. NASA maintains or monitors instruments on Earth too – on land, in the oceans and in the air. And to be precise, there are robots wandering around Mars that are collecting data, too.” He continues, “Sometimes the data comes to our team as raw telescope imagery, sometimes we get it as a data product that a scientist has already analyzed and extracted meaning from, and sometimes various sensor data is used to drive computational models and we work with the models’ resulting output.” Jupiter’s moon Europa may have life in a vast ocean beneath its icy surface.HOUDINI AND OTHER TOOLS “Data visualization means a lot of different things to different people, but many people on our team interpret it as a form of filmmaking,” Christensen says. “We are very inspired by the approach to visual storytelling that Hollywood uses, and we use tools that are standard for Hollywood VFX. Many professionals in our area – the visualization of 3D scientific data – were previously using other animation tools but have discovered that Houdini is the most capable of understanding and manipulating unusual data, so there has been major movement toward Houdini over the past decade.” Satellite imagery from NASA’s Solar Dynamics Observatoryshows the Sun in ultraviolet light colorized in light brown. Seen in ultraviolet light, the dark patches on the Sun are known as coronal holes and are regions where fast solar wind gushes out into space.Christensen explains, “We have always worked with scientific software as well – sometimes there’s only one software tool in existence to interpret a particular kind of scientific data. More often than not, scientific software does not have a GUI, so we’ve had to become proficient at learning new coding environments very quickly. IDL and Python are the generic data manipulation environments we use when something is too complicated or oversized for Houdini, but there are lots of alternatives out there. Typically, we use these tools to get the data into a format that Houdini can interpret, and then we use Houdini to do our shading, lighting and camera design, and seamlessly blend different datasets together.” While cruising around Saturn in early October 2004, Cassini captured a series of images that have been composed into this large global natural color view of Saturn and its rings. This grand mosaic consists of 126 images acquired in a tile-like fashion, covering one end of Saturn’s rings to the other and the entire planet in between.The black hole Gargantua and the surrounding accretion disc from the 2014 movie Interstellar.Another visualization of the black hole Gargantua.INTERSTELLAR & GARGANTUA Christensen recalls working for DNEG on Interstellar. “When I first started at DNEG, they asked me to work on the giant waves on Miller’s ocean planet. About a week in, my manager took me into the hall and said, ‘I was looking at your reel and saw all this astronomy stuff. We’re working on another sequence with an accretion disk around a black hole that I’m wondering if we should put you on.’ And I said, ‘Oh yeah, I’ve done lots of accretion disks.’ So, for the rest of my time on the show, I was working on the black hole team.” He adds, “There are a lot of people in my community that would be hesitant to label any big-budget movie sequence as a scientific visualization. The typical assumption is that for a Hollywood movie, no one cares about accuracy as long as it looks good. Guardians of the Galaxy makes it seem like space is positively littered with nebulae, and Star Wars makes it seem like asteroids travel in herds. But the black hole Gargantua in Interstellar is a good case for being called a visualization. The imagery you see in the movie is the direct result of a collaboration with an expert scientist, Dr. Kip Thorne, working with the DNEG research team using the actual Einstein equations that describe the gravity around a black hole.” Thorne is a Nobel Prize-winning theoretical physicist who taught at Caltech for many years. He has reached wide audiences with his books and presentations on black holes, time travel and wormholes on PBS and BBC shows. Christensen comments, “You can make the argument that some of the complexity around what a black hole actually looks like was discarded for the film, and they admit as much in the research paper that was published after the movie came out. But our team at NASA does that same thing. There is no such thing as an objectively ‘true’ scientific image – you always have to make aesthetic decisions around whether the image tells the science story, and often it makes more sense to omit information to clarify what’s important. Ultimately, Gargantua taught a whole lot of people something new about science, and that’s what a good scientific visualization aims to do.” The SVS produces an annual visualization of the Moon’s phase and libration comprising 8,760 hourly renderings of its precise size, orientation and illumination.FURTHER CHALLENGES The sheer size of the data often encountered by Christensen and his peers is a challenge. “I’m currently working with a dataset that is 400GB per timestep. It’s so big that I don’t even want to move it from one file server to another. So, then I have to make decisions about which data attributes to keep and which to discard, whether there’s a region of the data that I can cull or downsample, and I have to experiment with data compression schemes that might require me to entirely re-design the pipeline I’m using for Houdini. Of course, if I get rid of too much information, it becomes very resource-intensive to recompute everything, but if I don’t get rid of enough, then my design process becomes agonizingly slow.” SVS also works closely with its NASA partner groups Conceptual Image Laband Goddard Media Studiosto publish a diverse array of content. Conceptual Image Lab focuses more on the artistic side of things – producing high-fidelity renders using film animation and visual design techniques, according to NASA. Where the SVS primarily focuses on making data-based visualizations, CIL puts more emphasis on conceptual visualizations – producing animations featuring NASA spacecraft, planetary observations and simulations, according to NASA. Goddard Media Studios, on the other hand, is more focused towards public outreach – producing interviews, TV programs and documentaries. GMS continues to be the main producers behind NASA TV, and as such, much of their content is aimed towards the general public. An impact crater on the moon.Image of Mars showing a partly shadowed Olympus Mons toward the upper left of the image.Mars. Hellas Basin can be seen in the lower right portion of the image.Mars slightly tilted to show the Martian North Pole.Christensen notes, “One of the more unique challenges in this field is one of bringing people from very different backgrounds to agree on a common outcome. I work on teams with scientists, communicators and technologists, and we all have different communities we’re trying to satisfy. For instance, communicators are generally trying to simplify animations so their learning goal is clear, but scientists will insist that we add text and annotations on top of the video to eliminate ambiguity and avoid misinterpretations. Often, the technologist will have to say we can’t zoom in or look at the data in a certain way because it will show the data boundaries or data resolution limits. Every shot is a negotiation, but in trying to compromise, we often push the boundaries of what has been done before, which is exciting.” #hollywood #vfx #tools #space #exploration

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HOLLYWOOD VFX TOOLS FOR SPACE EXPLORATION

By CHRIS McGOWAN This image of Jupiter from NASA’s James Webb Space Telescope’s NIRCam (Near-Infrared Camera) shows stunning details of the majestic planet in infrared light. (Image courtesy of NASA, ESA and CSA) Special effects have been used for decades to depict space exploration, from visits to planets and moons to zero gravity and spaceships – one need only think of the landmark 2001: A Space Odyssey (1968). Since that era, visual effects have increasingly grown in realism and importance. VFX have been used for entertainment and for scientific purposes, outreach to the public and astronaut training in virtual reality. Compelling images and videos can bring data to life. NASA’s Scientific Visualization Studio (SVS) produces visualizations, animations and images to help scientists tell stories of their research and make science more approachable and engaging. A.J. Christensen is a senior visualization designer for the NASA Scientific Visualization Studio (SVS) at the Goddard Space Flight Center in Greenbelt, Maryland. There, he develops data visualization techniques and designs data-driven imagery for scientific analysis and public outreach using Hollywood visual effects tools, according to NASA. SVS visualizations feature datasets from Earth-and space-based instrumentation, scientific supercomputer models and physical statistical distributions that have been analyzed and processed by computational scientists. Christensen’s specialties include working with 3D volumetric data, using the procedural cinematic software Houdini and science topics in Heliophysics, Geophysics and Astrophysics. He previously worked at the National Center for Supercomputing Applications’ Advanced Visualization Lab where he worked on more than a dozen science documentary full-dome films as well as the IMAX films Hubble 3D and A Beautiful Planet – and he worked at DNEG on the movie Interstellar, which won the 2015 Best Visual Effects Academy Award. This global map of CO2 was created by NASA’s Scientific Visualization Studio using a model called GEOS, short for the Goddard Earth Observing System. GEOS is a high-resolution weather reanalysis model, powered by supercomputers, that is used to represent what was happening in the atmosphere. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) “The NASA Scientific Visualization Studio operates like a small VFX studio that creates animations of scientific data that has been collected or analyzed at NASA. We are one of several groups at NASA that create imagery for public consumption, but we are also a part of the scientific research process, helping scientists understand and share their data through pictures and video.” —A.J. Christensen, Senior Visualization Designer, NASA Scientific Visualization Studio (SVS) About his work at NASA SVS, Christensen comments, “The NASA Scientific Visualization Studio operates like a small VFX studio that creates animations of scientific data that has been collected or analyzed at NASA. We are one of several groups at NASA that create imagery for public consumption, but we are also a part of the scientific research process, helping scientists understand and share their data through pictures and video. This past year we were part of NASA’s total eclipse outreach efforts, we participated in all the major earth science and astronomy conferences, we launched a public exhibition at the Smithsonian Museum of Natural History called the Earth Information Center, and we posted hundreds of new visualizations to our publicly accessible website: svs.gsfc.nasa.gov.” This is the ‘beauty shot version’ of Perpetual Ocean 2: Western Boundary Currents. The visualization starts with a rotating globe showing ocean currents. The colors used to color the flow in this version were chosen to provide a pleasing look. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) The Gulf Stream and connected currents. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Venus, our nearby “sister” planet, beckons today as a compelling target for exploration that may connect the objects in our own solar system to those discovered around nearby stars. (Image courtesy of NASA’s Goddard Space Flight Center) WORKING WITH DATA While Christensen is interpreting the data from active spacecraft and making it usable in different forms, such as for science and outreach, he notes, “It’s not just spacecraft that collect data. NASA maintains or monitors instruments on Earth too – on land, in the oceans and in the air. And to be precise, there are robots wandering around Mars that are collecting data, too.” He continues, “Sometimes the data comes to our team as raw telescope imagery, sometimes we get it as a data product that a scientist has already analyzed and extracted meaning from, and sometimes various sensor data is used to drive computational models and we work with the models’ resulting output.” Jupiter’s moon Europa may have life in a vast ocean beneath its icy surface. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) HOUDINI AND OTHER TOOLS “Data visualization means a lot of different things to different people, but many people on our team interpret it as a form of filmmaking,” Christensen says. “We are very inspired by the approach to visual storytelling that Hollywood uses, and we use tools that are standard for Hollywood VFX. Many professionals in our area – the visualization of 3D scientific data – were previously using other animation tools but have discovered that Houdini is the most capable of understanding and manipulating unusual data, so there has been major movement toward Houdini over the past decade.” Satellite imagery from NASA’s Solar Dynamics Observatory (SDO) shows the Sun in ultraviolet light colorized in light brown. Seen in ultraviolet light, the dark patches on the Sun are known as coronal holes and are regions where fast solar wind gushes out into space. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Christensen explains, “We have always worked with scientific software as well – sometimes there’s only one software tool in existence to interpret a particular kind of scientific data. More often than not, scientific software does not have a GUI, so we’ve had to become proficient at learning new coding environments very quickly. IDL and Python are the generic data manipulation environments we use when something is too complicated or oversized for Houdini, but there are lots of alternatives out there. Typically, we use these tools to get the data into a format that Houdini can interpret, and then we use Houdini to do our shading, lighting and camera design, and seamlessly blend different datasets together.” While cruising around Saturn in early October 2004, Cassini captured a series of images that have been composed into this large global natural color view of Saturn and its rings. This grand mosaic consists of 126 images acquired in a tile-like fashion, covering one end of Saturn’s rings to the other and the entire planet in between. (Image courtesy of ASA/JPL/Space Science Institute) The black hole Gargantua and the surrounding accretion disc from the 2014 movie Interstellar. (Image courtesy of DNEG and Paramount Pictures) Another visualization of the black hole Gargantua. (Image courtesy of DNEG and Paramount Pictures) INTERSTELLAR & GARGANTUA Christensen recalls working for DNEG on Interstellar (2014). “When I first started at DNEG, they asked me to work on the giant waves on Miller’s ocean planet [in the film]. About a week in, my manager took me into the hall and said, ‘I was looking at your reel and saw all this astronomy stuff. We’re working on another sequence with an accretion disk around a black hole that I’m wondering if we should put you on.’ And I said, ‘Oh yeah, I’ve done lots of accretion disks.’ So, for the rest of my time on the show, I was working on the black hole team.” He adds, “There are a lot of people in my community that would be hesitant to label any big-budget movie sequence as a scientific visualization. The typical assumption is that for a Hollywood movie, no one cares about accuracy as long as it looks good. Guardians of the Galaxy makes it seem like space is positively littered with nebulae, and Star Wars makes it seem like asteroids travel in herds. But the black hole Gargantua in Interstellar is a good case for being called a visualization. The imagery you see in the movie is the direct result of a collaboration with an expert scientist, Dr. Kip Thorne, working with the DNEG research team using the actual Einstein equations that describe the gravity around a black hole.” Thorne is a Nobel Prize-winning theoretical physicist who taught at Caltech for many years. He has reached wide audiences with his books and presentations on black holes, time travel and wormholes on PBS and BBC shows. Christensen comments, “You can make the argument that some of the complexity around what a black hole actually looks like was discarded for the film, and they admit as much in the research paper that was published after the movie came out. But our team at NASA does that same thing. There is no such thing as an objectively ‘true’ scientific image – you always have to make aesthetic decisions around whether the image tells the science story, and often it makes more sense to omit information to clarify what’s important. Ultimately, Gargantua taught a whole lot of people something new about science, and that’s what a good scientific visualization aims to do.” The SVS produces an annual visualization of the Moon’s phase and libration comprising 8,760 hourly renderings of its precise size, orientation and illumination. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) FURTHER CHALLENGES The sheer size of the data often encountered by Christensen and his peers is a challenge. “I’m currently working with a dataset that is 400GB per timestep. It’s so big that I don’t even want to move it from one file server to another. So, then I have to make decisions about which data attributes to keep and which to discard, whether there’s a region of the data that I can cull or downsample, and I have to experiment with data compression schemes that might require me to entirely re-design the pipeline I’m using for Houdini. Of course, if I get rid of too much information, it becomes very resource-intensive to recompute everything, but if I don’t get rid of enough, then my design process becomes agonizingly slow.” SVS also works closely with its NASA partner groups Conceptual Image Lab (CIL) and Goddard Media Studios (GMS) to publish a diverse array of content. Conceptual Image Lab focuses more on the artistic side of things – producing high-fidelity renders using film animation and visual design techniques, according to NASA. Where the SVS primarily focuses on making data-based visualizations, CIL puts more emphasis on conceptual visualizations – producing animations featuring NASA spacecraft, planetary observations and simulations, according to NASA. Goddard Media Studios, on the other hand, is more focused towards public outreach – producing interviews, TV programs and documentaries. GMS continues to be the main producers behind NASA TV, and as such, much of their content is aimed towards the general public. An impact crater on the moon. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Image of Mars showing a partly shadowed Olympus Mons toward the upper left of the image. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Mars. Hellas Basin can be seen in the lower right portion of the image. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Mars slightly tilted to show the Martian North Pole. (Image courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio) Christensen notes, “One of the more unique challenges in this field is one of bringing people from very different backgrounds to agree on a common outcome. I work on teams with scientists, communicators and technologists, and we all have different communities we’re trying to satisfy. For instance, communicators are generally trying to simplify animations so their learning goal is clear, but scientists will insist that we add text and annotations on top of the video to eliminate ambiguity and avoid misinterpretations. Often, the technologist will have to say we can’t zoom in or look at the data in a certain way because it will show the data boundaries or data resolution limits. Every shot is a negotiation, but in trying to compromise, we often push the boundaries of what has been done before, which is exciting.”

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