• The Butterfly takes flight: The Butterfly, Vancouver, BC

    The tower takes shape as two sets of overlapping cylinders, clad with prefabricated panels intended to evoke clouds.
    PROJECT The Butterfly + First Baptist Church Complex
    ARCHITECT Revery Architecture
    PHOTOS Ema Peter
    When you fly into Vancouver, the most prominent structure in the city’s forest of glass skyscrapers is now a 57-storey edifice known as the Butterfly. Designed by Revery Architecture, the luxury residential tower is the latest in a string of high-rises that pop out of the city’s backdrop of generic window-wall façades. 
    The Butterfly’s striking form evolved over many years, beginning with studies dating back to 2012. Revery principal Venelin Kokalov imagined several options, most of them suggesting a distinct pair of architectural forms in dialogue. Renderings and models of the early concepts relay a wealth of imagination that is sorely missing from much of the city’s contemporary architecture, as land economics, zoning issues, and the profit motive often compel a default into generic glass-and-steel towers. The earliest concepts look starkly different—some evoke the Ginger and Fred building in Prague; others the Absolute Towers in Mississauga. But one consistent theme runs through the design evolution: a sense of two Rilkean solitudes, touching. 
    On each floor, semi-private sky gardens offer an outdoor place for residents to socialize.

    Client feedback, engineering studies, and simple pragmatics led to the final form: two sets of overlapping cylinders linked by a common breezeway and flanked by a rental apartment on one side and a restored church doubling as a community centre on the other. The contours of the floorplan are visually organic: evocative of human cells dividing. The roundness of the main massing is complemented by curvilinear balustrades that smoothly transform into the outer walls of each unit. It’s an eye-catching counterpoint to the orthogonality of the city’s built landscape. The two adjacent buildings—built, restored, and expanded as part of a density bonus arrangement with the city—help integrate this gargantuan structure with the lower-rise neighbourhood around it. 
    The Butterfly is a high-end, high-priced residential tower—one of the few typologies in which clients and communities are now willing to invest big money and resources in creative, visually astonishing architecture. That leads to a fundamental question: what is the public purpose of a luxury condo tower? 
    A public galleria joins the renovated First Baptist Church to the new building. Serving as a welcoming atrium, it allows for community access to the expanded church, including its daycare, full gymnasium, multi-purpose rooms, overnight emergency shelter, and community dining hall equipped with a commercial kitchen.
    Whatever one feels about the widening divide between the haves and have-nots in our big cities, this building—like its ilk—does serve several important public purposes. The most direct and quantifiable benefits are the two flanking buildings, also designed by Revery and part of the larger project. The seven-storey rental apartment provides a modest contribution to the city’s dearth of mid-priced housing. The superbly restored and seismically upgraded First Baptist Church has expanded into the area between the new tower and original church, and now offers the public a wider array of programming including a gymnasium, childcare facility, and areas for emergency shelter and counselling services for individuals in need. 
    The church’s Pinder Hall has been reimagined as a venue for church and community events including concerts, weddings, and cultural programming.
    The Butterfly’s character is largely defined by undulating precast concrete panels that wrap around the building. The architects describe the swooping lines as being inspired by clouds, but for this writer, the Butterfly evokes a 57-layer frosted cake towering above the city’s boxy skyline. Kokalov winces when he hears that impression, but it’s meant as a sincere compliment. Clouds are not universally welcome, but who doesn’t like cake? 
    Kokalov argues that its experiential quality is the building’s greatest distinction—most notably, the incorporation of an “outdoors”—not a balcony or deck, but an actual outdoor pathway—at all residential levels. For years the lead form-maker at Bing Thom Architects, Kokalov was responsible for much of the curvilinearity in the firm’s later works, including the 2019 Xiqu Centre opera house in Hong Kong. It’s easy to assume that his forte and focus would be pure aesthetic delight, but he avers that every sinuous curve has a practical rationale. 
    The breezeways provide residents with outdoor entries to their units—an unusual attribute for high-rise towers—and contribute to natural cooling, ventilation, and daylight in the suites.
    Defying the local tower-on-podium formula, the building’s façade falls almost straight to the ground. At street level, the building is indented with huge parabolic concavities. It’s an abrupt way to meet the street, but the fall is visually “broken” by a publicly accessible courtyard.  
    The tower’s layered, undulating volume is echoed in a soaring residential lobby, which includes developer Westbank’s signature—a bespoke Fazioli grand piano designed by the building’s architect.
    After passing through this courtyard, you enter the building via the usual indoor luxe foyer—complete with developer Westbank’s signature, an over-the-top hand-built grand piano designed by the architect. In this case, the piano’s baroquely sculpted legs are right in keeping with the architecture. But after taking the elevator up to the designated floor, you step out into what is technically “outdoors” and walk to your front door in a brief but bracing open-air transition. 
    The main entrance of every unit is accessed via a breezeway that runs from one side of the building to another. Unglazed and open to the outside, each breezeway is marked at one end with what the architects calla “sky garden,” in most cases consisting of a sapling that will grow into a leafy tree in due course, God and strata maintenance willing. This incorporation of nature and fresh air transforms the condominium units into something akin to townhouses, albeit stacked exceptionally high. 
    The suites feature a custom counter with a sculptural folded form.
    Inside each unit, the space can be expanded and contracted and reconfigured visually—not literally—by the fact that the interior wall of the secondary bedroom is completely transparent, floor to ceiling. It’s unusual, and slightly unnerving, but undeniably exciting for any occupants who wish to maximize their views to the mountains and sea. The curved glass wall transforms the room into a private enclave by means of a curtain, futuristically activated by remote control.
    The visual delight of swooping curves is only tempered when it’s wholly impractical—the offender here being a massive built-in counter that serves to both anchor and divide the living-kitchen areas. It reads as a long, pliable slab that is “folded” into the middle in such a way that the counter itself transforms into its own horseshoe-shaped base, creating a narrow crevice in the middle of the countertop. I marvel at its beauty and uniqueness; I weep for whoever is assigned to clean out the crumbs and other culinary flotsam that will fall into that crevice. 
    A structure made of high-performance modular precast concrete structural ribs arcs over a swimming pool that bridges between the building’s main amenity space and the podium roof.
    The building’s high-priced architecture may well bring more to the table than density-bonus amenities. On a broader scale, these luxe dwellings may be just what is needed to help lure the affluent from their mansions. As wealthy residents and investors continue to seek out land-hogging detached homes, the Butterfly offers an alternate concept that maintains the psychological benefit of a dedicated outside entrance and an outrageously flexible interior space. Further over-the-top amenities add to the appeal. Prominent among these is a supremely gorgeous residents-only swimming pool, housed within ribs of concrete columns that curve and dovetail into beams.  
    The ultimate public purpose for the architecturally spectacular condo tower: its role as public art in the city. The units in any of these buildings are the private side of architecture’s Janus face, but its presence in the skyline and on the street is highly public. By contributing a newly striking visual ballast, the Butterfly has served its purpose as one of the age-old Seven Arts: defining a location, a community, and an era.
    Adele Weder is a contributing editor to Canadian Architect.
    Screenshot
    CLIENT Westbank Corporation, First Baptist Church | ARCHITECT TEAM Venelin Kokalov, Bing Thom, Amirali Javidan, Nicole Hu, Shinobu Homma MRAIC, Bibi Fehr, Culum Osborne, Dustin Yee, Cody Loeffen, Kailey O’Farrell, Mark Melnichuk, Andrea Flynn, Jennifer Zhang, Daniel Gasser, Zhuoli Yang, Lisa Potopsingh | STRUCTURAL Glotman Simpson | MECHANICAL Introba | ELECTRICAL Nemetz & Associates, Inc. | LANDSCAPE SWA Groupw/ Cornelia Oberlander & G|ALA – Gauthier & Associates Landscape Architecture, Inc.| INTERIORS Revery Architecture | CONTRACTOR Icon West Construction; The Haebler Group| LIGHTING ARUP& Nemetz| SUSTAINABILITY & ENERGY MODELlING Introba | BUILDING ENVELOPE RDH Building Science, Inc. | HERITAGE CONSERVATION Donald Luxton & Associates, Inc.| ACOUSTICS BKL Consultants Ltd. | TRAFFIC Bunt & Associates, Inc. | POOL Rockingham Pool Consulting, Inc. | FOUNTAIN Vincent Helton & Associates | WIND Gradient Wind Engineering, Inc. | WASTE CONSULTANT Target Zero Waste Consulting, Inc. | AREA 56,206 M2 | BUDGET Withheld | COMPLETION Spring 2025
    ENERGY USE INTENSITY106 kWh/m2/year | WATER USE INTENSITY0.72 m3/m2/year

    As appeared in the June 2025 issue of Canadian Architect magazine

    The post The Butterfly takes flight: The Butterfly, Vancouver, BC appeared first on Canadian Architect.
    #butterfly #takes #flight #vancouver
    The Butterfly takes flight: The Butterfly, Vancouver, BC
    The tower takes shape as two sets of overlapping cylinders, clad with prefabricated panels intended to evoke clouds. PROJECT The Butterfly + First Baptist Church Complex ARCHITECT Revery Architecture PHOTOS Ema Peter When you fly into Vancouver, the most prominent structure in the city’s forest of glass skyscrapers is now a 57-storey edifice known as the Butterfly. Designed by Revery Architecture, the luxury residential tower is the latest in a string of high-rises that pop out of the city’s backdrop of generic window-wall façades.  The Butterfly’s striking form evolved over many years, beginning with studies dating back to 2012. Revery principal Venelin Kokalov imagined several options, most of them suggesting a distinct pair of architectural forms in dialogue. Renderings and models of the early concepts relay a wealth of imagination that is sorely missing from much of the city’s contemporary architecture, as land economics, zoning issues, and the profit motive often compel a default into generic glass-and-steel towers. The earliest concepts look starkly different—some evoke the Ginger and Fred building in Prague; others the Absolute Towers in Mississauga. But one consistent theme runs through the design evolution: a sense of two Rilkean solitudes, touching.  On each floor, semi-private sky gardens offer an outdoor place for residents to socialize. Client feedback, engineering studies, and simple pragmatics led to the final form: two sets of overlapping cylinders linked by a common breezeway and flanked by a rental apartment on one side and a restored church doubling as a community centre on the other. The contours of the floorplan are visually organic: evocative of human cells dividing. The roundness of the main massing is complemented by curvilinear balustrades that smoothly transform into the outer walls of each unit. It’s an eye-catching counterpoint to the orthogonality of the city’s built landscape. The two adjacent buildings—built, restored, and expanded as part of a density bonus arrangement with the city—help integrate this gargantuan structure with the lower-rise neighbourhood around it.  The Butterfly is a high-end, high-priced residential tower—one of the few typologies in which clients and communities are now willing to invest big money and resources in creative, visually astonishing architecture. That leads to a fundamental question: what is the public purpose of a luxury condo tower?  A public galleria joins the renovated First Baptist Church to the new building. Serving as a welcoming atrium, it allows for community access to the expanded church, including its daycare, full gymnasium, multi-purpose rooms, overnight emergency shelter, and community dining hall equipped with a commercial kitchen. Whatever one feels about the widening divide between the haves and have-nots in our big cities, this building—like its ilk—does serve several important public purposes. The most direct and quantifiable benefits are the two flanking buildings, also designed by Revery and part of the larger project. The seven-storey rental apartment provides a modest contribution to the city’s dearth of mid-priced housing. The superbly restored and seismically upgraded First Baptist Church has expanded into the area between the new tower and original church, and now offers the public a wider array of programming including a gymnasium, childcare facility, and areas for emergency shelter and counselling services for individuals in need.  The church’s Pinder Hall has been reimagined as a venue for church and community events including concerts, weddings, and cultural programming. The Butterfly’s character is largely defined by undulating precast concrete panels that wrap around the building. The architects describe the swooping lines as being inspired by clouds, but for this writer, the Butterfly evokes a 57-layer frosted cake towering above the city’s boxy skyline. Kokalov winces when he hears that impression, but it’s meant as a sincere compliment. Clouds are not universally welcome, but who doesn’t like cake?  Kokalov argues that its experiential quality is the building’s greatest distinction—most notably, the incorporation of an “outdoors”—not a balcony or deck, but an actual outdoor pathway—at all residential levels. For years the lead form-maker at Bing Thom Architects, Kokalov was responsible for much of the curvilinearity in the firm’s later works, including the 2019 Xiqu Centre opera house in Hong Kong. It’s easy to assume that his forte and focus would be pure aesthetic delight, but he avers that every sinuous curve has a practical rationale.  The breezeways provide residents with outdoor entries to their units—an unusual attribute for high-rise towers—and contribute to natural cooling, ventilation, and daylight in the suites. Defying the local tower-on-podium formula, the building’s façade falls almost straight to the ground. At street level, the building is indented with huge parabolic concavities. It’s an abrupt way to meet the street, but the fall is visually “broken” by a publicly accessible courtyard.   The tower’s layered, undulating volume is echoed in a soaring residential lobby, which includes developer Westbank’s signature—a bespoke Fazioli grand piano designed by the building’s architect. After passing through this courtyard, you enter the building via the usual indoor luxe foyer—complete with developer Westbank’s signature, an over-the-top hand-built grand piano designed by the architect. In this case, the piano’s baroquely sculpted legs are right in keeping with the architecture. But after taking the elevator up to the designated floor, you step out into what is technically “outdoors” and walk to your front door in a brief but bracing open-air transition.  The main entrance of every unit is accessed via a breezeway that runs from one side of the building to another. Unglazed and open to the outside, each breezeway is marked at one end with what the architects calla “sky garden,” in most cases consisting of a sapling that will grow into a leafy tree in due course, God and strata maintenance willing. This incorporation of nature and fresh air transforms the condominium units into something akin to townhouses, albeit stacked exceptionally high.  The suites feature a custom counter with a sculptural folded form. Inside each unit, the space can be expanded and contracted and reconfigured visually—not literally—by the fact that the interior wall of the secondary bedroom is completely transparent, floor to ceiling. It’s unusual, and slightly unnerving, but undeniably exciting for any occupants who wish to maximize their views to the mountains and sea. The curved glass wall transforms the room into a private enclave by means of a curtain, futuristically activated by remote control. The visual delight of swooping curves is only tempered when it’s wholly impractical—the offender here being a massive built-in counter that serves to both anchor and divide the living-kitchen areas. It reads as a long, pliable slab that is “folded” into the middle in such a way that the counter itself transforms into its own horseshoe-shaped base, creating a narrow crevice in the middle of the countertop. I marvel at its beauty and uniqueness; I weep for whoever is assigned to clean out the crumbs and other culinary flotsam that will fall into that crevice.  A structure made of high-performance modular precast concrete structural ribs arcs over a swimming pool that bridges between the building’s main amenity space and the podium roof. The building’s high-priced architecture may well bring more to the table than density-bonus amenities. On a broader scale, these luxe dwellings may be just what is needed to help lure the affluent from their mansions. As wealthy residents and investors continue to seek out land-hogging detached homes, the Butterfly offers an alternate concept that maintains the psychological benefit of a dedicated outside entrance and an outrageously flexible interior space. Further over-the-top amenities add to the appeal. Prominent among these is a supremely gorgeous residents-only swimming pool, housed within ribs of concrete columns that curve and dovetail into beams.   The ultimate public purpose for the architecturally spectacular condo tower: its role as public art in the city. The units in any of these buildings are the private side of architecture’s Janus face, but its presence in the skyline and on the street is highly public. By contributing a newly striking visual ballast, the Butterfly has served its purpose as one of the age-old Seven Arts: defining a location, a community, and an era. Adele Weder is a contributing editor to Canadian Architect. Screenshot CLIENT Westbank Corporation, First Baptist Church | ARCHITECT TEAM Venelin Kokalov, Bing Thom, Amirali Javidan, Nicole Hu, Shinobu Homma MRAIC, Bibi Fehr, Culum Osborne, Dustin Yee, Cody Loeffen, Kailey O’Farrell, Mark Melnichuk, Andrea Flynn, Jennifer Zhang, Daniel Gasser, Zhuoli Yang, Lisa Potopsingh | STRUCTURAL Glotman Simpson | MECHANICAL Introba | ELECTRICAL Nemetz & Associates, Inc. | LANDSCAPE SWA Groupw/ Cornelia Oberlander & G|ALA – Gauthier & Associates Landscape Architecture, Inc.| INTERIORS Revery Architecture | CONTRACTOR Icon West Construction; The Haebler Group| LIGHTING ARUP& Nemetz| SUSTAINABILITY & ENERGY MODELlING Introba | BUILDING ENVELOPE RDH Building Science, Inc. | HERITAGE CONSERVATION Donald Luxton & Associates, Inc.| ACOUSTICS BKL Consultants Ltd. | TRAFFIC Bunt & Associates, Inc. | POOL Rockingham Pool Consulting, Inc. | FOUNTAIN Vincent Helton & Associates | WIND Gradient Wind Engineering, Inc. | WASTE CONSULTANT Target Zero Waste Consulting, Inc. | AREA 56,206 M2 | BUDGET Withheld | COMPLETION Spring 2025 ENERGY USE INTENSITY106 kWh/m2/year | WATER USE INTENSITY0.72 m3/m2/year As appeared in the June 2025 issue of Canadian Architect magazine The post The Butterfly takes flight: The Butterfly, Vancouver, BC appeared first on Canadian Architect. #butterfly #takes #flight #vancouver
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    The Butterfly takes flight: The Butterfly, Vancouver, BC
    The tower takes shape as two sets of overlapping cylinders, clad with prefabricated panels intended to evoke clouds. PROJECT The Butterfly + First Baptist Church Complex ARCHITECT Revery Architecture PHOTOS Ema Peter When you fly into Vancouver, the most prominent structure in the city’s forest of glass skyscrapers is now a 57-storey edifice known as the Butterfly. Designed by Revery Architecture, the luxury residential tower is the latest in a string of high-rises that pop out of the city’s backdrop of generic window-wall façades.  The Butterfly’s striking form evolved over many years, beginning with studies dating back to 2012. Revery principal Venelin Kokalov imagined several options, most of them suggesting a distinct pair of architectural forms in dialogue. Renderings and models of the early concepts relay a wealth of imagination that is sorely missing from much of the city’s contemporary architecture, as land economics, zoning issues, and the profit motive often compel a default into generic glass-and-steel towers. The earliest concepts look starkly different—some evoke the Ginger and Fred building in Prague (Frank Gehry with Vlado Milunić, 1996); others the Absolute Towers in Mississauga (MAD with Burka Varacalli Architects, 2009). But one consistent theme runs through the design evolution: a sense of two Rilkean solitudes, touching.  On each floor, semi-private sky gardens offer an outdoor place for residents to socialize. Client feedback, engineering studies, and simple pragmatics led to the final form: two sets of overlapping cylinders linked by a common breezeway and flanked by a rental apartment on one side and a restored church doubling as a community centre on the other. The contours of the floorplan are visually organic: evocative of human cells dividing. The roundness of the main massing is complemented by curvilinear balustrades that smoothly transform into the outer walls of each unit. It’s an eye-catching counterpoint to the orthogonality of the city’s built landscape. The two adjacent buildings—built, restored, and expanded as part of a density bonus arrangement with the city—help integrate this gargantuan structure with the lower-rise neighbourhood around it.  The Butterfly is a high-end, high-priced residential tower—one of the few typologies in which clients and communities are now willing to invest big money and resources in creative, visually astonishing architecture. That leads to a fundamental question: what is the public purpose of a luxury condo tower?  A public galleria joins the renovated First Baptist Church to the new building. Serving as a welcoming atrium, it allows for community access to the expanded church, including its daycare, full gymnasium, multi-purpose rooms, overnight emergency shelter, and community dining hall equipped with a commercial kitchen. Whatever one feels about the widening divide between the haves and have-nots in our big cities, this building—like its ilk—does serve several important public purposes. The most direct and quantifiable benefits are the two flanking buildings, also designed by Revery and part of the larger project. The seven-storey rental apartment provides a modest contribution to the city’s dearth of mid-priced housing. The superbly restored and seismically upgraded First Baptist Church has expanded into the area between the new tower and original church, and now offers the public a wider array of programming including a gymnasium, childcare facility, and areas for emergency shelter and counselling services for individuals in need.  The church’s Pinder Hall has been reimagined as a venue for church and community events including concerts, weddings, and cultural programming. The Butterfly’s character is largely defined by undulating precast concrete panels that wrap around the building. The architects describe the swooping lines as being inspired by clouds, but for this writer, the Butterfly evokes a 57-layer frosted cake towering above the city’s boxy skyline. Kokalov winces when he hears that impression, but it’s meant as a sincere compliment. Clouds are not universally welcome, but who doesn’t like cake?  Kokalov argues that its experiential quality is the building’s greatest distinction—most notably, the incorporation of an “outdoors”—not a balcony or deck, but an actual outdoor pathway—at all residential levels. For years the lead form-maker at Bing Thom Architects, Kokalov was responsible for much of the curvilinearity in the firm’s later works, including the 2019 Xiqu Centre opera house in Hong Kong. It’s easy to assume that his forte and focus would be pure aesthetic delight, but he avers that every sinuous curve has a practical rationale.  The breezeways provide residents with outdoor entries to their units—an unusual attribute for high-rise towers—and contribute to natural cooling, ventilation, and daylight in the suites. Defying the local tower-on-podium formula, the building’s façade falls almost straight to the ground. At street level, the building is indented with huge parabolic concavities. It’s an abrupt way to meet the street, but the fall is visually “broken” by a publicly accessible courtyard.   The tower’s layered, undulating volume is echoed in a soaring residential lobby, which includes developer Westbank’s signature—a bespoke Fazioli grand piano designed by the building’s architect. After passing through this courtyard, you enter the building via the usual indoor luxe foyer—complete with developer Westbank’s signature, an over-the-top hand-built grand piano designed by the architect. In this case, the piano’s baroquely sculpted legs are right in keeping with the architecture. But after taking the elevator up to the designated floor, you step out into what is technically “outdoors” and walk to your front door in a brief but bracing open-air transition.  The main entrance of every unit is accessed via a breezeway that runs from one side of the building to another. Unglazed and open to the outside, each breezeway is marked at one end with what the architects call (a little ambitiously) a “sky garden,” in most cases consisting of a sapling that will grow into a leafy tree in due course, God and strata maintenance willing. This incorporation of nature and fresh air transforms the condominium units into something akin to townhouses, albeit stacked exceptionally high.  The suites feature a custom counter with a sculptural folded form. Inside each unit, the space can be expanded and contracted and reconfigured visually—not literally—by the fact that the interior wall of the secondary bedroom is completely transparent, floor to ceiling. It’s unusual, and slightly unnerving, but undeniably exciting for any occupants who wish to maximize their views to the mountains and sea. The curved glass wall transforms the room into a private enclave by means of a curtain, futuristically activated by remote control. The visual delight of swooping curves is only tempered when it’s wholly impractical—the offender here being a massive built-in counter that serves to both anchor and divide the living-kitchen areas. It reads as a long, pliable slab that is “folded” into the middle in such a way that the counter itself transforms into its own horseshoe-shaped base, creating a narrow crevice in the middle of the countertop. I marvel at its beauty and uniqueness; I weep for whoever is assigned to clean out the crumbs and other culinary flotsam that will fall into that crevice.  A structure made of high-performance modular precast concrete structural ribs arcs over a swimming pool that bridges between the building’s main amenity space and the podium roof. The building’s high-priced architecture may well bring more to the table than density-bonus amenities. On a broader scale, these luxe dwellings may be just what is needed to help lure the affluent from their mansions. As wealthy residents and investors continue to seek out land-hogging detached homes, the Butterfly offers an alternate concept that maintains the psychological benefit of a dedicated outside entrance and an outrageously flexible interior space. Further over-the-top amenities add to the appeal. Prominent among these is a supremely gorgeous residents-only swimming pool, housed within ribs of concrete columns that curve and dovetail into beams.   The ultimate public purpose for the architecturally spectacular condo tower: its role as public art in the city. The units in any of these buildings are the private side of architecture’s Janus face, but its presence in the skyline and on the street is highly public. By contributing a newly striking visual ballast, the Butterfly has served its purpose as one of the age-old Seven Arts: defining a location, a community, and an era. Adele Weder is a contributing editor to Canadian Architect. Screenshot CLIENT Westbank Corporation, First Baptist Church | ARCHITECT TEAM Venelin Kokalov (MRAIC), Bing Thom (FRAIC, deceased 2016), Amirali Javidan, Nicole Hu, Shinobu Homma MRAIC, Bibi Fehr, Culum Osborne, Dustin Yee, Cody Loeffen, Kailey O’Farrell, Mark Melnichuk, Andrea Flynn, Jennifer Zhang, Daniel Gasser, Zhuoli Yang, Lisa Potopsingh | STRUCTURAL Glotman Simpson | MECHANICAL Introba | ELECTRICAL Nemetz & Associates, Inc. | LANDSCAPE SWA Group (Design) w/ Cornelia Oberlander & G|ALA – Gauthier & Associates Landscape Architecture, Inc. (Landscape Architect of Record) | INTERIORS Revery Architecture | CONTRACTOR Icon West Construction (new construction); The Haebler Group (heritage) | LIGHTING ARUP (Design) & Nemetz (Engineer of Record) | SUSTAINABILITY & ENERGY MODELlING Introba | BUILDING ENVELOPE RDH Building Science, Inc. | HERITAGE CONSERVATION Donald Luxton & Associates, Inc.| ACOUSTICS BKL Consultants Ltd. | TRAFFIC Bunt & Associates, Inc. | POOL Rockingham Pool Consulting, Inc. | FOUNTAIN Vincent Helton & Associates | WIND Gradient Wind Engineering, Inc. | WASTE CONSULTANT Target Zero Waste Consulting, Inc. | AREA 56,206 M2 | BUDGET Withheld | COMPLETION Spring 2025 ENERGY USE INTENSITY (PROJECTED) 106 kWh/m2/year | WATER USE INTENSITY (PROJECTED) 0.72 m3/m2/year As appeared in the June 2025 issue of Canadian Architect magazine The post The Butterfly takes flight: The Butterfly, Vancouver, BC appeared first on Canadian Architect.
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  • Phasmophobia June's update reworks the Journal, Media, and brings a "total overhaul" of evidence collection

    Phasmophobia June's update reworks the Journal, Media, and brings a "total overhaul" of evidence collection
    Ghost-it Note.

    Image credit: Kinetic Games

    News

    by Vikki Blake
    Contributor

    Published on May 31, 2025

    Kinetic Games has confirmed Phasmophobia's next content drop, Chronicle, will release on 24th June, and it'll be its "biggest update yet".
    As well as introducing a "total overhaul" of how evidence is collected, the team said Chronicle will expand investigations with three new evidence types, a completely redesigned Journal, reworked levelling and progression, a refreshed Main Menu UI, and "many eerie surprises still lurking in the dark".

    Phasmophobia - Console Launch Trailer.Watch on YouTube
    But at the "heart" of the Chronicle update is the debut of the all-new Sound evidence. An entirely new haunting paranormal proof type can be captured through the new Sound Recorder, bringing "a new dimension to gameplay, revealing subtle clues that might otherwise be drowned out by terrified screams". Available in the customary three upgrade tiers, players will be able to record audio from ghost events, Spirit Box responses, and Paranormal Sounds like those detected by the Parabolic Microphone.
    It's this new evidence type that's necessitated a Journal upgrade, too. The Photo tab will be rebranded as "Media", and keep all your photos, videos, and new sound recordings in one place. Importantly, you'll have to fill your journal with all these unique media types, including "EMF spikes to ghostly interactions and fleeting glimpses of otherworldly forms", to complete a "perfect" investigation.

    Image credit: Kinetic Games

    "Chronicle will also introduce a revamped media quality system," Kinetic teased. "The first evidence capture of any media type will be marked as 'Unique', granting extra cash and XP rewards at the end of each contract. Any subsequent captures of the same evidence type will be classed as 'Duplicates', offering smaller rewards. The new system will also add tier bonuses based on the equipment used and adds all media captures into the Reward Multiplier, making every shot, sound, and sight count even more toward player’s final payouts."
    Don't forget that this year, Phasmophobia will also rework Grafton Farmhouse, following Bleasdale Farmhouse's recent overhaul. Before then, though, we'll also get to see the new levelling and progression system and Main Menu UI when Chronicle arrives at the end of June.
    The ghost-hunting sim has sold two million copies on console since it came out of early access last October, bringing the total sales across all platforms to 22 million. The development team recently outlined the road ahead for the spooky sim in 2025, confirming map reworks, new ghost-hunting equipment, "thrilling seasonal events", and a brand-new location, too.
    #phasmophobia #june039s #update #reworks #journal
    Phasmophobia June's update reworks the Journal, Media, and brings a "total overhaul" of evidence collection
    Phasmophobia June's update reworks the Journal, Media, and brings a "total overhaul" of evidence collection Ghost-it Note. Image credit: Kinetic Games News by Vikki Blake Contributor Published on May 31, 2025 Kinetic Games has confirmed Phasmophobia's next content drop, Chronicle, will release on 24th June, and it'll be its "biggest update yet". As well as introducing a "total overhaul" of how evidence is collected, the team said Chronicle will expand investigations with three new evidence types, a completely redesigned Journal, reworked levelling and progression, a refreshed Main Menu UI, and "many eerie surprises still lurking in the dark". Phasmophobia - Console Launch Trailer.Watch on YouTube But at the "heart" of the Chronicle update is the debut of the all-new Sound evidence. An entirely new haunting paranormal proof type can be captured through the new Sound Recorder, bringing "a new dimension to gameplay, revealing subtle clues that might otherwise be drowned out by terrified screams". Available in the customary three upgrade tiers, players will be able to record audio from ghost events, Spirit Box responses, and Paranormal Sounds like those detected by the Parabolic Microphone. It's this new evidence type that's necessitated a Journal upgrade, too. The Photo tab will be rebranded as "Media", and keep all your photos, videos, and new sound recordings in one place. Importantly, you'll have to fill your journal with all these unique media types, including "EMF spikes to ghostly interactions and fleeting glimpses of otherworldly forms", to complete a "perfect" investigation. Image credit: Kinetic Games "Chronicle will also introduce a revamped media quality system," Kinetic teased. "The first evidence capture of any media type will be marked as 'Unique', granting extra cash and XP rewards at the end of each contract. Any subsequent captures of the same evidence type will be classed as 'Duplicates', offering smaller rewards. The new system will also add tier bonuses based on the equipment used and adds all media captures into the Reward Multiplier, making every shot, sound, and sight count even more toward player’s final payouts." Don't forget that this year, Phasmophobia will also rework Grafton Farmhouse, following Bleasdale Farmhouse's recent overhaul. Before then, though, we'll also get to see the new levelling and progression system and Main Menu UI when Chronicle arrives at the end of June. The ghost-hunting sim has sold two million copies on console since it came out of early access last October, bringing the total sales across all platforms to 22 million. The development team recently outlined the road ahead for the spooky sim in 2025, confirming map reworks, new ghost-hunting equipment, "thrilling seasonal events", and a brand-new location, too. #phasmophobia #june039s #update #reworks #journal
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    Phasmophobia June's update reworks the Journal, Media, and brings a "total overhaul" of evidence collection
    Phasmophobia June's update reworks the Journal, Media, and brings a "total overhaul" of evidence collection Ghost-it Note. Image credit: Kinetic Games News by Vikki Blake Contributor Published on May 31, 2025 Kinetic Games has confirmed Phasmophobia's next content drop, Chronicle, will release on 24th June, and it'll be its "biggest update yet". As well as introducing a "total overhaul" of how evidence is collected, the team said Chronicle will expand investigations with three new evidence types, a completely redesigned Journal, reworked levelling and progression, a refreshed Main Menu UI, and "many eerie surprises still lurking in the dark". Phasmophobia - Console Launch Trailer.Watch on YouTube But at the "heart" of the Chronicle update is the debut of the all-new Sound evidence. An entirely new haunting paranormal proof type can be captured through the new Sound Recorder, bringing "a new dimension to gameplay, revealing subtle clues that might otherwise be drowned out by terrified screams". Available in the customary three upgrade tiers, players will be able to record audio from ghost events, Spirit Box responses, and Paranormal Sounds like those detected by the Parabolic Microphone. It's this new evidence type that's necessitated a Journal upgrade, too. The Photo tab will be rebranded as "Media", and keep all your photos, videos, and new sound recordings in one place. Importantly, you'll have to fill your journal with all these unique media types, including "EMF spikes to ghostly interactions and fleeting glimpses of otherworldly forms", to complete a "perfect" investigation. Image credit: Kinetic Games "Chronicle will also introduce a revamped media quality system," Kinetic teased. "The first evidence capture of any media type will be marked as 'Unique', granting extra cash and XP rewards at the end of each contract. Any subsequent captures of the same evidence type will be classed as 'Duplicates', offering smaller rewards. The new system will also add tier bonuses based on the equipment used and adds all media captures into the Reward Multiplier, making every shot, sound, and sight count even more toward player’s final payouts." Don't forget that this year, Phasmophobia will also rework Grafton Farmhouse, following Bleasdale Farmhouse's recent overhaul. Before then, though, we'll also get to see the new levelling and progression system and Main Menu UI when Chronicle arrives at the end of June. The ghost-hunting sim has sold two million copies on console since it came out of early access last October, bringing the total sales across all platforms to 22 million. The development team recently outlined the road ahead for the spooky sim in 2025, confirming map reworks, new ghost-hunting equipment, "thrilling seasonal events", and a brand-new location, too.
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  • This giant microwave may change the future of war

    Imagine: China deploys hundreds of thousands of autonomous drones in the air, on the sea, and under the water—all armed with explosive warheads or small missiles. These machines descend in a swarm toward military installations on Taiwan and nearby US bases, and over the course of a few hours, a single robotic blitzkrieg overwhelms the US Pacific force before it can even begin to fight back. 

    Maybe it sounds like a new Michael Bay movie, but it’s the scenario that keeps the chief technology officer of the US Army up at night.

    “I’m hesitant to say it out loud so I don’t manifest it,” says Alex Miller, a longtime Army intelligence official who became the CTO to the Army’s chief of staff in 2023.

    Even if World War III doesn’t break out in the South China Sea, every US military installation around the world is vulnerable to the same tactics—as are the militaries of every other country around the world. The proliferation of cheap drones means just about any group with the wherewithal to assemble and launch a swarm could wreak havoc, no expensive jets or massive missile installations required. 

    While the US has precision missiles that can shoot these drones down, they don’t always succeed: A drone attack killed three US soldiers and injured dozens more at a base in the Jordanian desert last year. And each American missile costs orders of magnitude more than its targets, which limits their supply; countering thousand-dollar drones with missiles that cost hundreds of thousands, or even millions, of dollars per shot can only work for so long, even with a defense budget that could reach a trillion dollars next year.

    The US armed forces are now hunting for a solution—and they want it fast. Every branch of the service and a host of defense tech startups are testing out new weapons that promise to disable drones en masse. There are drones that slam into other drones like battering rams; drones that shoot out nets to ensnare quadcopter propellers; precision-guided Gatling guns that simply shoot drones out of the sky; electronic approaches, like GPS jammers and direct hacking tools; and lasers that melt holes clear through a target’s side.

    Then there are the microwaves: high-powered electronic devices that push out kilowatts of power to zap the circuits of a drone as if it were the tinfoil you forgot to take off your leftovers when you heated them up. 

    That’s where Epirus comes in. 

    When I went to visit the HQ of this 185-person startup in Torrance, California, earlier this year, I got a behind-the-scenes look at its massive microwave, called Leonidas, which the US Army is already betting on as a cutting-edge anti-drone weapon. The Army awarded Epirus a million contract in early 2023, topped that up with another million last fall, and is currently deploying a handful of the systems for testing with US troops in the Middle East and the Pacific. 

    Up close, the Leonidas that Epirus built for the Army looks like a two-foot-thick slab of metal the size of a garage door stuck on a swivel mount. Pop the back cover, and you can see that the slab is filled with dozens of individual microwave amplifier units in a grid. Each is about the size of a safe-deposit box and built around a chip made of gallium nitride, a semiconductor that can survive much higher voltages and temperatures than the typical silicon. 

    Leonidas sits on top of a trailer that a standard-issue Army truck can tow, and when it is powered on, the company’s software tells the grid of amps and antennas to shape the electromagnetic waves they’re blasting out with a phased array, precisely overlapping the microwave signals to mold the energy into a focused beam. Instead of needing to physically point a gun or parabolic dish at each of a thousand incoming drones, the Leonidas can flick between them at the speed of software.

    The Leonidas contains dozens of microwave amplifier units and can pivot to direct waves at incoming swarms of drones.EPIRUS

    Of course, this isn’t magic—there are practical limits on how much damage one array can do, and at what range—but the total effect could be described as an electromagnetic pulse emitter, a death ray for electronics, or a force field that could set up a protective barrier around military installations and drop drones the way a bug zapper fizzles a mob of mosquitoes.

    I walked through the nonclassified sections of the Leonidas factory floor, where a cluster of engineers working on weaponeering—the military term for figuring out exactly how much of a weapon, be it high explosive or microwave beam, is necessary to achieve a desired effect—ran tests in a warren of smaller anechoic rooms. Inside, they shot individual microwave units at a broad range of commercial and military drones, cycling through waveforms and power levels to try to find the signal that could fry each one with maximum efficiency. 

    On a live video feed from inside one of these foam-padded rooms, I watched a quadcopter drone spin its propellers and then, once the microwave emitter turned on, instantly stop short—first the propeller on the front left and then the rest. A drone hit with a Leonidas beam doesn’t explode—it just falls.

    Compared with the blast of a missile or the sizzle of a laser, it doesn’t look like much. But it could force enemies to come up with costlier ways of attacking that reduce the advantage of the drone swarm, and it could get around the inherent limitations of purely electronic or strictly physical defense systems. It could save lives.

    Epirus CEO Andy Lowery, a tall guy with sparkplug energy and a rapid-fire southern Illinois twang, doesn’t shy away from talking big about his product. As he told me during my visit, Leonidas is intended to lead a last stand, like the Spartan from whom the microwave takes its name—in this case, against hordes of unmanned aerial vehicles, or UAVs. While the actual range of the Leonidas system is kept secret, Lowery says the Army is looking for a solution that can reliably stop drones within a few kilometers. He told me, “They would like our system to be the owner of that final layer—to get any squeakers, any leakers, anything like that.”

    Now that they’ve told the world they “invented a force field,” Lowery added, the focus is on manufacturing at scale—before the drone swarms really start to descend or a nation with a major military decides to launch a new war. Before, in other words, Miller’s nightmare scenario becomes reality. 

    Why zap?

    Miller remembers well when the danger of small weaponized drones first appeared on his radar. Reports of Islamic State fighters strapping grenades to the bottom of commercial DJI Phantom quadcopters first emerged in late 2016 during the Battle of Mosul. “I went, ‘Oh, this is going to be bad,’ because basically it’s an airborne IED at that point,” he says.

    He’s tracked the danger as it’s built steadily since then, with advances in machine vision, AI coordination software, and suicide drone tactics only accelerating. 

    Then the war in Ukraine showed the world that cheap technology has fundamentally changed how warfare happens. We have watched in high-definition video how a cheap, off-the-shelf drone modified to carry a small bomb can be piloted directly into a faraway truck, tank, or group of troops to devastating effect. And larger suicide drones, also known as “loitering munitions,” can be produced for just tens of thousands of dollars and launched in massive salvos to hit soft targets or overwhelm more advanced military defenses through sheer numbers. 

    As a result, Miller, along with large swaths of the Pentagon and DC policy circles, believes that the current US arsenal for defending against these weapons is just too expensive and the tools in too short supply to truly match the threat.

    Just look at Yemen, a poor country where the Houthi military group has been under constant attack for the past decade. Armed with this new low-tech arsenal, in the past 18 months the rebel group has been able to bomb cargo ships and effectively disrupt global shipping in the Red Sea—part of an effort to apply pressure on Israel to stop its war in Gaza. The Houthis have also used missiles, suicide drones, and even drone boats to launch powerful attacks on US Navy ships sent to stop them.

    The most successful defense tech firm selling anti-drone weapons to the US military right now is Anduril, the company started by Palmer Luckey, the inventor of the Oculus VR headset, and a crew of cofounders from Oculus and defense data giant Palantir. In just the past few months, the Marines have chosen Anduril for counter-drone contracts that could be worth nearly million over the next decade, and the company has been working with Special Operations Command since 2022 on a counter-drone contract that could be worth nearly a billion dollars over a similar time frame. It’s unclear from the contracts what, exactly, Anduril is selling to each organization, but its weapons include electronic warfare jammers, jet-powered drone bombs, and propeller-driven Anvil drones designed to simply smash into enemy drones.

    In this arsenal, the cheapest way to stop a swarm of drones is electronic warfare: jamming the GPS or radio signals used to pilot the machines. But the intense drone battles in Ukraine have advanced the art of jamming and counter-jamming close to the point of stalemate. As a result, a new state of the art is emerging: unjammable drones that operate autonomously by using onboard processors to navigate via internal maps and computer vision, or even drones connected with 20-kilometer-long filaments of fiber-optic cable for tethered control.

    But unjammable doesn’t mean unzappable. Instead of using the scrambling method of a jammer, which employs an antenna to block the drone’s connection to a pilot or remote guidance system, the Leonidas microwave beam hits a drone body broadside. The energy finds its way into something electrical, whether the central flight controller or a tiny wire controlling a flap on a wing, to short-circuit whatever’s available.Tyler Miller, a senior systems engineer on Epirus’s weaponeering team, told me that they never know exactly which part of the target drone is going to go down first, but they’ve reliably seen the microwave signal get in somewhere to overload a circuit. “Based on the geometry and the way the wires are laid out,” he said, one of those wires is going to be the best path in. “Sometimes if we rotate the drone 90 degrees, you have a different motor go down first,” he added.

    The team has even tried wrapping target drones in copper tape, which would theoretically provide shielding, only to find that the microwave still finds a way in through moving propeller shafts or antennas that need to remain exposed for the drone to fly. 

    EPIRUS

    Leonidas also has an edge when it comes to downing a mass of drones at once. Physically hitting a drone out of the sky or lighting it up with a laser can be effective in situations where electronic warfare fails, but anti-drone drones can only take out one at a time, and lasers need to precisely aim and shoot. Epirus’s microwaves can damage everything in a roughly 60-degree arc from the Leonidas emitter simultaneously and keep on zapping and zapping; directed energy systems like this one never run out of ammo.

    As for cost, each Army Leonidas unit currently runs in the “low eight figures,” Lowery told me. Defense contract pricing can be opaque, but Epirus delivered four units for its million initial contract, giving a back-of-napkin price around million each. For comparison, Stinger missiles from Raytheon, which soldiers shoot at enemy aircraft or drones from a shoulder-mounted launcher, cost hundreds of thousands of dollars a pop, meaning the Leonidas could start costing lessafter it downs the first wave of a swarm.

    Raytheon’s radar, reversed

    Epirus is part of a new wave of venture-capital-backed defense companies trying to change the way weapons are created—and the way the Pentagon buys them. The largest defense companies, firms like Raytheon, Boeing, Northrop Grumman, and Lockheed Martin, typically develop new weapons in response to research grants and cost-plus contracts, in which the US Department of Defense guarantees a certain profit margin to firms building products that match their laundry list of technical specifications. These programs have kept the military supplied with cutting-edge weapons for decades, but the results may be exquisite pieces of military machinery delivered years late and billions of dollars over budget.

    Rather than building to minutely detailed specs, the new crop of military contractors aim to produce products on a quick time frame to solve a problem and then fine-tune them as they pitch to the military. The model, pioneered by Palantir and SpaceX, has since propelled companies like Anduril, Shield AI, and dozens of other smaller startups into the business of war as venture capital piles tens of billions of dollars into defense.

    Like Anduril, Epirus has direct Palantir roots; it was cofounded by Joe Lonsdale, who also cofounded Palantir, and John Tenet, Lonsdale’s colleague at the time at his venture fund, 8VC. 

    While Epirus is doing business in the new mode, its roots are in the old—specifically in Raytheon, a pioneer in the field of microwave technology. Cofounded by MIT professor Vannevar Bush in 1922, it manufactured vacuum tubes, like those found in old radios. But the company became synonymous with electronic defense during World War II, when Bush spun up a lab to develop early microwave radar technology invented by the British into a workable product, and Raytheon then began mass-producing microwave tubes—known as magnetrons—for the US war effort. By the end of the war in 1945, Raytheon was making 80% of the magnetrons powering Allied radar across the world.

    From padded foam chambers at the Epirus HQ, Leonidas devices can be safely tested on drones.EPIRUS

    Large tubes remained the best way to emit high-power microwaves for more than half a century, handily outperforming silicon-based solid-state amplifiers. They’re still around—the microwave on your kitchen counter runs on a vacuum tube magnetron. But tubes have downsides: They’re hot, they’re big, and they require upkeep.By the 2000s, new methods of building solid-state amplifiers out of materials like gallium nitride started to mature and were able to handle more power than silicon without melting or shorting out. The US Navy spent hundreds of millions of dollars on cutting-edge microwave contracts, one for a project at Raytheon called Next Generation Jammer—geared specifically toward designing a new way to make high-powered microwaves that work at extremely long distances.

    Lowery, the Epirus CEO, began his career working on nuclear reactors on Navy aircraft carriers before he became the chief engineer for Next Generation Jammer at Raytheon in 2010. There, he and his team worked on a system that relied on many of the same fundamentals that now power the Leonidas—using the same type of amplifier material and antenna setup to fry the electronics of a small target at much closer range rather than disrupting the radar of a target hundreds of miles away. 

    The similarity is not a coincidence: Two engineers from Next Generation Jammer helped launch Epirus in 2018. Lowery—who by then was working at the augmented-reality startup RealWear, which makes industrial smart glasses—joined Epirus in 2021 to run product development and was asked to take the top spot as CEO in 2023, as Leonidas became a fully formed machine. Much of the founding team has since departed for other projects, but Raytheon still runs through the company’s collective CV: ex-Raytheon radar engineer Matt Markel started in January as the new CTO, and Epirus’s chief engineer for defense, its VP of engineering, its VP of operations, and a number of employees all have Raytheon roots as well.

    Markel tells me that the Epirus way of working wouldn’t have flown at one of the big defense contractors: “They never would have tried spinning off the technology into a new application without a contract lined up.” The Epirus engineers saw the use case, raised money to start building Leonidas, and already had prototypes in the works before any military branch started awarding money to work on the project.

    Waiting for the starting gun

    On the wall of Lowery’s office are two mementos from testing days at an Army proving ground: a trophy wing from a larger drone, signed by the whole testing team, and a framed photo documenting the Leonidas’s carnage—a stack of dozens of inoperative drones piled up in a heap. 

    Despite what seems to have been an impressive test show, it’s still impossible from the outside to determine whether Epirus’s tech is ready to fully deliver if the swarms descend. 

    The Army would not comment specifically on the efficacy of any new weapons in testing or early deployment, including the Leonidas system. A spokesperson for the Army’s Rapid Capabilities and Critical Technologies Office, or RCCTO, which is the subsection responsible for contracting with Epirus to date, would only say in a statement that it is “committed to developing and fielding innovative Directed Energy solutions to address evolving threats.” 

    But various high-ranking officers appear to be giving Epirus a public vote of confidence. The three-star general who runs RCCTO and oversaw the Leonidas testing last summer told Breaking Defense that “the system actually worked very well,” even if there was work to be done on “how the weapon system fits into the larger kill chain.”

    And when former secretary of the Army Christine Wormuth, then the service’s highest-ranking civilian, gave a parting interview this past January, she mentioned Epirus in all but name, citing “one company” that is “using high-powered microwaves to basically be able to kill swarms of drones.” She called that kind of capability “critical for the Army.” 

    The Army isn’t the only branch interested in the microwave weapon. On Epirus’s factory floor when I visited, alongside the big beige Leonidases commissioned by the Army, engineers were building a smaller expeditionary version for the Marines, painted green, which it delivered in late April. Videos show that when it put some of its microwave emitters on a dock and tested them out for the Navy last summer, the microwaves left their targets dead in the water—successfully frying the circuits of outboard motors like the ones propelling Houthi drone boats. 

    Epirus is also currently working on an even smaller version of the Leonidas that can mount on top of the Army’s Stryker combat vehicles, and it’s testing out attaching a single microwave unit to a small airborne drone, which could work as a highly focused zapper to disable cars, data centers, or single enemy drones. 

    Epirus’s microwave technology is also being tested in devices smaller than the traditional Leonidas. EPIRUS

    While neither the Army nor the Navy has yet to announce a contract to start buying Epirus’s systems at scale, the company and its investors are actively preparing for the big orders to start rolling in. It raised million in a funding round in early March to get ready to make as many Leonidases as possible in the coming years, adding to the more than million it’s raised since opening its doors in 2018.

    “If you invent a force field that works,” Lowery boasts, “you really get a lot of attention.”

    The task for Epirus now, assuming that its main customers pull the trigger and start buying more Leonidases, is ramping up production while advancing the tech in its systems. Then there are the more prosaic problems of staffing, assembly, and testing at scale. For future generations, Lowery told me, the goal is refining the antenna design and integrating higher-powered microwave amplifiers to push the output into the tens of kilowatts, allowing for increased range and efficacy. 

    While this could be made harder by Trump’s global trade war, Lowery says he’s not worried about their supply chain; while China produces 98% of the world’s gallium, according to the US Geological Survey, and has choked off exports to the US, Epirus’s chip supplier uses recycled gallium from Japan. 

    The other outside challenge may be that Epirus isn’t the only company building a drone zapper. One of China’s state-owned defense companies has been working on its own anti-drone high-powered microwave weapon called the Hurricane, which it displayed at a major military show in late 2024. 

    It may be a sign that anti-electronics force fields will become common among the world’s militaries—and if so, the future of war is unlikely to go back to the status quo ante, and it might zag in a different direction yet again. But military planners believe it’s crucial for the US not to be left behind. So if it works as promised, Epirus could very well change the way that war will play out in the coming decade. 

    While Miller, the Army CTO, can’t speak directly to Epirus or any specific system, he will say that he believes anti-drone measures are going to have to become ubiquitous for US soldiers. “Counter-UASunfortunately is going to be like counter-IED,” he says. “It’s going to be every soldier’s job to think about UAS threats the same way it was to think about IEDs.” 

    And, he adds, it’s his job and his colleagues’ to make sure that tech so effective it works like “almost magic” is in the hands of the average rifleman. To that end, Lowery told me, Epirus is designing the Leonidas control system to work simply for troops, allowing them to identify a cluster of targets and start zapping with just a click of a button—but only extensive use in the field can prove that out.

    Epirus CEO Andy Lowery sees the Leonidas as providing a last line of defense against UAVs.EPIRUS

    In the not-too-distant future, Lowery says, this could mean setting up along the US-Mexico border. But the grandest vision for Epirus’s tech that he says he’s heard is for a city-scale Leonidas along the lines of a ballistic missile defense radar system called PAVE PAWS, which takes up an entire 105-foot-tall building and can detect distant nuclear missile launches. The US set up four in the 1980s, and Taiwan currently has one up on a mountain south of Taipei. Fill a similar-size building full of microwave emitters, and the beam could reach out “10 or 15 miles,” Lowery told me, with one sitting sentinel over Taipei in the north and another over Kaohsiung in the south of Taiwan.

    Riffing in Greek mythological mode, Lowery said of drones, “I call all these mischief makers. Whether they’re doing drugs or guns across the border or they’re flying over Langleythey’re spying on F-35s, they’re all like Icarus. You remember Icarus, with his wax wings? Flying all around—‘Nobody’s going to touch me, nobody’s going to ever hurt me.’”

    “We built one hell of a wax-wing melter.” 

    Sam Dean is a reporter focusing on business, tech, and defense. He is writing a book about the recent history of Silicon Valley returning to work with the Pentagon for Viking Press and covering the defense tech industry for a number of publications. Previously, he was a business reporter at the Los Angeles Times.

    This piece has been updated to clarify that Alex Miller is a civilian intelligence official. 
    #this #giant #microwave #change #future
    This giant microwave may change the future of war
    Imagine: China deploys hundreds of thousands of autonomous drones in the air, on the sea, and under the water—all armed with explosive warheads or small missiles. These machines descend in a swarm toward military installations on Taiwan and nearby US bases, and over the course of a few hours, a single robotic blitzkrieg overwhelms the US Pacific force before it can even begin to fight back.  Maybe it sounds like a new Michael Bay movie, but it’s the scenario that keeps the chief technology officer of the US Army up at night. “I’m hesitant to say it out loud so I don’t manifest it,” says Alex Miller, a longtime Army intelligence official who became the CTO to the Army’s chief of staff in 2023. Even if World War III doesn’t break out in the South China Sea, every US military installation around the world is vulnerable to the same tactics—as are the militaries of every other country around the world. The proliferation of cheap drones means just about any group with the wherewithal to assemble and launch a swarm could wreak havoc, no expensive jets or massive missile installations required.  While the US has precision missiles that can shoot these drones down, they don’t always succeed: A drone attack killed three US soldiers and injured dozens more at a base in the Jordanian desert last year. And each American missile costs orders of magnitude more than its targets, which limits their supply; countering thousand-dollar drones with missiles that cost hundreds of thousands, or even millions, of dollars per shot can only work for so long, even with a defense budget that could reach a trillion dollars next year. The US armed forces are now hunting for a solution—and they want it fast. Every branch of the service and a host of defense tech startups are testing out new weapons that promise to disable drones en masse. There are drones that slam into other drones like battering rams; drones that shoot out nets to ensnare quadcopter propellers; precision-guided Gatling guns that simply shoot drones out of the sky; electronic approaches, like GPS jammers and direct hacking tools; and lasers that melt holes clear through a target’s side. Then there are the microwaves: high-powered electronic devices that push out kilowatts of power to zap the circuits of a drone as if it were the tinfoil you forgot to take off your leftovers when you heated them up.  That’s where Epirus comes in.  When I went to visit the HQ of this 185-person startup in Torrance, California, earlier this year, I got a behind-the-scenes look at its massive microwave, called Leonidas, which the US Army is already betting on as a cutting-edge anti-drone weapon. The Army awarded Epirus a million contract in early 2023, topped that up with another million last fall, and is currently deploying a handful of the systems for testing with US troops in the Middle East and the Pacific.  Up close, the Leonidas that Epirus built for the Army looks like a two-foot-thick slab of metal the size of a garage door stuck on a swivel mount. Pop the back cover, and you can see that the slab is filled with dozens of individual microwave amplifier units in a grid. Each is about the size of a safe-deposit box and built around a chip made of gallium nitride, a semiconductor that can survive much higher voltages and temperatures than the typical silicon.  Leonidas sits on top of a trailer that a standard-issue Army truck can tow, and when it is powered on, the company’s software tells the grid of amps and antennas to shape the electromagnetic waves they’re blasting out with a phased array, precisely overlapping the microwave signals to mold the energy into a focused beam. Instead of needing to physically point a gun or parabolic dish at each of a thousand incoming drones, the Leonidas can flick between them at the speed of software. The Leonidas contains dozens of microwave amplifier units and can pivot to direct waves at incoming swarms of drones.EPIRUS Of course, this isn’t magic—there are practical limits on how much damage one array can do, and at what range—but the total effect could be described as an electromagnetic pulse emitter, a death ray for electronics, or a force field that could set up a protective barrier around military installations and drop drones the way a bug zapper fizzles a mob of mosquitoes. I walked through the nonclassified sections of the Leonidas factory floor, where a cluster of engineers working on weaponeering—the military term for figuring out exactly how much of a weapon, be it high explosive or microwave beam, is necessary to achieve a desired effect—ran tests in a warren of smaller anechoic rooms. Inside, they shot individual microwave units at a broad range of commercial and military drones, cycling through waveforms and power levels to try to find the signal that could fry each one with maximum efficiency.  On a live video feed from inside one of these foam-padded rooms, I watched a quadcopter drone spin its propellers and then, once the microwave emitter turned on, instantly stop short—first the propeller on the front left and then the rest. A drone hit with a Leonidas beam doesn’t explode—it just falls. Compared with the blast of a missile or the sizzle of a laser, it doesn’t look like much. But it could force enemies to come up with costlier ways of attacking that reduce the advantage of the drone swarm, and it could get around the inherent limitations of purely electronic or strictly physical defense systems. It could save lives. Epirus CEO Andy Lowery, a tall guy with sparkplug energy and a rapid-fire southern Illinois twang, doesn’t shy away from talking big about his product. As he told me during my visit, Leonidas is intended to lead a last stand, like the Spartan from whom the microwave takes its name—in this case, against hordes of unmanned aerial vehicles, or UAVs. While the actual range of the Leonidas system is kept secret, Lowery says the Army is looking for a solution that can reliably stop drones within a few kilometers. He told me, “They would like our system to be the owner of that final layer—to get any squeakers, any leakers, anything like that.” Now that they’ve told the world they “invented a force field,” Lowery added, the focus is on manufacturing at scale—before the drone swarms really start to descend or a nation with a major military decides to launch a new war. Before, in other words, Miller’s nightmare scenario becomes reality.  Why zap? Miller remembers well when the danger of small weaponized drones first appeared on his radar. Reports of Islamic State fighters strapping grenades to the bottom of commercial DJI Phantom quadcopters first emerged in late 2016 during the Battle of Mosul. “I went, ‘Oh, this is going to be bad,’ because basically it’s an airborne IED at that point,” he says. He’s tracked the danger as it’s built steadily since then, with advances in machine vision, AI coordination software, and suicide drone tactics only accelerating.  Then the war in Ukraine showed the world that cheap technology has fundamentally changed how warfare happens. We have watched in high-definition video how a cheap, off-the-shelf drone modified to carry a small bomb can be piloted directly into a faraway truck, tank, or group of troops to devastating effect. And larger suicide drones, also known as “loitering munitions,” can be produced for just tens of thousands of dollars and launched in massive salvos to hit soft targets or overwhelm more advanced military defenses through sheer numbers.  As a result, Miller, along with large swaths of the Pentagon and DC policy circles, believes that the current US arsenal for defending against these weapons is just too expensive and the tools in too short supply to truly match the threat. Just look at Yemen, a poor country where the Houthi military group has been under constant attack for the past decade. Armed with this new low-tech arsenal, in the past 18 months the rebel group has been able to bomb cargo ships and effectively disrupt global shipping in the Red Sea—part of an effort to apply pressure on Israel to stop its war in Gaza. The Houthis have also used missiles, suicide drones, and even drone boats to launch powerful attacks on US Navy ships sent to stop them. The most successful defense tech firm selling anti-drone weapons to the US military right now is Anduril, the company started by Palmer Luckey, the inventor of the Oculus VR headset, and a crew of cofounders from Oculus and defense data giant Palantir. In just the past few months, the Marines have chosen Anduril for counter-drone contracts that could be worth nearly million over the next decade, and the company has been working with Special Operations Command since 2022 on a counter-drone contract that could be worth nearly a billion dollars over a similar time frame. It’s unclear from the contracts what, exactly, Anduril is selling to each organization, but its weapons include electronic warfare jammers, jet-powered drone bombs, and propeller-driven Anvil drones designed to simply smash into enemy drones. In this arsenal, the cheapest way to stop a swarm of drones is electronic warfare: jamming the GPS or radio signals used to pilot the machines. But the intense drone battles in Ukraine have advanced the art of jamming and counter-jamming close to the point of stalemate. As a result, a new state of the art is emerging: unjammable drones that operate autonomously by using onboard processors to navigate via internal maps and computer vision, or even drones connected with 20-kilometer-long filaments of fiber-optic cable for tethered control. But unjammable doesn’t mean unzappable. Instead of using the scrambling method of a jammer, which employs an antenna to block the drone’s connection to a pilot or remote guidance system, the Leonidas microwave beam hits a drone body broadside. The energy finds its way into something electrical, whether the central flight controller or a tiny wire controlling a flap on a wing, to short-circuit whatever’s available.Tyler Miller, a senior systems engineer on Epirus’s weaponeering team, told me that they never know exactly which part of the target drone is going to go down first, but they’ve reliably seen the microwave signal get in somewhere to overload a circuit. “Based on the geometry and the way the wires are laid out,” he said, one of those wires is going to be the best path in. “Sometimes if we rotate the drone 90 degrees, you have a different motor go down first,” he added. The team has even tried wrapping target drones in copper tape, which would theoretically provide shielding, only to find that the microwave still finds a way in through moving propeller shafts or antennas that need to remain exposed for the drone to fly.  EPIRUS Leonidas also has an edge when it comes to downing a mass of drones at once. Physically hitting a drone out of the sky or lighting it up with a laser can be effective in situations where electronic warfare fails, but anti-drone drones can only take out one at a time, and lasers need to precisely aim and shoot. Epirus’s microwaves can damage everything in a roughly 60-degree arc from the Leonidas emitter simultaneously and keep on zapping and zapping; directed energy systems like this one never run out of ammo. As for cost, each Army Leonidas unit currently runs in the “low eight figures,” Lowery told me. Defense contract pricing can be opaque, but Epirus delivered four units for its million initial contract, giving a back-of-napkin price around million each. For comparison, Stinger missiles from Raytheon, which soldiers shoot at enemy aircraft or drones from a shoulder-mounted launcher, cost hundreds of thousands of dollars a pop, meaning the Leonidas could start costing lessafter it downs the first wave of a swarm. Raytheon’s radar, reversed Epirus is part of a new wave of venture-capital-backed defense companies trying to change the way weapons are created—and the way the Pentagon buys them. The largest defense companies, firms like Raytheon, Boeing, Northrop Grumman, and Lockheed Martin, typically develop new weapons in response to research grants and cost-plus contracts, in which the US Department of Defense guarantees a certain profit margin to firms building products that match their laundry list of technical specifications. These programs have kept the military supplied with cutting-edge weapons for decades, but the results may be exquisite pieces of military machinery delivered years late and billions of dollars over budget. Rather than building to minutely detailed specs, the new crop of military contractors aim to produce products on a quick time frame to solve a problem and then fine-tune them as they pitch to the military. The model, pioneered by Palantir and SpaceX, has since propelled companies like Anduril, Shield AI, and dozens of other smaller startups into the business of war as venture capital piles tens of billions of dollars into defense. Like Anduril, Epirus has direct Palantir roots; it was cofounded by Joe Lonsdale, who also cofounded Palantir, and John Tenet, Lonsdale’s colleague at the time at his venture fund, 8VC.  While Epirus is doing business in the new mode, its roots are in the old—specifically in Raytheon, a pioneer in the field of microwave technology. Cofounded by MIT professor Vannevar Bush in 1922, it manufactured vacuum tubes, like those found in old radios. But the company became synonymous with electronic defense during World War II, when Bush spun up a lab to develop early microwave radar technology invented by the British into a workable product, and Raytheon then began mass-producing microwave tubes—known as magnetrons—for the US war effort. By the end of the war in 1945, Raytheon was making 80% of the magnetrons powering Allied radar across the world. From padded foam chambers at the Epirus HQ, Leonidas devices can be safely tested on drones.EPIRUS Large tubes remained the best way to emit high-power microwaves for more than half a century, handily outperforming silicon-based solid-state amplifiers. They’re still around—the microwave on your kitchen counter runs on a vacuum tube magnetron. But tubes have downsides: They’re hot, they’re big, and they require upkeep.By the 2000s, new methods of building solid-state amplifiers out of materials like gallium nitride started to mature and were able to handle more power than silicon without melting or shorting out. The US Navy spent hundreds of millions of dollars on cutting-edge microwave contracts, one for a project at Raytheon called Next Generation Jammer—geared specifically toward designing a new way to make high-powered microwaves that work at extremely long distances. Lowery, the Epirus CEO, began his career working on nuclear reactors on Navy aircraft carriers before he became the chief engineer for Next Generation Jammer at Raytheon in 2010. There, he and his team worked on a system that relied on many of the same fundamentals that now power the Leonidas—using the same type of amplifier material and antenna setup to fry the electronics of a small target at much closer range rather than disrupting the radar of a target hundreds of miles away.  The similarity is not a coincidence: Two engineers from Next Generation Jammer helped launch Epirus in 2018. Lowery—who by then was working at the augmented-reality startup RealWear, which makes industrial smart glasses—joined Epirus in 2021 to run product development and was asked to take the top spot as CEO in 2023, as Leonidas became a fully formed machine. Much of the founding team has since departed for other projects, but Raytheon still runs through the company’s collective CV: ex-Raytheon radar engineer Matt Markel started in January as the new CTO, and Epirus’s chief engineer for defense, its VP of engineering, its VP of operations, and a number of employees all have Raytheon roots as well. Markel tells me that the Epirus way of working wouldn’t have flown at one of the big defense contractors: “They never would have tried spinning off the technology into a new application without a contract lined up.” The Epirus engineers saw the use case, raised money to start building Leonidas, and already had prototypes in the works before any military branch started awarding money to work on the project. Waiting for the starting gun On the wall of Lowery’s office are two mementos from testing days at an Army proving ground: a trophy wing from a larger drone, signed by the whole testing team, and a framed photo documenting the Leonidas’s carnage—a stack of dozens of inoperative drones piled up in a heap.  Despite what seems to have been an impressive test show, it’s still impossible from the outside to determine whether Epirus’s tech is ready to fully deliver if the swarms descend.  The Army would not comment specifically on the efficacy of any new weapons in testing or early deployment, including the Leonidas system. A spokesperson for the Army’s Rapid Capabilities and Critical Technologies Office, or RCCTO, which is the subsection responsible for contracting with Epirus to date, would only say in a statement that it is “committed to developing and fielding innovative Directed Energy solutions to address evolving threats.”  But various high-ranking officers appear to be giving Epirus a public vote of confidence. The three-star general who runs RCCTO and oversaw the Leonidas testing last summer told Breaking Defense that “the system actually worked very well,” even if there was work to be done on “how the weapon system fits into the larger kill chain.” And when former secretary of the Army Christine Wormuth, then the service’s highest-ranking civilian, gave a parting interview this past January, she mentioned Epirus in all but name, citing “one company” that is “using high-powered microwaves to basically be able to kill swarms of drones.” She called that kind of capability “critical for the Army.”  The Army isn’t the only branch interested in the microwave weapon. On Epirus’s factory floor when I visited, alongside the big beige Leonidases commissioned by the Army, engineers were building a smaller expeditionary version for the Marines, painted green, which it delivered in late April. Videos show that when it put some of its microwave emitters on a dock and tested them out for the Navy last summer, the microwaves left their targets dead in the water—successfully frying the circuits of outboard motors like the ones propelling Houthi drone boats.  Epirus is also currently working on an even smaller version of the Leonidas that can mount on top of the Army’s Stryker combat vehicles, and it’s testing out attaching a single microwave unit to a small airborne drone, which could work as a highly focused zapper to disable cars, data centers, or single enemy drones.  Epirus’s microwave technology is also being tested in devices smaller than the traditional Leonidas. EPIRUS While neither the Army nor the Navy has yet to announce a contract to start buying Epirus’s systems at scale, the company and its investors are actively preparing for the big orders to start rolling in. It raised million in a funding round in early March to get ready to make as many Leonidases as possible in the coming years, adding to the more than million it’s raised since opening its doors in 2018. “If you invent a force field that works,” Lowery boasts, “you really get a lot of attention.” The task for Epirus now, assuming that its main customers pull the trigger and start buying more Leonidases, is ramping up production while advancing the tech in its systems. Then there are the more prosaic problems of staffing, assembly, and testing at scale. For future generations, Lowery told me, the goal is refining the antenna design and integrating higher-powered microwave amplifiers to push the output into the tens of kilowatts, allowing for increased range and efficacy.  While this could be made harder by Trump’s global trade war, Lowery says he’s not worried about their supply chain; while China produces 98% of the world’s gallium, according to the US Geological Survey, and has choked off exports to the US, Epirus’s chip supplier uses recycled gallium from Japan.  The other outside challenge may be that Epirus isn’t the only company building a drone zapper. One of China’s state-owned defense companies has been working on its own anti-drone high-powered microwave weapon called the Hurricane, which it displayed at a major military show in late 2024.  It may be a sign that anti-electronics force fields will become common among the world’s militaries—and if so, the future of war is unlikely to go back to the status quo ante, and it might zag in a different direction yet again. But military planners believe it’s crucial for the US not to be left behind. So if it works as promised, Epirus could very well change the way that war will play out in the coming decade.  While Miller, the Army CTO, can’t speak directly to Epirus or any specific system, he will say that he believes anti-drone measures are going to have to become ubiquitous for US soldiers. “Counter-UASunfortunately is going to be like counter-IED,” he says. “It’s going to be every soldier’s job to think about UAS threats the same way it was to think about IEDs.”  And, he adds, it’s his job and his colleagues’ to make sure that tech so effective it works like “almost magic” is in the hands of the average rifleman. To that end, Lowery told me, Epirus is designing the Leonidas control system to work simply for troops, allowing them to identify a cluster of targets and start zapping with just a click of a button—but only extensive use in the field can prove that out. Epirus CEO Andy Lowery sees the Leonidas as providing a last line of defense against UAVs.EPIRUS In the not-too-distant future, Lowery says, this could mean setting up along the US-Mexico border. But the grandest vision for Epirus’s tech that he says he’s heard is for a city-scale Leonidas along the lines of a ballistic missile defense radar system called PAVE PAWS, which takes up an entire 105-foot-tall building and can detect distant nuclear missile launches. The US set up four in the 1980s, and Taiwan currently has one up on a mountain south of Taipei. Fill a similar-size building full of microwave emitters, and the beam could reach out “10 or 15 miles,” Lowery told me, with one sitting sentinel over Taipei in the north and another over Kaohsiung in the south of Taiwan. Riffing in Greek mythological mode, Lowery said of drones, “I call all these mischief makers. Whether they’re doing drugs or guns across the border or they’re flying over Langleythey’re spying on F-35s, they’re all like Icarus. You remember Icarus, with his wax wings? Flying all around—‘Nobody’s going to touch me, nobody’s going to ever hurt me.’” “We built one hell of a wax-wing melter.”  Sam Dean is a reporter focusing on business, tech, and defense. He is writing a book about the recent history of Silicon Valley returning to work with the Pentagon for Viking Press and covering the defense tech industry for a number of publications. Previously, he was a business reporter at the Los Angeles Times. This piece has been updated to clarify that Alex Miller is a civilian intelligence official.  #this #giant #microwave #change #future
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    This giant microwave may change the future of war
    Imagine: China deploys hundreds of thousands of autonomous drones in the air, on the sea, and under the water—all armed with explosive warheads or small missiles. These machines descend in a swarm toward military installations on Taiwan and nearby US bases, and over the course of a few hours, a single robotic blitzkrieg overwhelms the US Pacific force before it can even begin to fight back.  Maybe it sounds like a new Michael Bay movie, but it’s the scenario that keeps the chief technology officer of the US Army up at night. “I’m hesitant to say it out loud so I don’t manifest it,” says Alex Miller, a longtime Army intelligence official who became the CTO to the Army’s chief of staff in 2023. Even if World War III doesn’t break out in the South China Sea, every US military installation around the world is vulnerable to the same tactics—as are the militaries of every other country around the world. The proliferation of cheap drones means just about any group with the wherewithal to assemble and launch a swarm could wreak havoc, no expensive jets or massive missile installations required.  While the US has precision missiles that can shoot these drones down, they don’t always succeed: A drone attack killed three US soldiers and injured dozens more at a base in the Jordanian desert last year. And each American missile costs orders of magnitude more than its targets, which limits their supply; countering thousand-dollar drones with missiles that cost hundreds of thousands, or even millions, of dollars per shot can only work for so long, even with a defense budget that could reach a trillion dollars next year. The US armed forces are now hunting for a solution—and they want it fast. Every branch of the service and a host of defense tech startups are testing out new weapons that promise to disable drones en masse. There are drones that slam into other drones like battering rams; drones that shoot out nets to ensnare quadcopter propellers; precision-guided Gatling guns that simply shoot drones out of the sky; electronic approaches, like GPS jammers and direct hacking tools; and lasers that melt holes clear through a target’s side. Then there are the microwaves: high-powered electronic devices that push out kilowatts of power to zap the circuits of a drone as if it were the tinfoil you forgot to take off your leftovers when you heated them up.  That’s where Epirus comes in.  When I went to visit the HQ of this 185-person startup in Torrance, California, earlier this year, I got a behind-the-scenes look at its massive microwave, called Leonidas, which the US Army is already betting on as a cutting-edge anti-drone weapon. The Army awarded Epirus a $66 million contract in early 2023, topped that up with another $17 million last fall, and is currently deploying a handful of the systems for testing with US troops in the Middle East and the Pacific. (The Army won’t get into specifics on the location of the weapons in the Middle East but published a report of a live-fire test in the Philippines in early May.)  Up close, the Leonidas that Epirus built for the Army looks like a two-foot-thick slab of metal the size of a garage door stuck on a swivel mount. Pop the back cover, and you can see that the slab is filled with dozens of individual microwave amplifier units in a grid. Each is about the size of a safe-deposit box and built around a chip made of gallium nitride, a semiconductor that can survive much higher voltages and temperatures than the typical silicon.  Leonidas sits on top of a trailer that a standard-issue Army truck can tow, and when it is powered on, the company’s software tells the grid of amps and antennas to shape the electromagnetic waves they’re blasting out with a phased array, precisely overlapping the microwave signals to mold the energy into a focused beam. Instead of needing to physically point a gun or parabolic dish at each of a thousand incoming drones, the Leonidas can flick between them at the speed of software. The Leonidas contains dozens of microwave amplifier units and can pivot to direct waves at incoming swarms of drones.EPIRUS Of course, this isn’t magic—there are practical limits on how much damage one array can do, and at what range—but the total effect could be described as an electromagnetic pulse emitter, a death ray for electronics, or a force field that could set up a protective barrier around military installations and drop drones the way a bug zapper fizzles a mob of mosquitoes. I walked through the nonclassified sections of the Leonidas factory floor, where a cluster of engineers working on weaponeering—the military term for figuring out exactly how much of a weapon, be it high explosive or microwave beam, is necessary to achieve a desired effect—ran tests in a warren of smaller anechoic rooms. Inside, they shot individual microwave units at a broad range of commercial and military drones, cycling through waveforms and power levels to try to find the signal that could fry each one with maximum efficiency.  On a live video feed from inside one of these foam-padded rooms, I watched a quadcopter drone spin its propellers and then, once the microwave emitter turned on, instantly stop short—first the propeller on the front left and then the rest. A drone hit with a Leonidas beam doesn’t explode—it just falls. Compared with the blast of a missile or the sizzle of a laser, it doesn’t look like much. But it could force enemies to come up with costlier ways of attacking that reduce the advantage of the drone swarm, and it could get around the inherent limitations of purely electronic or strictly physical defense systems. It could save lives. Epirus CEO Andy Lowery, a tall guy with sparkplug energy and a rapid-fire southern Illinois twang, doesn’t shy away from talking big about his product. As he told me during my visit, Leonidas is intended to lead a last stand, like the Spartan from whom the microwave takes its name—in this case, against hordes of unmanned aerial vehicles, or UAVs. While the actual range of the Leonidas system is kept secret, Lowery says the Army is looking for a solution that can reliably stop drones within a few kilometers. He told me, “They would like our system to be the owner of that final layer—to get any squeakers, any leakers, anything like that.” Now that they’ve told the world they “invented a force field,” Lowery added, the focus is on manufacturing at scale—before the drone swarms really start to descend or a nation with a major military decides to launch a new war. Before, in other words, Miller’s nightmare scenario becomes reality.  Why zap? Miller remembers well when the danger of small weaponized drones first appeared on his radar. Reports of Islamic State fighters strapping grenades to the bottom of commercial DJI Phantom quadcopters first emerged in late 2016 during the Battle of Mosul. “I went, ‘Oh, this is going to be bad,’ because basically it’s an airborne IED at that point,” he says. He’s tracked the danger as it’s built steadily since then, with advances in machine vision, AI coordination software, and suicide drone tactics only accelerating.  Then the war in Ukraine showed the world that cheap technology has fundamentally changed how warfare happens. We have watched in high-definition video how a cheap, off-the-shelf drone modified to carry a small bomb can be piloted directly into a faraway truck, tank, or group of troops to devastating effect. And larger suicide drones, also known as “loitering munitions,” can be produced for just tens of thousands of dollars and launched in massive salvos to hit soft targets or overwhelm more advanced military defenses through sheer numbers.  As a result, Miller, along with large swaths of the Pentagon and DC policy circles, believes that the current US arsenal for defending against these weapons is just too expensive and the tools in too short supply to truly match the threat. Just look at Yemen, a poor country where the Houthi military group has been under constant attack for the past decade. Armed with this new low-tech arsenal, in the past 18 months the rebel group has been able to bomb cargo ships and effectively disrupt global shipping in the Red Sea—part of an effort to apply pressure on Israel to stop its war in Gaza. The Houthis have also used missiles, suicide drones, and even drone boats to launch powerful attacks on US Navy ships sent to stop them. The most successful defense tech firm selling anti-drone weapons to the US military right now is Anduril, the company started by Palmer Luckey, the inventor of the Oculus VR headset, and a crew of cofounders from Oculus and defense data giant Palantir. In just the past few months, the Marines have chosen Anduril for counter-drone contracts that could be worth nearly $850 million over the next decade, and the company has been working with Special Operations Command since 2022 on a counter-drone contract that could be worth nearly a billion dollars over a similar time frame. It’s unclear from the contracts what, exactly, Anduril is selling to each organization, but its weapons include electronic warfare jammers, jet-powered drone bombs, and propeller-driven Anvil drones designed to simply smash into enemy drones. In this arsenal, the cheapest way to stop a swarm of drones is electronic warfare: jamming the GPS or radio signals used to pilot the machines. But the intense drone battles in Ukraine have advanced the art of jamming and counter-jamming close to the point of stalemate. As a result, a new state of the art is emerging: unjammable drones that operate autonomously by using onboard processors to navigate via internal maps and computer vision, or even drones connected with 20-kilometer-long filaments of fiber-optic cable for tethered control. But unjammable doesn’t mean unzappable. Instead of using the scrambling method of a jammer, which employs an antenna to block the drone’s connection to a pilot or remote guidance system, the Leonidas microwave beam hits a drone body broadside. The energy finds its way into something electrical, whether the central flight controller or a tiny wire controlling a flap on a wing, to short-circuit whatever’s available. (The company also says that this targeted hit of energy allows birds and other wildlife to continue to move safely.) Tyler Miller, a senior systems engineer on Epirus’s weaponeering team, told me that they never know exactly which part of the target drone is going to go down first, but they’ve reliably seen the microwave signal get in somewhere to overload a circuit. “Based on the geometry and the way the wires are laid out,” he said, one of those wires is going to be the best path in. “Sometimes if we rotate the drone 90 degrees, you have a different motor go down first,” he added. The team has even tried wrapping target drones in copper tape, which would theoretically provide shielding, only to find that the microwave still finds a way in through moving propeller shafts or antennas that need to remain exposed for the drone to fly.  EPIRUS Leonidas also has an edge when it comes to downing a mass of drones at once. Physically hitting a drone out of the sky or lighting it up with a laser can be effective in situations where electronic warfare fails, but anti-drone drones can only take out one at a time, and lasers need to precisely aim and shoot. Epirus’s microwaves can damage everything in a roughly 60-degree arc from the Leonidas emitter simultaneously and keep on zapping and zapping; directed energy systems like this one never run out of ammo. As for cost, each Army Leonidas unit currently runs in the “low eight figures,” Lowery told me. Defense contract pricing can be opaque, but Epirus delivered four units for its $66 million initial contract, giving a back-of-napkin price around $16.5 million each. For comparison, Stinger missiles from Raytheon, which soldiers shoot at enemy aircraft or drones from a shoulder-mounted launcher, cost hundreds of thousands of dollars a pop, meaning the Leonidas could start costing less (and keep shooting) after it downs the first wave of a swarm. Raytheon’s radar, reversed Epirus is part of a new wave of venture-capital-backed defense companies trying to change the way weapons are created—and the way the Pentagon buys them. The largest defense companies, firms like Raytheon, Boeing, Northrop Grumman, and Lockheed Martin, typically develop new weapons in response to research grants and cost-plus contracts, in which the US Department of Defense guarantees a certain profit margin to firms building products that match their laundry list of technical specifications. These programs have kept the military supplied with cutting-edge weapons for decades, but the results may be exquisite pieces of military machinery delivered years late and billions of dollars over budget. Rather than building to minutely detailed specs, the new crop of military contractors aim to produce products on a quick time frame to solve a problem and then fine-tune them as they pitch to the military. The model, pioneered by Palantir and SpaceX, has since propelled companies like Anduril, Shield AI, and dozens of other smaller startups into the business of war as venture capital piles tens of billions of dollars into defense. Like Anduril, Epirus has direct Palantir roots; it was cofounded by Joe Lonsdale, who also cofounded Palantir, and John Tenet, Lonsdale’s colleague at the time at his venture fund, 8VC. (Tenet, the son of former CIA director George Tenet, may have inspired the company’s name—the elder Tenet’s parents were born in the Epirus region in the northwest of Greece. But the company more often says it’s a reference to the pseudo-mythological Epirus Bow from the 2011 fantasy action movie Immortals, which never runs out of arrows.)  While Epirus is doing business in the new mode, its roots are in the old—specifically in Raytheon, a pioneer in the field of microwave technology. Cofounded by MIT professor Vannevar Bush in 1922, it manufactured vacuum tubes, like those found in old radios. But the company became synonymous with electronic defense during World War II, when Bush spun up a lab to develop early microwave radar technology invented by the British into a workable product, and Raytheon then began mass-producing microwave tubes—known as magnetrons—for the US war effort. By the end of the war in 1945, Raytheon was making 80% of the magnetrons powering Allied radar across the world. From padded foam chambers at the Epirus HQ, Leonidas devices can be safely tested on drones.EPIRUS Large tubes remained the best way to emit high-power microwaves for more than half a century, handily outperforming silicon-based solid-state amplifiers. They’re still around—the microwave on your kitchen counter runs on a vacuum tube magnetron. But tubes have downsides: They’re hot, they’re big, and they require upkeep. (In fact, the other microwave drone zapper currently in the Pentagon pipeline, the Tactical High-power Operational Responder, or THOR, still relies on a physical vacuum tube. It’s reported to be effective at downing drones in tests but takes up a whole shipping container and needs a dish antenna to zap its targets.) By the 2000s, new methods of building solid-state amplifiers out of materials like gallium nitride started to mature and were able to handle more power than silicon without melting or shorting out. The US Navy spent hundreds of millions of dollars on cutting-edge microwave contracts, one for a project at Raytheon called Next Generation Jammer—geared specifically toward designing a new way to make high-powered microwaves that work at extremely long distances. Lowery, the Epirus CEO, began his career working on nuclear reactors on Navy aircraft carriers before he became the chief engineer for Next Generation Jammer at Raytheon in 2010. There, he and his team worked on a system that relied on many of the same fundamentals that now power the Leonidas—using the same type of amplifier material and antenna setup to fry the electronics of a small target at much closer range rather than disrupting the radar of a target hundreds of miles away.  The similarity is not a coincidence: Two engineers from Next Generation Jammer helped launch Epirus in 2018. Lowery—who by then was working at the augmented-reality startup RealWear, which makes industrial smart glasses—joined Epirus in 2021 to run product development and was asked to take the top spot as CEO in 2023, as Leonidas became a fully formed machine. Much of the founding team has since departed for other projects, but Raytheon still runs through the company’s collective CV: ex-Raytheon radar engineer Matt Markel started in January as the new CTO, and Epirus’s chief engineer for defense, its VP of engineering, its VP of operations, and a number of employees all have Raytheon roots as well. Markel tells me that the Epirus way of working wouldn’t have flown at one of the big defense contractors: “They never would have tried spinning off the technology into a new application without a contract lined up.” The Epirus engineers saw the use case, raised money to start building Leonidas, and already had prototypes in the works before any military branch started awarding money to work on the project. Waiting for the starting gun On the wall of Lowery’s office are two mementos from testing days at an Army proving ground: a trophy wing from a larger drone, signed by the whole testing team, and a framed photo documenting the Leonidas’s carnage—a stack of dozens of inoperative drones piled up in a heap.  Despite what seems to have been an impressive test show, it’s still impossible from the outside to determine whether Epirus’s tech is ready to fully deliver if the swarms descend.  The Army would not comment specifically on the efficacy of any new weapons in testing or early deployment, including the Leonidas system. A spokesperson for the Army’s Rapid Capabilities and Critical Technologies Office, or RCCTO, which is the subsection responsible for contracting with Epirus to date, would only say in a statement that it is “committed to developing and fielding innovative Directed Energy solutions to address evolving threats.”  But various high-ranking officers appear to be giving Epirus a public vote of confidence. The three-star general who runs RCCTO and oversaw the Leonidas testing last summer told Breaking Defense that “the system actually worked very well,” even if there was work to be done on “how the weapon system fits into the larger kill chain.” And when former secretary of the Army Christine Wormuth, then the service’s highest-ranking civilian, gave a parting interview this past January, she mentioned Epirus in all but name, citing “one company” that is “using high-powered microwaves to basically be able to kill swarms of drones.” She called that kind of capability “critical for the Army.”  The Army isn’t the only branch interested in the microwave weapon. On Epirus’s factory floor when I visited, alongside the big beige Leonidases commissioned by the Army, engineers were building a smaller expeditionary version for the Marines, painted green, which it delivered in late April. Videos show that when it put some of its microwave emitters on a dock and tested them out for the Navy last summer, the microwaves left their targets dead in the water—successfully frying the circuits of outboard motors like the ones propelling Houthi drone boats.  Epirus is also currently working on an even smaller version of the Leonidas that can mount on top of the Army’s Stryker combat vehicles, and it’s testing out attaching a single microwave unit to a small airborne drone, which could work as a highly focused zapper to disable cars, data centers, or single enemy drones.  Epirus’s microwave technology is also being tested in devices smaller than the traditional Leonidas. EPIRUS While neither the Army nor the Navy has yet to announce a contract to start buying Epirus’s systems at scale, the company and its investors are actively preparing for the big orders to start rolling in. It raised $250 million in a funding round in early March to get ready to make as many Leonidases as possible in the coming years, adding to the more than $300 million it’s raised since opening its doors in 2018. “If you invent a force field that works,” Lowery boasts, “you really get a lot of attention.” The task for Epirus now, assuming that its main customers pull the trigger and start buying more Leonidases, is ramping up production while advancing the tech in its systems. Then there are the more prosaic problems of staffing, assembly, and testing at scale. For future generations, Lowery told me, the goal is refining the antenna design and integrating higher-powered microwave amplifiers to push the output into the tens of kilowatts, allowing for increased range and efficacy.  While this could be made harder by Trump’s global trade war, Lowery says he’s not worried about their supply chain; while China produces 98% of the world’s gallium, according to the US Geological Survey, and has choked off exports to the US, Epirus’s chip supplier uses recycled gallium from Japan.  The other outside challenge may be that Epirus isn’t the only company building a drone zapper. One of China’s state-owned defense companies has been working on its own anti-drone high-powered microwave weapon called the Hurricane, which it displayed at a major military show in late 2024.  It may be a sign that anti-electronics force fields will become common among the world’s militaries—and if so, the future of war is unlikely to go back to the status quo ante, and it might zag in a different direction yet again. But military planners believe it’s crucial for the US not to be left behind. So if it works as promised, Epirus could very well change the way that war will play out in the coming decade.  While Miller, the Army CTO, can’t speak directly to Epirus or any specific system, he will say that he believes anti-drone measures are going to have to become ubiquitous for US soldiers. “Counter-UAS [Unmanned Aircraft System] unfortunately is going to be like counter-IED,” he says. “It’s going to be every soldier’s job to think about UAS threats the same way it was to think about IEDs.”  And, he adds, it’s his job and his colleagues’ to make sure that tech so effective it works like “almost magic” is in the hands of the average rifleman. To that end, Lowery told me, Epirus is designing the Leonidas control system to work simply for troops, allowing them to identify a cluster of targets and start zapping with just a click of a button—but only extensive use in the field can prove that out. Epirus CEO Andy Lowery sees the Leonidas as providing a last line of defense against UAVs.EPIRUS In the not-too-distant future, Lowery says, this could mean setting up along the US-Mexico border. But the grandest vision for Epirus’s tech that he says he’s heard is for a city-scale Leonidas along the lines of a ballistic missile defense radar system called PAVE PAWS, which takes up an entire 105-foot-tall building and can detect distant nuclear missile launches. The US set up four in the 1980s, and Taiwan currently has one up on a mountain south of Taipei. Fill a similar-size building full of microwave emitters, and the beam could reach out “10 or 15 miles,” Lowery told me, with one sitting sentinel over Taipei in the north and another over Kaohsiung in the south of Taiwan. Riffing in Greek mythological mode, Lowery said of drones, “I call all these mischief makers. Whether they’re doing drugs or guns across the border or they’re flying over Langley [or] they’re spying on F-35s, they’re all like Icarus. You remember Icarus, with his wax wings? Flying all around—‘Nobody’s going to touch me, nobody’s going to ever hurt me.’” “We built one hell of a wax-wing melter.”  Sam Dean is a reporter focusing on business, tech, and defense. He is writing a book about the recent history of Silicon Valley returning to work with the Pentagon for Viking Press and covering the defense tech industry for a number of publications. Previously, he was a business reporter at the Los Angeles Times. This piece has been updated to clarify that Alex Miller is a civilian intelligence official. 
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  • Carlo Ratti Associati and Höweler & Yoon design a floating plaza for Biennale Architettura and COP30 in Brazil

    A floating pavilion square in plan, topped by a parabolic waffle slab held up with pilotis, will soon debut in Italy at the 19th International Architecture Exhibition of La Biennale di Venezia before traveling to Belém, Brazil, for COP30, the UN’s annual climate conference.
    AquaPraça, a collaboration between Höweler & Yoon and Carlo Ratti Associati, is conceived as a gathering space for global climate dialogue.

    In Italy, AquaPraça will accompany programming at the Italian Pavilion. It will be transported later this year across the Atlantic Ocean to the coast of Brazil, where world leaders, climate activists, and architects will convene in November at COP30.
    The pavilion will have capacity for 150 people.A water feature in the center of the pavilion was informed by Archimedes’ principle.A rectangular tub, in the center of the pavilion, filled with water helps with buoyancy—a design decision informed by Archimedes’ principle, a law of physics fundamental to fluid mechanics.
    Carlo Ratti said AquaPraça is likewise rooted in architectural history. “In 1979, Aldo Rossi launched the Teatro del Mondo at the first Biennale Architettura, positing that architecture could engage with the past,” Ratti said in a statement. “Today, AquaPraça shows how architecture can engage with the future—by responding to climate and engaging with nature rather than resisting it.”
    Höweler & Yoon previously designed a similar concept, dubbed Float Lab, set to open on the Schuylkill River in Philadelphia in 2026. Like Float Lab, AquaPraça visitors will bear witness to dynamic fluctuations of sea level rise at eye level, added Eric Höweler.
    The 4,000-square-foot ensemble coming to Brazil will have capacity for hosting 150 people for exhibitions, workshops, symposia, and cultural events. AquaPraça’s “sloping surfaces and shifting levels embody a delicate equilibrium,” Höweler said.

    “It’s a platform, both literal and figurative, for deepening our collective understanding and experience of sea level rise and the impacts of climate change on global cities and communities and seeking collective solutions,” elaborated J. Meejin Yoon. 
    The floating pavilion is currently under construction in northern Italy by steel construction company Cimolai. It will open in Venice on September 4. Then, ahead of COP30 from November 10–21, it will go to Belém, becoming a “permanent floating landmark in the Amazon—an architectural testament to adaptability and dialogue in the face of climate change.” 
    Visitors will be at eye level with the water.Last year’s COP29 took place in Baku, Azerbaijan, while the G20 summit happened in Rio de Janeiro. At G20, Brazil president Luíz Inácio Lula da Silva announced that, by 2030, there will be “zero deforestation” in Brazil, a huge win for climate activists.
    “We need to take care of the largest forest reserve in the world,” Lula said last year in Rio de Janeiro, “which is under our care. Trying to make people understand that keeping the forest standing is an economic gain.”
    AquaPraça is a partnership with Italy’s Ministry of Foreign Affairs and International Cooperation, and the Italian Ministry of Environment and Energy Security. It’s also supported by Brazil’s Ministry of Foreign Affairs, Bloomberg Philanthropies, the World Bank’s Connect4Climate program, CIHEAM Bari, and others.
    #carlo #ratti #associati #höweler #ampamp
    Carlo Ratti Associati and Höweler & Yoon design a floating plaza for Biennale Architettura and COP30 in Brazil
    A floating pavilion square in plan, topped by a parabolic waffle slab held up with pilotis, will soon debut in Italy at the 19th International Architecture Exhibition of La Biennale di Venezia before traveling to Belém, Brazil, for COP30, the UN’s annual climate conference. AquaPraça, a collaboration between Höweler & Yoon and Carlo Ratti Associati, is conceived as a gathering space for global climate dialogue. In Italy, AquaPraça will accompany programming at the Italian Pavilion. It will be transported later this year across the Atlantic Ocean to the coast of Brazil, where world leaders, climate activists, and architects will convene in November at COP30. The pavilion will have capacity for 150 people.A water feature in the center of the pavilion was informed by Archimedes’ principle.A rectangular tub, in the center of the pavilion, filled with water helps with buoyancy—a design decision informed by Archimedes’ principle, a law of physics fundamental to fluid mechanics. Carlo Ratti said AquaPraça is likewise rooted in architectural history. “In 1979, Aldo Rossi launched the Teatro del Mondo at the first Biennale Architettura, positing that architecture could engage with the past,” Ratti said in a statement. “Today, AquaPraça shows how architecture can engage with the future—by responding to climate and engaging with nature rather than resisting it.” Höweler & Yoon previously designed a similar concept, dubbed Float Lab, set to open on the Schuylkill River in Philadelphia in 2026. Like Float Lab, AquaPraça visitors will bear witness to dynamic fluctuations of sea level rise at eye level, added Eric Höweler. The 4,000-square-foot ensemble coming to Brazil will have capacity for hosting 150 people for exhibitions, workshops, symposia, and cultural events. AquaPraça’s “sloping surfaces and shifting levels embody a delicate equilibrium,” Höweler said. “It’s a platform, both literal and figurative, for deepening our collective understanding and experience of sea level rise and the impacts of climate change on global cities and communities and seeking collective solutions,” elaborated J. Meejin Yoon.  The floating pavilion is currently under construction in northern Italy by steel construction company Cimolai. It will open in Venice on September 4. Then, ahead of COP30 from November 10–21, it will go to Belém, becoming a “permanent floating landmark in the Amazon—an architectural testament to adaptability and dialogue in the face of climate change.”  Visitors will be at eye level with the water.Last year’s COP29 took place in Baku, Azerbaijan, while the G20 summit happened in Rio de Janeiro. At G20, Brazil president Luíz Inácio Lula da Silva announced that, by 2030, there will be “zero deforestation” in Brazil, a huge win for climate activists. “We need to take care of the largest forest reserve in the world,” Lula said last year in Rio de Janeiro, “which is under our care. Trying to make people understand that keeping the forest standing is an economic gain.” AquaPraça is a partnership with Italy’s Ministry of Foreign Affairs and International Cooperation, and the Italian Ministry of Environment and Energy Security. It’s also supported by Brazil’s Ministry of Foreign Affairs, Bloomberg Philanthropies, the World Bank’s Connect4Climate program, CIHEAM Bari, and others. #carlo #ratti #associati #höweler #ampamp
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    Carlo Ratti Associati and Höweler & Yoon design a floating plaza for Biennale Architettura and COP30 in Brazil
    A floating pavilion square in plan, topped by a parabolic waffle slab held up with pilotis, will soon debut in Italy at the 19th International Architecture Exhibition of La Biennale di Venezia before traveling to Belém, Brazil, for COP30, the UN’s annual climate conference. AquaPraça, a collaboration between Höweler & Yoon and Carlo Ratti Associati, is conceived as a gathering space for global climate dialogue. In Italy, AquaPraça will accompany programming at the Italian Pavilion. It will be transported later this year across the Atlantic Ocean to the coast of Brazil, where world leaders, climate activists, and architects will convene in November at COP30. The pavilion will have capacity for 150 people. (Courtesy CRA/Höweler & Yoon) A water feature in the center of the pavilion was informed by Archimedes’ principle. (Courtesy CRA/Höweler & Yoon) A rectangular tub, in the center of the pavilion, filled with water helps with buoyancy—a design decision informed by Archimedes’ principle, a law of physics fundamental to fluid mechanics. Carlo Ratti said AquaPraça is likewise rooted in architectural history. “In 1979, Aldo Rossi launched the Teatro del Mondo at the first Biennale Architettura, positing that architecture could engage with the past,” Ratti said in a statement. “Today, AquaPraça shows how architecture can engage with the future—by responding to climate and engaging with nature rather than resisting it.” Höweler & Yoon previously designed a similar concept, dubbed Float Lab, set to open on the Schuylkill River in Philadelphia in 2026. Like Float Lab, AquaPraça visitors will bear witness to dynamic fluctuations of sea level rise at eye level, added Eric Höweler. The 4,000-square-foot ensemble coming to Brazil will have capacity for hosting 150 people for exhibitions, workshops, symposia, and cultural events. AquaPraça’s “sloping surfaces and shifting levels embody a delicate equilibrium,” Höweler said. “It’s a platform, both literal and figurative, for deepening our collective understanding and experience of sea level rise and the impacts of climate change on global cities and communities and seeking collective solutions,” elaborated J. Meejin Yoon.  The floating pavilion is currently under construction in northern Italy by steel construction company Cimolai. It will open in Venice on September 4. Then, ahead of COP30 from November 10–21, it will go to Belém, becoming a “permanent floating landmark in the Amazon—an architectural testament to adaptability and dialogue in the face of climate change.”  Visitors will be at eye level with the water. (Courtesy CRA/Höweler & Yoon) Last year’s COP29 took place in Baku, Azerbaijan, while the G20 summit happened in Rio de Janeiro. At G20, Brazil president Luíz Inácio Lula da Silva announced that, by 2030, there will be “zero deforestation” in Brazil, a huge win for climate activists. “We need to take care of the largest forest reserve in the world,” Lula said last year in Rio de Janeiro, “which is under our care. Trying to make people understand that keeping the forest standing is an economic gain.” AquaPraça is a partnership with Italy’s Ministry of Foreign Affairs and International Cooperation, and the Italian Ministry of Environment and Energy Security. It’s also supported by Brazil’s Ministry of Foreign Affairs, Bloomberg Philanthropies, the World Bank’s Connect4Climate program, CIHEAM Bari, and others.
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  • #333;">Round-up: Canadian-led exhibitions at the 2025 Venice Biennale
    The International Architecture Exhibition – La Biennale di Venezia,  has returned, with its grand opening held in early May.
    The exhibition runs until November 23, 2025
    The Canada Council for the Arts, Commissioner of Canada’s official participation in the International Architecture Exhibition – La Biennale di Venezia, administers the selection process and oversees the exhibition at the Canada Pavilion.
    But in addition to the Canada Pavilion, Canadian architects and designers have a presence in several other exhibitions that are part of this year’s festival.
    Here’s a round-up of the Canadian work in Venice.
    Picoplanktonics.
    Photo credit: Valentina Mori
    Picoplanktonics led by Living Room Collective
    Canada’s official entry to the Biennale is Picoplanktonics, a 3D-printed living artwork incorporating cyanobacteria—a global first at the intersection of architecture, biotechnology, and art.
    The exhibition, developed by the Living Room Collective, showcases the potential for collaboration between humans and nature. Picoplanktonics is an exploration of the potential to co-operate with living systems by co-constructing spaces that “remediate the planet rather than exploit it.”
    The installation transforms the Canada Pavilion into an aquatic micro-ecosystem, where architectural structures grow, evolve, and naturally degrade alongside their living components.
    It was designed according to regenerative architecture principles, and is not only a built object, but also a breathing organism interacting with its environment, which prompts reflection on potential futures of the built environment.
    The creative team is led by bio-designer Andrea Shin Ling, alongside core team members Nicholas Hoban, Vincent Hui and Clayton Lee.
    Etude Ile Verte by Atelier Pierre Thibault.
    Photo credit Alex Lesage
    Les boucaneries de l’île Verte by Atelier Pierre Thibault
    Atelier Pierre Thibault has been invited to participate in this year’s Venice Biennale as the only team from Québec.
    His project is inspired by the old fish smokehouses, or boucaneries, of Île Verte.
    With the support of the fifty permanent residents of Île Verte, Atelier Pierre Thibault has designed a participatory architectural project that aims to reinterpret the boucaneries as creative canvases to imagine new uses to strengthen Île Verte’s autonomy.
    This includes community greenhouses, artist studios, and gathering places.
    The exhibition aims to highlight, as Thibault puts it, “the strength of a sensitive and collective gesture in response to the erosion of traditional buildings and the major climate challenges faced by inhabitants living year-round in an isolated island environment.”
    The construction of the installations, along with the exchanges sparked with the community, was documented through photography and video, and captures both the process and the spirit of collaboration that defined the project.
    Celebrating the Verdoyants’ collective intelligence and inviting reflection on the future of the boucaneries, this participatory project highlights the exemplary and internationally resonant nature of this approach.
    The Atelier Pierre Thibault project will be on view at the Corderie dell’Arsenale.
    The pavilion itself will take the form of a temporary, lightweight structure constructed from reused materials, situated on the grounds of the French Pavilion, which is currently undergoing renovation.
    The curators have selected 50 projects to be featured across six thematic sections: Living With the Existing, the Immediate, the Broken, Vulnerabilities, Nature, and Combined Intelligences.
    Image courtesy of WZMH Architects
    Speedstac by WZMH Architects as part of Living With…Combined Intelligences 
    As part of the exhibition “Living With… Combined Intelligences,” WZMH Architects presents Speedstac, a prefabricated modular precast solution that aims to reimagine how urban areas devastated by war can be rebuilt.
    Originally designed to accelerate housing construction in Canada, Speedstac took on urgent new relevance following the Russian invasion of Ukraine.
    With more than 170,000 buildings damaged or destroyed and millions displaced, WZMH’s innovation, developed through its R&D lab, sparkbird, aims to offer a scalable solution: self-contained, plug-and-play building modules with integrated electrical and plumbing systems that can be seamlessly inserted into existing structures.
    The use of modern materials such as high-performance concrete can reduce the weight of the modules, making them easier to lift and move using conventional crane equipment.
    Using a robust locking mechanism, several modules can be securely fastened and unfastened as needed, to produce an adaptive modular housing solution.
    The Speedstac system aims to offer a solution to the challenges of traditional construction methods, enabling faster, more flexible, and more sustainable building projects.
    The Vivre Avec / Living With exhibition is hosted in the French Pavilion.
    Presentation, Northern Horizons.
    Photo credit: Blouin Orzes architectes
    Northern Horizons by Blouin Orzes architectes as part of Time Space Existence 
    Through a wide selection of projects—ranging from conceptual works, models and photographs to videos, sculptures and site-specific installations—the exhibition Time Space Existence, hosted by the European Cultural Centre, aims to provoke participants to question their relationship with space and time, re-envisioning new ways of living and rethinking architecture through a larger lens.
    Quebec firm Blouin Orzes’ participation revolves around their first-hand understanding of Inuit territories, where they have been working since 2000.
    Their contribution is based on their  recent publication, Northern Journeys.
    Blouin Orzes’ contribution in on display at the Palazzo Mora, and additional contributions to Time Space Existence are on view at the Palazzo Bembo and Marinaressa Gardens.
    View of Commercial and Residential Towers from Seymour and West Georgia Streets.
    Image credit: Henriquez Partners Studio
    BC Glass Sea Sponge
    Another contribution to Time Space Existence is the work of Henriquez Partners Studio.
    The transformative mixed-use development which they are presenting merges architectural innovation, social responsibility and urban revitalization, and has recently been submitted to the City of Vancouver.
    The project is about ambitious city-building, and aims to unlock public benefits on currently underutilized land in a way that supports some of the city’s most urgent needs, while contributing bold architecture to the city skyline.
    Four towers, designed by Henriquez, draw inspiration from rare and ancient glass sea sponge reefs, whose ecological strength and resilience have shaped both form and structure.
    These living marine organisms, which are unique to the Pacific Northwest, aim to serve as a metaphor for regeneration and adaptation.
    This concept is translated through the architectural language of the towers: silhouettes, sculptural forms, and sustainable performance.
    The tallest tower, a stand-alone hotel, proposed at 1,033 feet, is shaped by a structural diagrid exoskeleton that allows for column-free interiors while maximizing strength and minimizing material use.
    Developed in collaboration with Arup, the structural system references the skeletal lattice of sea sponges; a concept researched at Harvard for its groundbreaking structural efficiency.
    Henriquez Partners’  contribution is on display at Palazzo Bembo.
    Renewal Development Shishalh Project Duplex Renderings – Image credit: Renewal Development
    Shíshálh Nation: Ten Home Rescue Project as part of theLiving With / Vivre avec exhibition
    Vancouver-based company Renewal Development has been selected to appear as part of the French Pavilion’s exhibition on housing innovation.
    In 2024, Renewal Development partnered with developer Wesgroup and the shíshálh Nation to relocate ten high value Port Moody homes set for demolition to the shíshálh Nation on the Sunshine Coast.
    The Nation has been experiencing an acute housing shortage with 900 Nation members currently on a waitlist for housing.
    Renewal Development says that this initiative reflects its “deeply held values of sustainability, and reconciliation” and its “work to offer real-world solutions to waste and housing shortages by reimagining what already exists.”
    The project will be on display in the French Pavilion.
    The following is a list of other Canadian groups and individuals contributing to this year’s Venice Biennale:
    On Storage
    Brendan Cormier is a Canadian writer, curator, and urban designer based in London.
    He is currently the lead curator of 20th and 21st Century Design for the Shekou Partnership at the Victoria and Albert Museum.
    Prior to this he served as the managing editor of Volume Magazine.
    La Biennale di Venezia and the Victoria and Albert Museum, London present for the ninth consecutive year the Applied Arts Pavilion Special Project titled On Storage, curated by Brendan Cormier, in collaboration with Diller, Scofidio + Renfro (DS+R).
    It explores the global architecture of storage in service of the circulation of things, and features a newly commissioned six-channel film directed by DS+R.
    From Liquid to Stone: A Reconfigurable Concrete Tectonic Against Obsolescence
    Inge Donovan, based in Boston, achieved her Bachelor of Arts in Architectural Design and Architectural History, Theory and Criticism from the Daniels Faculty of Architecture at the University of Toronto in 2019 after growing up in Nova Scotia, Canada.
    The Curse of Dimensionality
    Adeline Chum is currently a Graduate Research Assistant at the Center for Spatial Research and third-year student in the MArch Program at GSAPP.
    She has received her Bachelor of Architectural Studies from the University of Waterloo, Canada and has worked in small and medium-sized architecture firms in Toronto, New York, and London.
    Oceanic Refractions
    Elise Misao Hunchuck, born in Toronto and currently based Berlin and Milan, is a transdisciplinary researcher, editor, writer, and educator.
    Her practice brings together architecture, landscape architecture, and media studies to research sites in Canada, Japan, China, and Ukraine, employing text, images, and cartographies to document, explore, and archive the co-constitutive relationships between plants, animals, and minerals—in all of their forms.
    SpaceSuits.Us: A Case for Ultra Thin Adjustments
    Charles Kim is a designer currently based in Boston.
    Stemming from his background in architecture, he is interested in materials, DIY, and the aesthetics of affordability.
    Since graduating from Harvard Graduate School of Design in 2022, he has been working as an architectural designer at Utile.
    Uncommon Knowledge: Plants as Sensors
    Sonia Sobrino Ralston is a designer, researcher, and educator, and is currently an Assistant Teaching Professor in Landscape Architecture and Art + Design at Northeastern University in the College of Arts, Media, and Design.
    She is interested in the intersections between landscape, architecture, and the history of technology.
    Doxiadis’ Informational Modernism
    Mark Wasiuta is Senior Lecturer in Architecture at Columbia GSAPP and Co-Director of the Critical, Curatorial and Conceptual Practices in Architecture program.
    Wasiuta is recipient of recent grants from the Onassis Foundation, the Asian Cultural Council, NYSCA, and the Graham Foundation, where he was an inaugural Graham Foundation Fellow.
    Blue Garden: The Architecture of Emergence
    Tanvi Khurmi, based in London, UK, is a multidisciplinary designer and artist.
    Her practice is focused on addressing and combatting issues surrounding the climate crisis.
    After receiving a Bachelor’s in Architecture with a minor in Environmental Studies from the John H.
    Daniels Faculty of Architecture at the University of Toronto, she earned a Masters of Architecture in Bio-Integrated Design at the Bartlett School of Architecture at University College London.
    Design as an Astronaut
    Dr.
    Cody Paige is the Director of the Space Exploration Initiative at the MIT Media Lab, a team of 50+ students, faculty, and staff building and flying advanced technology for space exploration.
    The Initiative focuses on helping students take their research into space.
    The pipeline developed to achieve this works with students from across the Media Lab and the MIT community to prototype space-related research in the lab, fly and test them in microgravity on parabolic and suborbital flights, and finally to take them to the International Space Station or on to the Moon.
    Cody also has a background in geology, specifically quaternary geochronology, and completed her Master of Applied Science at the University of Toronto in Aerospace Engineering and her Bachelor of Applied Science from Queen’s University in Engineering Physics.
     
    The post Round-up: Canadian-led exhibitions at the 2025 Venice Biennale appeared first on Canadian Architect.
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    Round-up: Canadian-led exhibitions at the 2025 Venice Biennale
    The International Architecture Exhibition – La Biennale di Venezia,  has returned, with its grand opening held in early May. The exhibition runs until November 23, 2025 The Canada Council for the Arts, Commissioner of Canada’s official participation in the International Architecture Exhibition – La Biennale di Venezia, administers the selection process and oversees the exhibition at the Canada Pavilion. But in addition to the Canada Pavilion, Canadian architects and designers have a presence in several other exhibitions that are part of this year’s festival. Here’s a round-up of the Canadian work in Venice. Picoplanktonics. Photo credit: Valentina Mori Picoplanktonics led by Living Room Collective Canada’s official entry to the Biennale is Picoplanktonics, a 3D-printed living artwork incorporating cyanobacteria—a global first at the intersection of architecture, biotechnology, and art. The exhibition, developed by the Living Room Collective, showcases the potential for collaboration between humans and nature. Picoplanktonics is an exploration of the potential to co-operate with living systems by co-constructing spaces that “remediate the planet rather than exploit it.” The installation transforms the Canada Pavilion into an aquatic micro-ecosystem, where architectural structures grow, evolve, and naturally degrade alongside their living components. It was designed according to regenerative architecture principles, and is not only a built object, but also a breathing organism interacting with its environment, which prompts reflection on potential futures of the built environment. The creative team is led by bio-designer Andrea Shin Ling, alongside core team members Nicholas Hoban, Vincent Hui and Clayton Lee. Etude Ile Verte by Atelier Pierre Thibault. Photo credit Alex Lesage Les boucaneries de l’île Verte by Atelier Pierre Thibault Atelier Pierre Thibault has been invited to participate in this year’s Venice Biennale as the only team from Québec. His project is inspired by the old fish smokehouses, or boucaneries, of Île Verte. With the support of the fifty permanent residents of Île Verte, Atelier Pierre Thibault has designed a participatory architectural project that aims to reinterpret the boucaneries as creative canvases to imagine new uses to strengthen Île Verte’s autonomy. This includes community greenhouses, artist studios, and gathering places. The exhibition aims to highlight, as Thibault puts it, “the strength of a sensitive and collective gesture in response to the erosion of traditional buildings and the major climate challenges faced by inhabitants living year-round in an isolated island environment.” The construction of the installations, along with the exchanges sparked with the community, was documented through photography and video, and captures both the process and the spirit of collaboration that defined the project. Celebrating the Verdoyants’ collective intelligence and inviting reflection on the future of the boucaneries, this participatory project highlights the exemplary and internationally resonant nature of this approach. The Atelier Pierre Thibault project will be on view at the Corderie dell’Arsenale. The pavilion itself will take the form of a temporary, lightweight structure constructed from reused materials, situated on the grounds of the French Pavilion, which is currently undergoing renovation. The curators have selected 50 projects to be featured across six thematic sections: Living With the Existing, the Immediate, the Broken, Vulnerabilities, Nature, and Combined Intelligences. Image courtesy of WZMH Architects Speedstac by WZMH Architects as part of Living With…Combined Intelligences  As part of the exhibition “Living With… Combined Intelligences,” WZMH Architects presents Speedstac, a prefabricated modular precast solution that aims to reimagine how urban areas devastated by war can be rebuilt. Originally designed to accelerate housing construction in Canada, Speedstac took on urgent new relevance following the Russian invasion of Ukraine. With more than 170,000 buildings damaged or destroyed and millions displaced, WZMH’s innovation, developed through its R&D lab, sparkbird, aims to offer a scalable solution: self-contained, plug-and-play building modules with integrated electrical and plumbing systems that can be seamlessly inserted into existing structures. The use of modern materials such as high-performance concrete can reduce the weight of the modules, making them easier to lift and move using conventional crane equipment. Using a robust locking mechanism, several modules can be securely fastened and unfastened as needed, to produce an adaptive modular housing solution. The Speedstac system aims to offer a solution to the challenges of traditional construction methods, enabling faster, more flexible, and more sustainable building projects. The Vivre Avec / Living With exhibition is hosted in the French Pavilion. Presentation, Northern Horizons. Photo credit: Blouin Orzes architectes Northern Horizons by Blouin Orzes architectes as part of Time Space Existence  Through a wide selection of projects—ranging from conceptual works, models and photographs to videos, sculptures and site-specific installations—the exhibition Time Space Existence, hosted by the European Cultural Centre, aims to provoke participants to question their relationship with space and time, re-envisioning new ways of living and rethinking architecture through a larger lens. Quebec firm Blouin Orzes’ participation revolves around their first-hand understanding of Inuit territories, where they have been working since 2000. Their contribution is based on their  recent publication, Northern Journeys. Blouin Orzes’ contribution in on display at the Palazzo Mora, and additional contributions to Time Space Existence are on view at the Palazzo Bembo and Marinaressa Gardens. View of Commercial and Residential Towers from Seymour and West Georgia Streets. Image credit: Henriquez Partners Studio BC Glass Sea Sponge Another contribution to Time Space Existence is the work of Henriquez Partners Studio. The transformative mixed-use development which they are presenting merges architectural innovation, social responsibility and urban revitalization, and has recently been submitted to the City of Vancouver. The project is about ambitious city-building, and aims to unlock public benefits on currently underutilized land in a way that supports some of the city’s most urgent needs, while contributing bold architecture to the city skyline. Four towers, designed by Henriquez, draw inspiration from rare and ancient glass sea sponge reefs, whose ecological strength and resilience have shaped both form and structure. These living marine organisms, which are unique to the Pacific Northwest, aim to serve as a metaphor for regeneration and adaptation. This concept is translated through the architectural language of the towers: silhouettes, sculptural forms, and sustainable performance. The tallest tower, a stand-alone hotel, proposed at 1,033 feet, is shaped by a structural diagrid exoskeleton that allows for column-free interiors while maximizing strength and minimizing material use. Developed in collaboration with Arup, the structural system references the skeletal lattice of sea sponges; a concept researched at Harvard for its groundbreaking structural efficiency. Henriquez Partners’  contribution is on display at Palazzo Bembo. Renewal Development Shishalh Project Duplex Renderings – Image credit: Renewal Development Shíshálh Nation: Ten Home Rescue Project as part of theLiving With / Vivre avec exhibition Vancouver-based company Renewal Development has been selected to appear as part of the French Pavilion’s exhibition on housing innovation. In 2024, Renewal Development partnered with developer Wesgroup and the shíshálh Nation to relocate ten high value Port Moody homes set for demolition to the shíshálh Nation on the Sunshine Coast. The Nation has been experiencing an acute housing shortage with 900 Nation members currently on a waitlist for housing. Renewal Development says that this initiative reflects its “deeply held values of sustainability, and reconciliation” and its “work to offer real-world solutions to waste and housing shortages by reimagining what already exists.” The project will be on display in the French Pavilion. The following is a list of other Canadian groups and individuals contributing to this year’s Venice Biennale: On Storage Brendan Cormier is a Canadian writer, curator, and urban designer based in London. He is currently the lead curator of 20th and 21st Century Design for the Shekou Partnership at the Victoria and Albert Museum. Prior to this he served as the managing editor of Volume Magazine. La Biennale di Venezia and the Victoria and Albert Museum, London present for the ninth consecutive year the Applied Arts Pavilion Special Project titled On Storage, curated by Brendan Cormier, in collaboration with Diller, Scofidio + Renfro (DS+R). It explores the global architecture of storage in service of the circulation of things, and features a newly commissioned six-channel film directed by DS+R. From Liquid to Stone: A Reconfigurable Concrete Tectonic Against Obsolescence Inge Donovan, based in Boston, achieved her Bachelor of Arts in Architectural Design and Architectural History, Theory and Criticism from the Daniels Faculty of Architecture at the University of Toronto in 2019 after growing up in Nova Scotia, Canada. The Curse of Dimensionality Adeline Chum is currently a Graduate Research Assistant at the Center for Spatial Research and third-year student in the MArch Program at GSAPP. She has received her Bachelor of Architectural Studies from the University of Waterloo, Canada and has worked in small and medium-sized architecture firms in Toronto, New York, and London. Oceanic Refractions Elise Misao Hunchuck, born in Toronto and currently based Berlin and Milan, is a transdisciplinary researcher, editor, writer, and educator. Her practice brings together architecture, landscape architecture, and media studies to research sites in Canada, Japan, China, and Ukraine, employing text, images, and cartographies to document, explore, and archive the co-constitutive relationships between plants, animals, and minerals—in all of their forms. SpaceSuits.Us: A Case for Ultra Thin Adjustments Charles Kim is a designer currently based in Boston. Stemming from his background in architecture, he is interested in materials, DIY, and the aesthetics of affordability. Since graduating from Harvard Graduate School of Design in 2022, he has been working as an architectural designer at Utile. Uncommon Knowledge: Plants as Sensors Sonia Sobrino Ralston is a designer, researcher, and educator, and is currently an Assistant Teaching Professor in Landscape Architecture and Art + Design at Northeastern University in the College of Arts, Media, and Design. She is interested in the intersections between landscape, architecture, and the history of technology. Doxiadis’ Informational Modernism Mark Wasiuta is Senior Lecturer in Architecture at Columbia GSAPP and Co-Director of the Critical, Curatorial and Conceptual Practices in Architecture program. Wasiuta is recipient of recent grants from the Onassis Foundation, the Asian Cultural Council, NYSCA, and the Graham Foundation, where he was an inaugural Graham Foundation Fellow. Blue Garden: The Architecture of Emergence Tanvi Khurmi, based in London, UK, is a multidisciplinary designer and artist. Her practice is focused on addressing and combatting issues surrounding the climate crisis. After receiving a Bachelor’s in Architecture with a minor in Environmental Studies from the John H. Daniels Faculty of Architecture at the University of Toronto, she earned a Masters of Architecture in Bio-Integrated Design at the Bartlett School of Architecture at University College London. Design as an Astronaut Dr. Cody Paige is the Director of the Space Exploration Initiative at the MIT Media Lab, a team of 50+ students, faculty, and staff building and flying advanced technology for space exploration. The Initiative focuses on helping students take their research into space. The pipeline developed to achieve this works with students from across the Media Lab and the MIT community to prototype space-related research in the lab, fly and test them in microgravity on parabolic and suborbital flights, and finally to take them to the International Space Station or on to the Moon. Cody also has a background in geology, specifically quaternary geochronology, and completed her Master of Applied Science at the University of Toronto in Aerospace Engineering and her Bachelor of Applied Science from Queen’s University in Engineering Physics.   The post Round-up: Canadian-led exhibitions at the 2025 Venice Biennale appeared first on Canadian Architect.
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    Round-up: Canadian-led exhibitions at the 2025 Venice Biennale
    The International Architecture Exhibition – La Biennale di Venezia,  has returned, with its grand opening held in early May. The exhibition runs until November 23, 2025 The Canada Council for the Arts, Commissioner of Canada’s official participation in the International Architecture Exhibition – La Biennale di Venezia, administers the selection process and oversees the exhibition at the Canada Pavilion. But in addition to the Canada Pavilion, Canadian architects and designers have a presence in several other exhibitions that are part of this year’s festival. Here’s a round-up of the Canadian work in Venice. Picoplanktonics. Photo credit: Valentina Mori Picoplanktonics led by Living Room Collective Canada’s official entry to the Biennale is Picoplanktonics, a 3D-printed living artwork incorporating cyanobacteria—a global first at the intersection of architecture, biotechnology, and art. The exhibition, developed by the Living Room Collective, showcases the potential for collaboration between humans and nature. Picoplanktonics is an exploration of the potential to co-operate with living systems by co-constructing spaces that “remediate the planet rather than exploit it.” The installation transforms the Canada Pavilion into an aquatic micro-ecosystem, where architectural structures grow, evolve, and naturally degrade alongside their living components. It was designed according to regenerative architecture principles, and is not only a built object, but also a breathing organism interacting with its environment, which prompts reflection on potential futures of the built environment. The creative team is led by bio-designer Andrea Shin Ling, alongside core team members Nicholas Hoban, Vincent Hui and Clayton Lee. Etude Ile Verte by Atelier Pierre Thibault. Photo credit Alex Lesage Les boucaneries de l’île Verte by Atelier Pierre Thibault Atelier Pierre Thibault has been invited to participate in this year’s Venice Biennale as the only team from Québec. His project is inspired by the old fish smokehouses, or boucaneries, of Île Verte. With the support of the fifty permanent residents of Île Verte, Atelier Pierre Thibault has designed a participatory architectural project that aims to reinterpret the boucaneries as creative canvases to imagine new uses to strengthen Île Verte’s autonomy. This includes community greenhouses, artist studios, and gathering places. The exhibition aims to highlight, as Thibault puts it, “the strength of a sensitive and collective gesture in response to the erosion of traditional buildings and the major climate challenges faced by inhabitants living year-round in an isolated island environment.” The construction of the installations, along with the exchanges sparked with the community, was documented through photography and video, and captures both the process and the spirit of collaboration that defined the project. Celebrating the Verdoyants’ collective intelligence and inviting reflection on the future of the boucaneries, this participatory project highlights the exemplary and internationally resonant nature of this approach. The Atelier Pierre Thibault project will be on view at the Corderie dell’Arsenale. The pavilion itself will take the form of a temporary, lightweight structure constructed from reused materials, situated on the grounds of the French Pavilion, which is currently undergoing renovation. The curators have selected 50 projects to be featured across six thematic sections: Living With the Existing, the Immediate, the Broken, Vulnerabilities, Nature, and Combined Intelligences. Image courtesy of WZMH Architects Speedstac by WZMH Architects as part of Living With…Combined Intelligences  As part of the exhibition “Living With… Combined Intelligences,” WZMH Architects presents Speedstac, a prefabricated modular precast solution that aims to reimagine how urban areas devastated by war can be rebuilt. Originally designed to accelerate housing construction in Canada, Speedstac took on urgent new relevance following the Russian invasion of Ukraine. With more than 170,000 buildings damaged or destroyed and millions displaced, WZMH’s innovation, developed through its R&D lab, sparkbird, aims to offer a scalable solution: self-contained, plug-and-play building modules with integrated electrical and plumbing systems that can be seamlessly inserted into existing structures. The use of modern materials such as high-performance concrete can reduce the weight of the modules, making them easier to lift and move using conventional crane equipment. Using a robust locking mechanism, several modules can be securely fastened and unfastened as needed, to produce an adaptive modular housing solution. The Speedstac system aims to offer a solution to the challenges of traditional construction methods, enabling faster, more flexible, and more sustainable building projects. The Vivre Avec / Living With exhibition is hosted in the French Pavilion. Presentation, Northern Horizons. Photo credit: Blouin Orzes architectes Northern Horizons by Blouin Orzes architectes as part of Time Space Existence  Through a wide selection of projects—ranging from conceptual works, models and photographs to videos, sculptures and site-specific installations—the exhibition Time Space Existence, hosted by the European Cultural Centre, aims to provoke participants to question their relationship with space and time, re-envisioning new ways of living and rethinking architecture through a larger lens. Quebec firm Blouin Orzes’ participation revolves around their first-hand understanding of Inuit territories, where they have been working since 2000. Their contribution is based on their  recent publication, Northern Journeys. Blouin Orzes’ contribution in on display at the Palazzo Mora, and additional contributions to Time Space Existence are on view at the Palazzo Bembo and Marinaressa Gardens. View of Commercial and Residential Towers from Seymour and West Georgia Streets. Image credit: Henriquez Partners Studio BC Glass Sea Sponge Another contribution to Time Space Existence is the work of Henriquez Partners Studio. The transformative mixed-use development which they are presenting merges architectural innovation, social responsibility and urban revitalization, and has recently been submitted to the City of Vancouver. The project is about ambitious city-building, and aims to unlock public benefits on currently underutilized land in a way that supports some of the city’s most urgent needs, while contributing bold architecture to the city skyline. Four towers, designed by Henriquez, draw inspiration from rare and ancient glass sea sponge reefs, whose ecological strength and resilience have shaped both form and structure. These living marine organisms, which are unique to the Pacific Northwest, aim to serve as a metaphor for regeneration and adaptation. This concept is translated through the architectural language of the towers: silhouettes, sculptural forms, and sustainable performance. The tallest tower, a stand-alone hotel, proposed at 1,033 feet, is shaped by a structural diagrid exoskeleton that allows for column-free interiors while maximizing strength and minimizing material use. Developed in collaboration with Arup, the structural system references the skeletal lattice of sea sponges; a concept researched at Harvard for its groundbreaking structural efficiency. Henriquez Partners’  contribution is on display at Palazzo Bembo. Renewal Development Shishalh Project Duplex Renderings – Image credit: Renewal Development Shíshálh Nation: Ten Home Rescue Project as part of theLiving With / Vivre avec exhibition Vancouver-based company Renewal Development has been selected to appear as part of the French Pavilion’s exhibition on housing innovation. In 2024, Renewal Development partnered with developer Wesgroup and the shíshálh Nation to relocate ten high value Port Moody homes set for demolition to the shíshálh Nation on the Sunshine Coast. The Nation has been experiencing an acute housing shortage with 900 Nation members currently on a waitlist for housing. Renewal Development says that this initiative reflects its “deeply held values of sustainability, and reconciliation” and its “work to offer real-world solutions to waste and housing shortages by reimagining what already exists.” The project will be on display in the French Pavilion. The following is a list of other Canadian groups and individuals contributing to this year’s Venice Biennale: On Storage Brendan Cormier is a Canadian writer, curator, and urban designer based in London. He is currently the lead curator of 20th and 21st Century Design for the Shekou Partnership at the Victoria and Albert Museum. Prior to this he served as the managing editor of Volume Magazine. La Biennale di Venezia and the Victoria and Albert Museum, London present for the ninth consecutive year the Applied Arts Pavilion Special Project titled On Storage, curated by Brendan Cormier, in collaboration with Diller, Scofidio + Renfro (DS+R). It explores the global architecture of storage in service of the circulation of things, and features a newly commissioned six-channel film directed by DS+R. From Liquid to Stone: A Reconfigurable Concrete Tectonic Against Obsolescence Inge Donovan, based in Boston, achieved her Bachelor of Arts in Architectural Design and Architectural History, Theory and Criticism from the Daniels Faculty of Architecture at the University of Toronto in 2019 after growing up in Nova Scotia, Canada. The Curse of Dimensionality Adeline Chum is currently a Graduate Research Assistant at the Center for Spatial Research and third-year student in the MArch Program at GSAPP. She has received her Bachelor of Architectural Studies from the University of Waterloo, Canada and has worked in small and medium-sized architecture firms in Toronto, New York, and London. Oceanic Refractions Elise Misao Hunchuck, born in Toronto and currently based Berlin and Milan, is a transdisciplinary researcher, editor, writer, and educator. Her practice brings together architecture, landscape architecture, and media studies to research sites in Canada, Japan, China, and Ukraine, employing text, images, and cartographies to document, explore, and archive the co-constitutive relationships between plants, animals, and minerals—in all of their forms. SpaceSuits.Us: A Case for Ultra Thin Adjustments Charles Kim is a designer currently based in Boston. Stemming from his background in architecture, he is interested in materials, DIY, and the aesthetics of affordability. Since graduating from Harvard Graduate School of Design in 2022, he has been working as an architectural designer at Utile. Uncommon Knowledge: Plants as Sensors Sonia Sobrino Ralston is a designer, researcher, and educator, and is currently an Assistant Teaching Professor in Landscape Architecture and Art + Design at Northeastern University in the College of Arts, Media, and Design. She is interested in the intersections between landscape, architecture, and the history of technology. Doxiadis’ Informational Modernism Mark Wasiuta is Senior Lecturer in Architecture at Columbia GSAPP and Co-Director of the Critical, Curatorial and Conceptual Practices in Architecture program. Wasiuta is recipient of recent grants from the Onassis Foundation, the Asian Cultural Council, NYSCA, and the Graham Foundation, where he was an inaugural Graham Foundation Fellow. Blue Garden: The Architecture of Emergence Tanvi Khurmi, based in London, UK, is a multidisciplinary designer and artist. Her practice is focused on addressing and combatting issues surrounding the climate crisis. After receiving a Bachelor’s in Architecture with a minor in Environmental Studies from the John H. Daniels Faculty of Architecture at the University of Toronto, she earned a Masters of Architecture in Bio-Integrated Design at the Bartlett School of Architecture at University College London. Design as an Astronaut Dr. Cody Paige is the Director of the Space Exploration Initiative at the MIT Media Lab, a team of 50+ students, faculty, and staff building and flying advanced technology for space exploration. The Initiative focuses on helping students take their research into space. The pipeline developed to achieve this works with students from across the Media Lab and the MIT community to prototype space-related research in the lab, fly and test them in microgravity on parabolic and suborbital flights, and finally to take them to the International Space Station or on to the Moon. Cody also has a background in geology, specifically quaternary geochronology, and completed her Master of Applied Science at the University of Toronto in Aerospace Engineering and her Bachelor of Applied Science from Queen’s University in Engineering Physics.   The post Round-up: Canadian-led exhibitions at the 2025 Venice Biennale appeared first on Canadian Architect.
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  • This Pop-Art Apartment in Barcelona Is Surprisingly Family Friendly
    Although their apartment was new, it wasn’t ready for them to move in.
    At least, that’s what this small family made up of a couple, their two-year-old boy, and a friendly dachshund thought.
    The home they had bought was missing something.
    “They weren’t satisfied with the finishings and the layout of the space.
    That’s why they entrusted us with carrying out a complete renovation to transform it into a warmer, more functional, and personalized place,” explains Not a Studio.Most of the work of the refurbishment was focused on the home’s living spaces.
    Above the worktop, a sculpture by the artist Pedro Hoz.
    The Barcelona-based firm, whose very name announces its outside-the-box approach, got to work.
    “During the design process, we identified areas to improve that succeeded in giving a new coherence and fluidity to the entire space.
    In the sleeping area, we made some small adjustments to the partitions, which resulted in a significant improvement in terms of comfort and an efficient use of space.
    We reorganized the bedrooms to create a greater sense of privacy and functionality, while we optimized other rooms to make the most of every square inch.”All of the cabinet fronts in the home—in the kitchen, living room, and bathrooms—are by Cubro, a Spanish company that specializes in creating new fronts for IKEA installations.
    However, the studio’s efforts were mainly focused on optimizing the living space, improving circulation in the apartment to increase the feeling of spaciousness, and making the most of its natural light.
    One of the focal points of the change was the kitchen, which was completely renovated.
    To achieve this, a new central axis was created, a semicircular island with two different heights.
    It functions as a food preparation area, an extra desk, and a bar.
    All the cabinet fronts in the home, including those in the kitchen, living room, and bathrooms, were designed and manufactured by Cubro, with a uniform aesthetic and high-quality finishes.The kitchen is open to the living room but at the same time a low wall provides a partial separation between the two spaces.
    “The rounded shape of the kitchen island establishes an aesthetic connection with other curved elements of the design, such as the floor of custom-designed tiles by Mosaic Factory.
    The visual harmony is reinforced by a round table and the niches with rounded edges that provide a 1970s feel while also lending continuity and warmth to the space,” say the project’s designers.Cabinets customized by Cubro and, above them, a mirror with a playful look.
    Much of the furniture in the apartment was sourced from the concept store RS Barcelona.
    This common area sets the tone for the entire interior design, which combines pastel colors with other more powerful accents.
    A graphic aesthetic is the foundation of a Pop-art apartment, with the Memphis movement’s resurgence in the past few years being a prime example.
    It makes sense that elements with visually pop often rally in more engagement online, and in this apartment, grids (such as the one formed by the main wall, which extends into the living room), distinct geometric shapes (found in the cushion patterns and the parabolic shape of the lamp, among other elements) and comic book-like details feel like stepping into the visual universe of Pop artists like Roy Lichtenstein.An ingenious solution using a sliding screen makes it possible to hide the television completely.
    “Aesthetically, we chose a vibrant palette and natural materials that bring life to every corner of the apartment.
    Primary colors predominate, with yellow and blue as the main colors, and green, orange, and red as accents found in the home’s decorative details.
    We opted for integrated storage solutions and design elements that highlight the personality of the space, while maintaining the overall harmony of the home,” Not a Studio explains.Different geometric patterns and shapes can be found throughout the home’s interior.
    Custom pieces also result in a comprehensive and cohesive aesthetic that makes the 926 square feet feel even more spacious.
    They also have another advantage in that they were created with the specific needs of the owners in mind.Above the bed, a work by artist Pedro Hoz.
    Despite the apartment’s aesthetic, the firm ensured that the materials chosen, such as wood and stone, are natural and high quality, with the intention of creating a cozy and timeless atmosphere.
    “In the kitchen and bathrooms, we selected contemporary and functional finishes, with easy-to-maintain surfaces and an aesthetic that balances modernity and warmth.
    In the bathrooms and the bedroom suite, we used microcement to give continuity to the space and highlight the repetitive geometry of the 10-by-10 centimeter square tiles,” they explain.
    Also note the ingenious use of panels to hide the television, and other space-saving solutions.In the bathroom of the principal bedroom, there’s a connection to the aesthetics of the kitchen.
    “The result of this intervention has been a total transformation.
    The apartment, which previously lacked any distinguishing character, has become a home full of personality, designed to reflect the essence and needs of the people who live here,” Not a Studio says.This Pop-art apartment was originally published by AD Spain.
    It was translated by John Newton.A mirrored door helps to make the apartment feel larger.
    A detail of the child’s room.
    Another of the home’s bathrooms.
    Not a Studio.

    Source: https://www.architecturaldigest.com/story/this-pop-art-apartment-in-barcelona-is-surprisingly-family-friendly" style="color: #0066cc;">https://www.architecturaldigest.com/story/this-pop-art-apartment-in-barcelona-is-surprisingly-family-friendly
    #this #popart #apartment #barcelona #surprisingly #family #friendly
    This Pop-Art Apartment in Barcelona Is Surprisingly Family Friendly
    Although their apartment was new, it wasn’t ready for them to move in. At least, that’s what this small family made up of a couple, their two-year-old boy, and a friendly dachshund thought. The home they had bought was missing something. “They weren’t satisfied with the finishings and the layout of the space. That’s why they entrusted us with carrying out a complete renovation to transform it into a warmer, more functional, and personalized place,” explains Not a Studio.Most of the work of the refurbishment was focused on the home’s living spaces. Above the worktop, a sculpture by the artist Pedro Hoz. The Barcelona-based firm, whose very name announces its outside-the-box approach, got to work. “During the design process, we identified areas to improve that succeeded in giving a new coherence and fluidity to the entire space. In the sleeping area, we made some small adjustments to the partitions, which resulted in a significant improvement in terms of comfort and an efficient use of space. We reorganized the bedrooms to create a greater sense of privacy and functionality, while we optimized other rooms to make the most of every square inch.”All of the cabinet fronts in the home—in the kitchen, living room, and bathrooms—are by Cubro, a Spanish company that specializes in creating new fronts for IKEA installations. However, the studio’s efforts were mainly focused on optimizing the living space, improving circulation in the apartment to increase the feeling of spaciousness, and making the most of its natural light. One of the focal points of the change was the kitchen, which was completely renovated. To achieve this, a new central axis was created, a semicircular island with two different heights. It functions as a food preparation area, an extra desk, and a bar. All the cabinet fronts in the home, including those in the kitchen, living room, and bathrooms, were designed and manufactured by Cubro, with a uniform aesthetic and high-quality finishes.The kitchen is open to the living room but at the same time a low wall provides a partial separation between the two spaces. “The rounded shape of the kitchen island establishes an aesthetic connection with other curved elements of the design, such as the floor of custom-designed tiles by Mosaic Factory. The visual harmony is reinforced by a round table and the niches with rounded edges that provide a 1970s feel while also lending continuity and warmth to the space,” say the project’s designers.Cabinets customized by Cubro and, above them, a mirror with a playful look. Much of the furniture in the apartment was sourced from the concept store RS Barcelona. This common area sets the tone for the entire interior design, which combines pastel colors with other more powerful accents. A graphic aesthetic is the foundation of a Pop-art apartment, with the Memphis movement’s resurgence in the past few years being a prime example. It makes sense that elements with visually pop often rally in more engagement online, and in this apartment, grids (such as the one formed by the main wall, which extends into the living room), distinct geometric shapes (found in the cushion patterns and the parabolic shape of the lamp, among other elements) and comic book-like details feel like stepping into the visual universe of Pop artists like Roy Lichtenstein.An ingenious solution using a sliding screen makes it possible to hide the television completely. “Aesthetically, we chose a vibrant palette and natural materials that bring life to every corner of the apartment. Primary colors predominate, with yellow and blue as the main colors, and green, orange, and red as accents found in the home’s decorative details. We opted for integrated storage solutions and design elements that highlight the personality of the space, while maintaining the overall harmony of the home,” Not a Studio explains.Different geometric patterns and shapes can be found throughout the home’s interior. Custom pieces also result in a comprehensive and cohesive aesthetic that makes the 926 square feet feel even more spacious. They also have another advantage in that they were created with the specific needs of the owners in mind.Above the bed, a work by artist Pedro Hoz. Despite the apartment’s aesthetic, the firm ensured that the materials chosen, such as wood and stone, are natural and high quality, with the intention of creating a cozy and timeless atmosphere. “In the kitchen and bathrooms, we selected contemporary and functional finishes, with easy-to-maintain surfaces and an aesthetic that balances modernity and warmth. In the bathrooms and the bedroom suite, we used microcement to give continuity to the space and highlight the repetitive geometry of the 10-by-10 centimeter square tiles,” they explain. Also note the ingenious use of panels to hide the television, and other space-saving solutions.In the bathroom of the principal bedroom, there’s a connection to the aesthetics of the kitchen. “The result of this intervention has been a total transformation. The apartment, which previously lacked any distinguishing character, has become a home full of personality, designed to reflect the essence and needs of the people who live here,” Not a Studio says.This Pop-art apartment was originally published by AD Spain. It was translated by John Newton.A mirrored door helps to make the apartment feel larger. A detail of the child’s room. Another of the home’s bathrooms. Not a Studio. Source: https://www.architecturaldigest.com/story/this-pop-art-apartment-in-barcelona-is-surprisingly-family-friendly #this #popart #apartment #barcelona #surprisingly #family #friendly
    WWW.ARCHITECTURALDIGEST.COM
    This Pop-Art Apartment in Barcelona Is Surprisingly Family Friendly
    Although their apartment was new, it wasn’t ready for them to move in. At least, that’s what this small family made up of a couple, their two-year-old boy, and a friendly dachshund thought. The home they had bought was missing something. “They weren’t satisfied with the finishings and the layout of the space. That’s why they entrusted us with carrying out a complete renovation to transform it into a warmer, more functional, and personalized place,” explains Not a Studio.Most of the work of the refurbishment was focused on the home’s living spaces. Above the worktop, a sculpture by the artist Pedro Hoz. The Barcelona-based firm, whose very name announces its outside-the-box approach, got to work. “During the design process, we identified areas to improve that succeeded in giving a new coherence and fluidity to the entire space. In the sleeping area, we made some small adjustments to the partitions, which resulted in a significant improvement in terms of comfort and an efficient use of space. We reorganized the bedrooms to create a greater sense of privacy and functionality, while we optimized other rooms to make the most of every square inch.”All of the cabinet fronts in the home—in the kitchen, living room, and bathrooms—are by Cubro, a Spanish company that specializes in creating new fronts for IKEA installations. However, the studio’s efforts were mainly focused on optimizing the living space, improving circulation in the apartment to increase the feeling of spaciousness, and making the most of its natural light. One of the focal points of the change was the kitchen, which was completely renovated. To achieve this, a new central axis was created, a semicircular island with two different heights. It functions as a food preparation area, an extra desk, and a bar. All the cabinet fronts in the home, including those in the kitchen, living room, and bathrooms, were designed and manufactured by Cubro, with a uniform aesthetic and high-quality finishes.The kitchen is open to the living room but at the same time a low wall provides a partial separation between the two spaces. “The rounded shape of the kitchen island establishes an aesthetic connection with other curved elements of the design, such as the floor of custom-designed tiles by Mosaic Factory. The visual harmony is reinforced by a round table and the niches with rounded edges that provide a 1970s feel while also lending continuity and warmth to the space,” say the project’s designers.Cabinets customized by Cubro and, above them, a mirror with a playful look. Much of the furniture in the apartment was sourced from the concept store RS Barcelona. This common area sets the tone for the entire interior design, which combines pastel colors with other more powerful accents. A graphic aesthetic is the foundation of a Pop-art apartment, with the Memphis movement’s resurgence in the past few years being a prime example. It makes sense that elements with visually pop often rally in more engagement online, and in this apartment, grids (such as the one formed by the main wall, which extends into the living room), distinct geometric shapes (found in the cushion patterns and the parabolic shape of the lamp, among other elements) and comic book-like details feel like stepping into the visual universe of Pop artists like Roy Lichtenstein.An ingenious solution using a sliding screen makes it possible to hide the television completely. “Aesthetically, we chose a vibrant palette and natural materials that bring life to every corner of the apartment. Primary colors predominate, with yellow and blue as the main colors, and green, orange, and red as accents found in the home’s decorative details. We opted for integrated storage solutions and design elements that highlight the personality of the space, while maintaining the overall harmony of the home,” Not a Studio explains.Different geometric patterns and shapes can be found throughout the home’s interior. Custom pieces also result in a comprehensive and cohesive aesthetic that makes the 926 square feet feel even more spacious. They also have another advantage in that they were created with the specific needs of the owners in mind.Above the bed, a work by artist Pedro Hoz. Despite the apartment’s aesthetic, the firm ensured that the materials chosen, such as wood and stone, are natural and high quality, with the intention of creating a cozy and timeless atmosphere. “In the kitchen and bathrooms, we selected contemporary and functional finishes, with easy-to-maintain surfaces and an aesthetic that balances modernity and warmth. In the bathrooms and the bedroom suite, we used microcement to give continuity to the space and highlight the repetitive geometry of the 10-by-10 centimeter square tiles,” they explain. Also note the ingenious use of panels to hide the television, and other space-saving solutions.In the bathroom of the principal bedroom, there’s a connection to the aesthetics of the kitchen. “The result of this intervention has been a total transformation. The apartment, which previously lacked any distinguishing character, has become a home full of personality, designed to reflect the essence and needs of the people who live here,” Not a Studio says.This Pop-art apartment was originally published by AD Spain. It was translated by John Newton.A mirrored door helps to make the apartment feel larger. A detail of the child’s room. Another of the home’s bathrooms. Not a Studio.
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