Updated 1:13 p.m. Pacific: A Salesforce spokesperson told TechCrunch that Moonhub has not, in fact, been acquired (by the company’s definition of the term). Rather, Moonhub is shutting down, and only some of the company’s team — not the w

The relationship between strategists and designers is key to creating effective work that meets clients’ needs. But strategists can feel misunderstood, and even undervalued, in their attempts to set a project’s direction through clear and meaningful thinking. We spoke with a range of in-house and independent strategists about what they wish designers knew about their work. Is the role of strategists changing, like so many design industry roles right now? If so, how? “The lightning speed turnaround” of creative work is creating new pressures, says Gardiner Richardson’s associate director and strategic lead, Matt Forster. Partly this is down to the rise of AI, which is front-of-mind according to independent strategist Manfred Abraham, who has held senior roles at Interbrand and Wolff Olins. The two big shifts, he says, are AI’s potential to bring efficiency to the process – using information gathering and analytics to inform insights – and the dramatic changes that AI will bring to the consumer landscape. “Imagine a world where your personal AI agent makes your life much easier,” he says. “What are consumers going to do with their extra time? Strategists will have to work in close collaboration with creatives to be able to imagine the future for our clients.” Beyond AI, consumers’ withering attention spans, coupled with the proliferating demands on their time, creates a big challenge. “Brands are looking for strategists to show them high interest areas of culture where they have a credible role to play, making it easier for them to reach their audience,” says Matt Boffey, chief strategy officer, UK & Europe, at Design Bridge and Partners. As the world becomes more complex, there is a renewed appetite for clarity, says Polly Clark, a strategy consultant for agencies like Buddy Creative in Cornwall. “I’m seeing that simplicity is even more important than ever,” she says. “Overly complex or convoluted thinking isn’t helpful for anyone, and just slows everything down.” And some strategists have noticed a bit of mission creep. “Increasingly, clients are expecting strategists to contribute at a broader business level not purely brand strategy, design or comms,” says Louise Kennedy, who recently joined Into The Light as head of strategy. What don’t designers understand about your role? “Strategy is not a threat or a limit to designers’ creativity,” says Gardiner Richardson’s Matt Forster. “It’s a springboard to a controlled creative leap.” Into the Light’s Louise Kennedy points out that “designers, on the whole, are visual and often want to get to the ‘creative ask’ very quickly so they can start doing what they do best. “But many of us strategists enjoy taking people on the journey of how we got there by unpacking context and patterns. What designers might see as wordy, we see as fascinating storytelling, but perhaps we tell them more than they need to know, to protect our own egos.” There seems to be a recurring tension between the idea of strategists as left brain thinkers – rigorous, analytical, and logical – against designers as right-brain thinkers – more creative and emotional. But Manfred Abraham points out this is a false – if persistent – way of looking at strategy. “Some designers have missed that there might be a strong right brain there as well!” he says. What don’t clients understand about your role? “Unless clients have experienced it before, they aren’t immediately going to understand the value of strategy,” Gardiner Richardson’s Matt Forster says. “They may have worked with agencies who underpin their creative approaches on little substance. “Once we’ve explained our strategic process, why we follow it and the value it will create for all their creative communications and wider business, it’s a no brainer.” Nor does every client understand the commercial power of great design. “In the brand consulting and growth space specifically, clients often think that strategy is communication strategy,” says Manfred Abraham. “The strategies we develop go much further than that – communications is a part of it.” And adding all this value takes time – more than some clients realise. “I think for clients, it is understanding the need to protect the time and space to do a proper job at this stage and the benefit that will bring,” says Into The Light’s Louise Kennedy. “We might even need to commission new insight work if we feel there are big gaps in knowledge,” she adds. How do you balance multiple client meetings with getting the deep thinking done? This, most strategists agree, is a precarious juggling act. “It sometimes feels like ‘manager time’ has won out over ‘maker time,’” says Design Bridge and Partners’ Matt Boffey. “Days are apportioned into slots, from 30 minutes to an hour, which is perfect for meetings but inadequate for building momentum on substantial projects. The goal, he insists, isn’t to eliminate meetings. “Collaboration remains essential. Rather, it’s to create conditions where both discussion and deep work can thrive. We must be careful that ‘talking’ doesn’t completely squeeze out ‘doing’.” He encourages his team to block time between meetings to mentally stretch, as you might after a gym session. “And I’m a strong advocate for reserving longer periods, either half days or full days, for the ‘deep work’ required when writing a discovery debrief or developing brand strategy.” Although Louise Kennedy blocks out time in this way, she finds it doesn’t always work for her. “Often in those moments I can get brainfreeze as I feel under pressure to produce something smart,” she says. “So I like to read everything on a project then leave it for at least a day so my brain can digest it fully and start working behind the scenes.” External consultants can work the schedule that suits them. On most days, Manfred Abraham gets up at 5.30am because that’s when his brain is at its best. It’s also a time of day free of client meetings, “so it’s great thinking time,” he says. Polly Clark, on the other hand, embraces this juggling act. “It’s always something I’ve needed to do, and actually helps sharpen my thinking. Switching focus means I can come back to things fresher, and stops me getting caught up in the weeds.” What’s the worst thing a designer can say to a strategist? Matt Forster – “That they still don’t get it – which means I haven’t involved them enough, explained it well enough or done a good enough job.” Louise Kennedy – “’I’m confused’ or worse, ‘I’m confused and bored’.” Matt Boffey – ‘“Great, the client’s bought the strategy, now we can really start the work.” “This sounds like strategy has become a hurdle to clear before creativity begins, where it should be the foundation that makes creativity powerful and purposeful. The best work happens when strategists and designers see their contributions as interconnected parts of a unified process, rather than unrelated elements.” Polly Clark – “In the past I’ve heard designers question what strategy brings. That’s been when the strategy hasn’t made sense of the challenge, or is overly convoluted – which is sure to make everyone switch off.” Manfred Abraham – “That great design doesn’t need strategic thinking. It’s simply not true. We are great individually but we are brilliant together.”

How Will Transportation Work in the Future? A Look at the Rise of Electric Mobility in CitiesSave this picture!Boise, United States. Image via Wikipedia user: Fæ. License under CC0 1.0. Image Author: Alden SkeieFrom greenhouse gas emissions and air pollution to deforestation, one of the leading contributors to global warming today is emissions from the transportation sector. Exploring its origins and evolution, as well as the major challenges it faces, the development of electric mobility in urban environments represents a global transition that requires a coordinated mix of policies and actions to achieve cleaner and more sustainable transportation systems. Designing safe and comfortable infrastructure for walking and cycling, promoting public transit and shared mobility, and designing more efficient streets that include electric vehicles, among other actions, are part of a growing worldwide effort to reduce carbon emissions.Although electric vehicles were invented before gasoline and diesel cars in the first half of the 19th century, they have undergone significant technological advances over the past 20 years, reducing their costs and their environmental impact, and increasing their utility. Around 1834, Thomas Davenport developed the first battery-powered electric vehicle, building a small train on a circular track and inventing the first direct current (DC) electric motor. Although there were numerous innovations in the years that followed, battery limitations were a major obstacle. The zinc consumption of a battery was four times more expensive than the coal consumption of a steam engine, so at that time it competed with the electric motor. Save this picture!By 1898, the first commercially available electric vehicles were operating in London and New York. As Francisco Martín Moreno explains in "Vehículos eléctricos. Historia, estado actual y retos futuros", in the early 1900s, several electric car models emerged, primarily accessible to wealthy consumers and designed for short distances. In contrast, the early gasoline-powered cars introduced in the 1920s were noisy, emitted strong gasoline odors, and were hard to drive due to complex gear systems. However, large quantities of oil were discovered between 1920 and 1930, making gasoline-powered cars cheaper in Texas and other US states. Highways began to be built connecting cities, allowing gasoline-powered vehicles to travel from one city to another, something beyond the reach of electric vehicles due to their short range. Mass production techniques like Henry Ford's assembly line further reduced costs, making gas-powered cars affordable to the middle class. Related Article Gas Stations and Electric Cars: How Do They Change Cities Save this picture!By the late 1920s, gasoline vehicles had overtaken electric vehicles, and electric car production largely ceased in the 1930s. However, as a result of the oil crisis in the 1970s and the Gulf War in the 1990s, along with the emergence of climate change as a priority, there was a renewed interest in electric cars. This resurgence led to new models of electric vehicles—from small cars to buses and even trucks. The energy crisis led to an increase in gasoline prices, and society in advanced countries began to become aware of the effects of greenhouse gas emissions from oil combustion, the greenhouse effect, and climate change. Concern about greenhouse gas emissions and climate change increased as oil prices rose, and society began to recognize and become more aware of the impact of the current transportation model on cities and the urgency of finding more environmentally friendly transportation alternatives.Save this picture!Save this picture!In developed countries during the 20th century, the growth of cities was largely due to private car use, allowing citizens to travel miles and miles daily from home to work. Suburban expansion shifted the cost of commuting to individuals. Some residential areas are developing far from the city center and industrial zones, where a large proportion of the population relies on cars. In 2010, the global population was around 7 billion, and it's expected to reach 10 billion by 2050. The number of vehicles, meanwhile, is projected to grow from 75 million in 2010 to 2.5 billion by 2050. Will there be enough fossil fuels to power this massive fleet? What will be the future of gas stations?Save this picture!To meet the goals of the Paris Climate Agreement and reduce growing air pollution, low- and middle-income countries should join the global transition to zero-emission electric transport. According to data from the International Energy Agency and the European Alternative Fuels Observatory, China led the world in 2024 with over 7 million electric vehicles (including cars and buses) in operation—an increase of over 3 million in just one year. The U.S. ranked second, followed by Germany, which leads in Europe with about 1.3 million EVs. The UK and France round out the top five.Save this picture!To support this transition, the United Nations Environment Programme (UNEP) has launched a global initiative alongside private sector partners, academic institutions, and financial organizations, helping low- and middle-income countries shift to electric mobility. In Latin America, transportation accounts for around one-third of CO₂ emissions. In Africa, Asia, and parts of Latin America, motorcycles and three-wheelers are essential for daily mobility, often covering over 100 km per day. However, these vehicles usually rely on outdated technologies, making them highly polluting and inefficient. Electrifying two- and three-wheelers presents a significant opportunity to reduce both greenhouse gas emissions and air pollution. UNEP is assisting 17 countries in creating national strategies and running pilot projects to introduce these electric vehicles in regions like Africa, Southeast Asia, and Latin America.Save this picture!Given the rapid urbanization in many low- and middle-income countries, mass public transport remains a cornerstone of urban mobility. Cities across Africa, Asia, and Latin America are investing in better transportation systems, including high-capacity bus corridors and Bus Rapid Transit (BRT) systems. Yet, with the average bus lifespan exceeding 12 years, it's essential to avoid locking cities into outdated technologies. Developing policies to support and incentivize the adoption of zero-emission vehicles is essential to achieving the electrification of public transport. The European Commission proposes promoting investment initiatives in charging infrastructure and emissions trading, to be implemented starting in 2026, by putting a carbon price on fossil-fuel vehicles. This measure seeks to boost the use of electric vehicles and the transformation of transport systems. Now, how could charging infrastructure be developed to support a potential massive growth in the electric vehicle fleet? What upgrades and innovations are needed to handle this future demand? What would happen if all transportation suddenly depended on the power grid?Save this picture!Save this picture!The UN emphasizes that using public transportation is critical to curbing climate change. Electrifying buses and trains could cut greenhouse gas emissions by up to two-thirds per passenger per kilometer compared to private vehicles. Still, private cars hold the greatest potential for emission reduction. In 2018, light-duty vehicles were responsible for nearly half of all transport emissions—including those from rail, sea, and air travel. Several major carmakers have announced ambitious plans to release new EV models in the next five years.Save this picture!According to a study by the McKinsey Center for Future Mobility (2019), roughly 60% of global car trips are under 8 kilometers, making them ideal for micromobility solutions. Electromicromobility refers to small, lightweight, and low-speed electric transportation options for short distances, such as electric skateboards, scooters, bikes, mopeds, and quadricycles. From a user perspective, electric vehicles still face hurdles like high costs, limited range, and long charging times. However, their broader societal benefits—particularly emissions reductions—are significant. Therefore, local and national governments are encouraged to implement supportive policies, such as vehicle purchase subsidies, tax breaks, free charging stations, parking benefits, access to city centers, and special electricity rates for nighttime charging, etc.Save this picture!Save this picture!Ultimately, we should ask: What lies ahead for modern transportation? How could new forms of natural, artificial, and collective intelligence be integrated into the design of today's transportation systems to improve resilience to environmental and growth challenges? What partnerships between countries, industries, and organizations are needed to ensure a sustainable and innovative supply of key materials? What will happen to used EV batteries and electronic components? Will be electric mobility in cities the only way to reduce carbon emissions?This article is part of the ArchDaily Topics: What Is Future Intelligence?, proudly presented by Gendo, an AI co-pilot for Architects. Our mission at Gendo is to help architects produce concept images 100X faster by focusing on the core of the design process. We have built a cutting edge AI tool in collaboration with architects from some of the most renowned firms such as Zaha Hadid, KPF and David Chipperfield.Every month we explore a topic in-depth through articles, interviews, news, and architecture projects. We invite you to learn more about our ArchDaily Topics. And, as always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us. Image gallerySee allShow less About this authorAgustina IñiguezAuthor••• Cite: Agustina Iñiguez. "How Will Transportation Work in the Future? A Look at the Rise of Electric Mobility in Cities" 03 Jun 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030500/how-will-transportation-work-in-the-future-a-look-at-the-rise-of-electric-mobility-in-cities&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

This audio is auto-generated. Please let us know if you have feedback. Julianne Malveaux is an MIT-educated economist, author, educator and political commentator who has written extensively about the critical relationship between public policy, corporate accountability and social equity.  The rapid expansion of data centers across the U.S. is not only reshaping the digital economy but also threatening to overwhelm our energy infrastructure. These data centers aren’t just heavy on processing power — they’re heavy on our shared energy infrastructure. For Americans, this could mean serious sticker shock when it comes to their energy bills. Across the country, many households are already feeling the pinch as utilities ramp up investments in costly new infrastructure to power these data centers. With costs almost certain to rise as more data centers come online, state policymakers and energy companies must act now to protect consumers. We need new policies that ensure the cost of these projects is carried by the wealthy big tech companies that profit from them, not by regular energy consumers such as family households and small businesses. According to an analysis from consulting firm Bain & Co., data centers could require more than $2 trillion in new energy resources globally, with U.S. demand alone potentially outpacing supply in the next few years. This unprecedented growth is fueled by the expansion of generative AI, cloud computing and other tech innovations that require massive computing power. Bain’s analysis warns that, to meet this energy demand, U.S. utilities may need to boost annual generation capacity by as much as 26% by 2028 — a staggering jump compared to the 5% yearly increases of the past two decades. This poses a threat to energy affordability and reliability for millions of Americans. Bain’s research estimates that capital investments required to meet data center needs could incrementally raise consumer bills by 1% each year through 2032. That increase may seem small at first, but it can add up quickly for households already struggling with high energy prices. As utilities attempt to pay for these upgrades, the burden could fall on consumers' shoulders unless policies are enacted to make the tech companies driving this demand handle the costs. One example comes from Ohio, where the boom in data centers means central Ohio is on track to use as much power as Manhattan by 2030. There, the state's largest energy company, American Electric Power, has proposed a new rate structure for data centers that requires them to pay at least 85% of their predicted energy demand every month, even if they use less, to ensure the utility won't need to pass off costs for expanded infrastructure to consumers. States could also consider passing legislation to impose a temporary tax on new high-usage energy consumers, like data centers, cryptocurrency miners and chip manufacturing facilities. Those tax dollars could go directly into an energy relief fund, which could be used to offset increased energy costs for current consumers, either through a tax rebate or by funding the construction and maintenance of new infrastructure, so those costs aren't passed down to consumers in the first place. There's opportunity here, too, for policymakers, utilities and data centers to join forces and help drive the clean energy revolution. Policymakers could provide incentives for data centers that adopt energy-saving measures or include renewable energy sources to offset the burden on utilities and consumers. By encouraging tech companies to produce a certain percentage of their own energy on-site, states can reduce the need for costly grid expansions while promoting green energy initiatives. Tech companies have already pushed back against efforts to implement such policies, with a coalition of data center backers that includes Amazon, Microsoft and Meta claiming in Ohio that requiring them to pay higher rates is discriminatory and unprecedented, and that it could discourage future investment in Ohio. The reality, however, is that these tech companies can and should carry the burden of the new energy infrastructure they’re demanding. Amazon’s net earnings for 2023 were $30.4 billion. Microsoft brought in $72.4 billion. Meta? $39 billion. Passing on a fraction of these profits to fund the infrastructure that drives this wealth is a small price to pay to ensure fair treatment of energy consumers. The massive energy demand created by these new data centers is unprecedented. And that’s exactly why it’s important for policymakers and utilities to take action now, and set a precedent that protects average consumers by requiring tech companies to pay their fair share for the electricity they need. If left unaddressed, the unchecked growth of data centers will continue to threaten energy security and affordability for millions of Americans. States and energy companies must adopt policies to prevent the burden of rising electricity demands and prices from falling disproportionately on everyday energy consumers. By ensuring that tech companies contribute fairly to the infrastructure that sustains them, we can build a more sustainable and equitable energy future for all.

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The Krusty Burger is a health inspector's nightmare, responsible for spawning the Krusty Burger, the Ribwich, The Clogger, and the Steamed Ham (per Principal Skinner). It comes with seven minifigures, including Krusty the Clown, Sideshow Bob, Homer Simpson, and Officer Lou. You can purchase it for $209.99 on June 4, although LEGO Insiders can order the set via Early Access beginning on June 1. You can sign up for free here.LEGO The Simpsons: Krusty BurgerOut June 1 for LEGO Insiders, and June 4 for everyone else.$209.99 at LEGO StoreTo learn more about the set and its creation, we interviewed its designer. Ann Healy is a 39-year-old Senior Model Designer who's worked with the LEGO Group for the past six years. Here, lightly edited for clarity, are her thoughts on creating LEGO The Simpsons: Krusty Burger, the first new LEGO Simpsons set in nearly a decade. What other LEGO sets have you had a hand in designing over the past six years? Healy: I worked for three years on the LEGO Friends line. A few years ago, I got the opportunity to work on a Disney favorite of mine: The Sanderson Sisters’ Cottage set from Hocus Pocus. That project took years in the making to come to market, and I’m quite proud of it. More recently, I have been working on the LEGO Icons team. From last year’s products, I designed the McLaren MP4/4 & Ayrton Senna set and the Poinsettia LEGO Botanicals set.What drove the decision to revive the Simpsons brand after such a long hiatus? Healy: We saw that even after a 10-year stretch since a new Simpsons set, there was still a lot of love for The Simpsons amongst LEGO fans. Our market research showed that there is huge brand loyalty for The Simpsons, appealing to people globally. Designing the Krusty Burger in LEGO brick form serves as a natural continuation of our Simpsons line and gives us the opportunity to make new, never-before-seen LEGO minifigures.LEGO designers often build in their free time, working towards builds that they hope will one day become sets.“Coincidentally, the original Simpsons House and Kwik-E-Mart LEGO sets were some of the last sets I purchased before I knew I would be coming to work at The LEGO Group. In my first week working here, I found an early prototype of the Krusty Burger set on a shelf in our office. For context, LEGO designers often build in their free time, working towards builds that they hope will one day become sets. It gave me hope that someday, I might get the chance to work on something like that. Five years later, to my surprise, our Head of Marketing pulled that same prototype off the shelf and said it was time to revisit The Simpsons! I volunteered right away as a lifelong fan of the Simpsons. I couldn’t believe my luck!Describe the process of designing and building this set as best you can. How many times did you have to build the entire model in the course of finalizing it?Healy: I started with refining and updating the old prototype, figuring out the general layout and developing a building-instruction flow. I worked digitally first, then built the model physically. From there, I would go back and forth between digital and physical, seeing if the model would work with real bricks. We have design team check-ins where I showed progress on the model and got suggestions from our Creative Lead and the other model designers. I had several check-ins with the IP partner, where I would show them the latest updates and they could give feedback on the model and mini figures. I also had internal review meetings with our Model Governance and Building Experience teams, where we build the model, review every construction step, evaluate the play experience and test the strength of the model.I did not keep track of every time I rebuilt the model, but I would estimate at least 20 times. The last time I built the Krusty Burger set was when the first production boxes arrived from the factory. I built it one last time for quality assurance!Krusty Burger isn't a fully realized location in the show in the same way that Moe's Tavern is, or the Kwik-E Mart is, or the Simpsons’ house is. Which TV episodes did you use to map out the Krusty Burger and determine how it's set up? Healy: Disney was a great partner in sending us reference images and layouts when available. Also, I watched as many episodes of The Simpsons as possible, so I could translate the TV animation into a real, physical, toy playset. Season 20, Episode 21, “Coming to Homerica,” is the episode we used the most in reference, because it features the Mother Nature Burger that we reference several times in this LEGO set. The “Ribwich” from Season 14, Episode 12, “I'm Spelling as Fast as I Can,” is also featured. Other referenced episodes of note include: Season 6, Episode 15, “Homie the Clown” – Homer performs at a Krusty Burger Season 12, Episode 13, “Day of the Jackanapes” – Bart and Sideshow Bob go to the Krusty Burger. Season 10, Episode 1, Lard of the Dance” – Homer tries to sell grease from the restaurant.Season 7, Episode 15, “Bart the Fink” – Features the IRS Burger takeover.Season 19, Episode 1, “He Loves to Fly and He D'ohs” – Homer hides in the Krusty Zone ball pit. Season 15, Episode 10, “Diatribe of a Mad Housewife” – Shows the Krusty Burger drive thru sign. Season 21, Episode 4, "Treehouse of Horror XX" – Features the Krusty Burger in “Don't Have a Cow, Mankind.”What's your favorite deep cut Easter Egg in the build? Healy: Above the Krusty Burger drive-thru window, there is a kitchen display screen, showing that someone has placed an order for 700 burgers. This is a reference to the Season 5 episode “Boy-Scoutz 'n the Hood,” in which Krusty has unwisely opened a Krusty Burger oil rig in the middle of the sea.What was the most challenging aspect of designing this build? How were you able to overcome it? Healy: The most rewarding challenge of designing this set was building the Krusty Burger Sign with LEGO bricks. The IP partner paid a lot of attention to the proportions of Krusty’s face within the sign, giving us reference material and tips on how to best capture his likeness. We even got hand-drawn doodles of the Krusty the Clown from them! One of my model-designer colleagues used to work as an illustrator and used his skills to capture Krusty’s features in brick-form even more accurately. In addition, it was challenging to get the heavy Krusty Burger sign to stand up and remain stable on a single axle. Our Element Lead on the design project suggested we use a new element she was developing, an axle sleeve, to increase the weight the rod could hold upright. This new element did the trick.The most rewarding challenge of designing this set was building the Krusty Burger Sign with LEGO bricks.“Is this a one-off revival of the Simpsons brand? Or is this the beginning of a longer partnership, where we can expect to see more LEGO Simpsons themed sets in the near future?Healy: I cannot speculate on future products, per the LEGO Group’s and our partners' policies. Nonetheless, as a huge Simpsons fan myself, I am hopeful that fans have a positive response to this set!LEGO The Simpsons: Krusty Burger, Set #10352, retails for $209.99, and it is composed of 1635 pieces. You can purchase it on June 4 for the general public, or starting on June 1 for LEGO Insiders. You can sign up for LEGO Insiders for free here. And stay tuned! We will be building, photographing, and reviewing LEGO Krusty Burger later this month,Kevin Wong is a contributing freelancer for IGN, specializing in LEGO. He's also been published in Complex, Engadget, Gamespot, Kotaku, and more. Follow him on Twitter at @kevinjameswong.

As Monster Hunter Wilds travels down its post-launch roadmap, the game continues serving the many hunters that have stuck with it since its successful launch. Despite initial worries that Monster Hunter Wilds would be light on endgame content, a sizable portion of the player base has stuck around to enjoy the first Title Update, and now an additional major update that rounds out spring. Preliminary information on the summer-bound Title Update 2 has already been announced, so there is plenty more monster-hunting action to look forward to, even before Wilds’ expected expansion arrives.

LEGO has released a ton of new Harry Potter sets for June, but perhaps the most quirky and delightful build in the bunch is the Chomping Monster Book of Monsters set. It's a recreation of the iconic book we first see in the third Harry Potter film (The Prisoner of Azkaban) and it absolutely looks the part. More importantly, though, it actually chomps.Out June 1Chomping Monster Book of Monsters$59.99 at LEGOThe new Monster Book of Monsters set has a lot of cool details on the outside that made it fun to put together, but it's what on the inside that makes it fun to play with after. LEGO provided IGN with a copy of the set for a test build and I got the chance to put it together myself. At only 518 pieces, I was able to build the whole thing in one evening before I went to bed and had my nephews playing with it the next morning.We Build the LEGO Harry Potter Monster Book of MonstersSet #76449 is actually the second iteration of the LEGO Monster Book of Monsters. The first rendition was a Gift with Purchase (set #30628), called The Monster Book of Monsters, released back in 2020 with a lot fewer pieces and a more simplistic style. The newer Chomping Monster Book of Monsters looks a lot more realistic and includes actual chomping action. It also includes a Neville Longbottom minifigure that is holding a much smaller version of the book. It's a fairly easy build, but it was fun to put together and the chomping action was a nice touch.The build is split up into four sections and you get one bag of LEGO bricks for each part. You start by putting together your little Neville Longbottom minifigure. He has two different face options to chooose from, so you can make him either smiley or terrified. I decided to go with smiley and placed him near the pieces as I put together everything else. The first part of the build is basically putting together the framework for the book.This is the longest step in the whole process and it admittedly takes quite a bit of time until it really starts looking like something. You're building what will later become the chassis that your little chomping motor and wheels will later sit in, so it's important you get everything facing the right direction. It really helped me that you use red bricks to indicate the back and blue bricks for the front or I definitely would have made a mistake along the way.It doesn't actually resemble anything like a monster book until you start adding some of the exterior pieces. There are light brown panels with a ridge that will look like pages once you're finished putting them together. The dark brown pointy pieces you add on the front and sides are what really start making it look like what you see on the box. You'll also add smooth panels on the back of each rectangle that will eventually fit together to form the entire base of the book.The one thing I didn't particularly enjoy about this build was how repetitive it felt to build both sides of the book itself. There were some small differences between the top and the bottom of the book, but for the most part the build felt exactly the same. So it ended up being a bit repetitive to have to do basically the same step twice. That being said, it was extremely satisfying when I finally got to be able to connect the two halves at the spine. You thread a few long pieces through the back hinge and suddenly you've got what looks to be a hollowed out book.The next portion of this build is where it really started to become fun. Once you're done with the overall structure, you move on to building the cover of the book. You start out with a series of large flat brown pieces that form the base of your cover. These are held together by two long flat pieces that are also thankfully color coordinated to indicate which side is up. Once you have the base assembled, you start adding all of the cool little details that bring the set to life. This includes the actual title of the book as well as the beady little eyes and spikey little feelers.Once you snap the cover onto the top of your book frame, it starts looking like a legit Monster Book of Monsters. And while the cover is really the turning point, it's all of the additional details you add on after this that start to give it an air of life. As you build the frame and the cover of the book you will have added a bunch of what appear to be little LEGO arms near the front pages. These will become the holders for the book's spiny little teeth. There are twelve of these in total and once they're snapped in you can articulate them in whatever direction feels right.The larger teeth get added after that, which is when it starts to look like it could actually chomp you. The instructions tell you to add one set of teeth at a time, but I decided to build them both first and add them all at once for dramatic effect. When all of the teeth are attached, you'll have what looks to be a Monster Book of Monsters that's actually capable of doing some chomping.The final step of this set is the most interesting part. At this point you've built a fairly realistic monster book, but it's still an empty shell waiting for some internal components to get it running. Now you essentially have to build a working pull-back car that you place inside so it can get to chomping on its own.The motorized aspect of this build is pretty straightforward, but it's a nice break from all of the detail work I had just done to be suddenly building a little wheeled car. It was also really fun to see how well the little car I'd just built snapped into place on the inside of the book itself.After I fully put everything together, I immediately tried out the rolling chomping action. It's a neat trick that turns what looks like a display set into an actual toy you can play with. The roll-back mechanism only goes so far back, so it doesn't actually roll that far, but the chomping action makes up for the lack of distance. As it moves forward you can actually hear the teeth clacking together. I had both of my younger nephews play with the set afterwards and they enjoyed playing with it almost as much as l did. The gimmick wears off fairly quickly after you've done it a few times, but afterwards you still have a really cool looking set you can display somewhere.The price of the set is fairly reasonable at $60, placing it well below some of the most expensive sets on the market right now. Any of the franchise-specific sets that come out are always going to be more expensive than a non-franchise set with a similar number of pieces, and this has consistently remained true for all LEGO Harry Potter sets. All-in-all, it's a set I'd recommend to any fan of Harry Potter and LEGO. It's a fun and simple build you can knock out in an afternoon, and the finished product would make for a great Harry Potter gift you can display on a shelf or your desk.LEGO Harry Potter Chomping Book of Monsters, Set #76449, retails for $59.99, and it is composed of 518 pieces. It is available at the LEGO Store beginning on June 1, 2025.

CL02 Cabin / VinkluSave this picture!© Razvan DrinceanuCabins & Lodges•Valea lui Enache, Romania Architects: Vinklu Area Area of this architecture project Area:  55 m² Year Completion year of this architecture project Year:  2025 Photographs Photographs:Razvan Drinceanu Manufacturers Brands with products used in this architecture project Manufacturers:  DÉCOR SEBMOB, ENIPAU, MIRADEX, MM THERM, PRO METAL CONT 2004, Topciment Lead Architects: Stefan Pavaluta More SpecsLess Specs Save this picture! Text description provided by the architects. An ideal rural scenario, well-oriented and connected, tries to outline the premises of a seasonal residence. I first had contact with O&A online, having been recommended by a good acquaintance from London, the clients being in the central area of ​​Europe, I in Bucharest, and the construction site in Arges. The kind of equation that always attracts me, if the intentions are aligned. The situation at that time had the wreckage of a first failed attempt, already erected on the ground, and a small annex at the bottom of the lot, at the highest point of the area. The decision was for a full project, but with a phased implementation. So we started with the small body, in order to have better control and a final evaluation of our collaboration, but also of the executors. Being a more rural area, the expectations regarding the quality of the result had to be proportionate from the start. The annex was a construction with a small footprint, maximum 25 sqm, built in the past by the family, with vaulted walls bordered by a wooden structure at the top that served as a lantern. During the dismantling stage, we discovered that it had no pillars at the corners (or in general), and the concrete slab with a large belly in the middle. In the end, only the walls remained, which were reinforced with interior-exterior mesh.Save this picture!Save this picture!Save this picture!Save this picture!Leaving aside the condition of the construction and the poor materials, the position and proportion of the annex were harmonious, and the intention was to preserve these aspects from the start. The solution proposed an extension with an interior staircase area and a reconfiguration of the gaps/orientations from the inside to the outside. Structurally, the base remains intact, reinforced, and the superstructure is timber-framed. Finally, the exterior finish in black autoclaved wood completes and reveals the proposed scenario. The height and dimensions slightly exceed the initial image. The choice of exterior color is a direct response to the context, offering different images and visual relationships depending on the season. The entrance porch mediates the relationship between the module and the exterior through a fine metal structure, proportionate to the tall surrounding vegetation. The slats and semi-circular areas spatially define the moments of approaching the house. In the same tone, the rest of the functional areas inside are supported by their own connections to the exterior. The veranda pergola transforms into a deep balcony for the living area, and the foundation of the house articulates into a small terrace for the night area.Save this picture!Functionally, downstairs is the entrance with the night area, and upstairs the entire living area with kitchen, dining, living room, and a small bathroom. Along the same lines, downstairs we have smaller gaps, and there is a panoramic orientation of some windows of considerable size, which offers a cinematic sensation in direct relation to the exterior. The house being well-positioned among the trees, any movement and change of nature can be watched, studied, and heard. Continuing the space-function relationship, the ground floor offers regular, intimate spaces, while the staircase opens the living area with a generous space and a gabled ceiling. The context being the main "reason", the finishes are clean, neutral, to further strengthen this relationship. In the living area, the furniture pieces define the micro-functions necessary for living, and are combined in a balanced way through proportion, color, and materiality.Save this picture!Save this picture!Save this picture!By reconverting the annex and using natural materials, local teams, off-site construction methods, we tried, in the true and local sense of the expression – minimal impact on the environment and sustainable architecture. The "design" itself is a direct result of the architectural process and the context, a stratification of functional and architectural solutions permanently correlated with proportions and materiality.Save this picture! Project gallerySee allShow less Project locationAddress:Valea lui Enache, RomaniaLocation to be used only as a reference. It could indicate city/country but not exact address.About this officeVinkluOffice••• MaterialWoodMaterials and TagsPublished on June 01, 2025Cite: "CL02 Cabin / Vinklu" 01 Jun 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030468/cl02-cabin-vinklu&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

During most of the introduction to the Wake Up Dead Man portion of Saturday night’s Netflix Tudum event, writer-director Rian Johnson and his starry cast, led by a folksy Daniel Craig, had fun hiding what the third Knives Out mystery is about. In fact we really don’t know. But as judged by the first teaser trailer for the movie, it is going for a darker and more oblique tone than the general playfulness viewers remember from Knives Out and Glass Onion, marketing included. In the teaser, a church bell ominously sounds in the distance as images suffused in shadow and nocturnal rains cascade down around Craig’s unexpectedly stoic Benoit Blanc. Without a charming witticism or visual gag in sight, Blanc tersely intones during the trailer, “The impossible crime. For a man of reason this is the Holy Grail.” Through it all, a haunting hymn plays as an elegiac and Southern voice cries, “O Death, O Death, Won’t you spare me over til another year.” While we still know relatively little about the plot of Wake Up Dead Man beyond its terrific ensemble—which includes Glenn Close, Kerry Washington, Jeremy Renner, Josh Brolin, Andrew Scott, and Cailee Spaeny—the song choice might tell us a lot about the film’s setting, and possibly the dark places it intends to go. Initially speculation regarding the third Knives Out picture assumed that it would be set in England where most of the film’s production occurred. And while that might still be the case, we suspect the English countryside might be used to substitute for something a little closer to home for American viewers—and distinctly Southern. Indeed, many fans of the Coen Brothers likely recognize the song “O, Death” used in the trailer, for it is the exact version sung by the late bluegrass artist Ralph Stanley in Joel and Ethan Coen’s O Brother, Where Art Thou? (2000). Stanley, it should be stressed, is a legend in the bluegrass and folk sound of music who won a Grammy for this version of “O Death.” However, his vocals were used in O Brother (and now Wake Up Dead Man) to send a chill up the spine when sung a cappella style in the third act of the Coens’ Mississippi-set Depression fable. After all, on screen the song is being sung not by a simple musician, but by the grand wizard of a Ku Klux Klan chapter which has gathered to lynch and murder a young Black man on a trumped up accusation based in superstition. The Coens’ choice of this song to be sung by the KKK in the 1930s is probably not accidental either. The standard version of the song’s origin is that it’s a traditional Appalachian folk song written by Baptist preacher Lloyd Chandler. Chandler certainly performed the song in the 1920s in North Carolina, allegedly after receiving a vision from God of the song in 1916. However, further research has proven that Chandler’s composition bears an uncanny similarity to a 1913 printed version of a folk song (that is therefore likely much older) in Journal of American Folklore. The journal asserted the song was sung by “Eastern North Carolina Negroes.” Which is all to say, the song’s ambiguous origin is rooted in the cultural milieu and tensions of the American South during the days and decades of Jim Crow and after the Civil War. It was used by the Coens as a disturbingly beautiful song of annihilation put in the mouths of mass murdering racists, and it is now used to signal what appears to be the first Benoit Blanc mystery to return to the region of Benoit’s home: the American South. (This setting is seemingly further verified by the fact that one of the film’s law enforcement figures is dressed like someone from an American sheriff’s office as opposed to an English village.) This is all of course speculation, but to use this song and Stanley’s Grammy-winning version of it specifically is likely a deliberate choice on Johnson’s part. And given how Johnson is unafraid to use what on the surface appear to be cozy murder mysteries to interrogate larger issues of social rot and inequality in the modern world via both Knives Out and Glass Onion, we are left to wonder just how deeply Southern the roots of his third murder mystery will run. Wake Up Dead Man premieres on Dec. 12 on Netflix.