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

After the celebration ends, college graduates typically face numerous transitions, from moving to a new city and/or starting a new job to taking on student loan payments and other financial responsibilities. College students are often targeted for job scams, but the Better Business Bureau is alerting recent grads about schemes being employed specifically to steal their personal information and money during this transition period. Unpaid tuition scamImagine getting a call after graduation that you have an outstanding tuition payment, and unless you pay the bill immediately, your diploma will be rescinded. Scammers are using this threat to con recent grads—who have, in fact, paid their full tuition—into sending money via wire transfer or prepaid debit card, which cannot be tracked or recovered. Another version of this scam attempts to convince college students (and/or their parents) that they owe tuition and need to pay immediately to ensure they remain enrolled. If you receive an email, text, or call about an unpaid bill, do not engage—instead, contact your school's bursar or financial services office directly. You will typically receive communication from higher education institutions by mail or via a secure student portal—not as an urgent message demanding money.Student loan scamsStudent loans have been targets for scammers for years—made easier by the starting and stopping of loan forgiveness programs—and recent college grads who are getting ready to make their first payments are common victims. You may get an unsolicited call, text, or email from a company offering debt relief or debt forgiveness services for a fee. In some cases, the company is legit but making false claims, and in others, the whole thing is a scam. They may ask for upfront payment, usually via gift card or wire transfer, and never deliver, or gather a bunch of personal information that can be used to steal your identity. While the status of loan forgiveness can be difficult to follow, you should know the details of your loan, including when payments are due to begin, and look for official sources regarding loan forgiveness options. Job scamsEmployment scams range from fake job listings to unsolicited texts from "recruiters" offering a position while demanding personal information and payment for "training." Recent grads may be promised an entry-level remote role at a completely unrealistic salary, and scammers collect everything from your Social Security number to your bank account information in exchange for the offer. Other schemes have you pay upfront for training or equipment you never receive (because the job isn't real) or pay you too much with a fake check and ask for reimbursement via app or wire transfer. No one is getting too-good-to-be-true jobs in this market. Always do your due diligence on companies before applying for a position or accepting an offer: Review the official website for contact information and job postings, and consider reaching out to HR or employees you locate independently to confirm that a position is legit. Don't ever pay for anything up front. Moving scamsThe moving industry seems to be rife with scams, and recent grads who need to move across town or out of state are not immune. Moving companies may charge more money than was quoted and, in the worst cases, hold your stuff hostage unless you pay. Or they may simply not show after you've paid a deposit for the move. Red flags for moving companies include estimates delivered quickly and with little information collected about your move, full payments demanded before the move, and non-refundable deposits paid via peer-to-peer apps and bank transfers (negating the protection of credit cards). Thoroughly research the company to understand how moving brokers operate, and make sure you get everything in writing.Rental scamsIf you make it through the actual move unscathed, you could still encounter a rental scam. As with job scams, these involve listings that sound too good to be true, with lots of amenities in a desired location at an affordable price. (Like job scams, most renters aren't getting these deals in this market.) Fraudsters may even use real properties in their listings to lure you in. Once they have you, they collect a deposit, first month's rent, and a bunch of personal information while leaving you with nowhere to live. While you may pay your actual rent via Zelle, PayPal, or Venmo, you shouldn't use these services to send a deposit for a rental you haven't seen to a landlord you haven't met. Search the listing on Zillow, Redfin, and other rental sites to look for inconsistencies that could indicate a scam. Verify the address, look at Google street view, and visit (or send someone you trust in your place) before paying any money if you can.

Human organs could be bioprinted for transplants within 10 years, according to Lithuanian startup Vital3D. But before reaching human hearts and kidneys, the company is starting with something simpler: regenerating dog skin. Based in Vilnius, Vital3D is already bioprinting functional tissue constructs. Using a proprietary laser system, the startup deposits living cells and biomaterials in precise 3D patterns. The structures mimic natural biological systems — and could one day form entire organs tailored to a patient’s unique anatomy. That mission is both professional and personal for CEO Vidmantas Šakalys. After losing a mentor to urinary cancer, he set out to develop 3D-printed kidneys that could save others from the same fate. But before reaching that goal, the company needs a commercial product to fund the long road ahead. That product is VitalHeal — the first-ever bioprinted wound patch for pets. Dogs are the initial target, with human applications slated to follow. Šakalys calls the patch “a first step” towards bioprinted kidneys. “Printing organs for transplantation is a really challenging task,” he tells TNW after a tour of his lab. “It’s 10 or 15 years away from now, and as a commercial entity, we need to have commercially available products earlier. So we start with simpler products and then move into more difficult ones.” Register Now The path may be simpler, but the technology is anything but. Bioprinting goes to the vet VitalHeal is embedded with growth factors that accelerate skin regeneration. Across the patch’s surface, tiny pores about one-fifth the width of a human hair enable air circulation while blocking bacteria. Once applied, VitalHeal seals the wound and maintains constant pressure while the growth factors get to work. According to Vital3D, the patch can reduce healing time from 10–12 weeks to just four to six. Infection risk can drop from 30% to under 10%, vet visits from eight to two or three, and surgery times by half. Current treatments, the startup argues, can be costly, ineffective, and distressing for animals. VitalHeal is designed to provide a safer, faster, and cheaper alternative. Vital3D says the market is big — and the data backs up the claim. Vital3D’s FemtoBrush system promises high-speed and high-precision bioprinting. Credit: Vital3D Commercial prospects The global animal wound care market is projected to grow from $1.4bn (€1.24bn) in 2024 to $2.1bn (€1.87bn) by 2030, fuelled by rising pet ownership and demand for advanced veterinary care. Vital3D forecasts an initial serviceable addressable market (ISAM) of €76.5mn across the EU and US. By 2027-2028, the company aims to sell 100,000 units. Dogs are a logical starting point. Their size, activity levels, and surgeries raise their risk of wounds. Around half of dogs over age 10 are also affected by cancer, further increasing demand for effective wound care. At €300 retail (or €150 wholesale), the patches won’t be cheap. But Vital3D claims they could slash treatment costs for pet owners from €3,000 to €1,500. Production at scale is expected to bring prices down further.  After strong results in rats, trials on dogs will begin this summer in clinics in Lithuania and the UK — Vital3D’s pilot markets. If all goes to plan, a non-degradable patch will launch in Europe next year. The company will then progress to a biodegradable version. From there, the company plans to adapt the tech for humans. The initial focus will be wound care for people with diabetes, 25% of whom suffer from impaired healing. Future versions could support burn victims, injured soldiers, and others in need of advanced skin restoration. Freshly printed fluids in a bio-ink droplet. Credit: Vital3D Vital3D is also exploring other medical frontiers. In partnership with Lithuania’s National Cancer Institute, the startup is building organoids — mini versions of organs — for cancer drug testing. Another project involves bioprinted stents, which are showing promise in early animal trials. But all these efforts serve a bigger mission. “Our final target is to move to organ printing for transplants,” says Šakalys. Bioprinting organs A computer engineer by training, Šakalys has worked with photonic innovations for over 10 years.  At his previous startup, Femtika, he harnessed lasers to produce tiny components for microelectronics, medical devices, and aerospace engineering. He realised they could also enable precise bioprinting.  In 2021, he co-founded Vital3D to advance the concept. The company’s printing system directs light towards a photosensitive bio-ink. The material is hardened and formed into a structure, with living cells and biomaterials moulded into intricate 3D patterns. The shape of the laser beam can be adjusted to replicate complex biological forms — potentially even entire organs. But there are still major scientific hurdles to overcome. One is vascularisation, the formation of blood vessels in intricate networks. Another is the diverse variety of cell types in many organs. Replicating these sophisticated natural structures will be challenging. “First of all, we want to solve the vasculature. Then we will go into the differentiation of cells,” Šakalys says. “Our target is to see if we can print from fewer cells, but try to differentiate them while printing into different types of cells.”  If successful, Vital3D could help ease the global shortage of transplantable organs. Fewer than 10% of patients who need a transplant receive one each year, according to the World Health Organisation. In the US alone, around 90,000 people are waiting for a kidney — a shortfall that’s fuelling a thriving black market. Šakalys believes that could be just the start. He envisions bioprinting not just creating organs, but also advancing a new era of personalised medicine. “It can bring a lot of benefits to society,” he says. “Not just bioprinting for transplants, but also tissue engineering as well.” Want to discover the next big thing in tech? Then take a trip to TNW Conference, where thousands of founders, investors, and corporate innovators will share their ideas. The event takes place on June 19–20 in Amsterdam and tickets are on sale now. Use the code TNWXMEDIA2025 at the checkout to get 30% off. Story by Thomas Macaulay Managing editor Thomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he e (show all) Thomas is the managing editor of TNW. He leads our coverage of European tech and oversees our talented team of writers. Away from work, he enjoys playing chess (badly) and the guitar (even worse). 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The Swiss Federal Railways’ repair works in Zürich are being lightly transformed for new commercial uses Workers at the Swiss Federal Railways’ (SBB) central repair works in Zürich used to climb the roof of its halls and practise handstands. It was as good a place as any to do gymnastics: out in the open air, with a view to the Käferberg rising across from a tangle of railway tracks and the river Limmat. A photograph from 1947 survives in the SBB archives, showing a light turf growing on the roof – most of the buildings that make up the works had been constructed about 30 years earlier, between 1906 and 1910 – and a group of young apprentices exercising under the stern supervision of a foreman. The photograph captures the beginning of the repair works’ heyday. SBB was formed in 1902, the result of an 1898 referendum to nationalise the nine major private railway companies operating in Switzerland at the time. The construction of the Zürich repair works began soon after, with an office building, a workers’ canteen, shower rooms, workshops, stores and carriage halls laid out across a 42,000m2 site flanked by Hohlstrasse to the south‑west and the railway tracks connecting Zürich Central and Altstetten stations to the north‑east. Here, rolling stock could easily be redirected to the works, and transferred into its functional, skylit brick halls with the use of a lateral transfer platform.  In the postwar decades, the works came to employ upwards of 800 staff, and served as the SBB’s main repair works, or Hauptwerkstätte – there were smaller ones in Bellinzona, Chur, Yverdon-les-Bains and other locations, established by the private railway firms before nationalisation. In the same period, SBB gained international fame for its early electrification drive – the landlocked confederation lacks fossil fuel deposits but has hydropower aplenty – and modern industrial design. The Swiss railway clock, designed in 1944 by SBB employee Hans Hilfiker, is now used in transit systems around the world, and the network’s adoption of Helvetica for its graphic identity in 1978 contributed to the widespread popularisation of the typeface – long before the first iPhone.  At the turn of the millennium, SBB was turned into a joint‑stock company. All shares are owned by the state and the Swiss cantons, but the new company structure allowed the network to behave more like a private enterprise. Part of this restructuring was an appraisal of the network’s sizable real-estate holdings, which a new division, SBB Immobilien, was set up to manage in 2003. Around the same time, the Hauptwerkstätte in Zürich was downgraded to a ‘repair centre’, and plans were drawn up to develop the site, which was vast, central and fashionably post‑industrial – and so ripe for profitable exploitation. The revenue generated by SBB Immobilien has only become more important to the network since then, as its pension fund – long beset by market volatility and continuous restructurings – relies heavily on it. When, in 2017, SBB and the city and canton of Zürich organised a competition for the redevelopment of the old repair works, Swiss architecture practice Baubüro In Situ was selected as winner ‘for its expertise in adaptive reuse, sustainable circular practices and participatory approach’, says an SBB Immobilien spokesperson. For SBB, it was important that the redevelopment, now dubbed Werkstadt Zürich, made use of the railways’ enormous catalogue of existing materials and components. (SBB even has its own online resale platform, where, for example, four tonnes of gravel, a disused train carriage or a stud welding machine can be acquired for a reasonable sum.) For the canton, it was imperative that the scheme make room for local manufacturing in line with a broader drive to bring production back into a city dominated by services.  Founded in Basel by Barbara Buser and Eric Honegger in 1998, Baubüro In Situ (previously Baubüro Mitte) was in a unique position to meet such a brief, as it operates alongside what it terms its three ‘sister companies’: Unterdessen (founded in 2004, to organise ‘meanwhile’ uses for buildings and sites), Zirkular (established in 2020, focusing on materials and circular construction), and Denkstatt Sàrl, an urban think tank run by Buser and Honegger together with Tabea Michaelis and Pascal Biedermann. All informed the masterplan for Werkstadt Zürich, which will complete its first phase this year.  The Zürich offices of the four companies have been housed in various spaces on the repair works site since 2017, while the project has been ongoing. For the past year, they have had a permanent home on a new mezzanine level constructed around the internal perimeter of the works’ cathedral‑like carriage hall. This level is accessed via two central staircases composed of reused components from SBB’s network – I‑beams of various profiles, timber, metal tube railings – which, as has become a trademark of Baubüro In Situ’s work, come together in an artfully mismatched whole. ‘The main thing this office does is as little as possible,’ says Vanessa Gerotto, an interior architect at the firm. SBB still uses parts of the site, as is evident from train tracks that crisscross it. ‘They do repairs in some of the halls,’ explains Gerotto. ‘But they have reorganised, relocated and compacted their repair sites,’ so that approximately 18,450m2 have been freed up for commercial use at Werkstadt Zürich, including a swathe of units in the carriage hall. Here, as in other areas where they are no longer needed, SBB’s tracks have been retained but filled in with concrete and smoothed over.  Businesses have slowly filled Werkstadt Zürich as new units have been completed, and are mostly rarefied, small‑scale producers of luxury consumables: there is a chocolatier, a granola‑maker, a micro‑brewery, a gin distillery and a coffee roastery, as well as a manufacturer of coffee machines. The first commercial tenant, however, was somewhat more in keeping with the original programme of the site: the Swiss outdoor equipment brand Transa moved its repair workshop into one of the spaces in Werkstadt Zürich’s magazine building, to the south of the site, in 2023. Here, a team of 13 craftspeople repair and waterproof Gore-Tex clothing, backpacks, tents and sleeping bags that individual customers either drop off or mail to them, or that official partnering brands send directly to the centre.  ‘The Transa team is currently working on a new set of curtains for the Baubüro In Situ’s offices across the yard’ This part of Werkstadt Zürich was also the first to be renovated. Baubüro In Situ, working closely with colleagues at Zirkular, undertook a substantial interior fit‑out of the triple-height space, located in the western part of the magazine wing. A new timber mezzanine was added to maximise use of the space for the client, who did not require a double-height ground floor space. This was designed to be structurally independent from the shell of the building, so that the listed structure was not impacted.  However, the weight of the mezzanine necessitated new foundations, which needed to support a load of 100kN per timber support. There were not any suitable concrete elements available on site at Werkstadt Zürich, so the teams opted for what Zirkular architect Blanca Gardelegui admits was an ‘experimental’ move, reusing concrete from a demolition site in Winterthur. Here, slabs were cut using a diamond blade saw and stacked on site using a crane. ‘Additional work,’ explains Pascal Angehrn, architect at Baubüro In Situ, ‘came from the temporary storage of the blocks,’ and their transport. Once the blocks had been fitted into place, new concrete nevertheless had to be poured around the timber supports. This meant that, although efforts were made to reuse a wide variety of components and fittings – heaters, doors, plumbing fixtures, lights and stone windowsills – the fit‑out did not meet the architects’ own best‑case scenario of 50 per cent greenhouse gas savings, compared with using new materials and components for the renovation. Instead, they calculated the savings to sit at around 17 per cent. ‘Concrete is one of the most challenging materials to recycle,’ says Gardelegui. ‘The idea is not to do something perfectly, but to learn from the process.’ Finally, the teams introduced a wide staircase into the centre of the space, using the timber from the cut-out mezzanine flooring to make up its steps. Upon moving in, the staff at Transa’s repair centre embraced the architects’ spirit of reuse, creating their own furniture from pallets, and uplholstering with insulation cut‑offs. Tobias Stump, a member of staff at the centre, explains that their team is currently working on a new set of curtains for Baubüro In Situ’s offices across the yard.  ‘The idea is not to do something perfectly, but to learn from the process’ Werkstadt Zürich has the atmosphere of a creative testing ground, where materials get shifted around and reconfigured as needs and uses change. There is genuine camaraderie among the new commercial tenants: they make curtains for each other; organise monthly ‘open factory’ days; and have even recreated the 1947 photograph of the gymnasts on the roof. But antics on the roof may not be viable much longer. The next phase of Werkstadt Zürich involves the construction of vertical extensions atop the halls and magazine wing, densifying the site for further financial gain. Bland, brand new residential towers loom just off site, a little further up Hohlstrasse. Altstetten is gentrifying rapidly, part of the city’s continual remaking of itself.

At the entrance to Victoria and Albert Museum’s (V&A) historic home in South Kensington, wide stone steps rise toward an ornate facade of carved Portland stone, with heavy wooden doors set beneath an archway that declares culture as cathedral. It’s built to inspire, yes, but also to intimidate—to display the spoils of a national collection shaped by colonial reach. On the other side of London, the same institution has opened its doors to V&A East Storehouse, with access to over 250,000 objects. The facility designed by Diller Scofidio + Renfro (DS+R) transforms the obscure world of museum storage into a public experience of collecting, conserving, and storytelling. Like the South Kensington museum, Storehouse also leaves its imprint, inspiring wonder at a moment when public trust in cultural space feels so thin. As Tim Reeve, deputy director of the V&A, put it: “Creative industries are one of the very few success stories of the UK economy.” That creativity is being unpacked. V&A East Storehouse is located inside the London 2012 Olympics Media Centre. (© Hufton+Crow) The 262-by-262-foot (80-by-80-meter) cultural warehouse—once the London 2012 Olympics Media Centre—now welcomes visitors through a plain, functional entrance. Its galvanized steel doors are a modest update on the flexible shell designed by Hawkins\Brown. A plain, functional lobby hosts a new outpost of e5 Bakehouse, softened by new plywood interiors by Thomas Randall-Page. Upstairs, into a brief airlock, and onto a narrow walkway lined with classical busts in crates and on palettes, as if not fully unpacked, you glimpse the ladders, forklifts and shelving below, before you are shot into the dramatic central atrium—a towering scaffold of steel walkways and shelving. The Queen Elizabeth Olympic Park is a place still learning what it wants to be. A surplus of sports venues and a scatter of freshly minted towers jostle for identity, and somehow, the V&A opening up its innards fits right in. Storehouse isn’t a museum—there are no labels, no curation, no interpretation. It’s a working storage facility, a peek behind the curtain. Instruments hang beside rows of chairs, statues stand among ceramics, building fragments, archival boxes, and garments—some visible, others swaddled after reaching their “light quota.” It’s a new idea for museum storage, one that began in Rotterdam in 2021 with MVRDV’s Depot and is put on steroids here, but DS+R are not new to shifting paradigms. “It’s an idea whose time has come,” said architect Liz Diller. She notes that the firm’s work on the High Line has been used—perhaps overused—as a reference point ever since it opened: “It becomes a kind of model for others. I think people will interpret the idea in their own ways,” she added. The central atrium is a towering scaffold of steel walkways and shelving. (© Hufton+Crow) “The Storehouse defies the logics of conventional taxonomies,” said Diller. “Where else would you encounter suits of armor, stage cloth, biscuit tins, building fragments, puppets, thimbles, chandeliers, motorcycles in one place next to each other?” These objects were previously hidden away in Blythe House, Olympia, alongside collections from the British Museum and the Science Museum—until the government announced plans to sell the Edwardian bank. This prompted a conversation about what its storage can and could be. The space spans approximately 172,000 square feet (16,000 square meters)—a fraction of the V&A’s over 850,000 square feet (80,000 square meters) at South Kensington—but it’s dense with meaning. It now houses 250,000 objects and has been designed with five years of growth in mind, with plenty of empty shelving still in view. Patrons can request up to five objects from the collection and make an appointment to view them. (© Hufton+Crow) The object collocations feel accidental but profound. What is a Frankfurt Kitchen, with its strict Bauhaus order, doing just down the walkway from the ornate, gilded Torrijos ceiling from Toledo? Why does a safety curtain control panel share a shelf with a bamboo wind instrument? Everyday objects aren’t elevated so much as exposed—invited to speak on new terms, next to things they were never meant to meet. There are smaller, curated exhibits too—some behind glass—assembled using a modular “kit of parts” display system designed by IDK. There are opportunities for the public to view conservators at work. (© Hufton+Crow) Anyone can request up to five objects from the collection and make an appointment to view them. If the objects are small enough, they’ll be brought to you at a table. If they’re big, you go to them in the darker parts of the museum. As Diller put it, the Storehouse is designed with “an inside-out logic,” where the center is public, the middle semi-private, and the outer edge reserved for conservation, research, and protected storage. There are moments where private and public parts interact, for instance in the “conservation overlooks,” where you can watch the conservators at work from public galleries. It quietly teaches that the arts are an industry too; there are opportunities besides being an artist. Instruments hang beside rows of chairs, statues stand among ceramics, building fragments, archival boxes, and garments. (© Hufton+Crow) Some of what Storehouse allows you to see is uncomfortable. The colonial overtones are hard to miss. These are objects taken from across the world—beautiful, rare, complex—and now stored in a warehouse in East London. The Agra Colonnade, from a 17th-century Mughal building, is on the ground floor where visitors can walk on the glass floor above it, breathtaking and fraught. This is a first step—a way of airing our institutional laundry in public, and inviting interrogation, reinterpretation, and hopefully reckoning. The Agra Colonnade, from a 17th-century Mughal building, is among the objects on view. (© Hufton+Crow) Hanging inside is the 1924 Le Train bleu stage cloth for the Ballets Russes in 1922. (© Hufton+Crow) Mostly, there is a sense of happy chaos, but there are moments that stop you. Down a quiet corridor sits a towering black-box space, spanning two floors. Hanging inside is the 1924 Le Train bleu stage cloth for the Ballets Russes in 1922—a reproduction of Picasso’s Two Women Running Along the Beach. “This is the largest space,” said project architect David Allin. “It lets you see oversized objects from two levels and even watch the conservators at work.” This cloth will later be replaced by the one that the tall space was designed around: the larger Firebird—Natalia Goncharova’s 10-by-16-metre stage backdrop. Here is where you can feel the V&A talking to itself across the city: South Kensington in its lofty register of imperially reaching cast courts, and the Storehouse answers with its mirror image. I catch my breath in front of Le Train bleu, first at its vastness, but then at the hulking crate parked behind it. The Storehouse is rewriting the story and showing us its workings. Ellen Peirson is a London-based writer, editor, and designer.

Comparison of a megalodon tooth and a great white shark tooth, not associated with the study. (Image Credit: Mark_Kostich/Shutterstock) NewsletterSign up for our email newsletter for the latest science newsMegalodon teeth have always been key to understanding the ancient marine predator. Fossilized teeth are all that remain to prove the existence of these massive sharks, and the name megalodon is from the Greek for “big tooth.”A new study, published in Earth and Planetary Science Letters, highlights the importance of the megalodon’s human-hand-sized teeth once again. Thanks to extracting and analyzing the traces of zinc left in the fossilized teeth, researchers now know that the megalodon’s diet was much broader than scientists once believed.“Megalodon was by all means flexible enough to feed on marine mammals and large fish, from the top of the food pyramid as well as lower levels – depending on availability,” said Jeremy McCormack from the Department of Geosciences at Goethe University, in a press release.What Did the Megalodon Eat?Clocking in at 78 feet in length and weighing about twice as much as a semi truck, the megalodon was a big fish with a big appetite. It is suggested that a member of the Otodus shark family would require about 100,000 kilocalories per day to survive. Due to this extreme number, scientists have often assumed that the megalodon’s main source of calories came from whales.This new study suggests that whales were not the only item on the megalodon’s daily menu and that these sharks were actually quite adaptable when it came to their food. The research team analyzed 18-million-year-old giant teeth that came from two fossil deposits in Sigmaringen and Passau. What they were looking for was the presence of zinc-66 and zinc-64, two isotopes commonly ingested with food. Typically, the higher up in a food pyramid an animal is, the lower the presence of zinc. As they are oftentimes at the top of the food chain, species such as Otodus megalodon and Otodus chubutensis have a low ratio of zinc-66 to zinc-64 compared to species lower on the food chain.“Sea bream, which fed on mussels, snails, and crustaceans, formed the lowest level of the food chain we studied,” said McCormack in the press release. “Smaller shark species such as requiem sharks and ancestors of today’s cetaceans, dolphins, and whales, were next. Larger sharks, such as sand tiger sharks, were further up the food pyramid, and at the top were giant sharks like Araloselachus cuspidatus and the Otodus sharks, which include megalodon.”Surprisingly, the zinc levels in the megalodon teeth weren’t always that different from the zinc levels in species lower down the food chain. This result means that the commonly held scientific belief that megalodons focused their attention on eating large marine mammals may be incorrect. Instead, McCormack refers to the megalodon as an “ecologically versatile generalist” that adapted to environmental and regional constraints that changed the availability and variety of their prey.A New Method in Teeth TestingUsing the zinc content of fossilized teeth is a relatively new method of analysis, and the research team working on the megalodon couldn’t be happier with their results. The methods used in this study have not only been used for prehistoric shark and whale species but also modern-day shark species, and have even been used on herbivorous prehistoric rhinoceroses.Overall, these new methods have begun to rewrite the history of megalodon’s eating habits and may help to explain more about why these giants of the food chain went extinct. “[Determining zinc isotope ratios] gives us important insights into how the marine communities have changed over geologic time, but more importantly the fact that even ‘supercarnivores’ are not immune to extinction,” said Kenshu Shimada, a paleobiologist at DePaul University and a coauthor of this study, in the press release.Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:Earth and Planetary Science Letters. Miocene marine vertebrate trophic ecology reveals megatooth sharks as opportunistic supercarnivoresAs the marketing coordinator at Discover Magazine, Stephanie Edwards interacts with readers across Discover's social media channels and writes digital content. Offline, she is a contract lecturer in English & Cultural Studies at Lakehead University, teaching courses on everything from professional communication to Taylor Swift, and received her graduate degrees in the same department from McMaster University. You can find more of her science writing in Lab Manager and her short fiction in anthologies and literary magazine across the horror genre.1 free article leftWant More? Get unlimited access for as low as $1.99/monthSubscribeAlready a subscriber?Register or Log In1 free articleSubscribeWant more?Keep reading for as low as $1.99!SubscribeAlready a subscriber?Register or Log In

The temperatures are heating up and school’s almost out for the summer. Before we fully dive into the warmer months and vacations, we get a mini-break in the form of Memorial Day weekend—a preview of coming attractions—but it requires some planning ahead because today (Monday May 26, 2025) is a federal holiday. Let’s take a look at a brief history of the day and what business and services will be closed to observe it. A brief history of Memorial Day Memorial Day has its roots in the aftermath of the Civil War. On May 30, 1868, John A. Logan, commander in chief of the Grand Army of the Republic, declared the first national observance of Declaration Day, Memorial Day’s predecessor, on which flowers were placed on Union soldiers’ graves. Even before this declaration, there were many similar Confederate customs. Many cities on both sides claim to be the originators of the holiday. As more battles were fought, the holiday evolved beyond a single conflict to honor and mourn all service members who lost their lives in the line of battle. It became an official federal holiday in 1971 after a 1968 law, the Uniform Monday Holiday Act, was enacted by Congress. This moved the holiday from May 30 to the last Monday in May, giving many traditional American workers a three-day weekend. Memorial Day vs. Veterans Day Many mix up or confuse Memorial Day and Veterans Day. The former celebrates service members who have died in the line of battle. The latter takes place in November and celebrates all American veterans. Are banks open on Memorial Day? No. Major money transactions that require going inside a bank are going to have to wait as these institutions are closed on federal holidays. Are ATMs open on Memorial Day? Yes. Luckily, for simpler deposits and withdrawals, automated teller machines located outside of the branch are available. Is the post office open on Memorial Day? No. You won’t be able to run into a post office on Memorial Day as the United States Postal Service (USPS) is not open for business. Buy stamps and send big packages ahead of time. Is mail delivered on Memorial Day? No. Bills and postcards will be delayed a day, as postal mail is not delivered on Memorial Day. Are FedEx and UPS operating on Memorial Day? According to the 2025 FedEx holiday schedule, only FedEx Custom Critical services will be available. FedEx Office will have a modified schedule while FedEx, FedEx Freight, and FedEx Logistics are closed. According to the 2025 UPS holiday schedule, only UPS Express Critical services are available. Limited UPS store locations will be open. UPS Forwarding, UPS Domestic Ground, Air, and International are all closed for the holiday. Is the stock market open on Memorial Day? No. You will have to buy and sell another day. The New York Stock Exchange (NYSE) and the Nasdaq exchange are closed. Are schools open on Memorial Day? No. Students and teachers typically get the day off for Memorial Day. That being said, it is a good practice to double check your own school’s calendar to verify this. Are restaurants open on Memorial Day? Yes. Most restaurants are open and hoping to take advantage of the three-day weekend revenue. This includes fast food chains such as McDonald’s and sit-down chains such as Applebee’s. For smaller mom-and-pop-type places, it’s best to double check that they didn’t take the day off. Are pharmacies open on Memorial Day? Typically, yes. Most Walgreens and CVS locations will be open, but they may have modified hours. Be sure to check your local location ahead of time, especially if you need your medication in a pinch. Moreover, independent pharmacies may be closed. Are stores and groceries open on Memorial Day? For the most part, yes. Big-box retailers like Walmart and Target are open on Memorial Day, according to a roundup from USA Today. If you need a last-minute bottle of ketchup or mustard for your hamburgers and hot dogs, you are covered. Trader Joe’s, Kroger, and many more have your back. The majority of large supermarket chains will be open for all your family barbecue needs. Costco, however, will be closed, so buy in bulk ahead of time.

Moving is famously one of the most stressful things you can do. Not only is it a ton of work and a major financial expense, but you're dealing with the weight of leaving behind one home and starting fresh in another. It's a burden on your calendar, your wallet, and your emotions. Whether you are relocating for a new job, moving in with a partner (or moving away from one after a breakup), or just need a change of scenery, you should take the opportunity to appreciate (if not relish) the momentous event—and not be filled with dread, stress, and regret throughout the process. If you're looking to pull off the smoothest, least painful move ever, follow these five essential steps, as outlined by experts in the moving business.1. Start planning as early as possibleLong before you put a single possession into a cardboard box, you have to plan out your move. And I really mean it—every aspect. This is more involved than you think, so start early and set aside a chunk of time. Shanaiqua D'Sa, a content marketing lead at Attic Self Storage, notes that planning ahead is, "undoubtedly the first and most important step." It should include budgeting, comparing moving companies, considering if you need a storage unit to temporarily house your stuff, acquiring packing materials, and more. Set a budgetBudgeting should be your main focus. This can include: A truck rental or a moving company, insurance, fuel, labor costs, packing supplies, overlapping rent or mortgage payments, a storage unit, utility transfers, cleaning fees, repairs (on the old or new property), and paying food and/or shelter during the move. Costs for all of these will vary depending on your needs, so spend some time sketching out different scenarios. Once you have a budget in mind, increase it by 10% to 15%, according to Rob Rimeris, owner of EverSafe Moving Co. "Build room for the unpredictable," he says. "We see a lot of people plan for truck and labor, but forget about costs that compound." Be realistic, and you'll avoid surprises. Nick Friedman, co-founder of College HUNKS Hauling Junk and Moving, advises, "The more labor you require, the higher your overall cost will be. For local moves, many companies offer flat rates based on time and labor, but it’s important to make sure those quotes match your actual needs. Opting for too many services can lead to overpaying, while too few may leave you scrambling on moving day." Start by figuring out what, if anything, you will handle yourself, and what you'll outsource. Moving companies can help with everything from packing to furniture disassembly, but each likely comes with additional costs. Define what you want before you start calling companies to avoid getting upsold on something you don't really need help with.Find the right moversThat leads me to your next step, which is researching moving companies. Marshall Aikman, owner of Amazing Moves Moving and Storage, advises prioritizing reliability and reputation as highly as price: "Pay attention to how long the company has been in business because solid experience usually means smoother operations."Call a number of places and be upfront about everything from the scope of your move, to any special considerations like unusually heavy furniture, tight hallways, or lots of stairs. Get multiple estimates, and get everything in writing. Ask for detailed cost breakdowns to find out whether gas, stairs, furniture wrapping, furniture disassembly and reassembly, and more will increase your costs. Once you've narrowed down your list of possibilities, ask for proof of licensing and insurance, advises Friedman. If a company won't be straightforward about answering your questions and providing you with paperwork, cross them off your list. Matt Graber, co-owner of Cool Hand Movers, cautions against being "drawn in by lowball pricing," too. Any quote that seems "too good to be true" almost certainly is. Avoid companies with excessive upfront deposits—usually anything over 25% of the total cost—and read a ton of customer reviews before signing any contracts. 2. Declutter before you move (or pack)Multiple pros I spoke to made the same point, and it's worth repeating here: Declutter before your move so you don't waste money moving things you don't need or want to keep. (Here's a more detailed breakdown of how and why to declutter before a move) In general, you should start this process a few weeks in advance of your move. Three or so weeks at least ensures that you have enough time to think about what you really need to keep, and to donate or sell what you don't. If something is broken or rarely used, consider leaving it behind as you move into a new phase of your life. A few weeks will give you time to actually list and sell things to make money for your move, but set a deadline for when you'll donate the remainder—you don't want junk lying around when the movers show up. This could come with additional expenses. D'Sa points out that if you're downsizing significantly, you may have to budget for a small dumpster for everything you need to throw away. Still, it's worth it: All of my experts agreed that decluttering is the single most effective way to save money and psychologically prepare for your move. You'll also get a head start on packing simply by getting a clearer picture of everything you own. 3. Pack like a pro, even if you can't pay for itLike planning and decluttering, packing will start weeks before you move. I realize that's not always possible, but do try to start as soon as you can. Waiting until a few days before—or worse, the day the movers show up—can lead to chaos. Movers can help you pack, but that's typically expensive. Evan Hock, co-founder of MakeMyMove, cautions, "Packing always takes longer than expected, so start early, especially with seasonal items or belongings you don't use daily." While you can likely score some free boxes from local businesses, it's a good idea to just buy them (you can usually find the best prices at big box hardware stores). Rimeris suggests purchasing high-quality tape, "markers you can actually read," and strong boxes, all of which are "worth every penny." Mindy Godding, president of the National Association of Productivity and Organizing Professionals, advises buying all your boxes so they're all similar shapes and sizes and will pack more easily. You can cut down your costs on protective supplies, Godding says, noting packing paper works just as well as bubble wrap or pre-made inserts when it comes to protecting your fragile items. Renting crates can save you some effort, at a costIf you don't want to buy boxes, you can consider renting reusable plastic crates. A number of companies, both local and national, will deliver these crates to you before you move and pick them up when you're done. They're sturdier than cardboard boxes, stackable, uniform, and returnable, so they make packing easy. Uhaul, RentalCrates.com, and Perfect Crates all offer this service, so compare prices for your exact needs. Get creativeGodding suggests placing plastic cups around delicate items like figurines, and clearly labeling any boxes with something breakable inside. Shannon Beller, CEO and co-founder of Wall-Russ, adds that you can use household materials like towels and linens to cushion delicate items as you pack, and Tiam Behdarvandan, founder of Let's Get Moving, suggests packing heavier things, like books, into rolling suitcases, since the wheels make it easier to haul them around. Photos are your friend during this porcess. Take photos of your boxes as you pack so you know what's in each box if you should need something in an emergency. Also take pictures of things like cable configurations behind the TV, so setting everything back up will be easier.Beller and Charles Chica, co-owners of CT Best Movers, recommend keeping your clothes on the hangers and tossing a garbage bag over them. When you get to the new house, cut a hole in the bag, thread the hangers through, slip them on the rod, then cut the bag off. (Here are more tips on how to pack in a way that makes it easier to unpack.)Have a systemPack room by room, and within each room, proceeding in terms of urgency, and designate one box of "essentials" from each. These boxes—which will contain things like toothbrushes, soap, pajamas, and coffee pots, plates and silverware, and anything else you might need in the first days at your new home—should be loaded into the moving van last, unloaded first, and opened on your first night there. Making sure your boxes of must-haves are easily accessible will make settling in a lot easier. (Keep a knife or scissors handy so you can actually open them.)4. Do what you need to do online before you moveIt's eay to get so wrapped up in the physical process of moving your possessions from one place to another that you can forget about what comes next: Living somewhere new. Especially if you're moving to a new town, you will have to check a bunch of boxes to get your new life up and running.A lot of these things can be handled online, so do your research and accomplish as much as you can before your move. Start by making a list of all the different things to deal with at your current address. You may need to make some repairs to get your security deposit back if you're a renter. Take stock of your bills and memberships: cancel your gym membership and any other local recurring charges, like public transit cards that auto-renew. Set up a mail forwarding so you will get any mail that comes to your old place. Cancel your utilities. Reach out to your doctor, dentist, optometrist, and other providers to find out if they can make referrals for you in your new area and provide copies of all your important records and documents. Forward your prescriptions to a new pharmacy. Now, shift focus to your new location. Set up your utilities and the online accounts you'll need to pay them, switch your driver's license information if necessary, research the deadlines for re-registering your car, and contact your insurer (hopefully your new area will have lower rates). You can even start looking for local doctors, dentists, or any other professionals you'll need to avail yourself of in the short term after you move.5. Stay on top of things the day ofThe last step is the big one: It's time to move. Even this part still comes down to planning and budgeting. Jordan Sakala of laborhutt.com suggests moving during the week and mid-month, when demand is lower, and making sure you're ready and packed before the movers arrive. If you're not ready when they pull up, you could get charged an hourly fee while they either wait around for you or jump in to help speed things along. Make sure to tell movers about heavy furniture or tight squeezes in advance so they come with all the necessary tools, as if you don't, you may end up waiting around (and being charged for it) while they run to get them—or, worse, be told they can't move those things at all. On moving day, even if you've hired a full-service moving team and outsourced pretty much everything, it's a good idea to stick around and supervise so you can answer any last-minute questions. There are some things movers won't touch, so it will be your responsibility to coordinate their transport. Get a written list of what your company won't deal with in advance, but in general, expect to take care of your own jewelry, delicate valuables, identifying documents, medical papers and medications, hazardous materials, plants, and pets. Before walking out your door for the last time, check the place over, and make sure you know exactly where the "essentials" boxes you packed are. Once they're all accounted for, get on the road to your new home—hopefully feeling excited, instead of frazzled and exhausted.