Most of us know that a quartz clock uses a higher frequency crystal oscillator and a chain of divider circuits to generate a 1 Hz pulse train. It’s usual to …read more

Pictured Above: Designer Amber Lewis balances New England charm with old-world sophistication with a half Calacatta Vagli marble backsplash in the kitchen of this Martha's Vineyard home. To backsplash or not to backsplash? That is the question. Or is it? Because if anyone’s ever told you “you shouldn’t do anything halfway,” they clearly haven’t heard of the half backsplash. This twist on a design mainstay makes a compelling case for stopping short. So maybe the real question is: to backsplash or to half backsplash?Lately, we’ve seen more and more designers going for the latter. “A trend these days is to use 1/2 or 2/3 stone backsplashes with a six- to nine-inch ledge,” says designer Jennifer Gilmer. “This is typically used behind a range and adds interest as well as softening the overall look.” It’s not just aesthetic—it’s strategic functionality. “The ledge is useful for salt and pepper shakers, olive oil, and other items,” she adds. Ahead, we break down everything to know about half backsplashes and why this kitchen trend is gaining traction in the design world.Related StoriesWhat Is a Half Backsplash?Lisa PetroleMagnolia’s director of styling, Ashley Maddox, enlisted the help of designer Hilary Walker to create her midcentury-modern dream home in Waco, Texas. Complete with walnut kitchen cabinetry topped with a Topzstone countertop continued into a partial backsplash.“A half backsplash or 1/3 backsplash is when the material stops at a point on the wall determined by the design,” explains designer Isabella Patrick. This makes it distinct from a “built-out or existing element, such as upper cabinets, a ceiling, soffit, or some other inherent element of the space.” In other words, it’s intentional, not just the result of running out of tile.Courtesy of JN Interior SpacesTaking the ceiling height into consideration, JN Interior Spaces decided a half backsplash would be suitable for this sleek, modern kitchen.While traditional backsplashes typically reach the bottom of upper cabinetry or span the entire wall, partial backsplashes usually stop somewhere around four to 25 inches up, depending on the look you’re going for.And while it may sound like a design compromise, it’s actually quite the opposite.Related StoryWhy Designers Are Loving the Half-Height LookOpting for a half backsplash is a clever way to balance proportion, budget, and visual interest. “If the design does not have upper cabinets, we would opt for a half backsplash to create visual interest,” Patrick says. “A full wall of the same tile or stone could overwhelm the space and seem like an afterthought.”Shannon Dupre/DD RepsIsabella Patrick experimented with this concept in her own kitchen, mixing materials for a more layered half backsplash look.Instead, Patrick often mixes materials—like running Cambria quartzite up from the counter to a ledge, then switching to Fireclay tile above. “This is a great example of how a singular material would have overwhelmed the space but also may have felt like an afterthought,” she explains. “Mixing materials and adding in details and personal touches is what good design is.”Another bonus? It lets the rest of the kitchen sing. “In another design, we eliminated the upper cabinets in favor of a more open and airy look so that the windows were not blocked—and so you were not walking right into a side view of cabinetry,” Patrick says. “No upper cabinets also makes the kitchen feel more of a transitional space and decorative, especially since it opens right into a dining room.”krafty_photos
copyright 2021This kitchen from JN Interior Spaces proves that a partial backsplash can still make a big impact. They chose to use an iridescent, almost-patina tile in this Wyoming kitchen.For Jill Najinigier of JN Interior Spaces, the choice is just as much about form as it is function. “It's all about how the backsplash interacts with the architecture,” she explains. “Wall height, windows, the shape of the hood, upper cabinets, or open shelves—where do they start and terminate?”In one standout project, Najinigier used a luminous tile just tall enough to tuck under a tapered plaster hood, topped with a narrow stone ledge carved from the same slab as the counter. The result? “Clean lines that make a stunning statement.”Mixing materials and adding in details and personal touches is what good design is.It’s Decorative and FunctionalHeather TalbertDesigner Kate Pearce installed a statement-making marble backsplash. Bringing it only halfway up allows its beauty to be appreciated while giving the other aesthetic elements in the space room to breathe.Don’t underestimate what that ledge can do. Designer Kate Pearce swears by hers: “I love my little five-inch-deep marble shelf that allows me to style some vintage kitchenware in the space,” she says. “And I think the shelf (and the pieces styled on it) is exactly what gives the kitchen an approachable feel—versus having a full backsplash of marble, which would have given the space a more serious vibe.”Stylish ProductionsPrioritizing visually continuity, Italian designer Federica Asack of Masseria Chic used the same leathered sandstone, a natural material that will develop a wonderful patina, for both the counters and the backsplash.Designer Federica Asack of Masseria Chic used a leathered sandstone for both her countertop and half backsplash, adding a ledge that’s just deep enough to style. “It allows for a splash-free decorating opportunity to layer artwork and favorite objects,” she says.Designer Molly Watson agrees: “The simple shelf is just deep enough for some special items to be on display,” she notes of a project where carrying the countertop stone up the wall helped keep things visually calm and scaled to the space. Related StoryThe Verdict on Half BacksplashesErin Kelly"Keeping materials simple in this kitchen was important for scale," says designer Molly Watson. "Carrying the countertop up the wall as a backsplash allowed the space to feel larger."Half backsplashes are having a major design moment, but not just because they’re practical. They’re a blank canvas for creativity. From floating ledges and mixed materials to budget-conscious decisions that don’t skimp on style, they’re a smart (and stylish) way to make your kitchen feel lighter, livelier, and totally considered.So, go ahead—do it halfway.Follow House Beautiful on Instagram and TikTok.

Here at Country Living, we love to study trends, especially those with timeless appeal. As the Senior Homes and Style Editor, it's my job to track these trends and decide which ones are worth covering and which ones are not, which is exactly why I've been watching the rise of wood paneling the last few years. People are desperate to move away from cold, clinical minimalism and make their homes feel more welcoming and lived-in. I was surprised, though, when I started seeing more and more paneling in the kitchen—not just on the walls, but acting as a backsplash. Below, we're diving into everything you need to know about the material set to replace tile as the designer-preferred kitchen backsplash this year. Related Stories What Types of Wood Paneling Are Trending? Before we get too far, let's be clear: Tile backsplash isn't going anywhere any time soon, and I'm definitely not saying you should rip out all your tile and replace it with wood paneling just because it's popular. Wood paneling offers a fresh alternative to tile that adds a warm layer to a space that can otherwise feel sterile. It's been beloved as an easy way to add character to your walls for decades, and its foray into the kitchen shouldn't be a surprise as cottage kitchens become more and more popular both online and in real life. Before you toss out your tile samples, let's examine which types of paneling might be best for your kitchen. ShiplapLove it or hate it, shiplap is here to stay. This style, made popular by Chip and Joanna Gaines more than a decade ago, offers a classic look, making it perfect for homes regardless of their age or location. If you love this look but want something that feels less ubiquitous, avoid white shiplap and choose a warmer neutral, such as Interactive Cream by Sherwin-Williams or Rhine River by Benjamin Moore. Nickel Gap Paneling Think of nickel gap paneling, which gets its name from the consistent, nickel-width gap between each of the planks, as shiplap's older, more refined cousin. Unlike shiplap, which uses a type of connecting grove called a rabbet joint, nickel gap uses a classic tongue-and-groove joinery system. Once installed, the planks feel more elevated and purposeful than standard shiplap. While any type of wood can be used for nickel gap paneling, inexpensive woods, such as pine and poplar, or even MDF are popular options. BeadboardA longtime favorite in country kitchens, beadboard paneling is full of historic cottage charm. (My two cents: If a design element was good enough for the Victorians, it's good enough for me!) Because beadboard has a raised edge—the "bead" that gives it its name—it's a great way to add texture and a sense of history to a space, and might be the best option if you're trying to add age to a newly built kitchen. Related StoryIs a Wood Backsplash Safe?If you love the lived-in look, then wood backsplash is perfect for you, and when installed with care and paired with the right materials, wood is just as safe as tile. If you have a gas stove, always pair wood backsplash with a fire-safe material such as marble or quartz. This not only keeps your wood backsplash in pristine condition but also protects it from any open flame. If you're using an induction cooktop, feel free to leave your wood backsplash uncovered. Related StoryExamples of Wood BacksplashBecky Luigart-Stayner for Country LivingBeadboard backsplash adds a cozy twist to this gingham-filled kitchen’s stove cove from designer Trinity Holmes. Stacy Zarin GoldbergIn designer Molly Singer’s kitchen, simple wood paneling adds country charm. Ali Harper for Country LivingIn this Alabama river cottage, designed by Jensen Killen, wood-planked walls were painted a creamy white and run horizontally throughout the kitchen. Mike D'AvelloKnotty pine adds country charm to this kitchen designed by HGTV star Jenny Marrs.Becky Luigart-Stayner for Country LivingIn Maribeth Jones’ Alabama kitchen, yellow walls and paneling add cottage charm when paired with painted floors and a fruit-inspired wallpaper. Related StoriesAnna LoganSenior Homes & Style EditorAnna Logan is the Senior Homes & Style Editor at Country Living, where she has been covering all things home design, including sharing exclusive looks at beautifully designed country kitchens, producing home features, writing everything from timely trend reports on the latest viral aesthetic to expert-driven explainers on must-read topics, and rounding up pretty much everything you’ve ever wanted to know about paint, since 2021. Anna has spent the last seven years covering every aspect of the design industry, previously having written for Traditional Home, One Kings Lane, House Beautiful, and Frederic. She holds a degree in journalism from the University of Georgia. When she’s not working, Anna can either be found digging around her flower garden or through the dusty shelves of an antique shop. Follow her adventures, or, more importantly, those of her three-year-old Maltese and official Country Living Pet Lab tester, Teddy, on Instagram.  

For the past two years, it’s been a ghost in the machine of American tech. Between 2022 and today, a little-noticed tweak to the U.S. tax code has quietly rewired the financial logic of how American companies invest in research and development. Outside of CFO and accounting circles, almost no one knew it existed. “I work on these tax write-offs and still hadn’t heard about this,” a chief operating officer at a private-equity-backed tech company told Quartz. “It’s just been so weirdly silent.”AdvertisementStill, the delayed change to a decades-old tax provision — buried deep in the 2017 tax law — has contributed to the loss of hundreds of thousands of high-paying, white-collar jobs. That’s the picture that emerges from a review of corporate filings, public financial data, analysis of timelines, and interviews with industry insiders. One accountant, working in-house at a tech company, described it as a “niche issue with broad impact,” echoing sentiments from venture capital investors also interviewed for this article. Some spoke on condition of anonymity to discuss sensitive political matters.Since the start of 2023, more than half-a-million tech workers have been laid off, according to industry tallies. Headlines have blamed over-hiring during the pandemic and, more recently, AI. But beneath the surface was a hidden accelerant: a change to what’s known as Section 174 that helped gut in-house software and product development teams everywhere from tech giants such as Microsoft (MSFT) and Meta (META) to much smaller, private, direct-to-consumer and other internet-first companies.Now, as a bipartisan effort to repeal the Section 174 change moves through Congress, bigger questions are surfacing: How did a single line in the tax code help trigger a tsunami of mass layoffs? And why did no one see it coming? For almost 70 years, American companies could deduct 100% of qualified research and development spending in the year they incurred the costs. Salaries, software, contractor payments — if it contributed to creating or improving a product, it came off the top of a firm’s taxable income.AdvertisementThe deduction was guaranteed by Section 174 of the IRS Code of 1954, and under the provision, R&D flourished in the U.S.Microsoft was founded in 1975. Apple (AAPL) launched its first computer in 1976. Google (GOOGL) incorporated in 1998. Facebook opened to the general public in 2006. All these companies, now among the most valuable in the world, developed their earliest products — programming tools, hardware, search engines — under a tax system that rewarded building now, not later.The subsequent rise of smartphones, cloud computing, and mobile apps also happened in an America where companies could immediately write off their investments in engineering, infrastructure, and experimentation. It was a baseline assumption — innovation and risk-taking subsidized by the tax code — that shaped how founders operated and how investors made decisions.In turn, tech companies largely built their products in the U.S. AdvertisementMicrosoft’s operating systems were coded in Washington state. Apple’s early hardware and software teams were in California. Google’s search engine was born at Stanford and scaled from Mountain View. Facebook’s entire social architecture was developed in Menlo Park. The deduction directly incentivized keeping R&D close to home, rewarding companies for investing in American workers, engineers, and infrastructure.That’s what makes the politics of Section 174 so revealing. For all the rhetoric about bringing jobs back and making things in America, the first Trump administration’s major tax bill arguably helped accomplish the opposite.When Congress passed the Tax Cuts and Jobs Act (TCJA), the signature legislative achievement of President Donald Trump’s first term, it slashed the corporate tax rate from 35% to 21% — a massive revenue loss on paper for the federal government.To make the 2017 bill comply with Senate budget rules, lawmakers needed to offset the cost. So they added future tax hikes that wouldn’t kick in right away, wouldn’t provoke immediate backlash from businesses, and could, in theory, be quietly repealed later.AdvertisementThe delayed change to Section 174 — from immediate expensing of R&D to mandatory amortization, meaning that companies must spread the deduction out in smaller chunks over five or even 15-year periods — was that kind of provision. It didn’t start affecting the budget until 2022, but it helped the TCJA appear “deficit neutral” over the 10-year window used for legislative scoring.The delay wasn’t a technical necessity. It was a political tactic. Such moves are common in tax legislation. Phase-ins and delayed provisions let lawmakers game how the Congressional Budget Office (CBO) — Congress’ nonpartisan analyst of how bills impact budgets and deficits — scores legislation, pushing costs or revenue losses outside official forecasting windows.And so, on schedule in 2022, the change to Section 174 went into effect. Companies filed their 2022 tax returns under the new rules in early 2023. And suddenly, R&D wasn’t a full, immediate write-off anymore. The tax benefits of salaries for engineers, product and project managers, data scientists, and even some user experience and marketing staff — all of which had previously reduced taxable income in year one — now had to be spread out over five- or 15-year periods. To understand the impact, imagine a personal tax code change that allowed you to deduct 100% of your biggest source of expenses, and that becoming a 20% deduction. For cash-strapped companies, especially those not yet profitable, the result was a painful tax bill just as venture funding dried up and interest rates soared.AdvertisementSalesforce office buildings in San Francisco.Photo: Jason Henry/Bloomberg (Getty Images)It’s no coincidence that Meta announced its “Year of Efficiency” immediately after the Section 174 change took effect. Ditto Microsoft laying off 10,000 employees in January 2023 despite strong earnings, or Google parent Alphabet cutting 12,000 jobs around the same time.Amazon (AMZN) also laid off almost 30,000 people, with cuts focused not just on logistics but on Alexa and internal cloud tools — precisely the kinds of projects that would have once qualified as immediately deductible R&D. Salesforce (CRM) eliminated 10% of its staff, or 8,000 people, including entire product teams.In public, companies blamed bloat and AI. But inside boardrooms, spreadsheets were telling a quieter story. And MD&A notes — management’s notes on the numbers — buried deep in 10-K filings recorded the change, too. R&D had become more expensive to carry. Headcount, the leading R&D expense across the tech industry, was the easiest thing to cut.AdvertisementIn its 2023 annual report, Meta described salaries as its single biggest R&D expense. Between the first and second years that the Section 174 change began affecting tax returns, Meta cut its total workforce by almost 25%. Over the same period, Microsoft reduced its global headcount by about 7%, with cuts concentrated in product-facing, engineering-heavy roles.Smaller companies without the fortress-like balance sheets of Big Tech have arguably been hit even harder. Twilio (TWLO) slashed 22% of its workforce in 2023 alone. Shopify (SHOP) (headquartered in Canada but with much of its R&D teams in the U.S.) cut almost 30% of staff in 2022 and 2023. Coinbase (COIN) reduced headcount by 36% across a pair of brutal restructuring waves.Since going into effect, the provision has hit at the very heart of America’s economic growth engine: the tech sector.By market cap, tech giants dominate the S&P 500, with the “Magnificent 7” alone accounting for more than a third of the index’s total value. Workforce numbers tell a similar story, with tech employing millions of Americans directly and supporting the employment of tens of millions more. As measured by GDP, capital-T tech contributes about 10% of national output.AdvertisementIt’s not just that tech layoffs were large, it’s that they were massively disproportionate. Across the broader U.S. economy, job cuts hovered around in low single digits across most sectors. But in tech, entire divisions vanished, with a whopping 60% jump in layoffs between 2022 and 2023. Some cuts reflected real inefficiencies — a response to over-hiring during the zero-interest rate boom. At the same time, many of the roles eliminated were in R&D, product, and engineering, precisely the kind of functions that had once benefitted from generous tax treatment under Section 174.Throughout the 2010s, a broad swath of startups, direct-to-consumer brands, and internet-first firms — basically every company you recognize from Instagram or Facebook ads — built their growth models around a kind of engineered break-even.The tax code allowed them to spend aggressively on product and engineering, then write it all off as R&D, keeping their taxable income close to zero by design. It worked because taxable income and actual cash flow were often notGAAP accounting practices. Basically, as long as spending counted as R&D, companies could report losses to investors while owing almost nothing to the IRS.But the Section 174 change broke that model. Once those same expenses had to be spread out, or amortized, over multiple years, the tax shield vanished. Companies that were still burning cash suddenly looked profitable on paper, triggering real tax bills on imaginary gains.AdvertisementThe logic that once fueled a generation of digital-first growth collapsed overnight.So it wasn’t just tech experiencing effects. From 1954 until 2022, the U.S. tax code had encouraged businesses of all stripes to behave like tech companies. From retail to logistics, healthcare to media, if firms built internal tools, customized a software stack, or invested in business intelligence and data-driven product development, they could expense those costs. The write-off incentivized in-house builds and fast growth well outside the capital-T tech sector. This lines up with OECD research showing that immediate deductions foster innovation more than spread-out ones.And American companies ran with that logic. According to government data, U.S. businesses reported about $500 billion in R&D expenditures in 2019 alone, and almost half of that came from industries outside traditional tech. The Bureau of Economic Analysis estimates that this sector, the broader digital economy, accounts for another 10% of GDP.Add that to core tech’s contribution, and the Section 174 shift has likely touched at least 20% of the U.S. economy.AdvertisementThe result? A tax policy aimed at raising short-term revenue effectively hid a time bomb inside the growth engines of thousands of companies. And when it detonated, it kneecapped the incentive for hiring American engineers or investing in American-made tech and digital products.It made building tech companies in America look irrational on a spreadsheet.A bipartisan group of lawmakers is pushing to repeal the Section 174 change, with business groups, CFOs, crypto executives, and venture capitalists lobbying hard for retroactive relief. But the politics are messy. Fixing 174 would mean handing a tax break to the same companies many voters in both parties see as symbols of corporate excess. Any repeal would also come too late for the hundreds of thousands of workers already laid off.And of course, the losses don’t stop at Meta’s or Google’s campus gates. They ripple out. When high-paid tech workers disappear, so do the lunch orders. The house tours. The contract gigs. The spending habits that sustain entire urban economies and thousands of other jobs. Sandwich artists. Rideshare drivers. Realtors. Personal trainers. House cleaners. In tech-heavy cities, the fallout runs deep — and it’s still unfolding.AdvertisementWashington is now poised to pass a second Trump tax bill — one packed with more obscure provisions, more delayed impacts, more quiet redistribution. And it comes as analysts are only just beginning to understand the real-world effects of the last round.The Section 174 change “significantly increased the tax burden on companies investing in innovation, potentially stifling economic growth and reducing the United States’ competitiveness on the global stage,” according to the tax consulting firm KBKG. Whether the U.S. will reverse course — or simply adapt to a new normal — remains to be seen.

Macworld WWDC 2025 is just around the corner. The event is considered one of the most important in the tech world, as Apple reveals its plans for the future of each of its device platforms.  WWDC has never just been about new features. It’s where Apple sets the direction for its platforms and, often, the entire industry. These announcements continue to define how we interact with technology. While we wait for the keynote to kick off on June 9, let’s look back at 10 of the biggest software announcements Apple made at its developer conference. 1. Mac OS X Jaguar (WWDC 2002) Jaguar was the second major update released for the Mac operating system after Apple transitioned from the classic Mac OS 9 to Mac OS X. Announced at WWDC 2002, the update stood out not only for its improvements but also for its big cat-inspired name. If you’ve been following Apple for a long time, you probably know that each version of Mac OS X was named after a feline, such as Leopard and Lion. This began with Apple engineers giving the internal codenames “Cheetah” and “Puma” to Mac OS X 10.0 and 10.1, respectively, but the public didn’t know that. Apparently, Steve Jobs liked the internal names so much that Apple decided to use them to promote Mac OS X, with Mac OS X 10.2 “Jaguar” the first to be announced with feline branding. It wasn’t just the name, though. Jaguar was also a major upgrade when it came to features, as it introduced GPU-accelerated graphics for the first time with Quartz Extreme, which also allowed Apple to refine the system interface with smoother animations. Apple 2. Spotlight (WWDC 2004) Searching for something with Spotlight on an Apple device seems so obvious nowadays, but trying to find your files on a computer years ago could be a long and difficult task.  At WWDC 2004, Apple unveiled Spotlight as one of Mac OS X 10.4 Tiger’s marquee features. Unlike other search methods that existed before, Spotlight indexed all the data on the computer so that users could easily and quickly find anything they needed. Jobs wowed the entire audience with a live demo of Spotlight, as it not only located files, but also searched for documents, emails, contacts, and more, with users being able to refine their search by specifying a date or file type. Spotlight has become a reference for the entire industry, and 21 years later, the feature is still present across all of Apple’s devices. 3. Dashboard (WWDC 2004) Also unveiled as part of Mac OS X Tiger, Dashboard introduced an entirely new secondary desktop that provided quick access to widgets. At the time, the idea of having widgets was a novel one. Users could do things like quickly check the weather forecast and the stock market at a glance without having to open a specific app. The dedicated Dashboard feature was eventually discontinued by Apple, but widgets live on not only in macOS, but also in iOS. In fact, the first versions of Apple’s iPhone apps, such as Weather and Stocks, were inspired by those original Dashboard widgets. Foundry 4. Time Machine (WWDC 2006) Announced at WWDC 2006 as part of Mac OS X Leopard, Time Machine was Apple’s solution to make data backup much easier. While in the past users had to back up their files and apps manually, Time Machine came with the promise of doing it all automatically and periodically. More than that, Apple has also introduced a cool interface that lets users “travel back in time” to retrieve previous versions of files, emails, and settings if they lose something. Time Machine is essentially a smart backup that users don’t even have to think about. Time Machine remains one of my favorite Mac features to this day. All you have to do is plug in an external disk to your Mac and enable Time Machine in Settings. 5. iPhone SDK (WWDC 2008) The first iPhone was unveiled at Macworld San Francisco in 2007, but did you know that it didn’t have an App Store? The only way to create apps for the iPhone at the time was to build web apps compatible with the mobile version of Safari. Apple quickly realized that wasn’t the best method, and at WWDC a year later, Jobs announced the first iPhone SDK (the iOS name came a few years later). With the SDK, developers were finally able to create native apps for the iPhone, opening up a whole new world of possibilities. The accompanying iPhone OS 2.0 release also included the App Store, and the rest is history. Many apps that we all know and love today were born because of the iPhone OS SDK. This includes WhatsApp and Instagram, both created by independent developers who wanted to showcase the potential of the iPhone and the App Store. 6. iCloud (WWDC 2011) After many problems with MobileMe, Apple came up with a new online service called iCloud – a new platform that came with the promise of not only fixing what the company had done wrong in the past, but also seamlessly syncing data between iPhone, iPad, and Mac. Before iCloud, users still needed a Mac or PC to transfer data to an iPhone or iPad, or vice versa. Now, all our data is available on every device, and everything happens automatically in the background. iCloud also paved the way for services like iCloud Drive, iCloud Photos, and Family Sharing. It’s notable that iCloud was the last Apple product personally introduced by Steve Jobs. The Apple co-founder didn’t have much stage time at WWDC 2011 due to his health condition, and he passed away in October. Apple 7. iOS 7 (WWDC 2013) iOS 7 represented the most dramatic visual change in the history of Apple’s mobile operating system to date. At WWDC 2013, Apple unveiled a new, completely flat interface under the direction of Jony Ive. Skeuomorphic elements with textures imitating real-life objects gave way to solid colors and white backgrounds. The new interface didn’t just transform the look of the iPhone. It led many other developers to also adopt the flat interface in their apps and websites, creating a new trend not only for Apple platforms but for the entire industry. But in addition to the new interface, iOS 7 also introduced many features that have become essential for iPhone and iPad users. These include AirDrop, Control Center, and improved multitasking. Since then, Apple has made other changes to iOS, but the fundamentals of the design language introduced with iOS 7 are still present throughout the system. According to rumors, Apple will finally introduce another major update to the iOS interface this year with iOS 19—so maybe we’ll have a new addition to this list. 8. iPadOS (WWDC 2019) In a move to address the growing divergence between the iPhone and iPad, Apple split iOS into two at WWDC 2019 and introduced a standalone OS just for the tablet. While still based on iOS, iPadOS added specific and long-awaited features to take advantage of the iPad’s larger screen and advanced hardware. With iPadOS updates over the years, Apple introduced multi-windows for the same app, a desktop-class Safari browsing experience, support for external storage in the Files app, Picture-in-Picture, mouse and trackpad support, and the ability to use the iPad as a Mac display with Sidecar. Reports say this year’s iPadOS update will bring better multitasking and a more Mac-like experience. Foundry 9. Find My (WWDC 2019) It didn’t get quite the attention as iPadOS, but at WWDC 2019, Apple also introduced a significant improvement to its Find My service: offline device tracking. Based on an end-to-end encrypted Bluetooth signal, the new Find My network allows users to locate iPhones, iPads, and even Macs when they’re not connected to the internet. The iPhone, iPad, or Mac sends its location to other Apple devices nearby, so that the owner can see where their devices are via the Find My app. This not only improved Find My and helped people recover their lost devices more easily, but also paved the way for the launch of AirTag, a tiny Bluetooth tracker based on the same technology. 10. App Tracking Transparency (WWDC 2020) This might not be as memorable as iOS 7 or Dashboard, but App Tracking Transparency was an important addition to iOS that had a huge impact on the industry. Announced as part of iOS 14 at WWDC 2020, Apple’s first pre-recorded event during the pandemic, App Tracking Transparency (ATT) is a privacy feature that requires apps to ask for the user’s consent before tracking them across other apps and websites. ATT has dramatically impacted the online advertising market and data collection. While Apple has stood up for user privacy with App Tracking Transparency, the feature was widely criticized by companies, including Meta, whose main revenue comes from advertisements reliant on user data.

The Fairfax by Dragon Tiny Homes is a budget-friendly tiny house designed for simplicity and flexibility. At just 16 feet (4.8 meters) long, it’s best suited for use as a cozy vacation retreat or a guest house rather than a primary family home. Built on a double-axle trailer, the Fairfax features a sturdy steel frame with cement board siding for durability. Inside, you’ll find 135 square feet (12.5 square meters) of living space with a shiplap finish, all thoughtfully arranged on a single level. Despite its compact size, the one-floor layout makes it easy to move around and maximizes functionality for a comfortable, efficient small-space living experience. Designer: Dragon Tiny Homes The Fairfax is notably more compact than most other tiny houses, such as Baluchon’s Cardabelle, making it ideal for those who are truly committed to downsizing or need a flexible space for specific uses. Dragon Tiny Homes refers to it as a hotel room on wheels, suggesting that it’s best used as a guest house, a home office, or a short-term rental like an Airbnb, rather than as a full-time residence. The entrance leads directly into the small kitchen area, which is extremely streamlined. It features a simple sink and a quartz countertop, with cabinetry designed to discreetly store a portable stove or microwave that can be brought out when needed. This approach keeps the space clean and functional, allowing users to prepare meals without cluttering the living area. Overall, Fairfax’s minimal layout makes it both practical and comfortable for shorter stays or as a flexible addition to a property. The living and sleeping area is located just off the kitchen. The model shown features a double bed and a chair, but for longer stays, a sofa bed or a Murphy drop-down bed could provide greater versatility. Large windows let in plenty of natural light, making the compact space feel brighter and more open. This simple layout ensures the area remains functional and comfortable, whether used for relaxation, work, or as a guest room. The thoughtful use of glazing and flexible furniture options helps maximize comfort and usability in Fairfax’s limited footprint. The Fairfax also features a compact bathroom, accessible through a small sliding door. Inside, you’ll find a shower and a standard flushing toilet. It’s uncertain if there’s space for a separate sink, but a combined toilet and sink unit, similar to what’s used in the Bellbird by Unplgd Tiny Homes, could be an efficient solution. This layout keeps the bathroom functional while saving space. For those interested in a minimalist, budget-friendly tiny home, the Fairfax is currently available for purchase at US$37,950, offering an affordable entry point into small-space living or a flexible addition to any property. The post Budget-Friendly Tiny Home Offers Compact Living For Airbnb, Office, Or Retreat first appeared on Yanko Design.

In the court of public opinion, acolytes of great architects are rarely treated as legends themselves. Take Chicago-area architect Don Erickson, who apprenticed with Frank Lloyd Wright at Taliesin from 1948 through 1951. Although the Chicago Tribune lauded Erickson’s work as “delicate, beautiful, and always original” after his death in 2006, local interior designer Jennie Bishop reports that most of his houses “are often purchased and torn down or so drastically changed that you can’t recognize them.”Bishop discovered an exception in 2021, when a friend in real estate suggested a meeting with clients who had just purchased the Winnetka, Illinois, residence that Erickson had designed for photographer Richard Boyer in 1966. “I went in blind and just gasped,” Bishop recalls of arriving at the impeccably preserved home, adding, “I was saying silent prayers that they would not rip things out or depart from Erickson’s vision.”Bishop sourced a circular sectional, designed by Adrian Pearsall, for the great room’s living area. She and one of the clients plan to replace its vintage upholstery when the homeowners’ two young sons are less rambunctious. In the living area, a pair of lounge chairs upholstered in a Schumacher checkerboard pattern stand guard over an original fireplace. Bishop’s invocations were answered quickly, when the husband and wife described their predilection for living in unique spaces. They also explained that they had promised the previous homeowner to steward this midcentury gem and envisioned a delicate renovation ahead. Bishop started the commission as cofounder of Chicago-based Studio Gild, and she completed the project under her recently launched AD PRO Directory firm Bishop Studio.The Winnetka residence features several hallmarks of a Frank Lloyd Wright–designed house. Applying Wright’s concept of “pressure and release” to the 6,000-square-foot interior, for example, Erickson created a skinny formal entry hall that he made even more narrow by arcing a raised fireplace hearth into the space. Just beyond the hearth, the newcomer overlooks a great room that is as expansive as the entry was constrained.“We didn’t want all the fixtures to look like they had been left there,” Bishop says of layering a contemporary lighting vocabulary into the well-preserved interior. For the kitchen island, she specified a Light Object 015 from Naama Hofman to shed strong uniform light on the work surface. The island’s Afternoon Plus stools are from DWR. The kitchen’s perimeter cabinetry traces one of the orioles with which original architect Don Erickson had lined the west elevation of the house. The millwork was done by Abruzzo Kitchen & Bath. The kitchen’s breakfast area, as seen from the hallway dividing the great room from the dining room: a Heritage Unicolor pendant from Taiwan-Lantern tops the custom table and banquette; leather sling dining chairs from CB2. Other aspects of the house, such as its fan-patterned brick floors, historically evocative windows, and balletic ceilings, suggest that Erickson counted himself among the likes of A. Quincy Jones and Edward Durrell Stone—architects who were trying to reshape High Modernism for a popular American audience.Bishop determined that the Winnetka project required neither window replacement nor ceiling removal. At first, she planned to leave the enchanting brick floor untouched too. “We thought that its muted colors were original,” she says, “but we discovered a warmer palette underneath the kitchen appliances.” While Boyer and the homeowners who followed him had maintained the interior with almost religious devotion, their years of cleaning and coating the floors had unintentionally dulled their appearance. So began an exhaustive process of diamond sanding and resealing the surface, which Bishop admits caused moments of second-guessing: “It was painful to get to where we are, but now I’m super happy for the rusty and spicy colors that we achieved. We dramatically changed the house and honored it simultaneously.”A Maho sectional sofa by Wendelbo and a pair of vintage hammock chairs anchor the Florida room, which distinguishes itself from the great room by stepping down from the living area. The Florida room is oriented south to the patio. Bishop completed the project’s other major intervention in a similar spirit. While redoing the primary and children’s bathrooms in the bedroom wing, the interior designer preserved the spaces’ organization into eight-by-eight-foot modules and specified surfaces featuring period-appropriate patterns and colors. To make the three-compartment primary bathroom more gracious, she converted a never-used sauna into a wet room that remains crowned in its original cedar. (Bishop notes that she could upgrade plumbing and electrical systems largely without touching the house’s historic fabric thanks to a crawl space that Erickson had presciently included under the bedroom wing.)For the house’s furnishings, Bishop dotted the interior with antiques. For new and custom pieces, she leaned more toward complementing rather than aping the past. “We’re surrounded by so much wood in this house that we expressed ourselves with stone,” she cites as one example. Bishop also explains that the trio’s admiration for this palimpsest has only grown with time, so much so that the homeowners have granted her right of first refusal, should they someday decide to sell the house.The house is ostensibly L-shaped in plan, its east- and south-facing crook enfolding a generous patio area. Bishop and the homeowners are spreading the love by including the nest in a home tour hosted by Community House. The annual event raises funds for the local nonprofit and, this year, it promises to raise the profile of Erickson too. Bishop reinvented the service entrance, located immediately adjacent to the three-bay garage, as a cozy entry wrapped in Cranes wallpaper by Milton & King. “Nothing in this house is super precious,” Bishop says, noting that the homeowners enjoy entertaining at home. To wit, the designer created a double-pedestal dining room table topped in Jadore Quartzite “that could be danced upon.” It is overseen by a Rib Vault Light by Talbot & Yoon. Within the great room, the Florida room’s glassed-in corner contains a vintage pedestal table surrounded by Crate & Barrel chairs upholstered in a House of Hackney bouclé. Bishop says she purchased and arranged the pieces on her own volition to help the then-unconvinced homeowners envision the vignette as a place for sipping wine or playing mah-jongg, “and they never left.” The primary bedroom occupies a semidetached volume at the easternmost end of the house. Here, a walnut Feve Desk from Ferm Living overlooks a custom king-size bed finished in wine-colored Kirkby Design upholstery. Like so many other original finishes in the house, the cedar ceilings in the primary bathroom suite were perfectly preserved. Bishop tacked a Mori pendant by RBW above the room’s middle module rather than tear into the cedar planks. The primary bath is a suite of three eight-by-eight-foot modules linked by travertine flooring. Jupiter’s Axis Wall Sconces flank the double vanity. The primary bath and this walk-in closet face one another across a hallway. Because the primary bedroom is so clearly distinguished from the rest of the house in plan, the two dressing areas form a metaphorical proscenium to the sanctum. The house’s privacy-giving serpentine wall is visible from the kids’ bathroom, in which a custom vanity sits against a backdrop of Claybrook Confiserie and Concrete Collaborative Pacifica tiles. The interior’s many swaths of pink are no accident—it is the husband’s favorite color. Bishop leaned into the hue with gusto for the powder room, using Sarah Von Dreele’s Brian XL wallpaper, a Twin 1.0 sconce, a slab of Quartzite, and other flamingo-like sources. Architect Don Erickson placed a serpentine brick wall in front of the house’s north elevation to shield the sleeping wing’s bathing and dressing areas.

On a sunny spring morning in south London, Walworth Square offers a freshly minted moment of respite from the clamorous main road. Around a peculiar new war memorial (to which war? The tracksuited boy perched on a branch is not enlightening) new trees shiver in the breeze, while, beneath them, a man, seemingly the worse for wear, stares vacantly at his scruffy shoes. Another man with enormous shoulders emerges from a gym and begins to take selfies. Across the square, steps rise to the grand Victorian jumble of Walworth Town Hall, which hasn’t been a town hall since the mid-1960s. Now, thanks to a fire and the near-bankruptcy of local government, the building houses offices, a café and a community centre. The architect of this transformation, Feix&Merlin, has had to negotiate a problematic inheritance – a (minor) landmark, catastrophic fire damage, impecunious owners and angry locals – and knead it into shape. In this they have succeeded, but the shape that it has assumed will, through no fault of the architects, prove indigestible to some.  The kernel of the extant structure was built as a church vestry in 1865. It later became Southwark Town Hall and was variously extended. Following the council’s evacuation to Camberwell in 1965, what remained was a public library, a local museum and municipal offices. In 2013 the roof caught fire and much of the Grade II-listed building was reduced to a shell; the remainder rotted behind hoardings until 2022, when work finally commenced on its restoration. Advertisement The protracted nature of this process can ultimately be attributed to chancellor George Osborne’s austerity budget of 2010. Although Southwark had at first intended to return the building to its original uses – and held a competition on this basis in 2015, which was won by Avanti Architects – it realised, on seeing the price tag, that this would be impossible. Avanti was dismissed and a new competition was held in 2018, with a revised brief. This emphasised the long-term commercial sustainability of the building, as well as an element of cultural use, taking into consideration the needs of the local community. The winners were developer General Projects working with Feix&Merlin. Their main gambit was to turn the building over to offices. However, on consulting the public while working up their proposal, they quickly realised how upset local residents were about the loss of public ownership. As a result, a community centre was added to the programme. It was the task of the designers to square this circle: how to retain the look and feel of a public building while optimising its new private function. They returned the exterior of the protected structure to its original form, including restoring the pattern to the roof tiles, which had been lost over the years. The ground floor houses the remaining public, or publicly accessible, spaces – the lobby café and community centre. The latter can be hired free of charge by local groups. The rest of the building is now offices. These also occupy its grandest rooms: the former main stair, debating chamber, library and museum. The last two functions have been transferred to a new building across the square, where they are housed in a new ‘heritage centre’. The architects have restored the historically significant interiors, more or less, removing the institutional accretions that had latterly defaced them, such as asphalt that had been laid on top of the masonry stairs and the false ceiling that hid the skylight above it. They also exposed the boxed-in balustrades on the mezzanine of the library and restored the parquet flooring throughout. All structural interventions have been achieved using cross-laminated timber. The roof has been reconstructed using it, creating a new storey with some intriguing windowless cubby holes inside its terminal turrets (handy for undistracted meetings). In the former debating chamber, the structure of the roof is exposed to view, a striking piece of engineering. On the ground floor, the ceiling of the space that now houses the lobby-cum-café, which had fallen in during the fire, is supported by hefty wooden arches. In some places, the architects have made looser interpretations of the original fabric. The public viewing gallery of the debating chamber has been extended to cover three sides of the room and a pattern derived from the lost balustrade has been cut into sheet steel to create a protective barrier for this new mezzanine. Certain elements, especially in the less important interiors, have been preserved as the fire left them. Where internal walls were removed, their footprint remains, breaking up the parquet, so that, as Julia Feix puts it, visitors can still read the original plan. Above a painted dado, the pitted and scorched surface of the old plaster, or the bricks exposed beneath it, have been preserved in their damaged state. Feix says this approach ‘lets the building talk about its history, rather than creating a pastiche of an era that’s long gone’.  This move has by now become an established procedure when dealing with rescue jobs, the obvious local example being Battersea Arts Centre, which Haworth Tompkins left similarly scarred following a 2015 fire. Its antecedents stretch back to Hans Döllgast’s post-war work on the Alte Pinakothek in Munich. In its more recent manifestations we could call this approach a fetishisation of decay, which raises questions as to what is being commemorated, and why. In Döllgast’s case, the answers were obvious: the Second World War, in order to prevent wilful amnesia. But in these two more recent examples, where the catastrophes in question were accidental fires, one might ask why a coat of plaster shouldn’t have been applied. Advertisement Walworth Town Hall helps to clarify the logic at work here, which is partly born of necessity. The building could not be restored to its previous condition or use, to the dismay of some locals, including the Walworth Society heritage group. The latter objected to the perceived loss of public access and was concerned that what remained could easily be revoked: for instance, if the café were unprofitable, it could be turned into more offices. They also disliked certain architectural aspects of the proposal, which they called ‘generic’: ‘neither bold and confident designs nor faithful restorations’. After protracted consultation, these concerns were taken into consideration by the architects in the restoration of the more significant rooms. Given the wrangling, it seems to me that, as in the case of Flores & Prats’ Sala Beckett in Barcelona, these patinated surfaces are intended to produce an impression of authenticity, without recourse to (prohibitively expensive) restoration, or ‘pastiche’, as the architects put it. It seems likely, however, that this code speaks more clearly to designers than to members of heritage groups.  But buildings are not made for heritage groups. Instead, this one is addressing two distinct publics. The community centre still opens to the Walworth Road, with its enduringly working-class character, and has already seen good use. However, the commercial part of the building has been reoriented to the new square to the north, from which it is accessed via the steps we traversed earlier. On the other side of the square rise the brick-slip-clad southern reaches of Elephant Park, the controversial development built by Lendlease on the rubble of the Heygate Estate. The Town Hall has turned its new face to these new Elephantines, the gym-dwellers who can afford to eat in the café and might choose to rent desk space here (if they have to work, that is). To return to my earlier question regarding the catastrophe being commemorated by these charred walls, perhaps the answer is: the conflagration of local government, which produced this double-headed building. Tom Wilkinson is a writer, editor and teacher specialising in the history of architecture and the visual culture of modern Germany Architect’s view As architects, we often aim to deliver transformational change, but at Walworth Town Hall, transformation came through restraint. Rather than imposing a vision, we allowed the building to speak, guiding us in knowing where to intervene and where to hold back. One key move was the reinvention of the former debating chamber into a light-filled triple-height space. Historical features were carefully restored, while a new mezzanine with a CNC-cut solid steel balustrade subtly echoes the original decorative railings of the former viewing gallery. The space is now crowned with a new exposed CLT timber roof with a bespoke light feature at its centre. All new structural and architectural elements were executed in timber, speaking to the sustainability agenda, aligning with modern environmental standards and enhancing user wellbeing. Timber’s biophilic properties connect occupants with nature, supporting physical and mental health while improving air quality. Crucial to our design language was an honest celebration of the building’s history, including the fire-damaged ‘scars’ that tell its story. While a handful of spaces were traditionally restored, most were approached with a light touch. New finishes were installed only up to the lower dado level, with the rest of the wall surfaces and ceilings left as found, retaining their battle-worn character (cleaned up and made safe, of course). Subtle material changes, such as microcement infills in the parquet, hint at the former wall layouts and structures. Striking a balance between restoration and contemporary intervention was essential. It has been a privilege to work on a building with such legacy and seeing the community return after more than a decade is deeply rewarding. Walworth Town Hall now honours its past while looking boldly to the future. Julia Feix, director, Feix&Merlin Architects   Client’s view We approached this project with a vision for developing a new blueprint for bringing at-risk municipal landmarks back to life. Now restored to its former glory and removed from Historic England’s Heritage at Risk register, Walworth Town Hall has been given back to a new generation with an exciting new purpose, made viable and fit for modern standards. In partnership with Southwark Council, and closely collaborating with Historic England and local community groups, we worked with Feix&Merlin to deliver a sensitive but impactful design approach. Our vision was that the building’s legacy should be revealed, rather than erased. The result strikes a balance between celebrating its inherited state and adapting it to modern use, combining elements of old and new by making sympathetic references to its beautiful 19th century architecture. Distinctly modern features, such as the use of cross-laminated timber to replace sections of the building damaged by the 2013 fire, are a reflective and contemporary interpretation of the original design. Elephant and Castle is undergoing a significant regeneration and Walworth Town Hall functions as a bridge between the area’s authentic heritage and its new future. Driven by a collaborative process, and tailor-made for small businesses to create, inspire and thrive, the reimagined Walworth Town Hall lays the groundwork for a new creative community to grow in this local destination.  Frederic Schwass, chief development officer, General Projects   Engineer’s view Heyne Tillett Steel was engaged as structural and civil engineer from competition stage to completion. It was both a challenging restoration of a listed building and an ambitious contemporary reconstruction, in exposed engineered timber, of its pre-fire form – at the same time creating better connectivity and adding floor area.   Built in various stages, the existing comprises nearly all methods of historic construction: timber, masonry, filler joist, clay pot, cast and wrought iron. The building had to be extensively investigated to understand its condition, fitness for reuse and, in some cases, capacity to extend.   Particular attention was paid to the impact of the fire and fire dousing in terms of movement, rot and corrosion. Repairs were carried out only where necessary after an extended period of drying and monitoring. The original council chamber roof was rebuilt as hybrid trusses (glulam and steel) to span the approximately 13 x 13m double-height volume below. The roof was prefabricated in just four pieces, built off the retained walls and installed in under two weeks.  A cross-laminated timber (CLT) covering creates the roof’s truncated pyramid shape. A new floor was added within the original massing of the west wing, utilising CLT slabs and a glulam ‘spine’ beam, creating unobstructed, exposed CLT ceilings across 7m bays at either side. The significant amount of retention and timber additions mean that the project scores very highly on benchmarks for embodied carbon, competitive beyond 2030 targets. Jonathan Flint, senior associate, Heyne Tillett Steel   Working detail The restoration presented a rare opportunity to reimagine a historic structure using sustainable, expressive materials. The original council chamber roof, destroyed by fire, was rebuilt as a hybrid CLT/glulam and steel ties structure, combining the aesthetic warmth of timber with the tensile strength of steel. The new roof had to clear-span approximately 13 x 13m over a double-height volume, and as the truncated pyramid structure was kept exposed, the increased volume of the space added a dramatic effect while introducing a contemporary character. Timber was selected not only for its sustainability credentials but also for its light  weight, crucial in minimising loads on the existing retained masonry. The trusses were prefabricated offsite in four large components, ensuring precision and reducing construction time and disruption on site. Once craned into position, they were set atop an existing concrete ring beam, a structural necessity installed after the fire to stabilise the perimeter walls in the absence of a roof. This ring beam now discreetly supports the new load paths. The combination of the timber structure in combination with the exposed brick and traditional plaster achieves a visually striking, materially honest reconstruction that honours the building’s historic proportions while firmly rooting it in contemporary sustainable practice. Julia Feix, director, Feix&Merlin Architects   Project data Location: Southwark, south London Start on site: February 2022 Completion: November 2024 Gross internal floor area: 5,000m2 Construction cost: £18.4 million Form of contract: Design and build Construction cost per m2: £4,500 Architect: Feix&Merlin Architects Client: General Projects Structural engineer: Heyne Tillett Steel M&E consultant: RED Engineering Quantity surveyor: Quartz Heritage architect: Donald Insall Associates (planning), Heritage Architecture (tender) Planning consultant: Rolfe Judd Landscape consultant: Town & Country Gardens Acoustic consultant: Sharps Redmore Transport consultant: Caneparo Associates Project manager: Quartz External lighting consultant: Atrium Specialist light feature: Barrisol Fit-out contractor: White Paper Art curation: Art Atelier Furniture, fixtures and equipment procurement: Hunter Community space operator: WTH Community Space Principal designer: ORSA CDM co-ordinator: ORSA Approved building inspector: Sweco Building Control Main contractor: Conamar Embodied carbon: 52 kgCO2/m2

Casalgrande Padana’s Terrae tiles collection Earthy tones bring a timeless charm to everyday living spaces, and are conducive to a sensation of wellbeing. Casalgrande Padana’s new Terrae collection draws on colour shades offered by the pigments and precious minerals of the earth. Tiles in the Terrae collection are available in six colours (beige, white, caramel, brick, tobacco and taupe grey) and different shapes, including square (200×200mm, 600×600mm, 900×900mm, 1,200×1,200mm) and a range of rectangular options (82×250mm, 300×600mm, 600×1,200mm and 1,200×2,780mm). Different thicknesses, from 6mm to 9mm to 200mm, and finishes are available, including natural and grip surfaces. The aim is to provide a pleasant tactile sensation while meeting a range of technical requirements. A version of the beige, tobacco and taupe grey tiles in 600×600×20mm and 600×1,200×20mm is specially designed for the outdoors, with an anti-slip surface. These tiles can either be laid directly on turf, gravel or sand, or glued on screed or raised supports to allow for the installation of electrical and plumbing systems. Porcelain stoneware is a compact, hard and non-porous ceramic material made from finely ground clays, quartz and other minerals that are fired at high temperatures. Resistant to water and scratches, this durable material is particularly well suited to flooring and wall cladding. In additional to the solid colours, the Terrae collection comprises more decorative tiles with elegant ribbed, gridded and other geometric patterns that make use of several colours in the collection’s earthen palette. These tiles help create attractive visual and tactile effects, with unique colour contrasts that add character and a touch of sophistication to both indoor and outdoor spaces. Suitable for the most challenging design applications, the tiles will maintain their aesthetic and functional characteristics intact over time. The silver-based treatment Bios Antibacterial applied to the tiles guarantees continual protection against micro-organisms, while the tiles are easy to both lay and clean. The durability and outstanding technical performance offer designers an impressive range of creative options, allowing for customised uses in various types of projects, whether adaptive reuse or new builds, and including private homes, civic spaces and commercial interiors. Based in Italy, Casalgrande Padana has been producing advanced ceramic materials since 1960. Carrying out continuous research and experimentation has enabled them to improve their products’ aesthetic and technical features over time. They currently produce 24,000,000m2 of porcelain stoneware tiles per year, entirely made in Italy, and work with 70 countries around the world. To find out more about Casalgrande Padana’s new Terrae collection, please visit casalgrandepadana.com/product/terrae 2025-05-20 AR Editors Share