Villino Liberty Trastevere / STUDIOTAMATSave this picture!© Serena Eller - Ellerstudio Architects: STUDIOTAMAT Area Area of this architecture project Area:  110 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Serena Eller - Ellerstudio Manufacturers Brands with products used in this architecture project Manufacturers:  Campeggi, Artceram, Artemide, Axolight, Cielo, DEMA, Danese Milano, Estiluz, Ex.T, Foster, Galassia, Irsap, La Pietra Compattata, Mutina, Oscar ono, Popham Design, Quadro Design, Tubes Radiatori, VippMore SpecsLess Specs Save this picture! Text description provided by the architects. In the heart of Rome's Trastevere district, STUDIOTAMAT has breathed new life into a hidden Liberty-style gem tucked away in the courtyard of a late 19th-century building along Viale di Trastevere. Once the caretaker's house for the old train station—or a neighborhood doctor's office, depending on who you ask—this forgotten villino has been reimagined as a refined urban hideaway for two. Spread across three compact, layered floors occupying 80 square meters and culminating in a lush, green terrace, the project began by carefully preserving the home's most distinctive elements. Restoring the front veranda with its delicate cathedral glass in soft greens, pinks, and yellows called for a mix of craft and technical precision. The original rhythm and hues were respected, while the frame was rebuilt in steel and solar-control glass. By removing the old French door that once divided it from the house, the veranda now flows into the interior, extending the living space and bathing it in natural light that subtly shifts in tone throughout the day.Save this picture!Save this picture!Save this picture!Save this picture!Inside, the intervention focuses on reconfiguring the layout, previously fragmented by a tight spiral staircase, and on the perception of the spaces. The redesign is radical in gesture but sensitive in execution: by moving the kitchenette beside the veranda, space is opened up for a striking alternating-tread staircase in chestnut wood. Its first step, clad in Verde Alpi marble, becomes the sculptural base of a custom bookshelf built into the understairs. Nearby, a mirrored chestnut storage unit conceals the laundry and enhances the sense of openness. The living room gains new depth, framed by a soaring double-height window that looks out onto surrounding gardens, in quiet harmony with Munari's iconic Falkland pendant lamps. The custom kitchen, liberated from overhead cabinetry, is defined by a linear base topped in Verde Alpi marble and shaded drawers that fade from black to terracotta, echoing the beautifully preserved original terracotta floors. A deep blue volume organizes the ground floor's services: fridge and pantry on one side, a discreet powder room on the other.Save this picture!This bold block of color continues upward, passing through the mezzanine and defining the main bathroom on the top floor, where Nouveau furnishings by Ex.t meet the textured surfaces of Patricia Urquiola's Mater tiles for Mutina and fixtures by Formafantasma for Quadro Design. To bring in light and create a sense of airiness, the mezzanine has been partially opened, introducing a double-height void. Glass floor panels offer glimpses between levels, while mirrored panels below bounce reflections upward, visually expanding the space and enhancing the blue volume. The remaining floors are finished in Foret parquet by Oscar Ono Paris, designed by Raphael Navot—preassembled oak slats with visible end grain, a nod to the pebble streets of 19th-century Paris and ancient Rome. A custom bed with drawer base and integrated headboard echoes the kitchen's color gradient, creating visual continuity between the levels.Save this picture!Save this picture!Save this picture!A second spiral staircase in raw iron with cherry wood treads connects the sleeping area to the upper level, serving as a sculptural focal point for the studio space. A glass partition, echoing the veranda's rhythm with alternating clear and ribbed panels, elegantly screens the bathroom: the door doubles as a backdrop for the shower, while a Verde Alpi marble sink slices through the glass, becoming a shared counter surface. Outside, the terrace features compacted stone paving in two shades of green, blending into the surrounding vegetation and reflecting the palette.Save this picture!Save this picture!Discreetly nestled in one of Rome's most characterful neighborhoods, this intervention captures the quiet charm of Trastevere. Just like the district itself, where modest façades often hide unexpected treasures, this project reveals the latent beauty of a neglected house. Merging memory with material, and history with contemporary sensibility, STUDIOTAMAT has created a deeply rooted, yet strikingly modern urban refuge.Save this picture! Project gallerySee allShow less About this officeSTUDIOTAMATOffice••• MaterialGlassMaterials and TagsPublished on May 22, 2025Cite: "Villino Liberty Trastevere / STUDIOTAMAT" 22 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030344/villino-liberty-trastevere-studiotamat&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

When was the last time you upgraded your laptop? If you’re still working off of a piece of ten year old tech, it may be time to start looking for a replacement. The Dell Inspiron 16 laptop is a super versatile option that can fulfill a lot of the needs of pretty much anyone, be it you’re a student, small business owner, or just someone who wants to go online with something other than their phone. Dell has its Inspiron 16 touchscreen laptop with Windows 11 Pro installed on sale for 71% off, bringing it down from its listed price of $3,400 to just $1,000. Additionally, it comes with a lifetime license to Microsoft Office. See at Amazon Immersive Touchscreen Experience The Dell Inspiron 16 is equipped with a AMD Ryzen 7 8840U processor which delivers powerful performance perfect for both work and play. It comes with 32GB of RAM and a full 1TB of storage on its SSD. It’s designed for professional use for anyone who needs lightning-fast data access, seamless multitasking, and frequently uses demanding software applications. The laptop has a display size of 16 inches, supporting Full HD with its resolution of 1920 x 1080 pixels. The LED backlit screen is anti-glare so it remains comfortable to use in any environment for long hours of either hard work or entertainment. It’s also a touchscreen which allows you to use your laptop like it’s a tablet. And I’ll say this… touchscreen is absolutely the optimal way to play Balatro and everyone should be playing Balatro. The laptop is sleek and lightweight, making it easy to travel with or to take to a local coffee shop to get work done there. The Dell Inspiron 16 laptop is pre-installed with Windows 11 Pro, which features a redesigned Start menu, OneDrive integration, multiple personalized desktops, new keyboard shortcuts, and more. Universal Search is a new feature now found on the the taskbar across the bottom of your screen. You can literally search for anything. Whether you’re looking for specific files or apps on your computer or need recipes or maps on the web, it will look through all systems to find exactly what you need. Contacts, notes from class—you name it. All with one search bar. Right now, you can save a crazy 71% on the Inspiron laptop with Windows 11 Pro from Dell. That brings the price down from $3,400 to just $1,000—a $2,400 savings. Before getting too excited, it’s never listed at that full price. However, this is still a reasonable price to pay for the Dell Inspiron 16 with a 1TB SSD and 32GB of RAM. You also get a lifetime license to the full Microsoft Office suite. See at Amazon

This week, for the respective editions of their newsletters, Kids Today and User Friendly, senior correspondents Anna North and Adam Clark Estes have a chat about something that’s occupying both of them as journalists and as parents of young kids: How AI will shape the lives of the next generation?Anna North: Hi Adam! Excited to chat about AI and kids! In addition to reporting on kids for work, I also have a 7-year-old (who is home sick today and watching Amphibia right now, so might interrupt), and a 2-year-old (who is not currently home sick, yay!).Adam Clark Estes: Hey Anna! My kid is not yet 2, but as they say, the days are long, but the years are short. I feel like I’ll be meeting her AI friends in no time. Anna: Ha! So speaking of which, should we kick this off by talking a little bit about our hopes and fears for our kids growing up in the age of AI? I do feel like there’s a lot to be hopeful about: I’m excited that my kids will grow up in a time when we can use AI to develop new drugs and decode elephant language (although maybe some of those AI tools are more properly called machine learning?). My biggest fear is that my kids won’t see the point of learning certain skills, like writing and math, because AI can do those tasks for them. I certainly worry about AI taking jobs, too, but that’s a ways away for my kids.RelatedShould schools lock up kids’ phones?Adam: I’m actually not that worried about my kid having AI friends. She probably will! I just hope that she doesn’t spend too much time with them or too much time with AI-powered technology in general. I hope we enter this new AI era together and learn how these tools can make our lives better, richer, and more interesting. It reminds me of how the internet came of age around the same time I did, but my parents seemed too afraid to figure it out at the time. I hope I can be brave. Anna: My dad was actually an internet early adopter, and so we did enter that era together, which was sweet. We used to go to Doctor Who chatrooms — I remember once listing “our” age as “43 and 12.” That was nice for me because 1) I learned to use a computer and 2) I learned to be curious and not fearful around new technologies. Except I am a little fearful around AI! Maybe I have to channel that spirit of curiosity a little more when I’m with my kids.A friend of mine was telling me her district is rolling out AI tools potentially in kindergarten, so it starts young.Adam: And I keep seeing ads for AI-equipped stuffed animals. AI is still such a buzzword, but I do think we’re starting to see how it really will take over technology as we know it. I always say that it’s just the next iteration of the software that’s already in everything. So, of course, it’s going to be in classrooms — not just for cheating purposes, either.Anna: Cheating using AI is less of an issue for little kids because they’re not doing much of their work on computers yet. The AI tools I’ve seen proposed for K-6 are like this AI-powered reading coach, which seems less vulnerable to cheating than, say, ChatGPT. I’ve definitely heard people say that AI could potentially offer more personalized tutoring one day, which could be positive since individual instruction is really beneficial, but public school classes are often too large to offer much of it. That idea doesn’t freak me out too much, although, of course, there are questions around how reliable and accurate AI tools are.My older kid is in first grade, and at his school, there’s a lot of talk about the role of AI in math. The argument I’ve heard is very similar to what we were taught about calculators, honestly: that these tools will be able to do a lot of simple operations for us, so kids should be able to think intuitively about numbers.I don’t really think we’ll return to oral exams, but we will have to reconsider what education looks like in a world that runs on AI.Adam: I’m also curious about how AI simply changes how schools work. Like, if AI makes it too easy to cheat when essay-writing, what will teachers assign instead? And what will they grade? I don’t really think we’ll return to oral exams, but we will have to reconsider what education looks like in a world that runs on AI.Anna: I do think there’s a shift to more in-class tests and assignments, which can cause its own stress. I also wonder if there’s just going to be a shift toward developing a different set of skills, if writing just becomes less important. We already see kids and young people consuming less text — I wouldn’t be shocked if there was more emphasis in the coming years on oral presentation or audio and visual production skills. That bums me out as a writer, but maybe it’s what Plato would’ve wanted? I do try to remember that people have always been skeptical of new technology (even written language), and some of the anxieties we’re experiencing now are thousands of years old.I wouldn’t be shocked if there was more emphasis in the coming years on oral presentation or audio and visual production skills.Adam: And some look like instant replays of anxieties from just a decade or two ago. Every time a new technology or medium comes along, there’s a collective freakout that it’s destroying the youth. This is just as true for social media as it was for TV, video games, comic books, and even radio. I think this will be true of AI in social settings, too. It’s already possible to have an AI friend through apps like Replika or Kindroid. I wasn’t kidding about the AI stuffed animals, either. There’s one called Grok that’s designed — by Grimes of all people — for ages 3 and up. Kids can ask it questions, and the AI will tell them things, like a futuristic Teddy Ruxpin, except Teddy Ruxpin had a cassette tape in his belly that parents could listen to and know what the stuffed bear would say. I have no idea what AI will be telling our kids!I’ve seen people call this the end of the imaginary friend. I actually think it’s just the beginning of something new. What that is, I can’t imagine. At least not yet. Anna: It’s funny to me because Teddy Ruxpin was famously creepy! The social/play aspect of AI is super-interesting. I’m not worried about AI killing imaginary friends — kids will make friends with a can of tomato paste, and I don’t think you can destroy their social creativity that easily.My biggest concern around AI friends right now is safety — there are already lawsuits alleging that chatbots nudged kids toward violence or self-harm. Do you know what guardrails there are in place? Adam: My general feeling about guardrails is that, no matter how many there are, technology finds a way to leap over them. YouTube, for instance, has long struggled with how to make sure parents can steer their children to safe, age-appropriate content, but kids inevitably find themselves sucked down a rabbit hole of uncanny algorithmically generated videos. Throwing an infinite supply of AI-generated content into the mix won’t help, so I think parents will have to be vigilant about triple-checking what their kids are watching or playing with.There was a Pew study earlier this year that said about a quarter of all teens had tried ChatGPT for schoolwork. That number had doubled in a year.So if you assume that guardrails aren’t there or won’t work and that kids are going to try some kind of AI tool eventually, where does that leave parents? To be honest, I think we should all do what your dad did with you: Hang out in the proverbial chatrooms together. Talk to the chatbots together. Play with the AI toys together. Learn about this new technology along with your kids and help them learn when to put them away.I think we should all do what your dad did with you: Hang out in the proverbial chatrooms together. Talk to the chatbots together. Play with the AI toys together.Anna: I’m sure my dad will appreciate this endorsement of his parenting! You’re not alone, though. Andrew Przybylski, an Oxford professor I think we’ve talked about who studies phones and kids, talks about introducing his children to smartphones the way you would teach a kid to ride a bike: It’s a tool. It has hazards but also uses. It can be fun, and it’s a basic part of life. Maybe the same is true of AI?This conversation is sort of making me think I need to use AI more with my kids, which is not where I expected to end up. Adam: It’s important to point out that we’re mostly talking about generative AI here, and chatbots. There are also image and video generators. These all have obvious applications for kids in schools, for cheating and learning. But we haven’t even gotten into what the next generation of AI will impact our kids’ lives — things like AI agents that can use computers themselves or the much feared artificial general intelligence that can theoretically do anything. That future is a lot harder for me to comprehend right now.Anna: Yeah, I think there’s a lot about the next 10 or 15 years, both in AI and just in our kids’ lives generally, that’s hard to wrap one’s head around. My husband and I always joke about our children going to college on the moon, but I think it’s just a way of expressing the uncertainty that’s always there when you try to project too far out.See More:

The stars are out at the 2025 Cannes Film Festival.This year's event kicked off on May 13 with an opening ceremony and the premiere of the French film "Leave One Day." The festival will continue until May 24, providing nearly two weeks of French street style and red-carpet fashion.So far, some celebrities have turned heads in bold ensembles, while others have missed the mark with their looks.From Bella Hadid to Halle Berry, here are the best and worst looks we've seen. Elle Fanning's strapless gown was simple, but effective. Elle Fanning at the Cannes Film Festival. Reuters She walked the "Affeksjonsverdi" red carpet on Wednesday in a strapless Giorgio Armani design that looked pretty and chic.It was fitted to her body, decorated with pink rose appliqués, and completed with a plunging sweetheart neckline. Alex Consani wore a two-piece set that was almost perfect. Alex Consani at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP She arrived for "The Phoenician Scheme" screening on Sunday in a uniquely shaped Schiaparelli set.The model's structured top had a beaded, off-the-shoulder neckpiece that covered her chest and a high-low peplum waistband. Her pants, on the other hand, were oversize and wide.Though her statement blouse had potential, Consani's pants were a little too big and needed tailoring. A form-fitting skirt might have looked better with the top piece. Alexander Skarsgard faced a similar issue. Alexander Skarsgard at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP The actor could have looked classic with a traditional tuxedo for the red-carpet event, or he could have attempted a more daring style.Instead, he tried to do both at the same time.He wore a sharp Saint Laurent tux with his trousers tucked into thigh-high leather boots — a style the fashion house first revealed in its January runway show.The shoes were distracting and felt out of place with his otherwise basic look. Mariska Hargitay had a glamorous pink moment on Saturday. Mariska Hargitay at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP For the "Die, My Love" screening, Hargitay chose an off-the-shoulder gown crafted with black satin and sparkling hot-pink fabric.The color combination was sharp, the gown's straight silhouette fit the actor perfectly, and her elbow-length gloves made the outfit even more elegant. For the "Eddington" red carpet on Friday, Jeremy Strong should have picked a different suit. Jeremy Strong at the 2025 Cannes Film Festival. Michael Buckner/Getty Images His brown ensemble included a button-up shirt, a wrap blazer, straight-leg trousers, and a bow tie, all cut with raw hems.While the rough style might have worked for a different event, it looked too casual at Cannes. His black loafers were also too harsh against the lighter outfit. Natalie Portman showed the best of Dior. Natalie Portman at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP She walked the "Eddington" red carpet in a strapless, sparkling creation from the French fashion house.Its silver top was covered in sparkles and wrapped with a black bow, while its floor-length skirt had Dior's classic Junon petals.Portman accessorized the look perfectly with a bun hairstyle and a thick diamond necklace. Angelina Jolie's gown would have worked better in a different color. Angelina Jolie at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP Also on the "Eddington" red carpet, Jolie wore a strapless Brunello Cucinelli design. It had a thick floor-length skirt, a fitted bodice, and all-over sparkles that highlighted its rope texture.Though the actor looked pretty, her gown's ivory color matched her skin tone too closely and washed her out. The same dress in a pink or lilac shade could have worked better. Elaine Zhong stunned in a cream-colored ball gown. Elaine Zhong at the 2025 Cannes Film Festival. Gisela Schober/Getty Images The Chinese actor wore the strapless dress on the "Dossier 137" red carpet. Its structured bodice was decorated with beaded appliques, and its cups were shaped with flower petals.To accessorize the glamorous look, she added a sparkling diamond choker, matching earrings, a thick bracelet, and vibrant red lipstick. Zoe Saldaña's all-black ensemble didn't stand out. Zoe Saldaña at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP She attended the "Mission: Impossible - The Final Reckoning" red carpet in a black Saint Laurent gown.Though her sleeveless dress was classic, it was also overly simple. Statement jewels could have easily enhanced the look.She also draped a dark leather jacket around her arms, which was much more casual than the rest of her outfit. Araya Alberta Hargate sparkled down the same red carpet. Araya Hargate at the 2025 Cannes Film Festival. Benoit Tessier/Reuters She wore a crystal-covered dress that looked like it was molded to her body with its form-fitting design.Its strapless, snake-print bodice was corseted with a deep plunge down the middle, and its floor-length skirt was pink and embellished with countless sparkles.The Thai actor completed her look with a large diamond necklace crafted in the shape of leaves. Heidi Klum had a pearlescent moment, but it wasn't her best. Heidi Klum at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP Elie Saab designed the model's off-the-shoulder gown. It had a deep V-neckline, see-through stripes, and all-over sparkles in blue and purple.Some of those details might have worked on their own. But together, especially with the gown's mermaid shape, its accents made it look more theatrical than glamorous. Tom Cruise looked sharp in maroon. Tom Cruise at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP Cruise attended a promotional event for "Mission: Impossible - The Final Reckoning" at Cannes.In doing so, he became one of the best-dressed men at the festival so far this year.He wore a fitted, textured knit polo and matching trousers with sharp pleats. The outfit was understated and vibrant on its own, while his brown dress shoes and dark sunglasses gave it an edge. Halle Berry made a last-minute fashion change, but her new outfit didn't work for her. Halle Berry at the 2025 Cannes Film Festival. Reuters When Berry walked onto the Cannes red carpet, she wore a shapeless Jacquemus gown with a black-and-white stripe print.She later told reporters that she'd originally planned to wear an "amazing dress" from Gaurav Gupta, but had to find a new look when Cannes announced a new dress code that prohibits voluminous gowns with long trains the day before the festival began.Unfortunately for Berry, the bold dress she chose was so flowy and oversize that it seemed to wear her, when it should have been the other way around. Isabeli Fontana could have been mistaken for a princess in a metallic gown. Isabeli Fontana at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP Nicolas Jebran designed her halter gown. The form-fitting piece had knotted fabric at the hip, a floor-length skirt with a short train, and a hip-high slit that revealed her sparkling pumps.The gown was also adorned with a sparkling silver piece that covered one shoulder and was embedded with turquoise stones.The ensemble was elegant and fit Fontana perfectly. Bella Hadid is always one of the best-dressed stars at Cannes, but her outfit choice for the 2025 opening ceremony was underwhelming. Bella Hadid at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP Saint Laurent designed her sleeveless black dress with some interesting details. Its straps crisscrossed across her back to create cutouts and a deep plunge on the side of her chest.However, the front of the gown was overly simple. It had an asymmetrical neckline that looked mishapen, and a thigh-high slit that was cut too far to the side.Even her massive emerald earrings from Chopard weren't enough to make the ensemble memorable. Eva Longoria sparkled down the red carpet in a stunning gown. Eva Longoria at the 2025 Cannes Film Festival. Scott A Garfitt/Invision/AP Her Tamara Ralph gown was strapless and covered in square metallic pieces that sparkled in the light as she walked.It also had velvet panels at the waist that gave the dress some shape and matched its glamorous train.Not only was the dress tailored perfectly to Longoria, but the actor also accessorized strongly. She wore a statement necklace, rings, and earrings from Pasquale Bruni. Irina Shayk wore a fun gown, but a different hairstyle could have elevated the whole look. Irina Shayk at the 2025 Cannes Film Festival. Joel C Ryan/Invision/AP The model arrived wearing a black Armani Privé gown with all-over white polka dots. It had a strapless neckline, off-the-shoulder puffed sleeves, and a full skirt.On its own, the dress was fun, frilly, and perfect for Cannes.But Shayk wore her hair styled in a dramatic shape — a bun atop a strip of pin-straight hair — that distracted from her outfit.

In February 2024, CNN reported, “A finance worker at a multinational firm was tricked into paying out $25 million to fraudsters using deepfake technology to pose as the company’s chief financial officer in a video conference call.” In Europe, a second firm experienced a multimillion-dollar fraud when a deepfake emulated a board member in a video allegedly approving a fraudulent transfer of funds. “Banks and financial institutions are particularly at risk,” said The Hack Academy. “A study by Deloitte found that over 50% of senior executives expect deepfake scams to target their organizations soon. These attacks can undermine trust and lead to significant financial loss.”  Hack Academy went on to say that AI-inspired security attacks weren’t confined to deepfakes. These attacks were also beginning to occur with increased regularity in the form of corporate espionage and misinformation campaigns. AI brings new, more dangerous tactics to traditional security attack methods like phishing, social engineering and the insertion of malware into systems. For CIOs, enterprise AI system developers, data scientists and IT network professionals, AI changes the rules and the tactics for security, given AI’s limitless potential for both good and bad. This is forcing a reset in how IT thinks about security against malicious actors and intruders. Related:How Bad Actors are Exploiting AI What exactly is IT up against? The AI tools that are available on the dark web and in public cyber marketplaces give security perpetrators a wide choice of AI weaponry. Also, IoT and edge networks now present much broader enterprise attack surfaces. Security threats can come in videos, phone calls, social media sites, corporate systems and networks, vendor clouds, IoT devices, network end points, and virtually any entry point into a corporate IT environment that electronic communications can penetrate. Here are some of the current AI-embellished security attacks that companies are seeing: Convincing deepfake videos of corporate executives and stakeholders that are intended to dupe companies in pursuing certain actions or transferring certain assets or funds. This deep faking also extends to voice simulations of key personnel that are left as voicemails in corporate phone systems.  Phishing and spearfishing attacks that send convincing emails (some with malicious attachments) to employees, who mistakenly open them because they think the sender is their boss, the CEO or someone else they perceive as trusted. AI supercharges these attacks because it can automate and send out a large volume of emails that hit many employee email accounts. That AI continues to “learn” with the help of machine learning so it can discover new trusted sender candidates for future attacks.   Related:Adaptive messaging that uses generative AI to craft messages to users that correct grammar and that “learn” from corporate communication styles so they can more closely emulate corporate communications that make them seem legitimate. Mutating code that uses AI to change malware signatures on the fly so antivirus detection mechanisms can be evaded. Data poisoning that occurs when a corporate or cloud provider’s AI data repository is injected by malware that alters (“poisons”) so the data produces erroneous and misleading results.  Fighting Back With Tech To combat these supercharged AI-based security threats, IT has number of tools, techniques and strategies it can consider. Fighting deepfakes. Deepfakes can come in the form of videos, voicemails and photos. Since deepfakes are unstructured data objects that can’t be parsed in their native forms like real data, there are new tools on the market that can convert these objects into graphical representations that can be analyzed to evaluate whether there is something in an object that should or shouldn’t be there. The goal is to confirm authenticity.  Related:Fighting phishing and spear phishing. A combination of policy and practice works best to combat phishing and spear phishing attacks. Both types of attacks are predicated on users being tricked into opening an email attachment that they believe is from a trusted sender, so the first line of defense is educating (and repeat-educating) users on how to handle their email. For instance, a user should notify IT if they receive an email that seems unusual or unexpected, and they should never open it. IT should also review its current security tools. Is it still using older security monitoring software that doesn’t include more modern technologies like observability, which can check for security intrusions or malware at more atomic levels?  Is IT still using IAM (identity access management) software to track user identities and activities at a top level in the cloud and on top and atomic levels on premises, or has it also added cloud identity entitlements management (CIEM), which gives it an atomic level view of  user accesses and activities in the cloud? Better yet, has IT moved to identity governance administration (IGA), which can serve as an over-arching umbrella for IAM and CIEM plugins, plus provide detailed audit reports and automated compliance across all platforms? Fighting embedded malware code. Malware can lie dormant in systems for months, giving a bad actor the option to activate it whenever the timing is right. It’s all the more reason for IT to augment its security staff with new skillsets, such as that of the “threat hunter,” whose job is to examine networks, data and systems on a daily basis, hunting down malware that might be lurking within, and destroying it before it activates. Fighting with zero-trust networks. Internet of Things (IoT) devices come into companies with little or no security because IoT suppliers don’t pay much attention to it and there is a general expectation that corporate IT will configure devices to the appropriate security settings. The problem is, IT often forgets to do this. There are also times when users purchase their own IoT gear, and IT doesn’t know about it. Zero-trust networks help manage this, because they detect and report on everything that is added, subtracted or modified on the network. This gives IT visibility into new, potential security breach points. A second step is to formalize IT procedures for IoT devices so that no IoT device is deployed without the device’s security first being set to corporate standards.  Fighting AI data poisoning. AI models, systems and data should be continuously monitored for accuracy. As soon as they show lowered levels of accuracy or produce unusual conclusions, the data repository, inflows and outflows should be examined for quality and non-bias of data. If contamination is found, the system should be taken down, the data sanitized, and the sources of the contamination traced, tracked and disabled. Fighting AI with AI. Most every security tool on the market today contains AI functionality to detect anomalies, abnormal data patterns and user activities. Additionally, forensics AI can dissect a security breach that does occur, isolating how it happened, where it originated from and what caused it. Since most sites don’t have on-staff forensics experts, IT will have to train staff in forensics skills. Fighting with regular audits and vulnerability testing. Minimally, IT vulnerability testing should be performed on a quarterly basis, and full security audits on an annual basis. If sites use cloud providers, they should request each provider’s latest security audit for review. An outside auditor can also help sites prepare for future AI-driven security threats, because auditors stay on top of the industry, visit many different companies, and see many different situations. An advanced knowledge of threats that loom in the future helps sites prepare for new battles. Summary AI technology is moving faster than legal rulings and regulations. This leaves most IT departments “on their own” to develop security defenses against bad actors who use AI against them.  The good news is that IT already has insights into how bad actors intend to use AI, and there are tools on the market that can help defensive efforts. What’s been missing is a proactive and aggressive battle plan from IT. That has to start now. 

Pokémon Trading Card Game Pocket will get its next major update on Thursday, May 29 which will add a new booster pack to the popular mobile game. Dubbed Extradimensional Crisis, the new pack will add Ultra Beasts from Pokémon Sun and Moon to the mix. Since its release last year, Pokémon Trading Card Game Pocket has received regular updates. Its most recent one, which featured two Celestial Guardians booster packs, introduced critters from the Alola region to the card game. Extradimensional Crisis will continue that thread, adding some missing monsters to the card pool. Recommended Videos The big news is that the packs will add Ultra Beasts to the game, a set of eclectic Pokémon that are exclusive to Sun and Moon. That means that you’ll be able to battle with some of the series’ strangest — and most absurdly named — creatures, like Buzzwole and Guzzlord. Type: Null will get its own card too, bringing a very peculiar legendary to the game. The update will also add more Alolan Pokémon to the mix, including new EX cards. A new trailer shows off a bunch of those new cards, which includes Tapu Koko EX. As part of the update, the shop will be updated with some new collectibles. An Ultra Beast binder cover is coming and will be purchasable with shop tickets. Players can grab a floral display board too by participating in a new Wonder Pick event that will run between June 11 and June 28. So consider this a bit of a PSA: start saving your hourglasses now. If you’re like me, you’ll probably want to do some 10 pack pulls early to get a chunk of the collection completed. If you’re hurting for resources, don’t forget to do your single player battles, as those will give you a lot as rewards. Monthly hourglass packs will also refresh in the shop at the end of May, so make sure to grab as many as you can now. Pokémon Trading Card Game Pocket is available now on iOS and Android devices.

Getty Images News Lloyds and Nationwide to use UK finance sector LLM Industry-specific large language models could improve customer services, strengthen security and support regulatory compliance By Karl Flinders, Chief reporter and senior editor EMEA Published: 22 May 2025 15:15 Lloyds Banking Group and Nationwide Building Society are set to roll out a generative AI (GenAI) tool that has been specifically designed for the UK finance sector. The tool, known as FinLLM, was developed in the UK by Aveni alongside the two financial services companies, with both also investing money in the firm. The large language model (LLM) is an attempt to offer GenAI designed for use in highly regulated UK finance companies. LLMs are a type of artificial intelligence algorithm that uses deep learning techniques and massively large data sets to understand, summarise, generate and predict new content. Banks are in the early stage of its application across customer services, operations, and compliance and security. Following the completion of its core capabilities, FinLLM is set to move from research into real-world deployment. Both Lloyds Bank and Nationwide are now set to use the system, which is aligned with FCA guidance and the European Union (EU) AI Act. The tool will eventually be available to the wider industry. An LLM for the financial services sector could, for example, provide customers with explanations of complex financial matters, as well as support banks’ decisions in relation to regulatory compliance and staff making complicated calculations. Into the real world Nationwide’s chief data officer, Sri Kanisapakkam, said the company worked with Aveni on the development. “We’re excited by the performance of FinLLM and the potential benefits it will bring both Nationwide and our customers, as we continually look to deliver better service and experience through the responsible adoption of new technologies,” he added. Ranil Boteju, group chief data and analytics officer at Lloyds Banking Group, said Aveni’s FinLLM “will be a game changer for UK financial services”. The bank first invested in Aveni in 2024, and co-created and tested FinLLM on real-life AI use cases. Lexi Birch, head of Aveni Labs, said the company brought together the expertise of its natural language processing researchers and financial industry professionals “to shape a roadmap for delivering reliable generative AI to a highly regulated sector – where accuracy and trust are non-negotiable”. Read more about Large Language Models When developing LLMs, banks are paying close attention to potential risks associated with data privacy, security, regulatory compliance and potential bias in AI-based decision-making. In terms of use cases, Chris Skinner, fintech industry expert and CEO at The Finanser, said industry-specific LLMs could help with the security of both banks and their customers. “AI bots will work out what you can trust, e.g. verifying whether the connections you make are real or fake, which in finance is critical,” he said. “With romance and deepfake scams, the more protections that AI can deliver to recognise the issues the better. “Looking longer-term, your agentic AI bot will be the biggest security for any trade or transaction, as it will be your digital twin with its own identity and the protections therein,” said Skinner. “It’s not there yet, but FinLLM is a good start.” Separately, Lloyds Bank announced last month that it will build, deploy and scale AI systems using Google Cloud’s Vertex AI to build a machine learning and GenAI development platform, which more than 300 of its data scientists will use. In The Current Issue: UK critical systems at risk from ‘digital divide’ created by AI threats UK at risk of Russian cyber and physical attacks as Ukraine seeks peace deal Standard Chartered grounds AI ambitions in data governance Download Current Issue Microsoft entices developers to build more Windows AI apps – Cliff Saran's Enterprise blog Red Hat launches llm-d community & project – Open Source Insider View All Blogs

Cabo Corazón Hotel | © Oscar Hernandez Set against the vivid landscape of Cabo San Lucas, the Cabo Corazón Hotel by Rábago Architects represents a deliberate shift in how hospitality architecture can evolve within the constraints of existing urban infrastructure. The original complex, constructed in 2010, comprised two isolated towers that lacked integration with one another or the surrounding coastal setting. Rather than demolishing and rebuilding, the intervention seeks to reclaim and rearticulate the architectural narrative through a substantial new insertion: Torre Corazón. Cabo Corazón Hotel Technical Information Architects1-7: Rábago Architects Location: Cabo San Lucas, Baja California Sur, Mexico Area: 120,000 m2 | 1,291,669 Sq. Ft. Project Year: 2010 – 2024 Photographs: © Oscar Hernandez The renovation of Cabo Corazón Hotel exemplifies how contemporary architecture can revitalize existing structures without resorting to total demolition. – Arnoldo Rábago Cabo Corazón Hotel Photographs © Oscar Hernandez © Oscar Hernandez © Oscar Hernandez © Oscar Hernandez © Oscar Hernandez © Oscar Hernandez © Oscar Hernandez © Oscar Hernandez © Oscar Hernandez © Oscar Hernandez © Oscar Hernandez © Oscar Hernandez Reconfiguring Coastal Hospitality: Design Intent and Urban Integration This angular 120,000 m² volume serves as both programmatic spine and spatial reconciler. It reframes the original towers not as obsolete remnants but as architectural elements to be recontextualized. Rather than erasing history, the project anchors its design intent in architectural memory, fostering continuity within transformation. Torre Corazón is a decisive architectural gesture that mediates between old and new, integrating disconnected parts into a unified, legible whole. The intervention reflects a broader strategy, responding to the growth of tourism in Los Cabos while resisting conventional resort development’s extractive, tabula rasa tendencies. Spatial Composition and Programmatic Reorganization The intervention’s heart lies in a careful reworking of programmatic and spatial relationships. Torre Corazón introduces a wide range of new uses, including a convention center, restaurant, rooftop bar, terraces, guest rooms, and pool lounge, configured not as isolated amenities but as part of an interdependent architectural system. Circulation is restructured by introducing a central atrium, which organizes internal flows and visually anchors the building. Its triangular plan geometry finds formal resonance throughout the project, notably in the repetition of inclined planes and low walls that establish a consistent spatial language. This atrium facilitates horizontal and vertical connectivity, effectively weaving together public, semi-public, and private domains. The sculptural staircase, unfolding toward the atrium, emerges as a key spatial feature, at once a circulation route and architectural expression. It frames the atrium’s vertical void and visually connects various levels, echoing the horizontal bands that define the building’s massing. The result is a fluid choreography of spaces that moves away from the compartmentalized logic of the original design. At the ground level, the lobby extends into a restaurant, pool bar, and outdoor terraces, all connected to the beach club. This vital programmatic anchor strengthens the project’s relationship with the oceanfront. The design balances openness and containment, offering moments of permeability while framing views toward “El Arco” and the Sea of Cortez. Cabo Corazón Hotel Materiality and Climatic Responsiveness A defining feature of the intervention is its material discipline. The consistent use of white concrete, both inside and out, is a strategic response to the climatic conditions of Baja California Sur. Its high albedo reduces solar gain, enhancing thermal comfort without reliance on excessive mechanical systems. The material also echoes the light and texture of the surrounding desert context while asserting a minimalist architectural language. The use of marble flooring across indoor and outdoor areas reinforces the tactile continuity of the design, bridging the interior with the white sand beaches that define the local landscape. In the upper guest room levels, tropical wood furnishings introduce warmth, texture, and a sense of groundedness, softening the starkness of the concrete envelope and creating an atmosphere of tactile contrast. The rooftop, meanwhile, exemplifies a hybrid architectural vocabulary: wood decking, an infinity pool, and a palapa-like canopy merge traditional materials with contemporary detailing. These choices are not merely aesthetic; they operate as climatic devices, mediating sun exposure while facilitating natural ventilation and social occupation. Cabo Corazón Hotel Plans Level 1 | © Rábago Architects Floor Plan, Typ. | © Rábago Architects Cross Section | © Rábago Architects Cabo Corazón Hotel Image Gallery About Rábago Architects Rábago Architects is a Guadalajara-based architecture studio founded and directed by Arnoldo Rábago, known for its thoughtful integration of contemporary design with cultural and environmental sensitivity. The firm’s work spans hospitality, residential, and mixed-use projects across Mexico and internationally, focusing on adaptive reuse, spatial clarity, and material honesty. Rábago’s approach often draws inspiration from regional contexts, as seen in the Cabo Corazón Hotel, where nautical forms and passive climatic strategies are employed to create rooted and forward-looking architecture. Educated at the AA School in London and with professional experience at Zaha Hadid Architects, Rábago brings a global perspective to local narratives, crafting spaces that resonate with memory and innovation. Credits and Additional Notes Design Leader: Arnoldo Rábago Structural Engineering: Consultores en Ingeniería Estructural S.A. de C.V. General Engineering: Cautín / Sergein Interior Design: Amass & G / Cachet Interior Design Framing Systems: Alumétrica Acoustics: Saad Acústica Lighting Design: Lighting & Living Onx

Animate for Concept Art: The New Workflow Combining AI By Bart on May 22, 2025 3D News Redefine Concept Art with Animation and AI Guidance using Reallysion's iClone.Hello, I’m Jakub Kaźmierczak, a concept artist specializing in environment concept art and key frames. I have been in the industry for the past 7 years. In my professional career, I work mostly for movies and game cinematics. Some projects being: “Three Body Problem”, “Shōgun”, “Concord”, and “Call of Duty BO6 Libertyfalls”.Integrating iClone into Your Concept Art WorkflowAs a concept artist specializing in environments and keyframes, I’m always on the lookout for tools that can streamline my workflow and help me deliver high-quality work to my clients. One such tool that has become indispensable in my process is iClone, a powerful animation software that complements Character Creator (CC). In this article, I’ll walk you through how I use iClone to create dynamic scenes, particularly for sequence keyframes, and how it integrates seamlessly with Blender to enhance my workflow. Bridging the Gap Between Concept and AnimationiClone is primarily known as an animation tool, but as a concept artist, I don’t consider myself an animator. So, why do I use it? The answer lies in the growing demand for sequence keyframes in my professional work. Sequence keyframes involve creating multiple shots within a single location, and traditionally, this required setting up multiple cameras and manually copying characters across the scene to match each shot. It was a tedious and inefficient process.With iClone, I can now set up simple animations, export them to Blender, and animate my camera to capture all the necessary shots. This allows me to deliver multiple shots to clients with ease, iterate quickly, and focus on the overall design without worrying about the characters’ movements. The best part? You don’t need to be an expert animator to use iClone. Reallusion has made the process so intuitive that anyone can integrate it into their workflow.AccuPOSE: AI-Powered Posing Made EasyOne of the standout features of iClone is AccuPOSE, a posing assistant that uses AI to help you pose characters quickly and efficiently. In the past, I had to pose characters in Blender by moving each bone individually or importing animations and adjusting them manually. With AccuPOSE, whenever I move a bone, the rest of the body reacts to the adjustments and eventually generates a naturally balanced pose.A subscription to AccuPOSE INFINITY offers tons of AI-trained pose presets across different themes that I can directly apply to my characters. This is especially useful for creating combat scenarios or other dynamic poses for keyframes. The result? A significant reduction in posing time, allowing me to focus on the bigger picture.Creating Animations with iCloneTo create animations in iClone, all I need to do is drag motion capture data from the content library onto my characters. I should also mention that Reallusion’s ActorCore offers a wide variety of motions to choose from, and they can all be further edited.If I need to include different animations for storytelling purposes, I can easily drag the next animation onto the timeline and blend the two together for smooth transitions. I can also break the animation and rotate it to change the direction, giving me full control over the scene’s dynamics.For sequence keyframes, precision isn’t always necessary. I’m not creating a full movie — I’m presenting an idea. This flexibility allows me to experiment with different animations and camera angles without getting bogged down in the details.Crowd Simulation: Bringing Scenes to LifeOne of the most impressive features of iClone is its crowd simulation capability. In the past, animating multiple characters was a daunting task that forced me to repeat the process for each character, leading to repetitive poses and a lack of variety in the scene.With iClone’s crowd simulation, I can generate a navmesh from a ground plane, select the characters I want to include, and assign animation sets to them automatically. This creates a dynamic, lifelike crowd without the need for manual adjustments. The result is a scene that feels alive and avoids the monotony of repeated poses.Seamless Integration with BlenderBlender Auto Setup has undergone a significant overhaul, making it easier than ever to link Character Creator with Blender. Gone are the days of exporting and reimporting files; Now, everything works as one cohesive system. With just a click, I can pose, edit, and dress my characters in CC and instantly see the changes reflected in Blender’s 3D viewport. This seamless integration has been a huge time-saver, allowing me to focus more on the creative aspects of my work.Like Character Creator, iClone uses the same plugin to link with Blender. This allows me to export all my animations and see how they fit within the broader scene. The workflow is seamless, significantly speeding up my process and enabling me to make creative changes on the fly. Once the character animations are in place, I can set up simple camera movements, record the scene, and send it to my client for feedback. This iterative process ensures that the final product aligns with the client’s vision.Refining and Delivering the Final ProductAfter setting up the scene and capturing the necessary shots, the next step is to refine the keyframes, render out the final images or short videos, and deliver them to the client. This streamlined process allows me to focus on the creative aspects of my work while ensuring that the technical details are handled efficiently.Conclusion: Expanding Your Skillset with iCloneIntegrating iClone into my workflow has been a game-changer. It has allowed me to experiment with new tools, expand my skillset, and deliver high-quality work to my clients more efficiently. As a freelancer, I don’t always have the luxury of sitting next to a director and discussing shots on the spot. Creating simple animations in iClone allows me to communicate my ideas more effectively, especially when working with clients in different time zones.I encourage you to explore iClone and see how it can enhance your own workflow. Whether you’re a concept artist, animator, or somewhere in between, the ability to experiment with different creative tools can open up new opportunities and take your work to the next level.I hope this article has given you some insight into how I use iClone in my workflow. For a more detailed walkthrough, please find the full article here. Happy creating!

When pricing your interior design services, competitive does not mean equal. Rather than basing your fees on those of your peers, what you charge should reflect the specific metrics of your business. There is a lot of industry noise around pricing, so avoiding non-credentialed, unaccountable, and clickbait-peddling Instagram “experts” is crucial. Instead, follow this data- and market-driven guide to set your interior design studio’s optimal pricing, one that will maximize your revenue and profitability.Define your business’s purposeIn an industry where designers can have drastically different whys, clarify yours. For instance, your business may be the primary means of supporting your household while another designer whose work you admire, and who is operating in your region with similar clients, is doing this “for fun.” Perhaps that designer is billing at an artificially low rate and giving their clients trade pricing with no markups. Your reasons are very different—and you’re not going to be able to compete with that model. It’s futile and expensive to try.Join NowAD PRO members enjoy exclusive benefits. Get a year of unlimited access for $25 $20 per month.ArrowIgnore your peersWhat another studio charges is irrelevant to what you can charge. Some lesser-known studios can get away with charging incredibly high fees, while very well-known studios might experience a lower maximum price threshold. Identify what price the market will bear for your unique interior design services. When studios set prices based on others they deem to be competitors, they are very often leaving money on the table and undervaluing their own services.Don’t reverse-engineer your feeSome studios run through the time-intensive exercise of using their own historical financials to calculate their desired net income or profit and then reverse-engineer pricing that will accommodate their net income target. This approach is flawed. By calculating the least amount of money you can charge, you are once again potentially leaving heaps of dollars on the table. In many cases, the market price of your interior design services can be significantly more than the price you will get by backing into a target net income figure or net margin percentage.Given all these dynamics, never speculate on pricing. Take a data-driven approach, like the one we’ve developed over the last ten years, to maximize your studio’s revenue.To maximize revenue and profit…Bill hourlyFor residential projects, hourly billable professional fees alongside a furniture, fixtures, and equipment markup is the pricing model that maximizes revenue, profitability, and client acquisition, when positioned correctly. When diligent about tracking their time, 99% of studios make more money than they otherwise would by charging flat fees. There are rare instances when a studio can charge stratospheric flat fees and the market will bear it, but these are edge cases.What You’re Getting Wrong With Your Interior Design ContractBusiness advisor Seth Kaplowitz on optimizing your interior design contractWrite a client-friendly contractWhen a studio moves to hourly billing, their contract terms become more client-friendly and drive up their client conversion rate. Conversely, a flat-fee-based contract tends to have a lot of limitations and restrictions that can turn off potential clients. For example, a flat fee contract often stipulates a list of services where additional fees apply. If your client wants value engineering, more than one design concept, or additional specifications for procured items, it costs extra. A flat fee contract can introduce friction and ultimately prevent a client from signing and moving forward. The goal is to eliminate this friction.Taking a “billable hours plus procurement fees” pricing approach, you can reverse-engineer the approximate price per square foot of decorating, design, and full renovation projects for a studio. By defining price per square foot by project type alongside average timeline, your clients are armed with the ability to calculate the approximate cost of the project themselves (while protecting your studio’s revenue and profitability). This approach gives the client the confidence and feeling of control they need to sign a contract.Test pricing elasticityAfter identifying the approximate price per square foot by project type for your studio, test its limits. Push pricing up and closely watch the client conversion rate. Focus on qualified inbound traffic—leads and referrals from architects, contractors, or past clients—and disregard the subset of unqualified leads from Instagram, which can generally be classified as shoppers, not buyers. Then calculate the conversion rate by dividing the number of qualified inbound leads by the number of leads that signed a contract. If this rate is above a desired threshold, there is room to raise prices. They can continue to rise until the conversion rate drops below that threshold, at which point you’ve maximized your pricing. This exercise relates exclusively to a studio’s unique demand curve and what the market will pay for its unique interior design services, avoiding unhelpful peer comparisons.Reanalyze your current approachIf you’re a studio principal, look at the following data sets: