The Secure Government Email (SGE) Common Implementation Framework New Zealand’s government is introducing a comprehensive email security framework designed to protect official communications from phishing and domain spoofing. This new framework, which will be mandatory for all government agencies by October 2025, establishes clear technical standards to enhance email security and retire the outdated SEEMail service.  Key Takeaways All NZ government agencies must comply with new email security requirements by October 2025. The new framework strengthens trust and security in government communications by preventing spoofing and phishing. The framework mandates TLS 1.2+, SPF, DKIM, DMARC with p=reject, MTA-STS, and DLP controls. EasyDMARC simplifies compliance with our guided setup, monitoring, and automated reporting. Start a Free Trial What is the Secure Government Email Common Implementation Framework? The Secure Government Email (SGE) Common Implementation Framework is a new government-led initiative in New Zealand designed to standardize email security across all government agencies. Its main goal is to secure external email communication, reduce domain spoofing in phishing attacks, and replace the legacy SEEMail service. Why is New Zealand Implementing New Government Email Security Standards? The framework was developed by New Zealand’s Department of Internal Affairs (DIA) as part of its role in managing ICT Common Capabilities. It leverages modern email security controls via the Domain Name System (DNS) to enable the retirement of the legacy SEEMail service and provide: Encryption for transmission security Digital signing for message integrity Basic non-repudiation (by allowing only authorized senders) Domain spoofing protection These improvements apply to all emails, not just those routed through SEEMail, offering broader protection across agency communications. What Email Security Technologies Are Required by the New NZ SGE Framework? The SGE Framework outlines the following key technologies that agencies must implement: TLS 1.2 or higher with implicit TLS enforced TLS-RPT (TLS Reporting) SPF (Sender Policy Framework) DKIM (DomainKeys Identified Mail) DMARC (Domain-based Message Authentication, Reporting, and Conformance) with reporting MTA-STS (Mail Transfer Agent Strict Transport Security) Data Loss Prevention controls These technologies work together to ensure encrypted email transmission, validate sender identity, prevent unauthorized use of domains, and reduce the risk of sensitive data leaks. Get in touch When Do NZ Government Agencies Need to Comply with this Framework? All New Zealand government agencies are expected to fully implement the Secure Government Email (SGE) Common Implementation Framework by October 2025. Agencies should begin their planning and deployment now to ensure full compliance by the deadline. The All of Government Secure Email Common Implementation Framework v1.0 What are the Mandated Requirements for Domains? Below are the exact requirements for all email-enabled domains under the new framework. ControlExact RequirementTLSMinimum TLS 1.2. TLS 1.1, 1.0, SSL, or clear-text not permitted.TLS-RPTAll email-sending domains must have TLS reporting enabled.SPFMust exist and end with -all.DKIMAll outbound email from every sending service must be DKIM-signed at the final hop.DMARCPolicy of p=reject on all email-enabled domains. adkim=s is recommended when not bulk-sending.MTA-STSEnabled and set to enforce.Implicit TLSMust be configured and enforced for every connection.Data Loss PreventionEnforce in line with the New Zealand Information Security Manual (NZISM) and Protective Security Requirements (PSR). Compliance Monitoring and Reporting The All of Government Service Delivery (AoGSD) team will be monitoring compliance with the framework. Monitoring will initially cover SPF, DMARC, and MTA-STS settings and will be expanded to include DKIM. Changes to these settings will be monitored, enabling reporting on email security compliance across all government agencies. Ongoing monitoring will highlight changes to domains, ensure new domains are set up with security in place, and monitor the implementation of future email security technologies.  Should compliance changes occur, such as an agency’s SPF record being changed from -all to ~all, this will be captured so that the AoGSD Security Team can investigate. They will then communicate directly with the agency to determine if an issue exists or if an error has occurred, reviewing each case individually. Deployment Checklist for NZ Government Compliance Enforce TLS 1.2 minimum, implicit TLS, MTA-STS & TLS-RPT SPF with -all DKIM on all outbound email DMARC p=reject  adkim=s where suitable For non-email/parked domains: SPF -all, empty DKIM, DMARC reject strict Compliance dashboard Inbound DMARC evaluation enforced DLP aligned with NZISM Start a Free Trial How EasyDMARC Can Help Government Agencies Comply EasyDMARC provides a comprehensive email security solution that simplifies the deployment and ongoing management of DNS-based email security protocols like SPF, DKIM, and DMARC with reporting. Our platform offers automated checks, real-time monitoring, and a guided setup to help government organizations quickly reach compliance. 1. TLS-RPT / MTA-STS audit EasyDMARC enables you to enable the Managed MTA-STS and TLS-RPT option with a single click. We provide the required DNS records and continuously monitor them for issues, delivering reports on TLS negotiation problems. This helps agencies ensure secure email transmission and quickly detect delivery or encryption failures. Note: In this screenshot, you can see how to deploy MTA-STS and TLS Reporting by adding just three CNAME records provided by EasyDMARC. It’s recommended to start in “testing” mode, evaluate the TLS-RPT reports, and then gradually switch your MTA-STS policy to “enforce”. The process is simple and takes just a few clicks. As shown above, EasyDMARC parses incoming TLS reports into a centralized dashboard, giving you clear visibility into delivery and encryption issues across all sending sources. 2. SPF with “-all”In the EasyDARC platform, you can run the SPF Record Generator to create a compliant record. Publish your v=spf1 record with “-all” to enforce a hard fail for unauthorized senders and prevent spoofed emails from passing SPF checks. This strengthens your domain’s protection against impersonation. Note: It is highly recommended to start adjusting your SPF record only after you begin receiving DMARC reports and identifying your legitimate email sources. As we’ll explain in more detail below, both SPF and DKIM should be adjusted after you gain visibility through reports. Making changes without proper visibility can lead to false positives, misconfigurations, and potential loss of legitimate emails. That’s why the first step should always be setting DMARC to p=none, receiving reports, analyzing them, and then gradually fixing any SPF or DKIM issues. 3. DKIM on all outbound email DKIM must be configured for all email sources sending emails on behalf of your domain. This is critical, as DKIM plays a bigger role than SPF when it comes to building domain reputation, surviving auto-forwarding, mailing lists, and other edge cases. As mentioned above, DMARC reports provide visibility into your email sources, allowing you to implement DKIM accordingly (see first screenshot). If you’re using third-party services like Google Workspace, Microsoft 365, or Mimecast, you’ll need to retrieve the public DKIM key from your provider’s admin interface (see second screenshot). EasyDMARC maintains a backend directory of over 1,400 email sources. We also give you detailed guidance on how to configure SPF and DKIM correctly for major ESPs.  Note: At the end of this article, you’ll find configuration links for well-known ESPs like Google Workspace, Microsoft 365, Zoho Mail, Amazon SES, and SendGrid – helping you avoid common misconfigurations and get aligned with SGE requirements. If you’re using a dedicated MTA (e.g., Postfix), DKIM must be implemented manually. EasyDMARC’s DKIM Record Generator lets you generate both public and private keys for your server. The private key is stored on your MTA, while the public key must be published in your DNS (see third and fourth screenshots). 4. DMARC p=reject rollout As mentioned in previous points, DMARC reporting is the first and most important step on your DMARC enforcement journey. Always start with a p=none policy and configure RUA reports to be sent to EasyDMARC. Use the report insights to identify and fix SPF and DKIM alignment issues, then gradually move to p=quarantine and finally p=reject once all legitimate email sources have been authenticated.  This phased approach ensures full protection against domain spoofing without risking legitimate email delivery. 5. adkim Strict Alignment Check This strict alignment check is not always applicable, especially if you’re using third-party bulk ESPs, such as Sendgrid, that require you to set DKIM on a subdomain level. You can set adkim=s in your DMARC TXT record, or simply enable strict mode in EasyDMARC’s Managed DMARC settings. This ensures that only emails with a DKIM signature that exactly match your domain pass alignment, adding an extra layer of protection against domain spoofing. But only do this if you are NOT a bulk sender. 6. Securing Non-Email Enabled Domains The purpose of deploying email security to non-email-enabled domains, or parked domains, is to prevent messages being spoofed from that domain. This requirement remains even if the root-level domain has SP=reject set within its DMARC record. Under this new framework, you must bulk import and mark parked domains as “Parked.” Crucially, this requires adjusting SPF settings to an empty record, setting DMARC to p=reject, and ensuring an empty DKIM record is in place: • SPF record: “v=spf1 -all”. • Wildcard DKIM record with empty public key.• DMARC record: “v=DMARC1;p=reject;adkim=s;aspf=s;rua=mailto:…”. EasyDMARC allows you to add and label parked domains for free. This is important because it helps you monitor any activity from these domains and ensure they remain protected with a strict DMARC policy of p=reject. 7. Compliance Dashboard Use EasyDMARC’s Domain Scanner to assess the security posture of each domain with a clear compliance score and risk level. The dashboard highlights configuration gaps and guides remediation steps, helping government agencies stay on track toward full compliance with the SGE Framework. 8. Inbound DMARC Evaluation Enforced You don’t need to apply any changes if you’re using Google Workspace, Microsoft 365, or other major mailbox providers. Most of them already enforce DMARC evaluation on incoming emails. However, some legacy Microsoft 365 setups may still quarantine emails that fail DMARC checks, even when the sending domain has a p=reject policy, instead of rejecting them. This behavior can be adjusted directly from your Microsoft Defender portal. Read more about this in our step-by-step guide on how to set up SPF, DKIM, and DMARC from Microsoft Defender. If you’re using a third-party mail provider that doesn’t enforce having a DMARC policy for incoming emails, which is rare, you’ll need to contact their support to request a configuration change. 9. Data Loss Prevention Aligned with NZISM The New Zealand Information Security Manual (NZISM) is the New Zealand Government’s manual on information assurance and information systems security. It includes guidance on data loss prevention (DLP), which must be followed to be aligned with the SEG. Need Help Setting up SPF and DKIM for your Email Provider? Setting up SPF and DKIM for different ESPs often requires specific configurations. Some providers require you to publish SPF and DKIM on a subdomain, while others only require DKIM, or have different formatting rules. We’ve simplified all these steps to help you avoid misconfigurations that could delay your DMARC enforcement, or worse, block legitimate emails from reaching your recipients. Below you’ll find comprehensive setup guides for Google Workspace, Microsoft 365, Zoho Mail, Amazon SES, and SendGrid. You can also explore our full blog section that covers setup instructions for many other well-known ESPs. Remember, all this information is reflected in your DMARC aggregate reports. These reports give you live visibility into your outgoing email ecosystem, helping you analyze and fix any issues specific to a given provider. Here are our step-by-step guides for the most common platforms: Google Workspace Microsoft 365 These guides will help ensure your DNS records are configured correctly as part of the Secure Government Email (SGE) Framework rollout. Meet New Government Email Security Standards With EasyDMARC New Zealand’s SEG Framework sets a clear path for government agencies to enhance their email security by October 2025. With EasyDMARC, you can meet these technical requirements efficiently and with confidence. From protocol setup to continuous monitoring and compliance tracking, EasyDMARC streamlines the entire process, ensuring strong protection against spoofing, phishing, and data loss while simplifying your transition from SEEMail.

Classic splitscreens, traditional face replacements and new approaches to machine learning-assisted face swapping allowed for twinning shots in ‘Mickey 17’. An excerpt from issue #32 of befores & afters magazine. The art of representing two characters on screen at the same time has become known as ‘twinning’. For Mickey 17 visual effects supervisor Dan Glass, the effect of seeing both Mickey 17 and 18 together was one he looked to achieve with a variety of methodologies. “With a technique like that,” he says, “you always want to use a range of tricks, because you don’t want people to figure it out. You want to keep them like, ‘Oh, wait a minute. How did they…?” “Going back to the way that Director Bong is so prepared and organized,” adds Glass, “it again makes the world of difference with that kind of work, because he thumbnails every shot. Then, some of them are a bit more fleshed out in storyboards. You can look at it and go, ‘Okay, in this situation, this is what the camera’s doing, this is what the actor’s doing,’ which in itself is quite interesting, because he pre-thinks all of this. You’d think that the actors show up and basically just have to follow the steps like robots. It’s not like that. He gives them an environment to work in, but the shots do end up extraordinarily close to what he thumbnails, and it made it a lot simpler to go through.” Those different approaches to twinning ranged from simple splitscreens, to traditional face replacements, and then substantially with a machine learned AI approach, now usually termed ‘face swapping’. What made the twinning work a tougher task than usual, suggests Glass, was the fact that the two Pattinson characters are virtually identical. “Normally, when you’re doing some kind of face replacement, you’re comparing it to a memory of the face. But this was right in front of you as two Mickeys looking strikingly similar.” Here’s how a typical twinning shot was achieved, as described by Glass. “Because Mickey was mostly dressed the same, with only a slight hair change, we were able to have Robert play both roles and to do them one after another. Sometimes, you have to do these things where hair and makeup or costume has a significant variation, so you’re either waiting a long time, which slows production, or you’re coming back at another time to do the different roles, which always makes the process a lot more complicated to match, but we were able to do that immediately.” “Based on the design of the shot,” continues Glass, “I would recommend which of Robert’s parts should be shot first. This was most often determined by which role had more impact on the camera movement. A huge credit goes to Robert for his ability to flip between the roles so effortlessly.” In the film, Mickey 17 is more passive and Mickey 18 is more aggressive. Pattinson reflected the distinct characters in his actions, including for a moment in which they fight. This fight, overseen by stunt coordinator Paul Lowe, represented moments of close interaction between the two Mickeys. It was here that a body double was crucial in shooting. The body double was also relied upon for the classic twinning technique of shooting ‘dirty’ over-the- shoulder out of focus shots of the double—ie. 17 looking at 18. However, it was quickly determined that even these would need face replacement work. “Robert’s jawline is so distinct that even those had to be replaced or shot as split screens,” observes Glass. When the shot was a moving one, no motion control was employed. “I’ve never been a big advocate for motion control,” states Glass. “To me it’s applicable when you’re doing things like miniatures where you need many matching passes, but I think when performances are involved, it interferes too much. It slows down a production’s speed of movement, but it’s also restrictive. Performance and camera always benefit from more flexibility.” “It helped tremendously that Director Bong and DOP Darius Khondji shot quite classically with minimal crane and Steadicam moves,” says Glass. “So, a lot of the moves are pan and dolly. There are some Steadicams in there that we were sometimes able to do splitscreens on. I wasn’t always sure that we could get away with the splitscreen as we shot it, but since we were always shooting the two roles, we had the footage to assess the practicality later. We were always prepared to go down a CG or machine learning route, but where we could use the splitscreen, that was the preference.” The Hydralite rig, developed by Volucap. Source: https://volucap.com Rising Sun Pictures (visual effects supervisor Guido Wolter) handled the majority of twinning visual effects, completing them as splitscreen composites, 2D face replacements, and most notably via their machine learning toolset REVIZE, which utilized facial and body capture of Pattinson to train a model of his face and torso to swap for the double’s. A custom capture rig, dubbed the ‘Crazy Rig’ and now officially, The Hydralite, was devised and configured by Volucap to capture multiple angles of Robert on set in each lighting environment in order to produce the best possible reference for the machine learning algorithm. “For me, it was a completely legitimate use of the technique,” attests Glass, in terms of the machine learning approach. “All of the footage that we used to go into that process was captured on our movie for our movie. There’s nothing historic, or going through past libraries of footage, and it was all with Robert’s approval. I think the results were tremendous.” “It’s staggering to me as I watch the movie that the performances of each character are so flawlessly consistent throughout the film, because I know how much we were jumping around,” notes Glass. “I did encourage that we rehearse scenes ahead. Let’s say 17 was going to be the first role we captured, I’d have them rehearse it the other way around so that the double knew what he was going to do. Therefore, eyelines, movement, pacing and in instances where we were basically replacing the likeness of his head or even torso, we were still able to use the double’s performance and then map to that.” Read the full Mickey 17 issue of befores & afters magazine in PRINT from Amazon or as a DIGITAL EDITION on Patreon. Remember, you can also subscribe to the DIGITAL EDITION as a tier on the Patreon and get a new issue every time one is released. The post The art of two Mickeys appeared first on befores & afters.

We are told to customize, expand, and provide more options, but that might be a silent killer for our conversion rate. Using behavioral psychology and modern product design, this piece explains why brands like Apple use fewer, smarter choices to convert better.Image generated using ChatgptJam-packed decisionsImagine standing in a supermarket aisle in front of the jam section. How do you decide which jam to buy? You could go for your usual jam, or maybe this is your first time buying jam. Either way, a choice has to be made. Or does it?You may have seen the vast number of choices, gotten overwhelmed, and walked away. The same scenario was reflected in the findings of a 2000 study by Iyengar and Lepper that explored how the number of choice options can affect decision-making.Iyengar and Lepper set up two scenarios; the first customers in a random supermarket being offered 24 jams for a free tasting. In another, they were offered only 6. One would expect that the first scenario would see more sales. After all, more variety means a happier customer. However:Image created using CanvaWhile 60% of customers stopped by for a tasting, only 3% ended up making a purchase.On the other hand, when faced with 6 options, 40% of customers stopped by, but 30% of this number ended up making a purchase.The implications of the study were evident. While one may think that more choices are better when faced with the same, decision-makers prefer fewer.This phenomenon is known as the Paradox of Choice. More choice leads to less satisfaction because one gets overwhelmed.This analysis paralysis results from humans being cognitive misers that is decisions that require deeper thinking feel exhausting and like they come at a cognitive cost. In such scenarios, we tend not to make a choice or choose a default option. Even after a decision has been made, in many cases, regret or the thought of whether you have made the ‘right’ choice can linger.A sticky situationHowever, a 2010 meta-analysis by Benjamin Scheibehenne was unable to replicate the findings. Scheibehenne questioned whether it was choice overload or information overload that was the issue. Other researchers have argued that it is the lack of meaningful choice that affects satisfaction. Additionally, Barry Schwartz, a renowned psychologist and the author of the book ‘The Paradox of Choice: Why Less Is More,’ also later suggested that the paradox of choice diminishes in the presence of a person’s knowledge of the options and if the choices have been presented well.Does that mean the paradox of choice was an overhyped notion? I conducted a mini-study to test this hypothesis.From shelves to spreadsheets: testing the jam jar theoryI created a simple scatterplot in R using a publicly available dataset from the Brazilian e-commerce site Olist. Olist is Brazil’s largest department store on marketplaces. After delivery, customers are asked to fill out a satisfaction survey with a rating or comment option. I analysed the relationship between the number of distinct products in a category (choices) and the average customer review (satisfaction).Scatterplot generated in R using the Olist datasetBased on the almost horizontal regression line on the plot above, it is evident that more choice does not lead to more satisfaction. Furthermore, categories with fewer than 200 products tend to have average review scores between 4.0 and 4.3. Whereas, categories with more than 1,000 products do not have a higher average satisfaction score, with some even falling below 4.0. This suggests that more choices do not equal more satisfaction and could also reduce satisfaction levels.These findings support the Paradox of Choice, and the dataset helps bring theory into real-world commerce. A curation of lesser, well-presented, and differentiated options could lead to more customer satisfaction.Image created using CanvaFurthermore, the plot could help suggest a more nuanced perspective; people want more choices, as this gives them autonomy. However, beyond a certain point, excessive choice overwhelms rather than empowers, leaving people dissatisfied. Many product strategies reflect this insight: the goal is to inspire confident decision-making rather than limiting freedom. A powerful example of this shift in thinking comes from Apple’s history.Simple tastes, sweeter decisionsImage source: Apple InsiderIt was 1997, and Steve Jobs had just made his return to Apple. The company at the time offered 40 different products; however, its sales were declining. Jobs made one question the company’s mantra,“What are the four products we should be building?”The following year, Apple saw itself return to profitability after introducing the iMac G3. While its success can be attributed to the introduction of a new product line and increased efficiency, one cannot deny that the reduction in the product line simplified the decision-making process for its consumers.To this day, Apple continues to implement this strategy by having a few SKUs and confident defaults.Apple does not just sell premium products; it sells a premium decision-making experience by reducing friction in decision-making for the consumer.Furthermore, a 2015 study based on analyzing scenarios where fewer choice options led to increased sales found the following mitigating factors in buying choices:Time Pressure: Easier and quicker choices led to more sales.Complexity of options: The easier it was to understand what a product was, the better the outcome.Clarity of Preference: How easy it was to compare alternatives and the clarity of one’s preferences.Motivation to Optimize: Whether the consumer wanted to put in the effort to find the ‘best’ option.Picking the right spreadWhile the extent of the validity of the Paradox of Choice is up for debate, its impact cannot be denied. It is still a helpful model that can be used to drive sales and boost customer satisfaction. So, how can one use it as a part of your business’s strategy?Remember, what people want isn’t 50 good choices. They want one confident, easy-to-understand decision that they think they will not regret.Here are some common mistakes that confuse consumers and how you can apply the Jam Jar strategy to curate choices instead:Image is created using CanvaToo many choices lead to decision fatigue.Offering many SKU options usually causes customers to get overwhelmed. Instead, try curating 2–3 strong options that will cover the majority of their needs.2. Being dependent on the users to use filters and specificationsWhen users have to compare specifications themselves, they usually end up doing nothing. Instead, it is better to replace filters with clear labels like “Best for beginners” or “Best for oily skin.”3. Leaving users to make comparisons by themselvesToo many options can make users overwhelmed. Instead, offer default options to show what you recommend. This instills within them a sense of confidence when making the final decision.4. More transparency does not always mean more trustInformation overload never leads to conversions. Instead, create a thoughtful flow that guides the users to the right choices.5. Users do not aim for optimizationAssuming that users will weigh every detail before making a decision is not rooted in reality. In most cases, they will go with their gut. Instead, highlight emotional outcomes, benefits, and uses instead of numbers.6. Not onboarding users is a critical mistakeHoping that users will easily navigate a sea of products without guidance is unrealistic. Instead, use onboarding tools like starter kits, quizzes, or bundles that act as starting points.7. Variety for the sake of varietyUsers crave clarity more than they crave variety. Instead, focus on simplicity when it comes to differentiation.And lastly, remember that while the paradox of choice is a helpful tool in your business strategy arsenal, more choice is not inherently bad. It is the lack of structure in the decision-making process that is the problem. Clear framing will always make decision-making a seamless experience for both your consumers and your business.How jam jars explain Apple’s success was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.

The name, the myth, the icon: Barbie is almost synonymous with pink, the specific hues of the time responding to cultural trends across the decades. The doll – created by Ruth Handler in 1959, and distributed and produced by Mattel – has reflected and also shaped decades of American culture. Bauhaus-inspired, Barbie and HEWI have collaborated to present the Barbie x HEWI sanitaryware collection, bathed in an approachable yet sophisticated shade of pink. With a focus on celebrating individuality the Barbie way, HEWI fosters a precedent of inclusive design for bathrooms at large, ushering in a new era where all are safe and welcome. HEWI continues to set new standards in bathroom and accessory design for almost one hundred years. Their iconic extruded door handle has extended to every facet of the bathroom, including a towel bar, shower seat, soap dish, and toilet roll holder, offering everything you might need if your bathroom needs a bit of brightness. A lovely shade of light pink accented with an approachable cream color allows the Barbie x HEWI collection to fit in with existing decor, palette incredibly important in a room made for washing and cleanliness. With a satisfying thickness sometimes absent from bathroom collections, each piece receives the signature HEWI finish, glossy and made to last even through the toughest bath times. Barbie has been an integral part of our culture for over 65 years, offering a new perspective about what professions the doll could take part in and the roles she could play. In more recent years, inclusion has been a priority for the brand, choosing a more natural silhouette and featuring a more accurate and diverse picture of who Barbie and her friends could be. Here, this energy extends to the restroom, where the iconic Barbie pink meets the bold, Bauhaus silhouette of HEWI designs. HEWI has been at the forefront of product design for over 90 years, challenging themselves and others to anticipate the needs of subsequent generations. With work in healthcare, public projects, hotels, and education, HEWI strives to continue to push the boundaries of materials technology, closing loops on their production processes with projects like the Re-seat collection, made out of offcuts from injection molding. To learn more about the Barbie x HEWI sanitaryware collection, please visit barbiexhewi.com.  Imagery courtesy of HEWI.

Drinking Fountain of La Arboleda (Bebedero) | 1970s Photograph Luis Barragan’s work is often celebrated for its profound dialogue between form, memory, and landscape. In the Drinking Fountain of La Arboleda, Barragán channels these core principles into a singular architectural gesture. Situated at the culmination of the Paseo de los Gigantes, this fountain transcends utilitarian function to become a space of contemplation and poetic reflection. Drinking Fountain of La Arboleda Technical Information Architects1-2: Luis Barragán Location: Avenida Paseo de los Gigantes, Las Arboledas, Mexico Height: 14.6 meters Width: 10.4 meters Project Years: 1960s Plans by: Enrique Delgado Camara In Las Arboledas I had the pleasure of building a large rectangular pond among eucalyptus trees; however, while doing so, I thought of Persian gardens, I also thought of De Chirico, I also thought that water is a mirror, and I liked that it reflected the branches of the trees. You know, popular architecture has always impressed me because it is pure truth and because the spaces that occur in plazas, in porticos, in courtyards, are always given with generosity. – Luis Barragán Drinking Fountain of La Arboleda Photographs Drinking Fountain of La Arboleda (Bebedero) | 1970s Photograph 1970s Photograph 1970s Photograph 1970s Photograph 1970s Photograph Spatial Composition and Geometric Manipulation The project extends Barragán’s broader explorations in Las Arboledas and Los Clubes, developments marked by an intimate relationship with nature and a restrained formal language. Here, water becomes material and metaphor, shaping a spatial experience that is as much about the mind as the body. The Drinking Fountain of La Arboleda is defined by the dynamic interplay of two elements: a towering white wall and a long, linear water trough. The wall, rising to a height of 14.6 meters, asserts its presence in the landscape as a vertical marker. It competes with, yet does not overshadow, the surrounding eucalyptus trees. The water trough, measuring 44 meters in length, 2.55 meters in width, and 0.67 meters in height, extends along the path in a measured horizontal counterpoint. This juxtaposition of vertical and horizontal geometries establishes a composition of duality. The white wall commands attention from afar, while the dark basin of water, offset to the side, quietly draws in the viewer’s gaze. The deliberate misalignment of these two forms prevents a static symmetry, generating a subtle sense of movement and tension within the space. Barragán’s manipulation of circulation further reinforces this dynamic quality. Rather than a direct approach, entry to the plaza is orchestrated through a series of turns. These indirect paths obscure the view and gradually reveal the fountain, heightening the sense of arrival and emphasizing the experiential choreography of the approach. Materiality and Sensory Qualities Material choices are critical in the fountain’s ability to evoke stillness and dynamism. The white stucco of the wall acts as a canvas for the interplay of light and shadow, particularly as the sun filters through the towering eucalyptus canopy. This shifting luminosity imbues the space with a living quality, constantly animated by the rhythms of the day. The basin of the fountain is constructed from dark anthracite, lending the water a reflective depth that absorbs and mirrors the surrounding environment. The edge of the water, defined by precisely cut, sharp-edged walls, creates an illusion of the water as a freestanding volume. This interplay of light, shadow, and reflection intensifies the perception of depth, dissolving the boundary between container and contained. The gentle sound of water flowing over the basin’s edge adds a sonic dimension to the experience. It serves as a subtle counterpoint to the plaza’s otherwise hushed atmosphere, enhancing the sensory richness without disrupting the meditative calm. Drinking Fountain of La Arboleda Cultural Resonance In this project, Barragán evokes a memory of rural Mexico that resonates with personal nostalgia and collective cultural imagery. The trough recalls the water basins of his childhood, echoing the hacienda landscapes and the enduring significance of water in Mexican life. Yet, by abstracting these elements into minimalist forms, he situates them within a modern architectural discourse that transcends mere historicism. Barragán’s insistence on the evocative power of space is evident in every aspect of the Drinking Fountain. It is a site of transition, marking the end of the linear paseo while simultaneously inviting introspection and pause. The project’s restrained materiality and precise spatial articulation distill Barragán’s belief in architecture as a vehicle for personal reflection and cultural continuity. His 1980 Pritzker Prize acceptance speech, in which he described his enduring fascination with water and the memories of fountains and acequias, underscores this deep personal connection. The Drinking Fountain of La Arboleda can be read as an architectural meditation on that theme. This work bridges the abstraction of modernism with the rich, elemental forces of the Mexican landscape. Drinking Fountain of La Arboleda Plans Floor Plan | © Enrique Delgado Camara Axonometric View | © Enrique Delgado Camara Drinking Fountain of La Arboleda Image Gallery About Luis Barragán Luis Barragán (1902–1988) was a Mexican architect renowned for his masterful integration of light, color, and landscape into architecture. His work blends modernist abstraction with deeply rooted Mexican traditions, crafting spaces that evoke memory, contemplation, and poetic resonance. Credits and Additional Notes Water Trough (Bebedero) Length: 44 meters Water Trough (Bebedero) Width: 2.55 meters Water Trough (Bebedero) Height: 0.67 meters Material: Anthracite-colored stone (dark tone to enhance reflections) Delgado Cámara, Enrique. La Geometría del Agua: Mecanismos Arquitectónicos de Manipulación Espacial. Enrique Delgado Cámara, 2024.  Ambasz, Emilio. The Architecture of Luis Barragán. Museum of Modern Art, New York, 1976.

WWDC 2025, Apple’s annual developers conference, starts at 10 a.m. PT / 1 p.m. ET. Monday. Last year’s event was notable for its focus on AI, and this year, there is considerable pressure on the company to build on its promises, and to change the narrative after months of largely negative headlines. As in previous years, the company will focus on software updates and new technologies, including the next version of iOS, which is rumored to have the most significant design changes since the introduction of iOS 7. But iOS 19 (or 26, if other rumors about the new naming system are true) isn’t the only thing the company will announce at WWDC 2025. Here’s how you can watch the keynote livestream. iOS is getting the most dramatic design change in over a decade When Apple introduced a major overhaul to iOS back in 2013 with the launch of iOS 7, it felt jarring for many users with the shift from the prior skeuomorphic design with gradients and real-world textures to the more colorful, but flat, design style that reflected Apple’s then chief design officer Jony Ive’s taste for minimalism. Now, new reports suggest that an upcoming redesign could provoke a similar level of reaction. Reports suggest the new design may have elements referencing visionOS, the software powering Apple’s spatial computing headset, the Apple Vision Pro. If true, that means the new OS could feature a transparent interface and more circular app icons that break away from the traditional square format today. This visual redesign could be implemented across all of Apple’s ecosystem (including even CarPlay), according to Bloomberg, providing a more seamless experience for consumers moving between their different devices. Techcrunch event Save $200+ on your TechCrunch All Stage pass Build smarter. Scale faster. Connect deeper. Join visionaries from Precursor Ventures, NEA, Index Ventures, Underscore VC, and beyond for a day packed with strategies, workshops, and meaningful connections. Save $200+ on your TechCrunch All Stage pass Build smarter. Scale faster. Connect deeper. Join visionaries from Precursor Ventures, NEA, Index Ventures, Underscore VC, and beyond for a day packed with strategies, workshops, and meaningful connections. Boston, MA | July 15 REGISTER NOW iOS will change its naming system According to Bloomberg, Apple will announce a change in the naming system for iOS at this year’s WWDC. Instead of announcing the next version of iOS as iOS 19, Apple’s operating systems will shift to being named by year. That means we could be set to see the launch of iOS 26 instead, alongside the OSes for other products, including adOS 26, macOS 26, watchOS 26, tvOS 26, and visionOS 26. Apple may keep the AI news light this year While it might be challenging to top the news related to Apple Intelligence at WWDC 2024, the company is expected to share a few updates on the AI front. The company has seemingly been caught flat-footed in the AI race, making announcements about AI capabilities that had yet to ship, leading even some Apple pundits to accuse the company of touting vaporware. While Apple has launched several AI tools like Image Playground, Genmoji, Writing Tools, Photos Clean Up, and more, its promise of an improved Siri, personalized to the end user and able to take action across your apps, has been delayed. Meanwhile, Apple has turned to outside companies like OpenAI to give its iPhone a boost in terms of its AI capabilities. At WWDC, it may announce support for other AI chatbots, as well. With Jony Ive now working with Sam Altman on an AI hardware device, Apple is under pressure to catch up on AI progress. Image Credits:Nikolas Kokovlis/NurPhoto / Getty Images In addition, reports suggest that Apple’s Health app could soon incorporate AI technology, which could include a health chatbot and generative AI insights that provide personalized health-related suggestions based on user data. Additionally, other apps, such as Messages, may receive enhancements with AI capabilities, including a translation feature and polls that offer AI-generated suggestions, per 9to5Mac. Apple will likely make the most of a number of smaller OS updates that involve AI, given its underwhelming progress. Reports suggest that these updates could include AI-powered battery management features and an AI-powered Shortcuts app, for instance. iPhone users may get a dedicated gaming app Bloomberg confirmed a 9to5Mac report that said Apple is developing a dedicated gaming app that will replace the aging Game Center app. The app could include access to Apple Arcade’s subscription-based game store, plus other gaming features like leaderboards, recommendations, and ways to challenge your friends. It could also integrate with iMessage or FaceTime for remote gaming. Image Credits:Gabby Jones/Bloomberg / Getty Images Updates to Mac, Watch, TV, and more Along with the new design, reports suggest that Apple’s other operating systems will get some polish, too. For instance, macOS may also see the new gaming app and benefit from the new AirPods features. It’s also expected to be named macOS Tahoe, in keeping with Apple’s naming convention that references California landmarks. Apple TV may get a visual overhaul, but also changes to its user interface, the new gaming app, and other features. AirPods to get new features In addition to Messages getting a translation feature, Bloomberg reported that Apple could also bring a live-translate language feature to its AirPods wireless Bluetooth earbuds, allowing real-time translation during conversations. The iPhone will translate spoken words from another language for the user and will also translate the user’s response back into that language. A new report from 9to5Mac also suggests that AirPods may get new head gestures to complement today’s ability to either nod or shake your head to respond to incoming calls or messages. Plus, AirPods may get features to auto-pause music after you fall asleep, a way to trigger the camera via Camera Control with a touch, a studio-quality mic mode, and an improved pairing experience in shared AirPods. Image Credits:Darrell Etherington Apple Pencil upgrade According to reports, the Apple Pencil is also receiving a new update, one that will benefit users who wish to write in Arabic script. In an effort to cater to customers in UAE, Saudi Arabia, and India, Apple is reportedly launching a new virtual calligraphy feature in iPadOS 19. The company may also introduce a bi-directional keyboard so users can switch between Arabic and English on iPhones and iPads. No hardware announcements? There haven’t been any rumors regarding new devices, because no hardware is ready for release yet, according to Bloomberg. Although it’s always possible that the company will surprise us with a new Mac Pro announcement, most reports are saying this is highly unlikely at this point. Some reports indicate that Apple may also announce support for a new input device for its Vision Pro: spatial controllers. The devices would be motion-aware and designed with interaction in a 3D environment in mind, 9to5Mac says. In addition, Vision Pro could get eye-scrolling support, enabling users to scroll through documents on both native and third-party apps. Bloomberg had reported in November that Apple was expected to announce a smart home tablet in March 2025, featuring a 6-inch touchscreen and voice-activated controls. The device was said to include support for Home Control, Siri, and video calls, but has yet to launch. Following the discovery of a filing for “HomeOS” by PMC’s Parker Ortolani, speculation has arisen that Apple may unveil the software for the device at WWDC.

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.

Architects: Want to have your project featured? Showcase your work by uploading projects to Architizer and sign up for our inspirational newsletters.   Is an architecture firm designing its own studio the equivalent of an artist painting a self-portrait? (Should we coin the term “auto-architecture?”) Perhaps this isn’t a perfect analogy, but it certainly contains parallels that are productive to parse… Studio spaces are distinct from offices in that they not only shape daily rituals and structure relationships between colleagues but also act as an expression of the values at the core of the firm’s design philosophies. Freed from the usual constraints of client briefs, for many firms, designing their own workspace offers a unique opportunity for experimentation and self-expression. The studios featured in this collection span diverse geographies and contexts — from a vaulted school library repurposed as an “anti-office,” to a carbon-neutral warehouse conversion in Sydney, to a minimalist tiled atelier in Casablanca. Despite their differences, each workspace shares a commitment to thoughtful design that blurs the line between functions and offers a vision for cultivating creativity. More than places of production, these studios are active expressions of architectural identity; spaces that support not only what architects make, but how they make it. They also challenge outdated typologies and embrace the hybrid realities of contemporary practice. Skylab HQ By Skylab, Portland, Oregon After spending years in a historic structure in downtown Portland, the Skylab team decided the time had come to create a space that reflected the dynamic nature of their practice. They asked themselves: “How can our studio evolve from a dedicated workspace to a playground for the art and design community? Where can we find a space to integrate gardens, an event venue, and a fabrication shop, as well as our studio?” Leaving the downtown core, they opted to transform a pair of WWII-era prefabricated steel warehouses into a hybrid studio, fabrication lab and cultural venue supporting both architectural production and artistic exchange. Strategic insertions — like a 60-foot-long (18-meter) ridge skylight, 10-foot (3-meter) operable window walls and CLT-framed meeting rooms — maximize daylight and material contrast, balancing industrial grit with biophilic warmth. The adaptive reuse reflects the firm’s ethos of experimentation, extending their design process into the very architecture that houses it. Alexander House By Alexander &CO., Sydney, Australia Jury Winner, Architecture +Workspace, 10th Annual A+Awards Alexander House functions as both studio and experimental prototype, integrating low-carbon construction with hybrid live/work spatial typologies tailored to an evolving architectural practice. While functioning as an architectural residential showcase, the team also works from this home, and their clients meet with them there; the project challenges preconceptions of home, land, family and work. From a voluminous material library in the basement to a concrete mezzanine bench designed for quiet focus, the layout supports varied modes of design work while challenging conventional boundaries between domestic and professional space. Crafted in collaboration with local makers, the building also pioneers sustainability through reclaimed timber linings, carbon-neutral bricks, and a solar system supplying up to 80% of daily energy demand. say architects Community Office By say architects, Hangzhou, China Say Architects’ office reimagines workplace architecture as a life-oriented, materially expressive environment, where exposed I-beams structure both the building and the studio’s daily rhythms. Cantilevered volumes, rope-grown greenery, and integrated misting systems animate the exterior, while steel-framed shelving and model rooms of rich timber textures create a tactile, inspiration-driven interior. Prioritizing adaptability and sensory comfort, the space dissolves traditional partitions in favor of spatial arrangements that align with design habits, offering a studio that is both tool and manifesto. Bohlin Cywinski Jackson, Philadelphia Studio By Bohlin Cywinski Jackson, Philadelphia, Pennsylvania Bohlin Cywinski Jackson’s Philadelphia studio transforms a historic social club (founded in 1923) into a contemporary workspace through adaptive reuse, prioritizing flexibility, daylight and material economy. The goal was to create a highly flexible work environment that would allow designers to move quickly between individual work, impromptu discussions and group meetings throughout the day. Restored terrazzo floors and ornamental detailing anchor a modern layout featuring hoteling desks, collaborative mezzanine zones and panoramic views of the city center.  The design supports agile workflows and hybrid collaboration while integrating repurposed custom furnishings to extend the life cycle of past projects. ADND OFFICE By Atelier Design N Domain, Mumbai, India ADND’s new Bombay headquarters is a richly layered adaptive reuse of a century-old industrial warehouse, reimagined as an expressive design laboratory charged with material experimentation and symbolic nuance. The studio’s soaring central bay reaches 26 feet (8 meters) in height, punctuated by 7-foot (2-meter) pivoting porthole windows that flood the workspace with southern light, evoking a cathedral-like ambiance. Throughout, bespoke interventions — from terrazzo-cast floors and mirrored reception desks to hand-sketched upholstery and looped oak chairs — translate the founders’ personal design dialects into architectural form, creating a space where industrial memory and contemporary authorship converge. Studio Cays X Studio BO By Studio CAYS, Casablanca, Morocco In this Casablanca-based studio, minimalist rigor meets material clarity through tiled walls and seamless epoxy flooring, crafting a luminous, low-maintenance workspace. At its core, a central bench anchors the open-plan layout, fostering daily collaboration and reinforcing the studio’s emphasis on shared ideation within a purified architectural envelope. Smart Design Studio By smart design studio, Alexandria, Australia Jury Winner, Office Interiors (<25,000 sq ft); Jury Winner, Office Building Low Rise, 10th Annual A+Awards Smart Design Studio’s headquarters fuses industrial heritage with cutting-edge sustainability, transforming a conserved warehouse into a carbon-neutral workspace powered by on-site energy and water collection systems. The studio’s open-plan interior is crowned by a mezzanine framed by original steel trusses, while a striking vaulted residence above features self-supporting brick catenary arches — an elegant synthesis of structural economy and sculptural ambition. Designed to reflect the material restraint and innovation of early industrial architecture, the building is a working manifesto for the studio’s interdisciplinary ethos. Architect’s Office at Kim Yam Road By Park + Associates, Singapore Popular Choice Winner, Office Interiors, 10th Annual A+Awards Photos by Edward Hendricks Occupying a former library hall atop a repurposed 1960s school, this studio embraces the latent grandeur of its barrel-vaulted, column-free volume to craft a boundary-less, anti-office environment. Full-height louvered windows invite daylight and breeze through the arching space, while the design resists conventional programming in favor of layered, informal settings that foster creativity and fluid collaboration. Rather than overwrite its past, the intervention amplifies the building’s inherent spatial expression; through adaptive reuse, the architects position atmosphere as architecture. Architects: Want to have your project featured? Showcase your work by uploading projects to Architizer and sign up for our inspirational newsletters.   The post Self-Portrait in Plan: 8 Architecture Studios Designed By Their Owners appeared first on Journal.

By JENNIFER CHAMPAGNE House of the Dragon expands its dragon-filled world in its second season, offering more large-scale battles and heightened aerial warfare. (Image courtesy of HBO) The 2025 Emmy race for outstanding visual effects is shaping up to be one of the most competitive in years with major genre heavyweights breaking new ground on what’s possible on television. As prestige fantasy and sci-fi continue to dominate, the battle for the category will likely come down to sheer scale, technical innovation and how seamlessly effects are integrated into storytelling. Returning titans like House of the Dragon and The Lord of the Rings: The Rings of Power have proven their ability to deliver breathtaking visuals. At the same time, Dune: Prophecy enters the conversation as a visually stunning newcomer. The Boys remains the category’s wildcard, bringing its own brand of hyper-realistic, shock-value effects to the race. With its subtle yet immersive world-building, The Penguin stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis. Each series offers a distinct approach to digital effects, making for an intriguing showdown between blockbuster-scale world-building and more nuanced, atmospheric craftsmanship. Sharing the arena with marquee pacesetters HBO’s The Last of Us, Disney+’s Andor and Netflix’s Squid Game, these series lead the charge in ensuring that the 2025 Emmy race isn’t just about visual spectacle; it’s about which shows will set the next benchmark for visual effects on television. The following insights and highlights from VFX supervisors of likely Emmy contenders illustrate why their award-worthy shows have caught the attention of TV watchers and VFX Emmy voters. The Penguin, with its subtle yet immersive world-building, stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis.  (Image courtesy of HBO) For The Lord of the Rings: The Rings of Power VFX Supervisor Jason Smith, the second season presented some of the Amazon series’ most ambitious visual effects challenges. From the epic Battle of Eregion to the painstaking design of the Entwives, Smith and his team at Wētā FX sought to advance digital world-building while staying true to J.R.R. Tolkien’s vision. “The Battle of Eregion was amazing to work on – and challenging too, because it’s a pivotal moment in Tolkien’s story,” Smith states. Unlike typical large-scale clashes, this battle begins as a siege culminating in an explosive cavalry charge. “We looked for every way we could to heighten the action during the siege by keeping the armies interacting, even at a distance,” Smith explains. His team introduced projectiles and siege weaponry to create dynamic action, ensuring the prolonged standoff felt kinetic. The environment work for Eregion posed another challenge. The city was initially constructed as a massive digital asset in Season 1, showcasing the collaborative brilliance of the Elves and Dwarves. In Season 2, that grandeur had to be systematically razed to the ground. “The progression of destruction had to be planned extremely carefully,” Smith notes. His team devised seven distinct levels of damage, mapping out in granular detail which areas would be smoldering, reduced to rubble or utterly consumed by fire. “Our goal was to have the audience feel the loss that the Elves feel as this beautiful symbol of the height of Elvendom is utterly razed.” The SSVFX team helped shape a world for Lady in the Lake that felt rich, lived-in and historically precise. (Image courtesy of Apple TV+) One of most ambitious effects for Season 4 of The Boys was Splinter, who has the ability to duplicate himself. The sequence required eight hours of rehearsal, six hours of filming, for one shot. The final effect was a mix of prosthetic cover-up pieces and VFX face replacement. (Image courtesy of Prime Video) The Penguin, HBO Max’s spinoff series of The Batman, centers on Oswald ‘Oz’ Cobb’s ruthless rise to power, and relies on meticulous environmental effects, smoothly integrating CG elements to enhance Gotham’s noir aesthetic without ever calling attention to the work itself. “The most rewarding part of our work was crafting VFX that don’t feel like VFX,” says VFX Supervisor Johnny Han. Across the series’ 3,100 VFX shots, every collapsing freeway, skyline extension and flicker of light from a muzzle flash had to feel utterly real – woven so naturally into the world of Gotham that viewers never stopped to question its authenticity. Zimia spaceport, an enormous hub of interstellar commerce in Dune: Prophecy. The production team built a vast practical set to provide a strong scale foundation, but its full grandeur came to life in post by extending this environment with CG.(Images courtesy of HBO) The second season of The Lord of the Rings: The Rings of Power refined its environments, which elevate Middle-earth’s realism. (Image courtesy of Prime Video) Some of the series’ most striking visual moments were also its most understated. The shift of Gotham’s seasons – transforming sunlit summer shoots into autumn’s muted chill – helped shape the show’s somber tone, reinforcing the bleak, crime-ridden undercurrent. The city’s bridges and skyscrapers were meticulously augmented, stretching Gotham beyond the limits of practical sets while preserving its grounded, brutalist aesthetic. Even the scars and wounds on Sofia Falcone were enhanced through digital artistry, ensuring that her past traumas remained ever-present, etched into her skin. The series wasn’t without its large-scale effects – far from it. Han and his team orchestrated massive sequences of urban devastation. “The floodwaters were one of our biggest challenges,” Han notes, referring to the ongoing impact of the catastrophic deluge that left Gotham in ruins. One particularly harrowing sequence required simulating a tsunami tearing through the streets – not as an action set piece, but as a deeply personal moment of loss. “Telling Victor’s story of how he lost his entire family in the bombing and floods of Gotham was heartbreaking,” Han says. “Normally, you create an event like that for excitement, for tension. But for us, it was about capturing emotional devastation.” Perhaps the most technically intricate sequences were the shootouts, hallmarks of Gotham’s criminal underbelly. “We programmed millisecond-accurate synced flash guns to mimic dramatic gunfire light,” Han explains, ensuring that the interplay of practical and digital elements remained imperceptible. Every muzzle flash, every ricochet was meticulously planned and rendered. The ultimate achievement for Han and his team wasn’t crafting the biggest explosion or the most elaborate digital sequence – it was making Gotham itself feel inescapably real. He says, “Nothing was more important to us than for you to forget that there are 3,100 VFX shots in this series.” The challenge for The Residence was making one of the most recognizable buildings in the world feel both immersive and narratively engaging. (Photo: Erin Simkin. Courtesy of Netflix) Bringing the universe of Dune to life on TV for HBO’s Dune: Prophecy requires a delicate balance of realism and imagination, grounded in natural physics, yet awe-inspiring in scale. Dune: Prophecy looks to challenge traditional fantasy dominance with its stunning, desert-bound landscapes and intricate space-faring visuals, uniting the grandeur of Denis Villeneuve’s films with the demands of episodic storytelling. Set thousands of years before the events of the films, the series explores the early days of the Bene Gesserit, a secretive order wielding extraordinary abilities. Translating that power into a visual language required technical innovation. “Kudos to Important Looking Pirates for the space folding and [Lila’s] Agony work,” says VFX Supervisor Mike Enriquez. No Dune project would be complete without its most iconic inhabitant, the sandworm. VFX Producer Terron Pratt says. “We’re incredibly proud of what the team at Image Engine created. Precise animation conveyed this creature’s weight and massive scale, while incredibly detailed sand simulations integrated it into the environment.” Every grain of sand had to move believably in response to the worm’s colossal presence to ensure the physics of Arrakis remained authentic. Floodwaters play a significant part in the destruction of Gotham in The Penguin. One particularly harrowing sequence required simulating a tsunami tearing through the streets. (Image courtesy of HBO) American Primeval integrated visual effects with practical techniques in creative, unconventional ways. The massacre sequence showcases technical mastery and pulls the audience into the brutal reality of the American frontier. (Photo: Justin Lubin. Courtesy of Netflix) For the Zimia spaceport, an enormous hub of interstellar commerce, the Dune: Prophecy production team built a vast practical set to provide a strong scale foundation. However, its full grandeur came to life in post. “By extending this environment with CG, we amplified the scope of our world, making it feel expansive and deeply impactful,” Pratt explains. The result was a sprawling, futuristic cityscape that retained a tangible weight with impeccably amalgamated practical and digital elements. Wētā FX sought to advance digital world-building for Season 2 of The Lord of the Rings: The Rings of Power while staying true to J.R.R. Tolkien’s vision. (Image courtesy of Prime Video) Visual effects extended beyond character work for Lady in the Lake, playing a key role in the show’s immersive world-building. (Image courtesy of Apple TV+) For House of the Dragon VFX Supervisor Daði Einarsson, Season 2 presented some of the HBO show’s most complex and ambitious visual effects work. The Battle at Rook’s Rest in Episode 4 was a milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege,” Einarsson says. Capturing the actors’ performances mid-flight required a combination of motion-controlled cameras, preprogrammed motion bases with saddles and LED volume lighting – all mapped directly from fully animated previsualized sequences approved by director Alan Taylor and Showrunner Ryan J. Condal. On the ground, the battlefield required digital crowd replication, extensive environment extensions, and pyrotechnic enhancements to create a war zone that felt both vast and intimately chaotic. “In the air, we created a fully CG version of the environment to have full control over the camera work,” Einarsson explains. Under the supervision of Sven Martin, the Pixomondo team stitched together breathtaking aerial combat, ensuring the dragons moved with the weight and raw power befitting their legendary status. Blood, weapon effects and period-accurate muzzle flashes heightened the intensity of the brutal fight sequences in American Primeval. The natural elements and violence reflected the harsh realities of the American west in 1857. (Image courtesy of Netflix) The Residence brings a refined, detailed approach to environmental augmentation, using visual effects to take the audience on a journey through the White House in this political murder mystery. (Photo: Jessica Brooks. Courtesy of Netflix) Episode 7 introduced Hugh Hammer’s claim of Vermithor, Westeros’ second-largest dragon. Rather than breaking the sequence into multiple shots, Einarsson and director Loni Peristere saw an opportunity to craft something exceptional: a single, uninterrupted long take reminiscent of Children of Men and Gravity. “It took a lot of planning to design a series of beats that cohesively flowed from one into the next, with Hugh leading the camera by action and reaction,” Einarsson says. The sequence, which involved Hugh dodging Vermithor’s flames and ultimately claiming the beast through sheer bravery, was technically demanding. To achieve this, the team stitched together five separate takes of Hugh’s performance, shot over two separate days weeks apart, due to the set needing to be struck and rebuilt in different configurations. VFX Supervisor Wayne Stables and the team at Wētā ensured the transitions were imperceptible, uniting practical and digital elements into a continuous, immersive moment. “The Dragonmont Cavern environment was a beautiful, raised gantry and cave designed by [Production Designer] Jim Clay and expanded by Wētā,” Einarsson says. Then Rowley Imran’s stunt team and Mike Dawson’s SFX team engulfed the set in practical flames so every element, from fire to dust to movement, contributed to the illusion of real-time danger. For Einarsson, the most significant challenge wasn’t just in making these sequences visually spectacular – it was ensuring they belonged within the same world as the quiet, dialogue-driven moments in King’s Landing. “The aim is for incredibly complex and spectacular visual effects scenes to feel like they belong in the same world as two people talking in a council chamber,” he states. Every dragon, flame and gust of wind had to feel as lived-in as the politics playing out beneath them. Season 4 of The Boys delivered the fully CG octopus character, Ambrosius. A challenge was crafting a believable yet expressive sea creature and keeping it grounded while still embracing the show’s signature absurdity. (Image courtesy of Prime Video) In The Penguin, Gotham isn’t just a city; it’s a living, breathing entity shaped by destruction, decay and the quiet menace lurking beneath its streets. (Images courtesy of HBO) The Boys continues to defy genre norms, delivering audacious, technically complex effects that lean into its hyperviolent, satirical take on superheroes. For The Boys VFX Supervisor Stephan Fleet, Season 4 delivered some of the Amazon Prime show’s most dramatic effects yet, from the self-replicating Splinter to the fully CG octopus character, Ambrosius. Splinter, who has the ability to duplicate himself, presented a unique challenge. Fleet says, “His introduction on the podium was a complex motion control sequence. Eight hours of rehearsal, six hours of filming – for one shot.” Splinter’s design came with an added layer of difficulty. “We had to figure out how to make a nude male clone,” Fleet says. “Normally, you can hide doubles’ bodies in clothes – not this time!” The final effect required a mix of prosthetic cover-up pieces and VFX face replacement, requiring multiple iterations to make it work. Ambrosius became one of The Boys’ most unexpected breakout characters. “It’s fun making a full-on character in the show that’s an octopus,” Fleet reveals in a nod to the show’s absurd side. “As much as possible, we aim for a grounded approach and try to attain a level of thought and detail you don’t often find on TV.” While the battle for outstanding visual effects will likely be dominated by large-scale fantasy and sci-fi productions, several standout series are also making waves with their innovative and immersive visual storytelling. Netflix’s The Residence, led by VFX Supervisor Seth Hill, brings a refined, detailed approach to environmental augmentation, enhancing the grandeur of the White House setting in this political murder mystery. “Using visual effects to take the audience on a journey through an iconic location like the White House was really fun,” Hill says. “It’s a cool and unique use of visual effects.” One of the most ambitious sequences involved what the team called the Doll House, a digital rendering of the White House with its south façade removed, exposing the interior like a cross-section of a dollhouse. Hill explains. “Going back and forth from filmed footage to full CGI – that jump from grounded realism to abstract yet still real – was quite tricky,” he says, adding, “VFX is best when it is in service of the storytelling, and The Residence presented a unique opportunity to do just that. It was a big challenge and a tough nut to crack, but those creative and technical hurdles are a good part of what makes it so rewarding.” “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege. In the air, we created a fully CG version of the environment to have full control over the camera work.”—Daði Einarsson, VFX Supervisor, House of the Dragon The Battle at Rook’s Rest in Episode 4 of House of the Dragon Season 2 was a major milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. (Image courtesy of HBO) Season 2 of House of the Dragon presented some of the most complex and ambitious visual effects work for the show to date. (Photo: Theo Whiteman. Courtesy of HBO) For Jay Worth, VFX Supervisor on Apple TV+’s Lady in the Lake, the challenge was two-fold: create seamless effects and preserve the raw emotional truth of a performance. One of the most significant technical achievements was de-aging Natalie Portman. “It seems so easy on paper, but the reality was far more challenging,” Worth admits. Worth had tackled de-aging before, but never with the same level of success. “For me, it is simply because of her performance.” Portman delivered a nuanced, youthful portrayal that felt entirely authentic to the time period. “It made our job both so much easier and set the bar so high for us. Sometimes, you can hide in a scene like this – you pull the camera back, cut away before the most expressive parts of the dialogue, or the illusion breaks,” Worth explains. In Lady in the Lake, there was nowhere to hide. “I think that is what I am most proud of with these shots. It felt like the longer you stayed on them, the more you believed them. That is a real feat with this sort of work.” Skully VFX handled the de-aging. “They nailed the look early on and delivered throughout the project on this difficult task.” Working alongside Production Designer Jc Molina, the VFX team helped shape a world that felt rich, lived-in and historically precise. “We were entrusted with the most important part of this show – do we believe this performance from this character in this part of her journey? – and we feel like we were able to deliver on this challenge.” On the other end of the spectrum, Netflix’s American Primeval, under the guidance of VFX Supervisor Andrew Ceperley, delivers rugged, visceral realism in its portrayal of the untamed American frontier. With brutal battle sequences, sprawling landscapes and historical re-creations that interweave practical and digital effects, the series stands as a testament to how VFX can enhance grounded, historical storytelling. Ceperley says, “The standout is definitely the nearly three-minute single-shot massacre sequence in the forest episode.” Designed to immerse the audience in the raw, chaotic violence of the frontier, the scene captures every brutal detail with unrelenting intensity. The challenge was crafting invisible visual effects, enhancing practical stunts and destruction without breaking the immersive, handheld camera style. “The sequence was designed to be one shot made up of 10 individual takes, shot over seven days, seamlessly stitched together, all while using a handheld camera on an extremely wide-angle lens.” One of the most complex moments involved a bull smashing through a wagon while the characters hid underneath. Rather than relying on CGI, the team took a practical approach, placing a 360-degree camera under the wagon while the special effects team rigged it to explode in a way that simulated an impact. “A real bull was then guided to run toward the 360 camera and leap over it,” Ceperley says. The footage was blended with live-action shots of the actors with minimal CGI enhancements – just dust and debris – to complete the effect. Adding to the difficulty, the scene was set at sunset, giving the team an extremely limited window to capture each day’s footage. The massacre sequence was a prime example of integrating visual effects with practical techniques in creative, unconventional ways, blending old-school in-camera effects with modern stitching techniques to create a visceral cinematic moment that stayed true to the show’s raw, historical aesthetic. “Using old techniques in new, even strange ways and seeing it pay off and deliver on the original vision was the most rewarding part.”