NimueIntroductionFor three semesters, our student team has been hard at work on the prototype for Nimue, a 3D platformer in which you play an enchanted princess who lost her memories. She needs to find her way through the castle ruins on a misty lake to uncover her past. Water is a visual core element of this game prototype, so we took extra care in its development. In this article, we will take an in-depth look at the design and technical implementation of a lake water material.The first prototype of Nimue can be played on itch.io soon. A link to our shader for use in your own projects can be found at the end of this article.Taxonomy of WaterBefore we dive into the design decisions and technical implementation, we present a simplified taxonomy of visual water components to better understand the requirements of its representation:RiMEWind WavesWaves generated by wind, which form on an open water surface, can be divided into capillary waves and gravity waves. Capillary waves, or ripples, are small, short-wavelength waves caused by weak winds affecting surface tension in calm water. They can overlap longer and larger gravity waves. How these physically complex wave types are represented in stylized video games varies depending on the respective style. Both types are usually heavily simplified in form and motion, and capillary waves are sometimes omitted entirely to reduce detail.Sea of ThievesFoam PatternsFoam patterns refer to white foam crests that form on a water surface without breaking against an obstacle or shoreline. In reality, this effect occurs when different water layers collide, and waves become steeper until their peaks collapse, and the resulting bubbles and drops scatter the sunlight. Stylized foam patterns can be found in many video game water representations and can easily be abstracted into patterns. Such patterns contribute to a cartoon look and can sometimes even replace waveforms entirely.The Legend of Zelda: The Wind WakerFoam LinesFoam lines are a very common water element in video games, represented as white graphical lines surrounding shorelines and obstacles like rocks. They typically reference two different water phenomena: foam forming around obstacles due to wave breaking, and foam along shorelines, resulting from wave breaking and the mixing of algaes with organic and artificial substances.Foam lines can have different visual appearances depending on the surface angle: The shallower the angle, the wider the foam effect. Due to the weaker waves, distinctive foam lines are rarely observed on natural lakes, but they can be included in a stylization for aesthetic purposes. Animal Crossing: New HorizonsReflectionsWhen light hits a water surface, it can either be reflected (specular reflection) or transmitted into the water, where it may be absorbed, scattered, or reflected back through the surface. The Fresnel effect describes the perceived balance between reflection and transmission: at steep angles, more transmitted light reaches the eye, making the water appear more translucent, while at shallow angles, increased reflection makes it appear more opaqueIn stylized video games, implementations of water reflections vary: RiME, for example, imitates the Fresnel effect but does not reflect the environment at all, only a simple, otherwise invisible cube map. Wind Waker, on the other hand, completely foregoes reflection calculations and renders a flat-shaded water surface.RiMETranslucencyAs an inhomogeneous medium, water scatters some of the transmitted light before it can be reflected back to the surface. This is why water is described as translucent rather than transparent. Some scattered light is not reflected back but absorbed, reducing intensity and shifting color toward the least absorbed wavelengths, typically blue, blue-green, or turquoise. Increased distance amplifies scattering and absorption, altering color perception. Modern real-time engines simulate these effects, including absorption-based color variation with depth. However, stylized games often simplify or omit transmission entirely, rendering water as an opaque surface.RiMERefractionAn additional aspect of water transmission is refraction, the bending of light as it transitions between air and water due to their differing densities. This causes light to bend toward the normal upon entering the water, creating the apparent distortion of submerged objects. Refraction effects also commonly appear in stylized water rendering. Kirby's Forgotten Land, for example, showcases two key visual characteristics of refraction: distortion increases with steeper viewing angles and is amplified by ripples on the water's surface.Kirby and the Forgotten LandCausticsCaustic patterns form when light rays are focused by a curved water surface (caused by waves and ripples), projecting bundled light patterns onto underwater surfaces or even back to surfaces above water. These patterns are influenced by the clarity of the water, the depth of the water, and the strength of the light source. They contribute greatly to the atmosphere of virtual worlds and are often found in stylized games, although only as simplistic representations.The Legend of Zelda: Ocarina of Time 3DDesign DecisionsDue to the fact that the setting of Nimue is a lake with a calm overall atmosphere, the decision was made to use very reduced gravity waves, as a calm water surface underlines this atmosphere. Capillary waves have too high a level of detail for the stylistic requirements of Nimue and were, therefore, not implemented.NimueShapesThe mood in Nimue can be summarized as calm and mystical. The design language of Nimue is graphic, rounded, and elegant. Shapes are vertically elongated and highly abstracted. Convex corners are always rounded or have a strong bevel, while concave corners are pointed to prevent the overall mass of objects from becoming too rounded.ColorsNimue uses mostly broken colors and pastels to create a serene, reflective mood and highlight the player's character with her saturated blue tones. Platforms and obstacles are depicted with a lower tonal value (darker) to increase their visibility. Overall, the game world is kept in very unsaturated shades of blue, with the atmospheric depth, i.e., the sky and objects in the distance, falling into the complementary orange range. Shades of green and yellow are either completely avoided or extremely desaturated. The resulting reduced color palette additionally supports the atmosphere and makes it appear more harmonious.Color gamut & value/tone tests Hue, Tone & SaturationSince the color of the water, with its hue, tone, and saturation, is technically achieved by several components, a 2D mockup was first designed to more easily compare different colors in the environment. Here it could be observed that both the low and the high tonal value formed too great a contrast to the rest of the environment and thus placed an undesirable focus on the water. Therefore, the medium tone value was chosen.The hue and saturation were tested in relativity to the sky, the player character, and the background. Here, too, the color variant that harmonizes the most with the rest of the environment and contrasts the least was chosen.Foam LinesFor the design of the foam lines, we proceeded in the same way as for the color selection: In this case, a screenshot of the test scene was used as the basis for three overpaints to try out different foam lines on the stones in the scene. Version 3 offers the greatest scope in terms of movement within the patterns. Due to this, and because of the greater visual interest, we opted for variant 3. Following the mockup, the texture was prepared so that it could be technically implemented.ReflectionThe reflection of the water surface contributes to how realistic the water looks, as one would always expect a reflection with natural water, depending on the angle. However, a reflection could also contribute to the overall appearance of the water becoming less calm. The romantic character created by the reflection of diffuse light on water is more present in version 1.In addition, the soft, wafting shapes created by the reflection fit in well with the art style. A reflection is desirable, but the reflections must not take up too much focus. Ideally, the water should be lighter in tone, and the reflections should be present but less pronounced. Reflection intensityRefraction & CausticsEven though most light in our water gets absorbed, we noticed an improvement in the believability of the ground right underneath the water's surface when utilizing refraction together with the waveforms. When it comes to caustics, the diffuse lighting conditions of our scene would make visible caustic patterns physically implausible, but it felt right aesthetically, which is why we included it anyway (not being bound to physical plausibility is one of the perks of stylized graphics).Technical Realization in Unreal Engine 5When building a water material in Unreal, choosing the right shading model and blend mode is crucial. While a Default Lit Translucent material with Surface Forward Shading offers the most control, it is very costly to render. The more efficient choice is the Single Layer Water shading model introduced in Unreal 4.27, which supports light absorption, scattering, reflection, refraction, and shadowing at a lower instruction count. However, there are some downsides. For example, as it only uses a single depth layer, it lacks back-face rendering, making it less suitable for underwater views. And while still quite expensive by itself, its benefits outweigh the drawbacks of our stylized water material.WaveformsStarting with the waveforms, we used panning normal maps to simulate the rather calm low-altitude gravity waves. The approach here is simple: create a wave normal map in Substance 3D Designer, sample it twice, and continuously offset the samples' UV coordinates in opposing directions at different speeds. Give one of the two samples a higher speed and normal intensity to create a sense of wind direction. This panning operation does not need to run in the fragment shader, you can move it to the vertex shader through the Vertex Interpolator without quality loss and thereby reduce the instruction count.Texture RepetitionTo reduce visible tiling, we used three simple and fairly efficient tricks. First, we offset the UVs of the Wave Samplers with a large panning noise texture to dynamically distort the wave patterns. Second, we used another sampler of that noise texture with different tiling, speed, and direction to modulate the strength of the normal maps across the surface. We sampled this noise texture four times with different variables in the material, which is a lot, but we reused them many times for most of the visual features of our water. Third, we sampled the pixel depth of the surface to mask out the waves that were far from the camera so that there were no waves in the far distance.Vertex DisplacementWhile these normal waves are enough to create the illusion of altitude on the water surface itself, they are lacking when it comes to the intersections around objects in the water, as these intersections are static without any actual vertex displacement. To fix that, two very simple sine operations (one along the X-axis and the other on the Y-axis) were added to drive the World Position Offset of the water mesh on the Z-axis. To keep the polycounts in check, we built a simple blueprint grid system that spawns high-res plane meshes at the center in a variable radius, and low-res plane meshes around that. This enables the culling of non-visible planes and the use of a less complex version of the water material for distant planes, where features like WPO are not needed.ColorThe general transmission amount is controlled by the opacity input of the material output, but scattering and absorption are defined via the Single Layer Water material output. The inputs Scattering Coefficients and Absorption Coefficients, which are responsible for reproducing how and how far different wavelengths travel through water, are decisive here. We use two scattering colors as parameters, which are interpolated depending on the camera distance. Close to the camera, the blue scattering color (ScatteringColorNear) dominates, while at a distance, the orange scattering color (ScatteringColorFar) takes over. The advantage is a separation of the water's color from the sky's color and, thus, higher artistic control.Reflections & RefractionReflections in the Single Layer Water shading model are as usual determined by the inputs for Specular (reflection intensity) and Roughness (reflection diffusion). In our case, however, we use Lumen reflections for their accuracy and quality, and as of Unreal 5.4, the Single Layer Water model’s roughness calculation does not work with Lumen reflections. It forces mirror reflections (Roughness = 0), no matter the value input, leaving the specular lobe unaffected. Instead, it only offsets the reflection brightness, as the specular input does.For our artistic purposes, this is fine, and we do use the roughness input to fine-tune the specular level while having the specular input as the base level. A very low value was set for the specular value to keep the reflection brightness low. We further stylized the reflections by decreasing this brightness near the camera by using the already mentioned masking method via camera to interpolate between two values (RoughnessNear and RoughnessFar). For refraction, the Pixel Normal Offset mode was used, and a scalar parameter interpolates between the base refraction and the output of the normal waves.CausticsFor the caustic effect, we created a Voronoi noise pattern by using Unreal's Noise node and exporting it with a render target. In Photoshop, the pattern was duplicated twice, rotated each, colored, and blended. This texture is then projected on the objects below by using the ColorScaleBehindWater input of the Single Layer Water Material output. The pattern is dynamically distorted by adding one of the aforementioned panning noise textures to the UV coordinates.FoamlinesWe started by creating custom meshes for foam lines and applied the earlier texture pattern, but quickly realized that such a workflow would be too cumbersome and inflexible for even a small scene, so we decided to do it procedurally. Two common methods for generating intersection masks on a plane are Depth Sampling and Distance Fields. The first works by subtracting the camera's distance to the water surface at the current pixel (i.e., the "PixelDepth") from the camera's distance to the closest scene object at that pixel (i.e., the "SceneDepth"). The second method is to use the node "DistanceToNearestSurface" which calculates the shortest distance between a point on the water surface and the nearest object by referencing the scene's global distance field. We used both methods to control the mask width, as each alone varies with the object's surface slope, causing undesirable variations. Combining them allowed us to switch between two different mask widths, turning off "Affect Distance Field Lighting" for shallow slopes where narrower lines are wanted.The added mask of all intersections is then used for two effects to create the foam lines: "edge foam" (that does not depart from the intersection) and "edge waves" (which go outwards from the edge foam). Both are shaped with the noise samplers shown above to approximate the hand-drawn foam line texture.Foam PatternsThe same noise samplers are also used to create a sparkling foam effect, loosely imitating whitecaps/foam crests to add more visual interest to the water surface. Since it only reuses operations, this effect is very cheap. Similarly, the wave normals are used to create something like fake subsurface scattering to further distinguish the moving water surface. Interactive RipplesA third type of foam is added as interactive waves that ripple around the player character when walking through shallow water. This is done through a Render Target and particles, as demonstrated in this Unity tutorial by Minions Art. The steps described there are all easily applicable in Unreal with a Niagara System, a little Blueprint work, and common material nodes. We added a Height to Normal conversion for better visual integration into our existing wave setup. Finally, here are all those operations combined for the material inputs:NimueBest PracticesUse Single Layer Water for efficient translucency, but note it lacks back-face rendering and forces mirror reflections with Lumen;For simple low-altitude waves, pan two offset samples of a normal map at different speeds; move panning to Vertex Shader for better performance;Break up texture tiling efficiently by offsetting UVs with a large panning noise, modulating normal strength, and fading distant waves using pixel depth;Sampling one small noise texture at different scales can power this and many other features of a water shader efficiently;If high-altitude waves aren't needed, a simple sine-based WPO can suffice for vertex displacement; implement a grid system for LODs and culling of subdivided water meshes;Blend two scattering colors by camera distance for artistic watercolor control and separation from sky reflections;Combining depth sampling and distance fields to derive the foam lines allows for more flexible intersection widths but comes at a higher cost. Further ResourcesHere are some resources that helped us in the shader creation process:General shader theory and creation: tharlevfx, Ben Cloward;Interactive water in Unity: Minions Art;Another free stylized water material in Unreal by Fabian Lopez Arosa;Technical art wizardry: Ghislain Girardot.ConclusionWe hope this breakdown of our water material creation process will help you in your projects.If you want to take a look at our shader yourself or even use it for your own game projects, you can download the complete setup on Gumroad. We look forward to seeing your water shaders and exchanging ideas. Feel free to reach out if you have any questions or want to connect.Kolja Bopp, Academic SupervisorLeanna Geideck, Concept ArtistStephan zu Münster, Technical Artist

Chatbot upgrades, hot and fresh. The latest versions of OpenAI’s multimodal GPT AI models are now rolling out to ChatGPT. OpenAI announced on Wednesday that GPT-4.1 will be available across all paid ChatGPT account tiers and can now be accessed by Plus, Pro, or Team users under the model picker dropdown menu. Free users are excluded from the rollout, but OpenAI says that Enterprise and Edu users will get access “in the coming weeks.” GPT-4o mini, the more affordable and efficiency-focused model that OpenAI launched last year, is also being replaced with GPT-4.1 mini as the default option in ChatGPT for all users, including free accounts. Users on paid accounts will also see GPT-4o mini replaced by GPT-4.1 mini in the model picker options.  Both GPT-4.1 and GPT‑4.1 mini are optimized for coding tasks and instruction following, and outperform GPT‑4o and GPT‑4o mini “across the board,” according to OpenAI. Both of the new models support a one million context token window — the amount of text, images, or videos in a prompt that an AI model can process — that greatly surpasses GPT-4o’s 128,000-token limit. OpenAI says that speed improvements also make GPT-4.1 more appealing for everyday coding tasks compared to the powerful OpenAI o3 & o4-mini reasoning models it introduced in April. GPT-4.1 and GPT-4.1 mini were made available to developers last month, alongside the GPT-4.1 nano model, which OpenAI described as its “smallest, fastest, and cheapest” offering to date. GPT-4.1 Nano is absent from this model rollout announcement, and it’s unclear when — or if — it’ll be generally available in ChatGPT.

Part antiques dealer, part architect, this Belgian maverick is an unlikely source of lessons for contemporary material reuse Marcel Raymaekers (1933–) never qualified as an architect. This did not stop him from procuring the materials for, designing and building around 150 villas across Belgium. The exact number is unknown: Belgium’s architectural establishment mostly ignored and rejected Raymaekers just as he ignored and rejected them, and as a result his work has never been collated or taken seriously. Raymaekers himself never kept records of his work; he regarded the drawing board as a ‘torture device’, preferring sketches and improvisation on site, determined by the material batches he had to hand. The extent of Raymaekers’ oeuvre is also hard to fathom because he wanted to keep it under the radar of the tax authorities. They caught up with him eventually; he was bankrupted in 2014. Today, Raymaekers is a 92‑year‑old tenant living inside what was once his personal empire, Queen of the South, in the Limburg countryside in north‑western Belgium. This compound was – and to a limited extent, still is – a vast salvage yard packed with components scavenged from aggressive postwar demolition. This puzzling place, completed in 1972 but constantly expanded, is stuffed with billowing pitched roofs, impossible archways, numerous appendages and antechambers. In its heyday – the 1970s and ’80s – Queen of the South also had a nightclub, a restaurant, a jazz venue, Raymaekers’ own ultra‑luxe apartment, and an estaminet – a plush, wood‑panelled, banquet‑seated, mirror‑pillared café‑bar. Marcel Raymaekers was born in 1933 near Leuven in Belgium. In 1950, he enrolled to study architecture at the Sint-Lukas School in Brussels but left a year later without a degree. Though not officially an architect, Raymaekers proceeded to design around 150 projects, from suburban homes to hotels and music venues – in 1986, he completed the Orlando discotheque, which burned down in 2014 Credit: Roger Dyckmans It was here that Raymaekers would sit – when he was not criss‑crossing Belgium scouting for materials – scoping out clients as they stumbled giddily into his world, overwhelmed by the aspiration and status anxiety that Queen of the South was designed to induce. The project was also a cultural hub attracting misfits and eccentrics, wheelers and dealers, experts and charlatans. The novelist Hugo Claus had his 50th birthday at Queen of the South, honouring Raymaekers in his speech. Raymaekers and his wife Hilde did interviews for newspapers, magazines and TV, often while reclining on their bed. The media was not interested in him as an accomplished architect, but as a purveyor of kitsch, an absurdity.  What Raymaekers had to sell his clients was more than simply antiques or even houses composed of them (buy enough materials and he would design you a house for no charge: that was always the deal). What Raymaekers was really selling were dreams of nobility: the life of a lord and lady of the manor, set apart (and above) from an increasingly modernised, homogenised world. Sensuality and hedonism, expressed through haptic, resplendent materials, was a big part of the allure too – the promise of a new way of life. One of Raymaekers’ bigger projects was a love hotel, Rubensexclusief, near Diest, completed in 1979. Each chamber was bestowed with an excess of padded velvet upholstery, often creeping up the walls and curving onto the ceilings. In the lobby, a salvaged confession booth was intended as a hiding place for guilty parties. Raymaekers brought several clients here to celebrate a successful transaction or to introduce them to his material language before starting design negotiations. His clients were middle‑class professionals – teachers, dentists, entrepreneurs, doctors, engineers, florists, pharmacists. Wealthy, but not extraordinarily rich. Many of his houses allowed them to live and work – interfacing with the public – on the same property. House Kelchtermans from 1970, for example, designed with architect Jos Witters, is composed of three pyramids – a home, a doctor’s office and a garage – structured with reclaimed oak beams. The roof tiles were salvaged by the client himself, Dr Kelchtermans, who received tips on where to find them from his patients, many of whom were farmers whose buildings were undergoing modernisation or demolition. Inside, it is all split‑levels, enormous fireplaces and complex, spiralling spaces. But the house’s biggest flourish is the skylights: 23 cupolas from decommissioned Lockheed T‑33 fighter jet cockpits. Raymaekers had found them languishing in a salvage yard on the other side of Flanders, saw their architectural potential and persuaded the client to buy them. Client participation was everything. The Boncher family’s house, completed in 1984, is a mash‑up of components from a derelict slaughterhouse in the city of Tienen and an army barracks in Verviers. The Bonchers themselves spent weeks carefully dismantling the bricks, Gobertange white stone and fleur‑de‑lis roof tiles from the slaughterhouse. Raymaekers had the grand entrance and guardhouses from the barracks available in his stock at Queen of the South, probably at a time‑sensitive discount. Many of the construction and final design decisions for House Boncher were left to happenstance; as the contractors built the walls up row‑by‑row, whenever a hole was needed for a window, Raymaekers would decide the dimensions only at that moment, based on whatever blue limestone window frame he happened to have in stock. Occasionally, the masons had to deconstruct part of a wall if a larger‑than‑anticipated window became available.  ‘Raymaekers’ houses are intelligent, instinctive assemblages of unpredictable material streams’ The interior, too, required improvisation. A white stone staircase, salvaged from a church pulpit, was meant to spiral up to the main bedroom of House Boncher but turned out to be about 200mm too short. The solution? Raymaekers and the contractors decided to build a hefty bump into the floor, consisting of cobbles and decorative tiling. It gave the staircase the necessary boost to reach up to the bedroom. It was typical of how designing exclusively with old materials required Raymaekers to empower and trust his contractors. Their design contributions, extemporisation and management of materials and how they might fit together were intrinsic to the realisation of every project. Working with large batches helped simplify matters – or allowed further complexity. When the Antwerp townhouse of art nouveau architect Joseph Bascourt was demolished to make way for the extension of a car park, Raymaekers snapped up the facade. Without knowing or caring how the pieces were originally composed, Raymaekers shuffled them into a new configuration for the facade of a flower shop a client had commissioned in the Brussels hinterland, completed in 1987. Raymaekers moved Bascourt’s decorative entablature from the top of the facade down to eye level, the better to be enjoyed; that this meant the windows on the top floor would now poke strangely above the roofline was fine with both Raymaekers and the client. The shreds of Raymaekers’ reputation that survive today, and what can be retrieved and reconstructed of his private and professional habits, are complex at best. His charisma and determination enabled him to convince artisans, contractors, labourers and clients to stretch themselves beyond what they thought possible, adding their own talent to his difficult buildings. But Raymaekers could also be intimidating and domineering. Collaborators often stepped away from his all‑consuming process; clients who considered him too pushy and found themselves running out of money could cease working with him. But this was not the case for his spouses, sons, grandchildren and daughters‑in‑law. They were bound to him by more than his business practice and art, and some of them suffered enduring and even unbearable distress. Their suffering is the shadow behind Raymaekers’ work. When researchers from Belgian design practice Rotor and the University of Ghent – also the authors of this article – started showing up at Queen of the South in 2011, it was not because of Raymaekers’ reputation; it was merely to include Queen of the South on Opalis’s database, a roster of salvage dealers covering much of north‑western Europe. We only realised the extent and importance of his work after several years and at least three visits. Raymaekers had refused all interviews since his bankruptcy, but after some persuasion, a meeting was scheduled in the courtyard on a grey winter day. Triggered by newspaper cuttings, his own limited archive of photographs and strolls through the stock, a picture emerged of the rich reuse ecosystem in which he was active in his glory days. It is this ecosystem, along with the remarkable and necessary fluidity of Raymaekers’ practice with old building materials, that was critical to his success. Belgium was blessed in the postwar period with a remarkably robust network of demolition contractors who were also salvage dealers, antiques dealers who were also designers, industrial scrapyards willing to let architects pick through their mountains of waste. The landscape was ripe for reuse. So was the legislative field. Raymaekers’ oeuvre could be mistaken, at a cursory glance, for just more Ugly Belgian Houses (several of them have indeed appeared on Hannes Coudenys’ infamous blog). His houses appear to be kitsch, chaotic, brazen, overstuffed with mixed metaphors. But they are much more than that. They are intelligent, instinctive assemblages of unpredictable material streams. They are bracing, never boring. And though they are wildly out‑of‑step with today’s tastes, the houses – and moreover, the kind of innovative practice that built them – have a lot to teach spatial practitioners about reusing architectural materials and circularity in the construction industry. And as with any of those so‑called ‘ugly’ Belgian houses, the label is a trivialisation (and an elitist one) of something systemic and generative. What makes possible such expressionistic and characterful suburban houses in Belgium – whatever one thinks of their quality – is government policy since the postwar era. While other European countries went all in on standardised social housing, in Belgium, the 1948 De Taeye Law offered construction grants and a state guarantee on mortgages, triggering families to initiate, help design and sometimes even execute the construction of their own homes, tapping into a rural tradition of self‑reliance. Raymaekers worked at a time when modernisation – and the demolition it demanded – was churning out a constant flow of antique materials. It was also a time when the merger and exchange of roles in the architectural process – from material procurement, to design and collaboration live on site – was still possible. Material reuse today is much harder. It must work precisely against the linear flows of extraction, capital, efficiency and predictability – all supercharged by the digital and its requirement of an almost omniscient predictability, and by increasingly demanding rules around compliance and liability. But to explore the wild potential of material reuse – not just to reduce embodied carbon, but to unleash new design potential and a richer culture around material (heritage) and practice – it must be possible to imagine ways in which material procurement, construction sites and the architects’ role can change fundamentally again.  Illustration: Laslo Antal for The Architectural Review. Read more about the process of making this portrait here 2025-05-15 Justinien Tribillon Share AR May 2025CircularityBuy Now

He retired last year after 13 seasons playing starting center for the Philadelphia Eagles. And Jason Kelce’s houses reflect his ties to the area. Since retirement, the NFL star has kept busy hosting an ESPN talk show and the popular podcast New Heights with his brother, the Kansas City Chiefs tight end (and beau to Taylor Swift), Travis Kelce. Through it all, the Ohio native has continued to keep his primary residence in Pennsylvania, not too far outside of Philly, where he spent his entire professional football career. In 2022 Kelce bought a beach house on the Jersey Shore, where he can retreat to along with his wife, podcast host Kylie Kelce, and their four daughters.Read on to learn more about the athlete’s real estate portfolio.Pennsylvania compoundJason Kelce and his wife, Kylie Kelce, at the premiere of Kelce, an Prime Video documentary about the family, in 2023. Photo: Lisa Lake/Getty ImagesWhile playing for the Philadelphia Eagles, Kelce purchased a charming four-bedroom, three-bathroom home in Haverford, Pennsylvania, in 2018 for $680,000. The single-family home was built in 1959 and has original wood-burning fireplaces, vaulted ceilings with wood beams, and endless natural light. The football family’s home is nestled far back from the road on one acre of land, complete with a panoramic wraparound deck and in-ground pool. Jason and Kylie opened their doors for a mini tour in February 2024, when they renovated their children’s playroom with Pottery Barn Kids.In 2020, Kelce expanded the estate with the $3.96 million purchase of an eight-acre plot next door. Three years later, he paid $1.35 million to add on a third parcel. In February, the football star was granted permission from the local zoning board to build a fourth home and add a privacy fence around the compound, which now totals 10 acres.Jersey Shore beach houseIn 2022 Jason increased his real estate holdings when he bought a $2.2 million house in Sea Isle City, New Jersey, a beach town known for its laid-back family-friendly ambiance. Originally built in 1988, the 2,200-square-foot traditional-style home has four bedrooms, three and a half bathrooms, and was completely renovated in 2017. With two wraparound decks and an abundance of windows and skylights, the three-story home offers endless views of the ocean and sandy shores of neighboring Ludlam Beach.

Heneghan Peng's University of Greenwich building Source:&nbsp Hufton + Crow EXCLUSIVE: Lecturers at Greenwich University’s architecture school have been left ‘angry and disillusioned’ by plans for a restructure that put over 300 university staff at risk, including dozens in the department The south-east London university informed staff last month of its plans to make 319 redundancies, including all casual staff known as hourly-paid lecturers (HPLs) within the Faculty of Liberal Arts and Sciences (FLAS) and Greenwich Business School (GBS). A consultation document for FLAS, sent out to staff last month and seen by the AJ, reveals the university intends to replace 151 HPLs with just 50 academic teaching posts, which would mainly be part-time positions, equating to 17 full-time equivalents. It also wants to set up a ‘pool’ of associate academic staff for ad-hoc cover, which it is understood will work on zero-hour contracts.Advertisement The School of Design, which includes the architecture department and is based at a Heneghan Peng-designed building in Greenwich town centre, is one of the worst-hit departments. Within architecture, the AJ understands 50 of the 70 teaching staff could be made redundant, with 20 then hired back. It is believed that 31 full-time academics will also be made redundant in the Faculty of Engineering and Science. According to the consultation document, the faculty’s rationale is to claw back staffing costs, with the university forecasting it will spend £1.7 million on HLPs in 2024/2025. It says it needs to reduce staff costs by 4 per cent (around £800,000) to operate within budget. ‘Staff cost savings measures need to be fully implemented no later than 31 August 2025 to have as close to full-year effect,’ the consultation states. However the restructure of FLAS, which since last year has been under the leadership of pro vice-chancellor and executive dean professor Natasha Vall, is facing opposition from lecturers, students and the University and College Union (UCU).Advertisement A letter heavily criticising the plans, and seen by the AJ, was sent to senior management last week and signed by more than 30 teaching staff in the architecture school. Describing the plans as ‘hugely damaging to the faculty and its students’, the letter includes calculations that suggest the proposals will reduce student teaching time by 40 per cent. It also warns that the reduction in staff-to-student ratios could mean the courses could come under scrutiny from accrediting bodies such as the RIBA and the Architects’ Registration Board (ARB). ‘There is a real risk that affected courses will lose their accredited status or be put on to special measures,’ it said. The lecturers’ letter also raises concerns that the ‘associate academic’ positions could essentially become zero-hour contracts at a lower remuneration, classifying staff as workers rather than employees and removing basic rights such as sick pay and maternity pay. It adds that staff are ‘incredibly angry and disillusioned’ by the way the proposals have been presented, and especially that the redundancy plans were announced during the Easter break, after many HPLs’ teaching involvement for the year had ended. This meant that any HPLs who wanted to take part in the consultation had to do so at a time they were not employed by the university. Explaining the rationale for axing HPLs, the consultation said that while the casual lecturers had played an ‘important role’ in providing specialist teaching and cover for sickness absence, they had also been used to ‘meet core teaching needs’. It added: ‘The faculty considers that, however able and committed individual HPLs are, it is important that core teaching should be provided by members of staff with a longer-term commitment to, and stake in, the university.’ However, the lecturers’ letter said the comparison between full-time and HLP staff denigrates and discriminates against employees on HPL contracts, many of whom have worked for the university for years. What is an HPL? Hourly paid lecturers are teaching staff paid a specific rate per hour and often work on a contract basis, which may be for a specific academic year or even a term without a guarantee of ongoing work. While hourly-paid roles are often taken up by postgraduate or PhD students, many are also professionals who come in to teach alongside their main jobs. This is especially the case in the school of architecture, where architects teach alongside working in practice. Students are also opposing the cuts. A letter sent by the Greenwich Landscape and Architecture Society to School of Design head Chris Pallant and associate head Rashesh Ram said the proposed changes would ‘damage the credibility’ of the course and reputation of the School of Design. ‘Students are concerned that being taught in larger groups by multiple full-time tutors will not only prevent them from learning from real-life practitioners, but also create problems with design process as no one will fully know their project and be able to provide them with the guidance equivalent to 1:1 tutorials we currently have,’ it said. Lecturers have also urged the university to explain its justification for the cuts, given that the university is in good financial health. Last year, financial records show that Greenwich University made a surplus of more than £33 million. In a statement issued on the cuts at Greenwich, UCU general secretary Jo Grady said: ‘Students are having their fees hiked, yet the University of Greenwich wants to sack hundreds of their teachers and instead bring in a pool of zero-hour academics, all while the vice-chancellor's pay continues to soar. These are the actions of the very worst type of rogue employer, not a public institution of Greenwich’s standing. ‘There is no financial justification to force through these cuts, and if the university continues to do so, impacted courses will be stripped of their academic value. It must think again.’ The spokesperson said the UCU had taken steps to raise a dispute with the university and was moving to consultation on a ballot for strike action. Greenwich University has been approached for comment. 2025-05-15 Ella Jessel comment and share

Source: Bureau de Change Architects / HGGThe proposed scheme A proposal by Bureau de Change Architects to redevelop a single-family home in Dartmouth Park, Camden, into a five-storey block of flats has drawn national attention, including opposition from Dame Justine Thornton, a barrister and judge, who is also wife of energy secretary Ed Miliband. The project, submitted for developer HGG London, would see the demolition of a 1930s detached house on Dartmouth Park Road, located in the Highgate ward of the London borough, and its replacement with six apartments ranging from one to three bedrooms. The proposal seeks to increase the site’s density while referencing local Victorian architecture in its massing and façade design. In its design and access statement, Bureau de Change describes the proposal as a “sensitive and site-driven design” that aims to deliver “much needed new housing for the area”. The site sits within the Dartmouth Park Conservation Area. Thornton wrote that the proposed block was “too tall, too bulky and too dense for its plot given the context of the surrounding houses and the wider conservation area”. While expressing support for additional housing in principle, she cited the nearby Highgate Newtown residential development as “a brilliant example of thoughtful design in harmony with neighbouring properties” and suggested that the application represented “another opportunity for the Council to demonstrate its commitment to the provision of sympathetically designed housing by acknowledging the benefit of redevelopment whilst rejecting this particular design”. The project has highlighted the ongoing tension between national planning policy objectives and local resistance to change. The Labour government has made housing delivery a key part of its growth agenda, pledging to prioritise brownfield development and to take a more assertive stance against anti-development sentiment. Architects Joanna van Heyningen and Birkin Haward, founding partners of van Heyningen and Haward Architects, also submitted a formal objection to the scheme. In their response, they stated that the proposal was “too tall for its context, too deep, too close to the houses to its south and east, provides poor living standards for its intended inhabitants, and ignores the requirement for bio-diversity net gain”. Referring to the design, they described the illustrated façade as “a naïve architectural response that attempts to be contextual by aping some of the proportions of neighbouring buildings, whilst completely failing to respect them”. The proposed schemeSource: Bureau de Change Architects / HGG The proposed schemeSource: Bureau de Change Architects / HGG Proposed ground floor planSource: Bureau de Change Architects / HGG 1/3 show caption Actor Benedict Cumberbatch and his wife, theatre director and playwright Sophie Hunter, who also live nearby, submitted their own objection. They argued that the scheme would be “out of keeping with the architectural style of the area” and warned it would “disrupt the aesthetic of the street” and be “directly in opposition to the nature of a conservation area”. They also expressed concerns about the impact on privacy and daylight, writing that the proposed building “will dwarf houses on both roads” and “look directly onto adjacent properties and gardens”. The objection concluded by cautioning that approval could “set a precedent for the area”, asking: “Could I now demolish my property and replace it with flats and not require the same extensive planning approval?” Camden Council is yet to decide on the application. Bureau de Change Architects and HGG London have been contacted for comment.

Iron Man was a resounding success when it opened in 2008, earning more than half a billion dollars and declaring in no uncertain terms that Marvel Studios—and the Marvel Cinematic Universe, as it later came to be known—had arrived. Although Marvel was also developing movies about Thor, Captain America, and Ant-Man at the time, Iron Man 2 was pushed to the front of the line and set for release in May 2010, just two years after the first film. The idea was to cash in on the surprise success of Iron Man and give the other movies a little more time to breathe and develop, with the ultimate goal of teaming all the characters up in The Avengers. But perhaps due to its rushed production schedule, studio growing pains, and the need to lay down breadcrumbs for the stories to come, Iron Man 2 was a shaky affair when it eventually came out. Not that this hurt its box office potential. It grossed more than the first film. Still, it did not escape the notice of critics and hardcore fans, resulting in a film that still regularly lands near the bottom of MCU movie rankings. Strangely, however, Marvel Studios has repeated many of the same mistakes it made on Iron Man 2 in later films while also taking some of the wrong lessons from the troubled production of the MCU’s first sequel. A Rushed Development With Iron Man 2 announced days after the release of Iron Man (even before the relative failure of The Incredible Hulk that same year), Marvel had to scramble to come up with a story and lock down its principal players. Robert Downey Jr., of course, was signed to reprise the role of Tony Stark at a much higher salary. Gwyneth Paltrow was also confirmed to return, as was director Jon Favreau (who would also once again play Stark security chief Happy Hogan). Also returning were Samuel L. Jackson and Clark Gregg as Nick Fury and Agent Phil Coulson, respectively, expanding the presence of S.H.I.E.L.D. that was briefly established in the first film. Downey and Favreau tapped writer/actor Justin Theroux to pen the screenplay, which would introduce villains Justin Hammer and Whiplash (actually a sort of hybrid of that character and the Crimson Dynamo) into the story after comic book arch-nemesis The Mandarin was nixed as both too fantastical and potentially racist. Also slated to make her debut in the movie: Black Widow (Scarlett Johansson), a nod to the impending creation of the Avengers but one of the many elements of a movie that was potentially piling up too many plot threads. Although initial reports suggested that at least part of the film would adapt the famous “Demon in a Bottle” storyline, in which Tony Stark becomes a full-blown alcoholic, that aspect of the narrative was toned down due to concerns over toy sales and younger viewers’ perception of Iron Man. The movie reportedly began filming without a finished script, something that would hamper future Marvel movies and lead the studio to make reshoots a permanent part of every film’s production schedule. This necessitated Theroux having to do daily rewrites on the set with Favreau and Downey, with the latter’s ad-libbing and improvisatory style of acting further muddying what was already a confusing and tonally uneven plot. New Faces, New Problems As mentioned, Downey, Paltrow, Favreau, Gregg, and Jackson (the latter after some torturous negotiations) all returned to their roles in Iron Man 2, but Terence Howard, who co-starred in Iron Man as Tony Stark’s best friend, Col. James “Rhodey” Rhodes, did not. Depending on who you ask, Howard was either too difficult or too expensive—or both—to keep around for the sequel. He was replaced by Don Cheadle, who’s played Rhodey (and become a fan favorite, at least until Secret Invasion retconned him as a Skrull) ever since. Ironically Marvel should have learned from this and the recasting of Bruce Banner (from Edward Norton to Mark Ruffalo) that it was okay to recast a major role once in a while. But the biggest mistake Marvel made in this regard was arguably announcing that T’Challa/Black Panther would not be recast after the tragic death of Chadwick Boseman, which left the MCU without one of its most potentially important superheroes (Marvel has since seemingly eased up on this, with Harrison Ford replacing the late William Hurt as “Thunderbolt” Ross and rumors circulating that a new T’Challa from a different universe will soon appear). Still, the casting of Iron Man 2’s villains, Justin Hammer and Ivan Vanko/Whiplash, set some precedents that would later haunt the MCU in a different way. Hammer was played by Sam Rockwell (an early candidate for Iron Man himself) and acquitted himself well, but his role was in some ways superfluous to a story already packed with new characters and themes and his function in the movie was not always clear (he’s also yet to reappear in the MCU). But it was Mickey Rourke being courted to play Whiplash that perhaps caused the most angst. With Rourke coming in hot off his Oscar-nominated, Golden Globe-winning comeback performance in The Wrestler, Marvel wanted to seize a prestige casting coup—a move similar to its hiring of recent Oscar winner Brie Larson years later to play Captain Marvel. It could be argued that neither Rourke nor Larson was ultimately the right fit for their roles, but luring award winners to a comic book universe was too tempting for Marvel to pass up. In retrospect, they might have even dodged a bullet when Joaquin Phoenix passed on playing Doctor Strange given the actor’s reportedly mercurial methods. Rourke allegedly made bizarre demands to Marvel on Iron Man 2. This included that Vanko have a pet bird and wear his hair in a bun. He also reportedly clashed with Favreau during filming. Later he would say publicly he was unhappy with the final product, claiming that a lot of his performance was left on the cutting room floor. Whiplash in the finished film is certainly a strange character and the first of many undercooked Marvel villains to come. But that didn’t stop the studio from pursuing other actors and filmmakers basking in the glow of a high-profile awards run. Too Much of Everything Whereas the first Iron Man was a sleek, crisply told origin story, Iron Man 2 was, narratively speaking, a mess. The film dealt with Tony Stark’s inability to reconcile his personal identity with his new public persona as Iron Man, his lingering issues with his father, Howard Stark (John Slattery), his burgeoning drinking problem (less visible in the finished film, but still there), and his discovery that the core element in his arc reactor was slowly poisoning him. Join our mailing list Get the best of Den of Geek delivered right to your inbox! And that was just Tony; the rest of the film introduced Black Widow and the beginnings of the Avengers, put Rhodey in his War Machine armor for the first time, expanded the role of Nick Fury and S.H.I.E.L.D., set out easter eggs for Thor and Captain America, and tried to balance the roles of two villains whose motivations and tones were not at all well-defined or complementary. It was, in short, a hodgepodge of ideas, plot points, and hints at future movies that all but dragged itself over the finish line without a coherent structure—a problem that would crop up again in the MCU. The franchise’s obsession with world-building at the expense of focus and logic reared its head in Avengers: Age of Ultron, which brought four new characters into an already crowded ensemble (Scarlet Witch, Quicksilver, Vision, and the title villain) while also planting seeds about Asgard, Wakanda, and the Infinity Stones (some of which, to be fair, did pay off later). Even the underrated Black Panther: Wakanda Forever, released years later, acted partly as a commercial for the still-unaired Ironheart TV series (ironically The Marvels worked in reverse, requiring audiences to watch two TV shows to understand some of what was happening). Part of the charm of the Marvel Cinematic Universe, of course, is watching out for those many easter eggs, post-credit scenes, and surprise cameos that remind us that it is indeed a universe, one that’s constantly evolving and expanding. But some of those universe-building elements have worked better than others over the years, and with Iron Man 2, it felt like sensory overload—not that that stopped Marvel from doing it again and again in the years since. Iron Man 2: The Gift That Keeps on Giving? Iron Man 2 was an even bigger success at the box office ($624 million) that its predecessor ($585 million), but it also cost more ($200 million as opposed to $140 million) and was less enthusiastically received by critics. It was a troubled, patchwork project from the start, but even as Marvel Studios went on to hit heights of success no one could have possibly imagined for a filmed comic book universe, the studio continually made the same mistakes that dogged the production of Iron Man 2 and kept it from being the sequel it could have been. In some cases those mistakes may have temporarily dinged the brand (Age of Ultron), but in the long run, their impact has not done permanent damage to the MCU or the vast majority of its output. Still, with the last few years being particularly rocky ones for the MCU in terms of quality and coherence, it might not hurt Kevin Feige and company to fire up Iron Man 2 once in a while and remember it as a cautionary tale of what not to do.

Photo Credit: OnePlus OnePlus 13s is teased to come in black, green and pink colourways Highlights OnePlus 13s will get a Snapdragon 8 Elite SoC The handset will come with a dual rear camera unit The OnePlus 13s will feature a new, customisable Plus Key Advertisement OnePlus 13s is set to launch in India soon. Although the company has yet to announce the exact launch date, several key features of the upcoming handset have been revealed. Its customisable "Plus Key" feature, expected to replace the Alert Slider, was confirmed recently. Now, the company has teased the colour options of the phone. The OnePlus 13s is expected to be a rebrand of the OnePlus 13T, which was unveiled in China in April.OnePlus 13s Colour Options, Other FeaturesThe OnePlus 13s is teased to come in three colour options. The company shared a video teaser in an X post, which suggested that the handset will likely be offered in black, green, and pink colour options. The marketing names for these shades have not yet been confirmed. Previously, the company confirmed that the OnePlus 13s will feature a customisable Plus Key. The new button is expected to replace the Alert Slider, which we have been used to seeing on OnePlus handsets on the left edge. Alongside offering the same functionality as the slider, the new button is teased to let users access AI features, manage brightness level and more. It can also be used as a camera capture or a recording button, or to take a screenshot with a single click. The OnePlus 13s is set to come with a 6.32-inch display and the Snapdragon 8 Elite chipset. A live Amazon microsite and the official landing page suggest that the phone will be available for purchase in the country via the e-commerce site and the OnePlus India e-store. The design of the handset is similar to that of the OnePlus 13T handset. The OnePlus 13T launched in China with a 6,260mAh battery with 80W fast charging support and a 50-megapixel dual rear camera sensor, including a 50-megapixel telephoto shooter with up to 2x optical zoom. The handset carries a 16-megapixel selfie camera and an IP65-rated dust and splash-resistant build.Affiliate links may be automatically generated - see our ethics statement for details. KEY SPECSNEWSDisplay 6.32-inchProcessor Snapdragon 8 EliteOS Android 15KEY SPECSNEWSDisplay 6.32-inchFront Camera 16-megapixelRear Camera 50-megapixel + 50-megapixel RAM 12GBStorage 256GBBattery Capacity 6260mAhOS Android 15Resolution 1200x2780 pixels For the latest tech news and reviews, follow Gadgets 360 on X, Facebook, WhatsApp, Threads and Google News. For the latest videos on gadgets and tech, subscribe to our YouTube channel. If you want to know everything about top influencers, follow our in-house Who'sThat360 on Instagram and YouTube. Further reading: OnePlus 13s, OnePlus 13s India Launch, OnePlus 13s Features, OnePlus 13 series, OnePlus Sucharita Ganguly Sucharita is a writer with Gadgets 360 and is mostly found playing with her cat in her free time. She has previously worked at breaking news desks across organizations. Powered by coffee, The Beatles, Bowie, and her newfound love for BTS, she aims to work towards contributing to a better media environment for women and queer folk. More Related Stories

Receipts often contain the chemical BPS. LordHenriVoton/Getty Images 2025-05-15T10:34:01Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Receipts often contain bisphenols, which are chemicals linked to reproductive toxicity and cancer. That's because receipts are coated in a plastic polymer for heat-based printing. Dr. Leonardo Trasande from NYU Langone says he opts for email and text receipts when possible. Plastics and the chemicals they carry are everywhere, from our air, water, and blood to the products we use every day.Researchers like Dr. Leonardo Trasande know the unexpected places where these chemicals sneak into our lives, like the receipts you get at grocery stores, gas stations, restaurants, and clothing outlets."We don't think of thermal paper receipts as plastic, but that shiny coating is a polymer on top," Trasande, a professor of pediatrics and environmental health researcher at NYU Langone, told Business Insider. Trasande's main complaint about receipts is what that plastic polymer puts into human skin.Where there is plastic, he added, "chemicals of concern come along for the ride."When it's an option to receive his receipt by email or text, Trasande goes for that.Toxic chemicals on store receiptsReceipts are usually made of thermal paper, which is designed to print using heat-sensitive inks. That makes for cheap and easy on-the-spot printing in restaurants and businesses.The problem is that this thermal paper usually contains bisphenols, a class of chemicals used to manufacture plastics. Receipts are usually printed on thermal paper using heat. REUTERS/Peter Nicholls The most famous bisphenol, called BPA, has been linked to heart disease, decreased fertility, breast and prostate cancers and, in children, asthma and neurodevelopmental issues. BPA has been phased out of US products over the past decade, including receipts.However, studies have found that many receipt manufacturers have replaced the BPA with its cousin BPS, which is banned in Europe for use in food containers, considered a reproductive toxin by the state of California, and has been associated with breast cancer.If you touch a receipt that's coated in BPS, the toxic chemical can quickly enter your body by absorbing through your skin, according to recent research.This year, the nonprofit watchdog Center for Environmental Health tested receipts from 32 major retailers and found that touching one for 10 seconds would expose someone to enough BPS to legally require a warning in California. Under the state's Proposition 65, businesses must provide warnings about significant exposures to chemicals that cause cancer or reproductive harm. The CEH delivered a legal notice to those 32 retailers in April."Chemicals used in plastic materials need to be properly vetted for safety," Trasande said. "Insofar as chemicals are identified to be toxic to human health, we have safer alternatives that should be considered."He called electronic receipts "an important positive step forward." Microplastics in receiptsUnderlying the bisphenols, of course, is plastic. Though Trasande said there is much more definitive research on the health effects of many chemicals in plastics, emerging science about the proliferation of plastics themselves throughout the human body is not comforting.The plastic items that surround us all in our homes, workplaces, schools, and even the outdoors are shedding tiny particles called microplastics — or, when they get really tiny, nanoplastics.These minuscule plastics build up in our bodies. They've been found in almost every human body tissue researchers have checked, from the brain to the lining of the arteries. Their health impacts are not yet clear, but they've been linked to chronic inflammation, lung and colon cancers, reproductive health issues, and heart attack and stroke risk."There are limits to what I can control," Trasande said. "At the same time, there are so many steps we can take to reduce our exposure to chemicals of concern and particularly micro- and nanoplastics."Declining paper receipts is one of them. On the whole, though, Trasande said the world needs to reduce its plastic production.If business as usual continues, plastics production is expected to triple by 2060, according to the United Nations Environment Programme.Trasande said a global plastics treaty would help. According to Reuters, the United Nations is set to resume negotiations for such a treaty in August. Recommended video

As part of proposals outlined by Keir Starmer on Monday (12 May), tougher entry requirements for students and workers would be introduced to reduce immigration. The immigration bill would raise entry requirements to degree level for workers entering the UK, introduce tougher English language requirements, and extend the period for claiming settled status from five to ten years. Universities will, meanwhile, have to score five percentage points more (rising from 90 to 95 per cent) on the Basic Compliance Assessment, which the home office uses to assess compliance with the immigration system. This could reduce the number of places on offer to overseas students.Advertisement Responding to the proposals, RIBA president Muyiwa Oki said immigration into the UK was crucial for filling the current skills gap in the housing sector given the government’s target to build 1.5 million homes in this parliament. He said: ‘The government’s decision to reduce the number of international workers and students comes at a time when they have ambitious plans to drive growth, including delivering 1.5 million new homes. ‘Architects are vital to achieving this, but the sector has a significant skills shortage. We need an immigration system that helps plug these gaps.’ The government’s reforms would abolish the immigration salary list, which put the minimum salary for a foreign worker visa at 80 per cent of the going rate for that profession. Architects were, controversially, among the sectors removed from the list designed to combat occupational shortages through worker visas. Until last year, the list had allowed firms to hire foreign workers in particular sectors on salaries 20 per cent less than the going rate. Oki added that, following the government’s drive to reduce immigration, more investment was needed in apprenticeships and non-traditional routes into the profession.Advertisement The RIBA has previously called on the government not to implement changes that could see practices pay more towards training Level 7 apprenticeships – the equivalent to a master’s degree. Oki commented: ‘We welcome the desire to nurture homegrown talent, and we continue to champion new and accessible routes into the profession, such as apprenticeships. But the potential of defunding Level 7 apprenticeships puts this at risk. We continue to work with the government to ensure a pipeline of talent in the architecture sector and drive growth across the country.’ The Chartered Institute of Architectural Technologists (CIAT) echoed the RIBA’s calls for investment in apprenticeships. CIAT president Eddie Weir said: ‘The UK’s built environment sector faces significant pressures at all levels. If we are to deliver the 1.5 million new homes that our communities need and ensure that our existing homes and buildings are healthy, sustainable and fit for the future, these pressures must be relieved.’ Weir warned the government not to limit skilled professionals where there are gaps in the market and added: ‘Government must also move ahead with reforming the apprenticeships system … At the same time, the industry still needs a steady supply of highly skilled professionals, particularly in building design and project management.’ Meanwhile, Building Cost Information Service (BCIS) chief economist David Crosthwaite compared the construction and health industries. He said both needed migrant workers when domestic supply fell short. ‘If the government is serious about delivering 1.5 million homes and boosting national infrastructure delivery, they must seek both short-term and long-term solutions,' he said. ‘In the meantime, it is critical that we can access migrant workers where there’s a clear economic need, or else risk stalling growth and delivery even further.’ The BCIS chief also called for a transitional arrangement before the introduction of the new immigration rules, and warned: ‘Tightening migration rules could increase costs, delay projects, and make it even harder to meet ambitious targets. Workforce decisions need to be grounded in long-term strategy, not short-term political pressure.’ Comment Paul Chappell, director, 9B Careers A government crackdown on immigration could seriously disrupt the architecture profession, affecting talent pipelines, creativity, and salary dynamics. The sector relies heavily on a diverse international workforce that brings essential skills in areas such as sustainable design, digital technologies and cultural placemaking. Tighter immigration controls risk shrinking the talent pool, making it harder for practices to fill key roles, and undermining the UK’s position as a global design hub, just as the industry appears to be recovering from a prolonged downturn. We've just experienced one of our busiest quarters in a decade, and many practices are urgently trying to recruit large teams without the time or capacity to sponsor visas. In this climate, reduced access to international talent is already driving up salaries, particularly for specialist and mid-level roles where skills shortages are acute. The days of receiving 500 applications for a single job are gone. Most of our time is now spent headhunting, which inevitably requires higher salary offers to entice candidates from secure positions. But this wage inflation is not sustainable, especially for smaller firms operating within tight fee constraints. Over time, we may see widening regional disparities, increased outsourcing and fewer opportunities for Part 1 graduates, who are already struggling to find meaningful year-out placements. Studios, sadly, often no longer have the time or money to support the next generation coming through. Restricting international students and early-career professionals also threatens the long-term health of the profession. Architecture thrives on openness, diversity, and the free exchange of ideas. Without that, we risk weakening both the profession and the quality of the built environment it shapes. Charlie Edmonds, Future Architects Front (FAF) Starmer's logic that we can replace international workers with greater investment in training for British nationals is, at best, naive and, at worst, intentionally furthering the managed decline of the social and physical infrastructure of the UK. The decision to massively restrict worker visas undermines Labour's promises to support the NHS and to bolter UK construction. Simultaneously, pay in these roles is notoriously low, public investment into these sectors is insufficient, and Labour seems to have to immediate intention of changing this. So the only result will be the increase of vacancies in vital sectors from care to construction. If Starmer was serious about the wellbeing of people living in the UK, regardless of nationality, the Labour party would be supporting dignified routes for immigration while simultaneously investing in UK skills and sectors — setting these outcomes in opposition to one another is not only a false dichotomy but lays the groundwork for continued destitution in the UK.