RoboCop: Rogue City – Unfinished Business preview: ‘We created something bigger than we expected’ Adam Starkey Published June 3, 2025 9:00am Stay out of trouble (Nacon) GameCentral goes hands-on with the standalone expansion of RoboCop: Rogue City, which dials up the action and gory splatter of 2023’s surprise hit. For a franchise that has arguably done nothing of worth since the early 90s, the future of RoboCop is looking surprisingly bright. Following Amazon’s acquisition of MGM, a new TV show is currently in the works, with rumbles of a new film as well. Whether this leads to a major rejuvenation for everyone’s favourite cyborg law enforcer remains to be seen, but the original source of any RoboCop redemption arc has to start with 2023’s RoboCop: Rogue City.  Developed by Polish studio Teyon, RoboCop: Rogue City was the kind of unexpected surprise you rarely get from licensed games. It recaptured the original’s wit and 80s aesthetic, but also found a way to deliver the fantasy of playing as the half-human cyborg without streamlining any of the character’s personality. The bloody action was built around his hulking, slow movement, dry one-liners were in abundance, and missions weren’t always reduced to mowing down thugs in corridors – you also handed people parking tickets, settled trivial civilian disputes, and, in one wonderfully mundane side mission, did the rounds in the office for a get well card.  The game became publisher Nacon’s ‘best ever launch’ with 435,000 players within two weeks. Now, a year and a half later, developer Teyon is back with a standalone expansion. Marketing around Unfinished Business has purposefully dodged the term *DLC*, but as explained by the studio’s communications manager, Dawid Biegun, it started out as exactly that.  ‘When we released RoboCop: Rogue City, we were thinking about, this story has many things [we can] do in the future,’ says Biegun. ‘We had many paths we could choose. So we basically started slowly developing some new storyline. The game was planned to be DLC but it grew out of control. It was a really rare situation where we created something bigger than we expected, so it became a standalone expansion from then.’ Unlike Rogue City, this expansion, which we’re told spans around eight hours on average, is centred around one location in the OmniTower. Like most things in the RoboCop realm created by OCP, this promised idyllic housing complex quickly goes south when a band of mercenaries assume control. To restore order, and after a creepy opening where an attack on the Detroit police station leaves several officers frozen solid, RoboCop is assigned to the case.  RoboCop has new moves at his disposal (Nacon) Unfinished Business wastes little time in throwing you into the action, and quickly amps up the chaos. For anyone who has played Rogue City, all the original tenets of the combat are here, albeit with a slight increase in difficulty. You’ll be looking for explosive cans to blast, illuminated panels to ricochet bullets off walls, and all the while trying not to expose yourself to too much gunfire. The combat purposefully doesn’t have the slick speed of Call Of Duty, but it is still aggressively punchy, with headshots resulting in satisfyingly bloody splatters and RoboCop’s famed Auto-9 machine pistol still having the kickback of a pocket pneumatic drill.  From the get-go, Unfinished Business pushes back in a way Rogue City never did. New enemies equipped with riot shields are a real nuisance if you don’t utilise the ricochet panels, while the ability to slow down time is a much bigger crutch to chip down the enemy numbers from a distance. Health pick-ups felt in shorter supply too, even on the normal difficulty, to the point where we barely scraped through several encounters.  While it’s unclear if this applies to the whole game, Unfinished Business feels like a gnarlier experience, when compared to the original. RoboCop has some new context sensitive finishing moves, like throwing enemy heads into concrete walls or vending machines, which is a satisfying addition to the melee arsenal. There’s greater enemy variety too, between fierce minigun heavyweights and flying drones, along with some neat action set pieces. In one standout, we had to operate a walkway bridge to deactivate a giant turret at the end of a room, dashing between cover as it rains down bullets and destroys the surrounding environment. Anyone who has played action games before will recognise all the mechanics at play in this scenario, but it was still well executed and effective. Another had a whiff of Star Wars, as you rush around shooting electrical panels to stop a trash compactor from crushing you via the descending ceiling. The action shift in Unfinished Business is best defined by a later sequence we got to play, where you take control of the franchise’s signature mech, ED-209. If the power fantasy of playing as RoboCop is tested in this expansion, ED-209’s section was pure mental catharsis, where you blast away enemy hordes with miniguns and rockets, and clean up any stragglers with a rigid, robotic stomp. The rush of piloting ED-209, with its cacophony of explosions and bullets, felt like a throwback to vehicle sections in a long lost Xbox 360 game – but in a good way.  While there’s a definite lean towards combat, rather than gift card signing, when compared to Rogue City, it hasn’t entirely abandoned the detective side. According to the developers, if Rogue City had a 60/40 percent split between guns and detective work, Unfinished Business ‘would be like 70/30, or 80/20’ in comparison. More Trending We saw some of this , with one memorable encounter seeing you quizzed by a RoboCop superfan who is unconvinced you’re the actual RoboCop, leading to a series of questions based on the history of the franchise. There is optional side missions too, although the time we had with our preview limited our chance to fully delve into them. The sales and positive reviews for RoboCop: Rogue City emboldened Teyon’s vision and scope for Unfinished Business – and that confidence shines through in what we played. Some might be disappointed by the steer towards action, and we were heading into this preview, but by the end, this felt like a welcome extension with its own unique flavour. This is RoboCop: Rogue City with its pedal to the floor, confined and concentrated into a lean, tightly focused machine.  As for the studio’s next steps, the success of RoboCop has only reaffirmed Teyon’s strengths and identity as a team. Between its three studios across Poland and Japan, with over 140 employees in total, Teyon wants to maintain its grip within the AA space. ‘We feel strong here in such games,’ Biegun said. ‘We wouldn’t want to grow like 200, 300, 400 people, because we’re going to lose our soul this way. We want to stay as we are right now.’ ED-209 needs be wary of stairs (Nacon) Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. Arrow MORE: How to get a Nintendo Switch 2 this week in the UK GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

TikTok is back online after a brief outage last night. Many people started reporting problems with the platform just after 11PM ET, noting that while TikTok wasn’t completely offline, it was definitely dealing with some kind of technical issues that impacted users trying to access the service and view video comments. Based on reports from Reddit, Twitter, Bluesky, and looking at our own devices, some videos were able to load in TikTok’s mobile apps, but accessing other features like comments or switching between accounts wasn’t working reliably, leading some users to wonder if their accounts were banned. Trying to pull up the TikTok website, or even its support pages, displayed a message saying “An error occurred while processing your request” along with a reference code. TikTok didn’t make any public acknowledgement about the outage or what was causing it. At the time, status pages for some of its service providers, like Akamai and Oracle, didn’t indicate any wider problems. Downdetector listed 44,000 reports at our last check before regular service was restored at around 12AM ET, so while it’s unclear what was behind the technical issues, at least everything was restored swiftly. Update, June 3rd: The TikTok outage has now been resolved.

TikTok is back online after a brief outage last night. Many people started reporting problems with the platform just after 11PM ET, noting that while TikTok wasn’t completely offline, it was definitely dealing with some kind of technical issues that

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Not A Super Announcement Trump pulls Isaacman nomination for space. Source: “NASA is f***ed” "NASA's budget request is just a going-out-of-business mode" without Isaacman. Eric Berger – May 31, 2025 5:22 pm | 178 Jared Isaacman during training at SpaceX before the Polaris Dawn mission. Credit: SpaceX Jared Isaacman during training at SpaceX before the Polaris Dawn mission. Credit: SpaceX Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more The Trump administration has confirmed that it is pulling the nomination of private astronaut Jared Isaacman to lead NASA. First reported by Semafor, the decision appears to have been made because Isaacman was not politically loyal enough to the Trump Administration. "The Administrator of NASA will help lead humanity into space and execute President Trump’s bold mission of planting the American flag on the planet Mars," Liz Huston, a White House Spokesperson, said in a statement released Saturday. "It's essential that the next leader of NASA is in complete alignment with President Trump’s America First agenda and a replacement will be announced directly by President Trump soon." The US Senate Commerce Committee approved Issacman's nomination by a vote of 19 to 9 one month ago, advancing his candidacy to the floor of the US Senate, with unanimous support from Republicans in that April vote. Approval was anticipated after the Memorial Day holiday. But the tide started to turn against Isaacman late this past week, with the first rumblings of problems coming on Friday, May 30. Not MAGA enough On Saturday, far-right political activist Laura Loomer said on X, "Deep State operatives are trying to derail President Trump’s NASA Administrator pick Jared Isaacman before his Senate confirmation vote this week." This was the first public sign that Isaacman's candidacy was imperiled. So what happened? The waters of MAGA run murky, and the political machinations of the Trump administration are abstruse. However, the timing of Isaacman's derailment coincides with the recent departure of SpaceX founder Elon Musk from Washington. Musk had a central role in the Trump Administration during its first four months. In an interview on Tuesday, Musk told Ars that he has now "significantly" reduced his involvement in politics. Musk was a key factor behind Isaacman's nomination as NASA administrator, and with his backing, Isaacman was able to skip some of the party purity tests that have been applied to other Trump administration nominees. One mark against Isaacman is that he had recently donated money to Democrats. He also indicated opposition to some of the White House's proposed cuts to NASA's science budget. Musk's role in the government was highly controversial, winning him enemies both among opponents of Trump's "Make America Great Again" agenda as well as inside the administration. One source told Ars that, with Musk's exit, his opponents within the administration sought to punish him by killing Isaacman's nomination. The loss of Isaacman is almost certainly a blow to NASA, which faces substantial budget cuts. The Trump Administration's budget request for fiscal year 2026, released Friday, seeks $18.8 billion for the agency next year—a 24 percent cut from the agency's budget of $24.8 billion for FY 2025. Going out of business? Isaacman is generally well-liked in the space community and is known to care deeply about space exploration. Officials within the space agency—and the larger space community—hoped that having him as NASA's leader would help the agency restore some of these cuts. Now? "NASA is f---ed," one current leader in the agency told Ars on Saturday. "NASA's budget request is just a going-out-of-business mode without Jared there to innovate," a former senior NASA leader said. The Trump administration did not immediately name a new nominee, but two people told Ars that former US Air Force Lieutenant General Steven L. Kwast may be near the top of the list. Now retired, Kwast has a distinguished record in the Air Force and is politically loyal to Trump and MAGA. However, his background seems to be far less oriented toward NASA's civil space mission and far more focused on seeing space as a battlefield—decidedly not an arena for cooperation and peaceful exploration. Eric Berger Senior Space Editor Eric Berger Senior Space Editor Eric Berger is the senior space editor at Ars Technica, covering everything from astronomy to private space to NASA policy, and author of two books: Liftoff, about the rise of SpaceX; and Reentry, on the development of the Falcon 9 rocket and Dragon. A certified meteorologist, Eric lives in Houston. 178 Comments

The tower takes shape as two sets of overlapping cylinders, clad with prefabricated panels intended to evoke clouds. PROJECT The Butterfly + First Baptist Church Complex ARCHITECT Revery Architecture PHOTOS Ema Peter When you fly into Vancouver, the most prominent structure in the city’s forest of glass skyscrapers is now a 57-storey edifice known as the Butterfly. Designed by Revery Architecture, the luxury residential tower is the latest in a string of high-rises that pop out of the city’s backdrop of generic window-wall façades.  The Butterfly’s striking form evolved over many years, beginning with studies dating back to 2012. Revery principal Venelin Kokalov imagined several options, most of them suggesting a distinct pair of architectural forms in dialogue. Renderings and models of the early concepts relay a wealth of imagination that is sorely missing from much of the city’s contemporary architecture, as land economics, zoning issues, and the profit motive often compel a default into generic glass-and-steel towers. The earliest concepts look starkly different—some evoke the Ginger and Fred building in Prague (Frank Gehry with Vlado Milunić, 1996); others the Absolute Towers in Mississauga (MAD with Burka Varacalli Architects, 2009). But one consistent theme runs through the design evolution: a sense of two Rilkean solitudes, touching.  On each floor, semi-private sky gardens offer an outdoor place for residents to socialize. Client feedback, engineering studies, and simple pragmatics led to the final form: two sets of overlapping cylinders linked by a common breezeway and flanked by a rental apartment on one side and a restored church doubling as a community centre on the other. The contours of the floorplan are visually organic: evocative of human cells dividing. The roundness of the main massing is complemented by curvilinear balustrades that smoothly transform into the outer walls of each unit. It’s an eye-catching counterpoint to the orthogonality of the city’s built landscape. The two adjacent buildings—built, restored, and expanded as part of a density bonus arrangement with the city—help integrate this gargantuan structure with the lower-rise neighbourhood around it.  The Butterfly is a high-end, high-priced residential tower—one of the few typologies in which clients and communities are now willing to invest big money and resources in creative, visually astonishing architecture. That leads to a fundamental question: what is the public purpose of a luxury condo tower?  A public galleria joins the renovated First Baptist Church to the new building. Serving as a welcoming atrium, it allows for community access to the expanded church, including its daycare, full gymnasium, multi-purpose rooms, overnight emergency shelter, and community dining hall equipped with a commercial kitchen. Whatever one feels about the widening divide between the haves and have-nots in our big cities, this building—like its ilk—does serve several important public purposes. The most direct and quantifiable benefits are the two flanking buildings, also designed by Revery and part of the larger project. The seven-storey rental apartment provides a modest contribution to the city’s dearth of mid-priced housing. The superbly restored and seismically upgraded First Baptist Church has expanded into the area between the new tower and original church, and now offers the public a wider array of programming including a gymnasium, childcare facility, and areas for emergency shelter and counselling services for individuals in need.  The church’s Pinder Hall has been reimagined as a venue for church and community events including concerts, weddings, and cultural programming. The Butterfly’s character is largely defined by undulating precast concrete panels that wrap around the building. The architects describe the swooping lines as being inspired by clouds, but for this writer, the Butterfly evokes a 57-layer frosted cake towering above the city’s boxy skyline. Kokalov winces when he hears that impression, but it’s meant as a sincere compliment. Clouds are not universally welcome, but who doesn’t like cake?  Kokalov argues that its experiential quality is the building’s greatest distinction—most notably, the incorporation of an “outdoors”—not a balcony or deck, but an actual outdoor pathway—at all residential levels. For years the lead form-maker at Bing Thom Architects, Kokalov was responsible for much of the curvilinearity in the firm’s later works, including the 2019 Xiqu Centre opera house in Hong Kong. It’s easy to assume that his forte and focus would be pure aesthetic delight, but he avers that every sinuous curve has a practical rationale.  The breezeways provide residents with outdoor entries to their units—an unusual attribute for high-rise towers—and contribute to natural cooling, ventilation, and daylight in the suites. Defying the local tower-on-podium formula, the building’s façade falls almost straight to the ground. At street level, the building is indented with huge parabolic concavities. It’s an abrupt way to meet the street, but the fall is visually “broken” by a publicly accessible courtyard.   The tower’s layered, undulating volume is echoed in a soaring residential lobby, which includes developer Westbank’s signature—a bespoke Fazioli grand piano designed by the building’s architect. After passing through this courtyard, you enter the building via the usual indoor luxe foyer—complete with developer Westbank’s signature, an over-the-top hand-built grand piano designed by the architect. In this case, the piano’s baroquely sculpted legs are right in keeping with the architecture. But after taking the elevator up to the designated floor, you step out into what is technically “outdoors” and walk to your front door in a brief but bracing open-air transition.  The main entrance of every unit is accessed via a breezeway that runs from one side of the building to another. Unglazed and open to the outside, each breezeway is marked at one end with what the architects call (a little ambitiously) a “sky garden,” in most cases consisting of a sapling that will grow into a leafy tree in due course, God and strata maintenance willing. This incorporation of nature and fresh air transforms the condominium units into something akin to townhouses, albeit stacked exceptionally high.  The suites feature a custom counter with a sculptural folded form. Inside each unit, the space can be expanded and contracted and reconfigured visually—not literally—by the fact that the interior wall of the secondary bedroom is completely transparent, floor to ceiling. It’s unusual, and slightly unnerving, but undeniably exciting for any occupants who wish to maximize their views to the mountains and sea. The curved glass wall transforms the room into a private enclave by means of a curtain, futuristically activated by remote control. The visual delight of swooping curves is only tempered when it’s wholly impractical—the offender here being a massive built-in counter that serves to both anchor and divide the living-kitchen areas. It reads as a long, pliable slab that is “folded” into the middle in such a way that the counter itself transforms into its own horseshoe-shaped base, creating a narrow crevice in the middle of the countertop. I marvel at its beauty and uniqueness; I weep for whoever is assigned to clean out the crumbs and other culinary flotsam that will fall into that crevice.  A structure made of high-performance modular precast concrete structural ribs arcs over a swimming pool that bridges between the building’s main amenity space and the podium roof. The building’s high-priced architecture may well bring more to the table than density-bonus amenities. On a broader scale, these luxe dwellings may be just what is needed to help lure the affluent from their mansions. As wealthy residents and investors continue to seek out land-hogging detached homes, the Butterfly offers an alternate concept that maintains the psychological benefit of a dedicated outside entrance and an outrageously flexible interior space. Further over-the-top amenities add to the appeal. Prominent among these is a supremely gorgeous residents-only swimming pool, housed within ribs of concrete columns that curve and dovetail into beams.   The ultimate public purpose for the architecturally spectacular condo tower: its role as public art in the city. The units in any of these buildings are the private side of architecture’s Janus face, but its presence in the skyline and on the street is highly public. By contributing a newly striking visual ballast, the Butterfly has served its purpose as one of the age-old Seven Arts: defining a location, a community, and an era. Adele Weder is a contributing editor to Canadian Architect. Screenshot CLIENT Westbank Corporation, First Baptist Church | ARCHITECT TEAM Venelin Kokalov (MRAIC), Bing Thom (FRAIC, deceased 2016), Amirali Javidan, Nicole Hu, Shinobu Homma MRAIC, Bibi Fehr, Culum Osborne, Dustin Yee, Cody Loeffen, Kailey O’Farrell, Mark Melnichuk, Andrea Flynn, Jennifer Zhang, Daniel Gasser, Zhuoli Yang, Lisa Potopsingh | STRUCTURAL Glotman Simpson | MECHANICAL Introba | ELECTRICAL Nemetz & Associates, Inc. | LANDSCAPE SWA Group (Design) w/ Cornelia Oberlander & G|ALA – Gauthier & Associates Landscape Architecture, Inc. (Landscape Architect of Record) | INTERIORS Revery Architecture | CONTRACTOR Icon West Construction (new construction); The Haebler Group (heritage) | LIGHTING ARUP (Design) & Nemetz (Engineer of Record) | SUSTAINABILITY & ENERGY MODELlING Introba | BUILDING ENVELOPE RDH Building Science, Inc. | HERITAGE CONSERVATION Donald Luxton & Associates, Inc.| ACOUSTICS BKL Consultants Ltd. | TRAFFIC Bunt & Associates, Inc. | POOL Rockingham Pool Consulting, Inc. | FOUNTAIN Vincent Helton & Associates | WIND Gradient Wind Engineering, Inc. | WASTE CONSULTANT Target Zero Waste Consulting, Inc. | AREA 56,206 M2 | BUDGET Withheld | COMPLETION Spring 2025 ENERGY USE INTENSITY (PROJECTED) 106 kWh/m2/year | WATER USE INTENSITY (PROJECTED) 0.72 m3/m2/year As appeared in the June 2025 issue of Canadian Architect magazine The post The Butterfly takes flight: The Butterfly, Vancouver, BC appeared first on Canadian Architect.

Apple — and almost everybody else — has gotten a slight reprieve as a US court yesterday set aside the Trump tariff tax. But conflict and confusion continue to batter global trade, and while the news will provide a glimmer of relief, it will probably be short-lived. There’s always another dead cat to throw into the flames. Three judges from the US Court of International Trade found that the US International Emergency Economic Powers Act, which the Trump administration invoked to justify the imposition of these tariffs, does not give the president the authority to levy these taxes on trade. “The court does not read IEEPA to confer such unbounded authority and sets aside the challenged tariffs imposed thereunder,” they wrote. The judgement does not impact the 25% “trafficking tariffs” imposed on Mexican and Canadian products and does not prevent the 20% trafficking tariff in place on Chinese goods. It does, however, end the “worldwide and retaliatory” 10-50% tariffs the administration threw at 57 countries. A coalition of small businesses took the case to court, arguing that only Congress has the authority to levy tariffs under the law used by the president’s office. They seem to have prevailed in the argument — at least, so far. It is interesting to note that the administration wanted all the tariff-related lawsuits moved to this particular court, as it felt it would receptive to the administration’s arguments.  This turned out to be an error. What is an emergency? Responding, a White House statement from spokesperson Kush Desai maintained the need for these tariffs, calling US trade deficits a “national emergency that has decimated American communities, left our workers behind and weakened our defense industrial base — facts that the court did not dispute.”  But can a trade in cheap consumer goods be seen as an unusual threat after it has been part of US culture for decades? Not according to the US Court of International Trade. The judges say the trade deficit does not meet the Nixon-era International Emergency Economic Powers Act requirement that an emergency can only be triggered by an “unusual and extraordinary threat.”  The journey is by no means over, of course. With the president recently threatening additional tariffs on iPhones made in India (“I have a bit of a problem with my friend, Tim Cook”), the reprieve may be brief.  Desai’s statement said “unelected judges” are not the right people to decide how to handle what he calls a national emergency. “The administration is committed to using every lever of executive power to address this crisis and restore American greatness.”  It seems likely to end at the Supreme Court, even while the administration argues that it should not be bound by the checks and balances that still remain under the US Constitution. For now, an appeal has been lodged with the United States Court of Appeals for the Federal Circuit in Washington.  Where is the off-ramp? Apple, the world’s biggest consumer electronics company, which contributes a fortune to the US treasury and employs tens of thousands of Americans, will likely be relieved the tariffs have been set aside.  The reprieve implies that US consumers won’t need to pay more for their iPhones for a little longer yet and better reflects the reality that even if Apple were to shift iPhone manufacturing to the US, doing so would take years, cost billions, require engineering skills in quantities that do not yet exist in the US, would involve automation rather than large numbers of new jobs, and would be hampered by the availability of components and materials.  For the time being, at least, the judgment is a significant obstacle to the tariff taxes, albeit one that casts another spanner in the works for ongoing international trade talks. However, there is still scope for the administration to impose sector-specific taxes. All the same, “Tim Apple” will be acutely aware that the future will not look like the past, and the company’s $500 billion investment in the US will be part of the company’s future approach to manufacturing and trade. It suggests that while moving iPhone manufacturing to the US may be impractical, moving manufacture of some components and hardware may make sense. It is possible that as Apple and the US administration continue to negotiate, they may yet identify a road that enables both to declare some form of victory. You can follow me on social media! Join me on BlueSky,  LinkedIn, and Mastodon.

The chief executive of the developer Antracit discusses her ambitions for the contest contest to retrofit and upgrade the former Palace Hotel in Ostrava, Czechia Zuzana Bajgarová inside the Palace Hotel Credit: Image by Vladimir Prycek Magazine Patriot Why are you holding an international contest for the renewal of the Palace Hotel in Ostrava? The former Palace Hotel building holds great historical and cultural significance for Ostrava. Since 1913, it has been an integral part of city life – fondly remembered by several generations, whether as a venue for cultural and social events or as a backdrop to everyday urban life. That’s why we are approaching its renewal with the utmost respect and openness to diverse architectural perspectives. We believe that an international competitive dialogue is the most effective way to arrive at a high-quality, sensitive solution that also aligns with the expectations of investors. We view the project as one of our company’s flagship initiatives – one that will shape the future appearance of Ostrava’s historic centre, in the Czech Republic’s third-largest city. What is your vision for the future of this important city centre building? Our vision is to transform the Palace Hotel into a vibrant, open space that seamlessly integrates into the everyday rhythm of city life. We believe it can offer the kind of amenities and services that Ostrava currently lacks. We aim to develop stylish, small-scale rental housing, complemented by services, community spaces, and potentially even a modern lifestyle hotel. A key priority is revitalizing the building’s ground floor as a dynamic public space and thoughtfully incorporating historical features into its renewed identity. This is a long-term investment focused on sustainability and on creating lasting value – not only for the people of Ostrava, but for the city as a whole. What sort of teams would you like to see step forward for this unique opportunity? We would like to invite teams that think beyond the immediate task – those with the courage to approach this project with both respect and vision. We value interdisciplinary collaboration that brings together architecture, urbanism, design, and experience in the transformation of historic buildings. Equally important to us is an understanding of urban life and the ability to design spaces that serve people naturally and intuitively. We are seeking a long-term partner – someone who will accompany us from concept through to successful implementation, and help restore the Palace Hotel to its rightful place on the map as a vibrant, confident presence in contemporary Ostrava. 2025-06-01 Merlin Fulcher Share