Daniel Pearson , CEO, KnownHostJune 12, 20253 Min ReadBusiness success concept. Cubes with arrows and target on the top.Cyber incidents are expected to cost the US $639 billion in 2025. According to the latest estimates, this dynamic will continue to rise, reaching approximately 1.82 trillion US dollars in cybercrime costs by 2028. These figures highlight the crucial importance of strong cybersecurity strategies, which businesses must build to reduce the likelihood of risks. As technology evolves at a dramatic pace, businesses are increasingly dependent on utilizing digital infrastructure, exposing themselves to threats such as ransomware, accidental data loss, and corruption.  Despite the 3-2-1 backup rule being invented in 2009, this strategy has stayed relevant for businesses over the years, ensuring that the loss of data is minimized under threat, and will be a crucial method in the upcoming years to prevent major data loss.   What Is the 3-2-1 Backup Rule? The 3-2-1 backup rule is a popular backup strategy that ensures resilience against data loss. The setup consists of keeping your original data and two backups.  The data also needs to be stored in two different locations, such as the cloud or a local drive.  The one in the 3-2-1 backup rule represents storing a copy of your data off site, and this completes the setup.  This setup has been considered a gold standard in IT security, as it minimizes points of failure and increases the chance of successful data recovery in the event of a cyber-attack.  Related:Why Is This Rule Relevant in the Modern Cyber Threat Landscape? Statistics show that in 2024, 80% of companies have seen an increase in the frequency of cloud attacks.  Although many businesses assume that storing data in the cloud is enough, it is certainly not failsafe, and businesses are in bigger danger than ever due to the vast development of technology and AI capabilities attackers can manipulate and use.  As the cloud infrastructure has seen a similar speed of growth, cyber criminals are actively targeting these, leaving businesses with no clear recovery option. Therefore, more than ever, businesses need to invest in immutable backup solutions.  Common Backup Mistakes Businesses Make A common misstep is keeping all backups on the same physical network. If malware gets in, it can quickly spread and encrypt both the primary data and the backups, wiping out everything in one go. Another issue is the lack of offline or air-gapped backups. Many businesses rely entirely on cloud-based or on-premises storage that's always connected, which means their recovery options could be compromised during an attack. Related:Finally, one of the most overlooked yet crucial steps is testing backup restoration. A backup is only useful if it can actually be restored. Too often, companies skip regular testing. This can lead to a harsh reality check when they discover, too late, that their backup data is either corrupted or completely inaccessible after a breach. How to Implement the 3-2-1 Backup Rule? To successfully implement the 3-2-1 backup strategy as part of a robust cybersecurity framework, organizations should start by diversifying their storage methods. A resilient approach typically includes a mix of local storage, cloud-based solutions, and physical media such as external hard drives.  From there, it's essential to incorporate technologies that support write-once, read-many functionalities. This means backups cannot be modified or deleted, even by administrators, providing an extra layer of protection against threats. To further enhance resilience, organizations should make use of automation and AI-driven tools. These technologies can offer real-time monitoring, detect anomalies, and apply predictive analytics to maintain the integrity of backup data and flag any unusual activity or failures in the process. Lastly, it's crucial to ensure your backup strategy aligns with relevant regulatory requirements, such as GDPR in the UK or CCPA in the US. Compliance not only mitigates legal risk but also reinforces your commitment to data protection and operational continuity. Related:By blending the time-tested 3-2-1 rule with modern advances like immutable storage and intelligent monitoring, organizations can build a highly resilient backup architecture that strengthens their overall cybersecurity posture. About the AuthorDaniel Pearson CEO, KnownHostDaniel Pearson is the CEO of KnownHost, a managed web hosting service provider. Pearson also serves as a dedicated board member and supporter of the AlmaLinux OS Foundation, a non-profit organization focused on advancing the AlmaLinux OS -- an open-source operating system derived from RHEL. His passion for technology extends beyond his professional endeavors, as he actively promotes digital literacy and empowerment. Pearson's entrepreneurial drive and extensive industry knowledge have solidified his reputation as a respected figure in the tech community. See more from Daniel Pearson ReportsMore ReportsNever Miss a Beat: Get a snapshot of the issues affecting the IT industry straight to your inbox.SIGN-UPYou May Also Like

The 17th-century frescoes and antique mirrors should immediately tip visitors off: This showroom has something it needs to say. Palazzo Durini Caproni di Taliedo is a historic building in Milan, designed and built in the mid-1600s by Baroque architect Francesco Maria Richini. Among many other monumental works and churches, he also designed Milan’s Palazzo di Brera, which currently includes the Pinacoteca di Brera museum. The Palazzo Durini Caproni di Taliedo was commissioned by the heir to the Durinis, a wealthy merchant family.Today the palazzo is furniture showroom as palimpsest. Since 2021, Edra has exhibited collaborations with supremely contemporary designers, including the Campana brothers, Jacopo Foggini, and Francesco Binfaré, amid the restored Baroque grandeur.Courtesy Edra.Palazzo Durini in the 1920s, when the famed Italian aircraft designer and aeronautical engineer Giovanni Battista Caproni used it as an office.Walking through the rooms, one might imagine the visitors who could have lounged on an Edra “On the Rocks” sofa at one time or another in the history of this place: Giovanni Battista Caproni, the Italian count and aeronautical engineer who lived and worked in the building for more than 40 years? Soccer sensation Ronaldo, who caused a near riot when he visited the palazzo during its Inter Football Club era, when the sports association’s offices were located here? Or could it be iconic designer Gio Ponti, who is said to have drawn that gilded Art Deco bathroom with green terrazzo floors in the back?One palazzo, so many lives. ◾Top Image: Palazzo Durini now, in its Edra showroom era. The frescoes may be 17th-century, but the furniture is the 2021 A’mare collection by Jacopo Foggini.This story originally appeared in the Summer 2025 issue of Elle Decor. SUBSCRIBEStellene VolandesEditor In ChiefEditor-in-Chief Stellene Volandes is a jewelry expert, and the author of Jeweler: Masters and Mavericks of Modern Design (Rizzoli).

The farmhouse, Flint Farm, in North Hertfordshire, was in poor condition with a number of unsympathetic additions that had altered its character over the years. Will Gamble Architects was appointed to restore and extend it for a young couple who wanted to transform it into their long-term family home and improve the house’s relationship with its garden and wider farmyard setting. While the original brief had been to replace an existing conservatory with a new extension, the practice encouraged the client to extend by integrating an adjacent barn into the envelope of the reworked house, changing the way the property was used.Advertisement Existing unsympathetic extensions were removed and the internal layout was reconfigured, with a new linking element added between the barn and farmhouse. The series of internal spaces that has been created is designed to retain the character of the historic listed property. Architect’s view The barn was sensitively restored and converted into an informal living space. Its timber-framed structure was refurbished and left exposed to celebrate the historic fabric of the barn and the craftsmanship of its original construction. A contemporary picture window with parts of the historic timber frame exposed within its reveals frames a view of the garden, as well as the barn’s unique structure. The extension, that links both barn and farmhouse, is deliberately contemporary in appearance to ensure that the historic buildings remain legible. It’s low-rise, built into the sloping garden and particularly lightweight in appearance. Floor-to-ceiling glass sits on a plinth of semi-knapped flint, rooting the intervention into the garden. A ribbon of black steel, with shallow peaks and troughs hovers above. The form of this ribbon draws inspiration from the distinctive black timber-clad gables that characterise the farmhouse and the surrounding outbuildings of the old farmstead. Internally the addition’s structure is exposed, much like the historic timber framed structure of the farmhouse and the barn. The interiors are tactile, defined by texture and pattern and inspired by the characteristics of the old farmstead. Miles Kelsey, associate, Will Gamble ArchitectsAdvertisement Client’s view We bought the farmhouse as a family home to move out of our two-bed flat in north London. Will visited the farmhouse with us whilst we were working through the purchase to understand what we were looking to do and went on to support us through each stage. The farmhouse was a combination of the original 16th century timber-framed building that had been added to with unattractive, unusable, and poorly planned extensions that meant the house was completely disconnected from the garden. Will and Miles transformed the whole house including moving the front door, converting an adjacent barn and building the modern extension as our kitchen and dining room that makes the best of the garden and views. The process that Will and Miles ran was a perfect balance of what we wanted, Sophie’s specific tastes and creativity combined with the benefit of the architects views and what they have done before. What really stood out to us was the way they worked with the council during the planning process so we got consent for almost everything we wanted, expressing their own views but ensuring we were always leading the process and the attention to detail during the build stage. Overall we are incredibly happy with what Will and Miles helped us create and the way they led us through the whole process.   Source:Will Gamble Architects Project data Location North Hertfordshire Start on site April 2023 Completion February 2025 Gross internal floor area 320m2 Form of contract or procurement route JCT MW Building Contract. Design-Bid-Build Architect Will Gamble Architects Client Private Structural engineer Axiom Structures Principal designer Will Gamble Architects Main contractor Elite Construction

Submitted by WA Contents JSWD extends 1960s town hall with interlocking structures and perforated façade in Germany Germany Architecture News - Jun 12, 2025 - 04:18   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Cologne-based architecture firm JSWD has extended a 1960s town hall with interlocking structures and perforated brick façade in Brühl, Germany.Called Brühl City Hall and Library, the 5,200-square-metre project includes a new construction of the library and refurbishment of the old City Hall.New entrance at the pedestrian zone. Image © Taufik KenanJSWD won the first prize in a competition to built this project in 2017. The competition's goals were to design a proposal for the nearby Janshof Square and to propose an addition to the current town hall. An expansion constructed in the 1960s had to be replaced as part of the renovation.Staggered gables of the new library with partially perforated brickwork. Image © Christa LachenmaierConnecting the new structure to the historic town hall and then refurbishing it in accordance with heritage regulations presented a unique task. The end product is an easily accessible, energy-efficient town hall that satisfies the most recent regulations. It is made to allow for flexible use and to connect different building functions to create synergies.Aerial photo with Brühl Castle in the backygroundAerial photo with Brühl Castle in the backyground. Image © Franco Casaccia / JSWDAbove the civil registry offices (Bürgeramt and Standesamt) are the municipal authorities' offices. The new building has the municipal library on all floors, including a children's library in the basement that leads to a reading courtyard. The town hall is easy to find thanks to its clear signage. The pedestrian area and the now mostly car-free Janshof are also accessible from the new foyer. From here, the roads of tourists and pedestrians that enter the old structure through Markt meet.Aerial view: staggered gables of the new library in the middle of the town. Image © Schmitz.Reichard GmbHThe new structure in Brühl's old city center experiments with the concept of various urban areas and proportions. The front structure creates a cubature that is both distinctive and typical of the area by referencing the shape of the historic town hall. The brickwork is somewhat perforated to filter light entering the underneath windows, and the three interlocking structures are placed with their gables facing the nearby street. The new building's cubic impression is reinforced by the use of the same light-colored bricks for the roof and facade.Historical council chamber. Image © Christa LachenmaierThe project's goal is to be as sustainable as feasible. For instance, the company made every effort to preserve the old building's structure. Children's library at the reading courtyard. Image © Christa LachenmaierA combined heat and power plant provides both heat and energy. Concrete component activation ensures reduced energy consumption in addition to triple-glazed windows, abundant natural light, and exterior solar protection.Staircase in the listed city hall. Image © Franco Casaccia / JSWDLibrary room on the top floor. Image © Franco Casaccia / JSWDLarge dormer of the library. Image © Franco Casaccia / JSWDReading area in the dormer window. Image © Franco Casaccia / JSWDConnection of the new library to the listed town hall. Image © Taufik KenanThe listed city hall of Brühl, restored by JSWD. Image © Franco Casaccia / JSWDImage © Franco Casaccia / JSWDView of the inner courtyard of the library. Image © Franco Casaccia / JSWDLibrary dormers and staggered gables with partially perforated brickwork. Image © Franco Casaccia / JSWDSite planBasement floor planGround floor planFirst floor planSecond floor planThird floor planDetail drawingFaçade detailProject factsProject name: Brühl City Hall and LibraryProgram: New construction of the Library and Refurbishment of the old City HallLocation: Steinweg 1, 50321 Brühl, GermanyClient: City of BrühlArchitecture: JSWD, 1st prize competition 2017Completion: 2023Structural design: Kempen Krause Ingenieure AachenBuilding service engineering: DEERNSLibrary and interior planning: UKW Innenarchitekten, KrefeldLandscape: RMPSL, BonnSite: 4,800m2GFA: 5,200m2The top image in the article: New library of Brühl, Entrance from the Janshof. Image © Taufik Kenan. All drawings © JSWD.> via JSWD

Graduate Student Develops an A.I.-Based Approach to Restore Time-Damaged Artwork to Its Former Glory The method could help bring countless old paintings, currently stored in the back rooms of galleries with limited conservation budgets, to light Scans of the painting retouched with a new technique during various stages in the process. On the right is the restored painting with the applied laminate mask. Courtesy of the researchers via MIT In a contest for jobs requiring the most patience, art restoration might take first place. Traditionally, conservators restore paintings by recreating the artwork’s exact colors to fill in the damage, one spot at a time. Even with the help of X-ray imaging and pigment analyses, several parts of the expensive process, such as the cleaning and retouching, are done by hand, as noted by Artnet’s Jo Lawson-Tancred. Now, a mechanical engineering graduate student at MIT has developed an artificial intelligence-based approach that can achieve a faithful restoration in just hours—instead of months of work. In a paper published Wednesday in the journal Nature, Alex Kachkine describes a new method that applies digital restorations to paintings by placing a thin film on top. If the approach becomes widespread, it could make art restoration more accessible and help bring countless damaged paintings, currently stored in the back rooms of galleries with limited conservation budgets, back to light. The new technique “is a restoration process that saves a lot of time and money, while also being reversible, which some people feel is really important to preserving the underlying character of a piece,” Kachkine tells Nature’s Amanda Heidt. Meet the engineer who invented an AI-powered way to restore art Watch on While filling in damaged areas of a painting would seem like a logical solution to many people, direct retouching raises ethical concerns for modern conservators. That’s because an artwork’s damage is part of its history, and retouching might detract from the painter’s original vision. “For example, instead of removing flaking paint and retouching the painting, a conservator might try to fix the loose paint particles to their original places,” writes Hartmut Kutzke, a chemist at the University of Oslo’s Museum of Cultural History, for Nature News and Views. If retouching is absolutely necessary, he adds, it should be reversible. As such, some institutions have started restoring artwork virtually and presenting the restoration next to the untouched, physical version. Many art lovers might argue, however, that a digital restoration printed out or displayed on a screen doesn’t quite compare to seeing the original painting in its full glory. That’s where Kachkine, who is also an art collector and amateur conservator, comes in. The MIT student has developed a way to apply digital restorations onto a damaged painting. In short, the approach involves using pre-existing A.I. tools to create a digital version of what the freshly painted artwork would have looked like. Based on this reconstruction, Kachkine’s new software assembles a map of the retouches, and their exact colors, necessary to fill the gaps present in the painting today. The map is then printed onto two layers of thin, transparent polymer film—one with colored retouches and one with the same pattern in white—that attach to the painting with conventional varnish. This “mask” aligns the retouches with the gaps while leaving the rest of the artwork visible. “In order to fully reproduce color, you need both white and color ink to get the full spectrum,” Kachkine explains in an MIT statement. “If those two layers are misaligned, that’s very easy to see. So, I also developed a few computational tools, based on what we know of human color perception, to determine how small of a region we can practically align and restore.” The method’s magic lies in the fact that the mask is removable, and the digital file provides a record of the modifications for future conservators to study. Kachkine demonstrated the approach on a 15th-century oil painting in dire need of restoration, by a Dutch artist whose name is now unknown. The retouches were generated by matching the surrounding color, replicating similar patterns visible elsewhere in the painting or copying the artist’s style in other paintings, per Nature News and Views. Overall, the painting’s 5,612 damaged regions were filled with 57,314 different colors in 3.5 hours—66 hours faster than traditional methods would have likely taken. Overview of Physically-Applied Digital Restoration Watch on “It followed years of effort to try to get the method working,” Kachkine tells the Guardian’s Ian Sample. “There was a fair bit of relief that finally this method was able to reconstruct and stitch together the surviving parts of the painting.” The new process still poses ethical considerations, such as whether the applied film disrupts the viewing experience or whether A.I.-generated corrections to the painting are accurate. Additionally, Kutzke writes for Nature News and Views that the effect of the varnish on the painting should be studied more deeply. Still, Kachkine says this technique could help address the large number of damaged artworks that live in storage rooms. “This approach grants greatly increased foresight and flexibility to conservators,” per the study, “enabling the restoration of countless damaged paintings deemed unworthy of high conservation budgets.” Get the latest stories in your inbox every weekday.