House of the Future | 1956 Photograph Exhibited at the 1956 Ideal Home Exhibition in London, the House of the Future by Alison and Peter Smithson is a visionary prototype that challenges conventions of domesticity. Set within the context of post-war Britain, a period marked by austerity and emerging optimism, the project explored the intersection of technology, material innovation, and evolving social dynamics. The Smithsons, already recognized for their theoretical rigor and critical stance toward mainstream modernism, sought to push the boundaries of domestic architecture. In the House of the Future, they offered not merely a dwelling but a speculative environment that engaged with the promise and anxieties of the atomic age. House of the Future Technical Information Architects: Alison and Peter Smithson Location: Ideal Home Exhibition, London, United Kingdom Client: Daily Mail Ideal Home Exhibition  Gross Area: 90 m2 | 970 Sq. Ft. Construction Year: 1956 Photographs: Canadian Centre for Architecture and Unknown Photographer The House of the Future should be a serious attempt to visualize the future of our daily living in the light of modern knowledge and available materials. – Alison and Peter Smithson 1 House of the Future Photographs 1956 Photograph © Klaas Vermaas | 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph 1956 Photograph Design Intent and Spatial Organization At the heart of the House of the Future lies a radical rethinking of spatial organization. Departing from conventional room hierarchies, the design promotes an open, fluid environment. Walls dissolve into curved partitions and adjustable elements, allowing for flexible reinterpretation of domestic spaces. Sleeping, dining, and social areas are loosely demarcated, creating a dynamic continuity that anticipates the contemporary concept of adaptable, multi-functional living. Circulation is conceived as an experiential sequence rather than a rigid path. Visitors enter through an air-lock-like vestibule, an explicit nod to the futuristic theme, and are drawn into an environment that eschews right angles and conventional thresholds. The Smithsons’ emphasis on flexibility and continuous movement within the house reflects their belief that domestic architecture must accommodate the evolving rhythms of life. Materiality, Technology, and the Future Materiality in the House of the Future embodies the optimism of the era. Plastics and synthetic finishes dominate the interior, forming seamless surfaces that evoke a sense of sterility and futility. Often associated with industrial production, these materials signaled a departure from traditional domestic textures. The smooth, malleable surfaces of the house reinforce the Smithsons’ embrace of prefabrication and modularity. Technological integration is a key theme. The design includes built-in appliances and concealed mechanical systems, hinting at a utopian and disquieting automated lifestyle. Bathrooms, kitchens, and sleeping pods are incorporated as interchangeable modules, underscoring the house as a system rather than a static structure. In doing so, the Smithsons prefigured later discourses on the “smart home” and the seamless integration of technology into daily life. This material and technological strategy reflects a critical understanding of domestic labor and convenience. The house’s self-contained gadgets and synthetic surfaces suggest a future in which maintenance and domestic chores are minimized, freeing inhabitants to engage with broader cultural and social pursuits. Legacy and Influence The House of the Future’s influence resonates far beyond its exhibition. It prefigured the radical experimentation of groups like Archigram and the metabolist visions of the 1960s. Its modular approach and embrace of technology also foreshadowed the high-tech movement’s fascination with flexibility and systems thinking. While the project was ephemeral, a temporary installation at a trade fair, its theoretical provocations endure. It questioned how architecture could not only house but also anticipate and shape new living forms. Moreover, it crystallized the Smithsons’ ongoing interrogation of architecture’s social role, from their later brutalist housing schemes to urban design theories. In retrospect, the House of the Future is less of a resolved design proposal and more of an architectural manifesto. It embodies a critical tension: the optimism of technological progress and the need for architecture to respond to human adaptability and social evolution. As we confront contemporary challenges like climate crisis, digital living, and shifting social paradigms, the Smithsons’ speculative experiment remains an evocative reminder that the architecture of tomorrow must be as thoughtful and provocative as the House of the Future. House of the Future Plans Axonometric View | © Alison and Peter Smithson via CCA Floor Plan | © Alison and Peter Smithson, via CCA Floor Plan | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA Section | © Alison and Peter Smithson, via CCA House of the Future Image Gallery About Alison and Peter Smithson Alison and Peter Smithson were British architects and influential thinkers who emerged in the mid-20th century, celebrated for their critical reimagining of modern architecture. Their work, including projects like the House of the Future, the Robin Hood Gardens housing complex, and the Upper Lawn Solar Pavilion, consistently challenged conventional notions of domesticity, urbanism, and materiality. Central to their practice was a belief in architecture’s capacity to shape social life, emphasizing adaptability, flexibility, and the dynamic interactions between buildings and their users. They were pivotal in bridging the gap between post-war modernism and the experimental architectural movements of the 1960s and 1970s. Credits and Additional Notes Banham, Reyner. Theory and Design in the First Machine Age. MIT Press, 1960. Forty, Adrian. Words and Buildings: A Vocabulary of Modern Architecture. Thames & Hudson, 2000. Smithson, Alison, and Peter Smithson. The Charged Void: Architecture. Monacelli Press, 2001. OASE Journal. “Houses of the Future: 1956 and Beyond.” OASE 75, 2007. Vidler, Anthony. Histories of the Immediate Present: Inventing Architectural Modernism. MIT Press, 2008. Canadian Centre for Architecture (CCA). “House of the Future.”

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Lyse Martel is a Berlin-based “Color, Materials, and Finish” (CMF) designer and strategist in the mobility and consumer electronics industries. Her work combines craftsmanship and emerging technology to shape design strategy, drive material innovation, and create new sensory experiences. Lyse is fascinated by design’s power to shape how people feel and act. She believes design can foster emotional connection and wellbeing at a time when AI and automation are making their way into many new consumer product experiences, from the car to the living room. Below, Martel explores the emotional dimension of circular design and how the CMF field is evolving to meet the global challenges of circularity and sustainability. Fast Company: Please introduce yourself to our readers.Lyse MartelLyse Martel: I’m Lyse Martel, a CMF designer and design strategist, working primarily in automotive and consumer electronics. CMF, which stands for Color, Materials, and Finish, is about how a product looks, feels, and connects emotionally. So my work focuses on those elements as well as on strategy, brand identity, and sustainability. Although I mainly work in automotive and consumer electronics, CMF can apply to many different areas. Over the years I’ve worked with brands like Bang & Olufsen, Hopium, and NIO. And most recently I was directing a circular design project at Volkswagen Group—designing for circularity from the start with a large team of designers from different disciplines. How did you find your way into this field? It was step by step. My love for design was always there, even before I knew what to call it. It was shaped by my family’s craftsmanship, as well as my own curiosity for shapes, textures, colors, and sensory experiences. On my father’s side, I grew up around a lot of woodworking and carpentry. And on my mother’s side are generations of tailors. So that gave me an appreciation for textiles and textures and detailing and crafts. And I’ve always loved illustration and drawing and building small architectures with natural elements—everything that could involve materials and aesthetics. And I think that brought me to materiality and storytelling and eventually to CMF design. Were you able to find an educational path that encouraged your interests? I went to a specialized high school for applied arts and design, where I grew immensely as a creative person, and had a teacher who supported me and saw my potential with conceptual thinking. At university another teacher encouraged me to apply to a design internship in the automotive sector in Paris, and that’s how I formally entered the CMF design field. I was immediately drawn to the innovation and complexity of using material and color to shape the brand identity for a mobility project. [Photo: Lyse Martel]How do you stay on top of trends in color and material?Much of it is intuitive, but we also learn to connect the dots and see trends. I’m very much inspired by psychology and by what’s going on in the world—anything that could possibly impact human experiences and emotions. I’m paying attention to developments in architecture, interiors, digital and physical design, and material innovation. I’m also looking at global trends that have nothing to do with the design industry, including culture and the natural world. Nature plays a big role because you can look at how light interacts, how materials evolve with time, the functioning of ecosystems, and agriculture. I’m also very interested in how CMF design intersects with concepts like wellbeing and happiness, so I follow influential practitioners like Ivy Ross from Google, and Susan Magsamen, who works on neuroaesthetics, and Carol Gilligan, the psychologist and philosopher. Could you share more about neuroaesthetics? Neuroaesthetics looks at how design makes people feel: how beauty and art and design influence our brain, and how things like color, textures, light, and sound make us react cognitively or emotionally. We know that certain visual experiences will calm or excite us, while others make us feel uncomfortable. Designers can leverage those insights to create more meaningful and intuitive interactions. I’ve always been fascinated by how design makes people feel, and neuroaesthetics gives us the scientific reasoning behind those ideas. For instance, when I’m working with color and material for a car interior, I can decide to craft a more calming atmosphere with natural materials, or use soft lighting or a color gradient that can guide the user’s eye. I can think about how textures and tactility will influence the user’s feeling of comfort, or their perception of product quality or durability. When it comes to sustainability, there are a lot of materials that may not be readily acceptable to a user. In that case it can be helpful to lean into the authenticity of that material, perhaps by making it warmer or softer, or relating it to nature through colors or grain. So if we can somehow elevate or upscale the experience with that material, then we can start to shift the mindset to embrace sustainable materials or choices. Earlier you mentioned your work in circular design. Could you share more about that? Circular design is rethinking how we create and use products. It means designing for longevity, adaptability, and regeneration. We seek out the right materials, we design for easy reuse and repair, and we try to ensure that the product stays in circulation for as long as possible. Longevity is the number one criteria, because the longer you use a product, the less impact it has in terms of greenhouse gas emissions and other waste metrics. With circularity do you encounter pushback from industries that simply need consumers to keep buying more stuff? It does clash with short-term profit models, so it’s not easy for businesses to embrace it completely. But there is momentum for circular design, which is driven by consumer expectations, tighter regulations, and a growing recognition that resource efficiency is also smart business. I’ve seen mobility and consumer electronics firms try out concepts like modularity, repairability, and designing with disassembly in mind. Neuroaesthetics seems to be a strategy for tapping into people’s innate preferences for certain colors, materials, and finishes. But could also instigate behavior change, by tapping into the emotional layer of circularity? Absolutely, it can be surprisingly comforting, even if the materials are unexpected. When designing a circular product, you’re often working with waste, like a polymer that’s meant to circulate between cars. The challenge is making that material feel good, both emotionally and physically. What works is embracing the material’s character, maybe it has a soft texture or a slight irregularity, like a grain or uneven thread. Or it comes in a natural color that feels ultra-fresh. These little details shift the focus from what it is to how it makes you feel. You might not even realize it’s recycled plastic, but it just feels right. Sometimes, a car interior can feel like a cozy cabin, all because of the right textures and tones. That emotional layer is what really connects circularity.How could neuroaesthetics help make people comfortable with something new, like self-driving cars? It’s really about how shapes, colors and textures support the digital experience; all the micro-details working together to help the user feel at ease. I’ve been testing self-driving vehicles recently, and it’s surprising how much the environment impacts your reaction. In one case, the layout was minimal, with just the right number of buttons, and that simplicity helped me relax. But I also tested a car that was entirely gray, and it felt dull and dated. Light tones or soft gradients, something that evokes a sunrise or sunset, can go a long way in making the space feel more inviting.With automation, trust becomes a key part of the brief. How easily will someone understand what’s happening? Are they okay letting go of the wheel? That’s where CMF design needs to be fully integrated. I have to work closely with the interior and UX designers so that everything speaks the same language. If I propose a soft, natural palette and the shapes are cold or aggressive, it creates a disconnect.[AI Image: courtesy Lyse Martel]Can you share how you use AI in your work, or how AI factors into the CMF design process? It’s part of my creative process in that it helps me visualize materials, colors, and sensory experiences I’m considering for a project. It’s a great way to communicate an idea visually, and also to put it out there so someone else can pick it up and build on it. So for me, it’s really a tool that helps us be more precise in how we express and share ideas.There are also really promising use cases in circular design, where AI can help us map local resources and integrate them more intelligently into products. For example, there’s a lot of bamboo in China, linen in the north of France, or paper waste around Berlin. So what can we do with that knowledge? We can see where materials are available, but also think about how to reduce waste, predict life cycles, or imagine new reuse scenarios. Anything that involves localizing or optimizing can be supported by AI.And as the digital world increasingly shapes the physical one, I think there’s real potential in using these new, hyper-sensory AI-generated visuals to inspire physical experiences. Neuroaesthetics helps us design for emotion, and AI can help translate those emotional cues into visual concepts that, when made real, feel meaningful and multi-sensory. Do you ever get any pushback for the decisions that you or your team might make as CMF designers? Sometimes there’s a strong reaction to a particular color or material choice. I remember working on a concept car called Eve, developed with a strong focus on emerging markets and innovative design languages. I proposed an exterior in a rose gold tone, which could be read as pink. That sparked some discomfort in the room. I think it challenged certain expectations of what a car should look like, especially in Western automotive culture. But in China, rose gold is often associated with refinement and quality. It’s not seen as gendered in the same way. So for me, it was an opportunity to bring a fresh, culturally relevant aesthetic into the project. I understood the hesitation, but that’s part of the role. Sometimes CMF invites us to gently shift the visual language and open up new emotional possibilities.[Image: Felix Godard Design]Are there certain colors and finishes that are timeless and others that are more transitory? In the last decade we used a lot of neutrals, like beige and gray. Many brands also decided to shape themselves around their core colors—“our black,” “our white,” etc. And they would build up from there to include more exciting colors into their identity. Today I see those approaches being challenged. Gen Z is coming in and they have other ideas about what’s fresh. In the past few years we saw a lot of yellows. Recently, dark reds have been popping up everywhere, and they’re a powerful, timeless choice that adds richness and sophistication. These colors grab attention and can work well, but we need to be mindful of their relevance for long-term products.I believe there is still a need for that core timelessness. You might use black as a core color, but you might tint it blue to make it more interesting or less intense. When I was at Bang & Olufsen, we often discussed how to stand out from typical black consumer electronics. For a more lifestyle-oriented, subtle design in the home, why not use gray?[Image: courtesy NIO]Are you ever surprised when a particular color takes off? The latest Pantone color of the year is a brown-beige shade, which honestly surprised me. I’ve used warm grays before when I wanted to give a product a cozier, inviting feel, but this one doesn’t feel as fresh to me. I’m not sure it resonates with the moment in the same way other trends do. I love when a heritage brand takes an unexpected turn, like the paper company GF Smith, which recently rebranded with vibrant, poppy colors and introduced a bespoke, rounded sans-serif typeface, GF Smith Homie. I like to see they are brushing off the history to embrace different values and just be human. They want to stand for inclusivity, so they’re going to speak up about that and make sure it’s seen in the brand.Where do you draw creative inspiration? It’s really what makes me burn, what is calling my heart. I also need to talk to people—not only creatives, but people from all walks of life. I enjoy traveling through my city and looking at how people live. I learn a lot simply from riding the train, overhearing conversations, and observing how the mood changes with the seasons. I also read the news and check out certain magazines. There’s one I like, Imagine5, that focuses on how to make sustainability joyful. It explores that from all angles and it’s very accessible. You don’t have to be a sustainability expert to enjoy it. [Image: courtesy NIO]Could you share some of the projects you’ve worked on that you’re most proud of? I joined the global smart EV brand NIO in its early stages, when the brand vision was still taking shape, and contributed to the initial direction of color, materials, and finishes as part of the design team. The objective was to align with their vision of “Blue Sky Coming,” so we had to come up with progressive aesthetics and human-centered design, which later evolved into design principles. Shaping that brand was extremely rich for me in terms of learning and collaborating with so many talented designers. I also led a couple of projects – one was the previously mentioned concept car called Eve. I had the opportunity to introduce more natural materials and different colors that were not commonly used in the automotive space.Introducing new aesthetics became an important theme for my later work with Bang & Olufsen, which was about connecting the dots between sound and material and design. And then more recently, the circularity project I’ve been leading for Volkswagen Group is really close to my heart. The brief was to introduce longevity, adaptability, and recyclability across all design touch points for Volkswagen. To that end we provided creative direction that considered everything from exterior design, interior, user experience, and materiality.It was an interesting challenge to find the emotional layer of circularity, while staying on brand for Volkswagen. Circularity has a lot of very technical aspects, but as designers we can make circularity tangible. How do you deal with mistakes or failure in the creative process? I view mistakes or failure as an opportunity to test more, to rethink, and to reframe. If a design doesn’t work, how can we regroup and find a solution that’s way more interesting and beyond the obvious? In the creative process there can be a lot of fear associated with going against the grain. What I’ve noticed is that if we stay in that fear space, we close ourselves off to opportunities. It’s important to be in an open space of creativity and curiosity. Allow mistakes and failure to happen. When there is joy in the process and a strong intuition, you produce better results in the end. What advice would you give to aspiring designers, but also anyone who wants to enter the world you inhabit? Great design comes from a constantly growing and inspired mind. Stay curious and know that inspiration comes from everywhere. Embrace your uniqueness, but also be able to evolve from that. Be open to change and to new perspectives. There will be tough feedback and creative disagreements, but the important thing is how you receive those situations. Maintain a mindset of abundance and try to see the positive in anything you do. Finally, as creatives it’s important for us to take time alone to recharge, to reflect, and to work on our magic. When you’re feeling well and thriving individually, your creativity also does. At that point it’s crucial to rejoin the collective, where you have a chance to collaborate and experience the diversity of perspectives that fuels creativity. It can be a tough road for aspiring designers, but I would encourage them to proceed with care and openness, and to leave their fears behind. 

New York City’s Brooklyn-Queens Expressway is falling apart. Built between 1946 and 1964, the urban highway runs 12.1 miles through the heart of the two boroughs to connect on either end with the interstate highway system—a relic of midcentury car-oriented infrastructure, and a prime example of the dwindling lifespan of roads built during that time.  The degradation is most visible—and most pressing—in a section running alongside Brooklyn Heights known as the triple cantilever. This 0.4-mile section, completed in 1954, is unique among U.S. highways in that it juts out from the side of a hill and stacks the two directions of traffic on balcony-like decks, one slightly overhanging the other. A third level holds a well-loved park, the Brooklyn Heights Promenade.  This unusual layer cake of a freeway was a marvel of engineering in its day, though not without controversy. Masterminded by Robert Moses, the city’s all-powerful, often ruthless city planner for more than four decades, the roadway bisects working-class and immigrant neighborhoods that grapple with the health and environmental fallout to this day. Like the reputation of the man who built it, the triple cantilever has aged poorly. Its narrow width, (33.5 feet for the roadway in either direction) has made all but the most basic maintenance incredibly difficult, and its 71-year-old structure is constantly battered by the ever heavier automobiles and trucks. Designed to accommodate around 47,000 vehicles per day, it now carries more than three times that amount. Deteriorating deck joints and failing steel-reinforced concrete have led many to worry the triple cantilever is on the verge of collapse. An expert panel warned in 2020 that the triple cantilever could be unusable by 2026, and only then did interim repairs get made to keep it standing. [Photo: Alex Potemkin/Getty Images] The mounting concern comes amid a 50-year decline in direct government spending on infrastructure in the U.S., according to a recent analysis by Citigroup. Simply maintaining existing infrastructure is a challenge, the report notes. Meanwhile, the American Society of Civil Engineers’ grade for the country’s infrastructure has improved, from a D+ in 2017 to a C in 2025. Now even private credit firms are circling: As reported in Bloomberg, Apollo Global Management estimates that a boom in infrastructure deals help could grow the private debt market up to a staggering $40 trillion.   Independent urban designer Marc Wouters has an idea on how to fix BQE’s cantilever. He’s been working on it for years. “My process is that I always interview people in the community before I do any drawings,” he says. “So I really have listened to pretty much everybody over the past few years.” Unsolicited and developed in his own spare time, Wouters has designed an alternative for the triple cantilever that he named the BQE Streamline Plan. BQE Streamline Plan [Image: courtesy Marc Wouters | Studios/©2025] His concept, based on decades of experience in urban planning, infrastructure, and resilience projects in communities across the country, is relatively simple: extend the width of the two traffic-bearing cantilevers and add support beams to their outside edge, move both directions of traffic onto four lanes on the first level, and turn the second level into a large freeway cap park. Instead of major rebuilding efforts, Wouters’s proposal is more of a reinforcement and expansion, with a High Line-style park plopped on top. Though he’s not an engineer, Wouters is confident that his design would shift enough strain off the existing structure to allow it to continue functioning for the foreseeable future. (What actual engineers think remains to be seen.) “What I’ve done is come up with a plan that happens to be much less invasive, faster to build, a lot cheaper, and it encompasses a lot of what the community wants,” he says. “Yet it still handles the same capacity as the highway does right now.” So what will it take for this outsider’s idea to be considered a viable design alternative? This idea had been brewing in his mind for years. Wouters, who lives near the triple cantilever section of the BQE in Brooklyn Heights, has followed the highway’s planning process for more than a decade.  As complex infrastructure projects go, this one is particularly convoluted. The BQE is overseen by both the state of New York and New York City, among others, with the city in charge of the 1.5-mile section that includes the triple cantilever. This dual ownership has complicated the management of the highway and its funding. The city and the state have launched several efforts over the years to reimagine the highway’s entire length. In winter 2018, the city’s Department of Transportation (NYC DOT) released two proposals to address the ailing cantilever. Not seeing what they wanted from either one, Brooklyn Heights Association, a nonprofit neighborhood group, retained Wouters and his studio to develop an alternative design. He suggested building a temporary parallel bypass that would allow a full closure and repair of the triple cantilever. That proposal, along with competing ideas developed under the previous mayoral administration, went by the wayside in 2022, when the latest BQE redesign process commenced. Wouters found himself following yet another community feedback and planning process for the triple cantilever. The ideas being proposed by the city’s DOT this time around included a plan that would chew into the hillside that currently supports the triple cantilever to move the first tier of traffic directly underneath the second, and add a large girding structure on its open end to hold it all up. Other options included reshaping the retaining wall that currently holds up the triple cantilever, moving traffic below grade into a wide tunnel, or tearing the whole thing down and rebuilding from scratch. Each would be time-consuming and disruptive, and many of them cut into another well-loved public space immediately adjacent to the triple cantilever, Brooklyn Bridge Park. None of these options has anything close to unanimous support. And any of them will cost more than $1 billion—a price tag that hits much harder after the Federal Highway Administration rejected an $800 million grant proposal for fixing the BQE back in early 2024. BQE Streamline Plan [Image: courtesy Marc Wouters | Studios/©2025] Wouters is no highway zealot. In fact, he’s worked on a project heading into construction in Syracuse that will replace an underutilized inner-city highway with a more appropriately sized boulevard and developable land. But he felt sure there was a better way forward—a concept that would work as well in practice as on paper. “I just kept going to meetings and waiting to see what I thought was a progressive solution,” Wouters says. Unimpressed and frustrated, he set out to design it himself. Wouters released the Streamline Plan in March. The concept quickly gathered interest, receiving a flurry of local news coverage. He has since met with various elected officials to discuss it. But as elegant as Wouters’s concept may be, some stakeholders remain unconvinced that the city should be going all in on a reinterpretation of the triple cantilever. What might be more appropriate, critics say, is to make necessary fixes now to keep the triple cantilever safe and functional, and to spend more time thinking about whether this section of highway is even what the city needs in the long term. A group of local organizations is calling for a more comprehensive reconsideration of the BQE under the premise that its harms may be outnumbering its benefits. Launched last spring, the Brooklyn-Queens Expressway Environmental Justice Coalition wants any planning for the future of the BQE to include efforts to address its health and environmental impacts on neighboring communities and to seek an alternative that reconnects communities that have been divided by the corridor. One member of this coalition is the Riders Alliance, a nonprofit focused on improving public transit in New York. Danny Pearlstein, the group’s policy and communications director, says implementing a major redesign of the triple cantilever would just reinforce car dependency in a place that’s actually well served by public transit. The environmental justice coalition’s worry is that rebuilding this one section in a long-term fashion could make it harder for change across the length of the entire BQE and could increase the environmental impact the highway has on the communities that surround it. “This is not just one neighborhood. This is communities up and down the corridor that don’t resemble each other very much in income or background who are united and are standing together for something that’s transformative, rather than doubling down on the old ways,” Pearlstein says. [Photo: ©NYC DOT] Lara Birnback is executive director of the Brooklyn Heights Association, representing a neighborhood of roughly 20,000 people. Her organization, which worked directly with Wouters in the past, is circumspect about his latest concept. “It’s certainly more interesting and responsive to the kinds of things that the community has been asking for when thinking about the BQE. It’s more of those things than we’ve seen from any of the designs that New York City DOT has presented to us through their engagement process,” she says. “But at the end of the day, it’s still a way of preserving more or less the status quo of the BQE as a major interstate highway running through the borough.” She argues it makes more sense to patch up the triple cantilever and use the extra years of service that buys to do a more radical rethinking of the BQE’s future. (For example, one 2020 proposal by the Brooklyn-based architecture studio Light and Air proposed a simple intervention of installing buttresses on the open-air side of the triple cantilever, propping it up with a relatively small addition of material.) “We really strongly encourage the city to move forward immediately with a more short-term stabilization plan for the cantilever, with repairs that would last, for example, 20 to 25 years rather than spending billions and billions of dollars rebuilding it for the next 100 years,” Birnback says. Birnback says a major rebuilding plan like the one Wouters is proposing—for all its community benefits—could end up doing more harm to the city. “I think going forward now with a plan that both embeds the status quo and most likely forecloses on the possibility of real transformation across the corridor is a mistake,” she says. NYC DOT expects to begin its formal environmental review process this year, laying the necessary groundwork for deciding on a plan for what to do with the triple cantilever, either for the short term or the long term. The environmental process will evaluate all concepts equally, according to DOT spokesperson Vincent Barone, who notes that the department is required to review and respond to all feedback that comes in through that process. There is technically nothing holding back Wouters’s proposal from being one of the alternatives considered. And he may have some important political support to help make that happen. Earlier this month, Brooklyn’s Community District 2 board formally supported the plan. They are calling for the city’s transportation department to include it in the BQE’s formal environmental review process when it starts later this year. [Photo: Sinisa Kukic/Getty Images] Wouters argues that his proposal solves the pressing structural problems of the triple cantilever while also opening resources to deal with the highway’s big picture challenges. “The several hundred million dollars of savings is now funding that could go to other parts of the BQE. And there are other parts that are really struggling,” he says. “I’m always thinking about the whole length and about all these other communities, not just this one.” With a new presidential administration and a mayoral primary election in June, what happens with the triple cantilever is very much up in the air. But if the environmental review process begins as planned this year, it only makes sense for every option to fall under consideration. What gets built—or torn down, or reconstructed, or reinterpreted—could reshape part of New York City for generations.

Gamers everywhere know the thrill of the Nintendo Switch—its blend of portability and modular play is the stuff of legends. But as rumors swirl around the next generation of the console, some fans have quietly wished Nintendo would take bigger risks. The current design is familiar and beloved, but what if the Switch took a wild leap into uncharted territory? That’s the question behind an eye-catching new concept design that feels like the Switch from an alternate universe. Forget the boundaries and practicalities of actual production; this modular handheld concept, dubbed the ISEKAI Deck_01, envisions a gaming device with no limits on imagination. The fun starts with visuals: bold lines, bright colors, and a sense of experimentation make it look like something plucked from a sci-fi anime. The modular approach is front and center, inviting players to tinker, tweak, and make the system their own. Designer: Braz de Pina The most striking departure from the original Switch is the radical rethinking of detachable controllers. Instead of the flat, rectangular slabs we’re used to, this concept gives us chunky, cylindrical controllers that are almost reminiscent of futuristic batons. These round grips could offer a more natural feel when held, especially if you’re playing for extended periods, although their layout does demand some rethinking of traditional button placement. A clever twist happens with the screen, literally. In this design, the console’s display isn’t fixed in place but can be rotated and tilted even when the controllers are still snapped on. This could open up a new world of ergonomic play, letting you find the perfect viewing angle for handheld sessions or desk play. Such a feature would require a total overhaul of the way controllers attach and communicate with the device, but that’s the beauty of a “no rules” concept. Of course, experimenting with form can come with trade-offs. The cylindrical controllers, while comfy to grip, lose the dual-functionality magic of the Switch’s Joy-Cons. You might find them a bit unwieldy if you want to share them for multiplayer, as holding them sideways isn’t as smooth or natural. But as a reimagining, the ISEKAI Deck_01 dares to ask: what if modular gaming were about comfort, bold shapes, and physical playfulness before anything else? This concept may never make it to shelves, but it’s a joyful reminder that gaming hardware can still surprise us. For those who daydream about the future of play, the ISEKAI Deck_01 is proof that the Switch spirit can be bent, twisted, and reimagined in dazzling new ways. If you’ve ever wanted to see what happens when you throw the rulebook away, this alternate reality console delivers the eye candy and inspiration to keep you guessing what might come next. The post This Wild Nintendo Switch Concept Turns Modular Gaming Into Sci-Fi Fantasy first appeared on Yanko Design.

Google’s reversal on eliminating third-party cookies in Chrome isn’t exactly breaking news – but cookies remain a less effective way to truly connect with audiences. So, it is the perfect moment to explore how smart marketers are gaining an edge by leaning into first-party data and contextual targeting. In this post, we’ll break down what really happened, what it means for your brand, and how to sharpen your ad strategy to stay competitive in a shifting landscape. So, what happened? Google first announced its plan to phase out third-party cookies in Chrome back in 2020, citing a commitment to enhancing user privacy and creating a more privacy-conscious web. However, the timeline faced multiple delays. Then in May 2023, Google declared it was moving full steam ahead, with plans to begin phasing out cookies in January 2024. Marketers everywhere braced for impact, diving into strategy sessions to prepare for a cookieless future. Step one in Google’s rollout involved disabling third-party cookies for 1% of Chrome users worldwide – around 30 million people – to support real-world testing. The goal: ramp up to 100% deprecation by the end of 2024. But in April 2024, the UK’s Competition and Markets Authority (CMA) stepped in, requesting a pause. With Chrome holding a 64% global market share, the potential impact was massive. Amid mounting concerns over Google’s proposed cookie alternatives and the broader industry readiness, Google reversed its decision after more than four years of planning and delays. Marketers, exhausted from revising their cookieless strategies (version #163, anyone?), finally hit “save” one last time – tucking their plans away, hoping never to need them again. With emotions parked, attention turned back to what really matters: refining audience-engagement strategy, maximizing performance, and staying ahead in a still-evolving digital landscape. Google Flip-Flops – But First-Party Data Remains the Cornerstone of a Resilient Strategy The goal remains – to identify and influence the buying group that matters. So, the real question is: what strategies are helping marketers stretch their budgets further and stay ahead? One powerful solution is first-party data. Let’s keep it simple – first-party data is the information a content publisher gathers directly from its audience as they interact with its platforms. It includes website visitors, social media followers, and existing customers, covering demographics, preferences, on-site behavior, purchase history, and feedback – making it both highly relevant and unique. So, every business with an online presence has their own 1st party data. This data is typically gathered through tracking pixels on websites, social platforms, or products, and stored in a CRM or customer data platform (CDP). But not all first-party data is created equal. To be truly valuable, it must be accurate, relevant, actionable, and privacy-compliant – a level of quality not every provider can guarantee. Gaining customer data and consent is no easy feat, either. With growing awareness and concern around data privacy, PrivacyEngine found that 81% of users believe the risks of sharing data outweigh the potential benefits. Still, customers are willing to share personal information if they perceive a high-value return. When captured and used effectively, first-party data becomes a powerful competitive advantage. Why? Because it gives marketers the kind of insights that drive smarter, more efficient campaigns. Imagine knowing exactly what content topics, formats, and channels resonate with your audience – along with how engaged they’ve been in the last 90 days, and whether they match your ideal region, company size, or role. With that level of clarity, you can execute with confidence, reduce wasted spend, and improve both conversion rates and pipeline impact. In fact, brands leveraging first-party data see a 2.9x increase in revenue and 1.5x cost savings, according to CMSWire – a clear signal of its effectiveness. But it’s not just about performance metrics. Marketers are also rethinking how ads fit into the overall customer experience, ensuring relevance and value at every touchpoint. Right Place, Right Time: The Power of Context in Advertising Meeting Buyers Where They Are – Digitally In a physical store, meeting buyers where they are is simple. But in the digital world – with countless platforms, channels, and formats – it’s far more complex. Each advertising tactic has its strengths, but one continues to stand out: contextual advertising. Unlike data-targeted ads, which rely on previously captured user information, contextual advertising aligns ads to the content of the page that users sought out. It matches your message to the moment – showing cookware ads on a recipe blog, for example – making the ad feel natural, non-intrusive and informative. This alignment pays off. Research shows that consumers are significantly more receptive to ads that match the content they’re engaging in. They’re in the right frame of mind, making the message feel more relevant, trusted, and less promotional. The result? A smoother user experience and stronger brand connection. Performance-wise, the numbers speak volumes: contextual ads are 93% more memorable than mismatched ads (ExchangeWire), and 32% of consumers are more likely to act on contextually aligned ads (Seedtag). In today’s privacy-first world, contextual advertising isn’t just compliant – it’s a smarter, more cost-efficient way to drive engagement, boost recall, and build trust with your audience. Smarter Strategies, Stronger Results Google may have made a major U-turn by reversing its decision to phase out third-party cookies in Chrome – leaving marketers understandably frustrated after years of planning. But those hours spent analyzing alternative strategies haven’t been wasted. In fact, they’ve laid the groundwork for smarter, more resilient approaches. Now is the time to turn that pivot into a positive milestone. Here’s how: 1. Reassess and Refine Campaign Performance Take a fresh look at your existing campaigns. What does success actually look like for your business? Are your current efforts truly delivering, or is there untapped potential? It’s never too late to test new formats, re-evaluate messaging, or shift tactics. Revisit how you’re measuring ROI – are you focused on metrics that matter to your stakeholders, or just surface-level stats? To make advertising a strategic growth driver – not just a “nice to have” – focus on metrics that reflect real impact across the entire funnel. 2. Maximize the Value of First-Party Data First-party data – whether yours or that of a partner – is one of your most powerful assets. Make sure your owned channels – websites, content, and outreach – offer engaging experiences that encourage users to act. This not only improves conversions but strengthens the quality of the data you collect. Work with original content publishers and benefit from their powerful first-party data. This allows you to deliver high-impact campaigns built around buyer intelligence. Work with partners who take data seriously. Ask your ad providers about their approach to first-party data collection and compliance. Look for transparency, consent-first models, and enriched user insights – not just volume. Key questions to ask providers: How is consent managed? What systems are in place to verify data accuracy and relevance? How frequently is data refreshed or validated? 3. Prioritize the Customer Experience Put yourself in your buyer’s shoes. Would your ad stand out against a competitor’s? Is it helpful, relevant, and well-placed – or disruptive and forgettable? One effective strategy is partnering directly with original content publishers. These environments offer accurate topic alignment, trusted editorial standards, and a more natural context for your ads. Deliver what your audience wants – authentic engagement with tangible, decision-making value. When done right, this boosts both engagement and brand perception. The Bottom Line Don’t treat Google’s decision as a reprieve. Now is not the time to sit still. It’s the time to ask smart questions, challenge assumptions, and work with partners who are just as invested in your success. “Audiences are more selective about where they provide their data. So, while third-party cookies remain – for now – advertisers should focus on channels where users willingly share their data in exchange for meaningful content. Going directly to publishers not only places your brand in trusted environments but also unlocks contextually relevant placements that consistently outperform industry benchmarks. Building trust through transparency and relevance is where the real competitive edge lies.” – Jane Qin Medeiros, Head of Informa TechTarget’s Brand and Content Group Learn about TechTarget’s first-party advertising and intent solutions today.

A small home in Wayne County, Missouri was torn apart by a tornado. An aerial image by Jeff Roberson taken on March 15 depicts chunks of stick-framed walls and half-recognizable debris strewn across a patchy lawn in an eviscerated orthography of middle-American life. Elisa Iturbe, assistant professor of Architecture at Harvard’s Graduate School of Design, describes this scene as “an image of climate impact, climate victimhood…these walls are doing the hard work of containment, of containing the rituals of human lifestyle.” Roberson’s image embodied the themes that emerged from the Projective Territories Symposium: The atomized fragility of contemporary American domesticity, the fundamental link between ways of living and modes of land tenure, and the necessary primacy of form in architecture’s response to the incoming upheaval of climate change. Lydia Kallipoliti talked about her 2024 book Histories of Ecological Design; An Unfinished Cyclopedia. (Andy Eichler) Projective Territories was hosted at Kent State University’s College of Architecture and Environmental Design on April 3 and 4. Organized and led by the CAED’s assistant professor Paul Mosley, the symposium brought Iturbe, Columbia University’s associate professor Lydia Kallipoliti, California College of the Arts’ associate professor Neeraj Bhatia, and professor Albert Pope of Rice University to Kent, Ohio, to discuss the relationship between territory and architecture in the face of climate change. “At its core, territory is land altered by human inhabitation,” read Mosley’s synopsis. “If ensuring a survivable future means rethinking realities of social organization, economy, and subsistence, then how might architecture—as a way of thinking and rethinking the world—contribute to these new realities?” Projective Territories kicked off on the afternoon of April 3 with a discussion of Bhatia’s Life After Property exhibition hosted at the CAED’s Armstrong Gallery. The exhibition collected drawings, renderings, and models by Bhatia’s practice The Open Workshop on a puzzle-piece shaped table constructed from plywood and painted blue. Nestled into the table’s geometric subtractions, Bhatia, Pope, Mosley, and CAED associate professor Taraneh Meshkani discussed Bhatia’s research into the commons: A system of land tenure by which communities manage and share resources with minimal reliance on the state through an ethic of solidarity, mutualism, and reciprocity. Neeraj Bhatia presented new typologies for collective living. (Andy Eichler) The symposium’s second day was organized into a morning session, “The Erosion of Territory,” with lectures by Kallipoliti and Iturbe, and an afternoon session, “The Architecture of Expanding Ecologies,” with lectures by Bhatia and Pope. Mosley’s introduction to “The Erosion of Territory” situated Kallipoliti and Iturbe’s work in a discussion about “how territories have been historically shaped by extraction and control and are unraveling under strain.” Lydia Kallipoliti’s lecture “Ecological Design; Cohabiting the World” presented questions raised by her 2024 book Histories of Ecological Design; An Unfinished Cyclopedia, which she described as “an attempt to clarify how nature as a concept was used in history.” Kallipoliti proposed an ecological model that projects outward from domestic interiors to the world to generate a “universe of fragmented worldviews and a cloud of stories.” Iturbe’s “Transgressing Immutable Lines” centered on her research into the formal potentials for Community Land Trusts—nonprofits that own buildings in trust on existing real estate. Iturbe described these trusts as “Not just a juridical mechanism, but a proposal for rewriting the relationship between land and people.” “Ecology is the basis for a more pleasurable alternative,” said Mosley in his introduction to the day’s second session. “Cooperation and care aren’t the goals, but the means of happiness.” An exhibition complementing the symposium shared drawings, renderings, and models. (Andy Eichler) Neeraj Bhatia’s lecture “Life After Property” complemented the previous days’ exhibition, problematizing the housing crisis as an ideological commitment to housing rooted in market speculation. Bhatia presented new typologies for collective living with the flexibility to formally stabilize the interpersonal relationships that define life in the commons. Albert Pope finished the day’s lectures with “Inverse Utopia,” presenting work from his 2024 book of the same name, which problematizes postwar American urban sprawl as an incapability to visualize the vast horizontal expansion of low-density development. Collectively, the day’s speakers outlined a model that situated the American domestic form at the center of the global climate crisis. Demanding complete separation from productive territories, this formal ideology of the isolated object is in a process of active dismemberment under climate change. The speakers’ proposed solutions were unified under fresh considerations of established ideas of typology and form, directly engaging politics of the collective as an input for shaping existing space. As Friday’s session drew to a close, the single-family home appeared as a primitive relic which architecture must overcome. Albert Pope’s images of tower complexes in Hong Kong and council estates in London that house thousands appeared as visions of the future. “The only way we can begin to address this dilemma is to begin to understand who we are in order to enlist the kinds of collective responses to this problem,” said Pope. Walker MacMurdo is an architectural designer, critic, and adjunct professor who studies the relationship between architecture and the ground at Kent State University’s College of Architecture and Environmental Design.

Apple prepares to cry wolf over gaming again | Opinion Gaming on Apple platforms is set to be a WWDC focus once again – but with the company increasingly pushed to open up its app ecosystem, maybe this time the wolf is real Feature by Rob Fahey Contributing Editor Published on May 30, 2025 Apple's developer-focused annual WWDC event kicks off in a little over a week, which means that it's time once again for one of the industry's most well-established games of farce; in which Apple, the GM, tries to convince us all that this time, no this time, it's really truly serious about gaming, and we, the players, all try to keep our faces straight and our eyes unrolled. It's a ritual that often skips a year or two but always comes back with a vengeance – Apple cites some impressive numbers about hours or dollars spent on games on their platforms, wheels out a famous developer to wax lyrical about the power of the hardware and demonstrate a build of their game, and announces some new iOS features related to gaming. With love-bombing of the games industry complete for another few years, they promptly delete us from their contacts and pretend not to know us when they walk past us in the supermarket. The reason we all still pay attention to this merry-go-round, though, is because just as it's hard to take seriously any of Apple's claims of yet another Damascene conversion to gaming religion, it's also impossible not to take seriously the importance of the platforms the company controls. There are 2.35 billion active Apple computing devices in the world right now. The company doesn't break down those stats into Macs, iPhones, and iPads, but we know there are well over a billion iPhones in those numbers. Most of those devices are perfectly good gaming devices, at least in terms of what their hardware is capable of. The existing mobile gaming market – while a large market by any measure – is still only scratching at the surface of the potential growth for the gaming market that could be reached through that installed base. Having one of Apple's boy-who-cried-wolf moments actually turn into a genuine commitment to gaming would be a major step towards realising that – which makes them very hard to ignore, even if we're pretty sure we know all the steps to this dance by now. So what's this year's love-bombing going to consist of? We don't know which development luminary they'll bring on stage, but it does seem pretty certain that there's a shiny new gaming-centric app that's going to be built into the next release of iOS, replacing the rather clunky Game Centre with a more streamlined game launcher (which may encompass games bought on other stores on macOS, a bit like how the Apple TV app shows the next shows in your watchlists on Netflix and other streaming services) and providing various editorial and social features. Image credit: Apple It's not clear whether this is just a new app, or if it actually represents an overhaul of the services layer of Apple's gaming offerings – for example, whether it's going to have things like chat, matchmaking, teams and so on implemented in a way that centres on the app but also available in games via an overlay or direct integration through an API. That sounds fine and dandy, though of course the Game Centre app this will replace is a reminder of one of the previous iterations of the "Apple is serious about games this time" dance. What's perhaps more interesting, though we don't yet know if it'll get an on-stage mention at WWDC, is that this is coming just as Apple wraps up the acquisition of its first ever game studio – RAC7, the studio best known for creating Sneaky Sasquatch, which has been a very steadily performing hit on the Apple Arcade service since its launch. Now, there's a very obvious caveat here before we start speculating about Apple trying to build out a game development studio system: RAC7 is a micro-studio consisting of just two people, so while it's apparently going to continue operating more or less autonomously as a wholly-owned studio, there's still a bit of a whiff of an acquihire about the situation. It makes sense for Apple to bring a studio that's been pretty solidly committed to Arcade, and successful on the platform, into the fold in this way even if it's only so that they can be used as consultants and testers for upcoming changes to the service offering. The core concept of the Apple Arcade offering – a ton of well-vetted games that are guaranteed not to be packed with microtransactions and ads – remains very compelling, especially for parents While that may be a bit of a letdown to people who got excited at the prospect that Apple would follow its efforts at building up movie and TV production studios with a similar move into gaming, this acquisition does still send a cautiously positive signal. Apple acquires small companies all the time, but it's never done so with a games studio before, so the willingness to do this suggests that it is tacitly aware of a lack of internal know-how and skills related to this market segment, and moreover, that it remains quite committed to Apple Arcade. That second part is important, because honestly, it's quite easy to forget that Apple Arcade exists sometimes. It's a bit of a cypher to a lot of the industry, I think; it was launched with much fanfare but it now essentially just sits there occupying zero mindshare for most of the gaming sector and its consumers. However, there have been some hints that it's actually quite successful commercially – a tricky thing to measure given that its primary commercial target is driving subscription numbers and retention metrics for the all-encompassing Apple One service, but at the very least there's never been a suggestion from Apple that it's unhappy with how it's performing in that regard. The core concept of the offering – a ton of well-vetted games that are guaranteed not to be packed with microtransactions and ads – remains very compelling, especially for parents, and it seems reasonable to posit that it's quietly doing a very solid amount of business off in demographic sectors that rarely engage with the traditional games industry. This, to some extent, might explain why Apple has ghosted the industry after its most recent bouts of love-bombing; Apple Arcade and the infrastructure that supports it isn't terribly meaningful to the traditional games industry, but actually accomplishes quite a lot of Apple's own internal goals with regard to gaming. That leads us to another crucially important piece of context to bear in mind when watching what the company unveils at WWDC this year – that this may be a series of strategic moves that are less about enticing the games industry to focus on Apple platforms, and more about preparing the ground for the possibility of major parts of the games business simply turning up on Apple's turf unannounced and uninvited. That spectre has been raised by various different legislative and legal moves in major markets over the past few years, all of which seem to be pointing in a similar direction – that Apple is going to be forced to open up its platform to third-party app stores, or at the very least streaming apps. The company is still fighting its corner in the courts in a lot of places, but I suspect it knows that the clock is ticking, especially in some of its most lucrative global markets. While the commercial threat posed by actual app stores is probably minimal (most people just aren't going to install a whole other app management ecosystem when the path of least resistance works fine), the threat from game storefronts is very real. Epic, Steam, and Xbox are all potentially going to have functional storefronts on iOS in one form or another in the coming years – which means an end to Apple's era of taking for granted that games will just keep churning out giant stacks of App Store cash despite being largely held at arm's length by the company. Rethinking its gaming app software and buying a small studio are far from sufficient to win a war on this new front if it opens up – but if they indicate some actual momentum building up, they might not be a bad start.