How China Is Outperforming the United States in Critical Technologies  Information Technology and Innovation Foundation (ITIF)

With reclaimed land previously allocated to cars, the Grijalva River boardwalk offers generous public spaces and reconnects the Mexican city of Villahermosa to its river In Villahermosa, nature reigns supreme. Surrounded by rivers, lagoons, wild vegetation and the scorching heat of a humid tropical climate, the city’s identity is shaped by intense and unpredictable natural forces. The capital of the Mexican state of Tabasco was founded in 1564 on the banks of the Grijalva River, a vital trade route that has significantly shaped the city’s development. For locals, the river has long been both blessing and threat; major floods have been recorded since the 17th century. A devastating flood in 2007 submerged what officials estimated to be 80 per cent of the city, damaging or destroying more than 120,000 homes. In the aftermath of the inundation, high concrete retaining walls were built along both banks of the Grijalva River to prevent further flooding. While this was an understandable measure at first glance, it consequently caused residents to lose both their visual and physical connection with the river. As a result, people moved, particularly from the western bank where the historical centre is located, to new areas further away from the Grijalva River. The riverfront was left to deteriorate into a troubled zone. On the eastern bank, the neighbourhood of Gaviotas was already considered unsafe before the flood, yet it maintained more of its residential character. In 2022, 15 years after the dramatic flood, then‑president Andrés Manuel López Obrador, more commonly known as AMLO, announced the construction of a new 6km‑long riverfront promenade in Villahermosa, the capital of his home state. The idea was to enable the population to once again take pride in and live with their river, looking to Paris and Rome as examples. The monumental task, with its large urban scale and the population’s psychological trauma, was entrusted to the Ministry of Agricultural, Territorial and Urban Development (SEDATU) as part of their Programa de Mejoramiento Urbano (Urban Improvement Programme, or PMU). This programme aimed to use architecture as an ‘instrument of social transformation’. High expectations were placed on these projects; architects were asked to create ‘places of national pride’ while improving everyday living conditions. The architectural trio of Alejandro Castro Jiménez Labora, Mauricio Rocha Iturbide, and Óscar Rodríguez Castañeda, along with their teams, were commissioned to design a linear park along both banks of the Grijalva. Each architect contributed their strength: Castro brought his expertise in poetic urban furniture; Rocha his sensitive and atmospheric architectural approach; and Rodríguez his thoughtful urban and traffic planning skills. The SEDATU team provided technical and participatory expertise, enabling contextual sensitivity by sharing essential information about the site’s topography, soil conditions and water flows. From the city’s existing observatory, the Torre del Caballero landmark, visitors enjoy an excellent view over the redesigned riverbanks. The historical centre and the Gaviotas neighbourhood now form a single ensemble, while the intervention carefully responds to the different conditions found along the length of the river. The project’s main objective is to reclaim some of the land previously allocated to cars and create a promenade for pedestrians and slower vehicles, punctuated with public spaces and facilities. On both sides of the river, cars are now limited to just one or two grey asphalt lanes. Running alongside are generous cycle paths and pedestrian walkways made of earth‑coloured concrete. Speed bumps in the same material and colour connect the pavements on either side of the road while helping to limit traffic speed to 30km/h, further enhancing pedestrian safety. Several design elements are found along almost the entire promenade. A ribbon of light‑grey benches delineates the edge of the elevated riverfront; stone walls, steps and ramps are used to negotiate the slight changes in level; planters and lush vegetation soften the transition to the walkways, creating a welcome buffer from street traffic. The most visually striking components are the tall, red‑pigmented concrete light poles on the elevated path, adorned with elegant L‑shaped steel light fixtures, which establish a strong and cohesive visual rhythm. Only upon closer inspection you notice the 2007 retaining walls peeking through the dense tropical vegetation. Removing these unattractive concrete barriers was never an option; they stand as a symbol of successful flood protection for the local population. The architectural team ingeniously built the elevated promenade atop the existing wall – an effective concealment from the street side while simultaneously inviting residents to reconnect with the Grijalva.  At the foot of the observatory, directly below the retaining wall, the earth‑toned concrete platforms of the Carlos A Madrazo Becerra Park stretch towards the river. Visitors can access the park via a ramp from the promenade on the western bank or by ferry from the opposite side. In the park, concrete furnishings invite visitors to linger among tropical vegetation set against tall natural stone walls. Importantly, it is a space that is durable and requires minimal maintenance – a survival formula for public parks in the Mexican context. Small traces on the concrete benches reveal that the park weathered its baptism of fire last year: the design accommodates the river’s natural dynamics, adapting to fluctuating water levels without compromising public safety. Beyond providing much‑needed shade, the extensive planting of native, low‑maintenance plants on both riverbanks has improved soil stability. Above the park, on a broad extension of the elevated pathway, stand three long, elegant buildings with large cantilevered roofs supported by hefty beams resting on distinctive double columns. The tall glass walls that enclose the interiors are set back, creating a visual flow between interior and exterior spaces. While the beams evoke timber construction, they – like the columns – are made of the same pigmented concrete used for the promenade paving. Despite their refined composition, these structures have remained largely unused since their completion over a year ago, neither serving their intended function as restaurants nor hosting alternative uses. Even the beautifully designed park sees only limited public engagement. The ambitious goal of SEDATU with the PMU projects to ‘counteract violence and strengthen the social fabric’ appears, for now, to have fallen short in this area. According to national statistics, Villahermosa ranks first in perceived insecurity among Mexican cities. This sense of insecurity is tangible on the promenade by the city centre, where buildings that look abandoned contribute to an atmosphere of neglect. The situation is markedly different on the opposite riverbank, in the Gaviotas neighbourhood. Construction of the 3.5km promenade on this side began in 2021 with three open pavilions housing several small kiosks, which quickly evolved into popular taco stands. The Plaza Solidaridad, revitalised by the architectural trio, draws people from the surrounding vibrant neighbourhood. Further south, the final section that was built is a large sports area and children’s playground, which were embraced by the local community even before their official inauguration in February 2024. Especially after sunset, when the air cools, the well‑lit Gaviotas riverfront comes to life. During daylight hours, however, air‑conditioned shopping centres remain the preferred gathering places for the residents of Villahermosa. Rocha describes the city’s new promenade as a ‘jazz composition’, a striking metaphor that speaks of rhythmic complexity and the freedom to improvise. With just a few designed elements and carefully selected colours, the architects have harmoniously layered the river’s urban spaces. The project is earning international recognition but, in Mexico, it faced sharp criticism and was overshadowed by accusations of nepotism. Castro is a friend of AMLO’s son, and the fact that the intervention took place in the home state of the then‑president, coupled with its substantial budget by local standards, drew considerable attention. According to residents, this undermined public acceptance. When asked about the negative press, Rocha speaks of the need to develop a ‘crisis muscle’; he says architects working on public projects in Mexico must ‘let go of perfectionism’ as much lies beyond their control.  During AMLO’s six‑year term, which ended in 2024, SEDATU implemented 1,300 PMU projects in 193 highly marginalised municipalities across the country. While many of these interventions undoubtedly improved people’s quality of life, the Villahermosa riverside project also reveals architecture’s limitations, exposing some of the programme’s weaknesses: architectural interventions often act as sticking plasters on an extensively damaged urban fabric. They are handed over from a national ministry with comprehensive expertise and funding to local governments lacking the means to sustain them. Although SEDATU conducted participatory consultations during the project’s implementation, this engagement was absent once the project was completed. Public acceptance and appropriation can take time; what this project does is send an invitation out. 2025-06-05 Reuben J Brown Share AR June 2025RoadsBuy Now

As a Canadian who has spent the last two and a half years working as an intern architect in Helsinki, these questions have been on my mind. In my current role, I have had the opportunity to participate in numerous architectural competitions arranged by Finnish municipalities and public institutions. It has been my observation that the Finnish system of open, anonymous architectural competitions consistently produces elegant and highly functional public buildings at reasonable cost and at great benefit to the lives of the everyday people for whom the projects are intended to serve. Could Canada benefit from the adoption of a similar model? ‘Public project’ has never been a clearly defined term and may bring to mind the image of a bustling library for some while conjuring the image of a municipal power substation for others. In the context of this discussion, I will use the term to refer to projects that are explicitly in-service of the broader public such as community centres, museums, and other cultural venues. Finland’s architectural competition system Frequented by nearly 2 million visitors per year, the Oodi Central Library in Helsinki, Finland, has become a thriving cultural hub and an internationally recognized symbol of Finnish design innovation. Designed by ALA Architects, the project was procured through a 2-stage, open, international architectural competition. Photo by Ninara (flickr, CC BY 2.0) In Finland, most notable public projects begin with an architectural competition. Some are limited to invited participants only, but the majority of these competitions are open to international submissions. Importantly, the authors of any given proposal remain anonymous with regards to the jury. This ensures that all proposals are evaluated purely on quality without bias towards established firms over lesser known competitors. The project budget is known in advance to the competition entrants and cost feasibility is an important factor weighed by the jury. However, the cost for the design services to be procured from the winning entry is fixed ahead of time, preventing companies from lowballing offers in the hopes of securing an interesting commission despite the inevitable compromises in quality that come with under-resourced design work. The result: inspired, functional public spaces are the norm, not the exception. Contrasted against the sea of forgettable public architecture to be found in cities large and small across Canada, the Finnish model paints a utopic picture. Several award-winning projects in my current place of employment in Helsinki have been the result of successes in open architectural competitions. The origin of the firm itself stemmed from a winning competition entry for a church in a small village submitted by the firm’s founder while he was still completing his architectural studies.  At that time, many architecture firms in Finland were founded in this manner with the publicity of a competition win serving as a career launching off point for young architects. While less common today, many students and recent graduates still participate in these design competitions. On the occasion that a young practitioner wins a competition, they are required to assemble a team with the necessary expertise and qualifications to satisfy the requirements of the jury. I believe there is a direct link between the high architectural quality outcomes of these competitions and the fact that they are conducted anonymously. The opening of these competitions to submissions from companies outside of Finland further enhances the diversity of entries and fosters international interest in the goings-on of Finland’s architectural scene. Nonetheless, it is worth acknowledging that exemplary projects have also resulted from invited and privately organized competitions. Ultimately, the mindset of the client, the selection of an appropriate jury, and the existence of sufficient incentives for architects to invest significant time in their proposals play a more critical role in shaping the quality of the final outcome. Tikkurila Church and Housing in Vantaa, Finland, hosts a diverse range of functions including a café, community event spaces and student housing. Designed by OOPEAA in collaboration with a local builder, the project was realized as the result of a competition organized by local Finnish and Swedish parishes. Photo by Marc Goodwin Finland’s competition system, administered by the Finnish Association of Architects (SAFA), is not limited to major public projects such as museums, libraries and city halls. A significant number of idea competitions are organized seeking compelling visions for urban masterplans. The quality of this system has received international recognition. To quote a research paper from a Swedish university on the structure, criteria and judgement process of Finnish architectural competitions, “The Finnish (competition) experience can provide a rich information source for scholars and students studying the structure and process of competition system and architectural judgement, as well as those concerned with commissioning and financing of competitions due to innovative solutions found in the realms of urban revitalization, poverty elimination, environmental pollution, cultural and socio-spatial renewals, and democratization of design and planning process.” This has not gone entirely under the radar in Canada. According to the website of the Royal Architectural Institute of Canada (RAIC), “Competitions are common in countries such as Finland, Ireland, the United Kingdom, Australia, and New Zealand. These competitions have resulted in a high quality of design as well as creating public interest in the role of architecture in national and community life.” Canada’s architectural competition system In Canada, the RAIC sets general competition guidelines while provincial and territorial architect associations are typically responsible for the oversight of any endorsed architectural competition. Although the idea of implementing European architectural competition models has been gaining traction in recent years, competitions remain relatively rare even for significant public projects. While Canada is yet to fully embrace competition systems as a powerful tool for ensuring higher quality public spaces, success stories from various corners of the country have opened up constructive conversations. In Edmonton, unconventional, competitive procurement efforts spearheaded by city architect Carol Belanger have produced some remarkable public buildings. This has not gone unnoticed in other parts of the country where consistent banality is the norm for public projects. Jasper Place Branch Library designed by HCMA and Dub Architects is one of several striking projects in Edmonton built under reimagined commissioning processes which broaden the pool of design practices eligible to participate and give greater weight to design quality as an evaluation criterion. Photo by Hubert Kang The wider applicability of competition systems as a positive mechanism for securing better public architecture has also started to receive broader discussion. In my hometown of Ottawa, this system has been used to procure several powerful monuments and, more recently, to select a design for the redevelopment of a key city block across from Parliament Hill. The volume and quality of entries, including from internationally renowned architectural practices, attests to the strengths of the open competition format. Render of the winning entry for the Block 2 Redevelopment in Ottawa. This 2-stage competition was overseen directly by the RAIC. Design and render by Zeidler Architecture Inc. in cooperation with David Chipperfield Architects. Despite these successes, there is significant room for improvement. A key barrier to wider adoption of competition practices according to the RAIC is “…that potential sponsors are not familiar with competitions or may consider the competition process to be complicated, expensive, and time consuming.” This is understandable for private actors, but an unsatisfactory answer in the case of public, tax-payer funded projects. Finland’s success has come through the normalization of competitions for public project procurement. We should endeavour to do the same. Maintaining design contribution anonymity prior to jury decision has thus far been the exception, not the norm in Canada. This reduces the credibility of the jury without improving the result. Additionally, the financing of such competitions has been piece-meal and inconsistent. For example, several world-class schools have been realized in Quebec as the result of competitions funded by a provincial investment.  With the depletion of that fund, it is no longer clear if any further schools will be commissioned in Quebec under a similar model. While high quality documentation has been produced, there is a risk that developed expertise will be lost if the team of professionals responsible for overseeing the process is not retained. École du Zénith in Shefford, Quebec, designed by Pelletier de Fontenay + Leclerc Architectes is one of six elegant and functional schools commission by the province through an anonymous competition process. Photo by James Brittain A path forward Now more than ever, it is essential that our public projects instill in us a sense of pride and reflect our uniquely Canadian values. This will continue to be a rare occurrence until more ambitious measures are taken to ensure the consistent realization of beautiful, innovative and functional public spaces that connect us with one another. In service of this objective, Canada should incentivize architectural competitions by normalizing their use for major public projects such as national museums, libraries and cultural centres. A dedicated Competitions Fund could be established to support provinces, territories and cities who demonstrate initiative in the pursuit of more ambitious, inspiring and equitable public projects. A National Competitions Expert could be appointed to ensure retention and dissemination of expertise. Maintaining the anonymity of competition entrants should be established as the norm. At a moment when talk of removing inter-provincial trade barriers has re-entered public discourse, why not consider striking down red tape that prevents out-of-province firms from participating in architectural competitions? Alas, one can dream. Competitions are no silver bullet. However, recent trials within our borders should give us confidence that architectural competitions are a relatively low-risk, high-reward proposition. To this end, Finland’s open, anonymous competition system offers a compelling case study from which we would be well served to take inspiration. Isaac Edmonds is a Canadian working for OOPEAA – Office for Peripheral Architecture in Helsinki, Finland. My observations of the Finnish competition system’s ability to consistently produce functional, beautiful buildings inform my interest in procurement methods that elevate the quality of our shared public realm. The post Op-Ed: Could Canada benefit from adopting Finland’s architectural competition system? appeared first on Canadian Architect.

Amazon plans to invest $10 billion toward building a campus in North Carolina to expand its cloud computing and artificial intelligence infrastructure, bringing a massive shot in the arm to a region where many textile and apparel jobs dried up a gene

Kenmore Pavilion / CARDSave this picture!© Andy MacphersonHouses, Sustainability•Brisbane City, Australia Architects: CARD Area Area of this architecture project Area:  90 m² Photographs Photographs:Andy MacphersonMore SpecsLess Specs Save this picture! Text description provided by the architects. The core philosophy of this project was to do more with less through revitalizing a 1960s workers' cottage through smart, cost-effective design. Rather than replacing, the approach focused on reuse, breathing new life into the existing structure.Save this picture!Save this picture!By embracing Brisbane's favourable climate, the design introduces a weather-protected outdoor space that seamlessly extends the home's footprint. This newly integrated pavilion creates a flexible living zone for cooking, socialising, and relaxing, while framing curated views of the surrounding landscape.Save this picture!Save this picture!Save this picture!The project is situated in the leafy suburb of Kenmore, Brisbane, renowned for its mid-century modernist architecture and lush natural surroundings. Drawing inspiration from Queensland's architectural heritage, the design of the pavilion references the quintessential deck through its overall proportions and timber detailing. The use of natural timber ensures the structure blends effortlessly with the surrounding landscape, reinforcing its identity as an extension of the garden and an inviting, functional outdoor space.Save this picture!The project was part of a bigger renovation which encouraged a direct connection to the garden, shifting the living areas to the north and the bedrooms to the south, clearly delineated by a continuous wall of joinery. This wall contains the kitchen, fireplace, bookshelves, entry nook, and services, with flush, hidden doors that conceal access to the bedrooms and hallway.Save this picture!With these renovations and the new outdoor pavilion, a dark and introverted house has been converted into a functional, light-filled, and social building. A flexible and adaptable space - the pavilion can be used for a range of activities, from outdoor dining, socializing, and cooking in the garden.Save this picture!Sustainability Initiatives Our vision centers around reducing environmental impact by retaining and working with the original post-war structure, which has solid bones. Existing materials were reused and retained where possible, such as the terracotta floor of the pavilion, which was retained from the original house. Other examples include parts of the tiling that were salvaged from leftover projects, and the western red cedar soffits were taken from leftover stock from a nearby development. The garden beds were made from salvaged beams from the original pergola The planter was made from salvaged brick from the paths around the original house The chicken coop was made from reclaimed cedar and old wall framing. The pergola was built from Kwila and Spotted Gum - purposefully chosen for their sustainability credentials. The project included the installation of a new 6.6 kW solar system (20 panels) installed on the roof. Save this picture! Project gallerySee allShow less About this officeCARDOffice••• Published on June 05, 2025Cite: "Kenmore Pavilion / CARD" 05 Jun 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030800/kenmore-pavilion-card&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

The duo will create a ball sports arena for local teams and the wider community, providing a new public square and gateway to an exhibition park in České Budějovice, a city 120km south of Prague. Inspired by the Möbius strip – a continuous surface with only one side and one edge – the winning design aims to reflect ‘energy, unity, and perpetual motion’ and serve as a catalyst for positive transformation in České Budějovice. WilkinsonEyre board director Sam Wright said: ‘We are thrilled to have been selected for this exciting project, which presents a unique opportunity to build on our design expertise and passion for sports architecture.Advertisement ‘We look forward to collaborating with our partners to create a world-class venue that inspires both athletes and spectators alike.’ Boele founding director Petr Suma, who has worked at both WilkinsonEyre and London-based William Matthews Architects, said: ‘By revitalising and redefining the southern entrance to the České Budějovice Exhibition Grounds, this project creates a catalyst for new development on the left bank of České Budějovice.’ Though the arena is primarily for volleyball, it will also host a range of ball sports, including handball, floorball, basketball and futsal, as well as concerts and conferences. The winning proposal was selected unanimously from 29 entries, and construction is expected to begin next year. České Budějovice is a major industrial centre with around 96,000 residents. Local landmarks include the Budweiser Budvar Brewery, the Baroque-style Museum of South Bohemia and the Neo-Gothic Church of the Presentation of the Blessed Virgin Mary.Advertisement A separate contest to remasterplan České Budějovice was launched early last year.

Ookwemin Minising Aerial photo with project area outline. Credit: Waterfront Toronto Global professional services company, GHD, and Danish nature-based design studio, SLA, have been awarded the role of prime consultant by Waterfront Toronto for phase one of infrastructure and streetscape design for a new island community. Formerly known as Villiers Island, Ookwemin Minising is a new island born from an ambitious flood protection and river restoration project. The Don River, a historic gathering place, will be at the heart of this future community. The island, which is planned to be home to more than 15,000 people, will also be a destination where people will visit to relax and explore. The first new residents of this island community are expected to move in by 2031. For the project, GHD, the prime consultant and technical lead, and SLA, design lead for urban realm and landscape, will deliver a new urban environment that aims to honour the legacy of the Don River through an approach rooted in resilient infrastructure, cultural memory and deep ecological integration. Drawing inspiration from global precedents and local Indigenous knowledge, the team’s “Growing Streets” concept proposes streetscapes that evolve like living ecosystems. “This project represents a significant milestone for Toronto’s waterfront revitalization,” said Chris Hunter, GHD chief executive officer for the Americas. “By integrating innovative engineering with responsive design, our team will help create infrastructure that’s not just functional, but truly adaptive to community needs while honoring the ecological transformation nearing completion at the Don River mouth. This approach exemplifies our commitment to building resilient systems that evolve with the communities they serve.” The team, which includes architects Allies and Morrison, will integrate design for streetscapes and public realm with a review of the density and built form on the island, building on years of planning to realize this new neighbourhood. “Tri-government investment unlocked the potential of the Port Lands, allowing us to create a brand new island,” says Chris Glaisek, chief planning and design officer at Waterfront Toronto. “Now, renewed investment in waterfront revitalization means this new island is ready to launch. By integrating design for streets and public realm with a review of built form on the island, this team can build on the planning done by the City of Toronto, Waterfront Toronto and CreateTO to deliver as much new housing as possible, while building a truly world-class neighbourhood.” At the heart of the team’s vision for Ookwemin Minising lies a next-practice model for climate-adaptive urbanism. Guided by seven core principles, including surface-level rainwater management, soil repurposing, native vegetation and social spaces that foster mobility and interaction, the design will champion active mobility through integrated pedestrian and biodiversity corridors woven throughout the island. These corridors can provide optimal microclimates for outdoor comfort while managing storm water, linking and strengthening ecologies and connecting people with nature. Informed by leading examples from cities like Copenhagen, Oslo, and London, the design will seek to maximize sustainability without relying on future technologies. “We’re thrilled to bring our Growing Streets vision to life in Toronto,” said Rasmus Astrup, design principal and partner at SLA. “This is urban design at its most alive – where trees, water, wind, soil and people grow and flow together. The streetscape design of Ookwemin Minising is not just about infrastructure, it’s about creating a living cityscape that breathes with the seasons, nurtures biodiversity and supports everyday life in inspiring, joyful ways. In Ookwemin Minising, every street becomes a celebration – of the land, of the water, of our heritage and of all the life of Toronto.” The infrastructure designs for Ookwemin Minising will incorporate  plantings, nature-integrated public seating, and climate-buffering vegetation to create a vibrant and adaptive civic experience. The team envisions a design that would build public awareness of ecological processes while enhancing urban resilience and well-being. The vision embraces a holistic design approach that integrates street configurations, building scales, and public spaces to create a cohesive and sustainable community. Rooted in the values of the surrounding Port Lands and celebrating the area’s enduring industrial, maritime and Indigenous histories, the team’s design for Ookwemin Minising will aim to set a new benchmark for culturally and ecologically responsive waterfront development in North America. The project will be brought to life by a group of industry-leading consultants, including:  GHD (prime consultant): Engineering design services, planning services, environmental services and construction administration SLA: Design lead for urban realm and landscape Trophic Design: Co-designer with SLA for Indigenous landscape design and knowledge Transsolar: Sustainability and low-carbon infrastructure systems Monumental Projects: Public engagement and community outreach Level Playing Field: Accessibility services Allies and Morrison: Architectural lead   The post GHD and SLA teaming up to deliver major infrastructure design for Toronto’s newest island appeared first on Canadian Architect.

As the Nintendo Switch 2 launches, these are our hopes and dreams for the console Image credit: Nintendo Feature by GamesIndustry.biz Staff Contributor Published on June 5, 2025 With the Nintendo Switch 2 launching today, it closes out a rocky pre-launch period of tariffs, fiery price discussions around software and hardware, and some retailers cancelling pre-orders. Much of that will feel like a distant memory once the hotly-anticipated console is in players' hands, and they're trying out the first new Mario Kart game in more than 11 years. There's always something special about Nintendo hardware. Even with the Wii U, the console manufacturer's biggest dud in recent memory, that was still the case. While the Switch 2 is firmly an evolution of 2017's Switch and not anything bolder in terms of input or form factor, Nintendo's unbelievable run of great software over the past eight years looks set to continue. The downside for consumers, of course, is that they will be paying much more for some of those titles than they did on the last console. Below, to celebrate its launch day, the GamesIndustry.biz team shares its realistic hopes and dreams for the years to come on Switch 2. A fresh take on exclusive IP Nintendo has already demonstrated that it's willing to switch it up in terms of new takes on its iconic franchises, with the destructible levels of Donkey Kong Bananza and the open roads of Mario Kart World. But I have an appetite to see the same approach taken with continuations of beloved franchises like The Legend of Zelda, 3D Mario, and Pokémon. While Breath of the Wild and Tears of the Kingdom are getting enhanced versions and the newest Pokémon Legends title launches this fall, Nintendo has the opportunity to revitalise some of its beloved IP with boosted hardware and fan interest. Not only that, but it could flip the script entirely and debut a brand new franchise unrelated to anything that’s come before it – something that would become intertwined with the Switch 2 and inspire a new generation of players and developers. – Sophie McEvoy The end of bad Switch ports While games like Doom and The Witcher 3 demonstrated that miracles were possible with the Nintendo Switch's limited hardware capabilities, numerous ports from more powerful platforms fell short. From the notoriously rough visual downgrade of Batman: Arkham Knight to the choppy port of WWE 2K 2018, sometimes visually intensive games have made their way to the console with a whiff of 'buyer beware' about them. In some cases, like the Kingdom Hearts games, 'cloud' versions bypassed trying to run natively on the hardware altogether, which was a compromise too far for many players. That's a trend the Switch 2, with its out-of-the-gates impressive ports of Cyberpunk 2077 and Civ 7, could really do without. Inevitably, we will reach a point with the next Xbox and PlayStation consoles where the disparity with the Switch 2 becomes too great, and we could potentially see a similar downslide in ports. But hopefully the quality level reached with this first wave of releases sets a high standard for what's to come. Users' tolerance for lower quality multiplatform releases has been tested too much during the latter years of the Switch's lifecycle. – Samuel Roberts Switch 2 is at the heart of indie games Image credit: ConcernedApe The early years of the Switch were a honeymoon period for indie games, causing a gold rush of publishers and developers getting their back catalogues on the platform. As the eShop became swamped with shovelware, while Nintendo did little to improve discoverability (until very recently), Steam quickly became the de facto home for indie games again. There's still nothing like playing an indie game on Switch. The portability remains a cut above other devices with a similar form factor, like the Steam Deck. While Nintendo shows it values smaller games with its Indie World showcases, there's still a disconnect between the intent of those presentations and how easily indie games are actually discovered on Switch. Using the eShop to celebrate good taste in games should be a goal of Nintendo's during this generation. A golden age of indies comparable to the original Switch launch seems unlikely – the moment has probably passed on that. But more consistent curation would have a massive amount of value. – Samuel Roberts Nintendo shows that the mouse has the magic The unveiling of the Switch showed that Nintendo learned a lot of lessons from the Wii U, itself a failed follow-up to the Wii: the company didn't rock the boat. It's the same form factor you know from the original Switch, with a clear '2' in the name. All its more novel secondary features – like the Joy-Con's mouse controls – are not at the centre of the marketing messaging like the Wii Remote or DS touchscreen were for those consoles. This was wise in a few practical ways. It means there are no interface-based headaches in porting a game onto the console, paving the way for (theoretically) good third-party support. Consumers, developers, and publishers know what they're getting. Still, it means the console is going to feel largely familiar as an experience. The hope, then, is that deeper into the generation, Nintendo and other developers find new and interesting things to do with the mouse. Competitive wheelchair basketball game Drag x Drive is Nintendo's first attempt at this, but the drab art style doesn't inspire much confidence. Previous breakthrough exclusives like Arms and Splatoon felt like a much bigger deal. – Samuel Roberts More than just a console As a handheld device, the Switch ended up being more than just a games console. Subscription-based services like Crunchyroll and InkyPen provide access to anime, comics, and manga, while the YouTube app lets players watch a (albeit limited) selection of movies and shows. With the improvements in screen resolution, the Switch 2 would benefit from integrating more streaming services like Netflix, Disney+, and Amazon Prime. Sure, you can use these apps on phones and laptops, but it would be convenient to have everything on one device – particularly a handheld console that's a popular traveling companion. And with social connectivity being a major selling point of the new console with GameChat, there's an opportunity to host streaming parties of shows and films on top of playing games. – Sophie McEvoy The GameCube library isn't left to fester on Nintendo Switch Online On day one, Nintendo Switch Online's Expansion Pack brings GameCube games to Switch 2 players: The Legend of Zelda: Wind Waker, F-Zero GX, and Soulcalibur 2. More will be coming, but if Nintendo's previous form with its classic console libraries are anything to go by, it will be a glacial wait. I hope I'm proven wrong. Possibly complicating matters is that some key GameCube titles have already been ported to Switch, like Paper Mario: The Thousand-Year Door, Pikmin 1 and 2, and Metroid Prime. The console's best game, Resident Evil 4, has been widely available for years on other platforms. The best case scenario here, then, is that Nintendo brings some more unusual or unexpected games to the service – the coming inclusion of Chibi-Robo, a cult GameCube game that's been hard to get hold for many years, is a strong indicator that the company is thinking outside the more obvious Mario and Zelda games. Rogue Squadron 2: Rogue Leader, Eternal Darkness: Sanity's Requiem, and Metal Gear Solid: The Twin Snakes would be on my personal wishlist. And maybe Starfox Adventures, too, just to hear everyone complain about it again. – Samuel Roberts A new take on Zelda in time for the movie This one is pretty much guaranteed. After reinventing the Zelda series with the open world games Breath of the Wild and Tears of the Kingdom, both of which celebrated player freedom and ingenuity, it will be fascinating to see what tack the team behind these games take next. "I think [TOTK] is – to use a bit of a term – an apotheosis, or the final form of that version of The Legend of Zelda," said producer Eiji Aonuma in a 2023 interview with Game Informer. "In that regard, I don't think that we'll be making a direct sequel to a world such as that that we've created." My prediction: in the same way Super Mario Wonder gave players a fresh spin on a classic Mario 2D platformer experience following 2023's (terrible, if you ask me) Super Mario Bros. movie, I could see a similar tack taken with 2027's live-action Zelda movie. A game that seems superficially familiar, but is bursting with new ideas, would bridge the gap between veteran Nintendo players and newbies. – Samuel Roberts

Longchamp has reintroduced its iconic SoHo flagship, unveiling a bold new chapter in its architectural and artistic journey. Nestled in the heart of downtown Manhattan, the La Maison Unique boutique has been transformed into a space that merges retail with an immersive cultural experience – offering more than shopping, but a deep dive into the brand’s design philosophy, legacy, and creative ambition. At the core of this reimagining is the rekindled collaboration between Longchamp and celebrated British designer Thomas Heatherwick. Nearly two decades after his original work on the space, Heatherwick returns to re-envision the site with a fresh narrative. The result is a compelling blend of artistry, innovation, and Parisian warmth, translated into architectural form. The redesign honors the bones of the original building while elevating its purpose. One of the most striking updates is the reinterpreted central staircase. Originally made of steel ribbons, it has been reborn in Longchamp’s signature green – a vibrant pathway of swooping planes that guides visitors up from the ground floor, like ascending a hill. The dramatic feature sets the tone for the boutique’s organic, flowing atmosphere. Above, the retail space has been crafted to feel less like a store and more like an upscale, lived-in loft. Round rugs in rich green tones spill from carpeted columns across warm wood floors, creating a dynamic interplay of texture and form. Vintage and bespoke furnishings – like a 1970s croissant sofa by Raphaël Raffel and sculptural works by David Nash – anchor the room with both history and originality. Longchamp’s ties to the art world are on full display throughout the store. The brand’s private collection, along with newly commissioned pieces, gives the space a gallery-like feel. Highlights include ceramics and sculptures from artists such as Dorothée Loriquet, Bobby Silverman, and Tanaka Tomomi. Their works echo Longchamp’s commitment to natural materials, tactile surfaces, and organic design. In a deliberate shift from traditional retail layout, the central area has been opened to encourage conversation. Instead of focusing solely on product display, the well-lit space invites guests to linger and connect, mirroring the rhythm of a Paris apartment transplanted to a New York context. The visual storytelling continues with intentional quirks: neon signage, hand-drawn graffiti by artist André, and archive objects that trace Longchamp’s early heritage as a maker of leather tobacco accessories and travel games. These nostalgic elements add to the space, providing a bridge between past and present. This revitalization is part of a larger movement within the brand to reshape the in-store experience. It reflects a shift in luxury retail – from transactional to experiential. By creating a space where design, storytelling, and sensory detail converge, Longchamp is championing a new kind of flagship – one rooted in memory and human connection. “Retail moves fast, but architecture should last. We wanted to create something bold and joyful, yet warm and timeless – an apartment-like space that invites people to stay,” Heatherwick Studio partner Neil Hubbard says. “From the swirling green rugs under green-carpeted columns to curved furniture that feels custom but lived-in, everything was designed to feel unified and human. Even the red brick walls downstairs, set to host rotating installations, help ground the space in SoHo’s industrial roots while creating room for surprise.”