Remember that Prince of Persia: The Sands of Time remake Ubisoft announced back in 2020? The one that was supposed to launch four years ago? Well, it’s still in development according to a new update from the publisher after the game was a no-show dur

Montreal City Hall – Beaupré Michaud and Associates, Architects in collaboration with MU Architecture, Montreal. Photo credit: Raphaël Thibodeau The Ordre des architectes du Québec (OAQ) has revealed the winners of its 2025 Awards of Excellence in Architecture. A total of eleven projects were recognized at a gala hosted by Jean-René Dufort at Espace St-Denis in Montreal. The Grand Prix d’excellence en architecture was awarded to the restoration of Montreal City Hall , a major project led by Beaupré Michaud et Associés, architects, and MU Architecture. This complex project successfully preserves the building’s historical qualities while transforming it into an exemplary place in terms of energy and ecology.  Guided by plans from the 1920s, the architects revived this building by equipping it with contemporary, efficient, more open, and more accessible features for residents. In addition to the heritage restoration, the team also reconciled old and contemporary technologies, energy efficiency, universal accessibility, and the reappropriation of spaces that had become dilapidated. The People’s Choice Award was presented to the Coop Milieu de l’île, designed by Pivot: Coopérative d’architecture. Located in Outremont, this 91-unit intergenerational housing cooperative was born from the initiative of a group of committed citizens looking to address the housing crisis by creating affordable, off-market housing. In the context of the housing crisis, the jury emphasized that this project, which is also the recipient of an Award of Excellence, designed by and for its residents, acts as a “breath of fresh air in Outremont.” Coop Milieu de l’île. Pivot: Architecture Cooperative, Montreal. Photo credit: Annie Fafard “The projects we evaluated this year were truly remarkable in their richness and diversity. The jury found in them everything that makes Quebec architecture so strong and unique: rigor, attention to detail, and respect for the context and built heritage. We saw emblematic projects, but also discreet gestures, almost invisible in the landscape. Some projects rehabilitated forgotten places, transformed historic buildings, or even imagined new spaces for collective living. All, in their own way, highlighted the powerful impact of built quality on our living environments,” said Gabrielle Nadeau, chair of the OAQ Awards of Excellence Jury. The jury for the 2025 Awards of Excellence in Architecture was chaired by Gabrielle Nadeau, principal design architect, COBE in Copenhagen. It also included architects Marianne Charbonneau of Agence Spatiale, Maxime-Alexis Frappier of ACDF, and Guillaume Martel-Trudel of Provencher-Roy. Élène Levasseur, director of research and education at Architecture sans frontières Québec, acted as the public representative. Through the Awards of Excellence in Architecture, presented annually, the Order aims to raise awareness among Quebecers of the multiple dimensions of architectural quality, in addition to promoting the role of the architects in the design of inspiring, sustainable and thoughtful senior living environments. The full list of winners include the following. Habitat Sélénite by _naturehumaine Habitat Sélénite – _naturehumaine, Eastman (Estrie). Photo: Raphaël Thibodeau École secondaire du Bosquet by ABCP | Menkès Shooner Dagenais LeTourneux | Bilodeau Baril Leeming Architectes École secondaire du Bosquet – ABCP | Menkès Shooner Dagenais LeTourneux | Bilodeau Baril Leeming Architectes, Drummondville (Centre-du-Québec). Photo: Stéphane Brügger Bibliothèque Gabrielle-Roy by Saucier + Perrotte Architectes et GLCRM Architectes Bibliothèque Gabrielle-Roy – Saucier + Perrotte Architectes et GLCRM Architectes, Québec (Capitale-Nationale). Photo: Olivier Blouin Maison A by Atelier Pierre Thibault Maison A – Atelier Pierre Thibault, Saint-Nicolas (Chaudière-Appalaches). Photo: Maxime Brouillet Nouvel Hôtel de Ville de La Pêche by BGLA Architecture et Design Urbain Nouvel Hôtel de Ville de La Pêche – BGLA Architecture et Design Urbain, La Pêche (Outaouais). Photo: Stéphane Brügger / Dominique Laroche École du Zénith by Pelletier de Fontenay + Leclerc École du Zénith – Pelletier de Fontenay + Leclerc, Shefford (Estrie). Photo: James Brittain / David Boyer Le Paquebot by _naturehumaine Le Paquebot – _naturehumaine, Montréal (Montréal). Photo: Ronan Mézière Coopérative funéraire la Seigneurie by ultralocal architectes Coopérative funéraire la Seigneurie – ultralocal architectes, Québec (Capitale-Nationale). Photo credit: Paul Dussault Site d’observation des bélugas Putep’t-awt by atelier5 + mainstudio Site d’observation des bélugas Putep’t-awt – atelier5 + mainstudio, Cacouna (Bas-Saint-Laurent). Photo: Stéphane Groleau The post OAQ Awards of Excellence winners announced appeared first on Canadian Architect.

In 2024, Egypt completed its 1,155km stretch of the Cairo–Cape Town Highway, a 10,228km‑long road connecting 10 African countries – Egypt, Sudan, South Sudan, Ethiopia, Kenya, Tanzania, Zambia, Zimbabwe, Botswana and South Africa.   The imaginary of ‘Cape to Cairo’ is not new. In 1874, editor of the Daily Telegraph Edwin Arnold proposed a plan to connect the African continent by rail, a project that came to be known as the Cape to Cairo Railway project. Cecil Rhodes expressed his support for the project, seeing it as a means to connect the various ‘possessions’ of the British Empire across Africa, facilitating the movement of troops and natural resources. This railway project was never completed, and in 1970 was overlaid by a very different attempt at connecting the Cape to Cairo, as part of the Trans‑African Highway network. This 56,683km‑long system of highways – some dating from the colonial era, some built as part of the 1970s project, and some only recently built – aimed to create lines of connection across the African continent, from north to south as well as east to west.  Here, postcolonial state power invested in ‘moving the continent’s people and economies from past to future’, as architectural historians Kenny Cupers and Prita Meier write in their 2020 essay ‘Infrastructure between Statehood and Selfhood: The Trans‑African Highway’. The highways were to be built with the support of Kenya’s president Jomo Kenyatta, Ghana’s president Kwame Nkrumah and Ghana’s director of social welfare Robert Gardiner, as well as the United Nations Economic Commission for Africa (UNECA). This project was part of a particular historical moment during which anticolonial ideas animated most of the African continent; alongside trade, this iteration of Cape to Cairo centred social and cultural connection between African peoples. But though largely socialist in ambition, the project nevertheless engaged modernist developmentalist logics that cemented capitalism.  Lead image: Over a century in the making, the final stretches of the Cairo–Cape Town Highway are being finished. Egypt completed the section within its borders last year and a section over the dry Merille River in Kenya was constructed in 2019. Credit: Allan Muturi / SOPA / ZUMA / Alamy. Above: The route from Cairo to Cape Town, outlined in red, belongs to the Trans‑African Highway network, which comprises nine routes, here in black The project failed to fully materialise at the time, but efforts to complete the Trans‑African Highway network have been revived in the last 20 years; large parts are now complete though some links remain unbuilt and many roads are unpaved or hazardous. The most recent attempts to realise this project coincide with a new continental free trade agreement, the agreement on African Continental Free Trade Area (AfCFTA), established in 2019, to increase trade within the continent. The contemporary manifestation of the Cairo–Cape Town Highway – also known as Trans‑African Highway (TAH) 4 – is marked by deepening neoliberal politics. Represented as an opportunity to boost trade and exports, connecting Egypt to African markets that the Egyptian government view as ‘untapped’, the project invokes notions of trade steeped in extraction, reflecting the neoliberal logic underpinning contemporary Egyptian governance; today, the country’s political project, led by Abdel Fattah El Sisi, is oriented towards Egyptian dominance and extraction in relation to the rest of the continent.  Through an allusion to markets ripe for extraction, this language brings to the fore historical forms of domination that have shaped the connections between Egypt and the rest of the continent; previous iterations of connection across the continent often reproduced forms of domination stretching from the north of the African continent to the south, including the Trans‑Saharan slave trade routes across Africa that ended in various North African and Middle Eastern territories. These networks, beginning in the 8th century and lasting until the 20th, produced racialised hierarchies across the continent, shaping North Africa into a comparably privileged space proximate to ‘Arabness’. This was a racialised division based on a civilisational narrative that saw Arabs as superior, but more importantly a political economic division resulting from the slave trade routes that produced huge profits for North Africa and the Middle East. In the contemporary moment, these racialised hierarchies are bound up in political economic dependency on the Arab Gulf states, who are themselves dependent on resource extraction, land grabbing and privatisation across the entire African continent.  ‘The Cairo–Cape Town Highway connects Egypt to African markets viewed as “untapped”, invoking notions steeped in extraction’ However, this imaginary conjured by the Cairo–Cape Town Highway is countered by a network of streets scattered across Africa that traces the web of Egyptian Pan‑African solidarity across the continent. In Lusaka in Zambia, you might find yourself on Nasser Road, as you might in Mwanza in Tanzania or Luanda in Angola. In Mombasa in Kenya, you might be driving down Abdel Nasser Road; in Kampala in Uganda, you might find yourself at Nasser Road University; and in Tunis in Tunisia, you might end up on Gamal Abdel Nasser Street. These street names are a reference to Gamal Abdel Nasser, Egypt’s first postcolonial leader and president between 1956 and 1970.  Read against the contemporary Cairo–Cape Town Highway, these place names signal a different form of connection that brings to life Egyptian Pan‑Africanism, when solidarity was the hegemonic force connecting the continent, coming up against the notion of a natural or timeless ‘great divide’ within Africa. From the memoirs of Egyptian officials who were posted around Africa as conduits of solidarity, to the broadcasts of Radio Cairo that were heard across the continent, to the various conferences attended by anticolonial movements and postcolonial states, Egypt’s orientation towards Pan‑Africanism, beginning in the early 20th century and lasting until the 1970s, was both material and ideological. Figures and movements forged webs of solidarity with their African comrades, imagining an Africa that was united through shared commitments to ending colonialism and capitalist extraction.  The route between Cape Town in South Africa and Cairo in Egypt has long occupied the colonial imaginary. In 1930, Margaret Belcher and Ellen Budgell made the journey, sponsored by car brand Morris and oil company Shell Credit: Fox Photos / Getty The pair made use of the road built by British colonisers in the 19th century, and which forms the basis for the current Cairo–Cape Town Highway. The road was preceded by the 1874 Cape to Cairo Railway project, which connected the colonies of the British Empire Credit: Library of Congress, Geography and Map Division This network of eponymous streets represents attempts to inscribe anticolonial power into the materiality of the city. Street‑naming practices are one way in which the past comes into the present, ‘weaving history into the geographic fabric of everyday life’, as geographer Derek Alderman wrote in his 2002 essay ‘Street Names as Memorial Arenas’. In this vein, the renaming of streets during decolonisation marked a practice of contesting the production of colonial space. In the newly postcolonial city, renaming was a way of ‘claiming the city back’, Alderman continues. While these changes may appear discursive, it is their embedding in material spaces, through signs and maps, that make the names come to life; place names become a part of the everyday through sharing addresses or giving directions. This quality makes them powerful; consciously or unconsciously, they form part of how the spaces of the city are navigated.  These are traces that were once part of a dominant historical narrative; yet when they are encountered in the present, during a different historical moment, they no longer act as expressions of power but instead conjure up a moment that has long passed. A street in Lusaka named after an Egyptian general made more sense 60 years ago than it does today, yet contextualising it recovers a marginalised history of Egyptian Pan‑Africanism.  Markers such as street names or monuments are simultaneously markers of anticolonial struggle as well as expressions of state power – part of an attempt, by political projects such as Nasser’s, to exert their own dominance over cities, towns and villages. That such traces are expressions of both anticolonial hopes and postcolonial state power produces a sense of tension within them. For instance, Nasser’s postcolonial project in Egypt was a contradictory one; it gave life to anticolonial hopes – for instance by breaking away from European capitalism and embracing anticolonial geopolitics – while crushing many parts of the left through repression, censorship and imprisonment. Traces of Nasser found today inscribe both anticolonial promises – those that came to life and those that did not – while reproducing postcolonial power that in most instances ended in dictatorship.  Recent efforts to complete the route build on those of the post‑independence era – work on a section north of Nairobi started in 1968 Credit: Associated Press / Alamy The Trans‑African Highway network was conceived in 1970 in the spirit of Pan‑Africanism At that time, the routes did not extend into South Africa, which was in the grip of apartheid. The Trans‑African Highway initiative was motivated by a desire to improve trade and centre cultural links across the continent – an ambition that was even celebrated on postage stamps There have been long‑standing debates about the erasure of the radical anticolonial spirit from the more conservative postcolonial states that emerged; the promises and hopes of anticolonialism, not least among them socialism and a world free of white supremacy, remain largely unrealised. Instead, by the 1970s neoliberalism emerged as a new hegemonic project. The contemporary instantiation of Cape to Cairo highlights just how pervasive neoliberal logics continue to be, despite multiple global financial crises and the 2011 Egyptian revolution demanding ‘bread, freedom, social justice’.  But the network of streets named after anticolonial figures and events across the world is testament to the immense power and promise of anticolonial revolution. Most of the 20th century was characterised by anticolonial struggle, decolonisation and postcolonial nation‑building, as nations across the global south gained independence from European empire and founded their own political projects. Anticolonial traces, present in street and place names, point to the possibility of solidarity as a means of reorienting colonial geographies. They are a reminder that there have been other imaginings of Cape to Cairo, and that things can be – and have been – otherwise. 2025-06-13 Kristina Rapacki Share

This edition of the Venice Biennale includes 65 national pavilions, 11 collateral events, and over 750 participants in the international exhibition curated by Italian architect and engineer Carlo Ratti. Entitled Intelligens: Natural Artificial Collective, its stated aim is to make Venice a ‘living laboratory’. But Ratti’s exhibition in the Arsenale has been hit by mixed reviews. The AJ’s Rob Wilson described it as ‘a bit of a confusing mess’, while other media outlets have called the robot-heavy exhibit of future-facing building-focused solutions to the climate crisis a ‘tech-bro fever dream’ and a ‘mind-boggling rollercoaster’ to mention a few. It is a distinct shift away from the biennale of two years ago twhen Ghanaian-Scottish architect Lesley Lokko curated the main exhibitions, including 89 participants – of which more than half were from Africa or the African diaspora – in a convincing reset of the architectural conversation.Advertisement This year’s National Pavilions and collateral exhibits, by contrast, have tackled the largest themes in architecture and the world right now in a less constrained way than the main exhibitions. The exhibits are radical and work as a useful gauge for understanding what’s important in each country: decarbonisation, climate resilience, the reconstruction of Gaza, and an issue more prevalent in politics closer to home: gender wars. What's not to miss in the Giardini? British Pavilion (photography: Chris Lane) UK Pavilion The British Pavilion this year, which won a special mention from the Venetian jury, is housing a show by a British-Kenyan collab titled GBR – Geology of Britannic Repair. In it, the curators explore the links between colonialism, the built environment and geological extraction. Focusing on the Rift Valley, which runs from east Africa to the Middle East, including Palestine, the exhibition was curated by the Nairobi-based studio cave_bureau, UK-based curator, writer and Farrell Centre director Owen Hopkins and Queen Mary University professor Kathryn Yusoff. The pavilion’s façade is cloaked by a beaded veil of agricultural waste briquettes and clay and glass beads, produced in Kenya and India, echoing both Maasai practices and beads once made on Venice’s Murano, as currency for the exchange of metals, minerals and slaves. The pavilion’s six gallery spaces include multisensory installations such as the Earth Compass, a series of celestial maps connecting London and Nairobi; the Rift Room, tracing one of humans’ earliest migration routes; and the Shimoni Slave Cave, featuring a large-scale bronze cast of a valley cave historically used as a holding pen for enslaved people.Advertisement The show also includes Objects of Repair, a project by design-led research group Palestine Regeneration Team (PART), looking at how salvaged materials could help rebuild war-torn Gaza, the only exhibit anywhere in the Biennale that tackled the reconstruction of Gaza face-on – doing so impressively, both politically and sensitively. Read more here. Danish Pavilion (photography: Hampus Berndtson) Demark Pavilion A firm favourite by most this year, the Danish exhibition Build of Site, curated by Søren Pihlmann of Pihlmann Architects, transforms the pavilion, which requires renovation anyway, into both a renovation site and archive of materials. Clever, simple and very methodical, the building is being both renewed while at the same time showcasing innovative methods to reuse surplus materials uncovered during the construction process – as an alternative to using new resources to build a temporary exhibition. The renovation of the 1950s Peter Koch-designed section of the pavilion began in December 2024 and will be completed following the biennale, having been suspended for its duration. On display are archetypal elements including podiums, ramps, benches and tables – all constructed from the surplus materials unearthed during the renovation, such as wood, limestone, concrete, stone, sand, silt and clay. Belgian Pavilion (photography: Michiel De Cleene) Belgium Pavilion If you need a relaxing break from the intensity of the biennale, then the oldest national pavilion in the Giardini is the one for you. Belgium’s Building Biospheres: A New Alliance between Nature and Architecture brings ‘plant intelligence’ to the fore. Commissioned by the Flanders Architecture Institute and curated by landscape architect Bas Smets and neurobiologist Stefano Mancuso, the exhibit investigates how the natural ‘intelligence’ of plants can be used to produce an indoor climate – elevating the role of landscape design and calling for it to no longer serve as a backdrop for architecture. Inside, more than 200 plants occupy the central area beneath the skylight, becoming the pavilion’s centrepiece, with the rear space visualising ‘real-time’ data on the prototype’s climate control performance. Spanish Pavilion (photography: Luca Capuano) Spain Pavilion One for the pure architecture lovers out there, models (32!), installations, photographs and timber structures fill the Spanish Pavilion in abundance. Neatly curated by architects Roi Salgueiro Barrio and Manuel Bouzas Barcala, Internalities shows a series of existing and research projects that have contributed to decarbonising construction in Spain. The outcome? An extensive collection of work exploring the use of very local and very specific regenerative and low-carbon construction and materials – including stone, wood and soil. The joy of this pavilion comes from the 16 beautiful timber frames constructed from wood from communal forests in Galicia. Polish Pavilion (photography: Luca Capuano) Poland Pavilion Poland’s pavilion was like Marmite this year. Some loved its playful approach while others found it silly. Lares and Penates, taking its name from ancient Roman deities of protection, has been curated by Aleksandra Kędziorek and looks at what it means and takes to have a sense of security in architecture. Speaking to many different anxieties, it refers to the unspoken assumption of treating architecture as a safe haven against the elements, catastrophes and wars – showcasing and elevating the mundane solutions and signage derived from building, fire and health regulations. The highlight? An ornate niche decorated with tiles and stones just for … a fire extinguisher. Dutch Pavilion (photography: Cristiano Corte) Netherlands Pavilion Punchy and straight to the point, SIDELINED: A Space to Rethink Togetherness takes sports as a lens for looking at how spatial design can both reveal and disrupt the often-exclusionary dynamics of everyday environments. Within the pavilion, the exhibit looks beyond the large-scale arena of the stadium and gymnasium to investigate the more localised and intimate context of the sports bar, as well as three alternative sports – a site of both social production and identity formation – as a metaphor for uniting diverse communities. The pavilion-turned-sports bar, designed by Koos Breen and Jeannette Slütter and inspired by Asger Jorn’s three-sided sports field, is a space for fluidity and experimentation where binary oppositions, social hierarchies and cultural values are contested and reshaped – complete with jerseys and football scarfs (currently a must-have fashion item) worn by players in the alternative Anonymous Allyship aligning the walls. Read Derin Fadina’s review for the AJ here. Performance inside the Nordic Countries Pavilion (photography: Venla Helenius) Nordic Countries Pavilion Probably the most impactful national pavilion this year (and with the best tote bag by far), the Nordic Countries have presented an installation with performance work. Curated by Kaisa Karvinen, Industry Muscle: Five Scores for Architecture continues Finnish artist Teo Ala-Ruona’s work on trans embodiment and ecology by considering the trans body as a lens through which to examine modern architecture and the built environment. The three-day exhibition opening featured a two-hour performance each day with Ala-Ruona and his troupe crawling, climbing and writhing around the space, creating a bodily dialogue with the installations and pavilion building itself, which was designed by celebrated Modernist architect Sverre Fehn. The American pavilion next door, loudly (country music!) turns its back on what’s going on in its own country by just celebrating the apathetical porch, making the Nordic Countries seem even more relevant in this crucial time. Read Derin Fadina’s review for the AJ here. German Pavilion (photography: Luca Capuano) Germany Pavilion An exhibit certainly grabbing the issue of climate change by its neck is the German contribution, Stresstest. Curated by Nicola Borgmann, Elisabeth Endres, Gabriele G Kiefer and Daniele Santucci, the pavilion has turned climate change into a literal physical and psychological experience for visitors by creating contrasting ‘stress’ and ‘de-stress’ rooms. In the dark stress room, a large metal sculpture creates a cramped and hot space using heating mats hung from the ceiling and powered by PVs. Opposite is a calmer space demonstrating strategies that could be used to reduce the heat of cities, and between the two spaces is a film focusing on the impacts of cities becoming hotter. If this doesn’t highlight the urgency of the situation, I’m not sure what will. Best bits of the Arsenale outside the main exhibitions Bahrain Pavilion (photography: Andrea Avezzù) Bahrain Pavilion Overall winner of this year’s Golden Lion for best national participation, Bahrain’s pavilion in the historic Artiglierie of the Arsenale is a proposal for living and working through heat conditions. Heatwave, curated by architect Andrea Faraguna, reimagines public space design by exploring passive cooling strategies rooted in the Arab country’s climate, as well as cultural context. A geothermal well and solar chimney are connected through a thermo-hygrometric axis that links underground conditions with the air outside. The inhabitable space that hosts visitors is thus compressed and defined by its earth-covered floor and suspended ceiling, and is surrounded by memorable sandbags, highlighting its scalability for particularly hot construction sites in the Gulf where a huge amount of construction is taking place. In the Arsenale’s exhibition space, where excavation wasn’t feasible, this system has been adapted into mechanical ventilation, bringing in air from the canal side and channelling it through ductwork to create a microclimate. Slovenian Pavilion (photography: Andrea Avezzù) Slovenia Pavilion The AJ’s Rob Wilson’s top pavilion tip this year provides an enjoyable take on the theme of the main exhibition, highlighting how the tacit knowledge and on-site techniques and skills of construction workers and craftspeople are still the key constituent in architectural production despite all the heat and light about robotics, prefabrication, artificial intelligence and 3D printing. Master Builders, curated by Ana Kosi and Ognen Arsov and organised by the Museum of Architecture and Design (MAO) in Ljubljana, presents a series of ‘totems’ –accumulative sculpture-like structures that are formed of conglomerations of differently worked materials, finishes and building elements. These are stacked up into crazy tower forms, which showcase various on-site construction skills and techniques, their construction documented in accompanying films. Uzbekistan Pavilion (photography: Luca Capuano) Uzbekistan Pavilion Uzbekistan’s contribution explores the Soviet era solar furnace and Modernist legacy. Architecture studio GRACE, led by curators Ekaterina Golovatyuk and Giacomo Cantoni have curated A Matter of Radiance. The focus is the Sun Institute of Material Science – originally known as the Sun Heliocomplex – an incredible large-scale scientific structure built in 1987 on a natural, seismic-free foundation near Tashkent and one of only two that study material behaviour under extreme temperatures. The exhibition examines the solar oven’s site’s historical and contemporary significance while reflecting on its scientific legacy and influence moving beyond just national borders. Applied Arts Pavilion (photography: Andrea Avezzù) V&A Applied Arts Pavilion Diller Scofidio + Renfro (DS+R) is having a moment. The US-based practice, in collaboration with V&A chief curator Brendan Cormier, has curated On Storage, which aptly explores global storage architectures in a pavilion that strongly links to the V&A’s recent opening of Storehouse, its new (and free) collections archive in east London. Featured is a six-channel (and screen) film entitled Boxed: The Mild Boredom of Order, directed by the practice itself and following a toothbrush, as a metaphor for an everyday consumer product, on its journey through different forms of storage across the globe – from warehouse to distribution centre to baggage handlers down to the compact space of a suitcase. Also on display are large-format photographs of V&A East Storehouse, DS+R’s original architectural model and sketchbook and behind-the-scenes photography of Storehouse at work, taken by emerging east London-based photographers. Canal Café (photography: Marco Zorzanello) Canal café Golden Lion for the best participation in the actual exhibition went to Canal Café, an intervention designed by V&A East Storehouse’s architect DS+R with Natural Systems Utilities, SODAI, Aaron Betsky and Davide Oldani. Serving up canal-water espresso, the installation is a demonstration of how Venice itself can be a laboratory to understand how to live on the water in a time of water scarcity. The structure, located on the edge of the Arsenale’s building complex, draws water from its lagoon before filtering it onsite via a hybrid of natural and artificial methods, including a mini wetland with grasses. The project was recognised for its persistence, having started almost 20 years ago, just showing how water scarcity, contamination and flooding are still major concerns both globally and, more locally, in the tourist-heavy city of Venice. And what else? Holy See Pavilion (photography: Andrea Avezzù) The Holy See Much like the Danish Pavilion, the Pavilion of the Holy See is also taking on an approach of renewal this year. Over the next six months, Opera Aperta will breathe new life into the Santa Maria Ausiliatrice Complex in the Castello district of Venice. Founded as a hospice for pilgrims in 1171, the building later became the oldest hospital and was converted into school in the 18th century. In 2001, the City of Venice allocated it for cultural use and for the next four years it will be managed by the Dicastery for Culture and Education of the Holy See to oversee its restoration. Curated by architect, curator and researcher Marina Otero Verzier and artistic director of Fondaco Italia, Giovanna Zabotti, the complex has been turned into a constant ‘living laboratory’ of collective repair – and received a special mention in the biennale awards. The restoration works, open from Tuesday to Friday, are being carried out by local artisans and specialised restorers with expertise in recovering stone, marble, terracotta, mural and canvas painting, stucco, wood and metal artworks. The beauty, however, lies in the photogenic fabrics, lit by a warm yellow glow, hanging from the walls within, gently wrapping the building’s surfaces, leaving openings that allow movement and offer glimpses of the ongoing restoration. Mobile scaffolding, used to support the works, also doubles up as furniture, providing space for equipment and subdividing the interior. Togo Pavilion (photography: Andrea Avezzù) Togo Pavilion The Republic of Togo has presented its first pavilion ever at the biennale this year with the project Considering Togo’s Architectural Heritage, which sits intriguingly at the back of a second-hand furniture shop. The inaugural pavilion is curated by Lomé and Berlin-based Studio NEiDA and is in Venice’s Squero Castello. Exploring Togo’s architectural narratives from the early 20th century, and key ongoing restoration efforts, it documents key examples of the west African country’s heritage, highlighting both traditional and more modern building techniques – from Nôk cave dwellings to Afro-Brazilian architecture developed by freed slaves to post-independence Modernist buildings. Some buildings showcased are in disrepair, despite most of the modern structures remaining in use today, including Hotel de la Paix and the Bourse du Travail, suggestive of a future of repair and celebration. Estonian Pavilion (photography: Joosep Kivimäe) Estonia Pavilion Another firm favourite this year is the Estonian exhibition on Riva dei Sette Martiri on the waterfront between Corso Garibaldi and the Giardini.  The Guardian’s Olly Wainwright said that outside the Giardini, it packed ‘the most powerful punch of all.’ Simple and effective, Let Me Warm You, curated by trio of architects Keiti Lige, Elina Liiva and Helena Männa, asks whether current insulation-driven renovations are merely a ‘checkbox’ to meet European energy targets or ‘a real chance’ to enhance the spatial and social quality of mass housing. The façade of the historic Venetian palazzetto in which it is housed is clad with fibre-cement insulation panels in the same process used in Estonia itself for its mass housing – a powerful visual statement showcasing a problematic disregard for the character and potential of typical habitable spaces. Inside, the ground floor is wrapped in plastic and exhibits how the dynamics between different stakeholders influence spatial solutions, including named stickers to encourage discussion among your peers. Venice Procuratie (photography: Mike Merkenschlager) SMAC (San Marco Art Centre) Timed to open to the public at the same time as the biennale, SMAC is a new permanent arts institution in Piazza San Marco, on the second floor of the Procuratie, which is owned by Generali. The exhibition space, open to the public for the first time in 500 years, comprises 16 galleries arranged along a continuous corridor stretching over 80m, recently restored by David Chipperfield Architects. Visitors can expect access through a private courtyard leading on to a monumental staircase and experience a typically sensitive Chipperfield restoration, which has revived the building’s original details: walls covered in a light grey Venetian marmorino made from crushed marble and floors of white terrazzo. During the summer, its inaugural programme features two solo exhibitions dedicated to Australian modern architect Harry Seidler and Korean landscape designer Jung Youngsun. Holcim's installation (photography: Celestia Studio) Holcim x Elemental Concrete manufacturer Holcim makes an appearance for a third time at Venice, this time partnering with Chilean Pritzker Prize-winning Alejandro Aravena’s practice Elemental – curator of the 2016 biennale – to launch a resilient housing prototype that follows on from the Norman Foster-designed Essential Homes Project. The ‘carbon-neutral’ structure incorporates Holcim’s range of low-carbon concrete ECOPact and is on display as part of the Time Space Existence exhibition organised by the European Cultural Centre in their gardens. It also applies Holcim’s ‘biochar’ technology for the first time, a concrete mix with 100 per cent recycled aggregates, in a full-scale Basic Services Unit. This follows an incremental design approach, which could entail fast and efficient construction via the provision of only essential housing components, and via self-build. The Next Earth at Palazzo Diedo (photography: Joan Porcel) The Next Earth At Palazzo Diedo’s incredible dedicated Berggruen Arts and Culture space, MIT’s department of architecture and think tank Antikythera (apparently taking its name from the first-known computer) have come together to create the exhibition The Next Earth: Computation, Crisis, Cosmology, which questions how philosophy and architecture must and can respond to various planet-wide crises. Antikythera’s The Noocene: Computation and Cosmology from Antikythera to AI looks at the evolution of ‘planetary computation’ as an ‘accidental’ megastructure through which systems, from the molecular to atmospheric scales, become both comprehensible and composable. What is actually on display is an architectural scale video monolith and short films on AI, astronomy and artificial life, as well as selected artefacts. MIT’s Climate Work: Un/Worlding the Planet features 37 works-in-progress, each looking at material supply chains, energy expenditure, modes of practice and deep-time perspectives. Take from it what you will. The 19th International Venice Architecture Biennale remains open until Sunday, 23 November 2025.

This is today’s edition of The Download, our weekday newsletter that provides a daily dose of what’s going on in the world of technology. Manus has kick-started an AI agent boom in China Last year, China saw a boom in foundation models, the do-everything large language models that underpin the AI revolution. This year, the focus has shifted to AI agents—systems that are less about responding to users’ queries and more about autonomously accomplishing things for them.There are now a host of Chinese startups building these general-purpose digital tools, which can answer emails, browse the internet to plan vacations, and even design an interactive website. Many of these have emerged in just the last two months, following in the footsteps of Manus—a general AI agent that sparked weeks of social media frenzy for invite codes after its limited-release launch in early March.As the race to define what a useful AI agent looks like unfolds, a mix of ambitious startups and entrenched tech giants are now testing how these tools might actually work in practice—and for whom. Read the full story. —Caiwei Chen Inside the race to find GPS alternatives Later this month, an inconspicuous 150-kilogram satellite is set to launch into space aboard the SpaceX Transporter 14 mission. Once in orbit, it will test super-accurate next-generation satnav technology designed to make up for the shortcomings of the US Global Positioning System (GPS). Despite the system’s indispensable nature, the GPS signal is easily suppressed or disrupted by everything from space weather to 5G cell towers to phone-size jammers worth a few tens of dollars. The problem has been whispered about among experts for years, but it has really come to the fore in the last three years, since Russia invaded Ukraine.Now, startup Xona Space Systems wants to create a space-based system that would do what GPS does but better. Read the full story. —Tereza Pultarova Why doctors should look for ways to prescribe hope —Jessica Hamzelou This week, I’ve been thinking about the powerful connection between mind and body. Some new research suggests that people with heart conditions have better outcomes when they are more hopeful and optimistic. Hopelessness, on the other hand, is associated with a significantly higher risk of death. The findings build upon decades of fascinating research into the phenomenon of the placebo effect. Our beliefs and expectations about a medicine (or a sham treatment) can change the way it works. The placebo effect’s “evil twin,” the nocebo effect, is just as powerful—negative thinking has been linked to real symptoms. Researchers are still trying to understand the connection between body and mind, and how our thoughts can influence our physiology. In the meantime, many are developing ways to harness it in hospital settings. Is it possible for a doctor to prescribe hope? Read the full story. This article first appeared in The Checkup, MIT Technology Review’s weekly biotech newsletter. To receive it in your inbox every Thursday, and read articles like this first, sign up here. The must-reads I’ve combed the internet to find you today’s most fun/important/scary/fascinating stories about technology. 1 Elon Musk threatened to cut off NASA’s use of SpaceX’s Dragon spacecraftHis war of words with Donald Trump is dramatically escalating. (WP $)+ If Musk actually carried through with his threat, NASA would seriously struggle. (NYT $)+ Silicon Valley is starting to pick sides. (Wired $)+ It appears as though Musk has more to lose from their bruising breakup. (NY Mag $) 2 Apple and Alibaba’s AI rollout in China has been delayedIt’s the latest victim of Trump’s trade war. (FT $)+ The deal is supposed to support iPhones’ AI offerings in the country. (Reuters) 3 X’s new policy blocks the use of its posts to ‘fine-tune or train’ AI modelsUnless companies strike a deal with them, that is. (TechCrunch)+ The platform could end up striking agreements like Reddit and Google. (The Verge) 4 RJK Jr’s new hire is hunting for proof that vaccines cause autismVaccine skeptic David Geier is seeking access to a database he was previously barred from. (WSJ $)+ How measuring vaccine hesitancy could help health professionals tackle it. (MIT Technology Review) 5 Anthropic has launched a new service for the militaryClaude Gov is designed specifically for US defense and intelligence agencies. (The Verge)+ Generative AI is learning to spy for the US military. (MIT Technology Review) 6 There’s no guarantee your billion-dollar startup won’t failIn fact, one in five of them will. (Bloomberg $)+ Beware the rise of the AI coding startup. (Reuters) 7 Walmart’s drone deliveries are taking offIt’s expanding to 100 new US stories in the next year. (Wired $) 8 AI might be able to tell us how old the Dead Sea Scrolls really are Models suggest they’re even older than we previously thought. (The Economist $)+ How AI is helping historians better understand our past. (MIT Technology Review) 9 All-in-one super apps are a hit in the Gulf They’re following in China’s footsteps. (Rest of World) 10 Nintendo’s Switch 2 has revived the midnight launch eventFans queued for hours outside stores to get their hands on the new console. (Insider $)+ How the company managed to dodge Trump’s tariffs. (The Guardian) Quote of the day “Elon finally found a way to make Twitter fun again.” —Dan Pfeiffer, a host of the political podcast Pod Save America, jokes about Elon Musk and Donald Trump’s ongoing feud in a post on X. One more thing This rare earth metal shows us the future of our planet’s resources We’re in the middle of a potentially transformative moment. Metals discovered barely a century ago now underpin the technologies we’re relying on for cleaner energy, and not having enough of them could slow progress.  Take neodymium, one of the rare earth metals. It’s used in cryogenic coolers to reach ultra-low temperatures needed for devices like superconductors and in high-powered magnets that power everything from smartphones to wind turbines. And very soon, demand for it could outstrip supply. What happens then? And what does it reveal about issues across wider supply chains? Read our story to find out. —Casey Crownhart We can still have nice things A place for comfort, fun and distraction to brighten up your day. (Got any ideas? Drop me a line or skeet ’em at me.) + Sightings of Bigfoot just happen to correlate with black bear populations? I smell a conspiracy!+ Watch as these symbols magically transform into a pretty impressive Black Sabbath mural.+ Underwater rugby is taking off in the UK.+ Fed up of beige Gen Z trends, TikTok is bringing the 80s back.

Join the event trusted by enterprise leaders for nearly two decades. VB Transform brings together the people building real enterprise AI strategy. Learn more Google has released an updated preview of​​ Gemini 2.5 Pro, its “most intelligent” model, first announced in March and upgraded in May, as a preview, intending to release the same model to general availability in a couple of weeks.  Enterprises can test building new applications or replace earlier versions with an updated version of the “I/O edition” of Gemini 2.5 Pro that, according to a blog post by Google, is more creative in its responses and outperforms other models in coding and reasoning.  During its annual I/O developer conference in May, Google announced that it updated Gemini 2.5 Pro to be better than its earlier iteration, which it quietly released. Google DeepMind CEO Demis Hassabis said the I/O edition is the company’s best coding model yet.  But this new preview, called Gemini 2.5 Pro Preview 06-05 Thinking, is even better than the I/O edition. The stable version Google plans to release publicly is “ready for enterprise-scale capabilities.” The I/O edition, or gemini-2.5-pro-preview-05-06, was first made available to developers and enterprises in May through Google AI Studio and Vertex AI. Gemini 2.5 Pro Preview 06-05 Thinking can be accessed via the same platforms.  Performance metrics This new version of Gemini 2.5 Pro performs even better than the first release.  Google said the new version of Gemini 2.5 Pro improved by 24 points in LMArena and by 35 points in WebDevArena, where it currently tops the leaderboard. The company’s benchmark tests showed that the model outscored competitors like OpenAI’s o3, o3-mini, and o4-mini, Anthropic’s Claude 4 Opus, Grok 3 Beta from xAI and DeepSeek R1.  “We’ve also addressed feedback from our previous 2.5 Pro releases, improving its style and structure — it can be more creative with better-formatted responses,” Google said in the blog post.  What enterprises can expect Google’s continuous improvement of Gemini 2.5 Pro might be confusing for many, but Google previously framed these as a response to community feedback. Pricing for the new version is $1.25 per million tokens without caching for inputs and $10 for the output price.  When the very first version of Gemini 2.5 Pro launched in March, VentureBeat’s Matt Marshall called it “the smartest model you’re not using.” Since then, Google has integrated the model into many of its new applications and services, including “Deep Think,” where Gemini considers multiple hypotheses before responding.  The release of Gemini 2.5 Pro, and its two upgraded versions, revived Google’s place in the large language model space after competitors like DeepSeek and OpenAI diverted the industry’s attention to their reasoning models.  In just a few hours of announcing the updated Gemini 2.5 Pro, developers have already begun playing around with it. While many found the update to live up to Google’s promise of being faster, the jury is still out if this latest Gemini 2.5 Pro does actually perform better.  Daily insights on business use cases with VB Daily If you want to impress your boss, VB Daily has you covered. We give you the inside scoop on what companies are doing with generative AI, from regulatory shifts to practical deployments, so you can share insights for maximum ROI. Read our Privacy Policy Thanks for subscribing. Check out more VB newsletters here. An error occured.

Nacelle Unveils Wave 2 of Biker Mice From Mars Action Figures  Nacelle is expanding its NacelleVerse with a new wave of Biker Mice from Mars 1/12 scale figures, now featuring iconic villains and fresh heroes. The lineup includes Charley, Carbine, Lawrence Limburger, Doctor Karbunkle (with Fred the Mutant) and Greasepit. Each action figure will be packed with eccentric accessories and interchangeable parts. Following strong fan demand, production was fast-tracked to bring more characters and long-awaited villains to shelves. The beloved animated series is also being revived by Nacelle alongside Maximum Effort’s Ryan Reynolds.  Check out the full lineup here  Kevin Bacon and Kyra Sedgwick Reunite Onscreen for The Best You Can  Kevin Bacon puts his dancing shoes back on for Michael J. Weithorn’s new film The Best You Can, which premieres at the Tribeca Film Festival on June 7. This new Bacon feature, however, is far from a musical, and it will be the first time in over 20 years that Bacon and his wife Kyra Sedgwick reunite on the screen.  The new film will follow Stan (Bacon), who is home security guard, and Cynthia (Sedgwick), a doctor who forms an unlikely bond with Stan after her home gets invaded. Their friendship is formed entirely over text following their initial encounter.  Of course, working with actors who are married in real-life can throw off the illusion of an unexpected connection that Weithorn is trying to achieve. His solution? Weithorn tells Entertainment Weekly that he asked Bacon and Sedgwick to avoid rehearsing together; he also decided to put Sedgwick in a wig (brilliant) to hopefully make her appearance foreign to Bacon, and set the scene for the two meeting for the first time– and not that they’ve been married for like 36 years.  “For Weithorn, the experience opened him up to the idea of writing a film where texting is one of the primary modes of communication between his protagonists, reflecting its prevalence in day-to-day life. ‘With new people we find that, especially someone who’s a potential friend or someone you might be dating, sometimes it’ll be very awkward and you’re trying to struggle to figure out what they meant or why they didn’t text back,’ he notes. ‘All of the politics and the nuances of texting, it’s more often than not a little clunky.’” Read more at Entertainment Weekly  Nouvelle Vague Could Be France’s First Best International Film Winner at the Oscars in Over 30 Years   It’s been over 30 years since France has received a statuette for best international film, and in 2026, it might just be an American filmmaker to make that change.  Richard Linklater’s Nouvelle Vague recently premiered at Cannes, and has since been acquired by Netflix. Despite speculation, the film is eligible to be selected by France’s Oscar committee since it was shot mostly in French. Furthermore, Linklater employed a local artistic and production team, which heavily factors into the selection committee’s decision, given the Academy of Motion Picture Arts and Sciences requires the creative control of the film be mostly in the hands of the country’s citizens. The only opposing force would be the film’s current release date, which falls after AMPAS Sept. 30 deadline.  If you’re thinking: I think I’ve seen this film before– you’re not alone. France was just inches away from scoring best international film at the 2025 Oscars with Emilia Pérez, which Netflix also acquired; it only cost them $12 million, and was one of the most controversial films of the year. One almost certain deterrent from it winning best international film was a brewing controversy over lead actress’ Karla Sofia Gascon’s offensive tweets just in time for award season.  Still, following its Cannes premiere, though it did not win any prizes at the festival, critics have been abuzz with glowing reviews for Nouvelle Vague. The premiere even visibly moved Quentin Tarantino, who then led a burst of enthusiastic applause and a long standing-ovation from the audience.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! “It would certainly be ironic — and hard to swallow for some — to finally see an American filmmaker score France’s first international feature film Oscar after more than 30 years (the last one dates back to 1993 with Regis Wargnier with ‘Indochine’).’” Read more at Variety  Warner Bros. Delays Animal Friends Release  Reviving a beloved ’90s classic about animated space mice is not the only thing Ryan Reynolds has been up to– he’s also set to star in an upcoming live-action hybrid movie directed by Peter Atencio, Animal Friends.  The film was set to premiere in theaters on Oct. 10, but that date has since been moved to May 1, 2026. Alongside Reynolds will be Aubrey Plaza, Jason Momoa, Dan Levy and TikTok star/rising pop-princess, Addison Rae.  “The road trip adventure feature is now set to hit theaters May 1, 2026, after previously having been scheduled for Oct. 10, 2025. Peter Atencio directs the film from a script by Kevin Burrows and Matt Mider.”  Read more at The Hollywood Reporter

The mysterious AI gadget being created by OpenAI and former Apple design chief Jony Ive has been given the thumbs up from Laurene Powell Jobs. In a new interview published by The Financial Times, the two reminisce about Jony Ive’s time working at Apple alongside Powell Jobs’ late husband, Steve, and trying to make up for the “unintentional” harms associated with those efforts.“Many of us would say we have an uneasy relationship with technology at the moment,” Ive said, adding that working on the incoming AI device alongside OpenAI CEO Sam Altman is motivated by a sense that “humanity deserves better.” In May, Ive said his latest work is driven by owning the “unintended consequences” associated with the iPhone, alluding to smartphone-related concerns like users being addicted to screens and social media.Ive again acknowledged this, and says the collaboration with Altman has revived his optimism for technology. “If you make something new, if you innovate, there will be consequences unforeseen, and some will be wonderful and some will be harmful. While some of the less positive consequences were unintentional, I still feel responsibility. And the manifestation of that is a determination to try and be useful.”Powell Jobs, who has remained close friends with Ive since Steve Jobs passed in 2011, echoes his concerns, saying that “there are dark uses for certain types of technology,” even if it “wasn’t designed to have that result.” Powell Jobs has invested in both Ive’s LoveFrom design and io hardware startups following his departure from Apple. Ive notes that “there wouldn’t be LoveFrom” if not for her involvement. Ive’s io company is being purchased by OpenAI for almost $6.5 billion, and with her investment, Powell Jobs stands to gain if the secretive gadget proves anywhere near as successful as the iPhone. The pair gives away no extra details about the device that Ive is building with OpenAI, but Powell Jobs is expecting big things. She says she has watched “in real time how ideas go from a thought to some words, to some drawings, to some stories, and then to prototypes, and then a different type of prototype,” Powell Jobs said. “And then something that you think: I can’t imagine that getting any better. Then seeing the next version, which is even better. Just watching something brand new be manifested, it’s a wondrous thing to behold.”See More: