It doesn't matter where you go, or who you talk to, in the creative industries right now. There's one tool that we're about hearing, over and over, again: Adobe Express. It seems like everyone from content creators to marketing professionals, photographers to animators, are discovering that they can use it to create professional content, quickly and easily, and without a big learning curve. To discover more, we spoke with two Adobe Express Ambassadors: Angel White, a small business advocate focused on entrepreneur wellbeing, and Aseil Amgheib, founder and lead graphic designer at Design Wolf LDN. Their stories reveal some of the biggest benefits of using Adobe Express, and they offer their personal tips on getting the most out of the software. "It's such a game-changer!" Aseil's journey to founding Design Wolf LDN took several creative turns, from earning a first-class honours degree in Interior Architecture to working on Netflix sets and fashion shoots before finding her true calling in brand design. Throughout this evolution, Adobe tools such as Photoshop and After Effects have been a constant companion. When she launched a design agency, though, Aseil discovered how Adobe Express could transform her workflow, particularly for clients requiring regular content. "I had retainer clients who needed work every month," she explains. "I used to spend hours coming up with ideas and designing brand templates for them. Then I discovered Adobe Express, and it made my life so much easier. As it evolved, so did my workflow. I could schedule posts, link client accounts, and create brand kits that made designing for clients way faster. Now I use it alongside Acrobat, and honestly, the two together are a chef's kiss!" For Aseil, the platform offers the perfect balance between pro-grade design capabilities and practical efficiency. "I'm on Illustrator every day, but sometimes I just want to design something quickly without overthinking it," she shares. "I've already set up a Design Wolf brand kit with our colours and fonts, so I don't get distracted. I just design on the go." This efficiency extends to cross-platform content creation, an increasingly important aspect of digital marketing. "The best part is that I can instantly resize content for other platforms. We've been growing our Pinterest, so that feature has been a lifesaver!" "It's like having a design team in your phone" While Aseil is a professional designer, Angel White's experience demonstrates how the platform empowers those without formal design training. Based in Hull, Angel runs multiple businesses including Pink Angel Studios and The Small Biz Angel, working from a renovated pink caravan. Her mission focuses specifically on supporting fellow entrepreneurs with both practical skills and wellbeing advice. "I started The Small Biz Angel to help like-minded entrepreneurs, as I felt there wasn't much support around the mental health and wellbeing of small business owners," she explains. "It's always 'do this, do that, you need to have this' blah blah blah. But there was never any focus on taking care of yourself whilst you're running a business... well, until I came along." For Angel, Adobe Express is more than just a design tool: it's a solution to the overwhelming pressure many small business owners face. "Many entrepreneurs struggle with design, feeling like they need advanced skills or expensive tools to make their content stand out," she points out. "Adobe Express has been a game changer in helping me empower small business owners to create professional, on-brand content without feeling overwhelmed." This accessibility aligns perfectly with Angel's core mission. "For me, it's not just about creating content—it's about giving small business owners the confidence to show up consistently and make an impact," she explains. "With Adobe Express, I can teach entrepreneurs how to build a recognisable brand, streamline their content creation, and focus on what they do best to grow their businesses. It's like having a design team in your phone, and that's exactly the kind of support solopreneurs need." Angel adds that Adobe Express helps address a critical but often overlooked aspect of entrepreneurship: mental wellbeing. "Content creation can be one of the most overwhelming tasks, especially for those managing everything solo," she points out. "The pressure to be consistent, creative, and engaging on social media can quickly lead to burnout. That's why tools like Adobe Express are so valuable—they simplify the process and take the stress out of designing content." Aseil agrees and notes how such tools help him maintain creative energy. "When you're starting a digital business, you're already wearing a million hats, so finding tools that save time, streamline processes and keep you organised is so important. The less time you spend on manual, repetitive tasks, the more you can focus on creativity." "No more manually swapping brand elements" With both Aseil and Angel so enthusiastic about the platform, it made sense for them to join Adobe Express Ambassador Programme. Launched in February 2025, this programme brings together passionate creatives who are harnessing the power of Adobe Express to transform their businesses. Collectively, these Ambassadors are dedicated to showcasing to their fellow creatives how Adobe Express is breaking down traditional barriers to professional-grade design and making sophisticated content creation accessible to everyone. So, let's get specific for a moment: what are the standout features when it comes to Aseil and Angel's day-to-day use of Adobe Express? "Haha, honestly, that's like asking me to pick a favourite child. I love all of them!" Aseil laughs. "But if I had to shout out a few, I'd say the Brand Kits, quick resizing, and the scheduler. They make everything so seamless, especially when juggling multiple clients and platforms." For Angel too, the Brand Kits feature has been especially transformative. "Since I run multiple brands, each with its own unique style, being able to switch between different logos, colour palettes, and fonts effortlessly makes content creation so much faster and more seamless," she explains. "No more manually swapping brand elements or second-guessing if my colours are correct: it's all set up and ready to go." She's also a big fan of the Content Scheduler. "It means I can plan, design, and schedule posts for my different businesses all in one place, without jumping between multiple apps or platforms," she shares. "It helps me stay consistent, keeps my content organised, and saves me hours of manual posting. Instead of scrambling to create last-minute posts, I can batch my content and let the scheduler handle the rest." Both creators emphasise how these practical features translate into tangible business outcomes. "They make Adobe Express more than just a design tool—it's an efficiency powerhouse that allows me to stay on top of content creation without feeling overwhelmed," explains Angel. Tips for creative entrepreneurs New to content creation? Then here are some top tips from Angel on using Adobe Express. Start with a Brand Kit: "Set up your logo, brand colors, and fonts in Adobe Express so every piece of content stays visually cohesive," says Angel. "This builds recognition and makes your brand feel polished and professional." Use templates to save time: "Don't get stuck trying to design everything from scratch," she adds. "Adobe Express has templates that can be customised in minutes, helping you create content quickly while still making it unique to your brand." Keep it consistent, not perfect: "Your content doesn't have to be flawless!" Angel stresses. "It just needs to feel authentic and aligned with your brand. Simple, well-branded posts will make a bigger impact than overly complicated designs." Experiment and have fun: "Content creation should feel exciting, not overwhelming," Angel reminds us. "Play around with different styles, try new templates, and see what resonates with your audience. I always say trial and error is so important and needed." Conclusion Both Angel and Aseil see enormous potential for how accessible design tools will shape the creative industry's future. "By leveraging digital design tools like Adobe Express," says Angel, "solopreneurs can focus on growing their business instead of getting lost in design stress." Aseil adds, "It also empowers businesses to create high-quality, professional visuals without needing a huge team, which is great for smaller studios and freelancers." As Angel aptly puts it: "At the end of the day, content creation should feel empowering, not draining. Adobe Express helps solopreneurs show up consistently, create with confidence, and reduce the stress that often comes with managing a brand alone."

Maths can be a scary topic for people. Many of you want to work in machine learning, but the maths skills needed may seem overwhelming. I am here to tell you that it’s nowhere as intimidating as you may think and to give you a roadmap, resources, and advice on how to learn math effectively. Let’s get into it! Do you need maths for machine learning? I often get asked: Do you need to know maths to work in machine learning? The short answer is generally yes, but the depth and extent of maths you need to know depends on the type of role you are going for. A research-based role like: Research Engineer — Engineer who runs experiments based on research ideas. Research Scientist — A full-time researcher on cutting edge models. Applied Research Scientist — Somewhere between research and industry. You will particularly need strong maths skills. It also depends on what company you work for. If you are a machine learning engineer or data scientist or any tech role at: Deepmind Microsoft AI Meta Research Google Research You will also need strong maths skills because you are working in a research lab, akin to a university or college research lab. In fact, most machine learning and AI research is done at large corporations rather than universities due to the financial costs of running models on massive data, which can be millions of pounds. For these roles and positions I have mentioned, your maths skills will need to be a minimum of a bachelor’s degree in a subject such as math, physics, computer science, statistics, or engineering. However, ideally, you will have a master’s or PhD in one of those subjects, as these degrees teach the research skills needed for these research-based roles or companies. This may sound heartening to some of you, but this is just the truth from the statistics. According to a notebook from the 2021 Kaggle Machine Learning & Data Science Survey, the research scientist role is highly popular among PhD and doctorates. Source. And in general, the higher your education the more money you will earn, which will correlate with maths knowledge. Source. However, if you want to work in the industry on production projects, the math skills needed are considerably less. Many people I know working as machine learning engineers and data scientists don’t have a “target” background. This is because industry is not so “research” intensive. It’s often about determining the optimal business strategy or decision and then implementing that into a machine-learning model. Sometimes, a simple decision engine is only required, and machine learning would be overkill. High school maths knowledge is usually sufficient for these roles. Still, you may need to brush up on key areas, particularly for interviews or specific specialisms like reinforcement learning or time series, which are quite maths-intensive. To be honest, the majority of roles are in industry, so the maths skills needed for most people will not be at the PhD or master’s level.  But I would be lying if I said these qualifications do not give you an advantage. What maths do you need to know? There are three core areas you need to know: Statistics Calculus Linear Algebra Statistics I may be slightly biased, but statistics is the most important area you should know and put the most effort into understanding. Most machine learning originated from statistical learning theory, so learning statistics will mean you will inherently learn machine learning or its basics. These are the areas you should study: Descriptive Statistics — This is useful for general analysis and diagnosing your models. This is all about summarising and portraying your data in the best way. Averages: Mean, Median, Mode Spread: Standard Deviation, Variance, Covariance Plots: Bar, Line, Pie, Histograms, Error Bars Probability Distributions — This is the heart of statistics as it defines the shape of the probability of events. There are many, and I mean many, distributions, but you certainly don’t need to learn all of them. Normal Binomial Gamma Log-normal Poisson Geometric Probability Theory — As I said earlier, machine learning is based on statistical learning, which comes from understanding how probability works. The most important concepts are Maximum likelihood estimation Central limit theorem Bayesian statistics Hypothesis Testing —Most real-world use cases of data and machine learning revolve around testing. You will test your models in production or carry out an A/B test for your customers; therefore, understanding how to run hypothesis tests is very important. Significance Level Z-Test T-Test Chi-Square Test Sampling Modelling & Inference —Models like linear regression, logistic regression, polynomial regression, and any regression algorithm originally came from statistics, not machine learning. Linear Regression Logistic Regression Polynomial Regression Model Residuals Model Uncertainty Generalised Linear Models Calculus Most machine learning algorithms learn from gradient descent in one way or another. And, gradient descent has its roots in calculus. There are two main areas in calculus you should cover: Differentiation What is a derivative? Derivatives of common functions. Turning point, maxima, minima and saddle points. Partial derivatives and multivariable calculus. Chain and product rules. Convex vs non-convex differentiable functions. Integration What is integration? Integration by parts and substitution. The integral of common functions. Integration of areas and volumes. Linear Algebra Linear algebra is used everywhere in machine learning, and a lot in deep learning. Most models represent data and features as matrices and vectors. Vectors  What are vectors Magnitude, direction Dot product Vector product Vector operations (addition, subtraction, etc) Matrices  What is a matrix Trace Inverse Transpose Determinants Dot product Matrix decomposition Eigenvalues & Eigenvectors  Finding eigenvectors Eigenvalue decomposition Spectrum analysis Best Resources There are loads of resources, and it really comes down to your learning style. If you are after textbooks, then you can’t go wrong with the following and is pretty much all you need: Practical Statistics For Data Scientist — I recommend this book all the time and for good reason. This is the only textbook you realistically need to learn the statistics for Data Science and machine learning. Mathematics for Machine Learning — As the name implies, this textbook will teach the maths for machine learning. A lot of the information in this book may be overkill, but your maths skills will be excellent if you study everything. If you want some online courses, I have heard good things about the following ones. Mathematics for Machine Learning and Data Science Specialisation — This course is by DeepLearning.AI, the same people who made the Machine Learning Specialisation, arguably the best machine learning course. Learning Advice The amount of maths content you need to learn may seem overwhelming, but don’t worry. The main thing is to break it down step by step. Pick one of the three: statistics, Linear Algebra or calculus. Look at the things I wrote above you need to know and choose one resource. It doesn’t have to be any of the ones I recommended above. That’s the initial work done. Don’t overcomplicate by looking for the “best resource” because such a thing doesn’t exist. Now, start working through the resources, but don’t just blindly read or watch the videos. Actively take notes and document your understanding. I personally write blog posts, which essentially employ the Feynman technique, as I am, in a way, “teaching” others what I know. Writing blogs may be too much for some people, so just make sure you have good notes, either physically or digitally, that are in your own words and that you can reference later. The learning process is generally quite simple, and there have been studies done on how to do it effectively. The general gist is: Do a little bit every day Review old concepts frequently (spaced repetition) Document your learning It’s all about the process; follow it, and you will learn! Another Thing! Join my free newsletter, Dishing the Data, where I share weekly tips, insights, and advice from my experience as a practicing Machine Learning engineer. Plus, as a subscriber, you’ll get my FREE Data Science / Machine Learning Resume Template! Dishing The Data | Egor Howell | SubstackAdvice and learnings on data science, tech and entrepreneurship. Click to read Dishing The Data, by Egor Howell, a…newsletter.egorhowell.com Connect with me YouTube, LinkedIn, Instagram Book a 1:1 mentoring call The post How to Learn the Math Needed for Machine Learning appeared first on Towards Data Science.

Game Dev Digest Issue #282 - Unity 6.2 Beta, Level/Character Design, and more posted in GameDevDigest Newsletter Published May 16, 2025 Advertisement This article was originally published on GameDevDigest.comEnjoy!Unity 6.2 Beta is now available - Test the latest features, including Unity AI, Mesh LOD, and World Space UI for UI Toolkit. Dive in today and help shape the future of Unity!discussions.unity.comSpace is not a wall: toward a less architectural level design - People want to do level design. They grow up playing games like Minecraft, Roblox, Fortnite — all 3D games with 3D worlds. And to create 3D worlds, supposedly you need this thing called “level design.” Then when you search YouTube, you'll be told that level design is about implanting secret lines that "guide the player" into walking down hallways. Such is the power of ARCHITECTURE!blog.radiator.debacle.usSound and Music in Warhammer 40,000: Rogue Trader | An Audio Director's Perspective - In this article, I will discuss the approach to sound design and music that we took in our latest game: Warhammer 40,000: Rogue Trader.audiokinetic.comCastle Kellmore rendering - Since Castle Kellmore released on Playdate, I have had a lot of interest in the technical aspects of its rendering system. So I thought I would give a brief insight into how I made it look as good as possible, while (mostly) keeping to 50 frames per second.ligeiagames.comUnity-Advanced-Engineering-Guide - Unity Software Engineering Guide (Design Patterns, Software Architecture, Algorithms and Data Structure)MfaXyz VideosDesigning and Creating Video Game Zombie AI ft. PikPok - James and Sarah from PikPok (creators of Into the Dead: Our Darkest Days) are here to share their process for designing zombie behavior and bringing them to life in Unity!UnityThe GOOD, The BAD, and The BIZARRE of Unity 6.1's XR Updates - Unity 6.1 brings major XR updates, but not all features are created equal! This breakdown reveals which VR/AR features are genuinely useful. Learn about Variable Rate Shading, the new Mixed Multiplayer Tabletop Template, and why Deferred+ rendering is great tech you'll rarely use unless you're making a PC VR experience. I also dive into Unity's strange decision to support Android XR devices that don't actually exist yet!Fist Full of ShrimpHow to Generate Random Tilemap Decorations in Unity - In this continuation of the "How to Make a 2D Platformer Game in Unity" series we'll be generating random tilemap decorations using a rule tile.Wild Cockatiel GamesDiscover the HIDDEN POWER of Unity Property Bags and Visitors - The Property bag is the cornerstone of Unity.Properties—a powerful system that lets you generically access, inspect, and modify object data at runtime without reflection. In this video, we’ll show you how property bags, visitors, and adapters work together to build flexible, high-performance systems for tooling, UI binding, data validation, and more. You’ll learn how to write your own visitors, construct property paths, and use these patterns to create runtime features that adapt to any data structure.git-amendUnderstanding shaders is easy, actually - Shader code can be scary but... 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Between Housing Demand and Environmental Goals: Alejandro Aravena on Incremental Solutions and Net-Zero ConcreteSave this picture!USB Basic Services Unit Prototype installed in Venice. Image © celestiastudioDuring the Time Space Existence exhibition, organized by the European Cultural Centre in Venice, Pritzker Prize-winning architect Alejandro Aravena and his firm ELEMENTAL unveiled a full-scale prototype for a new approach in incremental housing solutions. Titled the USB Core, standing for Basic Services Unit housing prototype, this proposal aims to demonstrate how efficient construction can provide all the essential housing components in a minimal space. The prototype is also the result of a collaboration between the architecture office and concrete manufacturer and researcher Holcim, and is built out of a newly developed type of net-zero concrete mix. It also incorporates fully recycled aggregates, in alignment with circular economy principles. The collaboration aims to demonstrate a more environmentally conscious yet cost-effective way of providing essential services to at-risk communities without harming the planet.While on site in Venice, ArchDaily's managing editor Maria-Cristina Florian had the chance to sit down with Alejandro Aravena and discuss the implications of this collaboration, the urgent need for housing, and the role of the architect as the coordinator of a process involving many actors. Save this picture!A key innovation of the project is the new formulation of concrete that significantly reduces carbon emissions by integrating in its composition "biochar," a charcoal-like material that permanently sequesters the CO2 that would otherwise be released at the end of the life of organic matter. One kilogram of biochar is calculated to prevent the release of 3 kilograms of CO2, making it a carbon sink, meaning it has a negative carbon footprint. Integrating it within a low-carbon formulation of concrete reduces the overall footprint without compromising performance. With an average transportation distance of 300 km for cement and 100 km for aggregates, the resulting biochar concrete mix has a net-zero carbon footprint, according to Holcim's Life Cycle Assessment. Additionally, this innovation complements other sustainable strategies like recycling of aggregates from demolition waste, a process that prevents the use of virgin natural resources and ensures a circular building process. The prototype in Venice used the Biochar mix in addition to 100% recycled aggregates. Related Article Alejandro Aravena’s Elemental and Holcim Collaborate on Carbon-Neutral Housing at the 2025 Venice Biennale Save this picture!ArchDaily [Maria-Cristina Florian]: One of the main questions that drove this project is an almost Shakespearean one: "To build or not to build?" It represents two contradicting forces of the building industry: on the one hand, the need for housing, on the other, the need to protect the environment. How can those two forces be made to point in a similar direction?Alejandro Aravena: Now is a time when we are witnessing this Catch-22 situation: the pressure is to accommodate people in a decent living environment. In the conditions of the migration towards cities, migration between countries, if you don't offer a proper solution, then the living conditions worsen. It's not that people will stop coming; they're coming to cities and migrating anyhow, but they are living in awful conditions. This is not just a humanitarian disaster, it creates the perfect conditions for Narcos, organized crime criminality, and too many people who have nothing to lose. It leads to a social and political crisis. So, from a multidimensional point of view, there is a huge and urgent need to build a proper, decent living environment.Save this picture!The materials that we have available nowadays to produce this huge scale are limited, and when I'm saying huge scale, we're talking about a million people per week migrating into cities who, if not accommodated properly, will live in slums. On average, we have to provide solutions with just $10,000 per family. We call it the 3-S menace: Scale, Speed, and Scarcity of means. If we don't build, people will come anyhow and create this social ticking time bomb. We don't know how to solve that, but imagine we create enough knowledge and that governments align to create policies so that we can build for that amount of people, with the current building materials, taking into consideration the consequences on the environment and the planet. If you don't do anything, you have a problem. And if you do something, you have a problem. Until now, it was one or the other, and one had to choose. When you live in a developing country, you choose people over the environment. If not, people who can build by themselves will build, using the same materials, so the carbon footprint is still there. - Alejandro Aravena Therefore, the moment we heard that there was some scientific research being done and knowledge was being developed in the concrete industry, one of the industries that has the largest presence in the built environment, there was excitement. People want to build resilient homes, so as soon as they can, they will go for something solid. Concrete is at the top of those expectations. With this innovation, there is a material that can potentially dissolve this Catch-22 situation, that can capture carbon and sink it into the material so that when you build, you're doing something good for the environment, not just reducing harm. We see this as a potential chance to finally be able to move ahead, not having to choose between one or the other. That's why we said, let's partner with somebody that has the research and development capacity to advance this.Save this picture!The only thing we did here was ask What is most needed? What is the kind of project that, if this works, may have an impact on the social dimension but also on the environmental dimension? That is why we went to this Core of Basic Services (in Spanish, USB stands for the Basic Services Unit). In the end, this is where every settlement starts and it is what takes care of the basic needs of the population: health to start with, the fire resistance, seismic resistance, and then maybe we'll be able to channel the people's own capacity to be part of the solution, not of the problem of the built environment.Save this picture!AD: Could you elaborate on this idea that poor communities have this under-appreciated capacity to build, but often do so in a dysregulated manner, making them vulnerable? Additionally, how does your incremental process, which you have been promoting for years, address this issue?AA: Whatever you picture when you think of a slum, it's a very dense, overcrowded environment of a poor quality, unarticulated roofs and walls, and shacks. Of course, one could see that it is a problem; there are health issues, basic sanitation is not there, one could see this as an incapacity to create a decent built environment.Save this picture! From another point of view, it could be seen that, despite not having any type of aid, technical support, or scientific knowledge, people are intuitively able to put a roof on top of their heads. And this is a big force. - Alejandro Aravena In a country like Chile, the two rounds of class census showed that 2/3 of the square meters built in Chile do not have a building permit. The formal thing that we've studied in the universities, or the presumption that the government is part of the building program, that's an exception. The majority is in this other case. Therefore, unless we look at this situation as part of the solution, instead of part of the problem, we will never arrive at creating those conditions needed to address the need for a decent building environment.Save this picture!So, what is missing there? When you look at the slum picture, what is needed is not more construction, it is in what is not built. If you think of any city, like Copenhagen or even Manhattan, places we associate with a good quality of life, the ratio between public and private space is close to 1 to 1. When you go to a slum, that proportion drops to less than 1 to 10, so for every square meter of non-built land, there are 10 square meters of private space. What does it mean? An ambulance cannot enter, a fire truck cannot enter, people just circulate, but they have no place to gather. Where do children play in such an environment? In this context, what is extremely important, more than adding more square meters, is who coordinates what's not going to be built. Because that is a big force that you can channel. Instead of resisting or replacing, our job is first and foremost to create the conditions for the common ground, for the common space not to be occupied by individual actions. Individual actions, even if well-intentioned, cannot guarantee the common good. We have been systematically understanding that our role as a designer, is not being the provider, but the channel for a much bigger force that could be part of the solution or not part of the problem. Save this picture!AD: Continuing on this point, what is the role of the architect? Should they learn to let go of some of the control that they've been taught to hold? AA: The architect has to understand that, for the big challenges, what we have to deliver is a process and not a product. Control is guaranteeing quality in the end, so we have to be responsible from the beginning to the very end, but in most cases, your job stops when the building is finished. In housing or in disaster relief, because it is a much bigger challenge, the day you finish, it only starts, and then the big forces take over.Save this picture!You must understand the logic behind these big forces. You place your designs as frames that will make people's lives easier, not more complicated. Then, in this framework, the individual actions can guarantee the common good, so the role of the architect is to protect and enable this spontaneous care for the common good. You cannot just cross your fingers and hope that people will not invade the street.Geometry and clarity of shape have been studied from the 60s and the 70s. In Chile in the 70s, we had what was called "Operation Chalk", meaning that we used chalk to mark on the ground what was private land and what was a public space. This allowed for the rules of the game to be clear for the collective, so in the end, this apparently marginal operation made a big difference. The Law of Indies in the whole of Latin America was similar, setting a simple geometrical rule, yet the cities that had the capacity to develop came from these very basic shapes. In Spanish, they had what was called "alarife", somebody who traced on the ground, on the land, showing who's going to have what, what is going to be public, what we can't provide. This apparently offensive move is at the very core of a process that later allows for a loss of control.Save this picture!We want to just introduce a couple of things, like a structure that is solid, that is fire resistant, that provides basic sanitation, water, sewage, and electricity, cross ventilation for the worst case scenario. This way, when families arrive, they don't have to perform complicated and difficult structural operations.  Every dollar that they spend is just on things that are relatively easy for them to achieve, or that are closer to their personal identity or taste, like the color, finishes, or furniture, because all the complicated technical operations have been taken care of by the professionals involved.AD: Can you expand on what is the concept behind the USB Core, and how is this different from the other incremental housing strategies you have been developing? AA: Normally, by the Chilean housing policy, you have to deliver basic sanitation, a bathroom, a kitchen, and partition walls that are fire-resistant and seismic-resistant. For this proposal, we decided to do it in 2 floors because it achieves more density in the future.Save this picture! By being able to accommodate the square meters that the policy requires in two floors, we have more chances to have denser projects, therefore being able to spend more for expensive land, and because of that, have a better location in the city, which leads to a better integration into the network of opportunities and services that cities concentrate, instead of being expelled in a low density, far-away periphery, segregated from those opportunities. A certain density is needed in low-rise to be able to be well located in the city. Because of the policy, in addition to sanitation, we need to provide at least two rooms. That requires more resources and more time. When you're under pressure, let's say you're in a disaster situation, where you have to build as fast as possible, if you receive a shelter like a tent or other emergency intervention, that tends not to have this basic sanitation core. Rooms are relatively easy to add later on. To have a kitchen and a bathroom, and a partition wall it's rather difficult to build properly by a family. What we have been exploring is how, in case there is an emergency, we can compress and be more radical in what we are offering. The aim is to have more efficient resources, which are always scarce in the public sector, and to reach more families instead of providing more complete solutions, but only to a few. In this last case, in the meantime, the others cannot wait. They will produce their own built environment, but in very bad conditions.Save this picture!Save this picture!This is why we are compressing. Some of the housing we conceived at ELEMENTAL did start like that, but then the policy required us to add more rooms, so we did that. The USB core is just the more radical version because, in between the units, we would like not to have anything at the beginning, but become a big part of what the families, or other sources of financing, bring. This is the most radical version also because of the material that has a net-zero carbon footprint. This is something that was not available before.Save this picture!For the prototype here in Venice, when we started working with the site, we received this requirement of maximum weight per square meter. Previous solutions would have been too heavy for the place, so we were required to take out weight. The effort of taking out matter without losing resistance led us to think beyond the shape of a circular hole, to many other shapes. We took this as an opportunity to address one of the pending issues we had: how can we engage emotionally with the families, so that when they receive something, they feel there is a more careful treatment, the notion of beauty. Somehow, when you're dealing with the strict conditions, it tends to be that aesthetics are the first to be sacrificed. Given that we now have building systems that were not available 10 years ago, like robots doing the form work, the way to extract matters gives us a degree of freedom while maintaining the same resistance. What about the pattern? Can we make a workshop with the families? Maybe it could change from one to the next one.Save this picture! This process of customization introduces some level of detail, which is something that people prefer. Take a look at Venice: more lines somehow are more appealing. They're interpreted as more care, instead of a blank wall. I think that in this case, we are making a more radical solution in terms of public policy, but at the same time, a more careful solution in terms of the emotionally involved potential outcome of this equation that has many dimensions that have to be solved at the same time. Save this picture!AD: In this equation, the choice of material is also important, and concrete seems to be the preferred option, especially for these conditions. Why is that? Why is concrete specifically essential? AA: Before going into concrete, let's imagine the sum of attributes that you need to fulfill, and then, if there is more than one material, we would consider it. It has to be durable: if you're going to spend resources, make sure that the results will last. There's something that is atomic in human behavior that doesn't appreciate temporary solutions; something that holds and persists through the test of time is very important. If you are benefiting from a public policy, you are not getting funding for things that do not last. In a country that has to choose between education, hospitals, infrastructure, or housing, it wants to make sure that the result will have a quality that is certified and that it will be physically there in the next couple of decades.Save this picture! It has to be so resistant, it has to be durable, it has to be fireproof, it has to be seismic proof. Families have to feel that if they want to expand, they can touch the wall and understand that "Oh, I can't take it out because it's solid, I'd better not mess with the structure because my security and safety depend on that." Safety and security, and the feeling of safety, matter a lot. What other materials out there in the world would feel all that? There are not that many options. That is why, I think, concrete tends to end up being rather high in the list, not to mention costs, because the cost per performance is difficult to equal.Save this picture! The issue is how to improve the carbon footprint of this material that has so many other favorable attributes. The development of this new biochar concrete finally adds to this list. If you want to make it sustainable and good for the environment, you now have another option. But it's not these other attributes or the environment; it adds to the same list. This is something that we were interested in seeing how we can benefit from this, and at the same time, help to develop. AD: This opens up another topic, which is the wider collaborations across industries. How do you see these collaborations going forward? What is their role in the architectural profession? AA: By nature, architecture has to be collaborative. I mean, it's not just me as an architect waking up in the morning and having an incredible desire to build a building. If I were a sculptor, I could do that, but not as an architect. In the first place, somebody has to need the building, then funding will come from either the state or a private resource, and then, you don't build the things with your own hands. You have to understand that the building industry will provide workers with knowledge, with skills, and with procedures that have a sequence.Save this picture! You have to make sure that whatever you produce makes social sense and makes political sense. Therefore, by nature, architecture has historically been required to speak many languages, so that it can channel all that knowledge into what you are delivering as a solution. You are sitting around the table with many other professionals. Sometimes, the more complex the question, the greater the need for synthesis. If there's any power in design, that's the power of synthesis. You have to establish the priority, you have to establish a hierarchy. At the core of what we do as architects, we are trying to do projects, and a project is organized information in a proposal. It is not a diagnosis, it is not a report, it's always the negotiation having listened to all, the budget, the code, the need, the social pressure, it is the moment when somebody picks up the pen in the meeting and says, What if we do this?Save this picture!That jump into the void of making a proposal and taking the risk to do a proposal is the key. You may fail, somebody might find an issue, point out that this would fail here and there. You take this information and reiterate, but you have to take the risk of organizing the conversation around the proposal. If you have a conversation about the origin of the problem, the meeting never ends, and the energy is very negative. The moment you throw in a proposal, the energy in the room changes. By nature, this process has always been collaborative, but the specific role that we play as architects is to be able to organize all the information in a proposal. It is listening to many languages, but in the end, the language you speak is that of giving form to the places near where people live. That's what we do. It's not more complicated than that, but also not easier than that. Sometimes your role is to have control over the entire process, sometimes it is in recognizing that this is so much bigger than ourselves, so others take over: the social workers, the families themselves, the building industry. It changes from question to question, but in general, I would say that we understand we are required to speak different languages: that of economics, that of code, that of politics, and how to communicate with people. However, our ultimate way to engage in these non-architectural conversations is by doing what we know best, which is design. This is a non-architectural conversation we enter with specific knowledge of architecture. This is, I'd say, the dance between specific knowledge and non-specific questions. Save this picture!AD: Looking towards the future, what are the next steps for this concept? AA: An institution, in order to lend money to a country, may require that the country fulfill sustainability goals. We now have this new material that can respond if this becomes a condition. Normally, this would come from financing institutions that are interested in not just solving social problems but also environmental issues. If we can specify this new material as designers, it has a higher chance of checking more boxes at a political level. And if it checks more boxes, it is more likely to be replicated and repeated. It is about having one more tool in the toolbox that was not available before; it provides more goods and benefits at the same cost. The moment you can show a prototype or give an example, it demonstrates that it is possible. For us, it is desirable for this material and this solution to be multiplied as many times as possible.Save this picture!We invite you to check out ArchDaily's comprehensive coverage of the 2025 Venice Biennale. Image gallerySee allShow less About this author

Drop it like it's not (the piece you need right now) Drop Duchy is a deck-building, Tetris-like, Carcassonne-esque puzzler The game layers tile dropping onto worker placement, and stacks up nicely. Kevin Purdy – May 16, 2025 7:30 am | 2 Credit: The Arcade Crew Credit: The Arcade Crew Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more When my colleague Kyle Orland submitted Tetrisweeper for a list of Ars' favorite 2024 games not from 2024, I told him, essentially: "Good for you, not for me." I'm a pedestrian Tetris player, at best, so the idea of managing a whole different game mechanic, while trying to clear lines and prevent stack-ups, sounded like taking a standardized test while baking a three-layer cake. And yet, here I am, sneaking rounds of Drop Duchy (Steam, Epic, for Windows/Linux via Proton) into lunch breaks, weekend mornings, and other bits of downtime. Drop Duchy is similarly not just a Tetris-esque block-dropper. It also has you: Aligning terrain types for resources Placing both your troops and the enemy's Choosing which cards to upgrade, sell, and bring into battle Picking between terrain types to leave behind Upgrading a tech tree with achievements Picking the sequence of battles for maximum effectiveness Drop Duchy is a quirky game, one that hasn't entirely fused together its various influences without some seams showing. But I keep returning to it, even as it beats me to a pulp on Normal mode, based on decisions I made five rounds ago. It feels like a medium-deep board game, played at triple speed, with someone across the table timing you on how fast you arrange your tiles. Your standard roguelite deck-builder, Tetris tactics, worker placement game Drop Duchy launch trailer. Allow me to try to describe what is happening in Drop Duchy, ignoring entirely the idea that there is some kind of plot. You start off with three buildings and your enemy's buildings that you must place, mixed into a pile of terrain (plains and forest to start) in Tetris-like shapes. Filling a horizontal line gives you resources (wheat, wood, and stone) from that line but does not clear it. If you build up a big area of plains on your board, you can drop your "Farm" piece in the middle, and it converts those plains into richer plains. Put a "Woodcutter" into a bunch of forest, and it harvests that wood and turns it into plains. Set down a "Watchtower," and it recruits some archer units for every plains tile in its vicinity, and even more for richer fields. You could drop a Woodcutter next to a Farm and Watchtower, and it would turn the forests into plains, the Farm would turn the plains into fields, and the Watchtower would pick up more units for all those rich fields. That kind of multi-effect combo, resulting from one piece you perfectly placed in the nick of time, is what keeps you coming back to Drop Duchy. The bitter losses come from the other side, like realizing you've leaned too heavily into heavy, halberd-wielding units when the enemy has lots of ranged units that are strong against them. Or that feeling, familiar to Tetris vets, that one hasty decision you made 10 rows back has doomed you to the awkward, slanted pile-up you find yourself in now. Except that lines don't clear in Drop Duchy, and the game's boss battles specifically punish you for running out of good places to put things. There's an upper strategic layer to all the which-square-where action. You choose branching paths on your way to each boss, picking different resources, battles, and trading posts. Every victory has you picking a card for your deck, whether military, production, or, later on, general "technology" gains. You upgrade cards using your gathered resources, try to balance or min-max cards toward certain armies or terrains, and try not to lose any one round by too many soldiers. You have a sort of "overall defense" life meter, and each loss chips away at it. Run out of money to refill it, and that's the game. Again: It is not a Tetris clone Every run is a new set of cards that you upgrade, sell, reserve for certain terrain conditions, or wonder why you picked it. The Arcade Crew Every run is a new set of cards that you upgrade, sell, reserve for certain terrain conditions, or wonder why you picked it. The Arcade Crew Upgrading cards is almost always worth it—unless you need to replenish your overall defense. The Arcade Crew Upgrading cards is almost always worth it—unless you need to replenish your overall defense. The Arcade Crew Every run is a new set of cards that you upgrade, sell, reserve for certain terrain conditions, or wonder why you picked it. The Arcade Crew Upgrading cards is almost always worth it—unless you need to replenish your overall defense. The Arcade Crew The path you choose to encounters and trading posts makes a difference in Drop Duchy. The Arcade Crew The path you choose to encounters and trading posts makes a difference in Drop Duchy. The Arcade Crew See that river on the right, the one that would look great if only it could be connected? Welcome to this game. The Arcade Crew See that river on the right, the one that would look great if only it could be connected? Welcome to this game. The Arcade Crew The path you choose to encounters and trading posts makes a difference in Drop Duchy. The Arcade Crew See that river on the right, the one that would look great if only it could be connected? Welcome to this game. The Arcade Crew Drop Duchy feels, moment to moment, triumphalist and unfair, but that is its intended rogue-ish nature. Where I see issues with the game beyond that is in the little stuff. The game plays well on a Steam Deck or other handhelds, but if you have any issues with reading small text on a small screen, Drop Duchy is unforgiving. Many of the buildings look very similar, and the icons and text can be quite small. I feel the most for folks with extensive Tetris experience and muscle memory. Drop Duchy uses some non-standard pieces, like single, double, and three-square corners. And while line clearing is almost always rewarded, it can also work against you, like if an enemy's fort fits a slot, but also grants it lots of troops from the surrounding terrain. Drop Duchy can sometimes feel unbalanced, sometimes a bit unfair. Its bosses will typically require multiple runs before you figure out the right multi-round strategies. The game's many, many mechanics make this a title where I wouldn't blame someone for running the Tutorial round more than once. But, like golf, home repair, or setting up a server, the few times you get a round, or just a line, perfectly right can erase all the hard lessons you had to endure before. I keep finding things in Drop Duchy that seem impossible to overcome, and then I come right back and try it a different way. I think this title will get a few balance fixes, but even before those, it's a good run. Listing image: The Arcade Crew Kevin Purdy Senior Technology Reporter Kevin Purdy Senior Technology Reporter Kevin is a senior technology reporter at Ars Technica, covering open-source software, PC gaming, home automation, repairability, e-bikes, and tech history. He has previously worked at Lifehacker, Wirecutter, iFixit, and Carbon Switch. 2 Comments

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" A unique insight into the reality of NATO's eastern boundary is provided by the Latvian Pavilion at the 2025 Venice Architecture Biennale. The exhibition, titled Landscape Of Defence, examines how defense infrastructure affects daily living, the land, and public perception. Located in the center of the Biennale's main display path, Campo della Tana provides entrance to the Artiglierie of the Arsenale, where the Pavilion is housed.The Pavilion, which was designed by Latvian architecture studios Sampling and Nomad and curated by Liene Jākobsone and Ilka Ruby, explores the junction of the military and civilian environments along Latvia's borders with Belarus and Russia, posing significant questions.What does it mean to be on the periphery of NATO during a geopolitical conflict? How are lives and landscapes shaped by defensive measures?, asked the curators. National and NATO-wide defense are now a part of everyday life in Latvia and are not merely a government mandate.Visitors are urged to reevaluate the concept of "border" in a time of global unrest by use of an impactful and provocative exhibition design. The curators present opposing viewpoints: Architect and designer Liene Jākobsone, who holds a PhD in product design, is the director of the Art Academy of Latvia's Institute of Contemporary Art, Design, and Architecture and co-founder of the firm Sampling.Her research focuses on the relationship between cultural creation and geographical activity. The independent publishing company Ruby Press, which focuses on architecture and spatial activities, was co-founded by author and curator Ilka Ruby. She offers a more comprehensive analysis of the political and social function of architecture through a critical and transdisciplinary perspective.Road signs, watchtowers, fences, barbed wire, and other man-made structures found in the Latvian borders are among the natural elements, vernacular architecture, and remnants of everyday life that are documented in a photographic collage that is shown behind a wide circular curtain that defines the exhibition area. Anti-tank hedgehogs, dragon's teeth, a surveillance pole, and rustic wooden benches are among the items from the military and civil worlds that are replicated in the center using luminous, abstract material that changes their look and encourages critical thought.Six television screens provide the illusion of a control room: footage, shown in Latvian with English subtitles, switches between shots of the surrounding terrain and testimony from border residents. A second, 4.5-meter-tall curtain on one wall displays a sizable, historically-inspired map of the 30-kilometer border zone. From the standpoint of military defense, informative writings and firsthand accounts provide a human and spatial context. The pavilion's technical details and curatorial text are also displayed on the same curtain.The Latvian Pavilion highlights the complexity involved in developing defense infrastructure rather than offering answers. In the face of actual threats, walls and barriers might be required, but they also present moral, environmental, and aesthetic issues. The goal is to encourage discussion among visitors as well as with military and political stakeholders on the interrelationships between security, space, and society.A folded-out catalogue in postcard size, published by Ruby Press, is included with the exhibition. It features original pictures by Latvian photographer Reinis Hofmanis, who received the Fuji Global Grant for his borderlands investigation, as well as an essay by Liene Jākobsone. The publication, which resembles a passport, emphasizes the relationship between territory and identity, the experience of crossing, and the importance of the border."The eastern border of Latvia has been fortified in such a way over the past few years. Work is still underway, but the territory has changed significantly. The border is not just a line, but an area. A whole landscape of defence has been created along with imposing fortifications," as Jākobsone writes in the postcard leporello. "The border itself (...) marks the end of the country and, in this case, of a much wider region — that of Europe. (...) These postcards from the very edge of Europe are not only a testimony to its diversity and its values, but also offer an opportunity for this landscape of defence to be represented to those it is intended to defend.""In Berlin, where I live, you still feel every day how the fall of a physical and systemic border can transform a city’s urban fabric. That frontier has now shifted to the border between Latvia — and Europe — and Russia. Our goal is to understand the effects that such fortifications can have on landscapes and lives," added Ruby.Uncertain characters, halfway between tour guides and sentinels, greet guests at the Pavilion while wearing outfits created by Latvian fashion designer Laima Jurča.The Pavilion's suspended atmosphere, which reflects the entrance of a militarized zone where the public is faced with the tension between security and threat, welcome and surveillance, freedom and control, is heightened by their subdued yet noticeable presence, which evokes gestures and postures of control."What does it mean to live on NATO’s external border in times of geopolitical conflict?," wrote the curators Liene Jākobsone and Ilka Ruby. "The exhibition focuses on the military defence of the Latvian state from the perspective of the inhabitants of the border area. We want to highlight the specific conditions of Latvia’s geographical situation – the reason why its population lives under a constant threat of attack," the curators explained."The exhibition aims to offer the international architectural discourse a study of the relationship between military defence and spatial condition in the Latvian context. We want to draw attention to the impact of defence measures on people and the landscape.""It is an invitation not only to architects, but also policy makers and military defence specialists to take part in the conversation on spatial qualities, encouraging them to consider the physical footprint of defence strategies on a territory and the emotional impact on its population," the curators added.The Latvian Pavilion is commissioned by Jānis Dripe, Ministry of Culture of the Republic of Latvia. The exhibitors are Sampling (Manten Devriendt, Liene Jākobsone) and Nomad architects (Marija Katrīna Dambe, Florian Betat). The 19th International Architecture Exhibition will take place from 10 May to 23 November 2025 at the Giardini, the Arsenale and various venues in Venice, Italy. Find out all exhibition news on WAC's Venice Architecture Biennale page. All images © Michiel De Cleene.> via Latvian Pavilion

About a half hour south of the Puerto Escondido airport is a stretch of Oaxacan coastline where whale sightings are common and the surf break is world famous. The remoteness of the region is key to its appeal. Architects and designers are drawn to the Mexican state for its deep history of crafts, from villages where weavers have worked for generations to the artist Bosco Sodi’s Tadao Ando–designed nonprofit, Casa Wabi. And while this rugged region may be hard to get to, it’s anything but unfamiliar territory to the architect Will Meyer and his wife Kerstin; their sprawling coastal compound occupies a three-acre plot that has been in her family for decades. Based in Nashville most of the year, the couple wanted to create a retreat for themselves and their two teenage children.The IngallsThe living room is set beneath a double-height palapa and has a 35-foot custom sofa. Chairs by Decova; custom cocktail table and rug.Meyer, who co-founded the multidisciplinary design studio Meyer Davis with Gray Davis, worked with builder Patricio Sodi, brother of Bosco, to develop a -family-friendly structure that nods to local culture as well as to Mexican modernism. “It was a really collaborative working relationship,” Meyer says. “We were able to play off each other.”“It’s very difficult to keep the elements out in this part of the world. You have to let nature tell you what to do.” —Will MeyerThe building’s central feature is a double-height palapa, a traditional thatch-roofed structure made of dried palm leaves. A symbol of tradition, the palapa anchors the southern end of the six-bedroom residence and houses communal areas including the dining room, kitchen, and bar.Almost 1,000 custom-made breeze blocks, laid out in a lattice pattern inspired by traditional weavings and made from local clay, serve as a focal point while also allowing for natural cross-ventilation. Only one room in the home has air conditioning. “It is very difficult to keep the elements out in this part of the world,” Meyer says. “You have to let nature tell you what to do. There is a lot of engineering behind the scenes to make it all seem effortless.”The IngallsIn the guest wing’s lounge, the sofa and chair are by Decova, the cocktail tables are by Arca, the rugs are from Dialecto Puerto Escondido, and the lamp is by Tseebal.Living in harmony with the elements is central to the layout. The interiors are outfitted in a palette of warm gray, rich oxblood, and tawny ocher drawn directly from the surrounding landscape. (The concrete pool deck is even -color-matched to the sand on the beach below.) The grounds were planted by Kerstin’s brother Ramses Alexander, who has a home next door, as does her father. The celebrated landscape architect Edwina von Gal consulted on sustainable plantings for the area, which is densely populated with Natal plums, cacti, and 15-foot-tall mangrove shrubs, between which the family likes to hang hammocks.See Inside the Oaxacan RetreatOutdoors, a 35-foot-long built-in sofa stretches along the back of the home, connecting the guest rooms and primary suites and inviting visitors to linger in front of the egg-shaped pool, gazing at the unobstructed 220-degree view of the ocean beyond. “If we’re here, we’re entertaining,” Kerstin says. “We can’t have an empty house. It needs to be lived in.” All the pillows, rugs, and fabrics were commissioned from local vendors by Kerstin, who has spent years sourcing Oaxacan textiles for her company, Maya Sund. “Every town here in Oaxaca has its own talent and its own history,” she says. “There is always something new that you learn in the creative process.”The IngallsHomeowners Will and Kerstin Meyer.The furnishings are sparse, but they feel even more luxurious for the intentionality with which they were chosen. The sizable dining table in volcanic stone was -custom-fabricated in Mexico by Arca, pendants were made locally of palm leaves, and decorative ceramics and dishes were sourced from the ethical online market Obakki. “There’s a precision to the house and architecture that’s seen through the lens of craft, and the hand that can be seen in everything in it,” Kerstin says. “Those two things need each other.”And with a stable Starlink connection and the calming sound of the sea close by, the family just needs to make the time to sit back and relax—and keep an eye out for whales. ◾This story originally appeared in the May 2025 issue of Elle Decor. SUBSCRIBESean SantiagoDeputy EditorSean Santiago is ELLE Decor's Deputy Editor, covering news, trends and talents in interior design, hospitality and travel, culture, and luxury shopping. Since starting his career at an interior design firm in 2011, he has gone on to cover the industry for Vogue, Architectural Digest, Sight Unseen, PIN-UP and Domino. He is the author of The Lonny Home (Weldon Owens, 2018), has produced scripted social content for brands including West Elm and Streeteasy, and is sometimes recognized on the street for his Instagram Reels series, #DanceToDecor

Image credit: West Vancouver Art Museum West Coast Modern Week, an annual celebration of West Coast Modernism, a distinct architectural style with deep roots in West Vancouver, will be returning this summer. Presented by the West Vancouver Art Museum, West Coast Modern Week will include a series of events including talks and a home tour offering access to local, architecturally significant homes. The following is a list of events taking place during the week-long celebration. West Coast Modern Week Launch Party This fundraising party will take place on July 8, and will celebrate the launch of West Coast Modern Week. The evening will feature a live DJ, wine and refreshments.   Walking Tours: The Facets of Modernism This walking tour will focus on the vibrant—and potentially endangered—Mid-Century Modern buildings located in the heart of Ambleside, West Vancouver. Led by experienced guides, the tour will discuss the elements and features of the Mid-Century Modern style and examine how the hallmarks of this period were incorporated into both the interiors and exteriors of local Mid-Century Modern architecture.   Talk: John Patkau: Material Operations Pre-eminent architect John Patkau joins the West Coast Modern League, with the West Vancouver Art Museum and The Polygon Gallery, for a talk exploring the creation of architecture and design through unconventional material practice.   Film Screening: Arthur Erickson: Beauty Between the Lines | Annual Barry Downs Lecture Series: The Architecture of Encounter, with Dr. Jeff Derksen The film explores the life and work of architect Arthur Erickson. With intimate interviews, unseen archival footage, and an exploration of his architectural masterpieces, the film weaves together the complexities of Erickson’s personal and professional life. Using the film, Arthur Erickson: Beauty Between the Lines, Dr. Jeff Derksen’s talk approaches Erickson’s architecture through the concept of the encounter. Informed by his travels as an architectural student, and shaped by an optimistic 1960s moment in Canadian culture, Erickson’s expansive imagination sought to bring together architectural elements from many cultures and to structure his buildings as spaces of encounter.   19th Annual West Coast Modern Home Tour  This year’s tour will feature the Taylor Residence, designed by Daniel Evan White in 1983, the Rayer Residence, designed by Barry Downs and Fred Hollingsworth in 1964, the Forrest-Baker Residence, designed by Ron Thom and Dick Mann in 1962, the Montiverdi Estates, designed by Arthur Erickson between 1979 and 1982 and the Eastwood-Seth Residence, designed by CBK Van Norman in 1954.   West Coast Modern Week After Party The celebration will feature wine, refreshments and ocean views from Eagle Harbour Yacht Club.   West Coast Modern Week Concert: Jillian Lebeck Trio The concert will feature Jillian Lebeck on grand piano, Maafu Keteca on saxophone, and Kody Buchart on bass. This trio will explore jazz from the Great American Songbook, with a few original compositions thrown in. West Coast Modern Week 2025 will take place from July 8 to 13, 2025. For more information and to view the full schedule, click here. The post West Coast Modern Week returns to West Vancouver this summer appeared first on Canadian Architect.

Summer 2025 is all about making the most of your time outdoors—whether you’re entertaining friends, relaxing by the pool, or simply seeking comfort during the hottest days. Innovative products are transforming the way we enjoy our patios, backyards, and parks, blending clever design with convenience and fun. We have curated a collection of the ten must-have products that will elevate your outdoor living experience this summer. Outdoor living is evolving, and the right products can transform your summer experience. From eco-friendly cooling and portable lighting to all-in-one tools, innovative grills, and whimsical pool floats, these ten products make it easier than ever to enjoy life outdoors in comfort and style. Upgrade your outdoor living in 2025 with these innovative essentials—and make this summer your best yet. 1. KYL When summer temperatures soar, staying cool outdoors can be a challenge, and running an air conditioner all day isn’t always ideal for the planet. The KYL Fan Attachment is a smart solution that gives your standard floor fan a new, energy-efficient life. By attaching directly to your fan, KYL funnels airflow more effectively and uses a replaceable silica gel filter to absorb excess moisture from the air. The result? A cooler, drier breeze that’s perfect for patios, screened porches, or sun-drenched living spaces. Designed with clean, modern lines, KYL is as attractive as it is functional. It improves airflow by leveraging Bernoulli’s principle and drops the surrounding temperature by up to 1.5°C, making those muggy summer evenings more enjoyable without increasing your energy bill. The filter is easy to refresh: just rinse and air-dry it, keeping your cooling system both low-cost and sustainable. What we like Lowers temperature and humidity without extra electricity use. Eco-friendly and easy to maintain, minimizing waste. What we dislike Only works with existing fans, not as a standalone device. Not as powerful as an air conditioner for extreme heat. 2. DraftPro Top Can Opener There’s nothing like cracking open a cold beverage during the summer, but the standard can limits the aroma and flavor of what’s inside. The DraftPro Top Can Opener changes the game by removing the entire lid of your drink, transforming any can into a wide-mouthed vessel that enhances taste and makes adding ice or garnishes easy. It’s perfect for outdoor parties, picnics, and backyard barbecues. This tool works with a range of canned drinks, from craft beers to sodas, letting you fully enjoy the aroma and complexity of your favorite beverages. The smooth, clean cut means you can even use the empty cans for creative upcycling projects—like turning them into planters or lanterns. With its ergonomic design and premium materials, DraftPro isn’t just functional; it’s a conversation starter for any gathering. Click Here to Buy Now: $59.00 What we like Wide opening lets you experience the full aroma and taste of your drink. Facilitates ice addition or mixing cocktails directly in the can. What we dislike Requires a bit of effort and care to use safely. Some specialty cans may not fit perfectly. 3. CraftMaster EDC Utility Knife Warm-weather adventures often call for tools that are both functional and easy to carry. The Craftmaster EDC Utility Knife is a sleek, minimalist companion ready for any task—whether you’re tackling a backyard project, opening packages, or prepping camping gear. Its solid metal body feels substantial in the hand, and the OLFA blade deploys smoothly with a satisfying twist of the knob. What sets this utility knife apart is its attention to detail. The magnetic back docks neatly onto metal surfaces, so you’ll never misplace it during outdoor work. It also comes with a matching metal scale, complete with metric and imperial measurements and a raised edge for safe handling. The blade is easy to replace, and the built-in blade-breaker means you’re never stuck with a dull edge. For anyone who values craftsmanship and utility, the Craftmaster EDC Utility Knife is a must-have for summer projects. Click Here to Buy Now: $79.00 What we like Handles a wide range of outdoor tasks with ease. Easy to store and access, even in busy spaces. What we dislike Requires some care and attention when handling sharp blades. It should be kept dry to prevent rust or damage over time. 4. Anywhere-Use Lamp Summer evenings often stretch late into the night, and the right lighting can turn any outdoor area into a cozy retreat. The Anywhere Use Lamp is a true all-rounder, offering soft, warm illumination wherever you need it—whether you’re picnicking in the park, relaxing in a hammock, or hosting an alfresco dinner. Its minimalist design is easy to blend with any outdoor style, and it’s lightweight enough to carry in a bag. The lamp is powered by AA batteries, making it both eco-friendly and convenient. With four levels of brightness, you can set the perfect mood, while the haptic feedback from the switch adds a tactile pleasure to every adjustment. The Industrial Edition even features a raw metal base, giving your outdoor space a touch of urban chic. Wherever your summer takes you, this lamp ensures you’re never left in the dark. Click Here to Buy Now: $149.00 What we like Compact size and battery operation make it ideal for outdoor use. Four levels allow you to tailor the light to your needs. What we dislike Needs regular replacement or recharge, which may not suit everyone. Should be protected from rain or heavy moisture. 5. Side A Cassette Speaker Music is a must for any outdoor gathering, and the Side A Cassette Speaker brings nostalgic style with modern convenience. Shaped like a classic mixtape, this compact Bluetooth speaker is perfect for pool parties, picnics, or just relaxing outside. It offers surprisingly rich sound for its size and supports microSD playback for those who want to go offline. The clear case doubles as a stand, keeping the speaker upright on any surface. With up to six hours of playback, you can keep the good vibes going all afternoon. It’s light enough to throw in your bag and quirky enough to spark conversation wherever you go. Recharging is fast and easy with the included USB-C cable. Click Here to Buy Now: $45.00 What we like Perfect for taking music anywhere outdoors. Unique look adds personality to your gatherings. What we dislike Best suited for small groups or personal use. It may not satisfy those wanting deep, powerful audio. 6. Yuuye Portable Air Conditioner Heatwaves don’t have to put a damper on your outdoor plans. The Yuuye Portable Air Conditioner offers a groundbreaking way to stay cool wherever you go. Its modular design combines a refrigeration unit and exhaust, efficiently drawing in heat and blowing out cool, refreshing air—perfect for patios, tents, or outdoor workspaces. The unit is easy to carry and features a large air outlet for even distribution. With an LCD screen for easy control and a detachable build for quick scene changes, it’s the ultimate portable solution for beating the heat. Whether you’re hosting a garden party or taking a break from yard work, the Yuuye AC keeps your outdoor space comfortable and inviting. What we like Compact, lightweight, and easy to move between locations. Delivers consistent, refreshing airflow even in high heat. What we dislike Best suited for small to medium spaces rather than large gatherings. Requires charging or plugging in for extended use. 7. Compact Modular Grill Plate Summer is grilling season, and the Compact Modular Grill Plate makes outdoor cooking easier and more enjoyable than ever. This innovative grill plate is designed for versatility—it works on open flames, gas burners, or even induction stoves, making it perfect for camping, backyard cookouts, or beach picnics. The grill’s three-layer steel construction ensures even heat distribution, so your food always cooks perfectly. The detachable handles and easy-to-clean surface make it a breeze to use and pack away. Whether you’re searing steaks, grilling veggies, or just enjoying a casual burger night, this tool adds a touch of chef-level expertise to every meal. Click Here to Buy Now: $89.00 What we like Triple-layer design means no more hot spots or burnt edges. Detachable handles and compact form make it highly portable. What we dislike Steel surface may need extra attention to avoid buildup. Always use caution when moving it off the heat. 8. 8-in-1 EDC Scissors If you’re camping, gardening, or just tackling odd jobs outdoors during summertime, then having the right tool on hand can save the day. The 8-in-1 EDC Scissors pack a surprising amount of functionality into a palm-sized design, combining scissors, knife, can and bottle openers, shell splitter, degasser, and more. With a tough, rust-resistant build, they’re ready for any summer adventure. The compact form means they slip easily into your pocket, tackle box, or picnic basket. The black oxide finish not only looks sleek but also prevents corrosion, so you can rely on these scissors season after season. It’s the ultimate utility tool for anyone who values preparedness, whether you’re opening snacks, prepping food, or dealing with unexpected fixes. Click Here to Buy Now: $59.00 What we like Eight handy tools in one compact item. Rust-resistant and built to last in outdoor conditions. What we dislike May not replace full-sized tools for heavy-duty tasks. Needs careful handling, especially around children. 9. Pool Pasta Floats No summer is complete without some poolside fun, and Pool Pasta Floats bring a playful twist to classic inflatables. Shaped like oversized macaroni, farfalle, rigatoni, and more, these floats are sure to be the highlight of any pool gathering. Their bright, emoji-inspired designs add personality and charm, making every swim feel like a celebration. Made from durable materials, these floats are built to last throughout the season. Whether you’re lounging in the sun, playing games, or snapping photos for social media, Pool Pasta Floats make every moment more memorable. They work for all ages and add a dash of humor to your summer adventures. What we like Unique pasta shapes stand out and add fun to any pool. Made to handle endless splashing and lounging. What we dislike Larger floats require room when deflated. More color variety would offer even greater customization. 10. AirFlow 8-Panel Fire Pit You need a crackling fire to cook up something at your summer barbecues, but smoke and messy cleanup can ruin the mood. The Airflow 8-Panel Fire Pit solves both problems with its ingenious removable panel system. By optimizing airflow and enabling secondary combustion, it burns wood more completely, producing less smoke and more warmth. The modular design lets you control the intensity of the fire—add panels for a hotter, contained blaze or remove them for a more open feel. The clever airflow ensures consistent burning, making it easier to maintain your fire and enjoy a clean, smoke-free atmosphere. It’s perfect for family gatherings, roasting marshmallows, or just relaxing under the stars. Click Here to Buy Now: $325.00 What we like Secondary combustion minimizes smoke for a more pleasant experience. Removable panels let you control the fire’s heat and look. What we dislike Requires setup before each use, which may take a few extra minutes. Metal construction adds some weight for portability. The post 10 Best Innovative Products To Enhance Outdoor Living In Summer 2025 first appeared on Yanko Design.