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Researchers unexpectedly discovered toxic airborne pollutants in Oklahoma. The image above depicts a field in Oklahoma. Credit: Shutterstock University of Colorado Boulder researchers made the first-ever airborne detection of Medium Chain Chlorinated Paraffins (MCCPs) in the Western Hemisphere. Sometimes, scientific research feels a lot like solving a mystery. Scientists head into the field with a clear goal and a solid hypothesis, but then the data reveals something surprising. That’s when the real detective work begins. This is exactly what happened to a team from the University of Colorado Boulder during a recent field study in rural Oklahoma. They were using a state-of-the-art instrument to track how tiny particles form and grow in the air. But instead of just collecting expected data, they uncovered something completely new: the first-ever airborne detection of Medium Chain Chlorinated Paraffins (MCCPs), a kind of toxic organic pollutant, in the Western Hemisphere. The teams findings were published in ACS Environmental Au. “It’s very exciting as a scientist to find something unexpected like this that we weren’t looking for,” said Daniel Katz, CU Boulder chemistry PhD student and lead author of the study. “We’re starting to learn more about this toxic, organic pollutant that we know is out there, and which we need to understand better.” MCCPs are currently under consideration for regulation by the Stockholm Convention, a global treaty to protect human health from long-standing and widespread chemicals. While the toxic pollutants have been measured in Antarctica and Asia, researchers haven’t been sure how to document them in the Western Hemisphere’s atmosphere until now. From Wastewater to Farmlands MCCPs are used in fluids for metal working and in the construction of PVC and textiles. They are often found in wastewater and as a result, can end up in biosolid fertilizer, also called sewage sludge, which is created when liquid is removed from wastewater in a treatment plant. In Oklahoma, researchers suspect the MCCPs they identified came from biosolid fertilizer in the fields near where they set up their instrument. “When sewage sludges are spread across the fields, those toxic compounds could be released into the air,” Katz said. “We can’t show directly that that’s happening, but we think it’s a reasonable way that they could be winding up in the air. Sewage sludge fertilizers have been shown to release similar compounds.” MCCPs little cousins, Short Chain Chlorinated Paraffins (SCCPs), are currently regulated by the Stockholm Convention, and since 2009, by the EPA here in the United States. Regulation came after studies found the toxic pollutants, which travel far and last a long time in the atmosphere, were harmful to human health. But researchers hypothesize that the regulation of SCCPs may have increased MCCPs in the environment. “We always have these unintended consequences of regulation, where you regulate something, and then there’s still a need for the products that those were in,” said Ellie Browne, CU Boulder chemistry professor, CIRES Fellow, and co-author of the study. “So they get replaced by something.” Measurement of aerosols led to a new and surprising discovery Using a nitrate chemical ionization mass spectrometer, which allows scientists to identify chemical compounds in the air, the team measured air at the agricultural site 24 hours a day for one month. As Katz cataloged the data, he documented the different isotopic patterns in the compounds. The compounds measured by the team had distinct patterns, and he noticed new patterns that he immediately identified as different from the known chemical compounds. With some additional research, he identified them as chlorinated paraffins found in MCCPs. Katz says the makeup of MCCPs are similar to PFAS, long-lasting toxic chemicals that break down slowly over time. Known as “forever chemicals,” their presence in soils recently led the Oklahoma Senate to ban biosolid fertilizer. Now that researchers know how to measure MCCPs, the next step might be to measure the pollutants at different times throughout the year to understand how levels change each season. Many unknowns surrounding MCCPs remain, and there’s much more to learn about their environmental impacts. “We identified them, but we still don’t know exactly what they do when they are in the atmosphere, and they need to be investigated further,” Katz said. “I think it’s important that we continue to have governmental agencies that are capable of evaluating the science and regulating these chemicals as necessary for public health and safety.” Reference: “Real-Time Measurements of Gas-Phase Medium-Chain Chlorinated Paraffins Reveal Daily Changes in Gas-Particle Partitioning Controlled by Ambient Temperature” by Daniel John Katz, Bri Dobson, Mitchell Alton, Harald Stark, Douglas R. Worsnop, Manjula R. Canagaratna and Eleanor C. Browne, 5 June 2025, ACS Environmental Au. DOI: 10.1021/acsenvironau.5c00038 Never miss a breakthrough: Join the SciTechDaily newsletter.

Cool Finds Archaeologists Stumble Onto Sprawling Ancient Roman Villa During Construction of a Road in France Located near Auxerre, the grand estate once possessed an exorbitant level of wealth, with thermal baths and heated floors Aerial view of the villa, with thermal baths at the bottom right, the garden and fountain in the center, and the agricultural fields expanding to the left Ch. Fouquin / INRAP In ancient times, all roads led to Rome—or so the saying goes. Nowadays, new roads can lead to Roman ruins. During construction on an alternative route to D606, a regional road just under two miles outside of Auxerre, in central France, salvage archaeologists unearthed a sprawling Roman villa complete with a stately garden, a fountain and an elaborate system of underfloor heating known as a hypocaust, according to a statement from the French National Institute for Preventive Archaeological Research (INRAP). While researchers have been aware of the ruins on the outskirts of the Gallo-Roman settlement of Autissiodorum (as Auxerre was once known) since the 19th century, previous excavations have been limited. The most recent dig, in 1966, found a 7,500-square-foot building with ten rooms and amenities that suggested its residents enjoyed great wealth and regional power. The site of Sainte-Nitasse, adjacent to a regional highway Ch. Fouquin / INRAP But until now, the true scale of the villa known as Sainte-Nitasse and its surrounding agricultural estates along the River Yonne was unclear. Archaeologists at INRAP have since discovered a 43,000-square-foot building thought to date to between the first and third centuries C.E. It suggests a previously unimagined level of grandeur. INRAP identifies the site as one of the “grand villas of Roman Gaul,” according to the statement. Grand villas are typified by their vast dimensions and sophisticated architectural style. They typically encompass both agricultural and residential portions, known in Latin as pars rustica and pars urbana, respectively. In the pars urbana, grand villas tend to feature stately construction materials like marble; extensive mosaics and frescoes; and amenities like private baths, fountains and gardens. So far, the excavations at Sainte-Nitasse have revealed all these features and more. The villa’s development is extensive. A 4,800-square-foot garden is enclosed by a fountain to the south and a water basin, or an ornamental pond, to the north. The hypocaust, an ancient system of central heating that circulated hot air beneath the floors of the house, signals a level of luxury atypical for rural estates in Roman Gaul. A section of the villa's hypocaust heating system, which circulated hot air beneath the floor Ch. Fouquin / INRAP “We can imagine it as an ‘aristocratic’ villa, belonging to someone with riches, responsibilities—perhaps municipal, given the proximity to Auxerre—a landowner who had staff on site,” Alexandre Burgevin, the archaeologist in charge of the excavations with INRAP, tells France Info’s Lisa Guyenne. Near the banks of the Yonne, a thermal bath site contains several pools where the landowner and his family bathed. On the other side of the garden, workers toiled in the fields of a massive agricultural estate. Aside from its size and amenities, the villa’s level of preservation also astounded archaeologists. “For a rural site, it’s quite exceptional,” Burgevin tells L’Yonne Républicaine’s Titouan Stücker. “You can walk on floors from the time period, circulate between rooms like the Gallo-Romans did.”Over time, Autissiodorum grew to become a major city along the Via Agrippa, eventually earning the honor of serving as a provincial Roman capital by the fourth century C.E. As Gaul began slipping away from the Roman Empire around the same time, the prominence of the city fluctuated. INRAP archaeologists speculate that the site was repurposed during medieval times, around the 13th century. Burgevin offers several explanations for why the site remained so well preserved in subsequent centuries. The humid conditions along the banks of the river might have prevented excess decay. Since this portion of the River Yonne wasn’t canalized until the 19th century, engineers may have already been aware of the presence of ruins. Or, perhaps the rubble of the villa created “bumpy,” intractable soil that was “not easy to pass over with a tractor,” he tells France Info. While the site will briefly open to the public on June 15 for European Archaeology Days, an annual event held at sites across the continent, excavations will continue until September, at which time construction on the road will resume. Much work is to be done, including filling in large gaps of the site’s chronology between the Roman and medieval eras. “We have well-built walls but few objects,” says Burgevin, per L’Yonne Républicaine. “It will be necessary to continue digging to understand better.” Get the latest stories in your inbox every weekday.

Fewer food crops Biofuels policy has been a failure for the climate, new report claims Report: An expansion of biofuels policy under Trump would lead to more greenhouse gas emissions. Georgina Gustin, Inside Climate News – Jun 14, 2025 7:10 am | 24 An ethanol production plant on March 20, 2024 near Ravenna, Nebraska. Credit: David Madison/Getty Images An ethanol production plant on March 20, 2024 near Ravenna, Nebraska. Credit: David Madison/Getty Images Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more This article originally appeared on Inside Climate News, a nonprofit, non-partisan news organization that covers climate, energy, and the environment. Sign up for their newsletter here. The American Midwest is home to some of the richest, most productive farmland in the world, enabling its transformation into a vast corn- and soy-producing machine—a conversion spurred largely by decades-long policies that support the production of biofuels. But a new report takes a big swing at the ethanol orthodoxy of American agriculture, criticizing the industry for causing economic and social imbalances across rural communities and saying that the expansion of biofuels will increase greenhouse gas emissions, despite their purported climate benefits. The report, from the World Resources Institute, which has been critical of US biofuel policy in the past, draws from 100 academic studies on biofuel impacts. It concludes that ethanol policy has been largely a failure and ought to be reconsidered, especially as the world needs more land to produce food to meet growing demand. “Multiple studies show that US biofuel policies have reshaped crop production, displacing food crops and driving up emissions from land conversion, tillage, and fertilizer use,” said the report’s lead author, Haley Leslie-Bole. “Corn-based ethanol, in particular, has contributed to nutrient runoff, degraded water quality and harmed wildlife habitat. As climate pressures grow, increasing irrigation and refining for first-gen biofuels could deepen water scarcity in already drought-prone parts of the Midwest.” The conversion of Midwestern agricultural land has been sweeping. Between 2004 and 2024, ethanol production increased by nearly 500 percent. Corn and soybeans are now grown on 92 and 86 million acres of land respectively—and roughly a third of those crops go to produce ethanol. That means about 30 million acres of land that could be used to grow food crops are instead being used to produce ethanol, despite ethanol only accounting for 6 percent of the country’s transportation fuel. The biofuels industry—which includes refiners, corn and soy growers and the influential agriculture lobby writ large—has long insisted that corn- and soy-based biofuels provide an energy-efficient alternative to fossil-based fuels. Congress and the US Department of Agriculture have agreed. The country’s primary biofuels policy, the Renewable Fuel Standard, requires that biofuels provide a greenhouse gas reduction over fossil fuels: The law says that ethanol from new plants must deliver a 20 percent reduction in greenhouse gas emissions compared to gasoline. In addition to greenhouse gas reductions, the industry and its allies in Congress have also continued to say that ethanol is a primary mainstay of the rural economy, benefiting communities across the Midwest. But a growing body of research—much of which the industry has tried to debunk and deride—suggests that ethanol actually may not provide the benefits that policies require. It may, in fact, produce more greenhouse gases than the fossil fuels it was intended to replace. Recent research says that biofuel refiners also emit significant amounts of carcinogenic and dangerous substances, including hexane and formaldehyde, in greater amounts than petroleum refineries. The new report points to research saying that increased production of biofuels from corn and soy could actually raise greenhouse gas emissions, largely from carbon emissions linked to clearing land in other countries to compensate for the use of land in the Midwest. On top of that, corn is an especially fertilizer-hungry crop requiring large amounts of nitrogen-based fertilizer, which releases huge amounts of nitrous oxide when it interacts with the soil. American farming is, by far, the largest source of domestic nitrous oxide emissions already—about 50 percent. If biofuel policies lead to expanded production, emissions of this enormously powerful greenhouse gas will likely increase, too. The new report concludes that not only will the expansion of ethanol increase greenhouse gas emissions, but it has also failed to provide the social and financial benefits to Midwestern communities that lawmakers and the industry say it has. (The report defines the Midwest as Illinois, Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Nebraska, North Dakota, Ohio, South Dakota, and Wisconsin.) “The benefits from biofuels remain concentrated in the hands of a few,” Leslie-Bole said. “As subsidies flow, so may the trend of farmland consolidation, increasing inaccessibility of farmland in the Midwest, and locking out emerging or low-resource farmers. This means the benefits of biofuels production are flowing to fewer people, while more are left bearing the costs.” New policies being considered in state legislatures and Congress, including additional tax credits and support for biofuel-based aviation fuel, could expand production, potentially causing more land conversion and greenhouse gas emissions, widening the gap between the rural communities and rich agribusinesses at a time when food demand is climbing and, critics say, land should be used to grow food instead. President Donald Trump’s tax cut bill, passed by the House and currently being negotiated in the Senate, would not only extend tax credits for biofuels producers, it specifically excludes calculations of emissions from land conversion when determining what qualifies as a low-emission fuel. The primary biofuels industry trade groups, including Growth Energy and the Renewable Fuels Association, did not respond to Inside Climate News requests for comment or interviews. An employee with the Clean Fuels Alliance America, which represents biodiesel and sustainable aviation fuel producers, not ethanol, said the report vastly overstates the carbon emissions from crop-based fuels by comparing the farmed land to natural landscapes, which no longer exist. They also noted that the impact of soy-based fuels in 2024 was more than $42 billion, providing over 100,000 jobs. “Ten percent of the value of every bushel of soybeans is linked to biomass-based fuel,” they said. Georgina Gustin, Inside Climate News 24 Comments

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Japanese architect Shigeru Ban has created the Blue Ocean Dome (BOD) for the Osaka-Kansai Expo 2025, addressing the urgent issue of marine plastic pollution and raising crucial awareness about it.Named Blue Ocean Dome, the pavilion stands out with its innovative design, comprising three distinct dome types: Dome A, Dome B, and Dome C. Each dome is specifically crafted to host captivating installations and dynamic exhibitions, promising an unforgettable experience for all visitors throughout the event. Image © Taiki FukaoThe project was commissioned by the Zero Emissions Research and Initiatives (ZERI), a global network of creative minds, seeking solutions to the ever increasing problems of the world.Rather than outright rejecting plastic, the pavilion inspires deep reflection on how we use and manage materials, highlighting our critical responsibility to make sustainable choices for the future.The BOD merges traditional and modern materials—like bamboo, paper, and carbon fiber reinforced plastic (CFRP)—to unlock new and innovative architectural possibilities.Dome A, serving as the striking entrance, is expertly crafted from laminated bamboo. This innovative design not only showcases the beauty of bamboo but also tackles the pressing issue of abandoned bamboo groves in Japan, which pose a risk to land stability due to their shallow root systems.Utilizing raw bamboo for structural purposes is often difficult; however, through advanced processing, it is transformed into thin, laminated boards that boast strength even greater than that of conventional wood. These boards have been skillfully fashioned into a remarkable 19-meter dome, drawing inspiration from traditional Japanese bamboo hats. This project brilliantly turns an environmental challenge into a sustainable architectural solution, highlighting the potential of bamboo as a valuable resource.Dome B stands as the central and largest structure of its kind, boasting a remarkable diameter of 42 meters. It is primarily constructed from Carbon Fiber Reinforced Polymer (CFRP), a cutting-edge material revered for its extraordinary strength-to-weight ratio—four times stronger than steel yet only one-fifth the weight. While CFRP is predominantly seen in industries such as aerospace and automotive due to its high cost, its application in architecture is pioneering.In this project, the choice of CFRP was not just advantageous; it was essential. The primary goal was to minimize the foundation weight on the reclaimed land of the Expo site, making sustainability a top priority. To mitigate the environmental consequences of deep foundation piles, the structure had to be lighter than the soil excavated for its foundation. CFRP not only met this stringent requirement but also ensured the dome's structural integrity, showcasing a perfect marriage of innovation and environmental responsibility.Dome C, with its impressive 19-meter diameter, is crafted entirely from paper tubes that are 100% recyclable after use. Its innovative design features a three-dimensional truss structure, connected by elegant wooden spheres, evoking the beauty of molecular structures.To champion sustainability and minimize waste following the six-month Expo, the entire BOD pavilion has been meticulously designed for effortless disassembly and relocation. It is anchored by a robust steel foundation system and boasts a modular design that allows it to be conveniently packed into standard shipping containers. After the Expo concludes, this remarkable pavilion will be transported to the Maldives, where it will be transformed into a stunning resort facility, breathing new life into its design and purpose.Recently, Shigeru Ban's Paper Log House was revealed at Philip Johnson's Glass House Venue. In addition, Ban installed his Paper Partition Shelters (PPS) for the victims of the Turkey-Syria earthquake in Mersin and Hatay provinces of Turkey.All images © Hiroyuki Hirai unless otherwise stated.> via Shigeru Ban Architects 

The desert that surrounds Taliesin West, Frank Lloyd Wright’s winter home and studio, is no stranger to camping. Which is perhaps why it is the perfect place to unveil the Airstream Frank Lloyd Wright Usonian Limited Edition Travel Trailer, a new collaboration between the architect’s eponymous foundation and the American travel trailer brand.When Wright arrived in the Sonoran Desert in December of 1937, he made two purchases. First, 600 acres of land, on which Taliesin West would eventually sit. Then, shortly after, a handful of tents for his apprentices to sleep in while they helped build the new property. Even once construction finished, it became a tradition that his disciples would build temporary shelters among the cacti, bushes, and sandy soil. “This was a camp, and Wright was moved by the way canvas from the tents diffused light. That’s what inspired the canvas roofs on Taliesin West today,” Sally Russel, the director of licensing at the Frank Lloyd Wright Foundation, said at a press briefing at Taliesin West about the trailer.You might also like: What Was It Like Living at Frank Lloyd Wright’s Taliesin West?The trailer door features a pattern called the Gordon Leaf motif, which was created by Taliesin apprentice Eugene Masselink. Photo: Andrew PielageCoincidentally, Airstream’s founder, Wally Byam, began designing trailers for people who didn’t like sleeping on the ground in tents—a sect his first wife belonged to. Nearly 100 years later, the Usonian trailer lets owners enjoy the desert (or any part of the world) Wright-style, while still taking advantage of modern comforts like a bed, shower, and kitchen. “I’ve been dropping the idea of a Frank Lloyd Wright trailer into the thought mill at Airstream for about 20 years,” Bob Wheeler, the president and CEO of Airstream, said at the briefing.The kitchen includes under cabinet lighting and warm, wood-toned cabinets. Photo: Andrew PielageInside the Frank Lloyd Wright AirstreamAt just over 28 feet long, the trailer is among the larger of Airstream’s offerings, which range from 16 to 33 feet. From the outside, the company’s instantly recognizable aluminum shell offers little evidence of the idiosyncrasy that’s on full display inside. But from the moment the door opens—which is printed with a leaf motif designed by a Taliesin apprentice—Wright’s influence is all encompassing.You might also like: 7 Stylish Mobile Homes Owned by Celebrities

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.

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

“Is that concrete all around, or is it in my head?” asked Ian Hunter in “All the Young Dudes,” the song David Bowie wrote for Mott the Hoople in 1972. Concrete is all around us, and we haven’t quite wrapped our heads around it. It’s one of the indispensable materials of modernity; as we try to decarbonize the built environment, it’s part of the problem, and innovations in its composition may become part of the solution. Understanding its history more clearly, the Skyscraper Museum’s new exhibition in Manhattan implies, just might help us employ it better. Concrete is “the second most used substance in the world, after water,” the museum’s founder/director/curator Carol Willis told AN during a recent visit. For plasticity, versatility, and compressive strength, reinforced concrete is hard to beat, though its performance is more problematic when assessed by the metric of embodied and operational carbon, a consideration the exhibition acknowledges up front. In tall construction, concrete has become nearly hegemonic, yet its central role, contend Willis and co-curator Thomas Leslie, formerly of Foster + Partners and now a professor at the University of Illinois, Urbana-Champaign, is underrecognized by the public and by mainstream architectural history. The current exhibition aims to change that perception. The Skyscraper Museum in Lower Manhattan features an exhibition, The Modern Concrete Skyscraper, which examines the history of material choices in building tall towers. (Courtesy the Skyscraper Museum) The Modern Concrete Skyscraper examines the history of tall towers’ structural material choices, describing a transition from the early dominance of steel frames to the contemporary condition, in which most large buildings rely on concrete. This change did not happen instantly or for any single reason but through a combination of technical and economic factors, including innovations by various specialists, well-recognized and otherwise; the availability of high-quality limestone deposits near Chicago; and the differential development of materials industries in nations whose architecture grew prominent in recent decades. As supertalls reach ever higher—in the global race for official height rankings by the Council on Tall Buildings and Urban Habitat (CTBUH) and national, corporate, or professional bragging rights—concrete’s dominance may not be permanent in that sector, given the challenge of pumping the material beyond a certain height. (The 2,717-foot Burj Khalifa, formerly Burj Dubai, uses concrete up to 1,987 and steel above that point; Willis quotes SOM’s William Baker describing it as “the tallest steel building with a concrete foundation of 156 stories.”) For the moment, however, concrete is ahead of its chief competitors, steel and (on a smaller scale) timber. Regardless of possible promotional inferences, Willis said, “we did not work with the industry in any way for this exhibition.” “The invention of steel and the grid of steel and the skeleton frame is only the first chapter of the history of the skyscraper,” Willis explained. “The second chapter, and the one that we’re in now, is concrete. Surprisingly, no one had ever told that story of the skyscraper today with a continuous narrative.” The exhibition traces the use of concrete back to the ancient Roman combination of aggregate and pozzolana—the chemical formula for which was “largely lost with the fall of the Roman Empire,” though some Byzantine and medieval structures approximated it. From there, the show explores comparable materials’ revival in 18th-century England, the patenting of Portland cement by Leeds builder Joseph Aspdin in 1824, the proof-of-concept concrete house by François Coignet in 1856, and the pivotal development of rebar in the mid-19th century, with overdue attention to Ernest Ransome’s 1903 Ingalls Building in Cincinnati, then the world’s tallest concrete building at 15 stories and arguably the first concrete skyscraper. The exhibition includes a timeline that depicts concrete’s origins in Rome to its contemporary use in skyscraper construction. (Courtesy the Skyscraper Museum) Baker’s lectures, Willis reported, sometimes pose a deceptively simple question: “‘What is a skyscraper?’ In 1974, when the World Trade Center and Sears Tower are just finished, you would say it’s a very tall building that is built of steel, an office building in North America. But if you ask that same question today, the answer is: It’s a building that is mixed-use, constructed of concrete, and [located] in Asia or the Middle East.” The exhibition organizes the history of concrete towers by eras of engineering innovation, devoting special attention to the 19th- and early-20th-century “patent era” of Claude Allen Porter Turner (pioneer in flat-slab flooring and mushroom columns) and Henry Chandlee Turner (founder of Turner Construction), Ransome (who patented twisted-iron rebar), and François Hennebique (known for the re-inforced concrete system exemplified by Liverpool’s Royal Liver Building, the world’s tallest concrete office building when completed in 1911). In the postwar era, “concrete comes out onto the surface [as] both a structural material and aesthetic.” Brutalism, perhaps to some observers’ surprise, “does not figure very large in high-rise design,” Willis said, except for Paul Rudolph’s Tracey Towers in the Bronx. The exhibition, however, devotes considerable attention to the work of Pier Luigi Nervi, Bertrand Goldberg (particularly Marina City), and SOM’s Fazlur Khan, pioneer of the structural tube system in the 1960s and 1970s—followed by the postmodernist 1980s, when concrete could express either engineering values or ornamentation. The exhibition highlights a number of concrete towers, including Paul Rudolph’s Tracey Towers in the Bronx. (Courtesy the Skyscraper Museum) “In the ’90s, there were material advances in engineering analysis and computerization that helped to predict performance, and so buildings can get taller and taller,” Willis said. The current era, if one looks to CTBUH rankings, is dominated by the supertalls seen in Dubai, Shanghai, and Kuala Lumpur, after the Petronas Towers (1998) “took the title of world’s tallest building from North America for the first time and traumatized everybody about that.” The previous record holder, Chicago’s Sears (now Willis) Tower, comprised steel structural tubes on concrete caissons; with Petronas, headquarters of Malaysia’s national petroleum company of that name, a strong concrete industry was represented but a strong national steel industry was lacking, and as Willis frequently says, form follows finances. In any event, by the ’90s concrete was already becoming the standard material for supertalls, particularly on soft-soiled sites like Shanghai, where its water resistance and compressive strength are well suited to foundation construction. Its plasticity is also well suited to complex forms like the triangular Burj, Kuala Lumpur’s Merdeka 118, and (if eventually completed) the even taller Jeddah Tower, designed to “confuse the wind,” shed vortices, and manage wind forces. Posing the same question Louis Kahn asked about the intentions of a brick, Willis said, with concrete “the answer is: anything you want.” The exhibition is front-loaded with scholarly material, presenting eight succinct yet informative wall texts on the timeline of concrete construction. The explanatory material is accompanied by ample photographs as well as structural models on loan from SOM, Pelli Clarke & Partners, and other firms. Some materials are repurposed from the museum’s previous shows, particularly Supertall! (2011–12) and Sky High and the Logic of Luxury (2013–14). The models allow close examination of the Burj Khalifa, Petronas Towers, Jin Mao Tower, Merdeka 118, and others, including two unbuilt Chicago projects that would have exceeded 2,000 feet: the Miglin-Beitler Skyneedle (Cesar Pelli/Thornton Tomasetti) and 7 South Dearborn (SOM). The Burj, Willis noted, was all structure and no facade for a time: When its curtain-wall manufacturer, Schmidlin, went bankrupt in 2006, it “ended up going to 100 stories without having a stitch of glass on it,” temporarily becoming a “1:1 scale model of the structural system up to 100 stories.” Its prominence justifies its appearance here in two models, including one from RWDI’s wind-tunnel studies. Eero Saarinen’s only skyscraper, built for CBS in 1965 and also known as “Black Rock,” under construction in New York City. (Courtesy Eero Saarinen Collection, Manuscripts, and Archives, Yale University Library) The exhibition opened in March, with plans to stay up at least through October (Willis prefers to keep the date flexible), with accompanying lectures and panels to be announced on the museum’s website (skyscraper.org). Though the exhibition’s full textual and graphic content is available online, the physical models alone are worth a trip to the Battery Park City headquarters. Intriguing questions arise from the exhibition without easy answers, setting the table for lively discussion and debate. One is whether the patenting of innovations like Ransome bar and the Système Hennebique incentivized technological progress or hindered useful technology transfer. Willis speculated, “Did the fact that there were inventions and patents mean that competition was discouraged, that the competition was only in the realm of business, rather than advancing the material?” A critical question is whether research into the chemistry of concrete, including MIT’s 2023 report on the self-healing properties of Roman pozzolana and proliferating claims about “green concrete” using alternatives to Portland cement, can lead to new types of the material with improved durability and lower emissions footprints. This exhibition provides a firm foundation in concrete’s fascinating history, opening space for informed speculation about its future. Bill Millard is a regular contributor to AN.

Drones Set To Deliver Benefits for Labor-Intensive Industries: Forrester By John P. Mello Jr. June 3, 2025 5:00 AM PT ADVERTISEMENT Quality Leads That Turn Into Deals Full-service marketing programs from TechNewsWorld deliver sales-ready leads. Segment by geography, industry, company size, job title, and more. Get Started Now. Aerial drones are rapidly assuming a key role in the physical automation of business operations, according to a new report by Forrester Research. Aerial drones power airborne physical automation by addressing operational challenges in labor-intensive industries, delivering efficiency, intelligence, and experience, explained the report written by Principal Analyst Charlie Dai with Frederic Giron, Merritt Maxim, Arjun Kalra, and Bill Nagel. Some industries, like the public sector, are already reaping benefits, it continued. The report predicted that drones will deliver benefits within the next two years as technologies and regulations mature. It noted that drones can help organizations grapple with operational challenges that exacerbate risks and inefficiencies, such as overreliance on outdated, manual processes, fragmented data collection, geographic barriers, and insufficient infrastructure. Overreliance on outdated manual processes worsens inefficiencies in resource allocation and amplifies safety risks in dangerous work environments, increasing operational costs and liability, the report maintained. “Drones can do things more safely, at least from the standpoint of human risk, than humans,” said Rob Enderle, president and principal analyst at the Enderle Group, an advisory services firm, in Bend, Ore. “They can enter dangerous, exposed, very high-risk and even toxic environments without putting their operators at risk,” he told TechNewsWorld. “They can be made very small to go into areas where people can’t physically go. And a single operator can operate several AI-driven drones operating autonomously, keeping staffing levels down.” Sensor Magic “The magic of the drone is really in the sensor, while the drone itself is just the vehicle that holds the sensor wherever it needs to be,” explained DaCoda Bartels, senior vice president of operations with FlyGuys, a drone services provider, in Lafayette, La. “In doing so, it removes all human risk exposure because the pilot is somewhere safe on the ground, sending this sensor, which is, in most cases, more high-resolution than even a human eye,” he told TechNewsWorld. “In essence, it’s a better data collection tool than if you used 100 people. Instead, you deploy one drone around in all these different areas, which is safer, faster, and higher resolution.” Akash Kadam, a mechanical engineer with Caterpillar, maker of construction and mining equipment, based in Decatur, Ill., explained that drones have evolved into highly functional tools that directly respond to key inefficiencies and threats to labor-intensive industries. “Within the manufacturing and supply chains, drones are central to optimizing resource allocation and reducing the exposure of humans to high-risk duties,” he told TechNewsWorld. “Drones can be used in factory environments to automatically inspect overhead cranes, rooftops, and tight spaces — spaces previously requiring scaffolding or shutdowns, which carry both safety and cost risks,” he said. “A reduction in downtime, along with no requirement for manual intervention in hazardous areas, is provided through this aerial inspection by drones.” “In terms of resource usage, drones mounted with thermal cameras and tools for acquiring real-time data can spot bottlenecks, equipment failure, or energy leakage on the production floor,” he continued. “This can facilitate predictive maintenance processes and [optimal] usage of energy, which are an integral part of lean manufacturing principles.” Kadam added that drones provide accurate field mapping and multispectral imaging in agriculture, enabling the monitoring of crop health, soil quality, and irrigation distribution. “Besides the reduction in manual scouting, it ensures more effective input management, which leads to more yield while saving resources,” he observed. Better Data Collection The Forrester report also noted that drones can address problems with fragmented data collection and outdated monitoring systems. “Drones use cameras and sensors to get clear, up-to-date info,” said Daniel Kagan, quality manager at Rogers-O’Brien Construction, a general contractor in Dallas. “Some drones even make 3D maps or heat maps,” he told TechNewsWorld. “This helps farmers see where crops need more water, stores check roof damage after a storm, and builders track progress and find delays.” “The drone collects all this data in one flight, and it’s ready to view in minutes and not days,” he added. Dean Bezlov, global head of business development at MYX Robotics, a visualization technology company headquartered in Sofia, Bulgaria, added that drones are the most cost and time-efficient way to collect large amounts of visual data. “We are talking about two to three images per second with precision and speed unmatched by human-held cameras,” he told TechNewsWorld. “As such, drones are an excellent tool for ‘digital twins’ — timestamps of the real world with high accuracy which is useful in industries with physical assets such as roads, rail, oil and gas, telecom, renewables and agriculture, where the drone provides a far superior way of looking at the assets as a whole,” he said. Drone Adoption Faces Regulatory Hurdles While drones have great potential for many organizations, they will need to overcome some challenges and barriers. For example, Forrester pointed out that insurers deploy drones to evaluate asset risks but face evolving privacy regulations and gaps in data standardization. Media firms use drones to take cost-effective, cinematic aerial footage, but face strict regulations, it added, while in urban use cases like drone taxis and cargo transport remain experimental due to certification delays and airspace management complexities. “Regulatory frameworks, particularly in the U.S., remain complex, bureaucratic, and fragmented,” said Mark N. Vena, president and principal analyst with SmartTech Research in Las Vegas. “The FAA’s rules around drone operations — especially for flying beyond visual line of sight [BVLOS] — are evolving but still limit many high-value use cases.” “Privacy concerns also persist, especially in urban areas and sectors handling sensitive data,” he told TechNewsWorld. “For almost 20 years, we’ve been able to fly drones from a shipping container in one country, in a whole other country, halfway across the world,” said FlyGuys’ Bartels. “What’s limiting the technology from being adopted on a large scale is regulatory hurdles over everything.” Enderle added that innovation could also be a hangup for organizations. “This technology is advancing very quickly, making buying something that isn’t instantly obsolete very difficult,” he said. “In addition, there are a lot of drone choices, raising the risk you’ll pick one that isn’t ideal for your use case.” “We are still at the beginning of this trend,” he noted. “Robotic autonomous drones are starting to come to market, which will reduce dramatically the need for drone pilots. I expect that within 10 years, we’ll have drones doing many, if not most, of the dangerous jobs currently being done by humans, as robotics, in general, will displace much of the labor force.” John P. Mello Jr. has been an ECT News Network reporter since 2003. His areas of focus include cybersecurity, IT issues, privacy, e-commerce, social media, artificial intelligence, big data and consumer electronics. He has written and edited for numerous publications, including the Boston Business Journal, the Boston Phoenix, Megapixel.Net and Government Security News. Email John. Leave a Comment Click here to cancel reply. Please sign in to post or reply to a comment. New users create a free account. Related Stories More by John P. Mello Jr. view all More in Emerging Tech