By TREVOR HOGG Images courtesy of Warner Bros. Pictures. Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon. “[A]s the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” —Talia Finlayson, Creative Technologist, Disguise Interior and exterior environments had to be created, such as the shop owned by Steve (Jack Black). “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.” A virtual exploration of Steve’s shop in Midport Village. Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.” “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” —Laura Bell, Creative Technologist, Disguise Among the buildings that had to be created for Midport Village was Steve’s (Jack Black) Lava Chicken Shack. Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.” Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younis [VAD Art Director] adapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!” A virtual study and final still of the cast members standing outside of the Lava Chicken Shack. “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.” —Talia Finlayson, Creative Technologist, Disguise The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.” Virtually conceptualizing the layout of Midport Village. Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay George [VP Tech] and I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.” An example of the virtual and final version of the Woodland Mansion. “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.” —Laura Bell, Creative Technologist, Disguise Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.” Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment. Doing a virtual scale study of the Mountainside. Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.” Piglots cause mayhem during the Wingsuit Chase. Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods. “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols [VAD Supervisor], Pat Younis, Jake Tuck [Unreal Artist] and Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.”

If you’ve ever had an upstairs neighbor, you’re probably familiar with the sounds of echoing footsteps, resonant laughing, glass breaking, and the muffled weight of too many voices speaking atop one another during a late-night gathering. In a short film titled “Snovník,” or “Dreamer,” Czech Rpublic-based filmmaker Laura Boráros introduces a bright red protagonist who is unable to sleep when he can’t ignore the rowdiness resonating from above his bedroom ceiling. Taking matters into his own hands, he makes his way upstairs and knocks on his neighbor’s door—only to become engulfed by the fun himself by peering into a small keyhole. Boráros immerses the audience with a flurry with bold colors, painted and snipped into a mirage of shapes and scenes. Using stop-motion, the animation strikes a mechanical yet fluid tone, creating a surreal environment that accurately captures the experience of the very fever dream “Snovník” depicts. Watch the full film on Vimeo, and get a peek at the artist’s process on Instagram. Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Laura Boráros Dances Between Dreams and Reality in a Surreal Short Film appeared first on Colossal.

With its comfortable, laid-back decorating vibes, no room says “come and sit awhile” or “aah, I’m home” quite like a beautifully inviting rustic and cozy living room. Whether you live in a farmhouse, cabin, cottage, a new-build in the suburbs, or even a city apartment—rustic living room ideas bring a certain homespun style that ranges from downright traditional to modern and chic.Here at Country Living, we’ve discovered that the very best classic and country rustic living room ideas begin with good ol’ tried-and-true character-rich decor. We're talking reclaimed wood, stone focal points (there are so many rustic style living room ideas with cozy fireplaces!), and a casual mix of natural textures and materials (think wood and woven furniture, perfectly worn leather sofas, vintage wool rugs laid atop natural sisal). More modern rustic living room ideas include a less-is-more approach with calming neutral color palettes and clean-lined furniture. Paint colors, fabrics, and accessories in grays, browns, and greens pulled from nature make for the just-right warmth—all simple rustic living room ideas at their finest. So relax and sink into our best country rustic living room ideas from some of our all-time favorite Country Living house tours!Here are more creative ways to make your home feel rustic and cozy:1Fill the Room With CharacterSean LitchfieldFrom floor to ceiling and wall to wall, this rustic living room packs in loads of character. Comfy leather and upholstered furniture, a vintage patterned rug, and a blue and yellow painted cupboard found on Facebook marketplace sit well together against a backdrop of rustic wood.2Source Local MaterialsLincoln BarbourIn this beautifully rustic Mississippi barn. the owners sourced local wood materials from a nearby military depot to clad the walls and ceiling, bringing maximum warmth and texture. Large windows let in loads of natural light during the day, while a chandelier and mounted sconces make for a romantic glow come nighttime.RELATED: These Wood Ceiling Ideas Bring Country Charm to Any RoomTOUR THE ENTIRE HOUSEAdvertisement - Continue Reading Below3Pick a Cozy Paint ColorAlpha Smoot for Country LivingThis cozy living room has a built-in warmth, thanks to saturated navy blue walls (“It’s sort of a gentleman’s navy,” says homeowner Justin Reis). Its handsomely worn floorboards, doors, mantel, and warming cabinet above the fireplace complement the dark blue beautifully. The fire and candlelight emit a magical glow.Get the Look:Wall Paint Color: Dark Navy by BehrTOUR THE ENTIRE HOUSE4Lay a Comfy RugSara Ligorria-TrampWhat's cozier than a roaring fire on a cool night? A soft, fuzzy rug in front of it! The fireplace features mantel made from a tree felled on-site and white Zellige tile. The artwork is a vintage find paired with a contemporary painting.TOUR THE ENTIRE HOUSEAdvertisement - Continue Reading Below5Embrace Log Cabin DetailsLisa FloodIn this stunning Wyoming log cabin, the family usually gathers in the wonderfully rustic great room. Its cozy factor is off the charts, thanks country decorating classics like unpainted log walls and beams, a woodburning stove, textural rugs, and a sweet swing that hangs from the ceiling. Get the Look:Swing: The Oak & Rope CompanyTOUR THE ENTIRE HOUSE6Wrap a Room in WoodMarta Xochilt PerezIn this rustic and cozy cabin, an original fieldstone fireplace creates the warmest welcome. A pair of cushy leather sofas piled with pillows blankets face off, anchoring the wood-wrapped space, and providing the perfect perches for game night. TOUR THE ENTIRE HOUSE Advertisement - Continue Reading Below7Build an Rustic Stone Accent WallMarta Xochilt Perez for Country LivingThis impressive wall of moss rock surrounds the fireplace. Chiseled stone corbels provide mantel supports. On cool nights, you can count on a roaring fire! Throughout the home, carved timbers, rough-cut stone, and walls of windows reflect a combination of the homeowners’ Scandinavian heritage and Irish roots.TOUR THE ENTIRE HOUSE8Go Big in a Small SpaceEmily FollowillThis tiny living room is packed with so much character. Designer James Farmer added decorative oomph with a large tobacco basket, an art-forward fireplace screen, and natural design elements like plants. Details like arranging the paneling on the diagonal to “point” upward enhance the vertical space. Says James, “Tall ceilings, bold plant arrangements, and large light fixtures have even more impact in a small home. Play with scale to find what feels right.” Advertisement - Continue Reading Below9Mix and Match FurnitureLincoln BarbourFor the ultimate collected-over-time vibe, forgo matching furniture. Here, a wingback chair and a spool chair look right at home in this living room. Other period-appropriate decor found in this 100-year-old home: painted paneled walls, exposed ceiling beams, and a rustic mantel wood.TOUR THE ENTIRE HOUSE 10Let There Be Light (Wood)Christopher DibbleWe put this family room in the “rustic light” category. For a top-to-bottom cabin-like feel, designer Max Humphrey wrapped the space in eight-foot knotty pine planks on the ceiling and walls. A clear coat of polyurethane protects the wood while letting its natural color shine through (a stain would’ve darkened the room). Colorful national park posters, globes, camp grounds signage, and a linen modern sectional create a hip yet homey living space.Advertisement - Continue Reading Below11Customize a Focal PointHomeowners Victoria and Marcus Ford’s vision of a custom wood fireplace surround included open shelves and striking floor-to-ceiling firewood nooks (our favorite detail!). “We figured go big or go home,” says Victoria. Brass sconces provide a library-like touch, and a custom frame has the TV looking picture-perfect above the mantel.Get the Look:Wall and Trim Paint: Endless Sea by Sherwin-WilliamsCeiling Paint: Oyster White by Sherwin-WilliamsTOUR THE ENTIRE SPACE12Incorporate Rustic Furniture FindsAnnie SchlechterTopped with a plaid cushion, a rustic yellow daybed nestled in the corner makes for the coziest spot to take in lake views. The 22-foot cathedral ceilings are clad in wood, warming up this lofty open-concept space designed by Amy Meier that also includes a dining area and kitchen.TOUR THE ENTIRE HOUSE Advertisement - Continue Reading Below13Paint the FloorsDane Tashima for Country LivingWhile the homeowners of this New Jersey dairy barn were able to salvage the structure’s original knotty beams, the walls and floors in the soaring 25-foot-high space needed to be replaced. Simple poplar planks painted white got the job done affordably. A new cast-iron pellet stove warms the space with a rustic, authentic look. Get the Look:Wall and Floor Paint Color: Alabaster by Sherwin-WilliamsTOUR THE ENTIRE HOUSE14Tell the BackstorySean LitchfieldWhere possible, the original Eastern Hemlock posts and beams of this 1819 Maine barn were carefully preserved when, in 1999, the structure was disassembled and then reassembled several miles down the road. Hand-split slabs of Maine granite (some from the barn's original foundation) and brick were used to fabricate the massive woodburning fireplace. The walls and floors are lined in rough-hewn, nonuniform wood planks. The sofa table, made from an old piece of barn wood found on the farm, shows off collections of books, ceramics, and shells.Advertisement - Continue Reading Below15Use Old Materials for New BuildsBrie WilliamsIn this new build, reclaimed materials create instant patina for a warm and welcoming family room. Here’s what makes it rustic: reclaimed beams came from an 1800s mill in Massachusetts mill; log skins salvaged from old Midwest barns; North Carolina stone on the fireplace. A soft palette for the furniture and window treatments was inspired by the antique rug that covers the ottoman.TOUR THE ENTIRE HOUSE 16Balance Natural Wood with ColorNick JohnsonA pretty blue on the fireplace and in the fabrics balances the overall rustic vibe in this country house. “I wanted this room to feel rich and cozy and warm—the kind of place you’d sit by the fire to read a book,” says Erica Harrison of Detroit-based design firm Hudson and Sterling.TOUR THE ENTIRE HOUSEAdvertisement - Continue Reading Below17Make It WorkHelen NormanDespite the renovation challenges, this cozy sitting area situated just off the open kitchen works. The fireplace, which had to be rebuilt from the inside, was covered in stucco to balance all the exposed brick that was discovered underneath damaged drywall. For attic access, a ladder that was found in a barn on the property gets the job done in lieu of stairs. On the other side of the fireplace, a sturdy wooden bookshelf replaces an existing one that was crumbling.18Paint It WhiteZIO AND SONSFor the ultimate modern farmhouse vibe, start with an all-white palette, like in this home of designer Anthony D’Argenzio. This allows you to layer in character-rich architectural elements, like wide-planked wood floors and ceiling beams. A comfy sectional piled with pillows balances perfectly with hard elements, like the wood-and-iron coffee table, handmade oak stump side table, and a round iron chandelier. The hanging chair in the corner provides a wink to this serene design. RELATED: The Best Warm White Paint Colors For Every Room in Your HouseAdvertisement - Continue Reading Below19Leave Materials NaturalJames MerrellRustic meets cozy in this cabin that features walls constructed of hand-hewn logs, a stone fireplace, exposed ceiling beams, and a pair of comfy armchairs. Leaving all materials in their natural finish and unpainted contributes to the overall homespun feel.RELATED: The Best Places to Find or Buy Reclaimed Wood Near You20Choose Neutral FurnishingsSeth SmootIn this California living room, a comfortable collection of neutral furnishings complements the home’s rustic redwood walls. The solid sofa and barrel chairs that are upholstered in linen leave room for visual delights, like the wicker and fringe lamps, an antique rug, a patterned ottoman, and piles of pillows.Jennifer KopfJennifer Kopf is the Executive Editor of Country Living. She also covers antiques and collecting.Amy MitchellManaging EditorAmy Mitchell is the managing editor for VERANDA and Country Living, where she writes articles on a variety of topics—decorating and design, gardens, and holidays. Amy’s experience in the shelter magazine category spans more than 20 years, as she’s previously held positions at Coastal Living and Cottage Living. Her personal pursuits include cooking, gardening, and hunting her favorite tag sale spots for the next piece of Pyrex for her prized collection.

If you’ve ever flown through outer space, at least while watching a documentary or a science fiction film, you’ve seen how artists turn astronomical findings into stunning visuals. But in the process of visualizing data for their latest planetarium show, a production team at New York’s American Museum of Natural History made a surprising discovery of their own: a trillion-and-a-half mile long spiral of material drifting along the edge of our solar system. “So this is a really fun thing that happened,” says Jackie Faherty, the museum’s senior scientist. Last winter, Faherty and her colleagues were beneath the dome of the museum’s Hayden Planetarium, fine-tuning a scene that featured the Oort cloud, the big, thick bubble surrounding our Sun and planets that’s filled with ice and rock and other remnants from the solar system’s infancy. The Oort cloud begins far beyond Neptune, around one and a half light years from the Sun. It has never been directly observed; its existence is inferred from the behavior of long-period comets entering the inner solar system. The cloud is so expansive that the Voyager spacecraft, our most distant probes, would need another 250 years just to reach its inner boundary; to reach the other side, they would need about 30,000 years.  The 30-minute show, Encounters in the Milky Way, narrated by Pedro Pascal, guides audiences on a trip through the galaxy across billions of years. For a section about our nascent solar system, the writing team decided “there’s going to be a fly-by” of the Oort cloud, Faherty says. “But what does our Oort cloud look like?”  To find out, the museum consulted astronomers and turned to David Nesvorný, a scientist at the Southwest Research Institute in San Antonio. He provided his model of the millions of particles believed to make up the Oort cloud, based on extensive observational data. “Everybody said, go talk to Nesvorný. He’s got the best model,” says Faherty. And “everybody told us, ‘There’s structure in the model,’ so we were kind of set up to look for stuff,” she says.  The museum’s technical team began using Nesvorný’s model to simulate how the cloud evolved over time. Later, as the team projected versions of the fly-by scene into the dome, with the camera looking back at the Oort cloud, they saw a familiar shape, one that appears in galaxies, Saturn’s rings, and disks around young stars. “We’re flying away from the Oort cloud and out pops this spiral, a spiral shape to the outside of our solar system,” Faherty marveled. “A huge structure, millions and millions of particles.” She emailed Nesvorný to ask for “more particles,” with a render of the scene attached. “We noticed the spiral of course,” she wrote. “And then he writes me back: ‘what are you talking about, a spiral?’”  While fine-tuning a simulation of the Oort cloud, a vast expanse of ice material leftover from the birth of our Sun, the ‘Encounters in the Milky Way’ production team noticed a very clear shape: a structure made of billions of comets and shaped like a spiral-armed galaxy, seen here in a scene from the final Space Show (curving, dusty S-shape behind the Sun) [Image: © AMNH] More simulations ensued, this time on Pleiades, a powerful NASA supercomputer. In high-performance computer simulations spanning 4.6 billion years, starting from the Solar System’s earliest days, the researchers visualized how the initial icy and rocky ingredients of the Oort cloud began circling the Sun, in the elliptical orbits that are thought to give the cloud its rough disc shape. The simulations also incorporated the physics of the Sun’s gravitational pull, the influences from our Milky Way galaxy, and the movements of the comets themselves.  In each simulation, the spiral persisted. “No one has ever seen the Oort structure like that before,” says Faherty. Nesvorný “has a great quote about this: ‘The math was all there. We just needed the visuals.’”  An illustration of the Kuiper Belt and Oort Cloud in relation to our solar system. [Image: NASA] As the Oort cloud grew with the early solar system, Nesvorný and his colleagues hypothesize that the galactic tide, or the gravitational force from the Milky Way, disrupted the orbits of some comets. Although the Sun pulls these objects inward, the galaxy’s gravity appears to have twisted part of the Oort cloud outward, forming a spiral tilted roughly 30 degrees from the plane of the solar system. “As the galactic tide acts to decouple bodies from the scattered disk it creates a spiral structure in physical space that is roughly 15,000 astronomical units in length,” or around 1.4 trillion miles from one end to the other, the researchers write in a paper that was published in March in the Astrophysical Journal. “The spiral is long-lived and persists in the inner Oort Cloud to the present time.” “The physics makes sense,” says Faherty. “Scientists, we’re amazing at what we do, but it doesn’t mean we can see everything right away.” It helped that the team behind the space show was primed to look for something, says Carter Emmart, the museum’s director of astrovisualization and director of Encounters. Astronomers had described Nesvorný’s model as having “a structure,” which intrigued the team’s artists. “We were also looking for structure so that it wouldn’t just be sort of like a big blob,” he says. “Other models were also revealing this—but they just hadn’t been visualized.” The museum’s attempts to simulate nature date back to its first habitat dioramas in the early 1900s, which brought visitors to places that hadn’t yet been captured by color photos, TV, or the web. The planetarium, a night sky simulator for generations of would-be scientists and astronauts, got its start after financier Charles Hayden bought the museum its first Zeiss projector. The planetarium now boasts one of the world’s few Zeiss Mark IX systems. Still, these days the star projector is rarely used, Emmart says, now that fulldome laser projectors can turn the old static starfield into 3D video running at 60 frames per second. The Hayden boasts six custom-built Christie projectors, part of what the museum’s former president called “the most advanced planetarium ever attempted.”  In about 1.3 million years, the star system Gliese 710 is set to pass directly through our Oort Cloud, an event visualized in a dramatic scene in ‘Encounters in the Milky Way.’ During its flyby, our systems will swap icy comets, flinging some out on new paths. [Image: © AMNH] Emmart recalls how in 1998, when he and other museum leaders were imagining the future of space shows at the Hayden—now with the help of digital projectors and computer graphics—there were questions over how much space they could try to show. “We’re talking about these astronomical data sets we could plot to make the galaxy and the stars,” he says. “Of course, we knew that we would have this star projector, but we really wanted to emphasize astrophysics with this dome video system. I was drawing pictures of this just to get our heads around it and noting the tip of the solar system to the Milky Way is about 60 degrees. And I said, what are we gonna do when we get outside the Milky Way?’ “Then [planetarium’s director] Neil Degrasse Tyson “goes, ‘whoa, whoa, whoa, Carter, we have enough to do. And just plotting the Milky Way, that’s hard enough.’ And I said, ‘well, when we exit the Milky Way and we don’t see any other galaxies, that’s sort of like astronomy in 1920—we thought maybe the entire universe is just a Milky Way.'” “And that kind of led to a chaotic discussion about, well, what other data sets are there for this?” Emmart adds. The museum worked with astronomer Brent Tully, who had mapped 3500 galaxies beyond the Milky Way, in collaboration with the National Center for Super Computing Applications. “That was it,” he says, “and that seemed fantastical.” By the time the first planetarium show opened at the museum’s new Rose Center for Earth and Space in 2000, Tully had broadened his survey “to an amazing” 30,000 galaxies. The Sloan Digital Sky Survey followed—it’s now at data release 18—with six million galaxies. To build the map of the universe that underlies Encounters, the team also relied on data from the European Space Agency’s space observatory, Gaia. Launched in 2013 and powered down in March of this year, Gaia brought an unprecedented precision to our astronomical map, plotting the distance between 1.7 billion stars. To visualize and render the simulated data, Jon Parker, the museum’s lead technical director, relied on Houdini, a 3D animation tool by Toronto-based SideFX. The goal is immersion, “whether it’s in front of the buffalo downstairs, and seeing what those herds were like before we decimated them, to coming in this room and being teleported to space, with an accurate foundation in the science,” Emmart says. “But the art is important, because the art is the way to the soul.”  The museum, he adds, is “a testament to wonder. And I think wonder is a gateway to inspiration, and inspiration is a gateway to motivation.” Three-D visuals aren’t just powerful tools for communicating science, but increasingly crucial for science itself. Software like OpenSpace, an open source simulation tool developed by the museum, along with the growing availability of high-performance computing, are making it easier to build highly detailed visuals of ever larger and more complex collections of data. “Anytime we look, literally, from a different angle at catalogs of astronomical positions, simulations, or exploring the phase space of a complex data set, there is great potential to discover something new,” says Brian R. Kent, an astronomer and director of science communications at National Radio Astronomy Observatory. “There is also a wealth of astronomics tatical data in archives that can be reanalyzed in new ways, leading to new discoveries.” As the instruments grow in size and sophistication, so does the data, and the challenge of understanding it. Like all scientists, astronomers are facing a deluge of data, ranging from gamma rays and X-rays to ultraviolet, optical, infrared, and radio bands. Our Oort cloud (center), a shell of icy bodies that surrounds the solar system and extends one-and-a-half light years in every direction, is shown in this scene from ‘Encounters in the Milky Way’ along with the Oort clouds of neighboring stars. The more massive the star, the larger its Oort cloud [Image: © AMNH ] “New facilities like the Next Generation Very Large Array here at NRAO or the Vera Rubin Observatory and LSST survey project will generate large volumes of data, so astronomers have to get creative with how to analyze it,” says Kent.  More data—and new instruments—will also be needed to prove the spiral itself is actually there: there’s still no known way to even observe the Oort cloud.  Instead, the paper notes, the structure will have to be measured from “detection of a large number of objects” in the radius of the inner Oort cloud or from “thermal emission from small particles in the Oort spiral.”  The Vera C. Rubin Observatory, a powerful, U.S.-funded telescope that recently began operation in Chile, could possibly observe individual icy bodies within the cloud. But researchers expect the telescope will likely discover only dozens of these objects, maybe hundreds, not enough to meaningfully visualize any shapes in the Oort cloud.  For us, here and now, the 1.4 trillion mile-long spiral will remain confined to the inside of a dark dome across the street from Central Park.

Verso is more than just a Devil May Cry stand-in. In Clair Obscur: Expedition 33, Verso’s combat playstyle evokes this feeling of style, but style doesn’t have to stop at combat. With the right fit, you can defeat the paintress in style. Verso’s outfits unlock many combinations of expression. As you play Clair Obscur: Expedition 33, you’ll find both outfits and hairstyles to experiment with. Many of them will be directly in your path, but many of them are missable — hidden behind Mimes, side quests, or complex challenges. In this Clair Obscur: Expedition 33 guide, we offer a list of all Verso outfits and hairstyles and how to unlock them. All Verso outfits in Clair Obscur: Expedition 33 There are 12 outfits you can unlock for Verso. We’ve only unlocked eight so far, though, we can confirm through community sources how to unlock the other four. Included above are screenshots of the Verso outfits we’ve unlocked to date, with an asterisk (*) below to indicate those we’ve yet to unlock. Here’s how you unlock the following Verso outfits in Clair Obscur: Expedition 33: Verso — Available from the beginning of the game. Baguette — Defeat the Mime in the Joy sub-section of Visages. Expedition — Unlocks automatically once you reach Act 2. Civilian* — Found in the Manor. Access the Manor through the continent north of Lost Woods once you unlock swimming with Esquie, and it’s behind a secret door you find after checking the upstairs bookcase. Clair* — Complete Stage 11, Trial 3 in Endless Tower. Pelerin* — Purchase from Verogo the Merchant in Frozen Hearts. Pure — Purchase from Granasori the Merchant on the island next to the Monolith. Renoir’s Suit — Defeat Renoir in the Monolith. Sakapatate — Purchase from Delsitra the Merchant in Gestral Village. Simple — Purchase from Rubiju the Merchant on the island next to the Visages on the World Map. Swimsuit I — Reach relationship level 6 with Sciel. Swimsuit II* — Achieve the Gold Medal in the Time Trial at Gestral Beach. All Verso hairstyles in Clair Obscur: Expedition 33 There are 10 hairstyles you can unlock for Verso. Similar to his outfits, we’ve only unlocked five, but through the community, we have confirmed how to unlock the other six. We’ve included screenshots of the Verso hairstyles we’ve unlocked so far, and have added an asterisk (*) below to indicate those we’ve yet to unlock. Here’s how you unlock the following Verso hairstyles in Clair Obscur: Expedition 33: Verso — Available from the beginning of the game. Bald* — Defeat the Mime in Sunless Cliffs with Verso. Curly* — Purchase from Sodasso the Merchant, northwest of Visages. Gustave’s Haircut — Purchase from Papasso the Merchant on the beach next to Monoco’s Station. Baguette — Defeat the Mime in the Joy section of Visages. Bun — Purchase from Blackora the Merchant next to Monoco’s Station. Expedition White* — Complete Stage 9, Trial 3 of Endless Tower. Gestral* — Received from Sastro once you find 5 Lost Gestrals. Samurai — Reach relationship level 3 with Monoco and select “Fine” when you’re able during the dialogue. Renoir Haircut* — Get the Verso ending at the end of the game. You must choose “Fight as Verso” in the final battle. For more Clair Obscur: Expedition 33 guides, here’s our recommendation for how to get all endings.

Every item on this page was chosen by an ELLE Decor editor. We may earn commission on some of the items you choose to buy.When Corey Moriarty moved into a new home in Palm Beach, Florida with his four dogs—Maverick and Bauer (Golden Retrievers) and Blue and Titan (Siberian Huskies)—he found himself wondering what to do with his spare bedroom: “We had an extra room just sitting there, and instead of turning it into an office or a guest room no one ever uses, we thought, ‘Why not make it a space entirely for them?’”What started as a lark quickly turned delightfully over-the-top. Moriarty outfitted the room with custom bunk beds, a Murphy bed, and a wall lined with glass jars filled with the dogs' favorite snacks. There’s a ball pit, a full TV setup for nightly Bluey viewings, and a closet containing all of their outfits. Moriarty has been documenting the room’s evolution on TikTok, where his latest post racked up more than 24 million views.Corey MoriartyCorey Moriarty’s dogs have their own bonafide bedroom, complete with bunk beds, a TV area, and a treat wall. Pet ownership is booming in the U.S. In 2024, 59.8 million households had dogs, and 42.2 million had cats, according to the American Veterinary Medical Association. And people aren’t just adding pets to their families—they’re investing in them. In 2023, Americans spent more than $147 billion on their pets, per the American Pet Products Association, with an increasing chunk of that going toward pet-focused home upgrades. These aren’t mere afterthoughts—they’re carefully crafted extensions of the home that call for thoughtful planning and, often, the expertise of an interior designer. In fact, the dog room has truly become the newest status symbol.View full post on TiktokA dog room's scale can range from a small nook under the stairs to a full-on suite complete with built-in feeding stations, toy storage, grooming areas, and plush four-poster beds. Some include tiled dog showers, temperature-controlled flooring, and built-in cabinetry. Others have more indulgent luxuries—like a TV with DOGTV, a streaming channel with programming designed specifically for canine attention spans. Think: dogs playing in fields, soothing nature sounds, and friendly humans doing relaxing things with pets. It’s ambient TV, but for your hyper-active schnauzer.For Moriarty, the trend taps into a bigger cultural shift. “There’s a continuing movement toward including pets more fully in people’s lives—as real family members,” he says. “Social media has poured gas on the fire. Everyone’s showing off these amazing pet spaces, and it’s inspiring others to level up.” The result is a growing “barkitecture” trend, where design for pets isn’t an afterthought—it’s part of the floor plan from day one. “We’re in the process of finding or building a more permanent home,” he adds, “and a huge part of that decision is based on what the dogs need—a pool, a yard, a room of their own, space to add a dog wash station.”Ken FulkKen Fulk’s three cream golden retrievers found a home in the curry colored library of his Provincetown home, overlooking the harbor in an antique captain’s daybed. Interior designers are seeing a rise in the trend, too. And some are even participating themselves. Ken Fulk, who shares his Provincetown home with four dogs—three English cream golden retrievers (above) and a wirehaired Dachshund named Wiggy—says one room evolved into their dedicated canine space, though it wasn’t premeditated. “Our often-photographed curry colored library became a de facto nursery,” he says. “Soon, no one would come upstairs with us to bed. They preferred their perch overlooking the harbor in an antique captain’s daybed.”Matt McWaltersKen Fulk’s L.A. shop sells wicker dog beds. And for those not ready to sacrifice a spare room? You don’t have to ditch your home office to make your pets feel like part of the design. Fulk says more clients are requesting pet-focused features, like custom dog beds, built-in food stations, and dog-wash areas in stylish mudrooms. At his new shop in Los Angeles, Fulk even offers wicker dog beds upholstered in outdoor fabric, including his own Designer Dogs print for Pierre Frey, as well as an Air Blue and Indigo Stripe. In a world where dogs are living better than their owners, what's next? "I got some very positive feedback on my idea of our doggy hotel called DEN," Fulk laughs. "It was dreamed up as an April Fool’s joke, but there just might be something there."Rachel SilvaAssociate Digital EditorRachel Silva is the associate digital editor at ELLE DECOR, where she covers all things design, architecture, and lifestyle. She also oversees the publication’s feature article coverage, and is, at any moment, knee-deep in an investigation on everything from the best spa gifts to the best faux florals on the internet right now. She has more than 16 years of experience in editorial, working as a photo assignment editor at Time and acting as the president of Women in Media in NYC. She went to Columbia Journalism School, and her work has been nominated for awards from ASME, the Society of Publication Designers, and World Press Photo. 

ZDNET's key takeaways The Eufy E28 robot vacuum, mop, and spot cleaner combination is available for $999.The mop performs better than more expensive flagships, and the water tank system doubles as a portable spot cleaner with a self-cleaning hose.Unplugging the spot cleaner also unplugs the charging station, and the spot cleaner requires you to brush it to scrub. more buying choices The Eufy E28 Omni robot vacuum and mop just hit its lowest price ever at $850, a total of $450 off with an on-page Amazon coupon.Robot vacuum manufacturers are constantly trying to outdo one another. One company develops a detachable cordless vacuum for the robot's dock, and the next makes the robot's dustbin a detachable cordless vacuum. Now, Eufy is upping the ante with the first robot vacuum to also have a detachable spot cleaner for carpet and upholstery. Also: Finally, I found a robot and handheld vacuum combo that's ideal for apartment dwellersThe Eufy Omni E28 is a robot vacuum and mop with a portable spot cleaner for carpets and upholstery. You can run your robot vacuum as you would any other, but you can also pick up the top with a built-in retractable handle and do some deep cleaning on carpets, rugs, or upholstery. I've been testing this robot vacuum over the past couple of weeks, and I'm happy to report on its performance.  details View at Amazon Essentially, the deep cleaner you carry is the Omni station's clean and dirty water tank, so it's where the robot autonomously sources clean water for its mop when it's at the dock. The deep cleaner has a handle for spot-cleaning with a hose, so you can set it down near where you want to clean and plug it in without holding it as you clean. Aside from detachable cordless vacuums, a mop roller system is another big thing for robot vacuums; many makers, including SwitchBot, Yeedi, and Ecovacs, are moving away from detachable rotating mop pads and using mop rollers instead. Eufy's also done this before with the flagship S1 Pro.  Maria Diaz/ZDNETThe Omni E28 also has a mop roller, which looks similar to the S1 Pro but not identical. The Eufy Omni S1 Pro is unequivocally the best mopping robot vacuum I've ever tested, so I was excited to test the new Omni E28, which features a very similar system. Thankfully, the Omni E28 didn't disappoint. The large mop roller covers the length of the vacuum's width and leaves no streaks behind during mopping. Streaky floors are one of my biggest pet peeves when testing robot vacuum and mop combinations, and they're a more common occurrence than I'd like. Also: My favorite indoor security camera has no subscription fees and is on sale right nowEufy is also launching an E25 robot vacuum, which features the same HydroJet self-cleaning mop system as the E28. The robot's mop roller is continuously scraped clean as it spins, and it keeps clean and dirty water in separate tanks within its body, so it only mops with clean water. The mop also exerts more downward pressure to ensure deep cleaning than the S1 Pro, with 1.5kg (3.3 lbs) instead of 1kg.  Maria Diaz/ZDNETHowever, continuously spraying the roller with clean water inside the robot keeps it moist. Scraping off the dirt and wringing out the dirty water as the roller spins ensures your floors are clean instead of streaky or filmy. The Eufy Omni E28, like the S1 Pro, is the closest thing to a manual mopping result you can get from a robot vacuum and mop. Also: I love a vacuum and mop to clean dry and wet messes, especially when it's on saleThe E28 and E25 robot vacuums have 20,000Pa of suction power and anti-tangle technology, including a DuoSpiral double roller brush to remove pet hair and avoid entanglements. The robots are self-emptying robot vacuums with a self-washing mop roller. The only difference is the portable spot cleaner, which only the E28 has. The Eufy Omni E28 robot vacuum and mop has dual brush rollers and a roller mop. Maria Diaz/ZDNETThe spot cleaner proved to be very effective. It's heavy, like most spot cleaners when full of water, but it has a retractable handle on top that makes it easy to carry around. You also don't have to press any buttons or move anything to release it; just unplug it, pull the retractable handle, and go. I didn't like that the spot cleaner powers the base station, so if you take it somewhere else in your home to clean, the robot's charging station is left without power until you return it. This is fine for quick cleanups, but it can be annoying when a forgetful house member takes the spot cleaner upstairs and leaves it in a room for two days after they're done (totally not me). Also: This simple Amazon tablet became one of my biggest smart home upgrades yet (and it's on sale)The spot cleaner has a self-cleaning hose attached, but no other attachments. The hose ends in a static brush head that sprays clean water, which you use to clean messes on soft surfaces, like carpets, rugs, and upholstery. Since it isn't motorized, you must manually brush the rug or fabric with the brush head to scrub it clean. Once you're done, you just have to press a button along one end of the brush head to make the spot cleaner cycle clean water through the hose without spilling, cleaning the hose for you.  These pictures were taken three minutes apart. The left (before) shows yogurt stains on an ottoman. I sprayed a liquid spot cleaner and went over it with the brush and water; the results are on the right (after). Maria Diaz/ZDNETThere's no separate detergent tank for the spot cleaner, though you could add some detergent directly into the clean water tank. I recommend using just water in the clean water tank and spraying your preferred carpet or upholstery cleaning solution directly on the stains to pre-treat them. You can then scrub the mess clean with the Eufy E28 brush and rinse out the detergent. ZDNET's buying adviceThe Eufy Omni E28 is designed to solve a big problem for many US customers: the need for regular floor cleanings and the ability to quickly clean up messes on soft surfaces in a single device. This device isn't meant to replace your existing carpet cleaner, but it's perfect for consumers who may need a spot cleaner and are also in the market for one of the best robot vacuum and mops available.Also: Spring cleaning takes me no time with my favorite smart home devicesI'm not a fan of fully carpeted living spaces, but my home has carpeted bedrooms, one of which we use as our TV room. With three young kids who have movie nights and play time in that TV room, its carpet unfortunately sees a lot of spills. I was in the market for a spot cleaner for a while, but decided to buy a full carpet cleaner instead, which I use to clean our carpets at least once every quarter.  The E28 cleaned up the soy sauce stains comparably to the larger carpet cleaner. Maria Diaz/ZDNETBut there are always little messes in between -- whether it's spilled ketchup on the carpet, a muddy shoeprint on the entryway rug, or yogurt on the fabric ottoman. So I appreciate having the Eufy Omni E28's spot cleaner always handy. Instead of dragging out a heavy carpet cleaning machine and filling it with water to clean a 6-inch in diameter spill, I can just unplug and grab the E28, clean the mess, and return it to the dock with little work on my end. It's also priced quite well for a first-of-its-kind device with a flagship-level robot vacuum and mop. The Eufy Omni E28 robot vacuum, mop, and spot cleaning combination is now available on Eufy's website and Amazon for $1,000. The Eufy E25 robot vacuum and mop without the spot cleaner will be available in June for $900. When will this deal expire? While many sales events feature deals for a specific length of time, deals are on a limited-time basis, making them subject to expire at any time. ZDNET remains committed to finding, sharing, and updating the best offers to help you maximize your savings so you can feel as confident in your purchases as we feel in our recommendations. Our ZDNET team of experts constantly monitors the deals we feature to keep our stories up-to-date. If you missed out on this deal, don't worry -- we're always sourcing new savings opportunities at ZDNET.com. Show more Featured

House in Palm Springs | © Sydney Turturro via Unsplash Moving from an apartment to a house is a major life milestone. It usually means more space, more responsibility, and more freedom. But unless you plan it right, it can also come with more stress.  Whether upgrading to accommodate a growing family or simply looking for more room to breathe, here are five essential steps to help you move from an apartment to a house confidently and easily. 1. Start with a Clear Plan and Timeline One of the most common mistakes people make when moving from an apartment to a house is underestimating how long it takes. It’s not just about packing up your belongings; it’s about handling logistics, paperwork, and scheduling around daily life.  As soon as you know your moving date, create a moving checklist.  Outline what needs to be done weekly: notifying your landlord, scheduling the elevator if you’re in a high-rise, collecting packing materials, and booking your moving company. Planning ahead helps you avoid last-minute stress and unexpected costs. If possible, give yourself at least 6–8 weeks. That gives you enough time to declutter, coordinate with service providers, and ensure you’re fully prepared for move-in day. The earlier you start, the smoother everything flows. Hiring professional movers early in the process can also secure your preferred date and provide access to helpful services, such as packing, storage, or specialized transportation. With everything scheduled well in advance, you’ll have the peace of mind needed to focus on your new adventure. 2. Downsize Before You Upsize It may sound counterintuitive, but moving to a bigger space doesn’t mean you should bring everything with you.  Over time, we accumulate furniture, clothes, gadgets, and kitchen tools that serve little purpose. And in a small apartment, many of these items might have been crammed into closets or storage bins and forgotten altogether.  Now’s the perfect time to declutter and lighten the load before the move. Start by walking through your apartment and taking stock of everything. Ask yourself what truly adds value to your life and what’s just taking up space. If you haven’t used something in over a year, it’s probably safe to let it go. You can donate, sell, or recycle items as needed. A good rule of thumb is to be ruthless. A cleaner move means a cleaner start in your new home. By purging the excess, you’ll reduce moving costs and arrive at your new house with a fresh mindset. There’s no sense in transporting items you no longer want or need. Instead, you’ll be able to unpack more quickly and enjoy your new space without clutter. 3. Prepare for a Different Kind of Space Living in a house is very different from apartment life. The layout, square footage, and storage options all change, which means your furniture and lifestyle habits may also need to adapt. That cozy loveseat that fits perfectly in your apartment living room might look dwarfed in a larger house.  Before moving, visit the house if possible and take room measurements.  Consider creating a rough floor plan to determine where each piece of furniture will fit. This not only helps your local movers place items on move-in day, but it also ensures you don’t waste time and energy relocating things that won’t work in the new space. Apps and online tools can help you visualize your layout ahead of time. Beyond furniture, also think about what your new home may need.  Will you have a backyard that needs maintenance? A garage that requires storage shelving? An extra guest room or home office that needs furnishing?  While you don’t have to buy everything at once, it’s smart to budget for future purchases so you can comfortably and intentionally grow into your home. 4. Handle Utilities, Address Changes, and Logistics © Peter Thomas via Unsplash © Mitch via Unsplash Unlike apartments, where utilities may be partially covered or managed by the landlord, houses typically require you to set up and manage everything yourself.  This includes electricity, water, gas, internet, trash collection, and sometimes even lawn care services. Don’t wait until the last minute; contact providers at least a week before your move to schedule installation or transfers. At the same time, update your address with your bank, subscription services, and relevant government agencies. This helps ensure you continue to receive important mail and prevents service disruptions. If you’re moving within the same city, this can be fairly straightforward. If you’re moving to a different region or province, however, make sure you check for local utility providers and regional services. Elevator bookings and parking permits are other key details to address, especially when moving out of an apartment in a busy area.  Confirm all building rules and moving hours in advance, and inform your movers so they can plan accordingly. Clear communication on these details makes the moving day smoother for everyone involved. 5. Rely on a Trusted Moving Partner Perhaps the most important step in this process is choosing the right moving company.  Apartment-to-house moves require experience, careful coordination, and physical effort, especially when dealing with tight stairwells, narrow hallways, or long distances from the apartment to the truck.  A professional moving team can handle the logistics efficiently while protecting your belongings from damage. Instead of doing it all yourself, you can count on us to carry the load literally. We bring the right equipment, vehicles, and muscle, so you don’t have to worry about heavy lifting or unexpected delays. More importantly, we offer peace of mind during an exciting and overwhelming time. A good moving experience sets the tone for your new chapter. Let us help make that transition smooth, stress-free, and even enjoyable. Final Word Moving from an apartment to a house is more than just a physical shift; it’s a lifestyle change. With the right planning, thoughtful decisions, and support from experienced movers, you can make the process simple and even fun. Whether it’s your first home or your dream upgrade, we’re here to guide you every step of the way. Frequently Asked Questions  1. How far in advance should I book a moving company when moving from an apartment to a house? We recommend booking your moving company at least 4–6 weeks in advance, especially during peak moving seasons (spring and summer). This gives you the best chance to secure your preferred date and time while also allowing time for proper planning, packing, and coordination with building management if needed. 2. What’s the best way to downsize before moving into a house? Even though you’re moving to a larger space, it’s wise to declutter before your move. Sort items by category, keep, donate, sell, or discard, and be honest about what you actually use. Unused furniture, duplicate kitchenware, and old clothes often don’t need to make the move. A lighter load means a faster, more affordable, and more organized transition. 3. Will all my apartment furniture fit properly in a house?  Some furniture from a compact apartment may not always feel too small or awkward in a larger home. We recommend measuring key pieces and comparing them with the dimensions of the new space before moving. Our team can help you decide what’s worth moving and even assist with layout planning to ensure everything fits where it should. 4. What should I do about utilities when moving into a house?  Unlike apartment living, homeowners are responsible for setting up all their utilities individually. Be sure to contact providers for electricity, water, internet, gas, and waste collection at least a week before your move. Scheduling ahead ensures your new home is move-in ready, and you won’t experience any service interruptions. 5. Do I need professional movers for a short move from an apartment to a house? Even if you’re moving just a few blocks, a professional moving team makes the process faster, safer, and far less stressful. We handle the heavy lifting, stairs, tight corners, and transportation logistics, so you don’t have to. Our experience ensures that your belongings arrive safely, regardless of the distance. GuidesTips by ArchEyes Team Leave a comment