A Miami jury has ordered the automaker to pay up to $243 million after finding that the Tesla vehicle had a “defect.” It's the first time Tesla has been found liable in an Autopilot-related crash.

KDE isn't the only organization reaching out to " as Microsoft prepares to end support for Windows 10. "Now, The Document Foundation, maker of LibreOffice, has also joined in to support the Endof10 initiative," reports the tech blog Neowin: The foundation writes: "You don't have to follow Microsoft's upgrade path. There is a better option that puts control back in the hands of users, institutions, and public bodies: Linux and LibreOffice. Together, these two programmes offer a powerful, privacy-friendly and future-proof alternative to the Windows + Microsoft 365 ecosystem." It further adds the "real costs" of upgrading to Windows 11 as it writes: "The move to Windows 11 isn't just about security updates. It increases dependence on Microsoft through aggressive cloud integration, forcing users to adopt Microsoft accounts and services. It also leads to higher costs due to subscription and licensing models, and reduces control over how your computer works and how your data is managed. Furthermore, new hardware requirements will render millions of perfectly good PCs obsolete.... The end of Windows 10 does not mark the end of choice, but the beginning of a new era. If you are tired of mandatory updates, invasive changes, and being bound by the commercial choices of a single supplier, it is time for a change. Linux and LibreOffice are ready — 2025 is the right year to choose digital freedom!" The first words on LibreOffice's announcement? "The countdown has begun...." Read more of this story at Slashdot.

In a 12,000-square-foot warehouse in Zeeland, Michigan, hundreds of chairs, sofas, and loveseats rest on open storage racks. Their bold colors and elegant forms stand in striking contrast to the industrial setting. A plush recliner, seemingly made for sinking into, sits beside a mesh desk chair like those found in generic office cubicles. Nearby, a rare prototype of the Knoll Womb® Chair, gifted by Eero Saarinen to his mother, blooms open like a flower–inviting someone to sit. There’s also mahogany furniture designed by Gilbert Rohde for Herman Miller, originally unveiled at the 1933 World’s Fair; early office pieces by Florence Knoll; and a sculptural paper lamp by Isamu Noguchi. This is the newly unveiled MillerKnoll Archive, a space that honors the distinct legacies of its formerly rival brands. In collaboration with New York–based design firm Standard Issue, MillerKnoll has created a permanent display of its most iconic designs at the company’s Michigan Design Yard headquarters. In the early 1920s, Dutch-born businessman Herman Miller became the majority stakeholder in a Zeeland, Michigan, company where his son-in-law served as president. Following the acquisition, Star Furniture Co. was renamed the Herman Miller Furniture Company. Meanwhile, across the Atlantic in Stuttgart, Germany, Walter Knoll joined his family’s furniture business and formed close ties with modernist pioneers Ludwig Mies van der Rohe and Walter Gropius, immersing himself in the Bauhaus movement as Germany edged toward war.  Just before the outbreak of World War II, Walter Knoll relocated to the United States and established his own furniture company in New York City. Around the same time, Michigan native Florence Schust was studying at the Cranbrook Academy of Art under Eliel Saarinen. There, she met Eero Saarinen and Charles Eames. Schust, who later married Walter Knoll, and Saarinen would go on to become key designers for the company, while Eames would play a similarly pivotal role at Herman Miller—setting both firms on parallel paths in the world of modern design. The facility was designed in collaboration with New York-based design firm Standard Issue. The archive, located in MillerKnoll’s Design Yard Headquarters, is 12,000 square feet and holds over one million objects. (Nicholas Calcott/Courtesy MillerKnoll) Formerly seen as competitors, Herman Miller acquired Knoll four years ago in a $1.8 billion merger that formed MillerKnoll. The deal united two of the most influential names in American furniture, merging their storied design legacies and the iconic pieces that helped define modern design. Now, MillerKnoll is honoring the distinct histories of each brand through this new archive. The archive is a permanent home for the brands’ archival collections and also exhibits the evolution of modern design. The facility is organized into three distinct areas: an exhibition space, open storage, and a reading room.  The facility’s first exhibition, Manufacturing Modern, explores the intertwined histories of Knoll and Herman Miller. It showcases designs from the individuals who helped shape each company. The open storage area displays over 300 pieces of modern furniture, featuring both original works from Knoll and Herman Miller as well as contemporary designs. In addition to viewing the furniture pieces, visitors can kick back in the reading room, which offers access to a collection of archival materials, including correspondence, photography, drawings, and textiles. The facility is organized into three distinct areas: an exhibition space, open storage, and a reading room and will be open for tours in partnership with the Cranbrook Art Academy this summer. (Nicholas Calcott/Courtesy MillerKnoll) “The debut of the MillerKnoll Archives invites our communities to experience design history – and imagine its future– in one dynamic space,” said MillerKnoll’s chief creative and product officer Ben Watson. “The ability to not only understand how iconic designs came to be, but how design solutions evolved over time, is a never-ending source of inspiration.” Exclusive tours of the archive will be available in July and August in partnership with the Cranbrook Art Museum and in October in partnership with Docomomo.

The roster of skaters originally featured in Tony Hawk’s™ Pro Skater™ 3 and Tony Hawk’s™ Pro Skater™ 4 helped to further catapult skateboarding culture into the mainstream as big names like Bob Burnquist, Steve Caballero, Elissa Steamer, and Chad Muska joined Tony Hawk in a stacked roster of award-winning pro skaters capable of shredding in and out of the game. In this feature, following the Demo announcement and the full soundtrack reveal, we’re proud to share the full roster of returning skaters in the upcoming Tony Hawk’s™ Pro Skater™ 3 + 4arriving on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, Nintendo Switch 2, and PC (Battle.net, Steam, Microsoft PC Store). Tony Hawk’s Pro Skater 3 + 4 launches on July 11. THPS 3 + 4: Returning Skaters From gold medalists to progenitors of some of today’s most iconic skateboarding tricks, these classic skaters were instrumental in bringing skateboarding culture to a wider audience. Mixing courage, creativity, and an iron will, they’re more than ready to tackle any obstacle put before them. “Being in the original games was epic!” shares Elissa Steamer, who was the first playable female skater in the original Tony Hawk’s Pro Skater game. “It was semi-life changing. I can’t say enough about how stoked I was – and am now! – to be in the games.” “From the moment Tony asked, it was an honor, yet I had no idea of what it would come to mean,” says Rodney Mullen, originator of the kickflip and largely considered one of the most influential skaters in the sport. “The first time I showed up on tour after the release of the game, I recall ‘em shop owners having to put me on top of the tour van roof to manage so that I could sign things in all the madness. The crowd was rocking the van back and forth! [It] blew my mind, the impact it had.” “The game attracted such a broader group of skaters, which has elevated our community in layered ways: from tricks to societal acceptance to the respect we get from people who often thought otherwise, like parents discouraging their kids who were simply outsiders looking for a place to belong,” Mullen continues. “Skating is integrated with a culture, a way of being, more than pretty much any other sport I can think of. The way Tony’s game shows that via the music, art, and vibe batted this home. It’s cool to be understood.”  When Tony Hawk’s Pro Skater 3 + 4 launches this July, here are the returning skaters ready to hit the pavement once again, including skaters featured in the original Tony Hawk’s Pro Skater 3 and Tony Hawk’s Pro Skater 4 games plus other titles in the series. Tony Hawk San Diego, California Style: Vert / Stance: Goofy Tony Hawk made history by landing the first ever 900 at the 1999 X Games, skyrocketing the sport into the mainstream. Today he remains the sport’s most iconic figure. Bob Burnquist Rio de Janeiro, Brazil Style: Vert / Stance: Regular Bob Burnquist shocked the skateboarding world when he landed the first Fakie 900. His iconic “Dreamland” skatepark is home to a permanent Mega Ramp. Bucky Lasek Baltimore, Maryland Style: Vert / Stance: Regular Known for his vert skills, Bucky has won 10 gold medals at the X Games and is one of only two vert skateboarders to have won three gold medals consecutively. Steve Caballero San Jose, California Style: Vert / Stance: Goofy An iconic skateboarder responsible for inventing various vert tricks. He holds the record for the highest air ever achieved on a halfpipe. Kareem Campbell Harlem, New York Style: Street / Stance: Regular Called the godfather of smooth street style, Kareem left his mark by popularizing the skateboard trick, “The Ghetto Bird,” and founded City Stars Skateboards. Geoff Rowley Liverpool, England Style: Street / Stance: Regular Geoff Joseph Rowley Jr. is an English skateboarder and owner of Civilware Service Corporation. In 2000 he was crowned “Skater of the Year” by Thrasher Magazine. Andrew Reynolds North Hollywood, California Style: Street / Stance: Regular Co-founder and owner of Baker Skateboards, Andrew Reynolds turned pro in 1995 and won Thrasher Magazine’s “Skater of the Year” award just three years later. Elissa Steamer San Francisco, California Style: Street / Stance: Regular Elissa is a four-time X Games gold medalist, the first female skateboarder to go pro, and the first woman ever inducted into the Skateboarding Hall of Fame. Chad Muska Los Angeles, California Style: Street / Stance: Regular Artist, musician, and entrepreneur. Described by the Transworld Skateboarding editor-in-chief as “one of the most marketable pros skateboarding has ever seen.” Eric Koston Los Angeles, California Style: Street / Stance: Goofy Co-founder of Fourstar Clothing and the skate brand The Berrics, Eric is a master of street skateboarding and a two-time X Games gold medalist. Rodney Mullen Gainesville, Florida Style: Freestyle / Stance: Regular One of the most influential skateboarders of all time, Rodney Mullen is the progenitor of the Flatground Ollie, Kickflip, Heelflip, and dozens of other iconic tricks. Jamie Thomas Dothan, Alabama Style: Street / Stance: Regular Nicknamed “The Chief,” Jamie is the owner and founder of Zero Skateboards. He helped film 1996’s “Welcome to Hell,” one of the most iconic skate videos ever made. Rune Glifberg Copenhagen, Denmark Style: Vert / Stance: Regular Nicknamed “The Danish Destroyer,” Rune Glifberg is one of three skaters to have competed at every X Games, amassing over 12 medals at the competition. Aori Nishimura Tokyo, Japan Style: Street / Stance: Regular Born in Edogawa, Tokyo in Japan, Aori Nishimura started skateboarding at the age of 7 and went on to become the first athlete from Japan to win gold at the X Games. Leo Baker Brooklyn, New York Style: Street / Stance: Goofy Leo is the first non-binary and transgender professional skateboarder in the Pro Skater™ series and has won three gold medals, placing in over 32 competitions.  Leticia Bufoni São Paulo, Brazil Style: Street / Stance: Goofy Multiple world record holder and six-time gold medalist. Named the #1 women’s street skateboarder by World Cup of Skateboarding four years in a row. Lizzie Armanto Santa Monica, California Style: Park / Stance: Regular A member of the Birdhouse skate team, Lizzie has amassed over 30 skateboarding awards and was the first female skater to complete “The Loop,” a 360-degree ramp. Nyjah Huston Laguna Beach, California Style: Street / Stance: Goofy One of skateboarding’s biggest stars, Nyjah has earned over 12 X Games gold medals, 6 Championship titles, and a bronze medal at the 2024 Summer of Olympics. Riley Hawk San Diego, California Style: Street / Stance: Goofy Riley Hawk decided to turn pro on his 21st birthday and became Skateboarder Magazine’s 2013 Amateur of the Year later that same day. Shane O’Neill Melbourne, Australia Style: Street / Stance: Goofy Australian skateboarder who is one of only a few skateboarders to win gold in all four major skateboarding contests, including the X Games and SLS. Tyshawn Jones Bronx, New York Style: Street / Stance: Regular A New York City native and two-time Thrasher Magazine “Skate of the Year” winner, Tyshawn Jones is the youngest skateboarder to ever achieve that accolade. The above skaters are far from the only icons you’ll encounter in the game’s large roster. Keep your eyes on the Tony Hawk’s Pro Skater blog found here for more info on Tony Hawk’s Pro Skater 3 + 4 as we approach its July 11 release date, including the full reveal of new skaters joining in on the fun.  Tony Hawk’s Pro Skater 3 + 4 rebuilds the original games from the ground up with classic and new skaters, parks, tricks, tracks, and more. Skate through a robust Career mode taking on challenges across two tours, chase high scores in Single Sessions and Speedruns, or go at your own pace in Free Skate. Get original with enhanced creation tools, go big in New Game+, and skate with your friends in cross-platform online multiplayer* supporting up to eight skaters at a time. New to the series? Hit up the in-game tutorial led by Tony Hawk himself to kick off your skating journey with tips on Ollies, kick flips, vert tricks, reverts, manuals, special tricks, and more. Don’t miss the Foundry Demo, available now, featuring playable skaters, two parks, and a selection of songs from the soundtrack. Pre-order Tony Hawk’s Pro Skater 3 + 4 on select platforms* for access to the demo and find more info here. Purchase the Digital Deluxe Edition and gain Early Access*** to play Tony Hawk’s™ Pro Skater™ 3 + 4 three days before the official July 11 launch date. Shred the parks and spread fear as the Doom Slayer and Revenant skaters plus get extra music, skate decks, and Create-A-Skater gear: Doom Slayer: Play as Doom Slayer, featuring a Standard and Retro outfit plus two unique special tricks and the Unmaykr Hoverboard. Revenant: Get evil with the Revenant, including two unique special tricks. Additional Music: Headbang to a selection of classic and modern music tracks added to the in-game soundtrack. Skate Decks: Access additional skate decks including Doom Slayer and Revenant themed designs. Create-A-Skater Items: Kit out your skater with additional apparel items. Pre-orders are now available for Tony Hawk’s Pro Skater 3 + 4 on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, and PC. For more information, visit tonyhawkthegame.com. * Activision account and internet required for online multiplayer and other features. Platform gaming subscription may be required for multiplayer and other features (sold separately). **Foundry demo available on PlayStation 4 and 5, Xbox Series X|S, Xbox One, and PC. Not available on Nintendo Switch. Foundry Demo availability and launch date(s) subject to change. Internet connection required. *** Actual play time subject to possible outages and applicable time zone differences.

Rene Byrd did IVF to have her baby. Courtesy of Rene Byrd 2025-06-14T21:23:01Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Rene Byrd is a 49-year-old singer-songwriter in London who had her first baby at 48. She had held on to hope for a baby throughout her 40s, undergoing IVF for over two years. Being an older mom has had several benefits, like financial security and contentment. This as-told-to essay is based on a conversation with Rene Byrd. It has been edited for length and clarity.When I turned 40, I went on a seven-day retreat full of meditation and massage to fall in love with myself. I'm a strong believer that to find love, you first have to love yourself.I had wanted to settle down with someone and build a family, but it just hadn't happened. Three years prior, I had frozen my eggs because I knew that I wanted a family someday.On the retreat, I felt deep in my spirit that I would one day find my person and hold my child in my hands. I wouldn't give up hope.I met someone at a barReturning home, I continued dating, but it wasn't until a chance meeting at a bar that I finally found the man who would become my husband. I hadn't quite turned 41, and he was 34.I remember not wanting to scare him off by talking too much about my desire for kids, but we did have discussions about the future. When love started to bloom between the two of us, we started looking at what our options were for having a child together.After trying holistic methods to no avail, we decided to go down the IVF route. I'd heard horror stories about IVF — that it was never straightforward — but as I already had my eggs frozen, it was the best option for us at the time.I felt guilty for waiting so longTwo-and-a-half long years later, I was given the news from the IVF clinic — I was pregnant. I fell apart, phoning my husband to tell him we would be having a baby. Rene Byrd got pregnant at age 48 thanks to IVF. Courtesy of Rene Byrd Throughout my pregnancy, I remember being scared of what this new life as a mother would look like. I had little panic attacks considering how different life would be, as compared to the decades of life without a child. And then I felt guilty, telling myself I had waited so long for this. There was a lot of grappling with these thoughts until I realized my child would just be an extension of me.Once our little boy, Crue, was born in November 2024, I felt ready for his arrival in theory. Having spent years hearing from friends with children, I had an idea of what to expect. Even still, those early days were a lot to deal with. All these things were being thrown at me about what I should and shouldn't do with a baby.Being a mom in my late 40s has so many beautiful benefitsI joined online mother and baby communities and in-person baby groups, finding my tribe of mothers like me, ones that were "older."There is a stillness within me that grounds me as I take care of Crue. I have this playbook of mothering, developed from years of research and observation, that has given me assurance that even when things don't seem to be going to plan — like breastfeeding or sleeping — I was OK, and so was he.Having built up financial security, I didn't worry about how I was going to provide for a baby. Established in a career, I could plan for all baby-related expenses, including IVF.And since I had gotten so much out of my system in my younger years — corporate working, parties, nice restaurants — I felt content to settle in at home with my baby and husband. I never feel like I'm missing out.The only concern I've heard quietly whispered in different circles is that of my health. I know that as I get older, little issues with my body could pop up — issues that I might not have had as a younger mother. This has forced me to look after my body more than I ever have so that I can fully enjoy time with Crue as he gets older.Becoming a mother had always been a dream of mine. I trusted the process, holding on to hope, and although delayed, my dream finally came true.

In a nutshell: The OS updates coming to Apple devices later this year will institute the company's first major UI design shift in over a decade, but eagle-eyed observers noticed similarities with an old version of Windows – comparisons that haven't escaped Microsoft's notice. Thankfully, users concerned about Apple's upcoming interface will have options to change its visual presentation. Some of Microsoft's social media accounts recently poked fun at the upcoming "Liquid Glass" user interface design language Apple unveiled at WWDC this week. Although the Cupertino giant has hailed the update as a major innovation, many immediately began comparing it to Microsoft's nearly two-decade-old Windows Vista UI.         View this post on Instagram                       A post shared by Windows (@windows) Liquid Glass is Apple's name for the new visual style arriving in iOS 26, iPadOS 26, macOS 26 Tahoe, watchOS 26, and tvOS 26, which will launch this fall. Inspired by the Apple Vision Pro's visionOS, the design language favors rounded edges and transparent backgrounds for inputs and other UI functions. It is Apple's most significant design change since iOS 7 debuted almost 12 years ago, and the first to establish a unified language across all of the company's devices. On the left: nice Liquid Glass UI minimalistic look. On the right: Liquid Glass looking all kinds of wrong in the current beta. Apps, wallpapers, and other background content will be visible through app icons, notifications, and menu elements for a glass-like appearance. Apple claims that the effect will improve cohesion across the interface, but beta testers are concerned that text will become less readable. Others, including Microsoft, mocked the update's resemblance to Windows Vista's glass-like "Aero" aesthetic, which debuted in 2007. That OS also made UI elements partially transparent, but Microsoft eventually phased it out when it began moving toward its current design language. The official Windows Instagram account recently responded to Apple's presentation by posting a slideshow of Vista screenshots played over a nostalgic Windows boot tune. The Windows Twitter account also shared a picture recalling the Vista-era profile icons. Other social media users joined in on the fun. Some highlighted the unfortunate placement of the YouTube icon in Apple's Liquid Glass explainer video, which the company altered. Others compared the design language to the unique chassis for Apple's 2000 Power Mac G4 Cube and the main menu for Nintendo's 2012 Wii U game console. Fortunately, users can customize Liquid Glass by switching between transparent, light, and dark modes. They can also opt for a slightly more opaque presentation with a toggle located under Settings > Accessibility > Display & Text Size > Reduce Transparency.

June 13, 20255 min readFive Climate Issues to Watch When Trump Goes to CanadaPresident Trump will attend the G7 summit on Sunday in a nation he threatened to annex. He will also be an outlier on climate issuesBy Sara Schonhardt & E&E News Saul Loeb/AFP via Getty ImagesCLIMATEWIRE | The world’s richest nations are gathering Sunday in the Canadian Rockies for a summit that could reveal whether President Donald Trump's policies are shaking global climate efforts.The Group of Seven meeting comes at a challenging time for international climate policy. Trump’s tariff seesaw has cast a shade over the global economy, and his domestic policies have threatened billions of dollars in funding for clean energy programs. Those pressures are colliding with record-breaking temperatures worldwide and explosive demand for energy, driven by power-hungry data centers linked to artificial intelligence technologies.On top of that, Trump has threatened to annex the host of the meeting — Canada — and members of his Cabinet have taken swipes at Europe’s use of renewable energy. Rather than being aligned with much of the world's assertion that fossil fuels should be tempered, Trump embraces the opposite position — drill for more oil and gas and keep burning coal, while repealing environmental regulations on the biggest sources of U.S. carbon pollution.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.Those moves illustrate his rejection of climate science and underscore his outlying positions on global warming in the G7.Here are five things to know about the summit.Who will be there?The group comprises Canada, France, Germany, Italy, Japan, the United Kingdom and the United States — plus the European Union. Together they account for more than 40 percent of gross domestic product globally and around a quarter of all energy-related carbon dioxide pollution, according to the International Energy Agency. The U.S. is the only one among them that is not trying to hit a carbon reduction goal.Some emerging economies have also been invited, including Mexico, India, South Africa and Brazil, the host of this year’s COP30 climate talks in November.Ahead of the meeting, the office of Canada's prime minister, Mark Carney, said he and Brazilian President Luiz Inácio Lula da Silva agreed to strengthen cooperation on energy security and critical minerals. White House press secretary Karoline Leavitt said Trump would be having "quite a few" bilateral meetings but that his schedule was in flux.The G7 first came together 50 years ago following the Arab oil embargo. Since then, its seven members have all joined the United Nations Framework Convention on Climate Change and the Paris Agreement. The U.S. is the only nation in the group that has withdrawn from the Paris Agreement, which counts almost every country in the world as a signatory.What’s on the table?Among Canada’s top priorities as host are strengthening energy security and fortifying critical mineral supply chains. Carney would also like to see some agreement on joint wildfire action.Expanding supply chains for critical minerals — and competing more aggressively with China over those resources — could be areas of common ground among the leaders. Climate change is expected to remain divisive. Looming over the discussions will be tariffs — which Trump has applied across the board — because they will have an impact on the clean energy transition.“I think probably the majority of the conversation will be less about climate per se, or certainly not using climate action as the frame, but more about energy transition and infrastructure as a way of kind of bridging the known gaps between most of the G7 and where the United States is right now,” said Dan Baer, director of the Europe program at the Carnegie Endowment for International Peace.What are the possible outcomes?The leaders could issue a communique at the end of their meeting, but those statements are based on consensus, something that would be difficult to reach without other G7 countries capitulating to Trump. Bloomberg reported Wednesday that nations won’t try to reach a joint agreement, in part because bridging gaps on climate change could be too hard.Instead, Carney could issue a chair’s summary or joint statements based on certain issues.The question is how far Canada will go to accommodate the U.S., which could try to roll back past statements on advancing clean energy, said Andrew Light, former assistant secretary of Energy for international affairs, who led ministerial-level negotiations for the G7.“They might say, rather than watering everything down that we accomplished in the last four years, we just do a chair's statement, which summarizes the debate,” Light said. “That will show you that you didn't get consensus, but you also didn't get capitulation.”What to watch forIf there is a communique, Light says he’ll be looking for whether there is tougher language on China and any signal of support for science and the Paris Agreement. During his first term, Trump refused to support the Paris accord in the G7 and G20 declarations.The statement could avoid climate and energy issues entirely. But if it backtracks on those issues, that could be a sign that countries made a deal by trading climate-related language for something else, Light said.Baer of Carnegie said a statement framed around energy security and infrastructure could be seen as a “pragmatic adaptation” to the U.S. administration, rather than an indication that other leaders aren’t concerned about climate change.Climate activists have lower expectations.“Realistically, we can expect very little, if any, mention of climate change,” said Caroline Brouillette, executive director of Climate Action Network Canada.“The message we should be expecting from those leaders is that climate action remains a priority for the rest of the G7 … whether it's on the transition away from fossil fuels and supporting developing countries through climate finance,” she said. “Especially now that the U.S. is stepping back, we need countries, including Canada, to be stepping up.”Best- and worst-case scenariosThe challenge for Carney will be preventing any further rupture with Trump, analysts said.In 2018, Trump made a hasty exit from the G7 summit, also in Canada that year, due largely to trade disagreements. He retracted his support for the joint statement.“The best, [most] realistic case outcome is that things don't get worse,” said Baer.The worst-case scenario? Some kind of “highly personalized spat” that could add to the sense of disorder, he added.“I think the G7 on the one hand has the potential to be more important than ever, as fewer and fewer platforms for international cooperation seem to be able to take action,” Baer said. “So it's both very important and also I don't have super-high expectations.”Reprinted from E&E News with permission from POLITICO, LLC. Copyright 2025. E&E News provides essential news for energy and environment professionals.

Last year, MACK Books published Architecture from Below, which anthologized writings by the French Brazilian architect, theorist, and painter Sérgio Ferro. (Douglas Spencer reviewed it for AN.) Now, MACK follows with Design and the Building Site and Complementary Essays, the second in the trilogy of books dedicated to Ferro’s scholarship. The following excerpt of the author’s 2023 preface to the English edition, which preserves its British phrasing, captures Ferro’s realization about the working conditions of construction sites in Brasília. The sentiment is likely relatable even today for young architects as they discover how drawings become buildings. Design and the Building Site and Complementary Essays will be released on May 22. If I remember correctly, it was in 1958 or 1959, when Rodrigo and I were second- or third year architecture students at FAUUSP, that my father, the real estate developer Armando Simone Pereira, commissioned us to design two large office buildings and eleven shops in Brasilia, which was then under construction. Of course, we were not adequately prepared for such an undertaking. Fortunately, Oscar Niemeyer and his team, who were responsible for overseeing the construction of the capital, had drawn up a detailed document determining the essential characteristics of all the private sector buildings. We followed these prescriptions to the letter, which saved us from disaster. Nowadays, it is hard to imagine the degree to which the construction of Brasilia inspired enthusiasm and professional pride in the country’s architects. And in the national imagination, the city’s establishment in the supposedly unpopulated hinterland evoked a re-founding of Brazil. Up until that point, the occupation of our immense territory had been reduced to a collection of arborescent communication routes, generally converging upon some river, following it up to the Atlantic Ocean. Through its ports, agricultural or extractive commodities produced by enslaved peoples or their substitutes passed towards the metropolises; goods were exchanged in the metropolises for more elaborate products, which took the opposite route. Our national identity was summed up in a few symbols, such as the anthem or the flag, and this scattering of paths pointing overseas. Brasilia would radically change this situation, or so we believed. It would create a central hub where the internal communication routes could converge, linking together hithertoseparate junctions, stimulating trade and economic progress in the country’s interior. It was as if, for the first time, we were taking care of ourselves. At the nucleus of this centripetal movement, architecture would embody the renaissance. And at the naval of the nucleus, the symbolic mandala of this utopia: the cathedral. Rodrigo and I got caught up in the euphoria. And perhaps more so than our colleagues, because we were taking part in the adventure with ‘our’ designs. The reality was very different — but we did not know that yet. At that time, architects in Brazil were responsible for verifying that the construction was in line with the design. We had already monitored some of our first building sites. But the construction company in charge of them, Osmar Souza e Silva’s CENPLA, specialized in the building sites of modernist architects from the so-called Escola Paulista led by Vilanova Artigas (which we aspired to be a part of, like the pretentious students we were). Osmar was very attentive to his clients and his workers, who formed a supportive and helpful team. He was even more careful with us, because he knew how inexperienced we were. I believe that the CENPLA was particularly important in São Paulo modernism: with its congeniality, it facilitated experimentation, but for the same reason, it deceived novices like us about the reality of other building sites. Consequently, Rodrigo and I travelled to Brasilia several times to check that the constructions followed ‘our’ designs and to resolve any issues. From the very first trip, our little bubble burst. Our building sites, like all the others in the future capital, bore no relation to Osmar’s. They were more like a branch of hell. A huge, muddy wasteland, in which a few cranes, pile drivers, tractors, and excavators dotted the mound of scaffolding occupied by thousands of skinny, seemingly exhausted wretches, who were nevertheless driven on by the shouts of master builders and foremen, in turn pressured by the imminence of the fateful inauguration date. Surrounding or huddled underneath the marquees of buildings under construction, entire families, equally skeletal and ragged, were waiting for some accident or death to open up a vacancy. In contact only with the master builders, and under close surveillance so we would not speak to the workers, we were not allowed to see what comrades who had worked on these sites later told us in prison: suicide abounded; escape was known to be futile in the unpopulated surroundings with no viable roads; fatal accidents were often caused by weakness due to chronic diarrhoea, brought on by rotten food that came from far away; outright theft took place in the calculation of wages and expenses in the contractor’s grocery store; camps were surrounded by law enforcement. I repeat this anecdote yet again not to invoke the benevolence of potential readers, but rather to point out the conditions that, in my opinion, allowed two students (Flávio Império joined us a little later) still in their professional infancy to quickly adopt positions that were contrary to the usual stance of architects. As the project was more Oscar Niemeyer’s than it was our own, we did not have the same emotional attachment that is understandably engendered between real authors and their designs. We had not yet been imbued with the charm and aura of the métier. And the only building sites we had visited thus far, Osmar’s, were incomparable to those we discovered in Brasilia. In short, our youthfulness and unpreparedness up against an unbearable situation made us react almost immediately to the profession’s satisfied doxa. Unprepared and young perhaps, but already with Marx by our side. Rodrigo and I joined the student cell of the Brazilian Communist Party during our first year at university. In itself, this did not help us much: the Party’s Marxism, revised in the interests of the USSR, was pitiful. Even high-level leaders rarely went beyond the first chapter of Capital. But at the end of the 1950s, the effervescence of the years to come was already nascent:  […] this extraordinary revival […] the rediscovery of Marxism and the great dialectical texts and traditions in the 1960s: an excitement that identifies a forgotten or repressed moment of the past as the new and subversive, and learns the dialectical grammar of a Hegel or an Adorno, a Marx or a Lukács, like a foreign language that has resources unavailable in our own. And what is more: the Chinese and Cuban revolutions, the war in Vietnam, guerrilla warfare of all kinds, national liberation movements, and a rare libertarian disposition in contemporary history, totally averse to fanaticism and respect for ideological apparatuses of (any) state or institution. Going against the grain was almost the norm. We were of course no more than contemporaries of our time. We were soon able to position ourselves from chapters 13, 14, and 15 of Capital, but only because we could constantly cross-reference Marx with our observations from well-contrasted building sites and do our own experimenting. As soon as we identified construction as manufacture, for example, thanks to the willingness and even encouragement of two friends and clients, Boris Fausto and Bernardo Issler, I was able to test both types of manufacture — organic and heterogeneous — on similar-sized projects taking place simultaneously, in order to find out which would be most convenient for the situation in Brazil, particularly in São Paulo. Despite the scientific shortcomings of these tests, they sufficed for us to select organic manufacture. Arquitetura Nova had defined its line of practice, studies, and research. There were other sources that were central to our theory and practice. Flávio Império was one of the founders of the Teatro de Arena, undoubtedly the vanguard of popular, militant theatre in Brazil. He won practically every set design award. He brought us his marvelous findings in spatial condensation and malleability, and in the creative diversion of techniques and material—appropriate devices for an underdeveloped country. This is what helped us pave the way to reformulating the reigning design paradigms.  We had to do what Flávio had done in the theatre: thoroughly rethink how to be an architect. Upend the perspective. The way we were taught was to start from a desired result; then others would take care of getting there, no matter how. We, on the other hand, set out to go down to the building site and accompany those carrying out the labor itself, those who actually build, the formally subsumed workers in manufacture who are increasingly deprived of the knowledge and know-how presupposed by this kind of subsumption. We should have been fostering the reconstitution of this knowledge and know-how—not so as to fulfil this assumption, but in order to reinvigorate the other side of this assumption according to Marx: the historical rebellion of the manufacture worker, especially the construction worker. We had to rekindle the demand that fueled this rebellion: total self-determination, and not just that of the manual operation as such. Our aim was above all political and ethical. Aesthetics only mattered by way of what it included—ethics. Instead of estética, we wrote est ética [this is ethics]. We wanted to make building sites into nests for the return of revolutionary syndicalism, which we ourselves had yet to discover. Sérgio Ferro, born in Brazil in 1938, studied architecture at FAUUSP, São Paulo. In the 1960s, he joined the Brazilian communist party and started, along with Rodrigo Lefevre and Flávio Império, the collective known as Arquitetura Nova. After being arrested by the military dictatorship that took power in Brazil in 1964, he moved to France as an exile. As a painter and a professor at the École Nationale Supérieure d’Architecture de Grenoble, where he founded the Dessin/Chantier laboratory, he engaged in extensive research which resulted in several publications, exhibitions, and awards in Brazil and in France, including the title of Chevalier des Arts et des Lettres in 1992. Following his retirement from teaching, Ferro continues to research, write, and paint.

What’s happening with Boba Fett? The last time we saw the legendary Star Wars character was at the end of his own show, The Book of Boba Fett, in February 2022. Yes, the Disney+ spin-off series was divisive, with some Star Wars fans feeling it went too far in softening the iconic villain's character. But that can’t be it for Boba Fett, can it?Over three years later, it feels like The Book of Boba Fett Season 2 is stuck in a galaxy far, far away. Lucasfilm has given no indication that the show will return, with next year’s The Mandalorian & Grogu movie perhaps the best chance of a live-action reprisal. Will there be a The Mandalorian Season 4? Lucasfilm has yet to say, but if it does happen, perhaps Boba Fett would pop up there.In truth, the future of Boba Fett and Temuera Morrison, the actor who plays him, in the Star Wars franchise remains uncertain. And based on recent comments from Morrison himself, there is little reason to deviate from that position.PlaySpeaking in an interview with Collider to promote his new film, Ka Whawhai Tonu (In The Fire of War), the 64-year-old New Zealander said he felt "sad" not to have reprised the role since the end of The Book of Boba Fett.“Where [sic] The Book of Boba Fett Season 2? Where the hell is Season 2?" Morrison said. "I know they're doing Ahsoka Season 2. I'm going, 'Ah, where's my Season 2?'"According to Collider, Morrison revealed he actually pitched Lucasfilm on Boba Fett appearing in Ahsoka Season 2 ("can I be Rex and take his helmet off, please?"), pointing out that he plays not just Boba Fett but all the clones based upon the character.He also bumped into Star Wars stewards Dave Filoni and Jon Favreau recently, and reminded them Boba Fett still exists. Apparently “they kind of said, 'Well, well,' they didn't want to say too much, put it that way. There was a few whispers of — they didn't want to say too much — but they just left it at that."That exchange left Morrison feeling like "I've been preserved for a later date, and I'm going to be tastier." He compared his feeling following the encounter to going to grandma’s house and seeing “that preservative jar of peaches up on the shelf.”Every Upcoming Star Wars Movie and TV Show“That's what I think,” he continued. “I'm one of those peaches, and I've been put up on the shelf. I've been preserved for a later date, and I'm going to be tastier.”Morrison could be playing coy, knowing full well he’s coming back to Star Wars in some form. After all, Rosario Dawson had no idea Mark Hamill was returning as Luke Skywalker in The Mandalorian until he walked on set. Lucasfilm has a history of holding its cards close to its chest.But it does sound to me like nothing is in the works for Boba Fett, unfortunately, and indeed last year Morrison offered a reason for why that might be the case. Speaking at the From Clone Troopers to Bounty Hunters panel at Fan Expo Chicago, Morrison cited The Book of Boba Fett's poor reception as the reason for the once beloved character not returning in Star Wars: The Mandalorian & Grogu. He added that Star Wars owner Disney hadn’t asked him to appear in the incoming film or a second season of The Book of Boba Fett.The show, which told the story of Boba Fett as he escaped from the Sarlacc Pit and acted as a miniature season of The Mandalorian, was among the worst received Star Wars shows. "This show's reception does seem to have impacted the future of the character in the franchise," Morrison said at the time. That was in August 2024. Has something changed in the year since? I'm not sure.Morrison originally played Jango Fett in Star Wars: Episode 2 – Attack of the Clones but years later rejoined Star Wars as Jango's son and clone Boba Fett. He's made clear his desire to return to Star Wars, saying he wants a chunk of The Mandalorian's time just as The Mandalorian led an episode of his show.Photo by Jun Sato/WireImage.Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.