Worms are decomposers. Many survive by breaking down dead things — dead bacteria, dead plants, dead animals, dead anything. So, they must be accustomed to the stench of death. Not so, a new study suggests — not when the dead organism is another worm.Published in Current Biology, the study states that C. elegans roundworms react adversely to the smell of a deceased counterpart. Not only does this smell invoke a behavioral response of corpse avoidance, but it also invokes a physiological response of increased short-term fertility and decreased long-term fitness and lifespan.“Caenorhabditis elegans prefers to avoid dead conspecifics,” or deceased members of the same species, the authors state in the study, with the worms reacting to death with a range of “aversion” and “survival” responses. Taken together, the results reveal a new signaling mechanism that’s available to worms and possibly other organisms, too, as a means of detecting and responding to death.Read More: These Fruit Flies Aged Faster After Seeing DeathWorms Signal and Detect DeathC. elegans roundworms aren’t the only small organisms that respond to the dead. Ants and bees dispose of the deceased from their colonies, for instance, while fruit flies avoid corpses (and shun flies that have seen corpses themselves). Death-exposed fruit flies even experience faster aging after seeing a deceased counterpart, and have shorter lifespans than those that have had no encounters with death. That these animals respond so strongly to the dead is widely documented. So, when the authors of the new study noticed C. elegans worms wriggle away from corpses, they saw the response as a chance to dig deeper into death signaling and detection. Indeed, while many species’ reactions to death are mediated mainly by sight, that certainly wasn’t the case for wiggling roundworms, which have no eyes and no sense of vision. “We felt this was quite a unique opportunity to start diving into what is happening mechanistically that enables C. elegans to detect a dead conscript,” said Matthias Truttmann, a senior study author and a physiologist at the University of Michigan, according to a press release.To determine how C. elegans worms detect the dead, Truttman and his team exposed the worms to conspecific corpses and to fluids taken from the deteriorating cells of those corpses. The worms responded to both with avoidance, moving away regardless of their age and sex, suggesting that the corpses and fluids carried similar signatures of death. These death cues also resulted in short-term increases in fertility, long-term decreases in fitness (represented by a reduced thrashing rate), and long-term decreases in lifespan. But what were those death cues, exactly, and how did the worms pick up on them?Sounding a Sensory AlarmTo figure out what those cues could be, the study authors recorded the activity in the worms’ sensory neurons as they encountered the corpses and fluids. The recordings revealed that AWB and ASH, two neurons that are responsible for making sense of olfactory stimuli, were activated when the corpses and fluids were present, indicating that the worms were smelling the signature of death.“The neurons we identified are well known to be involved in behavioral responses to a variety of environmental cues,” Truttmann said in the release. According to the study authors, the metabolites AMP and histidine were probably responsible for the signal of death that the C. elegans worms recognized. Though these metabolites are typically contained in living cells, they are released when living cells die and deteriorate — in this case, triggering the behavioral and physiological responses in C. elegans. “They also detect a couple of intracellular metabolites that are not typically found in the environment. If they are around, it indicates that a cell has died, popped open, and that something has gone wrong,” Truttmann said in the release.It is possible that cellular metabolites serve as a signal of death in other organisms, too, Truttmann said, as the release of metabolites from dying and disintegrating cells in one tissue can cause changes in other tissues in humans, for instance. Whether this signal sounds the alarm in other organisms is still uncertain. While further research is required to understand the role of cellular metabolites in detecting death across species, for now, it’s clear that death is a sensitive subject, even for worms like C. elegans.Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:Current Biology. Sam Walters is a journalist covering archaeology, paleontology, ecology, and evolution for Discover, along with an assortment of other topics. Before joining the Discover team as an assistant editor in 2022, Sam studied journalism at Northwestern University in Evanston, Illinois.

Music and art have always shared a special connection, but the latest innovation in home audio takes this relationship to a new level. For art lovers, music fans, and anyone passionate about beautiful interiors, the VAVIA Eco-friendly Art Frame Speakers invite you to fill your home with both rich sound and serene style. The result is a speaker you’ll want to display as much as you’ll want to listen to. Speakers are no longer just anonymous boxes tucked into corners. The days of bulky plastic rectangles are gone, replaced by designs that look and feel like part of the furniture. VAVIA speakers, with their award-winning Danish craftsmanship, are a prime example. Each piece is so visually compelling that it doubles as a piece of art, seamlessly blending musical enjoyment with the aesthetics of your living space. Designer: Openhagen Crafted from solid oak, anodized aluminum, and a unique honeycomb acoustic core, VAVIA speakers are built to last while remaining conscious of the environment. Everything about the construction is designed for sustainability, from the energy-efficient components to the premium natural materials. There’s no vinyl or MDF, just a tactile mix of wood, aluminum, and a woven linen fabric that completes the elegant frame. Sound from VAVIA isn’t simply projected but radiates. Thanks to Distributed Mode Loudspeaker (DML) technology, these speakers use vibrations across their entire surface to create room-filling audio. The experience is closer to feeling the music as it resonates through a guitar than listening to sound forced from a traditional speaker cone. Every room transforms into a gentle, immersive soundscape, making music a living, breathing part of your daily life. There are two models to fit your listening habits: the VAVIA Go is a delightfully portable table speaker weighing just 500g, with a 30-hour battery and Bluetooth for easy, wire-free listening anywhere. For those who love a seamless look, the VAVIA Air can be wall-mounted, turning sound into a permanent fixture that complements modern interiors. Both options are available in natural or stained oak finishes, and each is dressed in one of four beautiful Scandinavian-inspired fabric artworks. The front linen is not just for looks. It’s acoustically engineered to let sound pass through naturally, adding a soft and refined touch to any room. The fabric is fixed to maintain a flawless finish and ensure lasting durability, echoing the speaker’s commitment to both style and sustainability. VAVIA stands for Vibrational, Airflow, Virtualized, Immersive, and Acoustics, a perfect summary of what makes these speakers so enticing. They don’t just play music at you; they create a living atmosphere that feels as thoughtful and artful as your favorite painting. For anyone seeking a more harmonious blend of sound, sustainability, and design, VAVIA art frame speakers offer a sensory experience that’s truly one of a kind. The post VAVIA Art Frame Speakers Blend Eco-Friendly Design and Immersive Sound first appeared on Yanko Design.

The Missing Room / Carroccera CollectiveSave this picture!•Italy Architects: Carroccera Collective Year Completion year of this architecture project Year:  2025 Photographs Photographs: Lead Architects: Gianfrancesco Brivio Sforza, Dariia Nepop, Nacha Palomeque Coll, Caspar Schols, Angelica Rimoldi More SpecsLess Specs Save this picture! Text description provided by the architects. The Missing Room is a living space designed to encourage new rituals and patterns of use, offering an opportunity to enter an alternative time zone and experience a passage between a human-controlled environment and an untamed natural one. It is a room that has escaped the rigid confines of a defined house, choosing to exist without walls or a ceiling – a place where nature becomes the main inhabitant and visitors are invited to act as respectful guests. As one enters the Carroccera landscape, the search begins. Meandering through the land, the Missing Room gradually reveals itself, with the wanderer catching shimmering glimpses of smaller secondary structures shining through the forest greenery. This collection of visual fragments prepares the visitor for the main encounter, enriching the landscape with its enigmatic shapes and forms.Save this picture!Save this picture!Save this picture!The Missing Room is not simply a shelter but a space that invites discovery. A collection of abstract forms with a core activated by water and fire, it reimagines the most primal human rituals: resting, eating, cleansing, and conversing. These activities mix in unexpected yet harmonious ways. While guests cook over a crackling open fire, another inhabitant bathes in a heated bath, and a cow drinks from an integrated trough—all beneath a ceiling of tree canopies and the open sky. This space encourages visitors to set their own pace and redefine their pre-existing notions of domesticity. At the core of the Missing Room stands a seven-meter-tall monolith: a multifunctional chimney. On one side, the fire powers the ovens, while on the other, it heats water for bathing and warms the area at the front of the space. This towering form responds to the scale of the surrounding trees, rising like a beacon above the canopies, marking its presence in the landscape and guiding visitors with its smoke signals.Save this picture!Save this picture!Water, like fire, plays a central role in activating the hidden features of the structure. The water flow is released at the entrance of the structure, filling the main collection channel that distributes the flow into various basins throughout the structure. Users are encouraged to interact with the water systems by adding or removing plugs as needed to direct the flow; to fill the bath, use the sink or supply water to the cattle trough. The bath next to the water channel has a built-in natural convection system and comfortably accommodates three to four people. For solo use, the bath's size can be reduced with a partitioning panel and a removable lock to conserve water. Once closed, the bath can be transformed into a heated surface and used as a resting place to sleep at night under the stars.Save this picture!Save this picture!Save this picture!A bespoke sail canopy can be set up to offer shade or protection from rain. Using the chimney as a mast, the fabric is raised with a series of ropes and tensioned at the corners with ground pegs. By day, the canopy catches dappled shadows cast by the surrounding foliage; by night, it reflects light from built-in recessed lighting, transforming the structure into a glowing lantern. The Missing Room reconnects us with the rhythms of nature that have been lost in the contemporary world by reducing the act of dwelling to its very essence. Forest debris is gathered and converted into heat while the wastewater from bathing and cooking is filtered and safely dispersed into the field, providing irrigation and wet areas that contribute to the overall biodiversity of the forest.Save this picture!© Alessandro NanniConstructed with a focus on material and structural sustainability, the stainless steel refuge is durable, recyclable, and resistant to weathering. To protect the land, the modular structure and use of a non-invasive screw-pile foundation ensures that no traces are left behind if the house is required to be removed from the site. The Missing Room is a space for all – humans and non-humans – to share. Above all, the Carroccera Collective conceived of the room as a place to enjoy the very act of being. To invite our guests to slow down, reorient the senses, and rediscover the sensory richness and simplicity of the natural environment. As nature has vanished from our daily rituals and gone missing from our human lives, the room is a space to reveal the forgotten.Save this picture! Project gallerySee allShow less Project locationAddress:Carroccera site, Piedmont, ItalyLocation to be used only as a reference. It could indicate city/country but not exact address.About this office MaterialSteelMaterials and TagsPublished on May 23, 2025Cite: "The Missing Room / Carroccera Collective" 23 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030385/the-missing-room-carroccera-collective&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Google's got a brand new AI video generator, and it's so sophisticated that we're starting to sweat around the collar a bit.Google DeepMind describes the new model, Veo 3, as capable of delivering "best in class quality, excelling in physics, realism and prompt adherence" — and as videos posted to social media indicate, that marketing doesn't fall too far short.The caliber of the video is indeed impressive. But the real quantum leap is that the system can produce audio that goes with the clip, ranging from sound effects to music to human speech and singing.The internet was quick to riff on all those capabilities, sometimes in the very same clip. They often got pretty meta. In one clip posted to the r/Singularity subreddit, lifelike AI "actors" discuss the range of actions new model can generate."We can talk!" one of the non-people exclaims."No more silence!" another enthuses.As users commented on the thread, commercials and other human creations could soon be "cooked" thanks to the rapidly-accellerating technology."Netflix will be the first to roll this out," another prophesied. "I should buy some stock. People will watch this shit like crazy."Over on Elon Musk's X, that mix of loathing and excitement was similarly palpable.In a lengthy thread, the AI-boosting account TechHalla showcased Veo 3 videos ranging from the fantastical (a giraffe riding a moped through Manhattan) to the mundane (a man teaching a classroom full of old people).The video generator's artificial physics were on full display in TechHalla's roundup, with one showing a paper boat floating in a puddle before falling into a street hole looking more like the real thing and less like an animated still life than Veo 3's predecessors.The thread's standout, to our minds, was one showing a girl typing on a custom keyboard in a simulacrum of autonomous sensory meridian response, which is better known as ASMR. On first blush, it seems nothing spectacular is going on — until one recalls that AI image and video generators often used to struggle to make lifelike hands and fingers. And the online personalities who create ASMR content professionally? They'll be quaking in their whisper-quiet boots after this one.Given its sophistication, it's no surprise that Google DeepMind's latest creation can also generate horrific content, too.Posted on Reddit, one clip shows a dirty-looking man in a dimly-lit bar begging whoever generated him to, well, not."Please don't finish writing that prompt," the man implores. "I don't want to be in your AI movie!"The video then switches to an apparent post-apocalyptic street scene where the man and a female companion are seen trudging through rubble. The woman runs up to the non-existent camera and begs the viewer to "write a prompt that will make us happy.""Do it for once!" she shouts — and for just a second, we almost believed her.Obviously, the "people" in that clip, like the others before it, are not real and were intentionally modeled via prompting to tug at our heartstrings — but these videos' ability to do so is pretty freaky.Share This Article

Cabin in Woods | © Egemen Karakaya Set on the Kozak Plateau near Pergamon in western Turkey, Cabin in Woods by Ediz Demirel Works presents a compelling investigation into the relationship between architecture, landscape, and inhabitation. Modest in scale but conceptually rigorous, the 36-square-meter structure explores dualities in materiality, spatial experience, and construction technique. Its design resists conventional tropes of vernacular mimicry, opting instead for conscious contrast. This architectural gesture neither disappears into the land nor dominates it but negotiates a dynamic tension between embeddedness and autonomy. Cabin in Woods Technical Information Architects1-2: Ediz Demirel Works Location: Kozak Plateau, Pergamon, Izmir, Turkey Area: 36 m2 | 387 Sq. Ft. Completion Year: 2025 Photographs: © Egemen Karakaya The identity of the structure is shaped by the interplay of two opposing tectonic approaches in terms of materials, construction techniques, production methods, and the contrast between locality and foreignness. – Ediz Demirel  Cabin in Woods Photographs © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya Design Intent and Conceptual Framework The cabin occupies a terrace wall from a former vineyard, utilizing the dry stone retaining wall as a literal and conceptual foundation. This gesture roots the project within the existing agricultural topography, establishing a minimal intervention approach. Yet from this grounded base, the cabin rises as an artificial insertion. Its steel frame and corten cladding introduce a formal and material vocabulary foreign to the rural surroundings, underscoring a deliberate dialectic between context and object. At the heart of the project is a sunken conversation pit, an introspective space that anchors the plan and serves as the primary social node. This recessed area draws the inhabitant downward into the landscape, offering a tactile and spatial contrast to the protective shell above. The lowered core reframes domesticity in spatial terms, allowing for a gathering space that privileges horizontality, intimacy, and thermal mass. Around this core, other functional programs such as wet areas, storage, and circulation are deployed as appendages. Above, a mezzanine floor is delicately inserted within the steel shell, creating zones for sleeping and working without compromising the spatial clarity of the core below. Spatial Organization and Experiential Strategy Despite its compact footprint, the cabin achieves a high degree of spatial complexity. This is accomplished not through planimetric manipulation but through sectional richness and the careful calibration of views, light, and thresholds. A singular horizontal aperture cuts through the shell, framing a panoramic view of the forested hills. This gesture provides more than visual access; it actively orchestrates a dialogue between the interior and the broader ecological context. The facade, punctuated with small cantilevered openings, introduces sculptural moments that protrude into the landscape. These elements operate simultaneously as light sources, thermal breaks, and spatial cues. They animate the exterior envelope while mediating the inhabitant’s sensory experience from within. The strategy reveals an architectural sensibility attuned to the nuances of perception, perspective, and phenomenology. The sunken core, in particular, reinforces this experiential ambition. It is not merely a spatial curiosity but a site of temporal deceleration, a hearth-like void where fire, conversation, and reflection converge. In this sense, the project subtly reinvigorates domestic rituals through spatial articulation, encouraging modes of living that prioritize gathering and grounding over visual spectacle. Material Strategy and Construction Logic The architectural language of Cabin in Woods is structured around a deliberate contrast between local, irregular materials and prefabricated, controlled systems. The foundation, comprising a reinforced concrete slab cast directly into the existing dry stone terrace, extends the material logic of the landscape. This decision grounds the structure physically and symbolically, linking it to the region’s vernacular heritage. Conversely, the corten steel cladding and the structural steel frame are fabricated off-site and assembled locally. This bifurcation in construction methods aligns with the project’s conceptual division. The base engages the earth and honors the irregularity of place, while the shell expresses a technological detachment and formal precision. With its evolving patina and atmospheric depth, the use of corten adds a layer of temporal expression to the architectural language. It ages, oxidizes, and marks time, introducing a poetic dimension to the otherwise industrial envelope. Such a contrast is not merely aesthetic. It reflects a broader interrogation of architectural identity—how buildings can simultaneously belong, estrange, settle, and provoke. The tectonic opposition between ground and shell becomes a vehicle for this inquiry, inviting reflection on how architecture positions itself in relation to site and memory. Contextual and Critical Significance Beyond its immediate programmatic function as a short-term rental, Cabin in Woods engages with urgent disciplinary questions. How should contemporary architecture respond to rural contexts without defaulting to nostalgia? How can compact dwellings foster depth of experience without resorting to over-programming? And how might architecture embrace contradiction as a generative force rather than a problem to be resolved? Ediz Demirel’s response is measured yet assertive. Rather than dissolving into the landscape, the cabin asserts its autonomy while acknowledging the terrain. The project frames its site not as a passive backdrop but as an active participant in the architectural narrative. Its minimal footprint, precise detailing, and tectonic clarity demonstrate how small-scale interventions can yield disproportionately rich spatial and conceptual outcomes. Cabin in Woods Plans Floor Plan | © Ediz Demirel Works Section | © Ediz Demirel Works Elevations | © Ediz Demirel Works Details | © Ediz Demirel Works © Ediz Demirel Works Cabin in Woods Image Gallery About Ediz Demirel Works Ediz Demirel Works (EDWorks) is an Istanbul-based architectural studio founded in 2022 by Ediz Demirel. The practice focuses on small to medium-scale projects integrating design, construction, and development. EDWorks emphasizes material experimentation, site-specific strategies, and balancing traditional craftsmanship and contemporary tectonics. Notable projects include Cabin in Woods and Pergamon House in the Izmir region. The studio’s approach reflects a commitment to architectural clarity and contextual sensitivity. Credits and Additional Notes Design Architect: Ediz Demirel Site Architects: Ediz Demirel, Tuna Ökten

Latin America at the 2025 Venice Biennale: Exploring Territory, Memory, and Ancestral Knowledge to Build the PresentSave this picture!Andamio Vivo - Perú. Image © Gonzalo Vera Tudela De MontreuilThe 19th edition of the Venice Architecture Biennale officially opened to the public on May 10, becoming a significant international platform for exploring the current state of global architecture and sparking conversations about the challenges the discipline faces today—both shared and specific to each territory. This year’s theme, "Intelligens. Natural. Artificial. Collective," proposed by general curator and Italian architect Carlo Ratti, invites reflection on architecture’s interconnection with other fields—such as art, artificial intelligence, and technology—while also emphasizing the importance of territories, landscapes, and, above all, the people who collectively shape our built environment.In this context, the national participations of Latin American countries have enriched the international exhibition with contributions deeply rooted in their local cultures and identities. Argentina, Brazil, Chile, Mexico, Peru, and Uruguay represented Central and South America in Venice. Across their proposals, several shared themes emerged—most notably, the idea that contemporary architecture must consciously reconnect with its territory and draw from its history in order to build more thoughtfully today. Along these lines, the installations explored the re-signification of local elements and ancestral knowledge, adapting them to contemporary challenges and contexts.Brazil and Mexico centered their exhibitions on an in-depth investigation of land recording and mapping, addressing the use of ancestral construction technologies in relation to agriculture and the natural landscape. Both explored how these traditional techniques can be adapted to contemporary contexts. Uruguay, recognizing that over half of its territory is composed of water, emphasized the importance of considering this resource as an integral part of the country’s history, culture, and development. Peru and Argentina, meanwhile, focused on the re-signification of unique local elements—the silobag, emblematic of the Argentine countryside, and totora, a plant traditionally used in various forms of construction in Peru. In both pavilions, these materials were prominently featured, evoking the cultural and symbolic significance they carry. Finally, Chile’s participation presented a reflective and thought-provoking working table that examined recent debates around artificial intelligence policies established in the country. Related Article Between Algorithms and Ancestral Knowledge: Expanding the Concept of Architectural Intelligence Siestario - Argentina Save this picture!Save this picture!Upon entering Siestario, the Argentine Pavilion located in the Arsenale of Venice, visitors are immersed in a space of soft light and evocative soundscapes. At the center, serving as the undisputed focal point, is a large pink inflatable bag that instinctively invites repose. This is a silobag—a storage element commonly used in the Argentine countryside for preserving grain, especially soy, and emblematic of the country’s export-driven economy. In this context, the silobag functions not only as a spatial gesture but also as a temporal one: an invitation to pause and reflect amid the pace of the Biennale.In this way, architects Marco Zampieron and Juan Manuel Pachué succeed in decontextualizing this characteristic element—deeply rooted in national identity—by re-signifying its function and placing it within a space of critique and questioning. The result is effective: visitors are drawn to the installation, climb onto it, rest, and surrender to the experience, surrounded by images and sounds that induce a dreamlike drowsiness.(re) invenção - BrazilSave this picture!Save this picture!Brazil’s exhibition, curated by Luciana Saboia, Eder Alencar, and Matheus Seco—members of Plano Coletivo—is divided into two rooms, presenting research on the knowledge drawn from the lands of the Amazon. The installation establishes a dialogue between ancestral wisdom and contemporary urban infrastructure through exhibition elements that also serve as the structural system of the display.In the first room, lined with biodegradable wooden panels, maps and documents are spread across the floor, evoking the direct relationship that Indigenous peoples of the Amazon have with their land. In the second, a curated selection of architectural and urban infrastructure projects illustrates how these traditional forms of knowledge—deeply connected to Brazilian territory—are transformed into collective knowledge, capable of adapting to contemporary projects while preserving this cultural heritage.This balance between local culture, territory, and contemporary challenges is expressed almost literally through a minimalist and precise installation, composed of vertical panels and a suspended table made of reforested wood, both connected by tensioned steel cables. The balance is achieved through stone counterweights and a central metal tube that distributes the forces, turning the table into a structural element that redefines the spatial experience of the room.Reflective Intelligences - ChileSave this picture!Save this picture!The Chilean Pavilion presents a powerful proposal: upon entering the room, a central table—the main exhibition element—reflects a series of videos, essays, and images on its water surface. These works focus on archival research exploring the country’s growing role in the development of artificial intelligence, data center buildings, and the impact this has on the territory and, above all, its inhabitants.Serena Dambrosio, Nicolás Díaz Bejarano, and Linda Schilling Cuellar, the architects behind the pavilion, conceive the table not only as a physical support but also as a reference to the political tool of the "roundtable" used by the Chilean government to introduce policies and regulations around AI. In this case, the use of the water’s reflection invites visitors to reflect on what this technological development truly entails, questioning the exclusion of communities and environmental factors in these decision-making spaces. In this way, the table within the pavilion becomes a fertile ground for fostering collective dialogue among all key stakeholders: architects, researchers, communities, and policymakers.Chinampa Veneta - MéxicoSave this picture!Save this picture!The experience of entering the Mexican Pavilion, located in the Arsenale at the Biennale, is completely immersive. Visitors are welcomed by a recreation of a chinampa—an ancient cultivation system that involves creating platforms of earth over water to form small agricultural islands—which immediately captures attention through its lush vegetation, the scent of damp soil, and the sounds of water. The rest of the room, where vegetables, flowers, and medicinal herbs planted in the central chinampa are also expected to grow, is arranged to mimic the canals of Xochimilco, drawing a parallel with Venice itself, famously built over water.With this installation, the curatorial team—comprising Estudio Ignacio Urquiza and Ana Paula de Alba, Estudio María Marín de Buen, ILWT, Locus, Lucio Usobiaga Hegewisch & Nathalia Muguet, and Pedro&Juana—proposes revisiting these traditional chinampa agricultural systems to reflect on their adaptation in the present as a sustainable response, thanks to their self-irrigation system, within the context of droughts and global climate crisis. It also stands as evidence of a collective system bridging the natural and the built environment, as well as sustained care over time.Living Scaffolding - PerúSave this picture!Save this picture!The Peruvian Pavilion, with Alex Hudtwalcker as chief curator and Sebastián Cillóniz, José Ignacio Beteta, and Gianfranco Morales as associate curators, is presented at the Biennale’s Arsenale with Living Scaffolding, a proposal centered around a monumental structure built from totora reed wood. This installation brings to Venice the ancestral knowledge of the Uros and Aymara peoples of Lake Titicaca, who for centuries have used totora to construct floating habitable islands, homes, boats, and other essential elements for life on the lake.Over time, the refinement of this ancient technique incorporated other essential components—such as ropes and logs—that contribute to the stability and buoyancy of the structures. All this knowledge is materialized in an installation that can be fully experienced: visitors enter and walk through the scaffolding, exploring its construction system from within.Living Scaffolding highlights the technical precision and enduring relevance of this tradition, which in the contemporary context takes on a new meaning connected to collectivity, material memory, and the possibility of reactivating ancestral techniques as a response to today’s challenges. 53,86% Uruguay Land of Water - Uruguay Save this picture!Save this picture!Curated by architects Ken Sei Fong and Katia Sei Fong, alongside visual artist Luis Sei Fong, the Uruguayan Pavilion explores the country’s relationship with its maritime territory, which accounts for just over half of its total surface area. Located in its own building within the Biennale’s Giardini, the pavilion features a poetic and musical installation: a wavy ceiling from which amethyst stones hang, dripping water that strikes metal containers on the floor. This sensory and sonic experience invites visitors to contemplate water as a thread that weaves together the country’s memory, identity, and development.The installation presents a critique of the global water management model, emphasizing that, as a finite and increasingly scarce resource, it is essential to establish policies and regulations for its preservation. In this context, architecture plays a key role: it can not only offer innovative solutions but also promote conscious planning around water in cities and territories, acting as a bridge between the way we inhabit and the way we collectively manage this vital resource.Save this picture!Latin America’s participation in the 2025 Venice Biennale reveals that architecture is not only a design discipline but also a powerful critical and cultural tool. Each pavilion, rooted in its specific territorial context and local cultural identity, enacts a form of resistance by exploring ancestral knowledge, natural resources, and contemporary technologies as collective ways of knowing—learning from the past to build better today. In a global context marked by environmental crises, inequalities, and technological transformations, these architectural and deeply reflective endeavors construct new and reimagined narratives, where the local is no longer intrinsic to a fixed context but rather knowledge that expands, connects, and adapts to shared new realities.Save this picture! Image gallerySee allShow less About this authorPaula PintosAuthor••• Cite: Pintos, Paula. "Latin America at the 2025 Venice Biennale: Exploring Territory, Memory, and Ancestral Knowledge to Build the Present" [Latinoamérica en la Bienal de Venecia 2025: territorio, memoria y saberes ancestrales para construir el presente] 23 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030213/latin-america-at-the-2025-venice-biennale-exploring-territory-memory-and-ancestral-knowledge-to-build-the-present&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Save this picture!© Ugo Carmeni, 2025A pavilion in a Biennale serves as a platform for cultural expression, allowing a nation to articulate its architectural identity while responding to global challenges. These national exhibitions reflect how each country interprets the event's central theme through the lens of its own landscapes, histories, and future aspirations, reinforcing architecture's ability to act not only as a built discipline, but also as a catalyst for reflection, transformation, and dialogue. In this context, Montenegro's contribution resonates with particular force. Titled Terram Intelligere: INTERSTITIUM, the pavilion draws on the concept of a newly understood anatomical system of fluid-filled spaces running throughout the human body, facilitating connection and exchange. Once considered dense and inert, the interstitium is now revealed to be a network of dynamic interrelation — a metaphor that the curators use to reframe architecture as an active, living inquiry into natural, artificial, and collective intelligence, in tune with this edition's theme: Natural. Artificial. Collective.Curated by Prof. Dr. Miljana Zeković, with contributors Ivan Šuković, Dejan Todorović, and Emir Šehanović, transforms the newly inaugurated Arte Nova space in Venice's Campo San Lorenzo into a dynamic laboratory. The project treats the interstitium not only as a biological metaphor, but as an architectural strategy, and the pavilion becomes a mediating membrane, connecting biology, tradition, and speculative futures. As Zeković explains, "Architecture naturally occupies a space between disciplines — not only between art and science, but also engineering. Here, it becomes a form of mediation between species, materials, and temporalities."Floating polycarbonate forms, infused with soil-derived bacterial cultures, are suspended by cables and arranged in a carefully orchestrated constellation. These transparent volumes are not inert, but biologically active. Over the six months of the Biennale, the microorganisms within them will grow, mutate, and generate bio-pigments in response to environmental stimuli such as light and temperature. This expanded view of architecture revisits the suvomeđa, a traditional Montenegrin dry-stone boundary wall built without mortar. More than a marker of property, the međa embodies ecological coexistence and cultural memory. In the pavilion, its principles are reinterpreted through these structures, each evoking the porosity, modularity, and autonomy of this vernacular tradition. "The međa is present in the pavilion both as a metaphor and as a symbol," observes Zeković. "Stones traditionally assembled without binding material are now reimagined in a collective, organic form — each floating, yet interconnected." Save this picture!Save this picture!Rethinking Intelligence (and Color) Through Soil and Slow TransformationDeveloped in collaboration with the Institute of Molecular Genetics and Genetic Engineering at the University of Belgrade, the project demonstrates how soil bacteria collected from Durmitor National Park, Skadar Lake, Bukumirsko Lake, and villages near Virpazar produce bio-pigments under UV exposure. These vibrant and resilient pigments suggest a future in which ecological coloring could replace synthetic and toxic dyes in the construction industry. "The bacteria developed fascinating spatial systems," says Zeković, "which could easily be envisioned, in some modified form, applied in construction." For Zeković, this convergence between science and design reflects a deeper ambition: It is entirely realistic to expect that many industrial materials containing hazardous components will be replaced by natural, sustainable alternatives. (...) Science, art, and architecture can help create a better, more stable, and sustainable world. The Montenegrin pavilion offers more than a visual encounter — it invites participation. As Zeković states: Visitors can engage with the space in multiple ways. The first is as a passive observer, taking in the installation from afar. The second is for the curious — those who step closer, who examine the bacterial worlds, who enter the 'boundary' and explore this unexpected potential from multiple angles. Save this picture!Inside these floating forms, visitors discover not only living microbial ecosystems, but also narrative templates, abstract representations of Montenegrin terrains, and even living bacterial nanocellulose. It is a multisensory and educational journey — one that encourages slow observation and critical reflection.Rather than offering a definitive solution, Terram Intelligere: INTERSTITIUM invites us to rethink how we define intelligence, materiality, and boundaries. The project asks: what can we learn from soil, from tradition, from microorganisms? In doing so, Montenegro's contribution rejects immediate spectacle in favor of slow, cellular, and continuous transformation — proposing an architecture that adapts, and grows. As the curator affirms, "The theme of intelligence and future hybrid intelligent systems demands far more than mere interpretation; it requires deep engagement on multiple levels."Save this picture!Save this picture!And she reminds us that the Biennale is more than a platform for display: "The Architecture Biennale is indeed a showcase of nations and entities, but — and this is particularly important to me — it is also a place of education. Visitors come primarily to see and to learn, and therefore, the innovations and insights presented through the exhibitions are of great significance."Just as the međa quietly delineates space while sustaining complex and invisible ecologies, the systems explored in the Montenegro Pavilion suggest that resilience does not begin with grand gestures, but with subtle, intelligent adaptation. Rooted in the soil, microorganisms model complex cooperation and environmental responsiveness, constructing spatial networks, generating living pigments, and embodying an architecture that grows from within — silently, incrementally, collectively. As the text presented in the pavilion reminds us, "Through this quiet evolution, the city of the future may rise upon a living, ever-evolving foundation – one shaped by continuous growth, shared intelligence, and the subtle emergence of hybrid systems rooted in nature."Save this picture!Commissioner: Mirjana ĐurišićCurator: dr Miljana ZekovićExhibitors: Ivan Šuković, Dejan Todorović, Emir ŠehanovićProfessional collaborators and project partners: Institute of Molecular Genetics and Genetic Engineering (IMGGE), University of Belgrade - Dr Jasmina Nikodinović-Runić, Vukašin Janković, Dr Tatjana Ilić-Tomić, Dr Ivana Aleksić, Dr Dušan MilivojevićCreative team: Tamara Marović, Maja RadonjićProducer: Jelena BožovićProject technical director: Aleksandar JevtovićTechnical production assistants: Miloš Jevtović, Branislav DragojlovićLighting – technical implementation: Boris Butorac, Jovan Vanja MarjanovićSound design: Miloš HadžićPublication design and visual identity of the exhibition: Igor MilanovićOrganizer: Ministry of Spatial Planning, Urbanism and State Property of Montenegro

When I was still young and idealistic (or maybe naive), I thought that whatever is put out on legitimate media is “the truth”. But when I started university and I got to see how everything in mass media and mass communication works, I finally understood that there may be a lot of agenda setting and disinformation behind the scenes. Especially now in this media landscape, it’s getting more difficult to sift through the actual information and misinformation/disinformation. Niice Studio has responded to this post-truth reality with a conceptual device named TOTEM. This screenless, sculptural tool aims to navigate media misinformation not by acting as a direct fact-checker, but rather as a barometer, subtly indicating shifts in informational patterns, pressure, and overall volatility. It operates on the principle of translating abstract fluctuations within the media environment into tangible, sensory forms. Instead of presenting raw data, it offers a more nuanced system of feedback through physical, tactile means. Designer: Niice Studio The device analyzes incoming media content, including headlines, images, and textual posts, identifying known falsehoods. However, its intervention is not one of outright censorship or blocking. Instead, TOTEM introduces visual placeholders or subtle redactions, creating spatial gaps or minimal warnings that signal the presence of unreliable elements before the user fully engages with the content. It’s made up of three interconnected units working as a unified structure. TO1 is the insight visualized that generates daily printed discs as a representation of either the stability of disruption of media patterns. Imagine that it’s like printing a coin to represent the news. A normal coin means the news was pretty reliable. A weird-looking coin means there was a lot of shaky or false information going around. TO2 meanwhile is the responsive alert system which performs a physical action when it detects lies or verified distortions. This part is like a built-in alarm. If TOTEM sees something that’s definitely a lie, it will do something you can notice right away – maybe it will change color or shake a little to warn you. Lastly, the TO3 is the background content filter that analyzes media and replaces falsehoods with visual placeholders or subtle redactions. The way they described things is still very conceptual and how it will work in real life as it is screenless and symbolic is pretty vague. But it’s an interesting vision for a future where technology aids in media literacy not through direct intervention, but through subtle, sensory cues that empower individuals to critically assess the information they encounter. The project sparks a conversation about alternative approaches to tackling misinformation, moving beyond the reliance on screens and direct data output towards more embodied and intuitive forms of media consumption. The post Screenless multi-sensory device concept helps visualize media misinformation first appeared on Yanko Design.

April 2025 was an exciting month for tech enthusiasts, with designers and creators blending nostalgia, minimalism, and modern features to produce outstanding gadgets. April’s best gadgets were not just about raw performance—they were about thoughtful design, tactile pleasure, and bringing a sense of joy and simplicity back to technology. Whether you’re a music lover, a fan of classic mobile experiences, or someone who appreciates both form and function on your wrist, this collection of five exciting gadgets will capture your imagination. Let’s explore what makes each of them special and pick out which one is your favorite! 1. iPod Video The iPod was once a symbol of the digital music revolution, instantly recognizable by its click wheel and iconic design.  Canadian YouTuber Zac Builds breathed new life into this classic device by creating a thoroughly modern iPod Video from scratch. This isn’t just a restoration—it’s a complete reimagining, blending the timeless appeal of the fifth-generation iPod with today’s tech standards. The most impressive exterior update is the use of transparent faceplates and click wheels, allowing users to admire the device’s inner workings like a piece of mechanical art. But the real magic happens inside. Gone is the original hard drive, replaced by a lightning-fast 256GB SD card for improved speed, reliability, and storage. The old screen has been swapped for a vibrant, high-contrast IPS display, making album art and menus pop like never before. Modern conveniences abound: USB-C charging, Bluetooth audio, and support for high-fidelity FLAC files bring the iPod into the present. What we like Includes USB-C charging, Bluetooth connectivity, and FLAC support, making it compatible with current tech and high-quality audio. Upgraded battery allows for extended use, giving users up to a month on a single charge. What we dislike This upgraded iPod is a one-off creation, not a mass-market product—replicating it requires technical skill and custom parts. As a custom project, it’s not widely available for purchase, making it a dream for enthusiasts rather than a mainstream option. 2. a_77 Laptop Amidst a sea of similar laptops, the a_77 stands out as a truly original approach to mobile computing. Designed by Braz de Pina, this laptop centers its entire layout around the keyboard, resulting in an ultra-compact and visually striking device that eliminates anything superfluous. The 65% keyboard size shapes the compact form factor, prioritizing comfort and functionality with every key press. The nearly square, compact screen keeps the design minimal, while the keyboard offers clever details such as a bold power button and a dedicated CoPilot key to boost productivity. Bright colors and a playful style enhance its appeal, making the a_77 an excellent companion for students, digital nomads, or anyone who wants tech that’s as fun as it is functional. What we like Extremely portable with a lively, engaging design. Efficient, thoughtfully designed keyboard layout. What we dislike The small display may feel restrictive for some tasks. Its unconventional style might not suit fans of classic laptops. 3. Sidephone While most modern phones chase ever-larger screens and all-in-one functionality, the Sidephone takes a radically different path by embracing physical buttons and modularity. This device is a love letter to the tactile joy of pressing real keys, offering an experience that feels refreshingly direct in a world full of glass slabs. The Sidephone is all about efficiency—no more endless scrolling or tapping, just the instant satisfaction of a button press. But its most groundbreaking feature is its patented swappable keypad system. Users can easily change the keypad layout to suit their needs, thanks to a clever design that employs magnets and clips for quick, secure swaps. Want a classic T9 for texting, a gaming-specific layout, or a minimalist design for distraction-free use? Simply pop off the current keypad and snap on a new one. What we like Swappable layouts allow users to tailor the phone for texting, gaming, or minimalism, making the device uniquely versatile. Real, physical buttons provide a delightful and efficient alternative to touchscreen typing. What we dislike As a feature phone, it lacks the advanced apps and capabilities of modern smartphones, which could be a downside for some users. Those accustomed to touchscreen devices might find the Sidephone’s approach restrictive or old-fashioned. 4. Vetra Orbit One The Vetra Orbit One concept smartwatch is a refreshing antidote to the sensory overload of most wearable tech. Instead of bombarding you with notifications and flashy graphics, it brings a sense of calm and tactile pleasure to your wrist, inspired by the craftsmanship of traditional watchmaking. The design is minimalist, with clean lines and a focus on essential information, making it a sophisticated accessory that complements your style rather than competing for attention. The Orbit One’s key feature is its emphasis on tangible interaction—think rotating bezels and textured surfaces that invite you to touch and engage, rather than just tap. What we like Combines the satisfying feel of classic watches with a streamlined, user-friendly interface. Delivers only the most important information, reducing distractions and making it a pleasure to wear daily. What we dislike As a concept device, it may not yet be available for purchase, and final features could change before release. The minimalist approach may mean fewer apps and integrations compared to mainstream smartwatches. 5. Nintendo Wii U Revival Handheld Nintendo’s spirit of creativity is reimagined in this sleek handheld, which serves as a modern tribute to the often-overlooked Wii U gamepad. Rather than mimicking the hybrid nature of the Switch, this device is dedicated solely to handheld gaming, delivering a streamlined experience focused on fun and nostalgia. Its design is clean and intuitive, featuring a sharp central display, symmetrical analog sticks, and a well-organized button arrangement that feels instantly familiar to Nintendo enthusiasts. Shedding the bulkiness of the original Wii U controller, this new version is lightweight and highly portable, perfect for gaming on the go. Practical updates like USB-C charging, a classic D-pad, and a variety of eye-catching color options (including a dazzling gold Zelda edition) highlight its modern appeal. What we like Huge library of retro Nintendo games spanning multiple generations, playable offline without extra fees Slim, ergonomic build with up-to-date features like USB-C and a responsive D-pad What we dislike Heavy focus on older titles may not attract gamers seeking the latest big-budget releases Lacks hybrid or TV docking capabilities, which may limit its versatility compared to the Switch The post 5 Best Tech Gadgets Of April 2025 first appeared on Yanko Design.