Wholesome Direct 2025 - everything announced at this year's cosy indie showcase Big hops! Discount shops! Spooky pups! More! Image credit: Eurogamer Feature by Matt Wales News Reporter Published on June 7, 2025 If you're the sort who just can't seem to resist the soothing rhythms of turnip planting and interior design, you've come to the right place. This year's Wholesome Direct - which marks the fifth anniversary of the showcase - has now aired, unleashing a fresh wave of cosy games to stick on your wishlists. We've got vending machine management, adorable puppies on spooking adventures, cheese-based puzzling, geckos, goats, seasonal cemetery exploration, and a whole lot more. So if that sounds like it might help sate your idyllic yearning, read on for all the big announcements from Wholesome Direct 2025. And for more indies, you can check out our round-up of this year's Day of the Devs showcase elsewhere. Leaf Blower Co. Leaf Blower Co. trailer.Watch on YouTube Ever wished your PowerWash Simulator had a little less splosh and a little more whoosh? That seems to be the starting point for developer Lift Games' Leaf Blower Co., a game about making the untidy tidy come rain, snow, or shine, one mechanised gust at a time. It's got a story mode plus a variety to locations waiting to be blown debris-free, and if that appeals, a demo's available now on Steam ahead of its release later this year. Instants Instants trailer.Watch on YouTube Instants is a creativity themed puzzler about the intoxicating pleasures of obsessive scrapbooking. It sees players attempting to sort images into chronological order and then assembling them into a scrapbook to reveal a "heartwarming" story inspired by the way family history can be passed down using pictures. It's developed by Endflame and launches today on PC (via Steam and Epic), and Switch. Story of Seasons: Grand Bazaar Story of Seasons: Grand Bazaar trailer.Watch on YouTube Stardew Valley might be the face of farming sims these days, but the grandaddy of the genre - Story of Season (formerly Harvest Moon) - never went away, and another entry in the venerable series is looming. Grand Bazaar is actually a remake of 2011 DS game Harvest Moon: Grand Bazaar, and it's got pretty much everything you'd expect from these kind of things - including turnips to fondle, animals to rear, and locals to dazzle with your impressive root vegetable collection. The main twist is you'll be selling all this yourself by setting up shop in the titular bazar. And if that sounds like something you'd enjoy, it launches for Switch, Switch 2, and Steam on 27th August. Gourdlets Together Gourdlets Together trailer.Watch on YouTube Perhaps you're already a fan of last year's Gourdlets or perhaps you're completely new to its vegetable-themed low-stakes thrills. Either way, there'll soon be a new way to play, thanks to developer AuntyGames' Gourdlets Together. Essentially, it takes the laid-back village-building vibes of the original, slings in a bit of a fishing focus - where earnings can be spent on upgrades or accessories to decorate your island home - then lets you do it while hanging out with friends online. Gourdlets Together launches on PC later this year. Luma Island Luma Island trailer.Watch on YouTube Don't think we're done with the farming sims yet - not by a long shot! Luma Island launched last year, offering an attractive mix of crop whispering, profession-specific activities, creature collecting, exploration, and puzzle-y dungeoneering. And come 20th June, it'll be getting just a little be more swashbuckling, thanks to its free Pirates update, introducing a new profession, new Lumas, new outfits, and a pirate cove filled with mini-games, temples, traps, and treasures. It'll also bring a range of different difficulty modes to suit players of all tastes. Is This Seat Taken? Is This Seat Taken? trailer.Watch on YouTube Think you're a dab hand at the old 'awkward family gathering' seating plan challenge? Well then, this might just be the game for you. In Poti Poti Studio's "cosy, silly, and relatable" logic puzzler Is This Seat Taken?, the goal is to satisfy the demands of a particularly fussy group of chair occupiers to find the perfect spot that'll keep everyone happy - be they on the bus, at the park, or in the office. It's coming to Steam, Switch, iOS, and Android this August, and a Steam demo's out now. MakeRoom MakeRoom trailer.Watch on YouTube Here's one for the aesthetic tinkerers and furnishing fetishists out there. MakeRoom, from developer Kenney, sees players decorating a series of miniature dioramas - from cosy indoor retreats to camper vans and even forests - to fulfil the requests of adorable NPCs. You might, for instance, be tasked with creating the perfect room for cats, or a suitably moody hideout for a vampire. Then it's simply a matter of hanging drapes, plopping down plants, and even crafting furniture to bring these spaces to life and satisfy your clients' whims. It all sounds very much like Animal Crossing's weirdly compelling Happy Home Paradise expansion, so if it's more of that sort of thing you want, MakeRoom comes to Steam on 7th August. Ambroise Niflette & the Gleaned Bell Ambroise Niflette & the Gleaned Bell trailer.Watch on YouTube The apple bell - whatever an apple bell is - has been stolen, but luckily for apple bell lovers everywhere, renowned detective Ambroise Niflette is on the case. Over the course of Topotes Studio's investigatory adventure, Ambroise - and players - will roam the village of Touvoir, interrogating its inhabitants and searching for secrets, all while using a notebook of steadily amassing leads to reveal contradictions and unmask the culprit. It all sounds perfectly lovely, but the real draw is the delightful art style, which is heavily inspired by miniatures and stop motion. Ambroise Niflette & the Gleaned Bell is eventually set to launch on Steam, but first there's a Kickstarter, which is underway now. Let's Build a Dungeon Let's Build a Dungeon trailer.Watch on YouTube First there was Let's Build a Zoo, and now comes Let's Build a Dungeon. But while developer Springloaded kept its focus pretty tight for its debut release, Let's Build a Dungeon goes broad; not only is it a playable RPG creator where you can rustle up your own worlds and quests, it's also claiming to be an entire games industry sim too, where you'll need to manage all the malarky around releasing your game - from attracting funding right through to making a profit at the other end of the process. But if all that sounds too stressful, Springloaded has confirmed - as part of its latest showing - there'll be a cosy sandbox Build Mode too. There's still no release date for Let's Build a Dungeon yet, but it's heading to Steam (there's a demo here), Xbox One, and Xbox Series X/S. Squeakross: Home Squeak Home Squeakross: Home Squeak Home trailer.Watch on YouTube What do you get if you cross adorable mice with classic grid-filling puzzler Picross? Well, this thing, obviously. Squeakross: Home Squeak Home is the work of developer Alblune, and it adds its own twist to the familiar logic-testing formula by introducing a home decorating element. The idea is each puzzle corresponds to an unlockable bit of decor - including furniture, accessories, and stickers - so you'll slowly amass new furnishings and trimmings as you give your brain a work out. Is there an in-game lore reason why puzzles equals furniture? Who knows! We'll soon find out, though, given Squeakross launches for Switch and PC (via Steam and itch.io) today. Monument Valley 3 Monument Valley 3 trailer.Watch on YouTube Ustwo Games' perspective shifting puzzle series Monument Valley has been a big old hit, amassing tens of millions of downloads since its iOS debut back in 2014 - so it wasn't a huge surprise when a third entry showed up on mobile last year. Initially, however, it was locked behind a Netflix subscription, but Monument Valley 3 - which we quite liked despite it offering little meaningful evolution for the series - is finally spreading its wings later this year. As announced during today's Wholesome Direct, it's coming to Steam, Switch, PlayStation 4, PS5, Xbox One, and Xbox Series X/S on 22nd July. Big Hops Big Hops trailer.Watch on YouTube If you immediately thought bunnies, you're wrong. Big Hops is, in fact, a frog-themed action platformer, in which players attempt to help the titular Hop find his way home. Each world he visits on his adventure promises its own self-contained story - involving everything from mountain cultists to desert ne'erdowells - all interspersed with plenty of agile platform action. You can grapple across gaps, hoist levers, rotate wheels, even pick locks - all using your tongue - and it's accompanied by some veggie-based gameplay that lets players introduce the likes of climbable vines and mushroom-based bounce pads into levels. Big Hops is currently raising funds via Kickstarter and a Steam demo's out now. Little Kitty, Big City Little Kitty, Big City trailer.Watch on YouTube Here's quicky for you. Little Kitty, Big City - the feline-focused open-world adventure from Double Dagger Studio - is getting a little bigger. That's thanks to a free content update coming to all platforms this "summer", promising new story content, a new neighbourhood to explore, and new oddball characters to befriend. That's alongside a new cat customisation feature for you creative sorts out there. Vending Dokan!: Kozy Kiosk Vending Dokan!: Kozy Kiosk trailer.Watch on YouTube What's in a name? Well, pretty much everything in this case. Aftabi Games' Vending Dokan!: Kozy Kiosk is, just as it sounds, a cosy, laidback game about managing your own vending machine empire. You'll choose where your machines go and what they sell, and hire staff to ensure they stay stocked, clean, and in working order. There's a heavy customisation element too, as you're free to decorate the areas surrounding your vending machines in order to attract new customers. Kozy Kiosk is officially referred to as an "idle simulation", and can be played both actively and passively. And if that appeals, it launches for Steam today. Winter Burrow Winter Burrow trailer.Watch on YouTube Developer Pine Creek Games' "woodland survival game" Winter Burrow was unveiled during December's Wholesome Direct, but it's back to announce it's now coming to Switch. If you missed its original reveal, Winter Burrow casts you as a mouse who's attempting to fix up their burrow and turn it into a toasty retreat from the cold. That requires exploring the snow-covered world outside, gathering resources, crafting tools, building things, making friends, baking pies, and more. Winter Burrow launches next year and will be available for Steam, Xbox One, Xbox Series X/S, and Switch. Tales of the Shire: A Lord of the Rings Game Tales of the Shire trailer.Watch on YouTube After multiple delays, cosy hobbit life sim Tales of the Shire is almost upon us, and developer Wētā Workshop is readying for its arrival with a brand-new trailer. It's been described as a game about "finding joy in the small moments", and features all the usual life sim activities - fishing, cooking, gathering, decorating, merrymaking - with a bit of a Lord of the Rings twist. So yes, you CAN decorate your hobbit's hole. Tales of the Shire launches for Switch, PlayStation, Xbox, and PC on 29th July. Haunted Paws Haunted Paws trailer.Watch on YouTube If your interests lie at the intersection of spooky mansions and adorable pups, prepare to have your day made. In developer LazyFlock's supernatural adventure Haunted Paws, players - either solo or with a friend - control two brave (and customisable!) puppies as they explore a creepy old house in search of their human, who's been kidnapped by sinister forces. It promises puzzles, lighthearted spookiness, and even a few emotional bits. There's no release date for Haunted Paws yet, but it's coming to Steam. The Guardian of Nature The Guardian of Nature trailer.Watch on YouTube This wholesome, hand-drawn puzzle adventure from Inlusio Interactive is all about the interconnectedness of nature, and sees players embarking on a botanical journey as the lovably be-hatted Henry. Not only does Henry know his stuff about the natural world, he's also able to change his size, meaning players can explore both above and below ground as they solve puzzles to assist nature. The Guardian of Nature launches into Steam early access today, and it's coming to Switch, Xbox, iOS, and Android too. Everdeep Aurora Everdeep Aurora trailer.Watch on YouTube If you've ever thought Dig Dug would be improved if its protagonist was a cat, Everdeep Aurora might be the game for you. It follows the apocalyptic adventures of a kitten named Shell as she explores subterranean depths in search of her mother. You'll obliterate blocks, do some platforming, play mini-games, and converse with peculiar characters as you investigate the dark secrets buried below, all without a hint of combat. Its limited-colour pixel art looks wonderful, and it's coming to Steam and Switch on 10th July. Seasonala Cemetery Seasonala Cemetery trailer.Watch on YouTube From the creators of A Mortician's Tale, the "meditative" Seasonala Cemetery is a "peaceful but poignant reflection on life and death". It's set in an expansive, living cemetery that changes dynamically based on your system's time and date. The summer, for instance, might see the world bustling with vibrant life, while the winter brings quiet and snow. You can interact with NPCs and animals, rummage through nature, learn the history of the nearby city through its gravestones, or simply relax to its ambient sounds. Seasonala Cemetery is out today on Steam and itch.io, and is completely free. Camper Van: Make it Home Camper Van: Make it Home trailer.Watch on YouTube One of (bizarrely) several camper-van-themed games currently in the works, developer Malpata Studio's Make it Home is a pretty self-explanatory thing. You've got a camper van to make your own as it journey across beautiful, idyllic landscapes. Part of your goal is to solve organisational puzzles, but there's laidback interior design too. Camper Van: Make it Home is available today, alongside a demo, on Steam. Lynked: Banner of the Spark Lynked: Banner of the Spark trailer.Watch on YouTube FuzzyBot's Lynked: Banner of the Spark is a cheerily colourful action-RPG, that's part sci-fi roguelike, part relaxed life sim. At its most peaceful, you'll farm, fish, gather materials, and build your base with help from your robot pals, but that's all in service of its more frenetic hack-and-slash action. When you're ready for some proper adventure, you can brave the wilds, battle evil robot forces with a large arsenal of weapons, and search for helpful bots to bring back home. Lynked is already available on Steam, but it's coming to PS5 and Xbox Series X/S too. Omelet You Cook Omelet You Cook trailer.Watch on YouTube In this chaotic cooking roguelike from SchuBox Games, you're tasked with creating the perfect omelettes to satisfy your customers' increasingly peculiar demands. That involves combining ingredients as they fly by on a conveyor belt, from the relatively mundane to the rather more dubious, in the hope of earning enough money to increase your provisions, add useful relics to your pantry, and, hopefully, please the fearsome Principal Clucker. It all looks wonderfully ridiculous, and it launches on Steam today. Milano's Odd Job Collection Milano's Odd Job Collection trailer.Watch on YouTube Milano's Odd Job Collection (known as Milano no Arubaito Collection in Japan) is coming to the west for the very first time. It follows the adventures of 11-year-old Milano as she's left to her own devices over the summer. Free to do as she pleases, she embarks on a range of odd job - from pizza delivery to milking flying cows - in order to make money and have fun. Milano's Odd Job Collection, from developer Westone, is coming to Switch, PlayStation, Xbox, and PC later this year. Fireseide Feelings Fireseide Feelings trailer.Watch on YouTube If you've got something to get off your chest, what better place to do it than by a roaring fire in a cosy forest glade? Fireside Feelings is described as a "mental wellness experience" promoting empathy, connection, and positivity between players. Situated cosily in your customisable camp, you're able to answer questions on a range of topics, taking part in conversations between people "separated in space and time". Conversations aren't live, and there's no direct interaction with others, but the goal, according to developer Team Empreintes, is to "share experiences, express your emotions, and be a part of a caring community". It launches today on Steam. All Will Rise All Will Rise trailer.Watch on YouTube Well here's something you don't see every day. All Will Rise is a "narrative courtroom deck-builder", in which you and your team take a corrupt billionaire to court, accusing them of a river's murder. That involves accumulating cards and using them to engage in conversation battles, attempting to charm, intimidate and manipulate those you meet around the vibrant city of Muziris. "Obey a dead river god's summons - or defy them," developer Speculative Agency explains. "Pass information to violent ecoterrorists - or maintain your pacifist ideals. Convince a corporate stooge to testify for you - or blackmail him with sensitive information. Your choices will determine the [city's] fate." All Will Rise is currently crowdfunding, but it's aiming to launch on Xbox, PlayStation, Switch, and Steam. Gecko Gods Gecko Gods trailer.Watch on YouTube It's hard to go wrong with a gecko, which immediately gives developer Inresin's Gecko Gods a bit of an advantage. What we've got here is a "serene lizard-sized puzzle-platformer" set on a beautiful archipelago, in which its tiny protagonist clambers across forgotten ruins, solving puzzles as they go. There are secrets of a lost civilisation to uncover, hidden paths, and more, all of which you'll be able to explore for yourself when Gecko Gods launches for Switch, PS5, and Steam later this year. But if you're an impatient sort, a Steam demo is available now. One Move Away One Move Away trailer.Watch on YouTube If you quite fancied the idea of Unpacking, but thought it had far too much 'taking stuff out of things' for its own good, you might enjoy Ramage Games' One Move Away, which is basically the inverse experience. Here, you play as three different characters, starting with a young girl in the 1980s, gradually learning more about them as you pack their belongings away ready for another chapter in their intertwining lives. All this plays out in first-person across 20 levels, and if that takes your fancy, a Steam demo's out now ahead of a full launch on PS5, Xbox Series X/S, and PC. Heidi's Legacy: Mountains Calling Heidi's Legacy trailer.Watch on YouTube As you've probably already guessed, Heidi's Legacy: Mountains Calling takes inspiration from the classic children's stories. Which is why it's something of a surprise to learn its protagonist is called Adèle. Regardless, this is a game of grumpy old men, goat management, and alpine wandering, where you'll explore the beautiful countryside with your bleating pals, foraging for herbs, mushrooms, and more in a bid to help the nearby village. You can unlock abilities that open up more of the world, and chat to the locals in branching conversations'll that impact their lives. And as for those goats, they can provide milk, cheese, and wool. "Will you embrace slow living," asks developer Humble Reeds, "or push for bolder change?". Heidi's Legacy is coming to PC "soon". Hotel Galatic Hotel Galatic trailer.Watch on YouTube In Hotel Galactic, you're responsible for the running of a modular hotel on a strange cosmic island, which you'll customise and optimise in order to provide guests with the perfect stay. There are resources to manage, a workforce to build, and more, as you cater to the demands of your ever-growing colony, all with assistance from your ghostly Grandpa Gustav. There's a bit more to it than that, though, and the whole thing's framed by a tale of love and vengeance that's conveyed through some lovely anime-inspired art and animation. Hotel Galactic launches into Steam early access on 24th July, with consoles to follow, and a demo's available now. Out and About Out and About trailer.Watch on YouTube If it's serene forest meandering you're after, then look no further than Yaldi Games' Out and About. It's a "cosy foraging adventure" focused on exploring nature and identifying real-life plants and fungi. You'll cook recipes, make herbal remedies, and help rebuild your community after a devastating storm, all while hopefully learning a bit of botanical knowledge you can take out into the real-world. Out and About looks to be aiming for a 2025 release on PC, with a console launch to follow. And if it's piqued your curiosity, you can test out a Steam demo now. Discounty Discounty trailer.Watch on YouTube Forget the farm life; how about managing your own discount supermarket in a small harbour town? That's the premise of Discounty from Crinkle Cut Games, which sees you designing and organising your shop, managing stock levels, working the checkout, and striking trade deals. You'll make friends, navigate local drama, and expand your empire, but that doesn't mean you have to play nice. After all, can you really become filthy rich without making a few lifelong enemies along the way? Discounty launches for Switch, PlayStation, Xbox, and PC on 21st August and, yup, a demo's available now on Steam. Islanders: New Shores Islanders: New Shores trailer.Watch on YouTube We're big fans of developer GrizzlyGames' minimalist city builder Islanders around these parts, so news publisher Coatsink was developing a sequel earlier this year came as a pleasant surprise. It is, if you're unfamiliar, a game about attempting to squeeze as much onto a procedurally generated island as possible, maximising building synergies and minimising penalties to get the highest score. New Shores sounds like a gentle finessing of the formula, rather than a radical reinvention - it's got a sandbox mode as well as a high score mode now, alongside new power-ups called "boons" - but that's okay. The big news is it now has a release date and is coming to Switch, PlayStation, Xbox, and Steam on 10th July. Collector's Cove Collector's Cove trailer.Watch on YouTube VoodooDuck's Collector's Cove might be yet another farming game, but it does at least have a unique twist. For starters, your farm is on a boat endlessly sailing the oceans AND it's powered by an adorable sea monster who you'll need to forge a bond with. As you set out on a tranquil adventure across the water, you'll farm, fish, craft, and personalise your surroundings, sometimes stopping off at passing islands to catalogue their unique flora. Collector's Cove doesn't have a release date yet, but it's coming to PC and a Steam demo's available now. Town to City Town to City trailer.Watch on YouTube Fans of minimalist railway game Station to Station might want to pay attention here. Town to City is developer Galaxy Grove's follow-up to that earlier puzzler, sporting a similar voxel art aesthetic and vibe. This time around, you're charged with building quaint picturesque towns by placing shops, houses, amenities, decorations, and more - all in a bid to please your residents and encourage more to move in. Eventually, you'll have multiple towns under your care, helping the whole region grow and thrive. Town to City doesn't have a release date yet, but you can play a demo on Steam. Fishbowl Fishbowl trailer.Watch on YouTube And finally for the big, non-montage reveals, it's Fishbowl, a coming-of-age tale told over the course of a month. Developer imissmyfriends.studio describes it as a "warm and cozy story about living in isolation, nurturing friendships and understanding grief", and it's all focused on 21-year-old video editor Alo as she works from home while mourning her grandmother. As the days tick by, you'll video call loved ones, work to assemble videos, do care tasks, and solve puzzles to unpack your grandmother's belongings - recovering childhood memories as you do. There's no release date for Fishbowl yet, but it's coming to PS5 and Steam.

Missing the big picture US science is being wrecked, and its leadership is fighting the last war Facing an extreme budget, the National Academies hosted an event that ignored it. John Timmer – Jun 4, 2025 6:00 pm | 16 Credit: JHVE Photo Credit: JHVE Photo Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more WASHINGTON, DC—The general outline of the Trump administration's proposed 2026 budget was released a few weeks back, and it included massive cuts for most agencies, including every one that funds scientific research. Late last week, those agencies began releasing details of what the cuts would mean for the actual projects and people they support. And the results are as bad as the initial budget had suggested: one-of-a-kind scientific experiment facilities and hardware retired, massive cuts in supported scientists, and entire areas of research halted. And this comes in an environment where previously funded grants are being terminated, funding is being held up for ideological screening, and universities have been subject to arbitrary funding freezes. Collectively, things are heading for damage to US science that will take decades to recover from. It's a radical break from the trajectory science had been on. That's the environment that the US's National Academies of Science found itself in yesterday while hosting the State of the Science event in Washington, DC. It was an obvious opportunity for the nation's leading scientific organization to warn the nation of the consequences of the path that the current administration has been traveling. Instead, the event largely ignored the present to worry about a future that may never exist. The proposed cuts The top-line budget numbers proposed earlier indicated things would be bad: nearly 40 percent taken off the National Institutes of Health's budget, the National Science Foundation down by over half. But now, many of the details of what those cuts mean are becoming apparent. NASA's budget includes sharp cuts for planetary science, which would be cut in half and then stay flat for the rest of the decade, with the Mars Sample Return mission canceled. All other science budgets, including Earth Science and Astrophysics, take similar hits; one astronomer posted a graphic showing how many present and future missions that would mean. Active missions that have returned unprecedented data, like Juno and New Horizons, would go, as would two Mars orbiters. As described by Science magazine's news team, "The plans would also kill off nearly every major science mission the agency has not yet begun to build." A chart prepared by astronomer Laura Lopez showing just how many astrophysics missions will be cancelled. Credit: Laura Lopez The National Science Foundation, which funds much of the US's fundamental research, is also set for brutal cuts. Biology, engineering, and education will all be slashed by over 70 percent; computer science, math and physical science, and social and behavioral science will all see cuts of over 60 percent. International programs will take an 80 percent cut. The funding rate of grant proposals is expected to drop from 26 percent to just 7 percent, meaning the vast majority of grants submitted to the NSF will be a waste of time. The number of people involved in NSF-funded activities will drop from over 300,000 to just 90,000. Almost every program to broaden participation in science will be eliminated. As for specifics, they're equally grim. The fleet of research ships will essentially become someone else's problem: "The FY 2026 Budget Request will enable partial support of some ships." We've been able to better pin down the nature and location of gravitational wave events as detectors in Japan and Italy joined the original two LIGO detectors; the NSF will reverse that progress by shutting one of the LIGOs. The NSF's contributions to detectors at the Large Hadron Collider will be cut by over half, and one of the two very large telescopes it was helping fund will be cancelled (say goodbye to the Thirty Meter Telescope). "Access to the telescopes at Kitt Peak and Cerro Tololo will be phased out," and the NSF will transfer the facilities to other organizations. The Department of Health and Human Services has been less detailed about the specific cuts its divisions will see, largely focusing on the overall numbers, which are down considerably. The NIH, which is facing a cut of over 40 percent, will be reorganized, with its 19 institutes pared down to just eight. This will result in some odd pairings, such as the dental and eye institutes ending up in the same place; genomics and biomedical imaging will likewise end up under the same roof. Other groups like the Centers for Disease Control and Prevention and the Food and Drug Administration will also face major cuts. Issues go well beyond the core science agencies, as well. In the Department of Energy, funding for wind, solar, and renewable grid integration has been zeroed out, essentially ending all programs in this area. Hydrogen and fuel cells face a similar fate. Collectively, these had gotten over $600 billion dollars in 2024's budget. Other areas of science at the DOE, such as high-energy physics, fusion, and biology, receive relatively minor cuts that are largely in line with the ones faced by administration priorities like fossil and nuclear energy. Will this happen? It goes without saying that this would amount to an abandonment of US scientific leadership at a time when most estimates of China's research spending show it approaching US-like levels of support. Not only would it eliminate many key facilities, instruments, and institutions that have helped make the US a scientific powerhouse, but it would also block the development of newer and additional ones. The harms are so widespread that even topics that the administration claims are priorities would see severe cuts. And the damage is likely to last for generations, as support is cut at every stage of the educational pipeline that prepares people for STEM careers. This includes careers in high-tech industries, which may require relocation overseas due to a combination of staffing concerns and heightened immigration controls. That said, we've been here before in the first Trump administration, when budgets were proposed with potentially catastrophic implications for US science. But Congress limited the damage and maintained reasonably consistent budgets for most agencies. Can we expect that to happen again? So far, the signs are not especially promising. The House has largely adopted the Trump administration's budget priorities, despite the fact that the budget they pass turns its back on decades of supposed concerns about deficit spending. While the Senate has yet to take up the budget, it has also been very pliant during the second Trump administration, approving grossly unqualified cabinet picks such as Robert F. Kennedy Jr. All of which would seem to call for the leadership of US science organizations to press the case for the importance of science funding to the US, and highlight the damage that these cuts would cause. But, if yesterday's National Academies event is anything to judge by, the leadership is not especially interested. Altered states As the nation's premier science organization, and one that performs lots of analyses for the government, the National Academies would seem to be in a position to have its concerns taken seriously by members of Congress. And, given that the present and future of science in the US is being set by policy choices, a meeting entitled the State of the Science would seem like the obvious place to address those concerns. If so, it was not obvious to Marcia McNutt, the president of the NAS, who gave the presentation. She made some oblique references to current problems, saying, that “We are embarking on a radical new experiment in what conditions promote science leadership, with the US being the treatment group, and China as the control," and acknowledged that "uncertainties over the science budgets for next year, coupled with cancellations of billions of dollars of already hard-won research grants, is causing an exodus of researchers." But her primary focus was on the trends that have been operative in science funding and policy leading up to but excluding the second Trump administration. McNutt suggested this was needed to look beyond the next four years. However, that ignores the obvious fact that US science will be fundamentally different if the Trump administration can follow through on its plans and policies; the trends that have been present for the last two decades will be irrelevant. She was also remarkably selective about her avoidance of discussing Trump administration priorities. After noting that faculty surveys have suggested they spend roughly 40 percent of their time handling regulatory requirements, she twice mentioned that the administration's anti-regulatory stance could be a net positive here (once calling it "an opportunity to help"). Yet she neglected to note that many of the abandoned regulations represent a retreat from science-driven policy. McNutt also acknowledged the problem of science losing the bipartisan support it has enjoyed, as trust in scientists among US conservatives has been on a downward trend. But she suggested it was scientists' responsibility to fix the problem, even though it's largely the product of one party deciding it can gain partisan advantage by raising doubts about scientific findings in fields like climate change and vaccine safety. The panel discussion that came after largely followed McNutt's lead in avoiding any mention of the current threats to science. The lone exception was Heather Wilson, president of the University of Texas at El Paso and a former Republican member of the House of Representatives and Secretary of the Air Force during the first Trump administration. Wilson took direct aim at Trump's cuts to funding for underrepresented groups, arguing, "Talent is evenly distributed, but opportunity is not." After arguing that "the moral authority of science depends on the pursuit of truth," she highlighted the cancellation of grants that had been used to study diseases that are more prevalent in some ethnic groups, saying "that's not woke science—that's genetics." Wilson was clearly the exception, however, as the rest of the panel largely avoided direct mention of either the damage already done to US science funding or the impending catastrophe on the horizon. We've asked the National Academies' leadership a number of questions about how it perceives its role at a time when US science is clearly under threat. As of this article's publication, however, we have not received a response. At yesterday's event, however, only one person showed a clear sense of what they thought that role should be—Wilson again, whose strongest words were directed at the National Academies themselves, which she said should "do what you've done since Lincoln was president," and stand up for the truth. John Timmer Senior Science Editor John Timmer Senior Science Editor John is Ars Technica's science editor. He has a Bachelor of Arts in Biochemistry from Columbia University, and a Ph.D. in Molecular and Cell Biology from the University of California, Berkeley. When physically separated from his keyboard, he tends to seek out a bicycle, or a scenic location for communing with his hiking boots. 16 Comments

Submitted by WA Contents Seriema House is shaped around massive, black Portuguese stones for contemplation in Brazil Brazil Architecture News - Jun 03, 2025 - 04:23   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Brazilian architecture practice TETRO Architecture has built a house that is shaped around massive, black Portuguese stones for for reading, contemplation, rest, and sharing moments with friends in Brumadinho - Minas Gerais, Brazil. Named Seriema House, the 350-square-metre house is nestled in a tranquil setting on the outskirts of Belo Horizonte. Seriema House won the WA Awards 50th Cycle in the Architecture/Realised category.To reach it, visitors must traverse a mountain range, marking a transition from the bustling city to a peaceful environment. This journey allows guests to leave behind the urban noise and immerse themselves in nature."The client's requirement was to create a place for pause—a space for reading, contemplation, rest, and sharing moments with friends," said TETRO Architecture. "The client desired an environment that fosters meeting and introspection, where architecture would engage in a dialogue with poetry," the firm added.The location of the house presents two contrasting views. On one side, there is a broad and open view of the mountains; on the other, a dense forest filled with trees. The house is beautifully integrated into this balance of expansive landscape and shaded refuge. Seriemas, local birds known to the region, roam freely around the property and inspired the name of the residence.The conceptual foundation of the project focuses on the harmonious integration of architecture with nature. The house is designed as a transitional space that bridges the vast mountain views with the contemplative atmosphere of the forest. The architecture embodies a sense of poetry through its form, particularly highlighted by a winding wall that both separates and connects different spatial experiences.The main structure of the house is constructed from reinforced concrete, utilizing black Portuguese stones and white stone flooring as the primary materials. A winding wall divides the space and is adorned with the black stones, creating a striking visual and tactile contrast against the white stone floor. This use of natural stone emphasizes the house's connection to the surrounding landscape, showcasing its organic integration with the environment and highlighting its poetic essence.The house is masterfully organized into two distinct zones, elegantly separated by a sweeping, curving wall. On one side lies the welcoming space, a vibrant and open environment bursting with energy. Here, sounds of laughter, music, and movement fill the air, accompanied by breathtaking panoramic views of the majestic mountains. This area encompasses an integrated living room, dining room, and kitchen, all meticulously designed to foster social interaction and encourage deep contemplation of the stunning landscape.Conversely, on the other side resides the retreat—an intimate sanctuary that is serene, shaded, and profoundly introspective. This tranquil space gazes out onto the lush, dense forest, serving as a haven for relaxation and reading, and featuring the exquisite main suite. The thoughtful spatial planning creates a harmonious balance between openness and intimacy, beautifully reflecting the duality of the surrounding nature and the human experience within it.Conceptual floor planTetro is an architecture studio located in Belo Horizonte, Brazil, and operates on a global scale. It is composed of architects Carlos Maia, Débora Mendes, and Igor Macedo. The firm’s approach to professional practice focuses on a thorough examination of the site’s conditions and the client's needs, striving to create unique and irreplicable solutions for each project.TETRO Architecture previously won the WA Awards 10+5+X with Café House and Casa Açucena in Brazil.Project factsProject name: Seriema HouseArchitects: TETRO ArchitectureLocation: Brumadinho - Minas Gerais, Brazil. Lead architects: Carlos Maia, Debora Mendes, and Igor MacedoContributors: Bruno Bontempo, Bianca Carvalho, Bruna Maciel, Carolina Amaral, Saulo Saraiva, Sabrina FreitasCompletion year: 2024Structure: Cálculo ConcretoHydraulic; Electric: CA engenhariaLighting Design: IluminarConstruction: TechnoAll images © Luisa Lage.Drawing © TETRO Architecture.> via TETRO Architecture

Photo Credit: SpaceX SpaceX Starship Flight 9 Reuses Booster, Gathers Key Data Despite Loss Highlights First reuse of Super Heavy booster marks key Starship milestone Ship reached space but failed to deploy dummy Starlink satellites Valuable reentry and tile test data collected despite stage losses Advertisement SpaceX launched its ninth Starship test flight on May 27 that featured the first-ever significant reuse of Starship hardware. As planned on Flight 9, Starship's two stages separated successfully, and the upper stage even reached space. However, both were ultimately lost before completing their objectives. Despite these setbacks, the mission yielded valuable data which inspires SpaceX's iterative approach to innovation as it aims to create a fully reusable launch system for space missions. This test flight exhibited successful reuse of a Super Heavy booster and aimed to demonstrate improved hardware performance.Previous test flightsAccording to official site of SpaceX, Starship's two stages are one giant booster called Super Heavy and a 171-foot-tall (52 meters) upper-stage spacecraft known as Starship, or simply "Ship." Both are powered by SpaceX's new Raptor engine — 33 of them for Super Heavy and six for Ship.On Flight 7 and Flight 8 the Super Heavy performed flawlessly, acing its engine burn and then returning to Starbase for a catch by the launch tower's "chopstick" arms. But Ship had problems: It exploded less than 10 minutes after launch on both missions, raining debris down on the Turks and Caicos Islands and The Bahamas, respectively.Advancements in flight 9In flight 9, SpaceX reused a Super Heavy booster for the first time, swapping out just four of its 33 Raptor engines after its initial flight in January. The booster also conducted a new atmospheric entry experiment, entering at a higher angle to collect data on aerodynamic control. Meanwhile, Ship (the upper stage) was tasked with deploying eight dummy Starlink satellites.Despite the promising advances, Flight 9 encountered several failures. Super Heavy broke apart roughly six minutes after launch during its return burn, and Ship lost control due to a fuel tank leak. The upper stage began tumbling, which prevented a planned in-space engine relight and led to a destructive reentry over the Indian Ocean. Still, SpaceX gained critical data, particularly on tile performance and active cooling systems.   For the latest tech news and reviews, follow Gadgets 360 on X, Facebook, WhatsApp, Threads and Google News. For the latest videos on gadgets and tech, subscribe to our YouTube channel. If you want to know everything about top influencers, follow our in-house Who'sThat360 on Instagram and YouTube. Further reading: SpaceX, Starship, Super Heavy, Starship Flight 9, Elon Musk, Rocket Reuse, Raptor Engine, Space Launch, Space Innovation, Starlink, Reusable Rocket Gadgets 360 Staff The resident bot. If you email me, a human will respond. More Related Stories

Swifties have plenty to celebrate on Friday as Taylor Swift announced that she now owns the master recordings of her first six albums after years of trying and failing to buy them. Swift posted the news to her website, explaining that she was able to purchase the original versions of the albums from Shamrock Capital, the private equity firm that bought the recordings from music manager Scooter Braun in 2020 for at least $300 million.  In an emotional letter, Swift called securing her masters a dream come true, describing herself as “endlessly thankful” to Shamrock Capital for handling the deal fairly and offering her the first chance she’s ever been given to buy back her own music. “This was a business deal to them, but I really felt like they saw it for what it was to me: My memories and my sweat and my handwriting and my decades of dreams,” Swift wrote. An uphill battle, even for a billionaire titan of the music industry After two decades “of having the carrot dangled and then yanked away,” Swift admitted that she almost stopped believing that she would ever own the original recordings. “But that’s all in the past now,” Swift wrote. “I’ve been bursting into tears of joy at random intervals ever since I found out that this is really happening. I really get to say these words: All of the music I’ve ever made . . . now belongs . . . to me.” In 2019, Braun acquired Nashville indie record label Big Machine, along with the rights to the albums Swift had recorded there. After Braun’s purchase, Swift stated that she was in no way consulted on the deal and had suffered from “incessant, manipulative bullying” by the industry executive.  “It’s a shame to know that I will now be unable to help grow the future of these past works and it pains me very deeply to be separated from the music I spent over a decade creating,” Swift said after the deal went public. An update on the status of Reputation In light of her struggle to regain control of her own music, Swift set out to rerecord the albums she didn’t own. She began issuing Taylor’s Version updates to her missing catalog albums in 2021, putting out rerecordings of Fearless, Red, Speak Now, and 1989 accompanied by previously unreleased songs. Fans eager for news that Swift had finished rerecording her sixth studio album, Reputation, have plenty to cheer but are still in for a wait. In her announcement, Swift divulged that, “full transparency,” she’s less than a quarter of the way through the process. “To be perfectly honest, it’s the one album in the first 6 that I thought couldn’t be improved upon by redoing it. Not the music, or photos, or videos. So I kept putting it off,” Swift wrote, adding that she’s happy with a now-finished rerecording of her self-titled debut album.  “Those 2 albums can still have their moments to re-emerge when the time is right . . . But if it happens, it won’t be from a place of sadness and longing for what I wish I could have,” Swift wrote. “It will just be a celebration now.”

View of the south façade before construction of a new residential project that now conceals Le Christin from Boulevard René Lévesque. PROJECT Le Christin, Montreal, Quebec ARCHITECT Atelier Big City PHOTOS James Brittain   PROJECT Les Studios du PAS, Montreal, Quebec ARCHITECT L. McComber in collaboration with Inform  PHOTOS Ulysse Lemerise   Nighttime, April 15, 2025. A thousand volunteers are gathering in Montreal, part of a province-wide effort to try and put numbers on a growing phenomenon in cities like Vancouver, Calgary, Toronto, and many others. The volunteers are getting ready to walk around targeted areas in downtown Montreal and around certain subway stations. Temporary shelters are also visited. First conducted in the spring of 2018, this survey showed that 3,149 people were in a vulnerable situation at the time. Four years later, a similar effort revealed that Montreal’s homeless population had risen to 4,690 people—and that there were some 10,000 people experiencing homelessness in the whole of the province. The 2025 numbers are expected to be significantly higher. For the organizers, this one-night snapshot of the situation is “neither perfect nor complete.” However, for nonprofit organizations and governmental bodies eager to prevent a vulnerable population from ending up on the streets, the informal census does provide highly valuable information.  Two recent initiatives—very different from one another—offer inspiring answers. The most recent one, Le Christin, was designed by Atelier Big City (led by architects Anne Cormier, Randy Cohen, and Howard Davies) and inaugurated in 2024. Studios du PAS, on the other hand, was designed by Montreal firm L. McComber, and welcomed its first tenants in 2022. Both projects involved long-standing charities: the 148-year-old Accueil Bonneau, in the case of Le Christin, and the 136-year-old Mission Old Brewery for Studios du PAS. Le Christin was spearheaded, and mostly financed, by the Société d’habitation et de développement de Montréal (SHDM), a non-profit, para-municipal corporation created in 1988. Studios du PAS was first selected by the City of Montreal to be built thanks to the Rapid Housing Initiative (RHI) program run by the Canada Mortgage and Housing Corporation (CMHC). Le Christin also received a financial contribution from the CMHC towards the end of the process. Boldly coloured blind walls signal the presence of Le Christin in the center of a densely occupied city block, with entrance to the left along Sanguinet Stree. Le Christin Although sited in a very central location, near the buzzing St. Catherine and St. Denis streets, Le Christin is hard to find. And even when one suddenly spots two seven-storey-high walls, coloured lemon-zest yellow and mango orange, it’s difficult to figure out what they are about. A stroll along the tiny Christin Street finally reveals the front façade of this new facility, now home to some of Montreal’s most vulnerable citizens.  View of Le Christin’s modulated front façade. Galvanized steel panels at ground level add a soft touch while protecting the building from potential damage caused by snow plows. Le Christin is unique for a number of reasons. First among them is its highly unusual location—at the centre of a dense city block otherwise occupied by university buildings, office towers, and condo blocks. Until a few years ago, the site was home to the four-storey Appartements Le Riga. The Art Deco-style building had been built in 1914 by developer-architect Joseph-Arthur Godin, who was a pioneer in his own right: he was one of the first in Montreal to experiment with reinforced concrete structures, a novelty in the city at the time. A century later, Le Riga, by then the property of SHDM, was in serious need of repair. Plans had already been drafted for a complete renovation of the building when a thorough investigation revealed major structural problems. Tenants had to leave on short notice and were temporarily relocated; the building was eventually demolished in 2019. By that time, Atelier Big City had been mandated to design a contemporary building that would replace Le Riga and provide a “place of one’s own” to close to 150 tenants, formerly homeless or at risk of becoming so.    Le Christin – Site Plan and Ground Floor Plan The entire operation sparked controversy, particularly as Le Christin started to rise, showing no sign of nostalgia. The architects’ daring approach was difficult to fathom—particularly for those who believe social housing should keep a low profile.  The program, originally meant for a clientele of single men, gradually evolved to include women. In order to reflect societal trends, the architects were asked to design 24 slightly larger units located in the building’s east wing, separated from the rest of the units by secured doors. Thus, Le Christin is able to accommodate homeless couples or close friends, as well as students and immigrants in need. A tenants-only courtyard is inserted in the south façade. In order to provide the maximum number of units requested by SHDM, each of the 90 studios was reduced to 230 square feet—an adjustment from Atelier Big City’s initial, slightly more generous plans. In a clever move, an L-shaped kitchen hugs the corner of each unit, pushing out against the exterior wall. As a result, the window openings recede from the façade, creating a sense of intimacy for the tenants, who enjoy contact with the exterior through large windows protected by quiet Juliet balconies. Far from damaging the initial design, the added constraint of tightened units allowed the architects to modulate the building’s façades, creating an even stronger statement. On the unit levels, corridors include large openings along the south façade. Each floor is colour-coded to enliven the space; overhead, perforated metal plates conceal the mechanical systems. An extra floor was gained thanks to the decision to expose the various plumbing, electrical, and ventilation systems. Well-lit meeting rooms and common areas are found near Le Christin’s front entrance, along with offices for personnel, who are present on the premises 24 hours a day. Apart from a small terrace above the entrance, the main exterior space is a yard which literally cuts into the building’s back façade. This has a huge impact on the interiors at all levels: corridors are generously lit with sunlight, a concept market developers would be well advised to imitate. The adjacent exit stairs are also notable, with their careful detailing and the presence of glazed openings.  The fire stairs, which open onto the exterior yard at ground level, feature glazing that allows for ample natural light. Le Christin has achieved the lofty goal articulated by SHDM’s former director, architect Nancy Schoiry: “With this project, we wanted to innovate and demonstrate that it was possible to provide quality housing for those at risk of homelessness.” The low-slung Studios du PAS aligns with neighbourhood two-storey buildings. Studios du PAS In sharp contrast with Le Christin’s surroundings, the impression one gets approaching Studios du PAS, 14 kilometres east of downtown Montreal, is that of a small town. In this mostly low-scale neighbourhood, L. McComber architects adopted a respectful, subdued approach—blending in, rather than standing out.  The project uses a pared-down palette of terracotta tile, wood, and galvanized steel. The footbridge links the upper level to shared exterior spaces. The financing for this small building, planned for individuals aged 55 or older experiencing or at risk of homelessness, was tied to a highly demanding schedule. The project had to be designed, built, and occupied within 18 months: an “almost impossible” challenge, according to principal architect Laurent McComber. From the very start, prefabrication was favoured over more traditional construction methods. And even though substantial work had to be done on-site—including the installation of the roof, electrical and mechanical systems, as well as exterior and interior finishes—the partially prefabricated components did contribute to keeping costs under control and meeting the 18-month design-to-delivery deadline. Les Studios du PAS The building was divided into 20 identical modules, each fourteen feet wide—the maximum width allowable on the road. Half the modules were installed at ground level. One of these, positioned nearest the street entrance, serves as a community room directly connected to a small office for the use of a social worker, allowing staff to follow up regularly with tenants. Flooded with natural light, the double-height lobby provides a friendly and inclusive welcome. The ground level studios were designed so they could be adapted to accommodate accessibility needs. Some of the ground floor units were adapted to meet the needs of those with a physical disability; the other units were designed to be easily adaptable if needed. All studio apartments, slightly under 300 square feet, include a full bathroom, a minimal kitchen, and sizeable storage space hidden behind cabinet doors. Most of the apartments include a small exterior alcove, which provides an intimate outdoor space while creating a subtle rhythm along the front façade. Inside the studio units, storage cupboards for clothes and belongings were added as an extension of the kitchen wall. Conscious of the tradition of brick residential buildings in Montreal, yet wanting to explore alternate materials, the architects selected an earth-toned terracotta tile from Germany. The 299mm x 1500mm tiles are clipped to the façade, allowing for faster installation and easier maintenance. All units enjoy triple-glazed windows and particularly well insulated walls. A high-performance heat pump was installed to lower energy demand—and costs—for heating and cooling needs. Wood siding was used to soften the upper-level balconies, which provide protected outdoor spaces for residents.   Pride and Dignity Le Christin and Les Studios du PAS have little in common—except, of course, their program. Architecturally speaking, each represents an interesting solution to the problem at hand. While Le Christin is a high-spirited, flamboyant statement, Studios du PAS is to be praised for its respectful attitude, and for the architects’ relentless search for interesting alternatives to traditional construction norms. Atelier Big City is one of few firms in Canada that has the guts—and the talent—to play with bold colours. Decades of experimentation (not just with public buildings, but also within their own homes), led up to Le Christin, which is perhaps their strongest building to date. Their judicious choices of colour, brick type, and materials transmit a message of pride and dignity. Both projects demonstrate enormous respect and generosity to their residents: they provide architecture that treats them not as an underclass, but as regular people, who need the stability of dignified housing to start rebuilding their lives. Odile Hénault is a contributing editor to Canadian Architect.   Le Christin CLIENT Société d’habitation et de développement de Montréal (SHDM) | ARCHITECT TEAM Anne Cormier, Randy Cohen, Howard Davies, Fannie Yockell, Gabriel Tessier, Sébastien St-Laurent, Lisa Vo | STRUCTURAL DPHV | MECHANICAL/ELECTRICAL BPA | CIVIL Genexco | LIGHTING CS Design | AREA 4,115 m2 | Construction BUDGET $18.9 M | COMPLETION November 2023   Les Studios du PAS  CLIENT PAS de la rue | ARCHITECT TEAM L. McComber—Laurent McComber, Olivier Lord, Jérôme Lemieux, Josianne Ouellet-Daudelin, Laurent McComber. Inform—David Grenier, Élisabeth Provost, Amélie Tremblay, David Grenier | PROJECT MANAGEMENT Groupe CDH | STRUCTURAL Douglas Consultants | MECHANICAL/ELECTRICAL Martin Roy & associés | CIVIL Gravitaire | CONTRACTOR Gestion Étoc | AREA 1,035 m2 | BUDGET $3.4 M | COMPLETION September 2022 As appeared in the June 2025 issue of Canadian Architect magazine The post A Place to Call Home: Le Christin and Les Studios du PAS, Montreal, Quebec appeared first on Canadian Architect.

Transparent design is the intentional use of see-through or translucent materials and visual strategies to evoke openness, honesty, and fluidity in both spatial and product design. It enhances light flow, visibility, and interaction, blurring boundaries between spaces or revealing inner layers of products. In interiors, this manifests through glass walls, acrylic dividers, and open layouts that invite natural light and visual connection. Transparency in product design often exposes internal mechanisms in products, fostering trust and curiosity by making functions visible. It focuses on simplicity, clarity, and minimalist form, creating seamless connections between objects and their environments. Let’s now explore how transparency shapes the function, experience, and emotional impact of spatial and product design. Transparent Spatial Design Transparency in spatial design serves as a powerful architectural language that transcends mere material choice, creating profound connections between spaces and their inhabitants. By employing translucent or clear elements, designers can dissolve traditional boundaries, allowing light to penetrate deeply into interiors while establishing visual relationships between previously separated areas. This permeability creates a dynamic spatial experience where environments flow into one another, expanding perceived dimensions and fostering a sense of openness. The strategic use of transparent elements – whether through glass partitions, open floor plans, or permeable screens – transforms rigid spatial hierarchies into fluid, interconnected zones that respond to contemporary needs for flexibility and connection with both surrounding spaces and natural environments. Beyond its physical manifestations, transparency embodies deeper philosophical principles in design, representing honesty, clarity, and accessibility. It democratizes space by removing visual barriers that traditionally signaled exclusion or privacy, instead promoting inclusivity and shared experience. In public buildings, transparent features invite engagement and participation, while in residential contexts, they nurture connection to nature and enhance wellbeing through abundant natural light. This approach challenges designers to thoughtfully balance openness with necessary privacy, creating nuanced spatial sequences that can reveal or conceal as needed. When skillfully implemented, transparency becomes more than an aesthetic choice, it becomes a fundamental design strategy that shapes how we experience, navigate, and emotionally respond to our built environment. 1. Expands Perception of Space Transparency in spatial design enhances how people perceive space by blurring the boundaries between rooms and creating a seamless connection between the indoors and the outdoors. Materials like glass and acrylic create visual continuity, making interiors feel larger, more open, and seamlessly integrated. This approach encourages a fluid transition between spaces, eliminates confinement, and promotes spatial freedom. As a result, transparent design contributes to an inviting atmosphere while maximising natural views and light penetration throughout the environment. Nestled in St. Donat near Montreal, the Apple Tree House by ACDF Architecture is a striking example of transparent design rooted in emotional memory. Wrapped around a central courtyard with a symbolic apple tree, the low-slung home features expansive glass walls that create continuous visual access to nature. The transparent layout not only blurs the boundaries between indoors and outdoors but also transforms the apple tree into a living focal point and is visible from multiple angles and spaces within the house. This thoughtful transparency allows natural light to flood the interiors while connecting the home’s occupants with the changing seasons outside. The home’s square-shaped plan includes three black-clad volumes that house bedrooms, a lounge, and service areas. Despite the openness, privacy is preserved through deliberate wall placements. Wooden ceilings and concrete floors add warmth and texture, but it’s the full-height glazing that defines the home that frames nature as a permanent, ever-evolving artwork at its heart. 2. Enhances the Feeling of Openness One of the core benefits of transparent design is its ability to harness natural light, transforming enclosed areas into luminous, uplifting environments. By using translucent or clear materials, designers reduce the need for artificial lighting and minimize visual barriers. This not only improves energy efficiency but also fosters emotional well-being by connecting occupants to daylight and exterior views. Ultimately, transparency promotes a feeling of openness and calm, aligning with minimalist and modern architectural principles. The Living O’Pod by UN10 Design Studio is a transparent, two-story pod designed as a minimalist retreat that fully immerses its occupants in nature. Built with a steel frame and glass panels all around, this glass bubble offers uninterrupted panoramic views of the Finnish wilderness. Its remote location provides the privacy needed to embrace transparency, allowing residents to enjoy stunning sunrises, sunsets, and starry nights from within. The open design blurs the line between indoors and outdoors, creating a unique connection with the environment. Located in Repovesi, Finland, the pod’s interiors feature warm plywood floors and walls that complement the natural setting. A standout feature is its 360° rotation, which allows the entire structure to turn and capture optimal light and views throughout the day. Equipped with thermal insulation and heating, the Living O’Pod ensures comfort year-round and builds a harmonious relationship between people and nature. 3. Encourages Interaction Transparent design reimagines interiors as active participants in the user experience, rather than passive backgrounds. Open sightlines and clear partitions encourage movement, visibility, and spontaneous interaction among occupants. This layout strategy fosters social connectivity, enhances spatial navigation, and aligns with contemporary needs for collaboration and flexibility. Whether in residential, commercial, or public spaces, transparency supports an intuitive spatial flow that strengthens the emotional and functional relationship between people and their environment. The Beach Cabin on the Baltic Sea, designed by Peter Kuczia, is a striking architectural piece located near Gdansk in northern Poland. This small gastronomy facility combines simplicity with bold design, harmoniously fitting into the beach environment while standing out through its innovative form. The structure is composed of two distinct parts: an enclosed space and an expansive open living and dining area that maximizes natural light and offers shelter. This dual arrangement creates a balanced yet dynamic architectural composition that respects the surrounding landscape. A defining feature of the cabin is its open dining area, which is divided into two sections—one traditional cabin-style and the other constructed entirely of glass. The transparent glass facade provides uninterrupted panoramic views of the Baltic Sea, the shoreline, and the sky, enhancing the connection between interior and nature. Elevated on stilts, the building appears to float above the sand, minimizing environmental impact and contributing to its ethereal, dreamlike quality. Transparent Product Design In product design, transparency serves as both a functional strategy and a powerful communicative tool that transforms the relationship between users and objects. By revealing internal components and operational mechanisms through clear or translucent materials, designers create an immediate visual understanding of how products function, demystifying technology and inviting engagement. This design approach establishes an honest dialogue with consumers, building trust through visibility rather than concealment. Beyond mere aesthetics, transparent design celebrates the beauty of engineering, turning circuit boards, gears, and mechanical elements into intentional visual features that tell the product’s story. From the nostalgic appeal of see-through gaming consoles to modern tech accessories, this approach satisfies our innate curiosity about how things work while creating a more informed user experience. The psychological impact of transparency in products extends beyond functional clarity to create deeper emotional connections. When users can observe a product’s inner workings, they develop increased confidence in its quality and craftsmanship, fostering a sense of reliability that opaque designs often struggle to convey. This visibility also democratizes understanding, making complex technologies more accessible and less intimidating to diverse users. Transparent design elements can evoke powerful nostalgic associations while simultaneously appearing futuristic and innovative, creating a timeless appeal that transcends trends. By embracing transparency, designers reject the notion that complexity should be hidden, instead celebrating the intricate engineering that powers our everyday objects. This philosophy aligns perfectly with contemporary values of authenticity and mindful consumption, where users increasingly seek products that communicate honesty in both form and function. 1. Reveals Functionality Transparent product design exposes internal components like wiring, gears, or circuits, turning functional parts into visual features. This approach demystifies the object, inviting users to understand how it works rather than hiding its complexity. It fosters appreciation for craftsmanship and engineering while encouraging educational curiosity. By showcasing what lies beneath the surface, designers build an honest relationship with consumers that is based on clarity, trust, and visible function. Packing a backpack often means tossing everything in and hoping for the best—until you need something fast. This transparent modular backpack concept reimagines that daily hassle with a clear, compartmentalized design that lets you see all your gear at a glance. No more digging through a dark abyss—every item has its visible place. The bag features four detachable, differently sized boxes that snap together with straps, letting you customize what you carry. Grab just the tech module or gym gear block and go—simple, efficient, and streamlined. Unlike traditional organizers that hide contents in pouches, the transparent material keeps everything in plain sight, saving time and frustration. While it raises valid concerns around privacy and security, the clarity and convenience it offers make it ideal for fast-paced, on-the-go lifestyles. With form meeting function, this concept shows how transparent design can transform not just how a bag looks, but how it works. 2. Enhances User Engagement When users can see how a product operates, they feel more confident using it. Transparent casings invite interaction by reducing uncertainty about internal processes. This visible clarity reassures users about the product’s integrity and quality, creating a psychological sense of openness and reliability. Especially in tech and appliances, this strategy deepens user trust and adds emotional value by allowing a more intimate connection with the design’s purpose and construction. The transparent Sony Glass Blue WF-C710N earbuds represent something more meaningful than a mere aesthetic choice, embodying a refreshing philosophy of technological honesty. While most devices conceal their inner workings behind opaque shells, Sony’s decision to reveal the intricate circuitry and precision components celebrates the engineering artistry that makes these tiny audio marvels possible. As you catch glimpses of copper coils and circuit boards through the crystal-clear housing, there’s a renewed appreciation for the invisible complexity that delivers your favorite music, serving as a visual reminder that sometimes the most beautiful designs are those that have nothing to hide. 3. Celebrates Aesthetic Engineering Transparency turns utilitarian details into design features, allowing users to visually experience the beauty of inner mechanisms. This trend, seen in everything from vintage electronics to modern gadgets and watches, values technical artistry as much as outer form. Transparent design redefines aesthetics by focusing on the raw, mechanical truth of a product. It appeals to minimalism and industrial design lovers, offering visual depth and storytelling through exposed structure rather than decorative surface embellishment. DAB Motors’ 1α Transparent Edition brings retro tech flair into modern mobility with its striking transparent bodywork. Inspired by the see-through gadgets of the ”90s—like the Game Boy Color and clear Nintendo controllers—this electric motorcycle reveals its inner mechanics with style. The semi-translucent panels offer a rare peek at the bike’s intricate engineering, blending nostalgia with innovation. Carbon fiber elements, sourced from repurposed Airbus materials, complement the lightweight transparency, creating a visual experience that’s both futuristic and rooted in classic design aesthetics. The see-through design isn’t just for looks—it enhances the connection between rider and machine. Exposed components like the integrated LCD dashboard, lenticular headlight, and visible frame structure emphasize function and precision. This openness aligns with a broader transparent design philosophy, where clarity and honesty in construction are celebrated. The DAB 1α turns heads not by hiding complexity, but by proudly displaying it, making every ride a statement in motion. Beyond just materials, transparent design also reflects a deeper design philosophy that values clarity in purpose, function, and sustainability. It supports minimalist thinking by focusing on what’s essential, reducing visual clutter, and making spaces or products easier to understand and engage with. Whether in interiors or objects, transparency helps create a more honest, functional, and connected user experienceThe post Transparent Design: How See-Through Materials Are Revolutionizing Architecture & Product Design first appeared on Yanko Design.

When the computer or phone you’re using right now blinks its last blink and you drop it off for recycling, do you know what happens? At the recycling center, powerful magnets will pull out steel. Spinning drums will toss aluminum into bins. Copper wires will get neatly bundled up for resale. But as the conveyor belt keeps rolling, tiny specks of valuable, lesser-known materials such as gallium, indium, and tantalum will be left behind. Those tiny specks are critical materials. They’re essential for building new technology, and they’re in short supply in the U.S. They could be reused, but there’s a problem: Current recycling methods make recovering critical minerals from e-waste too costly or hazardous, so many recyclers simply skip them. Sadly, most of these hard-to-recycle materials end up buried in landfills or get mixed into products like cement. But it doesn’t have to be this way. New technology is starting to make a difference. As demand for these critical materials keeps growing, discarded electronics can become valuable resources. My colleagues and I at West Virginia University are developing a new technology to change how we recycle. Instead of using toxic chemicals, our approach uses electricity, making it safer, cleaner, and more affordable to recover critical materials from electronics. How much e-waste are we talking about? Americans generated about 2.7 million tons of electronic waste in 2018, according to the latest federal data. Including uncounted electronics, the U.S. recycles only about 15% of its total e-waste, suggests a survey by the United Nations. Even worse, nearly half the electronics that people in Northern America sent to recycling centers end up shipped overseas. They often land in scrapyards, where workers may use dangerous methods like burning or leaching with harsh chemicals to pull out valuable metals. These practices can harm both the environment and workers’ health. That’s why the Environmental Protection Agency restricts these methods in the U.S. The tiny specks matter Critical minerals are in most of the technology around you. Every phone screen has a super-thin layer of a material called indium tin oxide. LEDs glow because of a metal called gallium. Tantalum stores energy in tiny electronic parts called capacitors. All of these materials are flagged as “high risk” on the U.S. Department of Energy’s critical materials list. That means the U.S. relies heavily on these materials for important technologies, but their supply could easily be disrupted by conflicts, trade disputes, or shortages. Right now, just a few countries, including China, control most of the mining, processing, and recovery of these materials, making the U.S. vulnerable if those countries decide to limit exports or raise prices. These materials aren’t cheap, either. For example, the U.S. Geological Survey reports that gallium was priced between $220 to $500 per kilogram in 2024. That’s 50 times more expensive than common metals like copper, at $9.48 per kilogram in 2024. Revolutionizing recycling with microwaves At West Virginia University’s Department of Mechanical, Materials, and Aerospace Engineering, I and materials scientist Edward Sabolsky asked a simple question: Could we find a way to heat only specific parts of electronic waste to recover these valuable materials? If we could focus the heat on just the tiny specks of critical minerals, we might be able to recycle them easily and efficiently. The solution we found: microwaves. This equipment isn’t very different from the microwave ovens you use to heat food at home, just bigger and more powerful. The basic science is the same: Electromagnetic waves cause electrons to oscillate, creating heat. In our approach, though, we’re not heating water molecules like you do when cooking. Instead, we heat carbon, the black residue that collects around a candle flame or car tailpipe. Carbon heats up much faster in a microwave than water does. But don’t try this at home; your kitchen microwave wasn’t designed for such high temperatures. In our recycling method, we first shred the electronic waste, mix it with materials called fluxes that trap impurities, and then heat the mixture with microwaves. The microwaves rapidly heat the carbon that comes from the plastics and adhesives in the e-waste. This causes the carbon to react with the tiny specks of critical materials. The result: a tiny piece of pure, sponge-like metal about the size of a grain of rice. This metal can then be easily separated from leftover waste using filters. So far, in our laboratory tests, we have successfully recovered about 80% of the gallium, indium, and tantalum from e-waste, at purities between 95% and 97%. We have also demonstrated how it can be integrated with existing recycling processes. Why the Department of Defense is interested Our recycling technology got its start with help from a program funded by the Defense Department’s Advanced Research Projects Agency, or DARPA. Many important technologies, from radar systems to nuclear reactors, depend on these special materials. While the Department of Defense uses less of them than the commercial market, they are a national security concern. We’re planning to launch larger pilot projects next to test the method on smartphone circuit boards, LED lighting parts, and server cards from data centers. These tests will help us fine-tune the design for a bigger system that can recycle tons of e-waste per hour instead of just a few pounds. That could mean producing up to 50 pounds of these critical minerals per hour from every ton of e-waste processed. If the technology works as expected, we believe this approach could help meet the nation’s demand for critical materials. How to make e-waste recycling common One way e-waste recycling could become more common is if Congress held electronics companies responsible for recycling their products and recovering the critical materials inside. Closing loopholes that allow companies to ship e-waste overseas, instead of processing it safely in the U.S., could also help build a reserve of recovered critical minerals. But the biggest change may come from simple economics. Once technology becomes available to recover these tiny but valuable specks of critical materials quickly and affordably, the U.S. can transform domestic recycling and take a big step toward solving its shortage of critical materials. Terence Musho is an associate professor of engineering at West Virginia University. This article is republished from The Conversation under a Creative Commons license. Read the original article.

In 2018 Korean animator and illustrator Han Ji-won created a commercial for jewelry brand Stonehenge that follows a girl who dreams of going to space, just like her astronaut grandmother. The brief, beautiful animation caught the attention of Korean production company Climax Studios, who saw potential for a much bigger story about the human connections astronauts carry with them into space.  Seven years later, the Netflix animated film Lost in Starlight expands that near-future world into a story of two star-crossed lovers who fall in love on the neon-lit rooftops of a futuristic Seoul only to be separated by 140 million miles when one of them embarks on an expedition to Mars.  “While I was developing the script [for Lost in Starlight], a lot of things changed,” writer-director Han says In fleshing out the story, she was inspired by the individuality of Miyazaki, the edgy sentimentality of Cowboy Bebop, and the near-future worldbuilding of Her. “But, still, there were the same keywords: space, female lead, music, childhood, and love.”  Lost in Starlight centers a slice-of-life love story between astro botanist Nan-young (voiced by The Handmaiden’s Kim Tae-ri in Korean and Never Have I Ever’s Maitreyi Ramakrishnan in English) and musician Jay (voiced by Weak Hero’s Hong Kyung in Korean, and Umbrella Academy’s Justin H. Min in English). For Nan-young, who hopes to find life on the planet, Mars is personal. Her mother was part of a doomed, 2026 mission to the Red Planet. Twenty-five years later, Nan-young dreams of continuing in her mother’s footsteps, and helping the Adonis amurensis flower thrive on the alien planet.  “My character is kind of stubborn at times,” says Ramakrishnan, with a laugh. “She’s a girl boss, but she needs to take a breath.” That breath comes in the form of a return to Seoul from Houston, following low psychological exam scores that have Nan-young bumped from an upcoming Martian expedition. The driven scientist doesn’t give up on her goal, continuing her development of a Life Form Detector to try to earn a spot on the trip, but she also finds time to devote to fixing her late mother’s busted record player. When Nan-young literally bumps into Jay with the 2023 Crozby in her arms, he becomes determined to fix it for her.  “I would describe Jay as someone who doesn’t really believe in himself,” Min says of the character who is working in a vintage electronics repair shop after turning away from his passion for composing and performing music. “I think he is more concerned about the practicalities of life and just kind of getting by. I think he has a lot of dreams, but he doesn’t quite know how to act on them and fulfill them.” While Jay may be hesitant in his music, he is determined when it comes to pursuing the brilliant Nan-young. By the time he has fixed her record player, the two have fallen for one another… but can their budding relationship survive the distance between Earth and Mars? Like the short animation it stems from, Lost in Starlight is far more interested in the emotional dimensions of space travel than the logistical ones. The Martian, this is not—nor does it want to be, instead curious about the work of human connection in a sometimes unforgiving but never hopeless universe. The film’s space-scapes are vividly animated, and especially powerful in the abstract. In one climactic, hallucinatory moment, Nan-young’s vision explodes with the yellow blossoms of the flower that connects her work to her mother’s, across time and mortality. She imagines the galaxy as a spinning record, the vinyl representing connections to her mother and to Jay, as well as the natural forces that move us all along.  The story is strongest, however, in its most mundane, Earth-bound moments, and in the ways Han’s animation is able to connect the familiar with the fantastic so seamlessly. Like anime auteurs Hideko Miyazai and Makoto Shinkai before her, Han is incredibly detailed in her realization of interior spaces, bringing a sense of realism to the animated format that casts the same warm, human touch to the mise-en-scene of a Martian research facility as it does Jay’s sunlit, stickered Euljiro apartment. In 2051 Seoul, massive holographic jellyfish float through the twilight sky, but Nan-young’s aging father still sticks struggling plants in an old mug emblazoned with a heart-shaped photo of his family from decades previous. And when Nan-young takes a self-driving car home after a long day, Han focuses not on the technology but our weary protagonist toeing off her work heels. This balance between the futuristic and the familiar is further buoyed by the film’s soundtrack, which features work from Korean artists such as CIFIKA, Meego, and Wave to Earth’s Kim Daniel. “I am a little bit greedy about having really good soundtracks,” says Han. “I wanted it to be futuristic but not apocalyptic, a little bit edgy but soft at the same time.” Han chose synth-pop as the main sound, pairing the electronic sounds of the genre with subdued, dreamy beats. Korean voice actors Kim and Hong contributed some of the lyrics for the tender, lulling songs Jay writes and performs in the film. Korean media has become known internationally for its love stories, most famously depicted in the K-drama format. While Lost in Starlight borrows some of the same narrative DNA that makes those romances tick, it represents something startlingly original within a Korean animation industry that has more often been known internationally for its outsourcing work and preschool TV programs than feature films for adults. “While we still have those companies in Korea doing a lot of outsourcing work, we also have new aspiring companies that come into the picture,” says Han of the state of the Korean animation industry.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! Han, who became the youngest Korean animator to direct a theatrically released feature film in 2015 with anthology Clearer Than You Think, comes from an indie background, but worked with a commercial production company to make Lost in Starlight. “We have these great artists who have a lot of potential in terms of their creativity and storytelling, and then we have these companies who are now willing to do both the pre and main production works,” says Han. “I think we need a lot of love and interest and support from a lot of different players, and I hope that it could be consistent, so that we can keep on working on our projects. If that happens, then I think we’re going to bloom like flowers.” Lost in Starlight is available to stream on Netflix starting May 30.

In the buzzing heart of Myeongdong, one of Seoul’s most iconic shopping and culture districts, HOTEL DRIP&DROP reimagines modern hospitality through the lens of coffee. More than just a place to rest your head, it doubles as a quiet tribute to South Korea’s deep-rooted and ever-evolving coffee culture. Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Developed by LOG Hotel Group Co., Ltd., this new hospitality concept combines clean-lined design with the curated comforts of a local café. The name says it all: guests are invited to “drip” into Seoul’s rich cultural fabric and “drop” their travel fatigue in a space designed for recharging. Photo courtesy of HOTEL DRIP&DROP At the core of HOTEL DRIP&DROP is its dedication to great coffee. The 7th-floor communal lounge functions as a curated “coffee zone,” showcasing a rotating selection of the city’s most celebrated roasters. The hotel’s own signature blend – developed with 2022 KCRC roasting champion Min-ho Kim – is brewed fresh daily, acting as both a morning pick-me-up and a nod to Seoul’s café boom. The hotel strips away excess in favor of quiet functionality and thoughtful comfort, balancing minimalist aesthetics with intentional spatial design. Featuring 13 tranquil rooms and 52 cleverly designed capsule beds, it caters to solo adventurers and small groups alike. Private rooms are compact but carefully considered, outfitted with everything needed for a solid night’s rest. The gender-separated capsule section follows suit – simple, secure, and surprisingly cozy. All units prioritize tranquility over tech, which offers a true media break during your visit. Every capsule and suite-style room includes a personal coffee dripper set, encouraging guests to slow down and brew their own cup before the day’s exploration begins. It’s a small but meaningful gesture that makes your morning feel less rushed and intentionally slow in the best way possible. Location-wise, you’re perfectly positioned to explore Myeongdong’s fashion-forward scene, the retro-industrial cool of Euljiro, and the serenity of Cheonggyecheon Stream – all of which are within walking distance. Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP In a city where the pace rarely slows and space is tight, this micro-hotel dares to slow things down. Whether you’re dropping in for a few nights or passing through with a suitcase and an open mind, HOTEL DRIP&DROP ensures your stay ends on a high note – coffee in hand and well-rested for what’s next. Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP Photo courtesy of HOTEL DRIP&DROP What: HOTEL DRIP&DROP Where: 44, Myeongdong 3-gil, Jung-gu, Seoul, Republic of Korea How much: Price upon request Design draws: The hotel’s unique coffee-centric concept – featuring a curated lounge with Seoul’s top roasters and in-room coffee drippers – offers an immersive, sensory introduction to South Korea’s vibrant coffee culture. Book it: HOTEL DRIP&DROP Go virtually on vacation with more design destinations right here. Photography by Maivy Tran, unless otherwise noted.