This is quite a unique type of jam: PlayFusion's team, the developers behind the upcoming squad-based FPS ASCENDANT, is giving free access to their game assets, including 3D models, concept art, and more, to build something amazing or completely unhinged.ASCENDANT takes place in a gritty biopunk future shaped by '80s aesthetics and a deep narrative exploring humanity's relationship with technology and nature. With fast-paced squad combat, unpredictable objectives, and a unique spin on the capture-the-flag genre, the game challenges players to battle against both rival squads and mutant wildlife in pursuit of three biocores to survive.Centered around the theme "The Last Biocore," the ASCENDANT Jam invites you to compete across four unique categories, giving every kind of artist a chance to shine:Best Cinematic: Using the game assets, create an animation set in the world of ASCENDANT. Focus on quality, creativity, and a strong connection to the game's lore;Best Gameplay Video: Make a stream, edit, fan trailer, in-game machinima, etc. It just has to incorporate game footage in some way;Best New Take: Bring ASCENDANT to life in a new medium. Create a game of your own, write a story, draw a webcomic, do whatever, with bonus points for creativity;Best Filth (18+): Just full-on chaos. Shock the devs.ASCENDANTASCENDANTASCENDANTASCENDANTLike many jams, this one offers beginners a great chance to get noticed and build their portfolios, with the added bonus of winning real rewards. PlayFusion is giving away $50,000 in prizes, with each of the four categories awarding three grand prizes:1st place: $7,500 cash prize plus in-game feature and credit;2nd place: $2,500 cash prize;3rd place: $1,000 cash prize.From the four category winners, one Best in Show will be selected and flown to PlayFusion's studio in Cambridge, UK, along with a friend. You'll meet the team, get a behind-the-scenes look at the studio, and celebrate at their very own pub, The Side Quest.While the Best Filth first-place winner might not have their creation fully featured in-game (thanks to legal constraints), the developers will find a way to pay tribute to it. Not one of the 12 grand prize winners? PlayFusion is giving away over $3,000 in cash prizes for a variety of cool achievements, with more to come:Tier 1: $500 eachBest New Idea: Suggest a game feature so smart the devs wish it was theirs. If it's added, you'll get full credit;Best Newcomer: For newcomers showing great potential and heading in a thrilling direction.Tier 2: $250 eachBest Lore: For the submission that shows the deepest understanding of the game's lore;Best Comedy: For the funniest entry;Best Action: For the submission that kicks the most ass;Best BioPunk: For the submission that radiates GreenTech vibes;Best Twist: For the most surprising submission.Tier 3: $100 eachBest '80s Tribute: For the entry with the best throwback style, after all, it's an '80s-infused dystopia;Best Music: For the submission with the catchiest original song or soundtrack;Best Aesthetic: For the most beautiful, high-def, ultra-sexy creation;Best Totally Original: For the submission unlike anything else, no examples, just pure originality;Best Multi-Media: For the entry that spans multiple formats, like a comic with an embedded video or an animation paired with an original song.Tier 4: $50 eachBest Use of Gorlizard: For bringing the might and horror of this bioengineered beast to life;Best Use of Biocore: For the most creative use of those iconic orange, amber-filled jugs;Best Use of Assault Rifle: For the entry that best uses or innovates on this gun;Best Use of Ascendants: For the entry that gives human survivors a bold new look and a unique twist on their lives.Best Use of Environment: For the entry that thoughtfully uses buildings and foliage to create a believable, lived-in world.General rules for the ASCENDANT Jam allow participants to work in teams and submit multiple projects across different categories, though the same project cannot be entered in more than one category. Please tag submissions as "mature" if they contain gore or strong language; more explicit content should be entered in the Best Filth category. Hate speech and discriminatory content are strictly prohibited. Submissions behind a paywall will not be accepted, and copyrighted material from other sources must be avoided.You can submit your entries anytime between May 2, 2025, at 7:00 PM and July 1, 2025, at 7:00 AM.Visit the game's Steam page, find out all about the ASCENDANT Jam, and use this exciting opportunity to show off your style, network with talented artists, get your work featured, and win.

Extra-sensory perception The nine-armed octopus and the oddities of the cephalopod nervous system A mix of autonomous and top-down control manage the octopus's limbs. Kenna Hughes-Castleberry – Jun 7, 2025 8:00 am | 19 Credit: Nikos Stavrinidis / 500px Credit: Nikos Stavrinidis / 500px Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more With their quick-change camouflage and high level of intelligence, it’s not surprising that the public and scientific experts alike are fascinated by octopuses. Their abilities to recognize faces, solve puzzles, and learn behaviors from other octopuses make these animals a captivating study. To perform these processes and others, like crawling or exploring, octopuses rely on their complex nervous system, one that has become a focus for neuroscientists. With about 500 million neurons—around the same number as dogs—octopuses’ nervous systems are the most complex of any invertebrate. But, unlike vertebrate organisms, the octopus’s nervous system is also decentralized, with around 350 million neurons, or 66 percent of it, located in its eight arms. “This means each arm is capable of independently processing sensory input, initiating movement, and even executing complex behaviors—without direct instructions from the brain,” explains Galit Pelled, a professor of Mechanical Engineering, Radiology, and Neuroscience at Michigan State University who studies octopus neuroscience. “In essence, the arms have their own ‘mini-brains.’” A decentralized nervous system is one factor that helps octopuses adapt to changes, such as injury or predation, as seen in the case of an Octopus vulgaris, or common octopus, that was observed with nine arms by researchers at the ECOBAR lab at the Institute of Marine Research in Spain between 2021 and 2022. By studying outliers like this cephalopod, researchers can gain insight into how the animal’s detailed scaffolding of nerves changes and regrows over time, uncovering more about how octopuses have evolved over millennia in our oceans. Brains, brains, and more brains Because each arm of an octopus contains its own bundle of neurons, the limbs can operate semi-independently from the central brain, enabling faster responses since signals don’t always need to travel back and forth between the brain and the arms. In fact, Pelled and her team recently discovered that “neural signals recorded in the octopus arm can predict movement type within 100 milliseconds of stimulation, without central brain involvement.” She notes that “that level of localized autonomy is unprecedented in vertebrate systems.” Though each limb moves on its own, the movements of the octopus’s body are smooth and conducted with a coordinated elegance that allows the animal to exhibit some of the broadest range of behaviors, adapting on the fly to changes in its surroundings. “That means the octopus can react quickly to its environment, especially when exploring, hunting, or defending itself,” Pelled says. “For example, one arm can grab food while another is feeling around a rock, without needing permission from the brain. This setup also makes the octopus more resilient. If one arm is injured, the others still work just fine. And because so much decision-making happens at the arms, the central brain is freed up to focus on the bigger picture—like navigating or learning new tasks.” As if each limb weren’t already buzzing with neural activity, things get even more intricate when researchers zoom in further—to the nerves within each individual sucker, a ring of muscular tissue, which octopuses use to sense and taste their surroundings. “There is a sucker ganglion, or nerve center, located in the stalk of every sucker. For some species of octopuses, that’s over a thousand ganglia,” says Cassady Olson, a graduate student at the University of Chicago who works with Cliff Ragsdale, a leading expert in octopus neuroscience. Given that each sucker has its own nerve centers—connected by a long axial nerve cord running down the limb—and each arm has hundreds of suckers, things get complicated very quickly, as researchers have historically struggled to study this peripheral nervous system, as it’s called, within the octopus’s body. “The large size of the brain makes it both really exciting to study and really challenging,” says Z. Yan Wang, an assistant professor of biology and psychology at the University of Washington. “Many of the tools available for neuroscience have to be adjusted or customized specifically for octopuses and other cephalopods because of their unique body plans.” While each limb acts independently, signals are transmitted back to the octopus’s central nervous system. The octopus’ brain sits between its eyes at the front of its mantle, or head, couched between its two optic lobes, large bean-shaped neural organs that help octopuses see the world around them. These optic lobes are just two of the over 30 lobes experts study within the animal’s centralized brain, as each lobe helps the octopus process its environment. This elaborate neural architecture is critical given the octopus’s dual role in the ecosystem as both predator and prey. Without natural defenses like a hard shell, octopuses have evolved a highly adaptable nervous system that allows them to rapidly process information and adjust as needed, helping their chances of survival. Some similarities remain While the octopus’s decentralized nervous system makes it a unique evolutionary example, it does have some structures similar to or analogous to the human nervous system. “The octopus has a central brain mass located between its eyes, and an axial nerve cord running down each arm (similar to a spinal cord),” says Wang. “The octopus has many sensory systems that we are familiar with, such as vision, touch (somatosensation), chemosensation, and gravity sensing.” Neuroscientists have homed in on these similarities to understand how these structures may have evolved across the different branches in the tree of life. As the most recent common ancestor for humans and octopuses lived around 750 million years ago, experts believe that many similarities, from similar camera-like eyes to maps of neural activities, evolved separately in a process known as convergent evolution. While these similarities shed light on evolution's independent paths, they also offer valuable insights for fields like soft robotics and regenerative medicine. Occasionally, unique individuals—like an octopus with an unexpected number of limbs—can provide even deeper clues into how this remarkable nervous system functions and adapts. Nine arms, no problem In 2021, researchers from the Institute of Marine Research in Spain used an underwater camera to follow a male Octopus vulgaris, or common octopus. On its left side, three arms were intact, while the others were reduced to uneven, stumpy lengths, sharply bitten off at varying points. Although the researchers didn’t witness the injury itself, they observed that the front right arm—known as R1—was regenerating unusually, splitting into two separate limbs and giving the octopus a total of nine arms. “In this individual, we believe this condition was a result of abnormal regeneration [a genetic mutation] after an encounter with a predator,” explains Sam Soule, one of the researchers and the first author on the corresponding paper recently published in Animals. The researchers named the octopus Salvador due to its bifurcated arm coiling up on itself like the two upturned ends of Salvador Dali’s moustache. For two years, the team studied the cephalopod’s behavior and found that it used its bifurcated arm less when doing “riskier” movements such as exploring or grabbing food, which would force the animal to stretch its arm out and expose it to further injury. “One of the conclusions of our research is that the octopus likely retains a long-term memory of the original injury, as it tends to use the bifurcated arms for less risky tasks compared to the others,” elaborates Jorge Hernández Urcera, a lead author of the study. “This idea of lasting memory brought to mind Dalí’s famous painting The Persistence of Memory, which ultimately became the title of the paper we published on monitoring this particular octopus.” While the octopus acted more protective of its extra limb, its nervous system had adapted to using the extra appendage, as the octopus was observed, after some time recovering from its injuries, using its ninth arm for probing its environment. “That nine-armed octopus is a perfect example of just how adaptable these animals are,” Pelled adds. “Most animals would struggle with an unusual body part, but not the octopus. In this case, the octopus had a bifurcated (split) arm and still used it effectively, just like any other arm. That tells us the nervous system didn’t treat it as a mistake—it figured out how to make it work.” Kenna Hughes-Castleberry is the science communicator at JILA (a joint physics research institute between the National Institute of Standards and Technology and the University of Colorado Boulder) and a freelance science journalist. Her main writing focuses are quantum physics, quantum technology, deep technology, social media, and the diversity of people in these fields, particularly women and people from minority ethnic and racial groups. Follow her on LinkedIn or visit her website. 19 Comments

This edition of the Venice Biennale includes 65 national pavilions, 11 collateral events, and over 750 participants in the international exhibition curated by Italian architect and engineer Carlo Ratti. Entitled Intelligens: Natural Artificial Collective, its stated aim is to make Venice a ‘living laboratory’. But Ratti’s exhibition in the Arsenale has been hit by mixed reviews. The AJ’s Rob Wilson described it as ‘a bit of a confusing mess’, while other media outlets have called the robot-heavy exhibit of future-facing building-focused solutions to the climate crisis a ‘tech-bro fever dream’ and a ‘mind-boggling rollercoaster’ to mention a few. It is a distinct shift away from the biennale of two years ago twhen Ghanaian-Scottish architect Lesley Lokko curated the main exhibitions, including 89 participants – of which more than half were from Africa or the African diaspora – in a convincing reset of the architectural conversation.Advertisement This year’s National Pavilions and collateral exhibits, by contrast, have tackled the largest themes in architecture and the world right now in a less constrained way than the main exhibitions. The exhibits are radical and work as a useful gauge for understanding what’s important in each country: decarbonisation, climate resilience, the reconstruction of Gaza, and an issue more prevalent in politics closer to home: gender wars. What's not to miss in the Giardini? British Pavilion (photography: Chris Lane) UK Pavilion The British Pavilion this year, which won a special mention from the Venetian jury, is housing a show by a British-Kenyan collab titled GBR – Geology of Britannic Repair. In it, the curators explore the links between colonialism, the built environment and geological extraction. Focusing on the Rift Valley, which runs from east Africa to the Middle East, including Palestine, the exhibition was curated by the Nairobi-based studio cave_bureau, UK-based curator, writer and Farrell Centre director Owen Hopkins and Queen Mary University professor Kathryn Yusoff. The pavilion’s façade is cloaked by a beaded veil of agricultural waste briquettes and clay and glass beads, produced in Kenya and India, echoing both Maasai practices and beads once made on Venice’s Murano, as currency for the exchange of metals, minerals and slaves. The pavilion’s six gallery spaces include multisensory installations such as the Earth Compass, a series of celestial maps connecting London and Nairobi; the Rift Room, tracing one of humans’ earliest migration routes; and the Shimoni Slave Cave, featuring a large-scale bronze cast of a valley cave historically used as a holding pen for enslaved people.Advertisement The show also includes Objects of Repair, a project by design-led research group Palestine Regeneration Team (PART), looking at how salvaged materials could help rebuild war-torn Gaza, the only exhibit anywhere in the Biennale that tackled the reconstruction of Gaza face-on – doing so impressively, both politically and sensitively. Read more here. Danish Pavilion (photography: Hampus Berndtson) Demark Pavilion A firm favourite by most this year, the Danish exhibition Build of Site, curated by Søren Pihlmann of Pihlmann Architects, transforms the pavilion, which requires renovation anyway, into both a renovation site and archive of materials. Clever, simple and very methodical, the building is being both renewed while at the same time showcasing innovative methods to reuse surplus materials uncovered during the construction process – as an alternative to using new resources to build a temporary exhibition. The renovation of the 1950s Peter Koch-designed section of the pavilion began in December 2024 and will be completed following the biennale, having been suspended for its duration. On display are archetypal elements including podiums, ramps, benches and tables – all constructed from the surplus materials unearthed during the renovation, such as wood, limestone, concrete, stone, sand, silt and clay. Belgian Pavilion (photography: Michiel De Cleene) Belgium Pavilion If you need a relaxing break from the intensity of the biennale, then the oldest national pavilion in the Giardini is the one for you. Belgium’s Building Biospheres: A New Alliance between Nature and Architecture brings ‘plant intelligence’ to the fore. Commissioned by the Flanders Architecture Institute and curated by landscape architect Bas Smets and neurobiologist Stefano Mancuso, the exhibit investigates how the natural ‘intelligence’ of plants can be used to produce an indoor climate – elevating the role of landscape design and calling for it to no longer serve as a backdrop for architecture. Inside, more than 200 plants occupy the central area beneath the skylight, becoming the pavilion’s centrepiece, with the rear space visualising ‘real-time’ data on the prototype’s climate control performance. Spanish Pavilion (photography: Luca Capuano) Spain Pavilion One for the pure architecture lovers out there, models (32!), installations, photographs and timber structures fill the Spanish Pavilion in abundance. Neatly curated by architects Roi Salgueiro Barrio and Manuel Bouzas Barcala, Internalities shows a series of existing and research projects that have contributed to decarbonising construction in Spain. The outcome? An extensive collection of work exploring the use of very local and very specific regenerative and low-carbon construction and materials – including stone, wood and soil. The joy of this pavilion comes from the 16 beautiful timber frames constructed from wood from communal forests in Galicia. Polish Pavilion (photography: Luca Capuano) Poland Pavilion Poland’s pavilion was like Marmite this year. Some loved its playful approach while others found it silly. Lares and Penates, taking its name from ancient Roman deities of protection, has been curated by Aleksandra Kędziorek and looks at what it means and takes to have a sense of security in architecture. Speaking to many different anxieties, it refers to the unspoken assumption of treating architecture as a safe haven against the elements, catastrophes and wars – showcasing and elevating the mundane solutions and signage derived from building, fire and health regulations. The highlight? An ornate niche decorated with tiles and stones just for … a fire extinguisher. Dutch Pavilion (photography: Cristiano Corte) Netherlands Pavilion Punchy and straight to the point, SIDELINED: A Space to Rethink Togetherness takes sports as a lens for looking at how spatial design can both reveal and disrupt the often-exclusionary dynamics of everyday environments. Within the pavilion, the exhibit looks beyond the large-scale arena of the stadium and gymnasium to investigate the more localised and intimate context of the sports bar, as well as three alternative sports – a site of both social production and identity formation – as a metaphor for uniting diverse communities. The pavilion-turned-sports bar, designed by Koos Breen and Jeannette Slütter and inspired by Asger Jorn’s three-sided sports field, is a space for fluidity and experimentation where binary oppositions, social hierarchies and cultural values are contested and reshaped – complete with jerseys and football scarfs (currently a must-have fashion item) worn by players in the alternative Anonymous Allyship aligning the walls. Read Derin Fadina’s review for the AJ here. Performance inside the Nordic Countries Pavilion (photography: Venla Helenius) Nordic Countries Pavilion Probably the most impactful national pavilion this year (and with the best tote bag by far), the Nordic Countries have presented an installation with performance work. Curated by Kaisa Karvinen, Industry Muscle: Five Scores for Architecture continues Finnish artist Teo Ala-Ruona’s work on trans embodiment and ecology by considering the trans body as a lens through which to examine modern architecture and the built environment. The three-day exhibition opening featured a two-hour performance each day with Ala-Ruona and his troupe crawling, climbing and writhing around the space, creating a bodily dialogue with the installations and pavilion building itself, which was designed by celebrated Modernist architect Sverre Fehn. The American pavilion next door, loudly (country music!) turns its back on what’s going on in its own country by just celebrating the apathetical porch, making the Nordic Countries seem even more relevant in this crucial time. Read Derin Fadina’s review for the AJ here. German Pavilion (photography: Luca Capuano) Germany Pavilion An exhibit certainly grabbing the issue of climate change by its neck is the German contribution, Stresstest. Curated by Nicola Borgmann, Elisabeth Endres, Gabriele G Kiefer and Daniele Santucci, the pavilion has turned climate change into a literal physical and psychological experience for visitors by creating contrasting ‘stress’ and ‘de-stress’ rooms. In the dark stress room, a large metal sculpture creates a cramped and hot space using heating mats hung from the ceiling and powered by PVs. Opposite is a calmer space demonstrating strategies that could be used to reduce the heat of cities, and between the two spaces is a film focusing on the impacts of cities becoming hotter. If this doesn’t highlight the urgency of the situation, I’m not sure what will. Best bits of the Arsenale outside the main exhibitions Bahrain Pavilion (photography: Andrea Avezzù) Bahrain Pavilion Overall winner of this year’s Golden Lion for best national participation, Bahrain’s pavilion in the historic Artiglierie of the Arsenale is a proposal for living and working through heat conditions. Heatwave, curated by architect Andrea Faraguna, reimagines public space design by exploring passive cooling strategies rooted in the Arab country’s climate, as well as cultural context. A geothermal well and solar chimney are connected through a thermo-hygrometric axis that links underground conditions with the air outside. The inhabitable space that hosts visitors is thus compressed and defined by its earth-covered floor and suspended ceiling, and is surrounded by memorable sandbags, highlighting its scalability for particularly hot construction sites in the Gulf where a huge amount of construction is taking place. In the Arsenale’s exhibition space, where excavation wasn’t feasible, this system has been adapted into mechanical ventilation, bringing in air from the canal side and channelling it through ductwork to create a microclimate. Slovenian Pavilion (photography: Andrea Avezzù) Slovenia Pavilion The AJ’s Rob Wilson’s top pavilion tip this year provides an enjoyable take on the theme of the main exhibition, highlighting how the tacit knowledge and on-site techniques and skills of construction workers and craftspeople are still the key constituent in architectural production despite all the heat and light about robotics, prefabrication, artificial intelligence and 3D printing. Master Builders, curated by Ana Kosi and Ognen Arsov and organised by the Museum of Architecture and Design (MAO) in Ljubljana, presents a series of ‘totems’ –accumulative sculpture-like structures that are formed of conglomerations of differently worked materials, finishes and building elements. These are stacked up into crazy tower forms, which showcase various on-site construction skills and techniques, their construction documented in accompanying films. Uzbekistan Pavilion (photography: Luca Capuano) Uzbekistan Pavilion Uzbekistan’s contribution explores the Soviet era solar furnace and Modernist legacy. Architecture studio GRACE, led by curators Ekaterina Golovatyuk and Giacomo Cantoni have curated A Matter of Radiance. The focus is the Sun Institute of Material Science – originally known as the Sun Heliocomplex – an incredible large-scale scientific structure built in 1987 on a natural, seismic-free foundation near Tashkent and one of only two that study material behaviour under extreme temperatures. The exhibition examines the solar oven’s site’s historical and contemporary significance while reflecting on its scientific legacy and influence moving beyond just national borders. Applied Arts Pavilion (photography: Andrea Avezzù) V&A Applied Arts Pavilion Diller Scofidio + Renfro (DS+R) is having a moment. The US-based practice, in collaboration with V&A chief curator Brendan Cormier, has curated On Storage, which aptly explores global storage architectures in a pavilion that strongly links to the V&A’s recent opening of Storehouse, its new (and free) collections archive in east London. Featured is a six-channel (and screen) film entitled Boxed: The Mild Boredom of Order, directed by the practice itself and following a toothbrush, as a metaphor for an everyday consumer product, on its journey through different forms of storage across the globe – from warehouse to distribution centre to baggage handlers down to the compact space of a suitcase. Also on display are large-format photographs of V&A East Storehouse, DS+R’s original architectural model and sketchbook and behind-the-scenes photography of Storehouse at work, taken by emerging east London-based photographers. Canal Café (photography: Marco Zorzanello) Canal café Golden Lion for the best participation in the actual exhibition went to Canal Café, an intervention designed by V&A East Storehouse’s architect DS+R with Natural Systems Utilities, SODAI, Aaron Betsky and Davide Oldani. Serving up canal-water espresso, the installation is a demonstration of how Venice itself can be a laboratory to understand how to live on the water in a time of water scarcity. The structure, located on the edge of the Arsenale’s building complex, draws water from its lagoon before filtering it onsite via a hybrid of natural and artificial methods, including a mini wetland with grasses. The project was recognised for its persistence, having started almost 20 years ago, just showing how water scarcity, contamination and flooding are still major concerns both globally and, more locally, in the tourist-heavy city of Venice. And what else? Holy See Pavilion (photography: Andrea Avezzù) The Holy See Much like the Danish Pavilion, the Pavilion of the Holy See is also taking on an approach of renewal this year. Over the next six months, Opera Aperta will breathe new life into the Santa Maria Ausiliatrice Complex in the Castello district of Venice. Founded as a hospice for pilgrims in 1171, the building later became the oldest hospital and was converted into school in the 18th century. In 2001, the City of Venice allocated it for cultural use and for the next four years it will be managed by the Dicastery for Culture and Education of the Holy See to oversee its restoration. Curated by architect, curator and researcher Marina Otero Verzier and artistic director of Fondaco Italia, Giovanna Zabotti, the complex has been turned into a constant ‘living laboratory’ of collective repair – and received a special mention in the biennale awards. The restoration works, open from Tuesday to Friday, are being carried out by local artisans and specialised restorers with expertise in recovering stone, marble, terracotta, mural and canvas painting, stucco, wood and metal artworks. The beauty, however, lies in the photogenic fabrics, lit by a warm yellow glow, hanging from the walls within, gently wrapping the building’s surfaces, leaving openings that allow movement and offer glimpses of the ongoing restoration. Mobile scaffolding, used to support the works, also doubles up as furniture, providing space for equipment and subdividing the interior. Togo Pavilion (photography: Andrea Avezzù) Togo Pavilion The Republic of Togo has presented its first pavilion ever at the biennale this year with the project Considering Togo’s Architectural Heritage, which sits intriguingly at the back of a second-hand furniture shop. The inaugural pavilion is curated by Lomé and Berlin-based Studio NEiDA and is in Venice’s Squero Castello. Exploring Togo’s architectural narratives from the early 20th century, and key ongoing restoration efforts, it documents key examples of the west African country’s heritage, highlighting both traditional and more modern building techniques – from Nôk cave dwellings to Afro-Brazilian architecture developed by freed slaves to post-independence Modernist buildings. Some buildings showcased are in disrepair, despite most of the modern structures remaining in use today, including Hotel de la Paix and the Bourse du Travail, suggestive of a future of repair and celebration. Estonian Pavilion (photography: Joosep Kivimäe) Estonia Pavilion Another firm favourite this year is the Estonian exhibition on Riva dei Sette Martiri on the waterfront between Corso Garibaldi and the Giardini.  The Guardian’s Olly Wainwright said that outside the Giardini, it packed ‘the most powerful punch of all.’ Simple and effective, Let Me Warm You, curated by trio of architects Keiti Lige, Elina Liiva and Helena Männa, asks whether current insulation-driven renovations are merely a ‘checkbox’ to meet European energy targets or ‘a real chance’ to enhance the spatial and social quality of mass housing. The façade of the historic Venetian palazzetto in which it is housed is clad with fibre-cement insulation panels in the same process used in Estonia itself for its mass housing – a powerful visual statement showcasing a problematic disregard for the character and potential of typical habitable spaces. Inside, the ground floor is wrapped in plastic and exhibits how the dynamics between different stakeholders influence spatial solutions, including named stickers to encourage discussion among your peers. Venice Procuratie (photography: Mike Merkenschlager) SMAC (San Marco Art Centre) Timed to open to the public at the same time as the biennale, SMAC is a new permanent arts institution in Piazza San Marco, on the second floor of the Procuratie, which is owned by Generali. The exhibition space, open to the public for the first time in 500 years, comprises 16 galleries arranged along a continuous corridor stretching over 80m, recently restored by David Chipperfield Architects. Visitors can expect access through a private courtyard leading on to a monumental staircase and experience a typically sensitive Chipperfield restoration, which has revived the building’s original details: walls covered in a light grey Venetian marmorino made from crushed marble and floors of white terrazzo. During the summer, its inaugural programme features two solo exhibitions dedicated to Australian modern architect Harry Seidler and Korean landscape designer Jung Youngsun. Holcim's installation (photography: Celestia Studio) Holcim x Elemental Concrete manufacturer Holcim makes an appearance for a third time at Venice, this time partnering with Chilean Pritzker Prize-winning Alejandro Aravena’s practice Elemental – curator of the 2016 biennale – to launch a resilient housing prototype that follows on from the Norman Foster-designed Essential Homes Project. The ‘carbon-neutral’ structure incorporates Holcim’s range of low-carbon concrete ECOPact and is on display as part of the Time Space Existence exhibition organised by the European Cultural Centre in their gardens. It also applies Holcim’s ‘biochar’ technology for the first time, a concrete mix with 100 per cent recycled aggregates, in a full-scale Basic Services Unit. This follows an incremental design approach, which could entail fast and efficient construction via the provision of only essential housing components, and via self-build. The Next Earth at Palazzo Diedo (photography: Joan Porcel) The Next Earth At Palazzo Diedo’s incredible dedicated Berggruen Arts and Culture space, MIT’s department of architecture and think tank Antikythera (apparently taking its name from the first-known computer) have come together to create the exhibition The Next Earth: Computation, Crisis, Cosmology, which questions how philosophy and architecture must and can respond to various planet-wide crises. Antikythera’s The Noocene: Computation and Cosmology from Antikythera to AI looks at the evolution of ‘planetary computation’ as an ‘accidental’ megastructure through which systems, from the molecular to atmospheric scales, become both comprehensible and composable. What is actually on display is an architectural scale video monolith and short films on AI, astronomy and artificial life, as well as selected artefacts. MIT’s Climate Work: Un/Worlding the Planet features 37 works-in-progress, each looking at material supply chains, energy expenditure, modes of practice and deep-time perspectives. Take from it what you will. The 19th International Venice Architecture Biennale remains open until Sunday, 23 November 2025.

Few roles evolve as quickly as that of the modern CIO. A great way to prepare for a future that is largely unknown is to build your adaptability skills through diverse work experiences, says Bhavik Rao, CIO for the Americas at Vertiv. Learn from your wins and your losses and carry on. Stay free of comfort zones and run towards the chaos. Leaders are born of challenges and not from comfort.Bhavik shares what he’s facing now, how he’s navigating it, and the hard-won lessons that helped shape his approach to IT leadership.Here’s what he had to say:What has your career path looked like so far? I actually started my career as a techno-functional consultant working with the public sector. That early experience gave me a solid grounding in both the technical and process side of enterprise systems. From there, I moved into consulting, which really opened up my world. I had the opportunity to work across multiple industries, leading everything from mobile app development and eCommerce deployments to omnichannel initiatives, data platforms, ERP rollouts, and ultimately large-scale digital transformation and IT strategy programs. It was fast paced, challenging, and incredibly rewarding.  That diversity shaped the way I think today. I learned how to adapt quickly, connect dots across domains, and communicate with everyone from developers to CXOs. Eventually, that path led me to Vertiv, where I now serve as the CIO for the Americas, in addition to leading a couple of global towers, such as data/AI and engineering systems, for example. I’ve been fortunate to lead initiatives that drive operational efficiency, scale GenAI adoption, and turn technology into a true business enabler.   Related:What are the highlights along your career path? There have been several defining moments, both wins and challenges, that have shaped how I lead today. One of the most pivotal chapters has been my time at Vertiv. I joined when the company was still owned by private equity. It was an intense, roll-up-your-sleeves kind of environment. Then, in 2020, we went public -- a huge milestone. But just as we were ramping up our digital transformation, COVID hit, and with it came massive supply chain disruptions. In the middle of all that chaos, I was asked to take over a large-scale transformation program that was struggling. bhBhavik RaoIt wasn’t easy. There were legacy challenges, resistance to change, and real execution pressure. But we rallied, restructured the program, and launched it. That experience taught me a lot about leading under pressure, aligning teams around outcomes, and staying focused even when everything feels like it’s shifting. Related:Another major learning moment was earlier in my career when I lost a large national account I’d spent over seven years building. That was a tough one, but it taught me resilience. I learned not to attach my identity to any one outcome and to keep moving forward with purpose. Then, there are the moments of creation, like launching VeGA, our internal GenAI platform at Vertiv. Seeing it go from idea to impact, with thousands of users and 100+ applications, has been incredibly energizing. It reminded me how powerful it is when innovation meets execution. I’ve also learned the power of being a “player-coach.” I don’t believe in leading from a distance. I get involved, understand the challenges on the ground, and then help teams move forward together.  What’s your vision for the future of sovereign AI? For me, sovereign AI isn’t just a regulatory checkbox; it’s about strategic autonomy. At our company, we are trying to be very intentional about how we scale AI responsibly across our global footprint. So, when I think about sovereign AI, I define it as the ability to control how, where, and why AI is built and deployed with full alignment to your business needs, risk posture, and data boundaries. Related:I’ve seen firsthand how AI becomes a competitive advantage only when you have governance, infrastructure flexibility, and contextual intelligence built in. Our work with VeGA, for example, has shown that employees adopt AI much faster when it’s embedded into secure, business-aligned workflows and not just bolted on from the outside. For CIOs, the shift to sovereign AI means: Designing AI infrastructure that can flex whether it’s hosted internally, cloud-based, or hybrid Building internal AI fluency so your teams aren't fully reliant on black-box solutions Creating a framework for trust and explainability, especially as AI touches regulated and legal processes It’s not about doing everything in-house, but it is about knowing what’s mission-critical to control. In my view, sovereign AI is less about isolation and more about intentional ownership. What do you do for fun or to relax? Golf is my go-to. It keeps me grounded and humble! It’s one of those games that’s as much about mindset as it is about mechanics. I try to work out regularly when I am not traveling for work.  I also enjoy traveling with my family and listening to podcasts.   What advice would you give to young people considering a leadership path in IT? Be curious, stay hands-on, don’t rush the title, and focus on impact. Learn the business, not just the tech. Some of the best technologists I’ve worked with are the ones who understand how a supply chain works or how a sale actually closes. Also, don’t be afraid to take on messy, undefined problems. Run toward the chaos. That’s where leadership is born. And finally, surround yourself with people smarter than you. Build teams that challenge you. That’s where real growth happens. 

Autoregressive image generation has been shaped by advances in sequential modeling, originally seen in natural language processing. This field focuses on generating images one token at a time, similar to how sentences are constructed in language models. The appeal of this approach lies in its ability to maintain structural coherence across the image while allowing for high levels of control during the generation process. As researchers began to apply these techniques to visual data, they found that structured prediction not only preserved spatial integrity but also supported tasks like image manipulation and multimodal translation effectively. Despite these benefits, generating high-resolution images remains computationally expensive and slow. A primary issue is the number of tokens needed to represent complex visuals. Raster-scan methods that flatten 2D images into linear sequences require thousands of tokens for detailed images, resulting in long inference times and high memory consumption. Models like Infinity need over 10,000 tokens for a 1024×1024 image. This becomes unsustainable for real-time applications or when scaling to more extensive datasets. Reducing the token burden while preserving or improving output quality has become a pressing challenge. Efforts to mitigate token inflation have led to innovations like next-scale prediction seen in VAR and FlexVAR. These models create images by predicting progressively finer scales, which imitates the human tendency to sketch rough outlines before adding detail. However, they still rely on hundreds of tokens—680 in the case of VAR and FlexVAR for 256×256 images. Moreover, approaches like TiTok and FlexTok use 1D tokenization to compress spatial redundancy, but they often fail to scale efficiently. For example, FlexTok’s gFID increases from 1.9 at 32 tokens to 2.5 at 256 tokens, highlighting a degradation in output quality as the token count grows. Researchers from ByteDance introduced DetailFlow, a 1D autoregressive image generation framework. This method arranges token sequences from global to fine detail using a process called next-detail prediction. Unlike traditional 2D raster-scan or scale-based techniques, DetailFlow employs a 1D tokenizer trained on progressively degraded images. This design allows the model to prioritize foundational image structures before refining visual details. By mapping tokens directly to resolution levels, DetailFlow significantly reduces token requirements, enabling images to be generated in a semantically ordered, coarse-to-fine manner. The mechanism in DetailFlow centers on a 1D latent space where each token contributes incrementally more detail. Earlier tokens encode global features, while later tokens refine specific visual aspects. To train this, the researchers created a resolution mapping function that links token count to target resolution. During training, the model is exposed to images of varying quality levels and learns to predict progressively higher-resolution outputs as more tokens are introduced. It also implements parallel token prediction by grouping sequences and predicting entire sets at once. Since parallel prediction can introduce sampling errors, a self-correction mechanism was integrated. This system perturbs certain tokens during training and teaches subsequent tokens to compensate, ensuring that final images maintain structural and visual integrity. The results from the experiments on the ImageNet 256×256 benchmark were noteworthy. DetailFlow achieved a gFID score of 2.96 using only 128 tokens, outperforming VAR at 3.3 and FlexVAR at 3.05, both of which used 680 tokens. Even more impressive, DetailFlow-64 reached a gFID of 2.62 using 512 tokens. In terms of speed, it delivered nearly double the inference rate of VAR and FlexVAR. A further ablation study confirmed that the self-correction training and semantic ordering of tokens substantially improved output quality. For example, enabling self-correction dropped the gFID from 4.11 to 3.68 in one setting. These metrics demonstrate both higher quality and faster generation compared to established models. By focusing on semantic structure and reducing redundancy, DetailFlow presents a viable solution to long-standing issues in autoregressive image generation. The method’s coarse-to-fine approach, efficient parallel decoding, and ability to self-correct highlight how architectural innovations can address performance and scalability limitations. Through their structured use of 1D tokens, the researchers from ByteDance have demonstrated a model that maintains high image fidelity while significantly reducing computational load, making it a valuable addition to image synthesis research. Check out the Paper and GitHub Page. All credit for this research goes to the researchers of this project. Also, feel free to follow us on Twitter and don’t forget to join our 95k+ ML SubReddit and Subscribe to our Newsletter. NikhilNikhil is an intern consultant at Marktechpost. He is pursuing an integrated dual degree in Materials at the Indian Institute of Technology, Kharagpur. Nikhil is an AI/ML enthusiast who is always researching applications in fields like biomaterials and biomedical science. With a strong background in Material Science, he is exploring new advancements and creating opportunities to contribute.Nikhilhttps://www.marktechpost.com/author/nikhil0980/Teaching AI to Say ‘I Don’t Know’: A New Dataset Mitigates Hallucinations from Reinforcement FinetuningNikhilhttps://www.marktechpost.com/author/nikhil0980/This AI Paper Introduces LLaDA-V: A Purely Diffusion-Based Multimodal Large Language Model for Visual Instruction Tuning and Multimodal ReasoningNikhilhttps://www.marktechpost.com/author/nikhil0980/NVIDIA AI Introduces Fast-dLLM: A Training-Free Framework That Brings KV Caching and Parallel Decoding to Diffusion LLMsNikhilhttps://www.marktechpost.com/author/nikhil0980/Meet NovelSeek: A Unified Multi-Agent Framework for Autonomous Scientific Research from Hypothesis Generation to Experimental Validation

“I want to make a big announcement,” said Faryar Shirzad, the chief policy officer of Coinbase, to a nearly empty room. His words echoed across the massive hall at the Bitcoin Conference, deep in the caverns of The Venetian Expo in Las Vegas, and it wasn’t apparent how many people were watching on the livestream. Then again, somebody out there may have been interested in the panelists he was interviewing, one of whom was unusual by Bitcoin Conference standards: Chris LaCivita, the political consultant who’d co-chaired Donald Trump’s 2024 presidential campaign. “I am super proud to say it on this stage,” Shirzad continued, addressing the dozens of people scattered across 5,000 chairs. “We have just become a major sponsor of the America250 effort.” My jaw dropped. Coinbase, the world’s largest crypto exchange, the owner of 12 percent of the world’s Bitcoin supply, and listed on the S&P 500, was paying for Trump to hold a military parade.No wonder they made the announcement in an empty room. Today was “Code and Country”: an entire day of MAGA-themed panels on the Nakamoto Main Stage, full of Republican legislators, White House officials, and political operatives, all of whom praised Trump as the savior of the crypto world. But Code and Country was part of Industry Day, which was VIP only and closed to General Admission holders — the people with the $199 tickets, who flocked to the conference seeking wisdom from brilliant technologists and fabulously wealthy crypto moguls, who believed that decentralized currency on a blockchain could not be controlled by government authoritarians. They’d have drowned Shirzad in boos if they saw him give money to Donald Trump’s campaign manager, and they would have stormed the Nakamoto stage if they knew the purpose of America250. America250 is a nonprofit established by Congress during Barack Obama’s presidency with a mundane mission: to plan the nationwide festivities for July 4th, 2026, the 250th anniversary of the signing of the Declaration of Independence. “Who remembers the Bicentennial in 1976?” the co-chair, former U.S. Treasurer Rosie Rios, asked the crowd. “I remember it like it was yesterday, and this one is going to be bigger and better.” But then Trump got re-elected, appointed LaCivita as co-chair, and suddenly, the party was starting earlier. The week before the conference, America250 announced that it would host a “Grand Military Parade” on June 14th to celebrate the U.S. Army’s 250th birthday, releasing tickets for prime seats along the parade route and near the Washington Monument on their website, hosting other festivities on the National Mall, and credentialing the press covering the event. (Their celebrations and events are a different operation from the U.S. Army, which had never planned for a parade to celebrate its 250th birthday, much less a military parade, but is now spending up to $45 million in taxpayer dollars to make the parade happen.) According to the most recent statements from Army officials, the parade will include hundreds of cannons, dozens of Black Hawk and Chinook helicopters, fighter jets, bombers, and 150 military vehicles, including Bradley Fighting Vehicles, Stryker Fighting Vehicles, Humvees, and if the logistics work out, 25 (or more) M1 Abrams tanks. Trump had spent years trying to get the government to throw a military parade — primarily because he’d attended a Bastille Day parade in France and became jealous — and now that he was back in office, he’d finally eliminated everyone in the government who previously told him that the budget didn’t exist for such a parade, that the tank treads would ruin the streets and collapse the bridges, that the optics of tanks, guns and soldiers marching down Constitution Avenue were too authoritarian and fascist. June 14th also happens to be Donald Trump’s birthday.And Coinbase, whose CEO once told his employees to stop bringing politics into the workplace, was now footing the bill — if not for this military parade watch party, then for the one inevitably happening next year, when America actually turns 250, or any other festivities between now and then that may or may not fall on Trump’s birthday. (This wasn’t the first party they helped fund, though. Earlier this year, Coinbase wrote a $1 million check to Trump’s inauguration committee. One month later, the SEC announced that it was dropping an investigation into Coinbase.) I had to keep reminding myself that I was at the Bitcoin Conference. I’d been desperately looking for the goofy, degenerate party vibes that my coworkers who’d covered previous crypto conferences told me about: inflated swans with QR codes. Multimillionaires strolling around the Nakamoto Stage in shiba inu pajamas. Folks who communicated in memes and acronyms. Celebrity athletes who were actual celebrities. “Bitcoin yoga,” whatever that was. Afterparties with drugs, lots of drugs, and probably the mind-bending designer kind. And hey, Las Vegas was the global capital of goofy, degenerate partying. But no, I was stuck in a prolonged flashback to every single Republican event I’ve covered over the past ten years – Trump rallies, conservative conferences, GOP conventions, and MAGA fundraisers, with Lee Greenwood’s “God Bless the USA” playing on an endless loop. There was an emcee endlessly praising Trump, encouraging the audience to clap for Trump, and reminding everyone about how great it was that Trump spoke at the Conference last year, which all sounds even stranger when said in an Australian accent. In addition to LaCivita, there were four GOP Congressmen, four GOP Senators, one Trump-appointed SEC Commissioner, one Treasury Official, two senior White House officials (including David Sacks, the White House crypto and A.I. czar), and two of Trump’s sons. All of them, too, spent time praising Trump as the first “crypto president.” (Vice President J.D. Vance would be speaking the next day to the general admission crowd, but he was probably going to praise Trump, too.) The titles of the panels seemed to be run through some sort of MAGA generative AI system: The Next Golden Age of America. The American Super Grid. Making America the Global Bitcoin Superpower. The New Declaration of Independence: Bitcoin and the Path Out of the U.S. National Debt Crisis. (Speaker: Vivek Ramaswamy.) Uncancleable: Bitcoin, Rumble & Free Speech Technology. (Speaker: Donald Trump Jr.) The only difference was that this MAGA conference was funded by crypto. And if crypto was paying for a MAGA conference, and they had to play “God Bless the USA,” they were bringing in a string quartet.Annoyed that I had not yet seen a single Shiba Inu — no, Jim Justice’s celebrity bulldog was not the same thing — I left Nakamoto and went back to the press area. It hadn’t turned into Fox News yet, but I could see MAGA’s presence seeping into the world of podcasters and vloggers. A Newsmax reporter (great blowout, jewel-toned sheath dress, heels to the heavens, very camera-ready) was interviewing White House official Bo Hines (clean-cut, former Yale football player and GOP congressional candidate, nice suit), right before he was hustled onstage for a panel with a member of the U.S. Treasury. Soon, Rep. Byron Donalds (R-FL) was doing an interview gauntlet while his senior aides stood by, one wearing a pink plaid blazer that could have easily been Brooks Brothers. Over on the Genesis Stage, the CEO of PragerU, a right wing media company that attacks higher education, was interviewing the CEO of the 1792 Exchange, a right-wing nonprofit that attacks companies for engaging in “woke business practices” such as diversity initiatives. (Leveraging Bitcoin’s Values to Shift the Culture in America.) I walked into the main expo center, past a crypto podcaster in a sequined bomber jacket talking to a Wall Street Journal reporter. For some reason, his presence was a relief. Even though he was clearly a Trump supporter — his jacket said TRUMP: THE GOLDEN AGE on the back — there was something more janky and homegrown, less corporate, about him. But the moment I looked up and saw a massive sign that said STEAKTOSHI, the unease returned. A ghoulish-looking group of executives from Steak ‘n Shake, the fast food company with over 450 locations across the globe, had gathered under the sign in a replica of the restaurant. They were selling jars of beef tallow, with a choice of grass-fed or Wagyu, and giving out a MAKE FRYING OIL TALLOW AGAIN hat with every purchase an overt embrace of the right-wing conspiracy that cooking with regular seed oils would lower one’s testosterone. (Relevant to the conference: they were also advertising that their restaurants now accepted Bitcoin.)Andrew Gordon, the head of Main Street Crypto PAC, had been to five previous Bitcoin Conferences and worked on crypto tax policy since 2014. He’d seen Trump speak at the last conference in Nashville during the election, and the audience – not typically unquestioning MAGA superfans – had melted into adoring goo in Trump’s presence. But now that Trump was using his presidential powers to establish a Bitcoin reserve, roll back federal investigations into crypto companies, and order massive changes to financial regulatory policies — in short, changing the entire market on crypto’s behalf with the stroke of a pen — Gordon clocked a notable vibe shift this year. “There are people wearing suits at a Bitcoin conference,” he told me wryly back in the press lounge. (He, too, was wearing a suit). The change wasn’t due to a new breed of Suit People flooding in. It was the Bitcoin veterans the ones who’d been coming to the conference for years, dressed in loud Versace jackets or old holey t-shirts – who were now in business attire. “They’re now recognizing the level of formality and how serious it is.”According to the Bitcoin Conference organizers, out of the 35,000-plus attendees in Vegas this year, 17.1 percent of them were categorized as “institutional and corporate decision-makers” — a vague way to describe politicians, corporate executives, and the rest of the C-suite world. Whenever they weren’t speaking onstage, they were conducting interviews with outlets hand-selected from dozens of media requests that had been filtered through the conference organizers, or in Q&A sessions with people who’d bought the $21,000 Whale Pass and could access the VIP Lounge. (Yes, the industry-only day of the conference had an even more exclusive tier.) They were sidebarring with crypto CEOs outside the conference for round tables, privately meeting Senators for lunch and White House officials for dinner. Gordon himself had just held a private breakfast for industry insiders, with GOP Senators Marsha Blackburn and Cynthia Lummis as special guests. And for the very, very wealthy, MAGA Inc., Trump’s primary super PAC, was holding a fundraising dinner in Vegas that night, with Vance, Don Jr., and Eric Trump in attendance. That ticket, according to The Washington Post, cost $1 million per person.It was the kind of amoral, backroom behavior that would have sent the General Admission attendees into a rage — and they did the next day, when the convention opened to them. During one extremely packed talk at the Genesis Stage called Are Bitcoiners Becoming Sycophants of the State?, a moderator asked the four panelists what they’d like to say to Vance and Sacks and all the politicians who’d been there yesterday. And Erik Cason erupted.“‘What you’re doing is actually immoral and bad. You hurt people. You actively want to use the state to implement violence against others.’ 
That’s like, fucked up and wrong,” said Cason, the author of “Cryptosovereignty,” to a crowd of hundreds. “If you personally wanna like, go to Yemen and try to stab those people, that’s on you. But asking other people to go do that – it is a fucked up and terrible thing.” He grew more heated. “And also fuck you. You’re not, like, a king. You’re supposed to be liable to the law, too. 
And I don’t appreciate you trying to think that that you just get to advance the state however the fuck you want, because you have power.”“These are the violent thugs who killed hundreds of millions of people over the last century,” agreed Bruce Fenton of Chainstone Labs. “They have nothing on us. All we wanna do is run some code and trade it around our nerd money. Leave us alone.”The audience burst into cheers and applause. Bitcoin was the promise of freedom from the government, who’d murdered and stolen and tried to control their lives, and now that their wealth was on the blockchain, no one could take their sovereignty. “Personally, I don’t really care what they [the politicians] think,” said American HODL, whose title on the conference site was “guy with 6.15 bitcoin,” the derision clear in his voice. “They are employees who work for us, so their thoughts and opinions on the matter are irrelevant. Do what the fuck we tell you to do.
 I don’t work for you. I’m not underneath you. You’re underneath me.” But the politicians weren’t going to listen to them, much less talk to them. The politicians spent the conference surrounded by aides and security who stopped people from approaching – I’m sorry, the Senator has to leave for an engagement now – or safely inside the VIP rooms with the $21,000-dollar Whale Pass holders and the million-dollar donors. By the time American HODL said that the politicians worked for him, they were on flights out of Vegas, having gotten what they wanted from Code and Country, an event that was closed to General Admission pass holders.Coinbase’s executives were at Code and Country, however. Coinbase held over 984,000 Bitcoin, more coins than American HODL could mine in a lifetime. And Coinbase was now a sponsor of Donald Trump’s birthday military parade. The Nakamoto Stage during Code + Country at the Bitcoin Conference.After David Sacks and the Winklevoss twins finished explaining how Trump had saved the crypto industry from Sen. Elizabeth Warren (or as one Winklevoss called her, “Pocahontas”), I was jonesing for a drink. A few other reporters on the ground had told me about “Code, Country and Cocktails,” the America250 afterparty held at the Ayu Dayclub at Resort World, and I signed up immediately. Reporters at past Bitcoin Conferences had promised legendary side-event depravity, and I hoped I would find it there. As I entered the lush, tropical nightclub, I saw two white-gloved hands sticking out the side of the wall, each holding a glass of champagne at crotch level. I reached out for a flute, thinking it was maybe just a fucked-up piece of art, and gasped as the hand let go of the stem, disappeared into the hole, and emerged seconds later with another full champagne glass. Past the champagne glory hole wall — there was really no other way to describe it — was a massive outdoor swimming pool, surrounded by chefs serving up endless portions of steak frites, unguarded magnums of Moët casually stacked in ice buckets, the professional Beautiful Women of Las Vegas draped around Peter Schiff, the famous economist/podcaster/Bitcoin skeptic. When not booked for private events, the crescent-shaped pool at Ayu would be filled with drunk people in swim suits, dancing to DJ Kaskade. No one was in the pool tonight. Depravity was not happening here. In fact, there was more networking going on than partying, and it was somehow more engaging than Bone Thugs-N-Harmony suddenly appearing onstage to perform. And it was distinctly not just about making money in crypto. A good percentage of this crowd wore some derivative of a MAGA hat, and anyone who could show off their photos of them with Trump did so. This, I realized, was how crypto bros did politics — a new game for them, where success and influence was not necessarily quantifiable. “Crypto got Trump elected,” Greg Grseziak, an agent who manages crypto influencers, told me, showing me his Trump photo opp. “In four years, this is going to be the biggest event in the presidential race.”Grzesiak walked off to do more networking, I finished my glory hole champagne, and in the meantime, Bone Thugs had started performing “East 1999”. A fellow reporter leaned over. “Who do you think those guys are?” he asked, pointing to a group of extremely tall white men in suits and lanyards, standing behind a velvet rope to the left of the stage.I walked over to investigate. They looked like the group of Steak ‘n Shake executives I met at the Expo Hall — the ones with the beef tallow jars and derivative MAGA hats — and they were lurking next to the stage, watching the rappers like vultures but barely moving to the music. This scene was too preposterous to actually be real: Steak ‘n Shake executives, at the Bitcoin Conference, attending a party for America250, in the VIP section, during a Bone Thugs-n-Harmony set? “Shout out to Steak ‘n Shake for being the first fast food restaurant to accept Bitcoin!” announced one of the Bones. The company logo appeared on a screen above his head.No flashy Vegas magic (or dancers in cow costumes, now shimmying onstage with Steak ‘n Shake signs) could mask what I just saw. This party was co-sponsored by a MAGA-branded fast-food chain owned by Sardar Biglari, a businessman who had purchased Maxim, became its editor-in-chief, and used the smutty magazine to endorse Trump in 2024. So was Frax, the stablecoin exchange, and Exodus, one of the biggest crypto wallet companies in the market. Bitcoin Magazine’s logo flashed across the stage at one point, as editor-in-chief David Bailey, in his own derivative MAGA hat, tried to hype up the crowd for J.D. Vance’s speech the next day. (“You only get to live history once,” he said, to faint cheers.)For some unknown reason, these companies were all putting their money into America250, and as I had to keep reminding myself, America250 — the government nonprofit in charge of planning the country’s celebrations of the 250th anniversary of the Declaration’s signing — was currently working to get tanks in the streets of Washington DC for Donald Trump’s birthday. I went for one last champagne flute from the glory hole, just for the novelty, and as the hand disappeared back into the wall, I caught something I’d missed earlier: above the hole was a logo for TRON, the blockchain exchange run by billionaire Justin Sun. He had faced several fraud investigations from the SEC that magically disappeared after he invested $75 million in a Trump family crypto company, and seemed more than happy to keep throwing crypto money at Trump. Recently, he won the $TRUMP meme coin dinner, spending over $16 million on the token in exchange for a private and controversial dinner with the president.TRON was also cosponsoring the America250 party.Earlier, I’d run into the Australian emcee in the elevator of The Palazzo. She’d spent the day teetering across the Nakamoto Stage in dainty kitten heels, a pinstriped blazer and miniskirt suit set, and given the gratuitous Trump praising and the fact she was blonde, I had stereotyped her as MAGA to the core. But the program was over and she was holding her heels by their ankle straps, barefoot and sighing in relief. This was not her usual style, she told an attendee. She’d take a pair of sneakers over heels if she could. But the conference organizers had told her to dress up because there were senators in attendance. “Tomorrow, the real Bitcoiners are coming,” she said, and she’d get to wear flat shoes. And the next morning, on the day of Vance’s speech, I found myself stuck outside the conference with the “real Bitcoiners.” In spite of all the emails that the conference had sent me reminding me of how strict security measures would be, possibly to overcorrect from last year’s utter shitshow around Trump’s appearance, I’d woken up too late, eaten my bagel too leisurely, got sidetracked by a police officer-turned-Bitcoin investor excited I was wearing orange (whoops), and barely missed the cutoff for the Secret Service to let me in. But the conference had set up televisions with a live feed of Vance’s speech, and the rest of the general admission attendees were remarkably chill about it, opting to mingle in the hallways until the Secret Service left. I found myself in a smaller crowd near the expo hall door, next to a young man carrying a live miniature Shiba Inu (“It’s a tiny doge!” he said proudly), and the podcaster I’d seen earlier in the sequined bomber jacket. He introduced himself as Action CEO, and with nothing else to do but wait — “You can watch the [Vance] replay,” he reassured me, “these events are mainly about networking” — we got to talking. “I’m actually excited that Trump isn’t even here, I’ll be honest with you,” he said, speaking with a rapid cadence. Trump was ultimately just one guy, and the fact that he sent his underlings and political allies — the ones who could actually implement his grand promises for the crypto industry — proved he hadn’t just been paying lip service. That said, it had come with some uncomfortable changes, including the re-emergence of Justin Sun. “It’s a little bit concerning when you say, All right, we don’t care what you did in the past. Come on out, clean slate,” he continued. “That’s the concern right now for most people. Seeing people that did wrong by the space coming back and acting like nothing happened? That’s a little concerning.” And not just that: Sun was back in the United States, having dinner with Trump, and giving him millions of dollars. “If you’re sitting in a room and having a conversation, people are literally gonna go, yeah, it’s kind of sketch that this guy is back here after everything that’s happened. You’re not gonna see it published, because it’s not a popular opinion, but we’re all definitely talking about it.” If Action’s friends weren’t comfortable talking about it openly, that fraudsters with enough money were suddenly back in the mix, it was certainly not the kind of conversation the CEOs were going to have in front of the General Admission crowd. (Though it did mean that the emcee, looking much happier than she did the day before, got to wear low-heeled boots and shorts.) But behind closed doors — or at least at the Code and Country panels, where the base pass attendees couldn’t boo them — they gave a sense of what their backroom conversations with the Trump administration did look like.“I was actually at a dinner last night and one of the things that someone from the admin said was, What if we give you guys everything you want and then you guys forget? Because there’s midterms in 2026, and hopefully 2028, and beyond,” said Sam Kazemian, the founder and CEO of Frax, which had sponsored the America250 party. “But one of the things I said was: We as an industry are very, very loyal. The crypto community has a very, very, very strong memory. And once this industry is legalized, is transparent, is safe, all of the big players understand that this wasn’t possible without this administration, this Congress, this Senate. We’re lifelong, career-long allies.”“Loyalty” is a dangerous concept with this president, who’s cheated on his three wives, stopped paying the legal fees for employees who’d taken the fall for him, ended the careers of sympathetic MAGA Republicans for insufficiently coddling him, withdrew security for government employees experiencing death threats for the sin of contradicting him in public by citing facts. It was only weeks ago that he and Vance were publicly screaming at Ukrainian president Volodymyr Zelensky, who was at the White House to request more aid in the war against Russia, for not saying “thank you” in front of the cameras. It would be less than a week before he began threatening to cancel all of Elon Musk’s government contracts when the billionaire criticized the size of Trump’s budget, even though Musk had given him millions and helped him purge the government. And if you were to find a photo of any political leader, billionaire or CEO standing vacant-eyed next to Trump and shaking his hand, the circumstances are practically a given: they had recently made him unhappy, either for criticizing him, making an imagined slight, or simply asserting themselves. The only way they could avoid public humiliation, or their businesses being crushed via executive order, was to go to Mar-a-Lago, tell the world that the president was wonderful, and underwrite a giant party for his birthday military parade. Maybe Kazemian knew he was being tested, or maybe the 32-year old Ron Paul superfan had no idea what the administration was asking of him. Either way, he responded correctly. At least one person at the conference was thinking about ways that the government could betray the Bitcoin community. As the panel on Bitcoiners becoming sycophants of the state wrapped up, and the other panelists finished telling the government pigs to go fuck themselves and keep their hands off their nerd money, the moderator turned to Casey Rodarmor, a software engineer-turned-crypto influencer, for the last question: “Tell everyone here why Bitcoin wins, regardless of what happens.”“Oh, man, I don’t know if Bitcoin wins, regardless of what happens,” he responded, frowning. He had already gamed out one feasible situation where Bitcoin lost: “If we all of a sudden saw a very rapid inflation in a lot of fiat currencies, and there was a plausible scapegoat in Bitcoin all over the world, and they were able to make a sort of marketing claim that Bitcoin is causing this — Bitcoin is making your savings go to zero, it’s causing this carnage to the economy — 
If that happens worldwide, I think that’s really scary.” The moderator froze, the crowd murmured nervously, and I thought about the number of times Trump had blamed a group of people for problems they’d never caused. An awful lot of them were now being deported. “I take that seriously,” Rodarmor continued. “I don’t know that Bitcoin will succeed. I think that Bitcoin is incredibly strong, it’s incredibly difficult to fuck up. But in that case… man, I don’t know.” I had asked Action CEO earlier if Kazemian, the Frax CEO, was right — if the crypto world was unquestioningly loyal to Trump, if their support of him was unconditional. “Oh, it’s definitely conditional,” he said without hesitation, as his Trump jacket glittered under the fluorescent lights. “It’s a matter of, are you going to be doing the right things by us, by the people who are here?” We walked down the expo hall, past booths promising life-changing technological marvels, alongside thousands of people flooding into Nakamoto Hall, ready to learn how to become unfathomably rich, who paid $199 to be there.The audience of “Are Bitcoiners Becoming Sychophants of the State?”, Day Two of the Bitcoin ConferenceSee More:

Jordan Rice and Stephanie Hosein. Photo credit: Omar Gandhi Architects Omar Gandhi Architects has announced the appointment of Stephanie Hosein and Jordan Rice as partners, marking a new chapter in the studio’s evolution. With studios in Halifax, Toronto, and now Berlin, OG continues to grow while staying rooted in a design ethos that is intimate, collaborative, and grounded in place. “This isn’t just a title change—it’s a signal to our team and to the industry about where we’re going,” said Omar Gandhi, founding partner of the studio. “Stephanie and Jordan represent the best of what this practice stands for: empathy, rigour, curiosity, and a deeply collaborative approach to leadership and design.” Founded 15 years ago in Halifax, OG has grown steadily, from the small but ambitious roots of the East Coast to Toronto, and now to Europe with a newly launched Berlin studio and active projects in Paris, Hamburg, and the UK. That momentum has prompted a shift in structure to support continued excellence and long-term impact. “Stephanie and Jordan have been instrumental in shaping our studio’s values and design culture,” Gandhi adds. “Their partnership formalizes what’s already been true for some time—they’re leading this next phase with purpose and clarity.” Born and raised in Halifax, Hosein brings a blend of clarity, persistence, and empathy to the studio’s leadership. A graduate of Dalhousie University and a founding member of BEAT (Building Equality in Architecture Toronto), she has been a central figure in shaping both the Toronto studio and the firm’s broader culture of advocacy. Her leadership spans projects like Prime Seafood Palace, Lady Marmalade, Brar Residence, and the upcoming Pier 8 development, while also championing initiatives such as parental leave equity and mentorship for emerging designers. “Stephanie leads with care and conviction. She’s reshaped how we support one another in the profession—especially women and parents—and she’s done it while delivering some of our most beloved and complex designs,” says Gandhi. Originally from Moncton, New Brunswick, Rice’s path to architecture began with hands-on construction and evolved into a design practice. Since joining OG in 2018, he has led many of the studio’s most impactful public projects, bringing experience and humility to engagements with municipalities, Indigenous communities, and accessibility advocates. His work includes the award-winning Peggy’s Cove Infrastructure Project, the Art Gallery of Nova Scotia competition-winning scheme, the Edmonton Riverbend Public Library, and the new headquarters for the Municipality of the District of Lunenburg. “Jordan’s contribution to our civic portfolio has been transformative. He brings a builder’s sensibility, a designer’s curiosity, and a deep respect for community voices,” says Gandhi. “He doesn’t just design for place—he listens to it.” Hosein and Rice’s appointment aims to reflect a studio built on shared authorship. “Our ambition has always been about impact, not size,” Gandhi explains. “By expanding our leadership, we’re better able to reach more communities, respond to more contexts, and continue building the kind of practice we believe in—one rooted in generosity, collaboration, and care.” As Gandhi puts it, “We don’t take on projects that we’re not deeply passionate about—and these appointments ensure we stay true to that. With Stephanie and Jordan, we’re in the best possible hands to push forward—while staying grounded in who we are.” The studio is entering a new phase of possibility with projects underway across Canada and Europe, and a team committed to making meaningful, enduring architecture. The post Omar Gandhi Architects Names New Partners appeared first on Canadian Architect.

These annual rankings were last updated on June 6, 2025. Want to see your firm on next year’s list? Continue reading for more on how you can improve your studio’s ranking. Traversing the German nation, one will encounter a similar historic program to other European capitals — Romanesque churches, Renaissance monuments and more — blended with functionalist and modernist structures. Early twenty-first-century Germany gave rise to the thriving Bauhaus. Founded by Walter Gropius, this school introduced brand-new architectural thinking, an ideology rooted in function, clarity and mass production. Materials like concrete and glass were favored, socially progressive housing blocks were constructed, and a newfound appreciation for modernism emerged. The spirit of the great Bauhaus teachers — Mies van der Rohe, for example — vigorously lives on and inspires contemporary designers today. Additionally, modern industrial architecture took off post-war and has played a prominent role in the nation’s economic growth, continuing to do so today. The architectural devastation from WWII resulted in mass reconstruction efforts. The post-war restoration and rebuilding embraced a functional attitude, which continued the legacy of the Bauhaus movement despite its closing over a decade prior. Today, German architecture continues to champion the nation’s modernist brilliance through innovative designs that push technological boundaries and celebrate culture. With so many architecture firms to choose from, it’s challenging for clients to identify the industry leaders that will be an ideal fit for their project needs. Fortunately, Architizer is able to provide guidance on the top design firms in Germany based on more than a decade of data and industry knowledge. How are these architecture firms ranked? The following ranking has been created according to key statistics that demonstrate each firm’s level of architectural excellence. The following metrics have been accumulated to establish each architecture firm’s ranking, in order of priority: The number of A+Awards won (2013 to 2025) The number of A+Awards finalists (2013 to 2025) The number of projects selected as “Project of the Day” (2009 to 2025) The number of projects selected as “Featured Project” (2009 to 2025) The number of projects uploaded to Architizer (2009 to 2025) Each of these metrics is explained in more detail at the foot of this article. This ranking list will be updated annually, taking into account new achievements of Germany architecture firms throughout the year. Without further ado, here are the 30 best architecture firms in Germany: 30. Format Elf Architekten © Format Elf Architekten Simple and touching. Format Elf Architekten is an architecture firm that focuses on residential architecture. Some of Format Elf Architekten’s most prominent projects include: Longhouses, Bad Birnbach, Germany FORMSTELLE, Töging am Inn, Germany House B, Munich, Germany Die Basis, Munich, Germany The following statistics helped Format Elf Architekten achieve 30th place in the 30 Best Architecture Firms in Germany: Featured Projects 1 Total Projects 4 29. Bruzkus Batek Architects © Jens Bösenberg | Whitelight Studio GmbH BRUZKUS BATEK Since 2007, this internationally active office specialised in designing hotels, offices, shops, restaurants and private housing – and particularly in the detailing of high-quality interiors. After 10 successful years, it is time for a change. As of 2018, Bruzkus Batek is splitting into BATEK ARCHITECTS and ESTER BRUZKUS ARCHITECTS. Some of Bruzkus Batek Architects’ most prominent projects include: Razorfish, Berlin, Germany Office Ester Bruzkus Architekten, Berlin, Germany Colette Tim Raue Munich, Munich, Germany Apartment PP, Berlin, Germany Dean, Berlin, Germany The following statistics helped Bruzkus Batek Architects achieve 29th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 1 Featured Projects 3 Total Projects 28 28. Ester Bruzkus Architekten © Ester Bruzkus Architekten Founded in 2002 in Berlin, Ester Bruzkus Architekten is an architecture and interior design practice with global ties: Berlin, New York, Paris, Tel Aviv, Boston, Dubai, Moscow, Vladivostok, Tenerife. We have extensive experience with design at many scales: from the design of tables and furniture to exquisite residences and workspaces to international theaters, restaurants and hotels. Straight lines, precise planning, material contrasts – and plenty of surprises. The architecture of Ester Bruzkus and her team makes use of contrasts of thick and thin, sharp and soft, curved and straight, rough and smooth, common and opulent, colorful and restrained, playful and well-resolved. Special projects result from a dialogue of space and light, materiality and color, existing constraints and new opportunities – and especially a synergy between the needs of the client, the space and the aspirations of great design. Some of Ester Bruzkus Architekten’s most prominent projects include: Razorfish, Berlin, Germany Office Ester Bruzkus Architekten, Berlin, Germany Colette Tim Raue Munich, Munich, Germany Apartment PP, Berlin, Germany Dean, Berlin, Germany The following statistics helped Ester Bruzkus Architekten achieve 28th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 1 Featured Projects 3 Total Projects 34 27. Architekten Wannenmacher + Möller © Architekten Wannenmacher + Möller GmbH Architects Wannenmacher + Möller, based in Bielefeld Germany, has been in practice for almost 60 years. Today the office is run by second generation Andreas Wannenmacher and Hans-Heinrich Möller. It was founded by Gregor Wannenmacher in Düsseldorf, Germany in 1955. Over the years the office grew continuously and became one of the largest architectural firms in the German region Eastern Westfalia. Most of the activities were focused in this region. During the last years, however, the office had the opportunity to design buildings and control their realization outside this region, some of them in foreign countries throughout Europe, Asia, and the USA. Some of Architekten Wannenmacher + Möller’s most prominent projects include: Ford Hagemeier Halle , Germany Wohnhaus Möllmann, Bielefeld, Germany House P+G, Weinheim, Germany House in Paderborn, Paderborn, Germany Borchen Sports Hall, Borchen, Germany The following statistics helped Architekten Wannenmacher + Möller achieve 27th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 1 Featured Projects 4 Total Projects 14 26. Design.Develop.Build – GA Tech | PBSA | RWTH © Design.Develop.Build - GA Tech | PBSA | RWTH Students from the Georgia Institute of Technology, RWTH Aachen University and PBSA Düsseldorf design, develop and build civic architecture. Some of Design.Develop.Build’s most prominent projects include: Guga S’Thebe Children’s Theatre, Cape Town, South Africa The following statistics helped Design.Develop.Build achieve 26th place in the 30 Best Architecture Firms in Germany: A+Awards Winner 2 A+Awards Finalist 1 Featured Projects 1 Total Projects 1 25. Ecker Architekten © Ecker Architekten Ecker Architekten is an architecture and design firm based in Germany. Ecker Architekten’s design portfolio includes a variety of architectural projects, such as cultural, commercial, government and health, educational, and more. Some of Ecker Architekten’s most prominent projects include: The Forum at Eckenberg Gymnasium, Adelsheim, Germany Field Chapel, Buchen (Odenwald), Germany Kindergarten Dandelion Clock, Germany Kanzlei Balkenhol, BW, Germany Branch Bank in Hettingen, Hettingen, Germany The following statistics helped Ecker Architekten achieve 25th place in the 30 Best Architecture Firms in Germany: Featured Projects 4 Total Projects 8 24. Sehw Architektur © Helin Bereket “Sehw stands for meaningfulness, emotion, attitude and change.” Our mission: building architecture sustainably, thinking innovatively and creating social added value. “Sehw stands for an aesthetic of sustainability in architecture.” // Sustainability // Acting sustainably We are not just planning for today but for the generation of tomorrow and beyond. For us, sustainable architecture means forward-looking planning and the development of future-proof utilization concepts. In times of rapid climate change, we are committed to resource-conserving construction methods and the use of renewable energies. Recyclable building materials and circular economy are the basis for a long life cycle and corresponding sustainability certifications of our buildings. We value and protect existing structures and materials. Some of Sehw Architektur’s most prominent projects include: KIT, Karlsruhe, Germany Weitblick Innovation Campus, Augsburg, Germany Inclusive School Centre Döbern, Döbern, Germany The Copper Coil, Rostock, Germany Around the Corner – Student Apartment Building, Berlin, Germany The following statistics helped Sehw Architektur achieve 24th place in the 30 Best Architecture Firms in Germany: Featured Projects 5 Total Projects 18 23. PHILIPPARCHITEKTEN Anna Philipp © PHILIPPARCHITEKTEN Anna Philipp A passion for houses. There’s nothing more significant to describe what our architecture office is about: houses — simple, yet complex. The archetype of all construction is our passion. That’s what we stand for. On this we work holistically with a team of architects and engineers. Center of our designing is the human being. We understand architecture as a second skin, which must be tailored. At the same time it’s essential to reflect the unique character of the location. The goal is a harmonious triad of mankind, nature and architecture. The focus and specialization on houses and villas is faced by a wide diversification in the range of services offered. Some of PHILIPPARCHITEKTEN Anna Philipp’s most prominent projects include: Villa Philipp, Waldenburg, Germany Villa Lombardo, Lugano, Switzerland A monastery of modernity, Augsburg, Germany Villa Schatzlmayr, Passau, Germany Villa Mauthe, Bahlingen, Germany The following statistics helped PHILIPPARCHITEKTEN Anna Philipp achieve 23rd place in the 30 Best Architecture Firms in Germany: Featured Projects 5 Total Projects 22 22. KRESINGS © Roman Mensing KRESINGS is a studio for architecture, interior design, urban planning and product design with offices in Munster and Dusseldorf. Since its founding by Rainer Maria Kresing in 1985 four further partners joined the management: Kilian Kresing, Christian Kawe, Matthias Povel and André Perret. More than 60 employees — architects, designers, planners and engineers — guarantee a broad range of creative and qualified services. Experience meets creative ease. The studio has been awarded with national awards like those of the BDA (Bund Deutscher Architekten) and the DAM (Deutsches Architektur Museum). KRESINGS: Experts and team players in areas of office and industrial buildings, facilities for research, education and culture as well as individual designs for residential buildings. Some of KRESINGS’ most prominent projects include: Student Residence Boeselagerstraße, Münster, Germany Headquarters Mitsubishi Electric Europe, Ratingen, Germany Petting Zoo, Öhringen, Germany Freiherr-vom-Stein-High-School, Münster, Germany Residential Building Hoher Heckenweg, Münster, Germany The following statistics helped KRESINGS achieve 22nd place in the 30 Best Architecture Firms in Germany: Featured Projects 5 Total Projects 33 21. 3deluxe © 3deluxe The interdisciplinary design collective 3deluxe, consisting of about 30 individuals centered around Dieter Brell, Peter Seipp and Andreas and Stephan Lauhoff, has been creating groundbreaking impulses in the fields of architecture and interior design, graphic and media design. In creative synergy hybrid forms of two and three dimensional design are created: graphic works develop a spatial impact, while architectural drafts are based on communication principles. In this way, complex collages are contrived, so called ‚multilayered atmospheres‘, that foster multiple sensory experiences and allow for a multitude of potential interpretations. Paramount is the broadening of an absolute understanding of space and image towards a dynamic, processual approach. Some of 3deluxe’s most prominent projects include: V- Plaza Urban Development, Kaunas, Lithuania Kaffee Partner Headquarters, Osnabrück, Germany Butterfly Pavilion, Sharjah, United Arab Emirates Leonardo Glass Cube, Bad Driburg, Germany Cyberhelvetia The following statistics helped 3deluxe achieve 21st place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 2 Featured Projects 3 Total Projects 20 20. Christoph Hesse Architects © Deimel und Wittmar Christoph Hesse Architects was founded in 2010 by Christoph Hesse, has offices in Korbach and, since 2018, in Berlin. The architectural practice currently employs an international team of 15 people and has won numerous awards. Some of Christoph Hesse Architects’ most prominent projects include: VITOS Outpatient psychiatric clinic for traumatized refugees, Korbach, Germany Villa F / the off-the-grid house in the central highlands of Germany, Medebach, Germany StrohTherme, Medebach, Germany Room of Silence, Korbach, Germany The following statistics helped Christoph Hesse Architects achieve 20th place in the 30 Best Architecture Firms in Germany: A+Awards Winner 2 Featured Projects 2 Total Projects 4 19. Zeller & Moye © Zeller & Moye Zeller & Moye is a design studio based in Mexico City and Berlin that works at the intersection of architecture, arts, design and latest technology through an experimental, multidisciplinary and collaborative working culture. Some of Zeller & Moye’s most prominent projects include: HAUS KÖRIS, Brandenburg, Germany SANDRA WEIL Store, Mexico City, Mexico TROQUER FASHION HOUSE, Mexico City, Mexico CASA VERNE, Mexico City, Mexico CASA HILO, Mexico The following statistics helped Zeller & Moye achieve 19th place in the 30 Best Architecture Firms in Germany: Featured Projects 5 Total Projects 12 18. Ippolito Fleitz Group – Identity Architects © Ippolito Fleitz Group - Identity Architects Ippolito fleitz group is a multidisciplinary, internationally operating design studio based in Stuttgart.We are identity architects. We work in unison with our clients to develop architecture, products and communication that are part of a whole and yet distinctive in their own right. This is how we define identity.With meticulous analysis before we begin.With animated examination in the conceptional phase. With a clarity of argument in the act of persuasion.With a love of accuracy in the realisation.With a serious goal and a lot of fun along the way. Working together with our clients.As architects of identity, we conceive and construct buildings, interiors and landscapes; we develop products and communication measures. Some of Ippolito Fleitz Group – Identity Architects’ most prominent projects include: Das GERBER, Stuttgart, Germany Hunke – Jewellers and Opticians, Ludwigsburg, Germany Bella Italia Weine, Stuttgart, Germany ippolito fleitz group | Residential Building, Denkendorf, Germany WakuWaku Dammtor, Hamburg, Germany The following statistics helped Ippolito Fleitz Group - Identity Architects achieve 18th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 1 Featured Projects 4 Total Projects 26 17. VON M © Zooey Braun VON M is an architecture and design firm based in Germany. VON M’s design portfolio includes a variety of architectural projects, such as cultural, residential, educational, commercial, hospitality and sport, and more. Some of VON M’s most prominent projects include: Museum Luthers Sterbehaus, Eisleben, Germany BHM Pavillon, Wolfegg, Germany Kinder- und Familienzentrum, Ludwigsburg, Germany Hotel Bauhofstrasse, Ludwigsburg, Germany HS77, Stuttgart, Germany The following statistics helped VON M achieve 17th place in the 30 Best Architecture Firms in Germany: Featured Projects 6 Total Projects 11 16. Plastique Fantastique © Plastique Fantastique Plastique Fantastique is a collective for temporary architecture that samples the performative possibilities of urban environments. Established in Berlin in 1999, Plastique Fantastique has been influenced by the unique circumstances that made the city a laboratory for temporary spaces. Plastique Fantastique’s synthetic structures affect surrounding spaces like a soap bubble does: Similar to a foreign body, it occupies and mutates urban space. Their interventions change the way we perceive and interact in urban environments. By mixing different landscape types, an osmotic passage between private and public space is generating new hybrid environments.Regardless the way people view a bubble, walk around its exterior or move inside it, the pneumatic structure is a medium to experience the same physical setting in a temporary extraordinary situation. Some of Plastique Fantastique’s most prominent projects include: LOUD SHADOWS, Terschelling, Netherlands Blurry Venice, Venice, Italy Aeropolis, Copenhagen, Denmark superKOLMEMEN, Helsinki, Finland MOBILE PPS (Personal Protective Space) for Doctors The following statistics helped Plastique Fantastique achieve 16th place in the 30 Best Architecture Firms in Germany: Featured Projects 5 Total Projects 5 15. 4a Architekten © 4a Architekten GmbH Shaping atmosphere, lending identity, creating quality of space — these are the values that characterize the buildings of 4a Architekten. The starting point and guiding principle of our work is the concept of architecture as living space. Our buildings come into being through intensive team work shaped by interdisciplinary thinking and action. What characterizes a location in terms of its culture and history? What are the client’s expectations and objectives? What is viable within the budget and what are the benefits for users? These questions and this approach bring us to solutions with an individual character — and they apply just as much to the planning of buildings as to the design of interior spaces. Some of 4a Architekten’s most prominent projects include: Therme Lindau on Lake Constance, Lindau, Germany Balingen Civic Hall, Balingen, Germany Emser Thermal Baths, Bad Ems, Germany Spreewald Spa Hotel, Burg, Germany Stegermatt Aquatic Centre, Offenburg, Germany The following statistics helped 4a Architekten achieve 15th place in the 30 Best Architecture Firms in Germany: Featured Projects 7 Total Projects 15 14. schneider+schumacher © schneider+schumacher / Frankfurt - Vienna - Tianjin Our architectural approach is characterized by the enjoyment we have in finding solutions to the complex demands of today’s buildings. We adapt our buildings to fit into their surroundings, yet we also create landmarks. Pragmatic poetry, nurtured not only by design clarity and a conscientious attitude towards the task in hand, but also by a delight in fine details. This design process is constantly informed by the dialogue that takes place on a daily basis between the various professional disciplines in all our specialized divisions – architecture, construction and project management, design, a.o. — and international offices. schneider+schumacher is headquartered in Frankfurt (GE), and has two branches in Vienna (AU) and Tianjin (CN). Some of schneider+schumacher’s most prominent projects include: Autobahn Church, Wilnsdorf, Germany Oil Harbour Bridge, Raunheim, Germany DOXX – Quayside Development at Mainz Customs Port, Mainz, Germany Städel Museum Extension, Frankfurt, Germany Siegerland Motorway Church, Wilnsdorf, Wilnsdorf, Germany The following statistics helped schneider+schumacher achieve 14th place in the 30 Best Architecture Firms in Germany: A+Awards Winner 1 A+Awards Finalist 2 Featured Projects 5 Total Projects 12 13. ingenhoven associates © ingenhoven associates Celebrating 40 years of excellence since 1985, the studio is pioneer in sustainable architecture, designing and delivering projects of all sizes and typologies across nearly every region of the world, adhering to the highest green building standards, including LEED, Green Star, Minergie, BREEAM, DGNB and CASBEE. With a tailored approach to each location, the multinational, interdisciplinary team creates nuanced architectural solutions with added value and positive social impact. Some of ingenhoven associates’ most prominent projects include: Düsseldorfer Schauspielhaus, Düsseldorf, Germany Freiburg Town Hall, Freiburg, Germany Kö-Bogen 2, Düsseldorf, Germany Marina One, Singapore, Singapore Daniel Swarovski Corporation, Männedorf, Switzerland The following statistics helped ingenhoven associates achieve 13th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 2 Featured Projects 5 Total Projects 28 12. gmp · Architects von Gerkan, Marg und Partner © HG Esch Photography The architects von Gerkan, Marg and Partners (gmp) are an architectural practice that was founded in Hamburg and has branches worldwide. With our generalist approach and more than 50 years of experience, we complete projects in dialogue with our clients and the participating planning disciplines, at all scales and cultural contexts, covering all design phases and working on all continents. The range of our projects extends from family residences to high-rise buildings, from stadiums to concert halls, from office buildings to bridges, and from door hardware to urban planning. With holistic sustainability in mind, we aim to create new and refurbished architecture that is long-lasting and goes beyond temporary fashions, taking into account the global challenges and issues of urbanization, digitalization, and mobility. Some of gmp · Architects von Gerkan, Marg und Partner’s most prominent projects include: Guna Villa, Jūrmala, Latvia Universiade 2011 Sports Center, Shenzhen, China Olympic Stadium, Kiev, Ukraine, Kyiv, Ukraine Olympic Stadium, Berlin, Germany Twin Towers, Commodity Exchange Plaza, Dalian, China The following statistics helped gmp · Architects von Gerkan, Marg und Partner achieve 12th place in the 30 Best Architecture Firms in Germany: Featured Projects 8 Total Projects 36 11. kadawittfeldarchitektur © kadawittfeldarchitektur We are kadawittfeldarchitektur. Originally founded in Aachen in 1999, we today stand for more than just architectural design. The interdisciplinary approach of our work, linking architecture, interior and product design on the one hand and at the interface of town planning and urban projects on the other hand, reflects the full range of our creative output. kadawittfeldarchitektur develops added value space. In a team of more than 170 persons, we create architecture with added value space for living, communication and work environments. In the way we deal with volumes, materials, structures and functions, we strive to integrate our schemes into their surroundings with the objective of creating contemporary and sustainable architecture and meeting the needs of both the users and the general public. Some of kadawittfeldarchitektur’s most prominent projects include: CELTIC MUSEUM, Glauburg, Germany ADIDAS LACES, Herzogenaurach, Germany SPZ, HALLEIN, Hallein, Austria SENIOR CITIZENS RESIDENCE ALTENMARKT, Altenmarkt im Pongau, Austria SALZBURG CENTRAL STATION, Salzburg, Austria The following statistics helped kadawittfeldarchitektur achieve 11th place in the 30 Best Architecture Firms in Germany: Featured Projects 8 Total Projects 32 10. GRAFT © GRAFT What is graft? The English word ‘graft’ provokes a variety of meanings and multiple readings. It stands for transplants in the field of medicine, for cheating, but also for hard work.  In the terminology of botany, grafting is described as the addition of one shoot onto a genetically different host. Some of GRAFT’s most prominent projects include: Ice Stadion “Arena Schierke”, Wernigerode, Germany Show Palace Munich, Munich, Germany Autostadt Roof and Service Pavilion, Wolfsburg, Germany Eiswerk, Berlin, Germany Villa M , Berlin, Germany The following statistics helped GRAFT achieve 10th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 2 Featured Projects 7 Total Projects 17 9. HENN © HENN HENN is an international architecture studio with over 75 years of experience in designing innovative work environments across office, science, healthcare, industry, education, and culture. An interdisciplinary team of 400 professionals works from offices in Munich, Berlin, Frankfurt am Main, and Shanghai. The design process is collaborative and driven by curiosity. HENN draws from the rich expertise of three generations and a global network of partners. All three generations share a common mindset: openness and curiosity. This spirit drives the studio to continuously question and redefine architectural typologies. HENN was founded in 1947 by Walter Henn in Dresden. Early on, he specialized in industrial buildings and played a key role in establishing the Braunschweig School through his academic work. Some of HENN’s most prominent projects include: Porsche Pavilion, Wolfsburg, Germany Zalando Headquarters Berlin, Berlin, Germany Bugatti Atelier, Molsheim, France MobileLife Campus, Wolfsburg, Germany The CUBE, Dresden, Germany The following statistics helped HENN achieve 9th place in the 30 Best Architecture Firms in Germany: A+Awards Winner 2 A+Awards Finalist 2 Featured Projects 6 Total Projects 30 8. Auer Weber © Aldo Amoretti Photography Founded in 1980, we are an internationally active architectural firm with offices in Stuttgart and Munich. We employ around 150 people from 20 countries and work on projects of various sizes and tasks from initial design through to completion. Each year, we create entries for between 30 and 40 competitions in our two offices, from which we generate a large proportion of our orders. These range from buildings for the community to educational and administrative buildings, sports and leisure facilities and large infrastructure projects. The diversity of our architecture is the result of in-depth study of the building tasks and where these tasks originate. Some of Auer Weber’s most prominent projects include: Aquatic Centre “Aquamotion” Courchevel , Saint-Bon-Tarentaise, France Arena du Pays d’Aix, Aix-en-Provence, France Extension of the District Office in Starnberg, Starnberg, Germany ESO Headquarters Extension, Garching, Germany Olympic Aquatics Stadium, Route de Torcy, France The following statistics helped Auer Weber achieve 8th place in the 30 Best Architecture Firms in Germany: A+Awards Winner 2 A+Awards Finalist 1 Featured Projects 9 Total Projects 24 7. Peter Ruge Architekten © Peter Ruge Architekten GmbH Identity+Sustainability=Architecture Peter Ruge Architekten is a locally and internationally active planning office based in Berlin. Our mission is simple: to develop and build sustainable architecture of the future. The agenda of the team along with three partners Peter Ruge, Kayoko Uchiyama and Matthias Matschewski includes new buildings, optimization of existing properties and urban planning designs. The projects are holistic, i.e. adapted to the climate, culture and needs of the users, and have received numerous awards and certifications. Our detailed understanding of sustainable design processes supports the decisions of our clients. In education field, Prof. Ruge shares our knowledge with a global design community at DIA, Anhalt University of Applied Sciences in Dessau, Shenyang Jianzhu University in China and Kyoto Seika University in Japan. Some of Peter Ruge Architekten’s most prominent projects include: Busan Opera House, South Korea, Busan, South Korea Congress Center Hangzhou, Hangzhou, China House O, Germany, Potsdam-Mittelmark, Germany LTD_1 Hamburg, Germany, Hamburg, Germany Muzeum Lotnictwa Krakow, Poland The following statistics helped Peter Ruge Architekten achieve 7th place in the 30 Best Architecture Firms in Germany: Featured Projects 12 Total Projects 18 6. HPP Architects © Christa Lachenmaier Photography HPP Architects is one of Europe’s leading architectural partnerships with a full range of architectural and master planning services. Since its foundation by Professor Hentrich, the 4th generation of HPP partnership today includes a global team of more than 25 nationalities and 480 architects, engineers, urban designers and specialists. Today it comprises 13 offices including 8 regional offices in Germany and 5 international branches in Turkey, China and Netherlands. HPP Architects’ headquarter is located in the Düsseldorf Media Harbor, further offices are located in Amsterdam, Beijing, Berlin, Cologne, Frankfurt, Hamburg, Istanbul, Leipzig, Munich, Shanghai, Shenzhen and Stuttgart. HPP completed more than 1200 buildings worldwide and aspires to create architectural quality of lasting value beyond the here and now: timeless and yet clearly part of their time, innovative and equally grounded in history. Some of HPP Architects’s most prominent projects include: LVM 5 , Münster, Germany Medical Library Oasis (O.A.S.E.), Düsseldorf, Germany Hochschule Ruhr West, Mülheim, Germany Henkel Asia-Pacific and China Headquarters, Shanghai, China Dreischeibenhaus, Düsseldorf, Germany The following statistics helped HPP Architects achieve 6th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 3 Featured Projects 12 Total Projects 25 5. Behnisch Architekten © David Matthiessen The Stuttgart-based practice known today as Behnisch Architekten was founded in 1989 under the leadership of Stefan Behnisch. Originally established as a branch office of Günter Behnisch’s practice Behnisch & Partner, it became independent in 1991 and has subsequently developed into an international practice with offices in Stuttgart, Munich, Los Angeles/California (1999 – 2011), and Boston. These offices are directed by Stefan Behnisch and his partners in varying combinations. The Partners are Robert Hösle, Robert Matthew Noblett and Stefan Rappold. Stefan Behnisch is involved in all three offices. From the outset, the social dimension of architecture has been a fundamental aspect of the firm’s design philosophy. Some of Behnisch Architekten’s most prominent projects include: SC Workplaces, California City of Santa Monica Public Parking Structure #6, Santa Monica, California Primary School Infanteriestrasse, München, Germany Harvard University Science and Engineering Complex, Boston, Massachusetts John and Frances Angelos Law Center, University of Baltimore, Baltimore, Maryland The following statistics helped Behnisch Architekten achieve 5th place in the 30 Best Architecture Firms in Germany: A+Awards Finalist 9 Featured Projects 8 Total Projects 24 4. wulf architekten © Tobias Vollmer wulf architekten emerged from the architecture practice established 1987 in Stuttgart by Tobias Wulf. Currently the office is managed by Tobias Wulf, Jan-Michael Kallfaß, Ingmar Menzer and Steffen Vogt. From 1996 to 2018, Kai Bierich and Alexander Vohl were partners of Tobias Wulf at wulf architekten. Currently, the company has about 140 employees, nine of them being senior architects. With three office locations – Stuttgart, Berlin and Basel (CH) – wulf architekten is also working on projects abroad. Some of wulf architekten’s most prominent projects include: Parking Garage Facade P22a at the Cologne Exhibition Centre, Cologne, Germany Four primary schools in modular design, Munich, Germany School Center North, Stuttgart, Germany Canteen and Media Center for North vocational school center, Darmstadt, Germany Chamber of Industry and Commerce, headquarters, Stuttgart, Germany The following statistics helped wulf architekten achieve 4th place in the 30 Best Architecture Firms in Germany: A+Awards Winner 1 A+Awards Finalist 1 Featured Projects 11 Total Projects 18 3. TCHOBAN VOSS Architekten © TCHOBAN VOSS Architekten GmbH TCHOBAN VOSS Architekten design, plan and build for national and international clients in the public and private sectors. The company, with offices in Hamburg, Berlin and Dresden, is named after Sergei Tchoban, architect BDA, and his partner Ekkehard Voss, architect BDA (1963-2024). With over 150 highly qualified, interdisciplinary employees and many years of experience, it offers architecturally and functionally sustainable solutions for a wide range of building projects in Germany and abroad. TCHOBAN VOSS Architekten is member of the Association of German Architects (BDA), the Chambers of Architects in Hamburg, Berlin and Saxony, the Förderverein Bundesstiftung Baukultur e.V. as well as of the European Architects Network (EAN). Some of TCHOBAN VOSS Architekten’s most prominent projects include: EDGE Suedkreuz Berlin, Berlin, Germany SKF Test Centre for large-scale bearings, Schweinfurt, Germany Seestraße, Berlin, Berlin, Germany Koenigstadt-Quartier, Berlin, Germany EMBASSY – Living alongside Koellnischer Park, Berlin, Berlin, Germany The following statistics helped TCHOBAN VOSS Architekten achieve 3rd place in the 30 Best Architecture Firms in Germany: A+Awards Winner 1 A+Awards Finalist 6 Featured Projects 12 Total Projects 29 2. Barkow Leibinger © Barkow Leibinger The scope of Barkow Leibinger’s work spans from cultural projects to industrial ones. Their focus on industrial architecture includes master planning and building representational and functional buildings for production, logistical and office spaces. Some of Barkow Leibinger’s most prominent projects include: Production Hall Trumpf, Hettingen, Germany Stadthaus M1 – Green City Hotel, Freiburg, Germany Harvard ArtLab, Boston, Massachusetts Production Hall, Grüsch, Switzerland Fraunhofer Research Campus, Waischenfeld, Germany The following statistics helped Barkow Leibinger achieve 2nd place in the 30 Best Architecture Firms in Germany: Featured Projects 12 Total Projects 17 1. J.MAYER.H © J.MAYER.H J. MAYER H’s studio, focuses on works at the intersection of architecture, communication and new technology. From urban planning schemes and buildings to installation work and objects with new materials, the relationship between the human body, technology and nature form the background for a new production of space. Some of J.MAYER.H’s most prominent projects include: MIAMI MUSEUM GARAGE, Miami, Florida n.n. Residence, Moscow, Russia Hasselt Court House , Hasselt, Belgium Highway Rest Stops, Tbilisi, Georgia Rest Stops, Gori, Georgia Featured image: Tram Stops, Kehl, Germany The following statistics helped J.MAYER.H achieve 1st place in the 30 Best Architecture Firms in Germany: A+Awards Winner 5 A+Awards Finalist 3 Featured Projects 19 Total Projects 30 Why Should I Trust Architizer’s Ranking? With more than 30,000 architecture firms and over 130,000 projects within its database, Architizer is proud to host the world’s largest online community of architects and building product manufacturers. Its celebrated A+Awards program is also the largest celebration of architecture and building products, with more than 400 jurors and hundreds of thousands of public votes helping to recognize the world’s best architecture each year. Architizer also powers firm directories for a number of AIA (American Institute of Architects) Chapters nationwide, including the official directory of architecture firms for AIA New York. An example of a project page on Architizer with Project Award Badges highlighted A Guide to Project Awards The blue “+” badge denotes that a project has won a prestigious A+Award as described above. Hovering over the badge reveals details of the award, including award category, year, and whether the project won the jury or popular choice award. The orange Project of the Day and yellow Featured Project badges are awarded by Architizer’s Editorial team, and are selected based on a number of factors. The following factors increase a project’s likelihood of being featured or awarded Project of the Day status: Project completed within the last 3 years A well written, concise project description of at least 3 paragraphs Architectural design with a high level of both functional and aesthetic value High quality, in focus photographs At least 8 photographs of both the interior and exterior of the building Inclusion of architectural drawings and renderings Inclusion of construction photographs There are 7 Projects of the Day each week and a further 31 Featured Projects. Each Project of the Day is published on Facebook, Twitter and Instagram Stories, while each Featured Project is published on Facebook. Each Project of the Day also features in Architizer’s Weekly Projects Newsletter and shared with 170,000 subscribers.     We’re constantly look for the world’s best architects to join our community. If you would like to understand more about this ranking list and learn how your firm can achieve a presence on it, please don’t hesitate to reach out to us at editorial@architizer.com. The post 30 Best Architecture and Design Firms in Germany appeared first on Journal.