The Garzón School / Rosan Bosch StudioSave this picture!© Eleazar CuadrosCampus, Schools•Manantiales, Uruguay Architects: Rosan Bosch Studio Area Area of this architecture project Area:  900 m² Year Completion year of this architecture project Year:  2025 Photographs Photographs:Eleazar Cuadros Manufacturers Brands with products used in this architecture project Manufacturers:  Belgotex , Bertoni, Docol, Duratex, Formica, Novidario, Portobello, Roca, TarkettMore SpecsLess Specs Save this picture! Text description provided by the architects. Rosan Bosch Studio has designed a new nature-based campus and learning environment for TheGarzón School in Uruguay. The school is nestled within a dense eucalyptus forest, fostering a unique connection with nature. The vast and untamed environment of the new Garzón School in Uruguay is intertwined with the school's identity. In close collaboration with the school community, Rosan Bosch Studio has developed a design concept where learning seamlessly happens indoor and outdoor. The new learning landscape nurtures innate curiosity and encourages exploration, play, and self-expression.Save this picture!Save this picture!Save this picture!Rosan Bosch Studio has developed the masterplan, landscape design, architecture, and interior design. The innovative concept design applies biophilic design principles to create a nature-connected campus where learning extends beyond traditional boundaries. Nature is not merely a supplement to learning but the classroom itself. Here, the students become protagonists in their own education through a custom-designed curriculum built on experimentation and inquiry-based learning. The school's philosophy considers nature not merely as a supplement to learning, but as a teacher itself.Save this picture!Save this picture!Rosan Bosch Studio's concept design places the students at the center of a differentiated learninglandscape programmed with six different learning zones (or Learning Worlds) based on six design principles: Mountain Top, Cave, Campfire, Watering Hole, Hands-on, and Movement. Designed to support different learning modalities, the six learning zones empower students with meaningful choices that foster autonomy and agency. Guided by inclusion professionals and educators, the students are encouraged to venture off on their own unique journey of discovery and questioning that goes far beyond traditional school models.Save this picture!The nature-based campus combines differentiated learning spaces, designed to support different learning styles, with a deep connection to nature. It provides students with an environment where creativity, curiosity, and collaboration thrive, fostering authentic learning experiences that prepare future change-makers. Here, "the school is the park, and the park is the school," and all spaces are integrated with the environment in a constant interplay between inside and outside. Following a winding path through a meadow and around a lake, one reaches the "village" of The Garzón School, nestled in a dense eucalyptus forest. This is where each student's learning journey begins, later expanding outward as they gain autonomy and awareness. With its meandering streams and promises of adventure, this boundless park becomes fertile ground for imagination and exploration. It represents a bold reinvention of contemporary education.Save this picture!Save this picture!Save this picture!Save this picture!Nature guides the architectural premise and the choice of materials, which are locally sourced, sustainable, and carefully selected to blend with the surroundings. Subtle colors, natural light, and stimulating textures come together in the design concept, promoting the well-being of students and educators and fostering stronger teacher-student relationships. The landscape design around the village is key in defining areas that generate identity and a sense of belonging among students, as well as in creating spaces for gathering and play. Two brick plazas evoke vernacular Uruguayan architecture, while native vegetation and playful wooden elements enrich the natural setting. These blend harmoniously with the sustainable buildings, which are made entirely of wood and clad using a traditional Japanese charring technique (Shou Sugi Ban), giving them durability, character, and a strong bond with the surrounding landscape. The new Garzón School manifests a transformative educational model that serves as a benchmark for Latin America, demonstrating how thoughtful integration of architecture, nature, and pedagogy can create spaces where learning flourishes naturally and students develop into confident, capable change-makers ready for the challenges of tomorrow.Save this picture! Project gallerySee allShow less Project locationAddress:Manantiales, UruguayLocation to be used only as a reference. It could indicate city/country but not exact address.About this officeRosan Bosch StudioOffice••• MaterialsWoodBrickMaterials and TagsPublished on May 22, 2025Cite: "The Garzón School / Rosan Bosch Studio " 22 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030340/the-garzon-school-rosan-bosch-studio&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Wisk Aero and NASA have signed a new five-year partnership to advance the safe integration of autonomous, all-electric aircraft into U.S. airspace, focusing on urban air mobility and regulated eVTOL flight. Electrek reports: Wisk Aero shared details of its refreshed partnership with NASA this week. The autonomous aviation specialist has signed a new five-year Non-Reimbursable Space Act Agreement (NRSAA) with the renowned space administration. Per Wisk, this new agreement focuses on critical research led by NASA's Air Traffic Management Exploration (ATM-X) project, which is centered around the advancement of commercialized autonomous aircraft travel under Instrument Flight Rules (IFR) in the National Airspace System (NAS). As a specialist in autonomous, zero-emission aircraft, Wisk intends to continue its research alongside NASA to help regulators determine future eVTOL flight procedures and capabilities in the US. Regulatory developments on the to-do list for the latest NRSAA include optimizing airspace and route designs for highly automated UAM operations, establishing critical aircraft and ground-based safety system requirements for autonomous flight in urban environments, and establishing Air Traffic Control (ATC) communication protocols and procedures for seamless integration of future UAM aircraft. To achieve these goals, Wisk said its research with NASA will more specifically focus on utilizing advanced simulation and Live Virtual Constructive (LVC) flight environments, which combine live flights with a simulated airspace to enable researchers to assess future operations. The teams from Wisk and NASA already met last month, continuing their research while beginning to determine how instrument flight procedures and advanced technologies can work together to enable safe autonomous passenger flights by 2030. Wisk Aero is a wholly owned subsidiary of Boeing based in California. The aerospace manufacturer said last year that it expects its pilotless air-taxi to begin carrying passengers "later in the decade." Read more of this story at Slashdot.

1. The right kind of back support You will hear the term “adjustable lumbar support” used a lot with gaming chairs, but what does that actually mean? To decode the term, it means ideally you want a chair that has a lot of mid-to-lower support in the back rest. The back rest should also be adjustable (both vertically and horizontally) to support the curve and depth of your spine, rather than being just a generic fit. Proper lumbar support is important because it prevents the ligaments in your spine from lengthening and causing a condition known as creep, which can lead to bad back pain. Back rests can be mesh, or upholstered. I recommend the upholstered kind, which is far more comfortable for long gaming stints. Also consider the kind of stability the frame will give you. Aluminum frames are preferable to plastic ones that can sometimes wobble and lead to fatigue as your body is forced to find its center. Chairs also come with different weight-bearing capacities (typically between 264 lbs. and 397 lbs.), and their heights differ too, so be sure to find one that supports your weight and is tall enough so that you can rest your head easily on the headrest. Your gaming chair should be tall enough that you can easily fit your head on the headrest. Razer 2. Padding that feels comfortable Gaming chairs come with different kinds of padding. You’ll find chairs with soft, cushiony padding and others with firmer cold-cure foam. You can also find gaming chairs that combine support and soft padding to offer the best of both worlds, like the Secretlab Titan Evo NanoGen Edition. The experts will tell you that the firmer kind is better for your posture because it offers more support, but my advice is to go with one that has both; you want a cold-cure foam that’s supportive but you want it to still be soft enough that it won’t cause body aches if you’ve been in it a while. As a general rule, a gaming chair with a padding density of between 50 kg/m³ and 70 kg/m³ will provide a mix of support and comfort. If you can’t find this information in the product specifications, be sure to contact the company and ask for it. 3. Covering materials: What do you need? Another thing to consider is the type of material in the chair, how it feels and how breathable it is. Mesh fabric is the most breathable and effective at keeping you from getting too hot and sweaty, but it can be a little scratchy on your skin at times. If you live in a warmer climate, however — say, Florida or Arizona — cool mesh could be a real asset on hot days. Leather or leatherette covering material is less breathable and can cause heat buildup and excess sweat, but inversely it feels very luxurious. It can also be warm and cozy when the temperature drops — so if you know your house is always cold, it should provide a nice boost to your comfort levels. The CoolerMaster Caliber X2 is a good example of a gaming chair with material that can stave off overheating. It has a dense foam body but breathable PU leather material on top. Some gaming chairs go a step further actively cooling players via their inbuilt fans. The Thermaltake’s X Comfort Air is just such a chair to consider if you think even a cool mesh or breathable PU leather won’t be enough for you. Thermaltake’s X Comfort Air gaming chair.  Thermaltake Some chairs come with extra features like RGB lighting, speakers, Bluetooth functionality, and control panels that provide a little extra functionality. You can expect to pay a premium price for these features. When choosing a gaming chair with speakers you should read reviews that say the speakers have a high-fidelity audio with good-quality sound through the mids, bass, and treble tones. A minimum of 5.1 channels in the speakers will give you a surround sound experience that will be really immersive in your gaming. Bluetooth functionality is a great addition that allows you to hook up other devices to your chair’s speakers, like your phone, or your TV’s stereo system – so that you can listen to music or watch a movie. You just want to make sure Bluetooth connects easily to other devices. When looking for RGB be sure to choose a chair with accents in the positions you want them. They can be just about anywhere – in the headrest, armrests, and even the wheels. Programmability is also critical if you intend on syncing your gaming chair’s RGB with your other RGB gear. 5. Ergonomically sculpted seat The way the chair’s seat is sculpted can be important in determining how comfortable you will ultimately find it. Two features I look for in a seat are contoured side wings and gently sloping edges – like you’ll find in the Razer Iskur V2 X. The former guides your body to the middle of the seat so that it encounters a larger contact area, which in turn provides a lower, more uniform pressure distribution. That prevents pressure from building up in any one point and causing soreness. Sloping edges, on the other hand, allow you to assume different postures and still feel the kind of comfort you’d expect from a very expensive chair. Razer 6. A decent degree of recline After tense rounds of Counterstrike: Go, I’ll often just lay back in my chair and relax before I need to refocus again. For this, I need a gaming chair that has a decent reline that will easily hold my weight and that won’t go all jerky when I need to come back up to vertical. Gaming chairs have either partial or full reclines. For me, I like a full recline, so an angle of between 160 to 165 degrees, which allows me to get almost horizontal with my legs well off the ground but still feel in control. If the chair has a headrest, all the better for my comfort too. I hope that gives you a few pointers about selecting the right kind of gaming chair. There’s still a lot more to know, so be sure to read a few reviews before you buy.

If you’ve always wanted to donate to Wikipedia but needed an extra nudge to do so, a new capsule collection by the German fashion brand Armedangels could be that reason. To mark Wikipedia’s forthcoming 25th anniversary next year, Armedangels designed a 14-piece collection that turns design features from the Wikipedia user interface and experience into brand elements. Its signature bright cobalt blue, called “hyperlink blue,” is a key color, along with white and yellow core colors. One design, featured on a T-shirt and sweatshirt, uses an iconic 1972 image of Earth called “Blue Marble” that was taken during the Apollo 17 mission and is in the public domain. [Photo: Armedangels] A text excerpt from “The Blue Marble” Wikipedia page is below the image, which is one of the most widely reproduced images in the world and “celebrates the freedom of knowledge,” according to the product description. Wikipedia’s serif “W” logo is featured throughout. The collection is available now via the Armedangels website. The Armedangels x Wikipedia collection includes items that equate knowledge to progress, with shirts promoting freedom, peace, and equality. Ball caps with slogans like “Open Source of Information” and “Yes, I know,” are fan merch for people who love going down multi-tab Wikipedia rabbit holes. The items range in price from about $16 for socks, $48 for hats, $57 for T-shirts, and $114 for sweatshirts. [Photo: Armedangels] The nonprofit Wikimedia Foundation—which also operates tools like Wikimedia Commons and Wikibooks—saw annual revenue of more than $180 million in 2024, more than $170 million of which came from donations (though it says just 2% of Wikipedia readers donate). Some hypebeast apparel might be able to nominally improve that percentage, and it comes as the site itself has become a political lightning rod, facing increasing attacks from some on the right. [Photo: Armedangels] Armedangels says every piece is made from 100% recycled material, and 12% of sales proceeds go to the Wikimedia Foundation. It’s “sustainability meets free knowledge,” as the fashion brand says. “Because when we know better, we do better.” Like the pro-reading, anti-book-ban capsule collection for Penguin Random House by Online Ceramics, Armedangels x Wikipedia lends street-fashion cred to book smarts—and it raises money for valuable education resources at a time when anti-intellectualism is on the rise, and our information ecosystem has become especially polluted. Supporting a free online encyclopedia is one way to fight back. For Wikipedia, its volunteers, readers, and fans, the site is an effective line of defense against misinformation and ignorance. Now they have a limited-edition streetwear line that feels the same way.

For our Financial Transparency theme, independent design executive and educator Rachel Gogel gets into navigating pay disparities, pricing for value, and why true success lies in unlocking human energy, not just income. Rachel Gogel’s career spans some of the most recognisable names in publishing and tech – GQ, The New York Times, Meta – and now, as an independent creative executive, she brings that experience to startups, nonprofits, and purpose-driven ventures alike. But the journey to building a financially sustainable, values-led practice wasn’t always smooth. From $12-an-hour gigs to leading multimillion-dollar design teams, Rachel has faced the realities of wage gaps, client pushback, and burnout culture head-on. In this powerful Q&A, she shares the hard-earned lessons that shaped her pricing philosophy, the tools that helped her take control, and why choosing impact over scale is her definition of success. How did you learn to navigate pricing, salaries, or negotiations in your field? My journey with pricing started from a place of absolute uncertainty. After graduating during the 2009 recession amid a hiring freeze, I took an internship at Diane von Furstenberg for about $20 a day, just trying to get my foot in the door. When they later offered me $12 an hour as a “full-time freelancer,” I thought that was a normal starting point! My first real design contract at Travel + Leisure was $20/hour—which felt like a fortune compared to my internship. Around the same time, I quoted a WordPress project for GQ at $60/hour, originally estimating it would take only 15 hours (I was way off). I still remember sending that first email, nervously suggesting just $900 for the entire project. My contact called me immediately to say, “This is not my money, this is GQ’s money. You should have a $1,000 down payment for taking on the project, then charge an hourly rate after that.” That conversation was a trigger to start taking myself more seriously. With each career move, I learned to negotiate better. From my $70,000 base starting salary at GQ (which I barely negotiated because I was so excited about the offer), to $120,000 as Creative Director at The New York Times, to $230,000 plus stock and bonuses at Facebook—each step taught me to advocate for my worth. When I officially launched my independent design business in 2020, I had this history to draw from, but establishing consistent pricing still involved a lot of trial and error. What transformed my approach was implementing a time tracker (I use Toggl) which helped me gather real data on how long projects actually take versus my estimates. This was eye-opening and gave me confidence in pricing conversations. Today, I maintain a sliding scale across client types and engagement models. My fractional executive work commands $375/hour, while nonprofits start at $200/hour. For my Airbnb creative director maternity coverage contract (40 hours weekly), I’ve structured a $200/hour rate with $300/hour overtime. I’ve also diversified beyond hourly rates to include day rates and project-based fees tailored to specific services. The biggest shift came when I stopped thinking about charging purely for hours and started charging for value—my unique perspective, expertise, and what the work will do for a client’s business. As Jessica Strelioff from Goodside puts it: “We built Goodside to do good work for good people but we also built it to fit into the lives we want to live. Staying small is hard but it’s worth it and it’s what works for us.” This resonated deeply with me as I’ve built a practice focused on quality and impact rather than size. Have you ever experienced pay disparity or financial challenges in your career? Absolutely. Early in my career, I discovered through casual conversations that male colleagues with similar or even less experience were making substantially more than me. That realization was both infuriating and motivating—it pushed me to become more assertive in negotiations and more transparent about compensation (see my Contractor Wrapped 2024 on LinkedIn). Throughout my career trajectory, being a woman in this industry has come with distinct financial challenges. I’ve been challenged during salary negotiations and requests for promotions in ways my male colleagues haven’t. As an independent practitioner, I’ve received comments about being “too expensive” from potential clients—feedback that often makes me wonder if male creatives face the same resistance. These micro-aggressions around compensation reinforce why I encourage women—and all marginalized voices—at every stage of their careers to talk more openly about money so we can help each other get paid equitably. Going independent came with its own financial challenges. The feast-or-famine cycle hit hard, especially in 2023 when clients rescinded contracts and my projected income fell short by about $40K from what I had forecasted. There were months when I questioned everything about my business model. But these challenges taught me to build financial resilience—creating a robust emergency fund, diversifying income streams through teaching and speaking engagements, and being much more strategic about planning for both busy and quiet periods. I’ve had to acknowledge the privilege embedded in my trajectory too—being a 37-year-old white woman in a dual-income household has allowed me to capitalise on opportunities not available to all. The volatility can be stressful, but I’ve learned that transparency about these challenges helps others prepare for similar situations. What’s the best piece of financial advice you’ve received as a creative professional? “If you’re not embarrassed by the amount you’re asking for, you’re not asking for enough.” A friend told me this early in my career, and it completely changed my approach to negotiations. As creatives, especially those of us who identify as women, we often undervalue our contributions. This advice pushed me to recognise my worth and ask for compensation that reflects not just my time, but the unique perspective I bring as a designer working at the intersection of brand, culture, and technology. When I transitioned from in-house roles to founding my San Francisco-based solo consultancy, this advice became even more crucial. What’s often left unsaid is that going independent can be financially empowering—especially for those historically underpaid in conventional roles. By setting our own rates and being transparent about money, we’re not just making a living—we’re thriving. While the business logistics may seem daunting (incorporation, taxes, insurance), the real breakthrough is mental: realising we have the ability to create sustainable businesses on our own terms, often matching or exceeding previous full-time compensation. How do you balance making a living with doing work that feels meaningful? I visualise my work as a Venn diagram of activities that bring me joy, generate income, and create impact. The sweet spot is where all three overlap, but I don’t expect every project to hit that trifecta. My consulting work (about 45% of my time) provides financial stability and allows me to be selective about other opportunities. I deliberately allocate time for teaching at California College of the Arts (15%), mentoring and volunteering (20% combined), and both speaking and writing (20% combined). While these non-consulting activities may not always be as financially lucrative, they fulfill my desire to support the next generation of creatives, contribute to causes I believe in, and share my perspective with wider audiences. I’ve learned to say no to projects that might pay well but don’t align with my values or wouldn’t allow me to do my best work. This has sometimes meant walking away from significant income, but it’s preserved my energy for more meaningful opportunities like collaborating with women-founded ventures such as A Space, In Between, Acora, Anew, and Chicken & Egg Films. Success isn’t necessarily about scaling up, and growth doesn’t always mean expansion. For me, it means intentionally keeping things small and intimate. There’s power in being selective; there’s wisdom in recognizing that sometimes, less is more—especially in a society that subconsciously breeds burnout, and women especially are not giving themselves permission to rest. As Jacqueline Novogratz, Founder and CEO of Acumen, once asked: “What if we measured true success not by the amount of money you have, but by the amount of human energy you unlock, the amount of potential you enable? If that were our metric, our world would be a different place.” This question has become central to how I approach my solo venture. For me, it’s always been about depth of impact rather than breadth of reach.

In an era dominated by artificial intelligence and smartphones, one of the most overlooked engines of economic growth sits quietly at the heart of every neighborhood: the public library.  Gone are the days when libraries were sanctuaries reserved for only reading and research. Today, they are being reimagined as dynamic hubs for workforce development, creative sector support, and cultural exchange. Across the country, these reservoirs of knowledge are evolving into digital and physical beacons of community resilience.  Local access, global reach: A case study in artist empowerment  In Huntsville, where I serve as the city’s first music officer, we’ve partnered with our public library system to develop a multifunctional creative hub—with music at its core. A primary pillar of our collaboration is Blast Music, a digital streaming platform designed to showcase local talent. It’s a model other cities can and should replicate.  Through the Blast program, artists are paid, promoted, and added to a curated library collection—offering not only exposure, but bona fide industry credentials. Over 100 local artists are currently featured on the platform, and we will welcome up to 50 additional artists into the program annually.  The ripple effect of Blast is real. The free service empowers local listeners to discover homegrown talent while giving musicians tools to grow their fan base and attract industry attention. Perhaps most importantly, Blast provides emerging artists with resume-worthy recognition—essential for building sustainable careers in a tough industry.  But Blast isn’t just about digital reach—it’s embedded in Huntsville’s cultural DNA. From artist showcases like the Ladies of Blast event at the Orion Amphitheater, to community events like Hear to Be Seen (a portrait exhibition of Blast musicians), to stages designated exclusively for Blast artist performances at Camp to Amp, PorchFest, and more, Blast is bringing music into public spaces and cultivating civic pride. That’s the kind of community infrastructure that libraries are uniquely equipped to deliver.  There’s no such thing as too much visibility, and even artists with international acclaim see value in the platform. Huntsville native Kim Tibbs, a vocalist, songwriter, Alabama Music Hall of Fame honoree and UK chart-topper, submitted her album The Science of Completion Volume I to Blast—not only for more exposure, but to mentor and support the next generation of artists in her hometown.   Libraries as talent incubators  Huntsville is part of a broader national trend. In cities like Chicago, Nashville, and Austin, libraries are integrating creative labs, media production studios, and music education into their core services—functioning as public-sector incubators for the creative economy.  As technology continues to reshape traditional jobs, libraries are well-positioned to bridge skill gaps and fuel the rise of creative economies, including the vital but often overlooked non-performance roles in the music industry.  Huntsville is doubling down on this approach. We’re investing millions into programs that bring interactive music technology workshops to teens at the local library—focusing on hands-on training in production, recording, and audio engineering. With professional equipment, studio spaces, and expert instruction, we’re preparing the next generation for careers both onstage and behind the scenes.  Local industry is stepping up too. Hear Technologies, a global leader in sound and AV production, has been designing cutting-edge audio devices for years. They’re now part of a dynamic team collaborating with city leaders to help develop the library’s music maker space, nurture new talent and accelerate our region’s creative growth.  This matters now, more than ever  Libraries have always been entry points for education, employment, and exploration. But today, they’re more than just information access points—they are gateways to opportunity and launchpads for industries that define the future. By utilizing public space and collaborating with local talent, libraries can become platforms for economic mobility and cultural innovation. This investment isn’t a feel-good gesture. It’s a smart, strategic move for any city building a future that works—for everyone.  The playlist is simple: Invest in creative ecosystems, embed them in trusted community institutions like public libraries, and treat music as critical infrastructure.   Matt Mandrella is music officer for the City of Huntsville, Alabama. 

Phoenix House / HGA.StudioSave this picture!© Andy MacPhersonHouses•Byron Bay, Australia Architects: HGA.Studio Area Area of this architecture project Area:  140 m² Year Completion year of this architecture project Year:  2020 Photographs Photographs:Andy MacPherson Lead Architects: Harley Graham More SpecsLess Specs Save this picture! Text description provided by the architects. Phoenix House is a profoundly personal endeavor, born from the restoration of an early 1900s Queenslander purchased in Brisbane, Australia. Initially, I had various plans for the property, but life's unexpected twists transformed it into a new home for me and my two children. While stored in the cane fields near Ballina, the house endured brutal southerly storms. When I visited, the tarps were gone, the structure was waterlogged, and the side veranda had collapsed into a heap of hardwood.Save this picture!Overwhelmed, I broke down. The rot-riddled house seemed beyond saving, yet I had no choice but to press on. This became my 'Phoenix moment'—a symbol of personal renewal. Friends, colleagues, engineers, landscape designers, and contractors rallied around the vision, inspired by its metaphor of rebirth.Save this picture!Our studio approached the house like a 'remix album.' We stripped it to its core, cataloged the salvageable pieces, and reimagined their use in a sustainable, puzzle-like assembly. Old casement windows were repurposed as the kitchen splashback, rich teak decking adorned bedroom walls, and other elements were creatively reconfigured.Save this picture!Save this picture!Save this picture!Located in Byron's historic precinct, near my grandparents' original fisherman's cottage, the site faces sports fields to the north, with native vegetation and the bay beyond. The house sits 1600mm above ground, accommodating bike storage, twenty surfboards, and sustainability systems like water tanks, solar batteries, and heat pumps. This elevation, paired with broad timber steps, turns the front deck into a 'stage' overlooking the park. The veranda serves as a bridge between home and community, fostering connection.Save this picture!The design prioritizes simplicity within its 140m² footprint, creating a three-bedroom home that feels expansive. A striking skylight anchors the living area, while a 3x3 m sliding door frames park views, enhancing openness. The house feels like a finely crafted piece of joinery, with a restrained material palette. A robust blockwork pool and native-filled planters ground the lightweight structure. Next to it, a 45m², 2.8 m-wide studio with soaring 4m ceilings serves as a prototype for future 'tiny homes,' feeling surprisingly spacious.Save this picture!Phoenix House embodies the balance between Byron's heritage and its evolving lifestyle. It honors the past while offering a model for sensitive, sustainable development as Australia's coastal towns face growing pressures.Save this picture! Project gallerySee allShow less About this officeHGA.StudioOffice••• Published on May 22, 2025Cite: "Phoenix House / HGA.Studio" 22 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030209/phoenix-house-hgtudio&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

A video of the 425th Separate Assault Regiment's motorcycle company shows how Ukrainian soldiers plan to fight atop the light vehicles. 425th Separate Assault Regiment/Screenshot 2025-05-22T06:22:04Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? It's Ukraine's turn to adopt an unusual battle tactic from Russia: motorcycle assaults. One unit has formed its first motorcycle attack company for storming Russian positions quickly. It said its troops have trained "hundreds of hours" to shoot assault rifles from off-road bikes. As the battle with drones continues, motorcycles have become a rising star in Ukraine's war.The Ukrainian military's 425th separate assault regiment, nicknamed "Skala," announced on Tuesday that it had officially formed the country's first motorcycle attack company."As a result, we now have a modern 'cavalry' whose main task is to rapidly break through to enemy positions, conduct assault operations, and quickly shift the direction of attack," it said on its Telegram channel. The motorbike assault company appears to run a paired configuration with one driver and one gunman. 425th Separate Assault Regiment/Screenshot The use of motorcycles to carry troops into battle is well-documented in Ukraine. Since early last year, Russian troops have been increasingly seen riding on light vehicles such as ATVs and motorbikes as both a means of transport and a way to attack Ukrainian positions rapidly.Their rise is largely viewed as a direct consequence of drone warfare, since armored vehicles are often vulnerable to exploding drones on Ukraine's flat terrain.While motorbikes leave the rider more exposed, they're faster, nimbler, and smaller, which makes them better able to evade attacks from small drones."Russia's increased use of motorcycles is an adaptation in response to pervasive Ukrainian drone strikes against Russian armored vehicles and the unsustainable armored vehicle losses that Russian forces suffered in late 2023 and 2024," the Institute for the Study of War wrote in early May.Ukraine's troops initially balked at the attack method, which the Russians used in suicide assaults to wear down Ukrainian defenses and munitions.But the 425th's announcement on Tuesday means that some Ukrainians are now adopting the same tactic.In its statement, the 425th said its motorbike-riding troops had trained for "hundreds of hours" to shoot while on the move. The statement did not indicate whether the unit has started fighting or when its motorcycle troops will hit the front lines.The 425th released a video of about two dozen soldiers riding tandem on off-road motorbikes, with each pair involving one driver and an infantryman wielding an assault rifle."The goal is to ride in, strike quickly at enemy positions, dismount, storm in, secure a foothold, and complete the mission successfully," a Ukrainian soldier says in the video.Deploying motorbikes in a direct assault is an unusual tactic for modern war, where such vehicles are typically used for reconnaissance or infiltration. US special forces, for example, have used commercial bikes to navigate difficult terrain or traverse deserts in the Middle East. Ukrainian troops in the company said motorbikes offer them a swifter way to attack Russian positions, improving their safety. 425th Separate Assault Regiment/Screenshot But in Ukraine, the number of motorbikes sighted on the front lines has grown dramatically. In April, Ukrainian troops said they repelled a Russian assault on Pokrovsk that involved over 100 motorcycles.Several Russian motorized attacks last month were also reported to be comprised wholly of motorcycles and civilian vehicles. The latter have been increasingly appearing in the warzone, with Moscow's troops often sighted traveling in sedans and tractors at the rear — a likely sign of strain on Russian logistics and resources.Analysts from the ISW said in late April that it's likely Russia will start further incorporating motorcycles into its tactics for future attacks.Lt. Col. Pavlo Shamshyn, spokesperson of Ukraine's ground forces in Kharkiv, told local media that week that Kyiv believed the same."Our intelligence records the fact that in training centers on the territory of the Russian Federation and in the units themselves, active training of motorcycle drivers is taking place, and all this indicates that the assault operations of spring-summer 2025 will be carried out on motorcycles," Shamshyn told Ukrainian outlet Suspilne.

Trawl net bycatch from shrimp fishery, Sea of Cortez, Mexico. (Photo by: Mark Conlin/VW PICS/UIG via ... More Getty Image)Universal Images Group via Getty Images Beneath the placid surface of the global seafood market, a material financial risk is quietly escalating—one rooted deep within the industry's supply chain. It's not climate volatility or ESG scrutiny grabbing the headlines —but the fragile economics of what we’re feeding our farmed fish. A new report from the FAIRR Initiative—an $80 trillion-backed investor network focused on ESG risks in protein production—exposes a growing contradiction at the heart of the global salmon farming industry: a sector that markets itself as sustainable yet increasingly relies on a shrinking, finite resource—wild fish—for its survival. Released ahead of the 2025 UN Ocean Conference, the report follows a four-year engagement with seven of the world’s largest publicly listed salmon producers and delivers a stark warning: without urgent reform, the industry’s feed supply chain could buckle under its own expansion. These companies represent 58% of global farmed salmon production, with over 1.2 million tonnes produced in 2023. FAIRR’s analysis reveals systemic environmental, regulatory, and financial risks tied to dependence on wild-caught fish, exposing a deep disconnect between sustainability claims and operational reality. Supply Chain Risk from Finite Fish Resources The industry’s dependence on fishmeal and fish oil (FMFO), both derived from wild-caught fish, is a growing vulnerability. According to the UN Food and Agriculture Organization, 90% of global fisheries are already overexploited or at capacity. Yet salmon producers continue to lean heavily on this strained input to support projected production increases of 40% by 2033. FMFO is also used across aquaculture species like sea bass and sea bream, as well as in pet food. In 2023, when Peru cancelled its anchovy fishing season, fish oil prices surged by 107%. Mowi, the world’s largest salmon producer, reported a 70% rise in feed costs between 2021 and 2023 due to that single event. Some companies temporarily switched to algae oil during the price spike, only to revert once fisheries opened—highlighting a reactive approach that favors short-term cost savings over long-term resilience. “We are relying on a finite input to fuel infinite growth projections,” said Laure Boissat, Oceans Programme Manager at FAIRR. “That’s not resilience—it’s a recipe for collapse.” We’re Literally Feeding Fish to Fish Between 2020 and 2024, five of the seven companies in FAIRR’s study increased their absolute use of FMFO made from whole wild fish—by as much as 39%. Despite sustainability claims, only three firms reduced the proportion of FMFO in their feed, and none by more than three percentage points. In response, many companies have turned to fish trimmings—by-products from fish processing—as an alternative. While six producers have increased their use, the supply is inherently limited. One company reported purchasing all available trimmings in its operating region, raising concerns that rising demand could incentivize additional fishing. This exposes a fundamental flaw in the industry’s growth narrative. Farmed salmon production is projected to grow by 40% by 2033, yet fishmeal and fish oil production is forecast to rise by only 9% and 12% respectively over roughly the same period. These numbers are irreconcilable. Without scalable alternatives, or a drastic shift in feed formulation, the industry’s expansion plans appear unsustainable. FAIRR’s report notes that none of the seven companies assessed have set absolute reduction targets for fish-based feed, even as five aim to scale up salmon output. This disconnect exposes investors to long-term risk: if feed supply can't match growth, either costs will skyrocket, margins will shrink, or the environmental impact will intensify. Feed Frenzy: The Domino Effect Across Industries This feed dependency has broader implications. Aquafeed producers face rising costs and raw material uncertainty. The pet food industry, reliant on salmon oil and trimmings, is also vulnerable to volatility. As wild fish availability declines, disruptions in one part of the supply chain can ripple across sectors, amplifying risk. The diversion of edible fish into feed also raises ethical concerns. Over 90% of fish used in FMFO could be eaten by people. Feedback’s Blue Empire report found that in 2020, Norwegian salmon farms used nearly 2 million tonnes of wild-caught fish for feed, including up to 144,000 tonnes harvested off West Africa, enough to feed 2.5 to 4 million people for a year. Novel Feeds: Big Hype, Small Bite Novel ingredients like insect meal, algae oil, and single-cell proteins were once seen as game-changers. Four years later, their use remains limited as challenges abound including high production costs, scalability issues, nutritional limitations, and consumer skepticism. Only three companies have set targets to increase their inclusion, which average just 4%. One aims for 10–15% by 2030—a modest target given the urgent need for action. “In essence, the sector is stalling,” said Boissat. “There’s no silver bullet ingredient on the horizon. What we’re seeing instead is short-term thinking packaged as long-term strategy.” Investors Sound the Alarm FAIRR’s report quantifies a growing financial risk. Feed price volatility, as demonstrated by the Peru example, threatens margins across the sector. That being the case, it’s arguable that the salmon industry’s dependence on wild-caught fish is not just environmentally unsustainable—it’s economically reckless. “As investors, we believe the aquaculture industry must shift towards sustainable feed solutions. Diversifying feed ingredients is not only an environmental imperative, but also a strategic necessity for long-term resilience,” Thekla Swart of FAIRR participant Steyler Ethik Bank said in a statement. Salmon producers often lead the protein sector in disclosure, but FAIRR warns that transparency alone is not enough. “Companies disclose intensity-based metrics, but those don’t show the absolute pressure on fish stocks,” Boissat explained. “This is the gap between reporting and reality—the system is unsustainable even as it appears progressive on paper.” A Fork in the Water: From Carnivores to Mussels? FAIRR’s recommendations are clear. Companies should set absolute reduction rather than efficiency targets for FMFO and invest in scalable alternative feed ingredients—but deeper transformation may be needed. That means shifting away from carnivorous species like salmon toward unfed aquaculture options—such as mussels and oysters—which require no external feed inputs. FAIRR also encourages exploration of plant-based seafood, mirroring moves by the meat industry into alternative proteins. “Fed aquaculture is simply inefficient,” Boissat emphasized. “We must rethink what seafood production looks like in the 21st century.” Ocean Governance on Trial: What the UN Must Confront In Nice FAIRR’s report arrives ahead of the June UN Ocean Conference in Nice, where global leaders will gather to address ocean sustainability. A key issue is the gap between marine protection policy and practice. Many marine protected areas (MPAs) still allow bottom trawling and industrial fishing, undermining conservation goals. “Even in protected waters, the absence of enforceable restrictions allows destructive practices to persist,” said Boissat. “Until regulation catches up with science, these so-called protections offer a false sense of security—for ecosystems and for markets.” Campaigners and investors hope the conference will lead to stronger governance—not just symbolic declarations. Without enforceable protections, risks to marine biodiversity and the industries that depend on it will only grow. Is The Supply Chain Eating Itself? Stakeholder must decide: continue with business as usual, risking biodiversity collapse, food insecurity, and supply chain disruption—or rethink how the aquaculture sector operates. “The industry has been talking about risk and resilience for years,” said Boissat. “But if your entire business model is based on a disappearing input, that’s not resilience. That’s denial.”