The Aedes – Architecture and Space gallery in Berlin presents the exhibition 'A Structure of Feeling: On a New Generation of Architects in China' throughout July and until August 19th. Aedes, founded in 1980, is a non-profit cultural institution focusing on the intersection of architecture, city, and society. Over more than four decades of activity, the gallery has hosted approximately 600 exhibitions.
In 2001, the Aedes space featured TUMU, which drew international attention to a generation of young independent Chinese architects. Twenty-five years later, the 'A Structure of Feeling' exhibition showcases the work of a new generation operating under different conditions. The exhibition features projects from twelve studios that transform existing urban fabric, engage in rural development, and reflect contemporary forms of spatial production. The curatorial concept, developed by Gao Chanzjun (Kris) and Li Xiangning, describes this period as an unrestrained expansion that led to the formation of a more differentiated mode of construction with altered scales and requirements.
The exhibition's title refers to the concept of 'structure of feeling,' introduced by cultural theorist and literary critic Raymond Williams (1921–1988), defined as 'a shared experience in the process of becoming that resists direct description.' The exhibited models, films, photographs, and graphic works are presented to make visible to the public the traces of this collective experience, functioning as an 'instant snapshot of transforming architectural practice.' The exhibition takes the state of change and process as its starting point, rather than offering an idealized view or questioning what Chinese architecture should be. The curators explore under what forces and contradictions it is taking shape today, touching upon economic, institutional, cultural, and geographical aspects.
The presented works were designed by architects working outside China's state design institutes and outside the framework that the institute defines as the 'logic of mass production oriented towards the real estate market,' although they acknowledge their connection to both contexts through professional practice. These specialists also share experiences of international travel that have shaped their work. The exhibition is structured around three dimensions: urban, economic-geographical, and epistemological. Questions are examined: how to gain the ability to act within a system that has opened up but is not truly open? What justifies building in the context of interconnected city and village economies? How does architectural judgment develop in the absence of stable reference points? Twelve selected projects, representing a wide range of types and geographical contexts, are complemented by works from artists from Drawing Architecture Studio (Li Han, Hu Yan, and Zhang Xintun) with the project Ideal City; Ouyang Shizong with New Zone – Mansions; and Yang Yunliang with Artificial Wonderland II – Travellers Among Mountains and Streams. Even the transport crates used to ship the works from China to Berlin by rail were integrated into the exhibition.
The exhibition showcases the work of nine architectural bureaus from various regions of China. Atelier Alter Architects, led by Bu Xiaojun and Zhang Yinfan, presents Dali Transformer Factory Theatrical District in Dali, Yunnan, completed in 2023. Atelier XÜK, led by Liu Kenan and Zhang Shu, participates in two projects: Wu Guannan Art Museum in Yisin, Jiangsu, 2024, and Experimental School Kunshan Wutong in Kunshan, Jiangsu, 2023. Genarchitects, consisting of Fan Beilei, Xue Zhe, and Kong Rui, shows Complexo de Refeitório e Piscina do Shanghai Zhonghua College, completed in 2025. Line+ Studio, led by Meng Fanghao, presents two projects: Mansion on Lotus Mountain in Chanchun, Jilin, 2022, and Lishui Guyanhuaxiang Art Center in Lishui, Zhejiang, 2024. DL Atelier, founded by Liu Yang and Xu Dan, exhibits Escola LYCEUM in Chunzhou, Guangxi, completed in 2022. People's Architecture Office, led by James Shen, He Zhe, and Zhang Feng, presents Plugin House in Shenzhen, Guangdong, 2018. Yanfei Architects, led by Shui Yanfei, demonstrates two projects: Deckground in Shanghai, 2025, and Haiyan Ke Tang in Kunming, Yunnan, 2023. Studio QI Architects, led by Qi Sanshan, participates in the project Annoso · Hill in Tengchong, Yunnan, completed in 2019. Finally, BUZZ, also known as Büro Ziyu Zhuang and led by Zhuang Ziyu, presents Poodom Deqin Meri Hotel in Dicing, Yunnan, completed in 2024.
Throughout the current year, other exhibitions will present contemporary perspectives on global architectural production viewed through historical and current lenses. The Museum of Modern Art (MoMA) in New York opened the exhibition 'Architects of Liberation: Modernism in Western Africa' on July 5, 2026, which will be available until January 2, 2027, studying modern African architecture in the context of the region's political independence. Furthermore, the third Venice Biennale of Architecture (SAT03) will take place from November 14, 2026, to April 14, 2027, gathering 32 participants from fields including architecture, anthropology, urbanism, art, design, education, and social practices. Moreover, Austria has announced its contribution to the 20th Venice Biennale of Architecture titled 'Koncesija / Konzession / Concession(e),' dedicated to issues of national representation, diplomacy, and architectural exchange.
Blizzard Entertainment, the developer of Overwatch, has announced a series of experiments aimed at reforming the match format. Concurrently, the company has decided to halt updates for Stage mode, which was introduced in April 2025.
In a statement released on the official website, game director Aaron Keller presented two temporary modes to test alternatives to the conventional 5v5 (Role Queue) and 6v6 (Open Queue) formats. These modes are called Flex Queue and Dynamic Queue.
The first test, Flex Queue, will run from July 16 to 19. In this mode, matches will be played in a 6v6 format, but with a mixed structure: each team must have one tank and two fixed supports, supplemented by three damage dealers. These damage dealers will have the option to switch to the tank role at any time, provided it is only one at a time. This allows teams to play with varied compositions, such as 1 tank and 3 DPS, or 2 tanks and 2 DPS, depending on the needs of the game.
The second experiment, Dynamic Queue, is scheduled to run from July 30 to August 2. This mode seeks to harmonize the two previous approaches. The matchmaking system will prioritize traditional 2-2-2 format matches but will use the Flex Queue scheme as a contingency if there is a shortage of players willing to play the tank role, which is currently the scarcest role in the queues.
According to Keller, the current flex role tends to assign most players as tanks due to how players are distributed in the queue. The tests aim to solve persistent issues in the games, such as the disproportionate weight of the tank on match outcomes, queue wait times, and instability in 5v5 confrontations. However, he emphasized that the results obtained do not automatically imply changes to the main game format; they may instead serve as inspiration for adjustments to existing modes or for the creation of new options in Arcade. Keller concluded that, like any successful experiment, the results will only be known after all phases are completed.
The announcement also confirmed that Blizzard will cease updates for Stage mode. This mode, launched in April 2025 during Overwatch 2 Season 16 (before the shift to Overwatch), offers a more dynamic experience, allowing players to customize their heroes with items and powers that alter their abilities.
Player data from June 28 presented by Keller indicates that only 6% of players opt for Stage mode (with 3% in casual matches and 3% in ranked). This participation is significantly lower compared to traditional 5v5 (54% in casual mode), 5v5 Competitive (37%), and even Open Queue 6v6 (19%). Given this low engagement, Keller stated that the team will no longer expand Stage with new maps or heroes. Despite this, the mode will not be eliminated, as it will continue to receive balancing updates, rank resets, and seasonal rewards, although the dedicated project team will be reassigned to other initiatives within the game.
The decision generated divided opinions in the community. On threads in the official forum, a topic titled “Save Stadium” characterized the change as a “hard blow” for players who invested a large part of their time in this mode. On platforms like ResetEra, the response was mixed: some lamented the end of updates, citing Stage as their preferred mode, while others considered the measure expected given the low adoption rate and internal competition.
Antonio Pinto, co-founder of TV Time, is developing Bingers, a new application intended for tracking movies and series. This new project aims to cater to fans of the previous platform, which was officially deactivated on July 15th.
Bingers promises to maintain the popular features of the closed TV Time. Pinto mentioned that the new tool will 'rebuild all the major functionalities' of the old platform while also correcting the points that caused dissatisfaction.
TV Time was known for allowing users to log watched episodes and share their opinions after each chapter, something that, according to Pinto, was a 'ritual' for many cinephiles. He pointed out that TV Time presented performance issues and lacked adequate infrastructure to support the large number of users.
It is expected that Bingers will resolve these issues through a more robust and sustainable architecture.
Pinto had sold TV Time in 2016, when the app's name was TVShow Time, to Whipclip, which now operates as Whip Media. According to TechCrunch, Whip Media justified the closure of the free application because it was no longer economically viable, in addition to focusing on products related to artificial intelligence.
In response to fan mobilization against the platform's end, the waiting list for Bingers is already active on the new app's website. The tool will be compatible with data exported from TV Time before its removal from the stores.
The migration process uses the TV Time export tool, which follows European privacy guidelines, such as GDPR. With this file, users can transfer their viewing history to Bingers. Importation can already be done on the new app's website, ensuring that the data is ready as soon as Bingers is launched in the App Store and Google Play, scheduled for the end of the month. Historically, TV Time accumulated over 26.4 million installations.
The Epic Games Store makes at least one free title available for download weekly. This week, the focus is on supernatural and horror themes with the games Echo Generation: Midnight Edition and Luto, both accessible between July 16 and 23.
This game is a turn-based RPG that evokes the aesthetic of the 90s, presenting visual inspirations from works like Stranger Things. Its gameplay and graphics use a 'polygonal pixel art' style characteristic of that decade, although it incorporates modern elements, such as time mechanics to increase damage, mini-games, and special attacks from characters and bosses.
In addition to combat, the title follows the tradition of exploring old RPGs, allowing interaction with the environment and dialogues with NPCs, who are presented only through text, without spoken dialogue. The player must unravel a big mystery after an accident while unusual events occur in the city. Despite the simple graphics, the settings are detailed and charming, and there is a good variety of enemies and characters.
However, there are negative points in its nostalgic mechanics. Interaction with various environmental elements is considered unnecessary, as clicking on a sign only results in a text box with information already visible. Additionally, when defeated by a boss, softlocks may occur due to returning without the items used during the battle.
Echo Generation: Midnight Edition is recommended for those who appreciate titles inspired by 90s RPGs or fans of Stranger Things and indie games.
Luto is a first-person psychological horror experience available on Epic Games. The player takes on the role of someone who cannot leave their house, having to explore, search for clues, and solve puzzles, where each attempt to escape leads them deeper into the unknown.
The game has a remarkable atmosphere. Elements such as white sheep and people covered with sheets manage to sustain tension and the feeling of continuous pursuit. Frights are generated by jump scares and chilling moments, while the soundtrack and sound effects build an environment of despair, emptiness, and uncertainty.
Although it takes place entirely within a residence, Luto presents quite varied and highly abstract settings. The environments are constantly transforming, shifting from a sunny dawn to a basement with a staircase descending into something resembling the viscera of a giant creature. This succession of situations reflects the character's mental instability, where nightmares mix with reality, maintaining a threatening aura.
The plot of Luto lacks clarity, as events often occur without an apparent explanation. However, this lack of answers stimulates the player's curiosity to understand the meaning of everything. On the other hand, the excess of abstraction and allegory can hinder progress, especially in solving poorly defined puzzles.
For those looking for a mysterious, dark, and atmospheric horror game, Luto is a free option this week on Epic Games, interesting for those who enjoy reflective games that address past traumas and surrealism.
