Sesc takes over the administration of Casa do Barão de Vassouras, a historical heritage site in the interior of Rio de Janeiro

Kylie Jenner has attracted public attention with the new, bold campaign by the brand SKIMS. The company released its Everyday Cotton collection, which includes a new line of high-quality cotton bras and underwear. The founder of Kylie Cosmetics, who was 28 at the time of release, posed in several key looks, showcasing her toned body while revealing most of it.

In a press release, Kylie Jenner shared her impressions, saying: 'I enjoyed being part of the Everyday Cotton campaign.' The release also featured revealing photos of Jenner posing in styles that emphasize elasticity and breathability, such as the Cocoa Heather Triangle Bralette and Thong. She noted: 'This collection really excels in terms of cotton, which is such an important material for daily life.'

Jenner emphasized the comfort of the items, stating: 'The underwear and bras are soft, elastic, and very comfortable. They fit perfectly, just as you would expect from SKIMS.'

Kardashian, who was 45 at the time, shared on Instagram that she had 'never worn underwear before,' but the creation of SKIMS' 'softest and most elastic' pieces changed her mind. She added in her statement: 'Your everyday bras and underwear should feel as thoughtfully designed as everything else in your closet.' She continued: 'Everyday wear should be better, not bigger.' According to Jenner, they took favorite SKIMS items and improved them using the softest premium cotton, resulting in basic pieces that one wants to wear every day.

Four months ago, Kardashian caused a stir by releasing the SKIMS Faux Hair Micro String Thong, which, according to the SKIMS website, features a 'blend of curly and straight faux hair in twelve different shades.' The SKIMS founder told E! News on the red carpet in October about this 'furry thong' resembling a pubic area, stating: 'It was just a fun, silly idea. But you know, many other people like John Galliano have done it.'

Indeed, during a high fashion show in 2024, the British designer at Maison Margiela, aged 64, styled his models with micro-hairs—fake hairs intended to cover the pubic area. Trump added that it was 'so funny' and he couldn't believe it garnered so much attention, noting that it made them laugh and talk about it all day.

The series Uzak Şehir is preparing for its long-awaited third season, which starts in September, and has been bolstered by several major names in the cast. The production company AyNa Yapım is expanding the cast by attracting experienced actors Mustafa Avkuran and Ersin Aridj, who will take on new roles in the story.

Mustafa Avkuran has officially joined the series as a new character named Kartal. This actor is known for his work in popular Turkish projects such as Yaprak Dökümü, Kuzey Güney, Çukur, and Yeni Gelin. Turkish media notes the appearance of Kartal as an unexpected addition, although details about his character have not yet been revealed.

The casting news emerged against the backdrop of a significant transition that Uzak Şehir is undergoing after the finale of the second season. Several well-known actors left the project after the conclusion of the second season, creating room for new storylines and characters. The publication Sözcü reported six departures following the final episode.

Another notable acquisition is Ersin Aridj, who will play a character named Ateş. Aridj gained widespread recognition for his role as Abidin in the hit Yalı Çapkını. He recently starred in the project TRT Operasyon Alesta and will now join the Uzak Şehir film crew, which continues to shoot in Mardin.

The announcement of Aridj's inclusion followed news that Onur Ozaydin also joined the third season as Enver. According to early reports, Enver is connected to Alia's story and is described as a charismatic man living in Budapest, where he owns an exquisite restaurant. His appearance is intended to add new dynamics to the series.

The third season is being prepared after Uzak Şehir concluded its second season with its 63rd episode. A number of actors departed after the finale, making the new additions particularly important for the plot development. At the center of the drama are Ozan Akbaba as Cihan Albora and Sinem Yunsal as Alia Albora.

The series tells the story of Alia, who arrives in Mardin from Canada with the body of her deceased husband and their five-year-old son to fulfill his last wishes. Soon she becomes involved in the world of the powerful Albora family, where hidden secrets and conflicts complicate her plans to leave.

The series is produced by AyNa Yapım, with Kerem Çatay and Lale Eren as producers. Gülizar Irmak is the screenwriter, and Ahmet Katkıсыз, Emre Aybek, and Yıldız Aşangoba Taşbaşı are named among the directors. Uzak Şehir became one of the most successful projects of the Kanal D channel, gaining a large audience during its first two seasons. The combination of family conflicts, romance, secrets, and the unique setting in Mardin helped it become one of the main evening Turkish series.

Filming for the third season is expected to resume towards the end of August, with new episodes reaching viewers in September. With the addition of Kartal from Avkuran, Ateş from Aridj, and Enver from Ozaydin, viewers will await how these new characters will affect Cihan, Alia, and the entire Albora family when Uzak Şehir returns to the screen.

The Shin Nakano Residence, developed by Ryuichi Sasaki and Sasaki Architecture, was built as Grantage Shin Nakano in the Chuo district, located in Nakano, Tokyo. This reinforced concrete residential building has five floors above a basement level and accommodates eleven units, totaling a constructed area of 416.68 square meters. The project concept aimed to give an architectural expression to the geography that has shaped life in western Tokyo over millennia.

The building is situated in the center of the Musashino Plateau, a geographical formation spanning 700 square kilometers in the western part of Tokyo. This plateau, delimited by three rivers and abundant in groundwater, has supported human settlement since ancient times. The developer, Real Partners, requested a compact urban condominium on a limited plot of 152.27 square meters, and the architecture team responded by translating the deep local geography onto the surface, using the light and movement inherent to the building itself.

Ryuichi Sasaki, CEO and Principal Architect, explained that 'The Musashino Plateau is one of those landscapes people live on without ever truly seeing it.' He added that the project's challenge was to transform something as abstract as its position within a plateau into a tangible element that residents encounter daily, whether in the facade, the shadows of the stairs, or the light entering the rooms.

The trapezoidal motif, which gives the development its name, originates from the central location of the plot within the plateau. On the street-facing facade, this pattern is created with custom shapes, stainless steel, and exposed concrete surfaces, engraved as a relief directly into the cast-in-place concrete structure rather than being applied externally. The combination of the matte finish of the stainless steel, the reflections from the window glass, and the texture of the concrete allows the facade's appearance to change depending on the time of day and weather conditions.

Inside the entrance, rhythmic trapezoidal pillars and a pattern of trapezoidal tiles extend this geometry into three dimensions, defining the access and casting soft, dotted shadows reminiscent of a tree canopy. The common staircase follows the same theme with grid steps illuminated by the trapezoidal motif, generating a luminous effect similar to sunlight filtered through leaves. The lighting design, executed by Natsuha Kameoka of Lighting Sou, applies this same geometry at night.

With a site area of only 84.86 square meters, every solar direction is crucial. The building faces a wide street on one side and a plaza on the other, and the design utilizes both spaces to ensure natural light and cross-ventilation. The openings facing the plaza offer the interiors a view that is part of the neighborhood, not just the street, capturing the greenery of the trees and the daily activities of the neighboring nursery school children.

The interiors, characterized by their white and tranquil nature, use trapezoidal wall openings and a decorative glass railing—both visible from the street—to establish a rhythmic cadence that reconnects the interior to the facade. In the duplex units, a gently sloped atrium allows filtered light to pass through openings on the upper floor, creating a peaceful communal space that gradually reveals itself throughout the day. Light reaches these areas from the atrium, a skylight, and openings on both facades, continuously altering the character of each space with the movement of the sun.

To conclude, Ryuichi Sasaki stated that 'A residential building of this scale is experienced in fragments—an entrance, a staircase, a window—so the guiding motif needed to function in each of those moments.' He concluded by expressing pride in providing the residents of Nakano with a building that connects them, subtly and daily, to the ground on which it is situated.