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New York City scaffolding is so commonplace it has become a kind of extra architectural skin covering the city. It’s estimated that there are more than 9,000 of these “construction sheds” (another term for scaffolding) installed across the city, enough to stretch nearly 400 miles if they were put end to end. They do the important work of shielding pedestrians from potential falling debris during building construction and renovation projects, but they also shroud large swaths of sidewalk in dark and cloistered tunnels made of an unfortunate jumble of steel poles and plywood. Construction scaffolding is the city’s ubiquitous, utilitarian, and mostly unpleasant necessary evil. And now, a new effort aims to rethink their form with a series of new, more appealing designs. Six new designs for scaffolding have just been announced by New York City’s Department of Buildings, and they replace the dark and convoluted sheds of today with bright, airy, and open versions. The new scaffolding designs come from two design teams led by the New York-based architecture and urban design firm Practice for Architecture and Urbanism (PAU) and the global design and engineering firm Arup. Simplified and minimal, each of the six designs turns the workaday construction shed into a more open and accessible add-on to the built environment. [Image: PAU] Time for a makeover The new designs are a result of the “Get Sheds Down” initiative, an effort launched by the city in 2023 to update the look of construction sheds and revise the rules and regulations that govern when and where they’re used. The sheds currently in use in New Yorkand many other citieshave been largely unchanged since the 1980s. Usually hunter green and made up of a kit of parts consisting largely of steel poles and plywood, the current shed system is a boxy shield, but it’s also an obstacle for people moving down sidewalks, entering buildings, or getting in and out of vehicles on the street. After a public bidding process, the city hired two design teams led by PAU and Arup to reimagine the shed. They were asked to create six designs for alternative sheds that maintain public safety while also improving the pedestrian experience, beautifying the streetscape, and keeping the cost of installing sheds reasonable for building owners. [Image: PAU] PAU’s three designs use a slanted form, a transparent roof, and a streamlined kit of structural parts to make a much more open and airy shed. “We were very focused on the pedestrian experience,” says Vishaan Chakrabarti, founder of PAU. “The slanted design lets more light and air in. It’s a very simple thing.” Just as important, Chakrabarti says, was the elimination of the cross bracing between columns, X-shaped metal poles that act almost like walls on the existing sheds. PAU’s design makes each column stronger so that only one horizontal beam is needed to connect them. [Image: PAU] The baseline version of the shed uses this configuration with a transparent roof. A large version can be used for bigger buildings and broader sidewalks with more widely spaced structural columns that double up to provide more strength. And for smaller-scale projects or emergency installations, PAU has designed a version that uses a high-strength netting on its slanted side, offering safety and a nearly clear view to the sky above. A new take on an old form Arup’s three designs also bring in noticeably more light than the existing shed system, while also offering variability for the different conditions found across the city. One design, named the Rigid Shed, uses a grid-based structural system with prefabricated connection nodes, minimizing materials and connections during assembly. [Image: Arup] Another design, the Flex Shed, has a similar grid approach but with an even simpler set of posts and beams that can be adjusted in three dimensions to accommodate things like street trees, fire escapes, and the dozens of types of street furniture and infrastructure that exists on city sidewalks. Maybe the most elegant of ll the six solutions, the Air Shed is a balcony-like cantilever that only anchors to the sidewalk at points alongside the building. Rather than creating a tunnel people have to traverse, it forms a thin canopy overhead that some people might not even notice. [Image: Arup] “The inspiration for the Air Shed is essentially a wall-mounted shelving system,” says Seth Wolfe, a principal at Arup. Arup has been working on these ideas for more than a decade. The firm first got involved back in 2009 when it partnered with the architecture firm KNE Studio on a submission to another city-led shed redesign effort. KNE Studio’s design was a finalist in that design competition, and the two firms remained in contact and continued to work on new shed designs in conjunction with the shed installing company Core Scaffolding. When the Get Sheds Down initiative launched, the team was primed to participate. “We had momentum going into the RFP,” says Kevin Erickson of KNE Studio. “We had stuff cooking on the backburner.” The six new designs resulting from the “Get Sheds Down” initiative join a range of scaffolding types in use in cities around the world, with a range of materials and price points. The winner of New York City’s 2009 shed design competition, Urban Umbrella, is now a provider of upscale sheds across the city. Simpler approaches are also in use. Chakrabarti notes that scaffolding in Hong Kong is still made from bamboo. He even suggested early on in the Get Sheds Down process that maybe that wouldn’t be such a bad idea in New York. “I actually asked the question,” he says. “I got laughed at.” New York City’s Department of Buildings is now working with PAU and Arup to make the designs available for public use by builders and contractors doing construction and renovation work on buildings across the city. Next, each of the new designs will be made into mockups that can be evaluated and tested. Some of these new shed designs could begin appearing at building sites and on city sidewalks before the end of 2026. The six new designs add to what Chakrabarti calls a “menu” of options for builders in the city, some of whom may still opt to use the existing system. He says providing more choice is a way to achieve the main goal of the initiative, which is to improve the experience of people in New York City who will inevitably encounter construction sheds. “You can use a Lego set to build an ugly thing, or you can use a Lego set to build a beautiful thing,” Chakrabarti says. “But the first thing you’ve got to do is understand the Lego set.”
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E-Commerce
Spend a few minutes on developer Twitter and youll run into it: vibe coding. With a name like that, it might sound like a passing internet trend, but its become a real, visible part of software culture. Its shorthand for letting AI generate code from simple language prompts instead of writing it manually. In many ways, its great. AI has lowered the barrier to entry for coding, and thats pulled in a wave of hobbyists, designers, and side-project tinkerers who might never have touched a codebase before. Tools like Warp, Cursor, and Claude Code uplevel even professional developers, making it possible to ship something working in hours instead of weeks. But heres the flip side: when AI can move faster than you can think, its easy to run straight past the guardrails. Weve already seen how that can go wrong, like with the recent Tea app breach, which shows even polished, fully tested code can hide critical vulnerabilities if humans dont review it thoroughly. Optimizing for speed over clarity lets AI produce something that works in the moment, but without understanding it, you cant know what might break later. This isnt just technical debt anymore; its a risk to customer trust. The instinctive reaction to solve this trade-off is to throw more tech at the problem: add automated scans, add a secure by default setting. Those things matter. But Id argue that failure in vibe coding doesnt start with tooling, it starts with leadership. If you dont lead your team through this new way of working, theyll either move too slow to benefit from AI or move so fast they start breaking things in ways a security checklist cant save you from. The real job is steering, not slowing down When we built agentic coding agent Warp 2.0, we put a simple mandate in place: Use Warp to build Warp. That means every coding task started with prompting an AI agent. Sometimes it nailed it in one shot; sometimes we had to drop back to manual coding. But the point wasnt dogma, it was to force us to learn, as a team, how to work in an agent-driven world. We learned quickly that more AI doesnt automatically mean better. AI can write a thousand lines of plausible-looking code before youve finished your coffee. Without structure, thats a recipe for brittle, unmaintainable systems. The real challenge was getting people to treat AI-generated code with the same discipline as code they wrote themselves. Thats a leadership problem. Its about setting cultural norms and making sure they stick. Three things leaders need to get right 1. Hold developers accountable The biggest mental trap is treating the AI as a second engineer who owns what it wrote. It doesnt. If someone contributes code to a project, they own that code. They need to understand it as deeply as if they typed it out line by line. AI wrote it should never be an excuse for a bug. Leaders cant just say this once; they have to model it. When you review code, ask questions that make it clear you expect comprehension, not just functionality: Why does this query take so long to run? What happens if the input is null? Thats how you set the standard that understanding is part of shipping. 2. Guide AI with specifics Using large, one-shot prompts is like cooking without tasting as you go: sometimes it works, but usually its a mess. AI is far more effective when you request small, testable changes and review them step by step. Its not just about quality, it also builds a feedback loop that helps your team get better at prompting over time. In practice, this means teaching your team to guide the AI like theyd mentor a junior engineer: explain the architecture, specify where tests should live, and review work in progress. You can even have the AI write tests as it goes as one way to force smaller, verifiable units of work. 3. Build the review culture now In AI workflows, teams move fastest when AI and humans work side by side, generating and reviewing in small steps. The first draft of a feature is the most important one to get eyes on. Have someone review AI-generated work early and focus on the big-picture questions first, like whether its secure, reliable, and solves the right problem. The leadership challenge is making reviews a priority without slowing anyone down. Have teams aim to give feedback in hours, not days, and encourage finding ways for work to keep moving while reviews happen. This builds momentum while creating a culture that values careful, early oversight over rushing to get something done. Guardrails only work if people use them Safety tools and checks can help catch mistakes, but they dont replace good habits. If a team prioritizes speed over care, AI guardrails just get in the way, and people will find ways around them. Thats why the core of leading in the AI era is cultural: you have to teach people how to integrate AI into their workflow without losing sight of the fundamentals. The teams that get this right will be able to take advantage of the speed AI enables without bleeding quality or trust. The ones that dont will move fast for a while, until they ship something that takes them down. Vibe coding isnt going away, and I think thats a good thing. So long as teams lead with people, not just technology, they will come out ahead and create better experiences for users along the way.
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E-Commerce
For its 2026 postage stamps, the U.S. Postal Service is going colorful and graphic. USPS gave a first look at some of the stamps set to be released next year, including the latest edition of its Love stamp, stamps commemorating the 250th anniversary of the U.S., and stamps depicting figures including a boxer, a martial artist and actor, and a pair of published poets. The stamps will be released on a rolling basis beginning in January and available at Post Office locations and online. This early preview of our 2026 stamp program underscores the Postal Services commitment to celebrating the artistry and storytelling that make stamps so special, Stamp Services director Lisa Bobb-Semple said in a statement. Each stamp is a small work of art an entryway into a larger story that connects people, places and moments in history.” [Image: USPS] Many of the stamps are bright or use typography in bold or creative ways. The 2026 Love stamps are a series of four illustrations of stylized red, white, and blue birds by illustrator James Yang that were inspired by midcentury U.S. design and Japanese children’s book illustrations, according to USPS. [Image: USPS] Stamps for Muhammad Ali designed by USPS art director Antonio Alcalá show an Associated Press photo of the boxer with his gloves up and his last name in big, all-caps, sans-serif type in red and black that evokes a boxing match promotional poster. [Image: USPS] A painting of Bruce Lee by artist Kam Mak shows the martial artist and actor against a yellow brushstroke background as he kicks the words “USA FOREVER” and “BRUCE LEE,” which were cleverly angled to look like he snapped them in two. [Image: USPS] For its “Figures of the American Revolution” stamps, multiple artists depict 25 people, from household name Founding Fathers like George Washington and Benjamin Franklin to lesser known figures as Deborah Sampson, the only woman to earn a military pension in the war after she dressed up like a man called Robert. The diverse selection of people were chosen to represent the Revolution as a collective effort, USPS says. “Its unusual to design a pane of stamps featuring 25 different portraits” USPS art director Ethel Kessler said in a statement. “But that number felt essential. How else could you begin to tell the story of the Revolutions complexity with fewer?” [Image: USPS] The typographic “Declaration of Independence” stamp also marks next year’s anniversary with “1776” written out in feather quill pens by typographer Juan Carlos Pagan. [Image: USPS] The “Lowriders” stamps pay homage to customized lowrider cars with photos by Philip Gordon and Humberto Beto Mendoza and gothic-style type paired with flourishes borrowed from lowrider paint jobs. Photographer David Schwartz contributed images for the “Route 66” stamps, which celebrate the 100th anniversary of the iconic highway. [Image: USPS] Other forthcoming stamps including “International Peace” showing an origami crane by Peace Crane Project founder Sue DiCicco, “Bald Eagle: Hatchling to Adult,” a pane of five stamps depicting the life of America’s national bird, and a stamp commemorating Colorado’s 150th anniversary. [Image: USPS] Writer Phillis Wheatley, who published what’s believed to be first book by a woman of African descent in the American Colonies, appears on the 49th Black Heritage stamp by artist Kerry James Marshall. Sarah Orne Jewett, a novelist and poet, appears on the 35th Literary Arts series by artist Mark Summers. Next year’s Lunar New Year stamp shows a horse mask by Sally Andersen-Bruce. [Image: USPS] USPS says more stamp announcements are forthcoming, and it’s also planning to rerelease an old stamp next year as part of its Stamp Encore Contest. [Image: USPS]
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E-Commerce
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