Evey sits in Montreal’s dense residential Hochelaga-Maisonneuve neighborhood, on a lot adjacent to a green alley where, as Appareil Architecture describes it, “everyday activities intersect with the more discreet presence of the city.” Appareil Architecture approached the property as a renovation and extension of one of the existing buildings lining the street.

Photography by Félix Michaud

The Montreal triplex is a recognizable housing type: three units stacked behind a shared facade, built close against neighboring buildings on a narrow city lot, with a shared party wall that any renovation must work around.

Photography by Félix Michaud

Appareil Architecture’s approach did not “aim to rethink the typology of a Montreal triplex, but rather to subtly reorient the living conditions it offers,” explains associate architect Marc-Olivier Champagne-Thomas. The scope of work included an extension and a renovation, yet the building’s outward identity as a triplex stayed in place—the real change happened inside.

Photography by Félix Michaud

Champagne-Thomas ties that restraint to the site itself. The project, he says, “revolves around negotiating a balance between the intimacy of the house and the implicit openness to the immediate urban context.” Rather than resolving that duality, the renovation keeps it active, a tension he calls the project’s guiding thread. The alley bordering the house is where that balance gets tested daily, a strip of the block where residents’ routines and the wider city both pass through.

Photography by Félix Michaud

The spatial organization inside Evey, says interior designer Esther Leduc, “is based on a continuous line that runs along the party wall,” an axis that “structures the entire project and ensures its coherence.” She describes it as a silent device, along which “circulation, visual openings, and moments of openness are aligned.” A staircase to the basement, a run of interior windows, and a framed sightline between the front and back of the house all belong to that same line. It’s a house built to be traversed, Leduc says, rather than compartmentalized.

Photography by Félix Michaud

For club owners—or anyone with unusually loud neighbors—keeping sound contained can be a necessity. But completely eliminating unwanted sound is notoriously difficult. Spaces designed to absorb virtually all sound reflections, known as dead rooms, require specialized materials and acoustic expertise. (Think: vocal recording booths.) Drawing on that concept, emerging Spanish design firm Clap Studio reimagined a room inside an iconic Valencia music venue around the pursuit of pure sound.

Photography by David Zarzoso, courtesy of Clap Studio.

A temple of techno for decades, SPOOK is part of La Ruta del Bakalao (or “Ruta Destroy”), the legendary 18-mile club circuit along the CV-500 highway that captivated Spain and Europe’s electronic dance scenes in the 1980s and ’90s. When local practice Clap Studio was tapped to reimagine one of SPOOK’s rave rooms, the goal was architecturally pure sound: crisp, clear, and direct, like a recording studio.

Photography by David Zarzoso; courtesy of Clap Studio

Completed earlier this year, the 1,500-square-foot space is covered in spiky pyramid forms that extend the ceiling, pillars, and walls. Some are made of dark gray concrete, while others are crafted from polyurethane foam, doubling as acoustic paneling while reinforcing the interior’s austere energy.

Photography by David Zarzoso; courtesy of Clap Studio

The updated SPOOK is also completely coated in shades of deep blue, from ultramarine surfaces to pale blue speakers salvaged from the previous space and repainted. Even the room’s lighting casts an indigo hue across the dance floor, while a crisp ice blue emanates from the bar. In an intentionally monochromatic space, these shifts in light create striking contrast.

Photography by David Zarzoso; courtesy of Clap Studio

Paying respect to the club’s 1980s roots, Clap Studio also created a custom-designed sofa and pouf from denim fabric scraps. The gesture is small, but it reflects SPOOK’s broader approach: preserving traces of its past while reshaping the space for its next era.

Clap Studio founders Jordi Iranzo and Àngela Montagud at SPOOK. Photography by David Zarzoso; courtesy of Clap Studio.

Channel 5, the YouTube channel hosted by Andrew Callaghan, said it gave a list of its email subscribers to Hunter Biden, the former president’s son, who went on to promote his new memecoin, a move that a data privacy expert told 404 Media is likely illegal in some jurisdictions.

Callaghan has repeatedly interviewed Biden on camera. Apparently over the cross of that source and interviewer relationship, Biden “asked if he could use our mailing list whenever he launched a new product,” according to a statement posted by Channel 5 to X on Monday. The statement said that Channel 5 did actually provide Biden with real user data: “We provided him a simple csv sheet from our email list to help him expand his audience.”

And although Channel 5 said in a follow-up statement that “emails from Hunter’s team have not gone out to any of our public subscribers,” sharing the data at all has understandably sparked a huge backlash.

It’s also probably illegal.

“Assuming that the GDPR [General Data Protection Regulation] does apply, and on the basis of this privacy notice and the language used to sign up to a newsletter, I am struggling to see how providing a list of email addresses of newsletter subscribers to a third party for direct marketing purposes is consistent with the GDPR,” Neil Brown, a data protection lawyer with Decoded Legal, told 404 Media in an email. The GDPR is the European Union’s broad data protection legislation.

It’s not entirely clear which email list Channel 5 is referring to in its statements, but people can sign up for the company’s newsletter at the bottom of both its members’ website and its merch store. The privacy policy of that first site says that under California’s “Shine the Light” law, “California residents may request certain information regarding our disclosure of your information to third parties for their direct marketing purposes.” The privacy policy then says, “We do not disclose your information to third parties for their direct marketing purposes.”

Giving Hunter Biden a copy of your subscribers’ email addresses so he can expand his audience is the same as giving your users’ data to third parties for direct marketing purposes.

“In terms of the mailing list, it appears to be a very simple sign-up, with no information beyond joining a newsletter mailing list to ‘get a sneak peak of upcoming films and much more’,” Brown added. “Someone signing up to that list has not, to my mind, consented to anything beyond being signed up for a mailing list.” That would include having your email address given to Hunter Biden.

Channel 5 did not respond to a request for comment.

 Obviously, all of this is wild for several different reasons. The owners of media companies don’t usually hand over their subscriber list because those people presumably did not opt-in to having their contact information shared like that, and that email list is also a very important part of their own business.

Channel 5’s statement ends: “We wish Hunter the best, shout out to the homie.”

Border Patrol is running secretive predictive policing units that analyze Americans’ financial activity and other data, then feed that intelligence to local police who pull people over who are not suspected of any specific crime, but which the government thinks may be worth searching, 404 Media has found.

Schon zu Beginn der letzen Woche erschienen, kam damit pünktlich zum Herbst die musikalische Quartalsberechnung von Chillhop. Und auch wenn noch nicht verbloggt, hier schon mehrfach gehört und die letzten Sommertage dazu genossen. Den heutigen jetzt auch noch mal.

Ich hatte zur diesjährigen Tour mein Interesse daran wieder entdeckt und es im Urlaub immer ganz schön gefunden, die Tour de France sehen zu können. Es gab mir so Vibes, die ich als Kind von der Internationalen Friedensfahrt kannte. Nur in neu und anders halt. Jedenfalls haben die Frau und ich im Bulli gesessen und stundenlang die Tour im Stream gesehen. Klar, dass ein Algorithmus dann irgendwann diese Doku aus dem Jahr 1960 vorschlägt. Und damals rollte die Tour halt schon noch ein bisschen anders, als wir das von heute kennen.

Die Tour de France ist die härteste Sportveranstaltung Europas: so sieht es 1960 der Dokumentarfilmer Dieter Ertel. Zusammen mit dem Sportjournalisten Hans Blickensdörfer begleiten er und sein Kamerateam den Tross der Radrennfahrer auf den Etappen zwischen Limoges und Paris mit kraftzehrenden Anstiegen in den Pyrenäen und Cevennen. Gezeigt werden die Qualen der Radsportler und die Auswüchse der Werbebranche, die dieses Radrennen zu einem einzigartigen Zuschauer-Spektakel machen. Der tragische Sturz des französischen Radsportidols Roger Rivière bleibt ebenso im Gedächtnis wie die Bilder von Henry Anglade, der kilometerlang mit stark blutender Kopfwunde in Richtung Ziel fährt. Den Gesamtsieg sichert sich der Italiener Gastone Nencini vor seinem Landsmann Graziano Battistini. Hennes Junkermann verpasst als bester Deutscher den dritten Platz um eine knappe Minute.