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Educator, student, marketer, engineer, gamer. Whatever part you play, you'll have simple, yet powerful screen recording and editing tools.
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-bio-tech/engineering
-history of nature - past + future (educational?)
-human bahviour, network god

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Speculative Everything Design, Fiction, and Social Dreaming (Anthony Dunne, Fiona Raby)

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Being active in a new relationship between nature and technology should not involve donning a white lab coat in a chilly room remote from public meeting space. Anyone can do it. H.O.R.T.U. S., the new exhibition at the Architectural Association (to 11 February) by London-based EcoLogic Studio (Claudia Pasquero and Marco Poletto) proves that in a delightfully engaging way.

Above a sea of green carpet rolled in places into seating, 325 transparent bags - photobioreactors containing nine different types of algae ranging from mint green to delicate pink, to more murky brown - hang from a catenary structure of acrylic rope. Each one has a long clear plastic tube EcoLogic encourages you to blow on, assisting the oxygenation and growth of the algae nurtured by your carbon dioxide. Each photobioreactor has a QR code - the square one mainly used in smart phone-enabled retail, on its side. By scanning the code, visitors with a smart phone can access on their phone a page of information about the algae they fostered. They can also send a Tweet about their action. A screen in the exhibition shows a dynamic 3dscape - a virtual garden - which reacts to the amount of interaction by visitors with the algae. In the H.O.R.T.U.S. world (Hydro Organism Responsive to Urban Stimuli), biology becomes architectural, and architecture becomes biology, in a generative, open source of knowledge exchange.

Here and there are 25 larger photoreactors ("briccole") of bacteria automatically fed through a continuous pump with air from the oxygen released. This multitude of kit appears more like a growing array of plants you can sit underneath, either alone or with others, in a space with a friendly air, and a sense that something is happening. You can see the colours changing. "You are in an oxygenated room - a garden", says Poletto. "It's the place to be in the morning!". There are ceiling-hung spectrum light strips of the kind found in greenhouses, supported by natural light coming in from three windows overlooking the Georgian garden square. "We always have this physical and virtual garden in our installations", explains Pasquero, "because we believe this helps. They (visitors) become familiar with the elements and the process and can interact in a more knowledgeable way".

"You become a cyber gardener", she explains, with the hands-on nature of the project encouraging many forms of self-organisation. The 3dscape (on a screen on a metal "stalk") shows accumulated portraits of the gardeners, as, one by one, they tweet and thereby become part of the changing landscape. Before, interactive installations involved loads of sensors, but H.O.R.T.U.S. is more easy to play with - an open source means of playing with information. "The project makes you think about farming and gardening, but there is another level where knowledge can be disseminated and exchanged, and it's a virtual cultivation of knowledge. Media technologies and material systems come together."

Algae are micro-organisms, ubiquitous in nature, and algae farming for food, as alternative fuel and other uses, is a booming industry. At the exhibition opening the "garden" was full of people of all ages relaxing by it or under it and moving through it. When approached for comments, visitors were not so concerned about the issue of commercial application, but were vocal on the significance of putting algae into an architectural system. "At first I thought that it was kind of crazy", felt Tomasz Mlynarski, an architect who trained at the AA. "It interacts with its environments so it's almost like a joke about the state of architecture at the moment. Everyone wants to interact with the environment: it's a very literal way of relating to biology."

"They (EcoLogic Studio) are researching the future", said Tommaso Principi, architect and Partner in Open Building Research, the Genoa-based practice which has now expanded to London. "It's a very good synthesis between continuity and conscience, good design and interaction", he felt. "This approach is something between an art installation and architecture". Could it be part of future architecture? Yes, as "a prototype of a new interface between inside and outside. There are no other Italian architects who work in quite this way".

Liam Young, architect and Unit Master of Diploma Unit 6 at the AA was "intrigued by the idea of a digital landscape". We tend to think of nature as a rarified thing, but the exhibition shows explicitly "that a natural system and a technological system are becoming increasingly blurred. They've become outmoded terms. It's difficult to describe the algae as natural elements, or as not purely artifice." It has a wider significance: "this is a little microcosm of what's going on outside this room, as every system is mediated." Architect Eva Sopeoglou, a PhD student at the Bartlett School of Architecture, London, felt the interplay between nature and technology was exciting. Like a real garden, the exhibition "was a space for contemplation. I like the fact that you can sit down here and listen to techno music, and contemplate the idea of being in a techno garden".

For Enrico Dini, architect, Chairman of D-Shape based in London, consultants of a new robotic building system, H.O.R.T.U.S, was a shock to his system: "my first sensation was that I felt inadequate. It's very futuristic, but now the future is becoming normal. It's a bit disquieting, because it's food, design, a shape. I have a few friends teaching on the subject of biology and genetics applied to architecture - these topics used to be so far away from it. If you want to be a good architect you must now understand genetics, algorithms, CNC processes, mechatronics. Now I see algae - biology - is nearly into the field of architecture, the mother of generating things. Maybe someone will see this as profitable."Lucy Bullivant

H.O.R.T.U.S
Hydro. Organisms. Responsive. To. Urban. Stimuli
Architectural Association
14.01.2012 - 11.02.2012

Design: ecoLogicStudio: Claudia Pasquero, Marco Poletto With: Andrea Bugli, Philippos Philippidis, Mirco Bianchini.
With the support of: Catherine Legrand [Evolution Biology], Scottish Marine Institute [Algal Biodiversity], Simon Park [Bioluminescence], Mats Brodén [Knowledge sharing], Immanuel Koh [digital interfaces]
Special thanks to: David Crooks [Fluid Structures], AA digital platforms, AA exhibition, AA prototyping LAB, AA INTER10 students

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Being active in a new relationship between nature and technology should not involve donning a white lab coat in a chilly room remote from public meeting space. Anyone can do it. H.O.R.T.U. S., the new exhibition at the Architectural Association (to 11 February) by London-based EcoLogic Studio (Claudia Pasquero and Marco Poletto) proves that in a delightfully engaging way.

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Reference:AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow

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Reference:AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow

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https://www.mori.art.museum/en/exhibitions/future_art/index.html

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Advances in technology over the past few years are now starting to have a significant impact on various aspects of our lives. It is said that not too far in the future, human beings will be entrusting many of their decisions to AI (artificial intelligence) which will then supersede human intelligence; the advent of "singularity" will potentially usher in enormous changes to our society and lifestyles. Another development, that of blockchain technology, looks set to build new levels of trust and value into our social systems, while advances in biotechnology will have a major impact on food, medicine, and the environment. It is also possible that one day, we humans will be able to extend our physical functions, and enjoy longer life spans. The effect of such changes may not be necessarily and universally positive, yet surely we need to at least acquire a vision of what life may look like in the next 20-30 years, and ponder the possibilities of that new world. Doing so will also spark fundamental questions about the nature of affluence and of being human, and what constitutes life.

Future and the Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow, consisted of five sections: i.e. "New Possibilities of Cities;" "Toward Neo-Metabolism Architecture;" "Lifestyle and Design Innovations;" "Human Augmentation and Its Ethical Issues;" and "Society and Humans in Transformation," will showcase over 100 projects/works. The exhibition will aim to encourage us to contemplate cities, environmental issues, human lifestyles and the likely state of human beings as well as human society - all in the imminent future, via cutting-edge developments in science and technology including AI, biotechnology, robotics, and AR (augmented reality), plus art, design, and architecture influenced by all these.
Click here to see installation view

Future and the Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow

Organizers

Mori Art Museum
NHK

In Association with

Embassy of Switzerland in Japan

Grant from

Adam Mickiewicz Institute / culture.pl
Australian Embassy Tokyo
The Swiss Arts Council Pro Helvetia
The Great Britain Sasakawa Foundation

Corporate Sponsors

OBAYASHI CORPORATION
Delta Electronics (Japan), Inc.
JUT Group (Taiwan)
MAIN
MGM Resorts Japan
Thai Beverage Public Company Limited
SANKEN SETSUBI KOGYO CO., LTD.
mixi, Inc.
IHI Transport Machinery Co., Ltd.
KUME SEKKEI Co., Ltd.
NIPPON PMAC Co., Ltd.
NIPPON TELEGRAPH AND TELEPHONE CORPORATION
AMANO Corporation
SHINRYO CORPORATION

Support

ALL NIPPON AIRWAYS CO., LTD.
Champagne Pommery

Production Support

TAKENAKA CORPORATION
NIKKEN SEKKEI LTD
NISSAN MOTOR CO., LTD.
GE Healthcare Life Sciences
ASTRODESIGN,Inc.

Patron

Tezuka Kiyoshi

Curated by

Nanjo Fumio (Senior Advisor, Mori Art Museum)
Kondo Kenichi (Curator, Mori Art Museum)
Tokuyama Hirokazu (Associate Curator, Mori Art Museum)
Honor Harger (Executive Director, ArtScience Museum, Singapore)

Curatorial Advisors

SymbioticA, The University of Western Australia
The Mori Memorial Foundation

Notice Regarding Photography and Filming in the Galleries

At the exhibition Photography/filming of Gramazio Kohler Architects Future and the Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow, you may take photographs/film artworks under the following conditions. Flight Assembled Architecture and Tezuka Osamu's artworks are NOT permitted, however.

When taking photographs/filming:

Do NOT touch the works of art.

Do NOT interfere with other visitors' enjoyment of the museum.

Do NOT use flash lighting.

Do NOT use tripods and selfie sticks.

Filming must be limited to 1 minute maximum.

When using photographs/videos taken of the exhibition:

Photographs may be used for non-commercial purposes only. Photographs/videos may NOT be used for commercial purposes.

Photographs/videos may NOT be altered in any ways.

The conditions above are licensed under the Creative Commons License. When uploading photographs/videos for blogs or any other photo-sharing services, please make sure to display the photograph along with such credits as below.

Example:

Artist's name and work title: Bjarke Ingels and Jakob Lange The Orb
This photograph/video is licensed under "Creative Commons Attribution-Noncommercial-NoDerivative Works 4.0 International."

* For details about the Creative Commons License and marks, please see the Creative Commons Japan website:
http://creativecommons.jp
* If photographs/videos that include other museum visitors are made public, they may infringe on that person's right of portrait.

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Future and the Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow

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Advances in technology over the past few years are now starting to have a significant impact on various aspects of our lives. It is said that not too far in the future, human beings will be entrusting many of their decisions to AI (artificial intelligence) which will then supersede human intelligence; the advent of "singularity" will potentially usher in enormous changes to our society and lifestyles.

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Professional Practice Unit Group 11 2022/23 

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Professional Practice Unit Group 11 2022/23 

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Login Issues

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Designing for the Sixth Extinction - Bio-Engineering Future Nature

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Designing for the Sixth Extinction - Bio-Engineering Future Nature

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Can we preserve by looking forward? The sixth mass extinction event in the history of biology is underway, and we humans are likely its cause.

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Can electronic bionic people also fall in love in the future

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Can electronic bionic people also fall in love in the future

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https://vimeo.com/57812088

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teram lab living with nature and where it began 

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teram lab living with nature and where it began 

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It is said that mosses were the first terrestrial organisms to appear in a world of rocks and sand, where there was no life on land yet. As mosses and ferns appeared and forests were created, a variety of animals became able to live on land.
Since water inside cells is essential for living things, if the body lacks water, it will die. Mosses, on the other hand, are poikilohydric, meaning the water content in the cells change according to surrounding humidity levels. So moss will not die during long dry periods, and they come back to life when given water. Because mosses are poikilohydric, their color and shape change dramatically when the air is dry versus when it is wet, such as when there is rain or fog.
Tardigrades, which live in moss, also go into a non-metabolic state of dormancy when the surrounding environment becomes dry, but they revive and become active when there is water. The state that tardigrades enter, when they are neither living nor dead, is called cryptobiosis. This may cause us to consider what it means to be alive.

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https://museumofthefuture.ae/en

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The Museum of the Future welcomes people of all ages to see, touch, and shape our shared future. Go on a journey through possible futures and bring hope and knowledge back to the present.

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Museum of the Future - Where The Future Lives

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The Museum of the Future welcomes people of all ages to see, touch, and shape our shared future. Go on a journey through possible futures and bring hope and knowledge back to the present.

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https://www.itsnicethat.com/articles/hayden-williams-digital-090120

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Having focused more on photography over the last five years, Hayden, who has a background away from the arts in biochemistry and computer science, has shifted his focus towards 3D graphics.

Before even beginning to render an image, Hayden has a strong idea of what he hopes it will look like. "I usually have a very clear image in mind when I imagine a photograph I want to take or a scene I want to render," he says. "I imagined the two 'Pipe Dream' images of flooded subway trains when I was daydreaming about my move to New York for an internship. The subway is something many people are familiar with, so I thought it would be the perfect subject to flood."

On top of compiling a vast amount of images as references for each scene, Hayden spent much of his time on the render itself, primarily due to the fact he did not have the right equipment. "I was using a Macbook Pro for the first eight images in the series," he says. "This is not an ideal setup for rendering as my render times showed; it took around 60-120 hours to render each image." The amount of time it took to create each image was lengthened further by the fact that Hayden obsesses over the small things, spending hours fine-tuning tiny details such as ripples in the water.

But while he focuses on every small detail in his work, the overall goal of the project was to change things on a much larger scale. This was born out of a frustration with the lack of acknowledgement of environmental problems, something very apparent in the US under a president who is a notorious climate change sceptic. "Climate change is an obvious problem, and I find it absolutely ridiculous how many continue to deny its existence," he laments. "We should be talking about how to solve it, but instead we somehow have to convince half of the world that there is something that needs to be solved in the first place."

The series is still ongoing, with more images in the pipeline as Hayden continues to experiment and enjoy his move towards computational graphics. "With digital art, there are essentially no boundaries," he says. "The only limits are your skill and creativity - you are free to create your own world."

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Hayden Williams' 3D renders illustrate the potential impact of rising sea levels

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Flooded scenes of everyday life are given a dream-like quality in Hayden Williams' digital images inspired by climate change.

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https://www.archdaily.com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio

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When we featured the first renders of the UK Pavilion back on August, 2009, many readers doubt that Heatherwick Studio's design could be done (or at least look like the renders). The Shanghai World Expo 2010 has started and the UK Pavilion has become a favorite to many of you. Now you can see the complete projects.

More images, plans and architect's description after the break.

The UK Pavilion has been designed by Heatherwick Studio. Led by the internationally-acclaimed Thomas Heatherwick, his design team won the Foreign & Commonwealth Office (FCO) commission to create the Pavilion following a competition that attracted a shortlist of ambitious architectural proposals from other teams led by Zaha Hadid Architects, John McAslan + Partners, Marks Barfield Architects, Avery Associates, and DRAW Architects with dcmstudios.

Heatherwick Studio's initial design strategy for the UK Pavilion established three aims to meet the FCO's key expectation that the pavilion should become one of the five most popular attractions at the Expo. The first aim was to design a pavilion whose architecture was a direct manifestation of what it was exhibiting. The second idea was to ensure a significant area of open public space around it so visitors could relax and choose either to enter the pavilion building, or see it clearly from a calm, non-queuing vantage point. And thirdly, it would be unique among the hundreds of other competing pavilions, events and programmes.

Heatherwick Studio sought an approach that would engage meaningfully with Shanghai Expo's theme, Better City, Better Life, and stand out from the anticipated trend for technology driven pavilions, filled with audio-visual content on screens, projections and speakers.

In collaboration with a wider project team, the studio developed the idea of the UK Pavilion exploring the relationship between nature and cities. Rather than creating a conventional advertisement for the UK, this was a subject that could make a real contribution to the Expo's theme; London is the greenest city of its size in the world, the UK pioneered the world's first ever public park and the world's first major botanical institution, the Royal Botanic Gardens at Kew.

From here came Heatherwick's idea of involving Kew Gardens' Millennium Seedbank whose mission is to collect the seeds of 25% of the world's plant species by 2020. The design process evolved to produce two interlinked and experiential elements: an architecturally iconic Seed Cathedral, and a multi-layered landscape treatment of the 6,000m2 site.

The Seed Cathedral sits in the centre of the UK Pavilion's site, 20 metres in height, formed from 60,000 slender transparent fibre optic rods, each 7.5 metres long and each encasing one or more seeds at its tip. During the day, they draw daylight inwards to illuminate the interior. At night, light sources inside each rod allow the whole structure to glow. As the wind moves past, the building and its optic "hairs" gently move to create a dynamic effect.

Heatherwick previously experimented with texture and architecture at a much smaller scale with his Sitooterie projects. The Seed Cathedral is the ultimate development of this. Inside the darkened inner sanctum of the Seed Cathedral, the tips of the fibre optic filaments form an apparently hovering galaxy of slim vitrines containing a vast array of embedded seeds. The seeds have been sourced from China 's Kunming Institute of Botany, a partner in Kew Royal Botanic Gardens' Millennium Seed Bank Project. Visitors will pass through this tranquil, contemplative space, surrounded by the tens of thousands of points of light illuminating the seeds.

These fibre optic filaments are particularly responsive to external light conditions so that the unseen movement of clouds above the Seed Cathedral are experienced internally as a fluctuating luminosity. The studio's intention is to create an atmosphere of reverence around this formidable collection of the world's botanical resources; a moment of personal introspection in a powerful silent space.

The Seed Cathedral is made from a steel and timber composite structure pierced by 60,000 fibre optic filaments, 20mm square in section, which pass through aluminium sleeves. The holes in the 1 metre thick wood diaphragm structure forming the visitor space inside the Seed Cathedral were drilled with great geometric accuracy to ensure precise placement of the aluminium sleeves through which the optic fibre filaments are inserted. This was achieved using 3D computer modelling data, fed into a computer controlled milling machine.

This accuracy ensures that the Seed Cathedral's fibre optic array creates an apparent halo around the high structure, with the fibre optic filaments rippling and changing texture and reflectivity in the gentlest wind. The wavering external surfaces of the Seed Cathedral form a delicate connection between the ground and the sky.

Among the Expo's sea of hard surfaces, the Seed Cathedral's surrounding landscape is conceived to act as a continuation of the building's texture. A special artificial grass surface has been uniquely developed to act as a welcoming and restful public space for Expo visitors. Beneath the Seed Cathedral and the landscaped surface area is a canopied and naturally ventilated entrance and exit sequence for the Seed Cathedral. This circulation zone, running along three edges of the site, contains a narrative of three innovative environmental installations designed by London-based design studio, Troika. They are: Green City, Open City, and Living City.

Below the circulation zone is a further layer of spaces which can be used for cultural and commercial events hosted by the Foreign and Commonwealth Office and is available to hire by other organisations throughout the duration of the Expo.

The creation of the extraordinary and complex Seed Cathedral structure and the landscape architecture was achieved through close collaboration between construction managers Mace, lead engineers Adams Kara Taylor, services engineers Atelier Ten and highly skilled Chinese engineers and contractors. In order to reduce unnecessary transportation, 75% of the materials for the UK Pavilion have been sourced from within a radius of 300km around Shanghai. It is also the British government's intention that most of the materials of the UK Pavilion will be reused or recycled at the end of the Expo.

The UK Foreign & Commonwealth Office believe that the Seed Cathedral and UK Pavilion site will prove to be one of the Shanghai Expo's star attractions. Even before the start of the Shanghai Expo, that belief already has some substance; ever since Heatherwick Studio's design was first publicised in Shanghai in 2009, along with the scores of other national pavilion designs, it has been consistently ranked in the top five in terms of public popularity, and the Seed Cathedral has already been nick-named Pu Gong Ying, translated as 'The Dandelion' by the Chinese public.

After the Expo just as dandelion seeds are blown away and disperse on the breeze, the Seed Cathedral's 60,000 optic hairs, each one containing the huge potential of life, will be distributed across China and the UK to hundreds of schools as a special legacy of the UK Pavilion at the 2010 Shanghai Expo.

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UK Pavilion for Shanghai World Expo 2010 / Heatherwick Studio

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When we featured the first renders of the UK Pavilion back on August, 2009, many readers doubt that Heatherwick Studio's design could be done (or at least look like the renders). The Shanghai World Expo 2010 has started and the UK Pavilion has become a favorite to many of you.

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- define theme
- think of possible visual outcomes/branding
- think of audiences

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https://www.booooooom.com/2017/11/30/solutions-for-todays-urban-challenges-vertical-gardens/

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smart magazine is a platform focused on a variety of architecture, design and technology related solutions for today's urban challenges. According to a recent article, "two thirds of the world's population are set to be living in cities by 2050", so it's important that we plan for a more sustainable future. This is an exciting time for designers around the world re-imagining living spaces and specifically the ways a city can improve the quality of life for those living in it. Many urban spaces today are concrete, steel and glass with maybe a little bit of greenery here and there, but there's a movement happening now where architects are fully integrating nature into city design by thinking vertically.

Vertical forests, parks, and gardens go beyond simply making a skyline look beautiful; these green spaces effectively reduce noise and air pollution, they create natural air conditioning and even produce food! We had a chance to read through several articles on vertical gardens on smart magazine's site and pulled a few of our favourite examples of how designers and architects are envisioning greener future cities.

Related Articles

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Vertical Gardens: Solutions for Today's Urban Challenges

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smart magazine is a platform focused on a variety of architecture, design and technology related solutions for today's urban challenges. According to a recent article, "two thirds of the world's population are set to be living in cities by 2050", so it's important that we plan for a more sustainable future.

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After the cost of energy had made global shipping of raw materials and packaged goods unimaginable, only the rich could afford traditional, mass-produced commodities.

Synthetic biology enabled us to harness our natural environment for the production of things. Coded into the DNA of a plant, product parts grow within the supporting system of the plant's structure. When fully developed, they are stripped like a walnut from its shell or corn from its husk, ready for assembly.

Shops evolved into factory farms, with licensed products grown where sold. Large items take time to grow and are more expensive while small ones are more affordable. The postal service delivers lightweight seed-packets for domestic manufacturers.

Using biology for the production of consumer goods has reversed the idea of industrial standards, introducing diversity and softness into a realm that once was dominated by heavy manufacturing.

The product shown here is the Herbicide Sprayer, an essential commodity used to protect delicate engineered horticultural machines from older nature that can naturally defend itself.

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After the cost of energy had made global shipping of raw materials and packaged goods unimaginable, only the rich could afford traditional, mass-produced commodities. Synthetic biology enabled us to harness our natural environment for the production of things. Coded into the DNA of a plant, product parts grow within the supporting system of the plant's structure.

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A Speculative Design and Fiction Project

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Climate scientists talk about carbon dioxide a lot. And while it's essential for allowing plants to breathe, it also causes global warming and drastically worsens climate change. Recently, the discussion has shifted to oxygen, the other necessary gas that allows life to flourish on this planet. Apparently, a group of scientists has essentially pinned down when the Earth will run out of oxygen, and the results of their analysis might prove somewhat alarming.

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Will Earth run out of oxygen?

Yes, sadly, the Earth will eventually run out of oxygen - but not for a long time. According to New Scientist, oxygen comprises about 21 percent of Earth's atmosphere. That robust concentration allows for large and complex organisms to live and thrive on our planet. The old belief was that oxygen levels during the Mesozoic and Paleolithic eras were higher than that and that this was what allowed creatures to grow so large.

Recent theories indicate that those levels may have actually been lower in eons past. The bad news in all that is the prediction that we may eventually see a return to those lower levels sometime in the planet's future.

When will Earth run out of oxygen?

A study published in the journal Nature Geoscienceand accredited to Kazumi Ozaki and Christopher T. Reinhard explores the future of oxygen on Earth. Through various simulations that modeled climate, biological, and geological systems, the study essentially predicted how the conditions might change as years and technologies progressed.

The extrapolated data from these simulations determined that Earth will lose its oxygen-rich atmosphere in approximately 1 billion years. That's the good news. The bad news is that once that happens, the planet will become completely inhospitable for complex aerobic life. Tiny oxygen-breathing critters might survive, as will ones that "don't technically breathe" like the tardigrade, but the rest of us probably won't fare so well.

What is causing oxygen to be depleted?

The shift and eventual loss of oxygen will most likely be caused by the sun, according to New Scientist. As our sun ages, it becomes hotter, releasing more energy and decreasing the amount of carbon dioxide in the Earth's atmosphere. Without CO2, plants will not be able to breathe, which means they won't release oxygen into the atmosphere. Ozaki and Reinhard believe that the shift will be rapid, relatively rapid, occurring over the course of 10,000 years... give or take a century.

Is climate change affecting oxygen depletion?

Forbes reports that the Nature Geoscience study took factors like the current climate, rate of erosion, volcanic activity, and plate tectonics into account. As usual, the results of those investigations were somewhat alarming. Warmer climates and increased weather rates will cause oxygen and carbon to be absorbed into limestone, while oxygen in the upper atmosphere will gain kinetic energy. This will allow those oxygen molecules to escape the planet's gravitational pull and float off into space.

So yes, in a way, the hotter the Earth gets, the faster this process might happen. What we should be aware of is the increased amount of carbon dioxide we're putting into our atmosphere. Climate change is a real problem with an actual time limit attached to it, so if you're going to worry about the future at all, worry about that.

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Scientists Believe the Earth Will Eventually Run Out of Oxygen - but When?

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Climate scientists talk about carbon dioxide a lot. And while it's essential for allowing plants to breathe, it also causes global warming and drastically worsens climate change. Recently, the discussion has shifted to oxygen, the other necessary gas that allows life to flourish on this planet.

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There is probably no other chemical reaction that is as productive as photosynthesis -a biological process that uses light energy and water to convert CO2 into energy-rich substances such as sugars inside plants.

Scientists estimate that plants produce around 150 billion metric tons of energy-rich biomass worldwide every year. In view of this, researchers are investigating ways of replicating the biomechanisms involved in photosynthesis.

Unfortunately, they haven't been very successful so far. Photosynthetic processes involve many closely interconnected and extremely complex protein structures based on precisely-defined atomic arrangement that cannot be easily replicated in the laboratory.

As a result, scientists have so far failed to achieve their dream of using sunlight to operate an efficient biochemical "factory."

However, developers at Siemens Corporate Technology (CT) in Munich have now come a big step closer to making the vision of synthetic photosynthesis a reality. They did this by creating shoebox-sized modules in which carbon dioxide is energetically stimulated in the same way as in plant cells.

Depending on the testing conditions, the activated CO2 reacts to create a variety of other molecules such as ethylene, which the chemical industry needs for the production of plastics. CO2 can also be converted into the energy-rich gas methane, the main component of natural gas, or carbon monoxide, which can be used to produce fuels such as ethanol, for example.
Exploiting Carbon Dioxide
Plants exploit carbon dioxide by absorbing light energy using pigments such as green chlorophyll. This process releases energy-rich electrons in the chlorophyll. Enzymes then transfer these electrons to CO2, which becomes chemically active and reacts with other compounds. "A number of teams are trying to completely replicate photosynthesis, especially in the United States and Japan," says Prof. Maximilian Fleischer, who manages synthetic photosynthesis research at CT as part of a project known as "CO2toValue." "But this is currently almost impossible to achieve, due to its complexity. That's why we are taking a more pragmatic approach, in which we are gradually getting closer to achieving photosynthesis in a number of steps. Such an approach is necessary if you want to quickly launch a product on the market."

As a result, Fleischer and chemists Günther Schmid and Kerstin Wiesner, as well as about ten others, are not yet trying to capture light. Instead, they are focusing on activating CO2 and converting it into products. To do this, they are using electricity generated from renewable sources.
Working with Universities
The key elements of the CO2toValue project are chemical catalysts that charge the inert CO2 with energy-rich electrons. The challenge is to charge only the carbon dioxide with electrons and not surrounding water molecules, because the latter would merely result in the production of conventional hydrogen. Specialists at the University of Lausanne in Switzerland and materials scientists at the University of Bayreuth are working with Fleischer's team to develop catalysts on behalf of Siemens. This work has already led to the creation of a variety of catalysts, some of which contain copper, which have high yields of products such as carbon monoxide.

The development of such catalysts is challenging work because their behavior can only be partially predicted. As a result each new catalyst must be examined in a long series of tests and under a variety of conditions. Another factor to be considered is that a catalyst's effectiveness is partly determined by its surface structure. That's why its manufacturing process must be carefully controlled to create a highly reactive surface resembling a miniature craggy mountain range with a large surface . The catalysts that Schmid developed in cooperation with university partners are already very effective at converting a large part of CO2 into the desired products.

Fleischer looks through two Plexiglas windows at a bubbling reaction that is taking place inside a small photosynthesis module. The module is basically an electrolysis cell, in which a current is conducted through electrodes into highly-carbonated water, that functions as an electrical conductor.

The trick now is to manufacture the cathode, the negative pole of the special catalyst, in such a way that it is able to transfer electrons directly to the CO2 in order to produce the desired product. The water in the module is separated into hydrogen and oxygen at the other pole. The hydrogen is needed to create hydrocarbons, and the oxygen released during this process can also be used, depending on which product is desired.

The carbon dioxide that is contained in the water is initially blown into the electrolysis cell from a gas cylinder at the lab. "This process already works very well for the production of carbon monoxide, during which 95 percent of the electricity is used to produce the carbon monoxide," explains Fleischer. By selecting appropriate catalysts and changing the current density or the salts that are dissolved in the water, the researchers can precisely control the reaction and make it convert the carbon dioxide into ethylene or carbon monoxide, for example.

Fleischer primarily focuses on such creating high-quality substances that are needed by the chemical industry. What makes these substances particularly interesting is that today the chemical industry is still almost wholly dependent on raw materials derived from petroleum.

"Of course we could also produce methane gas, but it wouldn't be a profitable business model because you can obtain it much more cheaply from natural gas," says Fleischer. However, a manufacturing facility would pay off if it produced sought-after chemicals such as carbon monoxide, ethylene or alcohols. These currently cost between €650 and €1,200 per metric ton, and many millions of tons of them are needed every year. A large-scale demonstration facility is scheduled to go into operation in Fleischer's lab as early as 2015. Unlike the current facility, the new one's output won't be measured in watts, but in kilowatts.

By then at the latest, Fleischer wants to capture the power of the sun. He is thinking of having the photosynthesis occur in glass modules similar to photovoltaic cells. Light would stream in from the top, while carbon dioxide would flow into the system from the bottom. Fleischer has also determined how this "light trap" would work.

Instead of trying to imitate complex chlorophyll molecules, Fleischer would use "light-collecting grains" based on semiconductors. These grains would be enveloped by catalysts. If everything goes as planned, the semiconductor would supply energy-rich electrons, which the catalyst would then transfer to CO2 in fractions of a second. The entire process would be driven by light.

The system is expected to be ready in about two years. Depending on the application, the facility of the future will initially use CO2 from the exhaust produced by power stations, factories, and chemical plants. Subsequently, however, it will use CO2 from the atmosphere. With a view to accomplishing this, researchers are developing materials capable of absorbing CO2 like a sponge - and thus concentrating it. This would allow production of methanol, a valuable biofuel. Fleischer considers these prospects very tempting. "The modules could cover building façades, where they would extract CO2 from the air and from exhaust - and turn it into fuel," he says.

Synthetic photosynthesis is a fascinating concept - even in the current initial stage, when it lacks any light-collecting ability. Fleischer thinks it could be used to store energy from renewable sources. "On windy and sunny days, Germany already has more electricity generated from renewable sources than it needs. What it lacks is sufficient energy storage capacity," he says. "However, if the electricity were fed into photosynthesis modules, it could be used to produce valuable chemicals. This would help to reduce demand for petroleum and thus cut greenhouse gas emissions. What's more, human beings will have incidentally managed to imitate the most productive chemical process on Earth. The dream of operating biochemical factories efficiently with sunlight could become a reality."
Tim Schröder

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Synthetic Photosynthesis - Turning Carbon Dioxide into Raw Materials

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There is probably no other chemical reaction that is as productive as photosynthesis -a biological process that uses light energy and water to convert CO2 into energy-rich substances such as sugars inside plants. Scientists estimate that plants produce around 150 billion metric tons of energy-rich biomass worldwide every year.

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AI SpaceFactory is a multi-planetary architectural and technology design agency, building for earth and space.

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According to NASA, 96 percent of Mars’ atmosphere is comprised of carbon dioxide and only .13 percent is oxygen. Moxie was designed as a test model for potentially changing Mars’ atmosphere by converting carbon dioxide into oxygen.

The small device fits on the belly of the Perseverance rover, and uses a process known as solid oxide electrolysis to carbon dioxide into oxygen and carbon monoxide molecules.

The device can churn out oxygen at a rate of 10 grams (.022 pounds) per hour, or the equivalent of a small tree. While that alone would not be enough to sustain life for humans on Mars, it is a proof of concept for a larger machine.

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For nearly two years, a lunchbox-sized device — which was built by NASA, the Jet Propulsion Lab (JPL) at CalTech and the Massachusetts Institute of

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Is There Oxygen on Mars? We Asked a NASA Technologist

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different functions

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emotion communication

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- more visuals from context - show a more globalised design of the tree
- be specific on what the product is, make it specific to the tree
- consistant visual language in prototypes

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Brochure design（rough layout）
Add guides and annotate text and illustrations
The overall effect will be based on the dominant colors of blue and orange

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https://www.itsnicethat.com/articles/rowena-lloyd-graphic-design-300622

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In response to these feelings, Rowena created a rigorous drawing course for herself, which she treated as a full-time job (that was, alongside her studying and actual job, of course). Steering clear of social media and focussing on learning the fundamentals, Rowena quickly found herself catching on. But Rowena's design practice was only instigated by "necessity" when she and two friends started Highly Contagious Zine to help them get through the first lockdown. Needing someone to do the cover, layout and illustrations, they looked to Rowena. "I wasn't sure if I could, as I still only drew on paper," she explains, "but I forced myself to give it a go and kept experimenting until things began to click and I grew to love working digitally." Slowly gaining confidence and posting more of her works, Rowena started getting more requests from different scenes in the music industry, "and it sort of snowballed".

One of Rowena's favourite things about working with musicians is being able to immerse herself in music and "bounce visual ideas off a sound... I think because when I was younger I took an irresponsible amount of synesthesia-inducing substances, I now can't help but imagine images to fit with sounds." To really get her creative juices flowing, Rowena will often go on a run with her headphones on, "forming imaginary music videos and visualisers to songs", tweaking them each time she listens. "In sequence it's kind of like a modern day Stereolab-esque Fantasia, and though these mental videos won't go anywhere, the process helps my brain form ideas and figure things out."

Currently, Rowena tells us that she is just taking it "project by project", continuing her intensive drawing practice whilst also animating a few things here and there, revelling in the process of continually learning. Soon planning to make her way through a suitcase full of her sketchbooks with many unrealised ideas, Rowena hopes to come across some serious inspiration. But, in the meantime, she's always got her beloved music to help her along the way.

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Music lover Rowena Lloyd on the beauty of designing for an industry she's truly invested in

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In response to these feelings, Rowena created a rigorous drawing course for herself, which she treated as a full-time job (that was, alongside her studying and actual job, of course). Steering clear of social media and focussing on learning the fundamentals, Rowena quickly found herself catching on.

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Another key aspect of Eunji's work is the formulaic structure, gracefully (and creatively) paired with the more illustrative elements and unexpected twists - cute dogs, bobbly flowers and candles being just a few examples. Previously, Eunji majored in metal design and graphic design, before receiving a double major at Hanyang University and acquiring a degree in graphic design at K-arts, Korea. Later, Eunji also worked at a design studio and contemporary art museum as a graphic designer in the exhibition team. So to say that Eunji has a wealth of experience in the field would be an understatement, and the founding of Ant Graphics - with its exceptional quality of work - only highlights this level of skill.

The Poetic Collection, featuring a poster, leaflet, banner and "space graphic design" is a joyfully bright example of Eunji's practice. Conceived for Seoul Museum of Art as part of an exhibition themed around the concept of a poem, the branding resultantly looked at the composition and principal of the literary form - oh, and some of the more illustrated parts looks like a colony of ants, which is quite fitting. "I tried to focus on the key element of a poem that could be told as hidden (meanings) and unseen-ness," says Eunji. As such, when devising the graphics, Eunji decided to choose an image from the works shown in the exhibition and layer it behind the graphical elements. "Obviously we were inspired by the artwork itself," Eunji continues. All of which were plastered in the gallery space through a bundle of printed media.

Eunji's work is clever and unique, but what really seals it is the special attention paid to making it all more accessible and understandable for the viewer. Who doesn't like a simple yet artful graphical outcome? We sure do.

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Ant Graphics is a design studio with the strength and diligence of its six-legged namesake

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Founded by Eunji Kim, the Seoul-based designer applies clean methodologies and fun illustration across projects in the art and cultural sectors.

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Despite only discovering design softwares in 2019, Gabriel Picard has produced event posters for artists all over the world: from house events in Glasgow and DJ tours around Mexico to music weeks in Melbourne. With his visually arresting 80s-influenced style and his ability to go above and beyond his brief, it's no surprise his work is in such demand. Inspired by designers similarly synonymous with the world of music, such as the Tame Impala cover designer Robert Beatty and Aaron Lowell Denton, Gabriel feels most at home when designing for music. "I've always had a special connection with music," says the designer, who is based in Saint-Brieuc in northwestern France, "and I'm happy to be able to get closer to it through the design."

Yet while Gabriel mainly owes his inspirations to music, his first stylistic muse came in the form of the science and science fiction magazine Omni. "I really fell in love with retro when I discovered the Omni magazine covers," he says. "The format of a poster is perfect for this style, hang it on a wall and it stands out right away." With the magazine's airbrush effects, space iconography and bold colour contrasts, it's not hard to see how they have informed Gabriel's work. But, inspirations aside, Gabriel likes to keep his practice simple and allow himself to be guided by his own creativity. All he really needs to get going, he tells us, is "a computer, a tea and my earphones!".

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Feast your eyes on the richly retro event posters of graphic designer Gabriel Picard

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At just 20 years old, the designer has already made a sought-after name for himself within the live-music industry.

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Combining automated deployment, instant hosting & collaborative editing, Glitch gets you straight to coding so you can build full-stack web apps, fast

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A boutique design studio based in San Francisco

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sketch—tree

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creative design quote minimalist simple inspiration modern hand drawn font helvetica

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While m ost logo and branding projects utilize modern design aesthetics in the current era, it's not surprising to see design flashbacks that pull visual inspiration from the past.

, a type designer and lettering artist based in Porto, Portugal recently shared his passion project to give popular logos the retro treatment.

The artist known as FAEL (@faelpt) on Instagram shared his redesigned logos of tech giant brands like Google, Apple, Netflix, YouTube, Spotify, and Polaroid, along with globally recognized brands like Coca-Cola, Nike, Adidas, LEGO, and more on his social media accounts and online portfolios.

"Everything that's retro or vintage is a source of inspiration for me. Making famous logos look retro was an idea that came naturally to me. Maybe because logos are timeless, or are supposed to be. It's a fun and great exercise to go back in time," Serra said in a feature in the design community platform

His stunning concept project redesigns contemporary logos in a vibrant retro style with instantly recognizable key elements. The extra elements and vintage color palettes evoke a very joyful and nostalgic feel.

Looking for some design inspiration? Check out a few of the retro-styled logo redesign work created by the artist below.

You can also check Rafael Serra's and official to see more of the artist's lettering work created for clients and personal projects.
(Images via Rafael Serra)

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Designer gives contemporary logos a retro makeover

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While m ost logo and branding projects utilize modern design aesthetics in the current era, it's not surprising to see design flashbacks that pull visual inspiration from the past. , a type designer and lettering artist based in Porto, Portugal recently shared his passion project to give popular logos the retro treatment.

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Started together with shortage of ultra weight typefaces in the text type size ranges. [...] After the drawings for the three ultra weights were completed, in both the roman and italic versions, it soon became apparent that an intermediate 'book' weight, with the same matching lowercase 'x' heights, compatible with the ultra styles, would also be highly useful." ITC Garamond Ultra and Book, in roman and italic styles, were announced for September 15, 1975. [ITC Century and ITC Cheltenham, to address the " U&lc, vol. 2 no. 3] Light and Bold weights were added in 1977, together with a full range of condensed styles. [ U&lc, vol. 4 no. 1]

A Cyrillic version was added by Alexander Tarbeev (ParaType, 1995).

See also More...

Started together with shortage of ultra weight typefaces in the text type size ranges. [...] After the drawings for the three ultra weights were completed, in both the roman and italic versions, it soon became apparent that an intermediate 'book' weight, with the same matching lowercase 'x' heights, compatible with the ultra styles, would also be highly useful." ITC Garamond Ultra and Book, in roman and italic styles, were announced for September 15, 1975. [ITC Century and ITC Cheltenham, to address the " U&lc, vol. 2 no. 3] Light and Bold weights were added in 1977, together with a full range of condensed styles. [ U&lc, vol. 4 no. 1]

A Cyrillic version was added by Alexander Tarbeev (ParaType, 1995).

See also ITC Garamond Handtooled.

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Started together with ITC Century and ITC Cheltenham, to address the "shortage of ultra weight typefaces in the text type size ranges. [...] After the drawings for the three ultra weights were completed, in both the roman and italic versions, it soon became apparent that an intermediate 'book' weight, with the same matching lowercase 'x' heights, compatible with the ultra styles, would also be highly useful."